Paris: Louis Janet, n.d. ( ca. 1837). A beautifully hand-colored edition of a very scarce book - this version rare, indeed.   This “gift book” was offered by its publisher to accompany a rare series of coloured lithographs entitled LA NAISSANCE DES FLEURS. It comprises brief essays and poetry on individual flowers by early nineteenth century French women writers  - and Jules Baget and Mrs. Hemans -  and is embellished with four exquisitely hand watercoloured lithographed plates from drawings by Pierre Joseph Redouté, Lucy de Beaurepaire, Olympe Arson and Jules Dumas. A. Roulliet was the lithographer.  The selection opens with Jules Baget’s poem entitled “La Naissance Des Fleurs” in which he praises artists, Redouté in particular, for their ability to preserve the fleeting beauty of flowers by their art. Madame La Comtesse de Brade writes on the history and lore of the tulip, the violet, the apple and the lily, while other contributors offer poems to individual flowers. Each water-coloured lithographed plate marks a season represented by a flower or flower bouquet surrounded by a decoratively printed hand- coloured border. The lettering of the title page is also hand-coloured.  In 1837, Fleury Chavant published LA COURRONE DE FLORE (Vicaire p. 1044) which resembles this title in every respect but for the publisher, and the title page. Fleury Chavant’s ads for lithographic work, noting this title, are included at the end of the text. In the Fleury Chavant imprint, the title page informs the reader that the book is designed to accompany LA NAISSANCE DES FLEURS, a series of 50 sheets imprinted with designs of flower drawings and poetry, but this is an elusive piece noted only as “original art “ in Bnf. As Louis Janet was famous for his production of gift books, we surmise this was an initial effort to produce one from the Fleury Chavant plates lithographed in blue. The plain silk-paper over boards binding here could possibly have been prepared for a decorative slipcover or box. We have located no copies with the Janet imprint in OCLC, COPAC, the European Catalogue or CCFr.  18 mo (16.4 x 10.5 cm);143 pp with hand-coloring on half title and title page;7 pp. ads included, all text printed in blue ink, with blue printed borders +4 hand-colored full page lithographed illustrations with tissue guards.

Paris: chez l'auteur et Le Normant, Pelicier, 1817. First edition of a popular early 19th century French work on bourgeois villa gardens. Lalos, who identifies himself as an architect on the title page, succeeded with 5 editions of this work describing, in varying degrees of detail, numerous parks or gardens in various departments of France where he wholly or partly contributed to the creation. His work preceded that of Thouin, but, as Michel Conan has pointed out, depended almost entirely on the theoretical work of René Louis Girardin. "This was clearly a book of aesthetic theory aimed at potential patrons. In this respect, the fact that it was republished five times may be taken as an indication of garden tastes among landowners from 1817 to 1832, many of whom belonged to the bourgeoisie." (Michel Conan in HUNT, J.D. AND CONAN, Michel, TRADITION AND INNOVATION IN FRENCH GARDEN ART, p. 168.) The engraved plates show an artificial waterfall, a plan of the cascades and the lake of Lamotte, a section of a cascade and a plan of the pond of the park at Liverdy. Ganay 184. 8vo (19 x 12.5 cm); viii + 216 pp. + 4 folding engraved plates including two plans.

Leipzig: in de Schäferschen buchhandlung, 1803. A rare horticultural manual by Johann Heinrich Seidel, widely regarded as the "Father of Dresdener Horticulture." After completing his apprenticeship at the Großer Garten in Dresden in 1764, he embarked on a seven-year Gesellenwanderung though Germany, Austria, Belgium, the Netherlands, England and France. During his travels he spent significant time at Het Loo, the Jardin des Plantes, Chiswick, and Kew while building important contacts with head gardeners throughout Europe. After returning to Dresden and taking over as court gardener, Seidel used those contacts to build one of the most important plant collections of its day, reaching 4300 species by 1806. Many of the choicest of these plants are described in the text. Seidel was one of the first German gardeners to breed camellias, but he also had a particular interest in Chinese dwarf plants and devoted an entire short chapter at the end of the book to promoting their interest. The colour frontispiece shows a Chinese gardener carrying several potted dwarf shrubs and fruit trees balanced on a pole across his shoulder. The name F. G. Leonhardi also appears on the title page, but Leonhardi was an economist and historian who wrote books on a variety of subjects. He is unlikely to have made much contribution to the horticultural content of the work. It is surprisingly rare. OCLC locates only 4 copies, of which three in Germany and one in Denmark. KVK adds one more. By Johann Heinrich Seidel, the “Father of Dresdener Horticulture” 16mo (17.2 x 10.3 cm); viii + 259 + (4) pp. + colour frontispiece and 2 engraved plates.

Lyon: Chez Reymann, 1807. First edition. The author was a garden architect and engineer from Grenôble and Lyon. His "Essay On Gardens" begins with a general discussion of contemporary European garden design, including observations drawn from visits to gardens in Germany, England and France, followed by reflections on garden design in general (especially the jardin anglais) and specific recommendations for the layout and planting of gardens and parks. The second section of the book presents the author's plans for the Imperial gardens to be built next to the planned Napoleonic palace on the peninsula between the banks of the Saône and Rhône near the center of Lyon. The folding engraved plan for this project shows an extensive landscape garden in the "style anglais" to the south of the palace and a smaller and more formal area to the north. Ganay 164. 8vo (21 x 13.5 cm); viii + 119 pp. + folding plan.

1610. The first state, before the number (of two). Vesme no. 841. Chone/Grivel. STEPHANO DELLA BELLA 1610-1664, no. 42-4. A richly evocative etching of Pan and Fame's grotto in the Renaissance Italian villa garden at Pratolino. The impression is a double view, presenting opposite ends of the grotto side by side. On opposite sides of the statue representing the river Mugrone are seen Pan playing his flute and Fame sounding her trumpet, both of them animated as hydraulic automatons. This is one of six views by Della Bella which depict this stunning Medici garden, created by the Florentine architect Buontalenti. "In terms of hydraulic wonders, the fountains and grottoes of Pratolino are surely the apogee... Buontalenti emerges as the foremost inventor of grottoes in Italy." (Miller HEAVENLY CAVES, pp. 47, 49) Impression measuring 25 x 37 cm; signed SD Bella between the two views

LONDON: B.T. Batsford, 1909. First edition of this important reproduction of a selection of Du Cerceau's original drawings, now in the British Museum, for his 1517 and 1579 volumes published as LES PLUS EXCELLENTS BASTIMENTS DE FRANCE. According to Ward," The illustrations of the present volume present a fairly complete picture of architectural evolution in France during the sixteenth century, and comprise some of the finest specimens of each phase." Ward says that the drawings are richer in detail and larger in scale than the old engravings, and "some of these also vary considerably from the published version..." The reproductions are supplemented by Ward's account of Du Cerceau's life and work, descriptions of the chateaux and gardens designed by various architects, and an index of persons. Scarce in this condition. Folio (39.5 x 28 cm); xi + (iii) + 36 pp. with text illustrations mostly from plans and with 27 plates from drawings.

Paris: Le Fuel/ Delaunay, n.d., ca. 1813. This carefully preserved juvenile geography book centers, in particular, on the city of Paris and the world that emanates from there. Thus, its four maps show, successively: the world; Europe; the French Empire and Kingdom of Italy; and metropolitan Paris. Within the text, special attention and detail is given to the descriptions of Parisian streets, bridges, street names, historic buildings and churches, and the private residences of its famous persons. For the young reader, the history and texture of Paris is placed at the center of the world. There are, of course, small sections on Spain; Portugal; Italy; Venise; Switzerland; Germany; Bavaria; Prussia;Bohemia and Moravia;Denmark; Norway; Sweden; Russian; Asia; Persia; China; Egypt; Africa; and the Artic and Antartic regions, along with many others. The engraved frontispiece shows a young boy receiving gifts and honors from the figure of L'Étude (Study). This appears to be the first and only edition; in OCLC we find only one copy at the New York Public Library. Geography for Children 32mo (10.5 x 7 cm); (vi) + engraved frontispiece + 204 pp. + 3 double-page + 1 triple page maps with outline coloring + 1 double page alphabetical table.

Paris: Monrocq frères, n.d. (ca, 1855). Victor Petit was an artist, lithographer and chromolithographer who documented the picturesque architecture and gardens built in and around Paris during the Second Empire. He was also a member of numerous archaelogical associations. Habitations Champêtres was one of four complementary works directed at the newly wealthy and culturally ambitious bourgeoisie of the time: the others were MAISONS DE COMPAGNE DES ENVIRONS DE PARIS, PARCS ET JARDINS DES ENVIRONS DE PARIS, AND PETITES CONSTRUCTIONS PITTORESQUES. In the present work the focus is on the variety of country house styles found in different regions of France and, to a small extent, in England and Italy. The parks, grounds arrangements, garden structures and outbuildings are also depicted. Belvederes, garden pavilions, rustic cabanas and the like are shown along with views of parks such as the Parc de Pinon in Picardie or the Parc du Marchais in Burgundy. Distinctions are made among maisons champêtres, maisons de plaisance, and maisons bourgeoises; all are shown in grounds settings. The work was available from the publishers in simple black and white lithography or in coloured lithography; individual plates could also be ordered separately, either coloured or in black and white. The present copy offers 30 plates in black and white and the remaining 70 hand finished to varying degrees in light color. They offer an interesting contrast to the forceful colors available as shown in sample plates from Petites Constructions and Parcs Et Jardins Des Environs De Paris which are laid in here. Ganay 254, but the Ganay copy does not have the title page. 4to (36.5 x 27 cm) Loose in portfolio, as issued. Partially colored title page + 100 lithographed plates, 70 of which are coloured to varying degrees, 30 are in black and white, plus, 8 coloured lithographed plates,, from PETITES CONSTRUCTIONS PITTORESQUES and one from PARCS ET JARDINS laid in.

(Paris): Journal des Demoiselles, n.d. (ca, 1880s). Issued as a special publication of the JOURNAL DES DEMOISELLES, this portfolio contains 25 lithographed sheets for mounting of specific dried herbarium samples. A printed outline of the plant, for coloring, is printed on the sheet next to the area where the flower or plant was to be placed. Also incorporated into each of these sheets is a letterpress text which instructs the user in the pertinent language of flowers, botanical nomenclature, and plant lore. Separate instructions for preparing plants collected for the herbarium are included along with instructions for coloring the outline drawings. Additionally, there are five hand-colored plates provided as a model for coloring. Each of these depicts a grouping or bouquet of five different flowers from among those illustrated by the uncolored plates. A wonderful example of the type of botanical pastimes thought to be instructive and engaging for women in the late nineteenth century. Loose, as issued, in original printed portfolio; 2 pp. text on lightweight paper + 3 plates (title and preface) on card stock + 5 hand-colored + 25 black and white lithographed plates.

Augsburg: Johann Andreas Pfeffel, 1753. Second German edition of Dezallier's LA THÉORIE ET LA PRATIQUE DU JARDINAGE. This edition is complete with the full complement of 39 plates, including frontispiece. The work was first published in French in 1709 and then reprinted and enlarged in several later editions. It effectively codified the design principles of the French formal garden as established by LeNôtre and continued in print for nearly three-quarters of the eighteenth century. "France did not become mistress of Europe in garden art merely because of such of her examples as could be copied; of almost equal importance was the wide popularity of a book which first appeared anonymously in France in 1709 under the title THEORIE ET PRATIQUE DU JARDINAGE... Never before did a book lay down the principles of any style so surely and so intelligibly in instructive precepts." (Gothein, HISTORY OF GARDEN ART, volume II, pg 111). The most prominent Germanic exponent of the French formal style was the Austrian F. A. Danreiter, who spent several years in France in the 1720s before returning to Salzburg, where he passed the remainder of his career serving as Garden Director of the major gardens there. Danreiter's translation of Dezallier, first published in 1731, was the single most important source for the spread of the French formal style across German-speaking Europe during the eighteenth century. While the title page of this edition calls for only 33 plates, the present copy includes a full set of 39 plates. The plate count varies among different copies of this work, even within the same edition, with many copies having either 33 or 35 plates. Copies with all 39 plates are uncommon. Berlin Cat 3464 (1731 ed); Springer pg. 37. 8vo (18 x 11.5 cm); folding title + (vii) + 368 + (2) pp. + 38 folding engraved plates + engraved frontispiece.