Edinburgh: W. H. Lizars, n.d. (ca, 1845). Lothian was gardener to W. A. Campbell of Ormsary. This scarce volume, the first English work devoted wholly to alpine plants, appears to be his only published book. It begins with instructions for the location and construction of rockeries, ponds and bogs and the arrangement of plants in the rockery. A second section gives directions for cultivation and treatment, arranged by season, with separate discussion of "tenderer and rarer" plants, as well as advice on cultivation in Wardian cases. The appendix lists nearly 1000 varieties of recommended plants. The illustrations include two engraved plates showing rockery layouts and four hand-colored plates of plants. The first English work devotd wholly to alpines 12mo (16 x 10.2 cm); iii-xiv + 17-84 pp. + decorative illustrated title and 6 plates (four colored).

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.

(France): ca. 1850s. An attractive and generally well preserved collection of 70 mounted botanical specimens collected in France during the mid-nineteenth century. Many, though not all, of the specimens are accompanied by hand-written descriptive labels, including a few with extended notes (in one case extending to several pages). Some specimens appear to have been collected in the region around Paris, while others (including a few tropical plants) appear to have been cultivated and collected in the herborist's own garden. They are, for the most part, reasonably preserved and attractively mounted., although because of their size, there is damage to some. Folios, 4 paper fascicles, approximately 45 x 32 cm., with a total of 70 mounted plant specimen sheets, folded in half to protect the specimens, with the mounted specimens on leaves measuring 45 x 30 cm.

Paris: Emile-PAULE, 1920. First edition, presentation copy to Gordon Knox, signed by Forestier. “(Forestier’s) friends noted his talents and asked him to design their grounds, and as a preparatory study for this he planned seventeen imaginary gardens, which later formed the central portion of his book “Jardins”.” (Fox, Helen Morgenthau. in “Jean C.N. Forestier”, LANDSCAPE ARCHITECTURE, 1930, pp. 93). Forestier was Conservateur of the Paris parks, city planner, designer of modern gardens, such as the rose and iris gardens at Bagatelle in the Bois de Boulogne, and authority on the design of Spanish and Arabic gardens. In JARDINS, Forestier went beyond the imaginary gardens proposed for friends to cover details of his approach to terraces, lawns, stairs, fountains, bassins, benches and tilework. A long list of his recommendations for best roses is included. Additionally, he offers illustration and commentary on gardens that made his fame: that of Joseph Guy at Beziers; of Montjuich at the Barcelona exposition; and of La Casa Del Rey Moro in Andalousia. “In his designs, plants partially erase, rather than reinforce, the rigor of the plan. This play between the grace of the vine and the strict line of the post situated Forestier precisely at the juncture of the jardin à la française and the cubist/modernist garden.” (Imbert, THE MODERNIST GARDEN IN FRANCE, p. 25) A signed presentation copy Small folio (32.5 x 25.2 cm); 240 unnumbered pp., profusely illustrated from drawings and plans, full page and in text.

The Hague: Chez Pierre Husson, 1711. First Dutch edition of the most influential work on garden design of the eighteenth century. It effectively codified the design principles of the French formal garden and continued in print for at least six decades. "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.) This edition, published in Holland, is the first of many pirated editions to appear outside of France. It carefully follows the original Paris edition, even in its pagination, and the plates are nicely engraved by J. Lamsvelt with strong dark impressions. 4to (25.8 x 20 cm); (xii) + 208 pp. with numerous engraved text illustrations and ornaments + 32 folding plates (chiefly garden plans).

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.

London: P. Vaillant, and W. Mears and F. Clay, 1721. First English edition, translated, with additions, by Richard Bradley. "This was the first treatise on cuttings and graftings, and it made Agricola famous." (Hunt 452). Georg Andreas Agricola was a German doctor from Regensburg whose discoveries regarding plant propagation aroused significant interest at the beginning of the eighteenth century. In a book entitled NEU- UND NIE ERHÖRTER DOCH IN DER NATUR UND VERNUNFFT WOHLGEGEGRÜNDETER VERSUCH DER UNIVERSAL VERMEHRUNG ALLER BÄUME, STAUDEN UND BLUMEN-GEWÄCHSE (1716-1717) he first published details of his methods, including the use of a plaster he called "vegetable mummy," to refute exaggerated claims made about his discoveries by another writer. Bradley prepared this English translation and added to it his own preface as well as a translation of the preface from the French edition. The text is illustrated with copies of the plates from the original German edition. These plates depict examples of the regenerative process described by Agricola along with the grafting techniques, tools and structures employed in the various operations. In publishing Agricola's discoveries in England Bradley was doing what he seemed to do best: publicizing the latest horticultural advances and theories at a moment close to their inception. Hunt 452; Henrey 411 Royal 4to (27 x 22 cm); (xxiv) + 300 + (iv) pp. + 22 plates (some folding) with 34 engravings.

Paris: chez Desenne, Janvier, 1792. The gardens at Betz were built by Marie-Catherine Brignolé, princess of Monaco, between 1780 and 1789. They formed an important parc à fabriques, created at least partly by a collaboration of Hubert Robert and the duc d'Harcourt. Cérutti visited the gardens in 1785 and composed this poem while there to recite as an entertainment for his host and fellow guests. It narrates a promenade through the park in the course of which each of its many picturesque fabriques and features is carefully described. It is easily the most detailed and complete contemporary account of this important jardin anglais, which was abandoned during the Revolution and later lost to neglect. Though not originally written for publication, the poem was eventually published shortly before the author's death together with the extensive footnotes on the gardens which more than double the text. The present copy is marked as "Seconde Édition," although its imprint gives a date of January 1792, the same date as the first. Ganay 538. 8vo (19.4 x 12.5 cm); 72 pp. including three pages listing Cerutti's other publications.