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browsing 4487 items
displaying items 3601 to 3700
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(total 45 pages)
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Rosa aciphylla / Rosier cuspidé [Needle-leaved Dog Rose]
Paris: Firmin Didot, 1817-1824. Stipple engraving printed in black, after Redouté, printed by Rémond. Very good condition apart from some overall light soiling and slight rippling. Sheet size: 13 7/8 x 10 5/8 inches.
A rare uncoloured impression from the first edition of 'Les Roses': Redouté's most famous work, and perhaps the most celebrated flower book of all time.
Pierre-Joseph Redouté, the most successful flower painter of all time, produced a work that was not only of great artistic merit, but also formed an invaluable scientific recordl. Redouté described and figured almost all the important roses known in his day, and included were many of the ancestors of today's roses. "The plates in 'Les Roses' have artistic value, botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared' (Gisele de la Roche). The roses used as specimens for the work were taken from the collections of Thory, the Malmaison gardens, and from other collections around Paris. Many of the flowers were novelties in Redouté's time, and a number were dedicated to the memory of his friends and acquaintances, such as l'Héritier de Brutelle and Ventenat.
The plates of 'Les Roses' were executed by means of stipple engraving, a method ideally suited to render the nuances of tone found in Redouté's original water-colours. During a trip to London, he met the renowned engraver Francesco Bartolozzi and learned that the most successful impressions of stipple engravings came from well-used plates. Redouté's printers therefore struck a limited number of black plates to take the edge off the plate before printing in colours.
This print was printed in black on ochre-tinted paper. The ochre tint has subsequently been removed to reveal Redouté's full mastery of the stipple-engraving technique that this image so effortlessly demonstrates.
Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Hunt, Redoutéana 19; Hunt, Printmaking in the Service of Botany 25; Nissen BBI 1599; Pritzel 7455; Ray, French 89; Stafleu & Cowan TL2 8747
#9338 $850.00  
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Rosa Malmundariensis / Rosier de Malmedy [Malmedy Rose]
Paris: Firmin Didot, 1817-1824. Stipple engraving printed in black, after Redouté, printed by Rémond. Very good condition apart from some overall light soiling. Sheet size: 14 x 10 1/2 inches.
A rare uncoloured impression from the first edition of 'Les Roses': Redouté's most famous work, and perhaps the most celebrated flower book of all time.
Pierre-Joseph Redouté, the most successful flower painter of all time, produced a work that was not only of great artistic merit, but also formed an invaluable scientific recordl. Redouté described and figured almost all the important roses known in his day, and included were many of the ancestors of today's roses. "The plates in 'Les Roses' have artistic value, botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared' (Gisele de la Roche). The roses used as specimens for the work were taken from the collections of Thory, the Malmaison gardens, and from other collections around Paris. Many of the flowers were novelties in Redouté's time, and a number were dedicated to the memory of his friends and acquaintances, such as l'Héritier de Brutelle and Ventenat.
The plates of 'Les Roses' were executed by means of stipple engraving, a method ideally suited to render the nuances of tone found in Redouté's original water-colours. During a trip to London, he met the renowned engraver Francesco Bartolozzi and learned that the most successful impressions of stipple engravings came from well-used plates. Redouté's printers therefore struck a limited number of black plates to take the edge off the plate before printing in colours.
This print was printed in black on ochre-tinted paper. The ochre tint has subsequently been removed to reveal Redouté's full mastery of the stipple-engraving technique that this image so effortlessly demonstrates.
Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Hunt, Redoutéana 19; Hunt, Printmaking in the Service of Botany 25; Nissen BBI 1599; Pritzel 7455; Ray, French 89; Stafleu & Cowan TL2 8747
#9339$850.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Rosa Orbessanea / Rosier d'Orbessan [? Frankfurter Rose]
Paris: Firmin Didot, 1817-1824. Stipple engraving printed in black, after Redouté, printed by Rémond. Very good condition apart from some overall light soiling and slight rippling. Sheet size: 14 x 10 1/2 inches.
A rare uncoloured impression from the first edition of 'Les Roses': Redouté's most famous work, and perhaps the most celebrated flower book of all time.
Pierre-Joseph Redouté, the most successful flower painter of all time, produced a work that was not only of great artistic merit, but also formed an invaluable scientific recordl. Redouté described and figured almost all the important roses known in his day, and included were many of the ancestors of today's roses. "The plates in 'Les Roses' have artistic value, botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared' (Gisele de la Roche). The roses used as specimens for the work were taken from the collections of Thory, the Malmaison gardens, and from other collections around Paris. Many of the flowers were novelties in Redouté's time, and a number were dedicated to the memory of his friends and acquaintances, such as l'Héritier de Brutelle and Ventenat.
The plates of 'Les Roses' were executed by means of stipple engraving, a method ideally suited to render the nuances of tone found in Redouté's original water-colours. During a trip to London, he met the renowned engraver Francesco Bartolozzi and learned that the most successful impressions of stipple engravings came from well-used plates. Redouté's printers therefore struck a limited number of black plates to take the edge off the plate before printing in colours.
This print was printed in black on ochre-tinted paper. The ochre tint has subsequently been removed to reveal Redouté's full mastery of the stipple-engraving technique that this image so effortlessly demonstrates.
Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Hunt, Redoutéana 19; Hunt, Printmaking in the Service of Botany 25; Nissen BBI 1599; Pritzel 7455; Ray, French 89; Stafleu & Cowan TL2 8747
#9340$850.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Rosa Indica Pumila / Rosier nain du Bengale [Double Miniature Rose]
Paris: Firmin Didot, 1817-1824. Stipple engraving, printed in colours and finished by hand, engraved by Chapuy. Very good condition. Framed.
More than with any other painter, Redouté's flowers are alive, and always shown at the ephemeral moment of their greatest beauty.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre Italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually to Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full-time job as an illustrator, instructing him in plant anatomy. Redouté's scientific understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Roses from which this work comes.
Redouté together with Claude-Antoine Thory, an ardent botanist and collector of roses, have together in Les Roses produced a work not only of great artistic merit, but also an invaluable scientific record as well. `Redouté and Thory knew, described and figured almost all the important roses known in their day. Included were many of the key ancestors of our present-day roses. The plates in Les Roses have artistic value, botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared' (Gisele de la Roche). The roses used as specimens for the work were taken from the collections of Thory, the Malmaison gardens, and from other collections around Paris. Many of the flowers were novelties in Redouté's time, and a number were dedicated to the memory of his friends and acquaintances, such as l'Héritier de Brutelle and Ventenat.
Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Hunt, Redoutéana 19; Hunt, Printmaking in the Service of Botany 25; Nissen BBI 1599; Pritzel 7455; Ray, French 89; Stafleu & Cowan TL2 8747
#9990$3,750.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Iris Pallida [Pl. 366]
[Pl. 366]. Paris: Imprimerie de Didot jeune, 1802-16. Stipple engraving, printed in colour and finished by hand, engraved by Langlois jeune.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Liliacées from which this work comes.
Les Liliacées is one of two Redouté masterworks, the other being Les Roses. These works demonstrate the appropriateness of the accolade "Raphael of Flowers", for one is constantly impressed by the exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.
Cf. Nissen BBI 1597; cf.Great Flower Books (1990), p 128; cf. Dunthorne p 231; cf. Stafleu & Cowan TL2 8747; cf. MacPhaeil, Redouteana, 10.
#14644$8,500.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Lilium Martagon / Lis Martagon [Martagon Lily] [Pl. 146]
[Pl. 146]. Paris: Imprimerie de Didot jeune, 1802-16. Stipple engraving, printed in colour and finished by hand, engraved by de Gouy. Sheet size: 20 1/2 x 13 3/4 inches.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Liliacées from which this work comes.
Les Liliacées is one of two Redouté masterworks, the other being Les Roses. These works demonstrate the appropriateness of the accolade "Raphael of Flowers", for one is constantly impressed by the exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.
Cf. Nissen BBI 1597; cf.Great Flower Books (1990), p 128; cf. Dunthorne p 231; cf. Stafleu & Cowan TL2 8747; cf. MacPhaeil, Redouteana, 10.
#14653$4,500.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Rosa centifolia / Rosier a cent feuilles
[Paris: Firmin Didot], 1817-1824. Stipple engraving, with expert later hand-colouring, by Couten, after Redouté, printed by Rémond. Very good condition. Sheet size: 14 x 10 1/2 inches.
A fine example of a composition by the greatest of all flower painters
Pierre-Joseph Redouté's most famous work, 'Les Roses', was issued in a number of forms, the most desirable of which included the plates in two states. Gavin Bridson and Donald Wendel, in their magisterial 'Printmaking in the service of botany' catalogue (Hunt Institute for Botanical Documentation, 1986, item 25) noted that Redouté 'For the interest of connoisseurs' included `a set of black plates as a parallel series to the usual color-printed versions' in 'special issues' of both the present work and his earlier 'Les Liliacées'. The number of these special issues that were produced is unfortunately not recorded but to judge from auction records over the past 25 years they are extremely rare. Only five complete sets of 'Les Roses' in this format are recorded.
The plates of 'Les Roses' were executed by means of stipple engraving, a method ideally suited to render the nuances of tone to be found in Redouté's original water-colours. During a trip to London, where he met the renowned and talented engraver Francesco Bartolozzi, Redouté learned that the most successful impressions of stipple engravings came from well-used plates. A number of black plates would thus be struck to take the edge off the plate before printing in colours. Redouté's printers struck black impressions - always on a paper with a distinct ochre tint - from the plates for both 'Les Roses' and 'Les Liliacées'. 'Les Roses' was issued in thirty parts between March 1817 and March 1824, with each part containing six plates. 'Les Roses' was available in four formats: a large paper folio with coloured plates, a large paper folio with the plates in two states, folio with coloured plates, and folio with the plates in two states. The present plate comes from this last format.
This plate was printed in black on an ochre-tinted paper. The ochre tint was subsequently removed and the print was expertly hand-coloured to match the style and quality of the original coloured examples.
Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Hunt Redoutéana 19; cf. Hunt, Printmaking in the Service of Botany 25; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Ray French 89; cf. Stafleu and Cowan TL2 8748
#14658$1,200.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Rosa Gallica Pontiana / Rosier du Pont
[Paris: Firmin Didot], 1817-1824. Stipple engraving, with expert later hand-colouring, by Bessin, after Redouté, printed by Rémond. Very good condition. Sheet size: 14 x 10 5/8 inches.
A fine example of a composition by the greatest of all flower painters
Pierre-Joseph Redouté's most famous work, 'Les Roses', was issued in a number of forms, the most desirable of which included the plates in two states. Gavin Bridson and Donald Wendel, in their magisterial 'Printmaking in the service of botany' catalogue (Hunt Institute for Botanical Documentation, 1986, item 25) noted that Redouté 'For the interest of connoisseurs' included `a set of black plates as a parallel series to the usual color-printed versions' in 'special issues' of both the present work and his earlier 'Les Liliacées'. The number of these special issues that were produced is unfortunately not recorded but to judge from auction records over the past 25 years they are extremely rare. Only five complete sets of 'Les Roses' in this format are recorded.
The plates of 'Les Roses' were executed by means of stipple engraving, a method ideally suited to render the nuances of tone to be found in Redouté's original water-colours. During a trip to London, where he met the renowned and talented engraver Francesco Bartolozzi, Redouté learned that the most successful impressions of stipple engravings came from well-used plates. A number of black plates would thus be struck to take the edge off the plate before printing in colours. Redouté's printers struck black impressions - always on a paper with a distinct ochre tint - from the plates for both 'Les Roses' and 'Les Liliacées'. 'Les Roses' was issued in thirty parts between March 1817 and March 1824, with each part containing six plates. 'Les Roses' was available in four formats: a large paper folio with coloured plates, a large paper folio with the plates in two states, folio with coloured plates, and folio with the plates in two states. The present plate comes from this last format.
This plate was printed in black on an ochre-tinted paper. The ochre tint was subsequently removed and the print was expertly hand-coloured to match the style and quality of the original coloured examples.
Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Hunt Redoutéana 19; cf. Hunt, Printmaking in the Service of Botany 25; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Ray French 89; cf. Stafleu and Cowan TL2 8748
#14659$1,200.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Rosa Gallica latifolia / Rosier de Provins a grandes feuilles
[Paris: Firmin Didot], 1817-1824. Stipple engraving, with expert later hand-colouring, by Langlois, after Redouté, printed by Rémond. Very good condition. Sheet size: 14 x 10 1/2 inches.
A fine example of a composition by the greatest of all flower painters
Pierre-Joseph Redouté's most famous work, 'Les Roses', was issued in a number of forms, the most desirable of which included the plates in two states. Gavin Bridson and Donald Wendel, in their magisterial 'Printmaking in the service of botany' catalogue (Hunt Institute for Botanical Documentation, 1986, item 25) noted that Redouté 'For the interest of connoisseurs' included `a set of black plates as a parallel series to the usual color-printed versions' in 'special issues' of both the present work and his earlier 'Les Liliacées'. The number of these special issues that were produced is unfortunately not recorded but to judge from auction records over the past 25 years they are extremely rare. Only five complete sets of 'Les Roses' in this format are recorded.
The plates of 'Les Roses' were executed by means of stipple engraving, a method ideally suited to render the nuances of tone to be found in Redouté's original water-colours. During a trip to London, where he met the renowned and talented engraver Francesco Bartolozzi, Redouté learned that the most successful impressions of stipple engravings came from well-used plates. A number of black plates would thus be struck to take the edge off the plate before printing in colours. Redouté's printers struck black impressions - always on a paper with a distinct ochre tint - from the plates for both 'Les Roses' and 'Les Liliacées'. 'Les Roses' was issued in thirty parts between March 1817 and March 1824, with each part containing six plates. 'Les Roses' was available in four formats: a large paper folio with coloured plates, a large paper folio with the plates in two states, folio with coloured plates, and folio with the plates in two states. The present plate comes from this last format.
This plate was printed in black on an ochre-tinted paper. The ochre tint was subsequently removed and the print was expertly hand-coloured to match the style and quality of the original coloured examples.
Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Hunt Redoutéana 19; cf. Hunt, Printmaking in the Service of Botany 25; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Ray French 89; cf. Stafleu and Cowan TL2 8748
#14663$1,200.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Rosa Damascena / Rosier de Cels
[Paris: Firmin Didot], 1817-1824. Stipple engraving, by Chardin, after Redouté, printed by Rémond. Very good condition. Sheet size: 14 1/4 x 10 3/4 inches.
A fine example of a composition by the greatest of all flower painters
The present uncoloured plate was printed on ochre paper as it was realized that this gave a pleasing effect. The ochre background enhances the subtle gradations of tone achieved using the stipple engraving technique and gives a unique opportunity to appreciate the unrivalled artistry of both Pierre-Joseph Redouté himself and the master-craftsman he employed to translate his watercolour into a print of the highest quality. Redouté learned, whilst on a visit to London, that the most successful impressions of stipple engravings came from well-used plates. A number of black plates would thus be struck to take the edge off the plate before printing in colours. Redouté's printers struck black impressions - always on a paper with a distinct ochre tint - from the plates, and these early impressions were then combined with later colour-printed examples to form the de luxe issues of 'Les Roses'.
Redouté's 'Les Roses' was issued in four formats: a large paper folio with coloured plates, a large paper folio with the plates in two states, folio with coloured plates, and folio with the plates in two states (the present plate comes from this final de luxe form). Gavin Bridson and Donald Wendel, in their magisterial 'Printmaking in the service of botany' catalogue (Hunt Institute for Botanical Documentation, 1986, item 25) noted that Redouté 'For the interest of connoisseurs' included `a set of black plates as a parallel series to the usual color-printed versions' in 'special issues' of both the present work and his earlier 'Les Liliacées'. The number of these special issues that were produced is unfortunately not recorded but to judge from auction records over the past twenty-five years they are extremely rare: only four complete sets of 'Les Roses' in this format are recorded. The present print therefore comes from an edition that was severely limited, and is certainly much rarer than its colour-printed equivalent.
Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Hunt Redoutéana 19; cf. Hunt, Printmaking in the Service of Botany 25; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Ray French 89; cf. Stafleu and Cowan TL2 8748
#14665$650.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Rosa Bifera macrocarpa / La Quatre Saisons Lelieur
[Paris: Firmin Didot], 1817-1824. Stipple engraving, by Victor, after Redouté, printed by Rémond. Very good condition. Sheet size: 14 1/2 x 10 3/4 inches.
A fine example of a composition by the greatest of all flower painters
The present uncoloured plate was printed on ochre paper as it was realized that this gave a pleasing effect. The ochre background enhances the subtle gradations of tone achieved using the stipple engraving technique and gives a unique opportunity to appreciate the unrivalled artistry of both Pierre-Joseph Redouté himself and the master-craftsman he employed to translate his watercolour into a print of the highest quality. Redouté learned, whilst on a visit to London, that the most successful impressions of stipple engravings came from well-used plates. A number of black plates would thus be struck to take the edge off the plate before printing in colours. Redouté's printers struck black impressions - always on a paper with a distinct ochre tint - from the plates, and these early impressions were then combined with later colour-printed examples to form the de luxe issues of 'Les Roses'.
Redouté's 'Les Roses' was issued in four formats: a large paper folio with coloured plates, a large paper folio with the plates in two states, folio with coloured plates, and folio with the plates in two states (the present plate comes from this final de luxe form). Gavin Bridson and Donald Wendel, in their magisterial 'Printmaking in the service of botany' catalogue (Hunt Institute for Botanical Documentation, 1986, item 25) noted that Redouté 'For the interest of connoisseurs' included `a set of black plates as a parallel series to the usual color-printed versions' in 'special issues' of both the present work and his earlier 'Les Liliacées'. The number of these special issues that were produced is unfortunately not recorded but to judge from auction records over the past twenty-five years they are extremely rare: only four complete sets of 'Les Roses' in this format are recorded. The present print therefore comes from an edition that was severely limited, and is certainly much rarer than its colour-printed equivalent.
Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Hunt Redoutéana 19; cf. Hunt, Printmaking in the Service of Botany 25; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Ray French 89; cf. Stafleu and Cowan TL2 8748
#14666$650.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Iris Pseudacorus / Iris faux-acore [Pl. 235]
[Pl. 235]. Paris: Imprimerie de Didot jeune, 1802-16. Stipple engraving, printed in colour and finished by hand, engraved by Langlois. Very good condition, with the exception of being slightly trimmed at the top edge. Sheet size: 20 1/2 x 13 3/4 inches.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's "functional" understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Liliacées from which this work comes.
Les Liliacées is one of two Redouté masterworks, the other being Les Roses. These works demonstrate the appropriateness of the accolade "Raphael of Flowers", for one is constantly impressed by the exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.
Cf. Nissen BBI 1597; cf.Great Flower Books (1990), p 128; cf. Dunthorne p 231; cf. Stafleu & Cowan TL2 8747; cf. MacPhaeil, Redouteana, 10.
#14685$5,750.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Rosa Centifolia mutabilis. Rosier unique.
Paris: Firmin Didot, 1817-1824. Stipple engraving, printed in colours and finished by hand, engraved by Bessin, a large paper copy. Sheet size: 19 1/2 x 13 5/8 inches.
More than with any other painter, Redouté's flowers are alive, and always shown at the ephemeral moment of their greatest beauty.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre Italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually to Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full-time job as an illustrator, instructing him in plant anatomy. Redouté's scientific understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Roses from which this work comes.
Redouté together with Claude-Antoine Thory, an ardent botanist and collector of roses, have together in Les Roses produced a work not only of great artistic merit, but also an invaluable scientific record as well. `Redouté and Thory knew, described and figured almost all the important roses known in their day. Included were many of the key ancestors of our present-day roses. The plates in Les Roses have artistic value, botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared' (Gisele de la Roche). The roses used as specimens for the work were taken from the collections of Thory, the Malmaison gardens, and from other collections around Paris. Many of the flowers were novelties in Redouté's time, and a number were dedicated to the memory of his friends and acquaintances, such as l'Héritier de Brutelle and Ventenat.
Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Hunt, Redoutéana 19; Hunt, Printmaking in the Service of Botany 25; Nissen BBI 1599; Pritzel 7455; Ray, French 89; Stafleu & Cowan TL2 8747
#14825$2,500.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Rosa Damascena Variegata. Rosier d'York et de Lancastre
[Paris: Firmin Didot], 1817-1824. Stipple engraving printed in black, on ochre-tinted paper, by Bessin, after Redouté, printed by Rémond. Very good condition. Sheet size: 14 x 10 1/2 inches.
A very rare uncoloured 'connoisseur's' impression on ochre-tinted paper from the first edition of 'Les Roses': Redouté's most famous work, and perhaps the most celebrated flower book of all time
The present uncoloured plate was printed on ochre paper as it was realized that this gave a pleasing effect. The ochre background enhances the subtle gradations of tone achieved using the stipple engraving technique and gives a unique opportunity to appreciate the unrivalled artistry of both Pierre-Joseph Redouté himself and the master-craftsman he employed to translate his watercolour into a print of the highest quality. Redouté learned, whilst on a visit to London, that the most successful impressions of stipple engravings came from well-used plates. A number of black plates would thus be struck to take the edge off the plate before printing in colours. Redouté's printers struck black impressions - always on a paper with a distinct ochre tint - from the plates, and these early impressions were then combined with later colour-printed examples to form the de luxe issues of 'Les Roses'.
Redouté's 'Les Roses' was issued in four formats: a large paper folio with coloured plates, a large paper folio with the plates in two states, folio with coloured plates, and folio with the plates in two states (the present plate comes from this final de luxe form). Gavin Bridson and Donald Wendel, in their magisterial 'Printmaking in the service of botany' catalogue (Hunt Institute for Botanical Documentation, 1986, item 25) noted that Redouté 'For the interest of connoisseurs' included `a set of black plates as a parallel series to the usual color-printed versions' in 'special issues' of both the present work and his earlier 'Les Liliacées'. The number of these special issues that were produced is unfortunately not recorded but to judge from auction records over the past twenty-five years they are extremely rare: only four complete sets of 'Les Roses' in this format are recorded. The present print therefore comes from an edition that was severely limited, and is certainly much rarer than its colour-printed equivalent.
Cf.Cleveland Collections 807; cf. Dunthorne 232; cf. Hunt Redoutéana 19; cf. Hunt, Printmaking in the Service of Botany 25; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Ray French 89; cf. Stafleu and Cowan 8748
#15667$650.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Rosa Indica fragrans. Rosier des Indes odorant
[Paris: Firmin Didot], 1817-1824. Stipple engraving printed in black, on ochre-tinted paper, by Langlois, after Redouté, printed by Rémond. Very good condition. Sheet size: 14 x 10 1/2 inches.
A very rare uncoloured 'connoisseur's' impression on ochre-tinted paper from the first edition of 'Les Roses': Redouté's most famous work, and perhaps the most celebrated flower book of all time
The present uncoloured plate was printed on ochre paper as it was realized that this gave a pleasing effect. The ochre background enhances the subtle gradations of tone achieved using the stipple engraving technique and gives a unique opportunity to appreciate the unrivalled artistry of both Pierre-Joseph Redouté himself and the master-craftsman he employed to translate his watercolour into a print of the highest quality. Redouté learned, whilst on a visit to London, that the most successful impressions of stipple engravings came from well-used plates. A number of black plates would thus be struck to take the edge off the plate before printing in colours. Redouté's printers struck black impressions - always on a paper with a distinct ochre tint - from the plates, and these early impressions were then combined with later colour-printed examples to form the de luxe issues of 'Les Roses'.
Redouté's 'Les Roses' was issued in four formats: a large paper folio with coloured plates, a large paper folio with the plates in two states, folio with coloured plates, and folio with the plates in two states (the present plate comes from this final de luxe form). Gavin Bridson and Donald Wendel, in their magisterial 'Printmaking in the service of botany' catalogue (Hunt Institute for Botanical Documentation, 1986, item 25) noted that Redouté 'For the interest of connoisseurs' included `a set of black plates as a parallel series to the usual color-printed versions' in 'special issues' of both the present work and his earlier 'Les Liliacées'. The number of these special issues that were produced is unfortunately not recorded but to judge from auction records over the past twenty-five years they are extremely rare: only four complete sets of 'Les Roses' in this format are recorded. The present print therefore comes from an edition that was severely limited, and is certainly much rarer than its colour-printed equivalent.
Cf.Cleveland Collections 807; cf. Dunthorne 232; cf. Hunt Redoutéana 19; cf. Hunt, Printmaking in the Service of Botany 25; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Ray French 89; cf. Stafleu and Cowan 8748
#15668$650.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Rosa Pomponia flore subsimplici. Rosier Pompon à fleurs presque simples
[Paris: Firmin Didot], 1817-1824. Stipple engraving printed in black, on ochre-tinted paper, by Chapuy, after Redouté, printed by Rémond. Very good condition. Sheet size: 14 x 10 1/2 inches.
A very rare uncoloured 'connoisseur's' impression on ochre-tinted paper from the first edition of 'Les Roses': Redouté's most famous work, and perhaps the most celebrated flower book of all time
The present uncoloured plate was printed on ochre paper as it was realized that this gave a pleasing effect. The ochre background enhances the subtle gradations of tone achieved using the stipple engraving technique and gives a unique opportunity to appreciate the unrivalled artistry of both Pierre-Joseph Redouté himself and the master-craftsman he employed to translate his watercolour into a print of the highest quality. Redouté learned, whilst on a visit to London, that the most successful impressions of stipple engravings came from well-used plates. A number of black plates would thus be struck to take the edge off the plate before printing in colours. Redouté's printers struck black impressions - always on a paper with a distinct ochre tint - from the plates, and these early impressions were then combined with later colour-printed examples to form the de luxe issues of 'Les Roses'.
Redouté's 'Les Roses' was issued in four formats: a large paper folio with coloured plates, a large paper folio with the plates in two states, folio with coloured plates, and folio with the plates in two states (the present plate comes from this final de luxe form). Gavin Bridson and Donald Wendel, in their magisterial 'Printmaking in the service of botany' catalogue (Hunt Institute for Botanical Documentation, 1986, item 25) noted that Redouté 'For the interest of connoisseurs' included `a set of black plates as a parallel series to the usual color-printed versions' in 'special issues' of both the present work and his earlier 'Les Liliacées'. The number of these special issues that were produced is unfortunately not recorded but to judge from auction records over the past twenty-five years they are extremely rare: only four complete sets of 'Les Roses' in this format are recorded. The present print therefore comes from an edition that was severely limited, and is certainly much rarer than its colour-printed equivalent.
Cf.Cleveland Collections 807; cf. Dunthorne 232; cf. Hunt Redoutéana 19; cf. Hunt, Printmaking in the Service of Botany 25; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Ray French 89; cf. Stafleu and Cowan 8748
#15669$450.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Rosa geminata. Rosier à fleurs géminées
[Paris: Firmin Didot], 1817-1824. Stipple engraving printed in black, on ochre-tinted paper, by Chapuy, after Redouté, printed by Rémond. Very good condition. Sheet size: 14 x 10 1/2 inches.
A very rare uncoloured 'connoisseur's' impression on ochre-tinted paper from the first edition of 'Les Roses': Redouté's most famous work, and perhaps the most celebrated flower book of all time
The present uncoloured plate was printed on ochre paper as it was realized that this gave a pleasing effect. The ochre background enhances the subtle gradations of tone achieved using the stipple engraving technique and gives a unique opportunity to appreciate the unrivalled artistry of both Pierre-Joseph Redouté himself and the master-craftsman he employed to translate his watercolour into a print of the highest quality. Redouté learned, whilst on a visit to London, that the most successful impressions of stipple engravings came from well-used plates. A number of black plates would thus be struck to take the edge off the plate before printing in colours. Redouté's printers struck black impressions - always on a paper with a distinct ochre tint - from the plates, and these early impressions were then combined with later colour-printed examples to form the de luxe issues of 'Les Roses'.
Redouté's 'Les Roses' was issued in four formats: a large paper folio with coloured plates, a large paper folio with the plates in two states, folio with coloured plates, and folio with the plates in two states (the present plate comes from this final de luxe form). Gavin Bridson and Donald Wendel, in their magisterial 'Printmaking in the service of botany' catalogue (Hunt Institute for Botanical Documentation, 1986, item 25) noted that Redouté 'For the interest of connoisseurs' included `a set of black plates as a parallel series to the usual color-printed versions' in 'special issues' of both the present work and his earlier 'Les Liliacées'. The number of these special issues that were produced is unfortunately not recorded but to judge from auction records over the past twenty-five years they are extremely rare: only four complete sets of 'Les Roses' in this format are recorded. The present print therefore comes from an edition that was severely limited, and is certainly much rarer than its colour-printed equivalent.
Cf.Cleveland Collections 807; cf. Dunthorne 232; cf. Hunt Redoutéana 19; cf. Hunt, Printmaking in the Service of Botany 25; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Ray French 89; cf. Stafleu and Cowan 8748
#15670$450.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Rosa Centifolia crenata. Rosier Centfeuilles à folioles crenélées
[Paris: Firmin Didot], 1817-1824. Stipple engraving printed in black, on ochre-tinted paper, by Chapuy, after Redouté, printed by Rémond. Very good condition. Sheet size: 14 x 10 1/2 inches.
A very rare uncoloured 'connoisseur's' impression on ochre-tinted paper from the first edition of 'Les Roses': Redouté's most famous work, and perhaps the most celebrated flower book of all time
The present uncoloured plate was printed on ochre paper as it was realized that this gave a pleasing effect. The ochre background enhances the subtle gradations of tone achieved using the stipple engraving technique and gives a unique opportunity to appreciate the unrivalled artistry of both Pierre-Joseph Redouté himself and the master-craftsman he employed to translate his watercolour into a print of the highest quality. Redouté learned, whilst on a visit to London, that the most successful impressions of stipple engravings came from well-used plates. A number of black plates would thus be struck to take the edge off the plate before printing in colours. Redouté's printers struck black impressions - always on a paper with a distinct ochre tint - from the plates, and these early impressions were then combined with later colour-printed examples to form the de luxe issues of 'Les Roses'.
Redouté's 'Les Roses' was issued in four formats: a large paper folio with coloured plates, a large paper folio with the plates in two states, folio with coloured plates, and folio with the plates in two states (the present plate comes from this final de luxe form). Gavin Bridson and Donald Wendel, in their magisterial 'Printmaking in the service of botany' catalogue (Hunt Institute for Botanical Documentation, 1986, item 25) noted that Redouté 'For the interest of connoisseurs' included `a set of black plates as a parallel series to the usual color-printed versions' in 'special issues' of both the present work and his earlier 'Les Liliacées'. The number of these special issues that were produced is unfortunately not recorded but to judge from auction records over the past twenty-five years they are extremely rare: only four complete sets of 'Les Roses' in this format are recorded. The present print therefore comes from an edition that was severely limited, and is certainly much rarer than its colour-printed equivalent.
Cf.Cleveland Collections 807; cf. Dunthorne 232; cf. Hunt Redoutéana 19; cf. Hunt, Printmaking in the Service of Botany 25; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Ray French 89; cf. Stafleu and Cowan 8748
#15671$650.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Rosa Indica Cruenta. Rosier du Bengale à fleurs pourpre-de-sang
[Paris: Firmin Didot], 1817-1824. Stipple engraving printed in black, on ochre-tinted paper, by Langlois, after Redouté, printed by Rémond. Very good condition. Sheet size: 14 x 10 1/2 inches.
A very rare uncoloured 'connoisseur's' impression on ochre-tinted paper from the first edition of 'Les Roses': Redouté's most famous work, and perhaps the most celebrated flower book of all time
The present uncoloured plate was printed on ochre paper as it was realized that this gave a pleasing effect. The ochre background enhances the subtle gradations of tone achieved using the stipple engraving technique and gives a unique opportunity to appreciate the unrivalled artistry of both Pierre-Joseph Redouté himself and the master-craftsman he employed to translate his watercolour into a print of the highest quality. Redouté learned, whilst on a visit to London, that the most successful impressions of stipple engravings came from well-used plates. A number of black plates would thus be struck to take the edge off the plate before printing in colours. Redouté's printers struck black impressions - always on a paper with a distinct ochre tint - from the plates, and these early impressions were then combined with later colour-printed examples to form the de luxe issues of 'Les Roses'.
Redouté's 'Les Roses' was issued in four formats: a large paper folio with coloured plates, a large paper folio with the plates in two states, folio with coloured plates, and folio with the plates in two states (the present plate comes from this final de luxe form). Gavin Bridson and Donald Wendel, in their magisterial 'Printmaking in the service of botany' catalogue (Hunt Institute for Botanical Documentation, 1986, item 25) noted that Redouté 'For the interest of connoisseurs' included `a set of black plates as a parallel series to the usual color-printed versions' in 'special issues' of both the present work and his earlier 'Les Liliacées'. The number of these special issues that were produced is unfortunately not recorded but to judge from auction records over the past twenty-five years they are extremely rare: only four complete sets of 'Les Roses' in this format are recorded. The present print therefore comes from an edition that was severely limited, and is certainly much rarer than its colour-printed equivalent.
Cf.Cleveland Collections 807; cf. Dunthorne 232; cf. Hunt Redoutéana 19; cf. Hunt, Printmaking in the Service of Botany 25; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Ray French 89; cf. Stafleu and Cowan 8748
#15672$650.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Rosa Rosenbergiana. Rosier de Rosenberg
[Paris: Firmin Didot], 1817-1824. Stipple engraving printed in black, on ochre-tinted paper, by Langlois, after Redouté, printed by Rémond. Very good condition. Sheet size: 14 x 10 1/2 inches.
A very rare uncoloured 'connoisseur's' impression on ochre-tinted paper from the first edition of 'Les Roses': Redouté's most famous work, and perhaps the most celebrated flower book of all time
The present uncoloured plate was printed on ochre paper as it was realized that this gave a pleasing effect. The ochre background enhances the subtle gradations of tone achieved using the stipple engraving technique and gives a unique opportunity to appreciate the unrivalled artistry of both Pierre-Joseph Redouté himself and the master-craftsman he employed to translate his watercolour into a print of the highest quality. Redouté learned, whilst on a visit to London, that the most successful impressions of stipple engravings came from well-used plates. A number of black plates would thus be struck to take the edge off the plate before printing in colours. Redouté's printers struck black impressions - always on a paper with a distinct ochre tint - from the plates, and these early impressions were then combined with later colour-printed examples to form the de luxe issues of 'Les Roses'.
Redouté's 'Les Roses' was issued in four formats: a large paper folio with coloured plates, a large paper folio with the plates in two states, folio with coloured plates, and folio with the plates in two states (the present plate comes from this final de luxe form). Gavin Bridson and Donald Wendel, in their magisterial 'Printmaking in the service of botany' catalogue (Hunt Institute for Botanical Documentation, 1986, item 25) noted that Redouté 'For the interest of connoisseurs' included `a set of black plates as a parallel series to the usual color-printed versions' in 'special issues' of both the present work and his earlier 'Les Liliacées'. The number of these special issues that were produced is unfortunately not recorded but to judge from auction records over the past twenty-five years they are extremely rare: only four complete sets of 'Les Roses' in this format are recorded. The present print therefore comes from an edition that was severely limited, and is certainly much rarer than its colour-printed equivalent.
Cf.Cleveland Collections 807; cf. Dunthorne 232; cf. Hunt Redoutéana 19; cf. Hunt, Printmaking in the Service of Botany 25; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Ray French 89; cf. Stafleu and Cowan 8748
#15673$650.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Rosa Multiflora platyphylla. Rosier Multiflore à grandes feuilles
[Paris: Firmin Didot], 1817-1824. Stipple engraving printed in black, on ochre-tinted paper, by Langlois, after Redouté, printed by Rémond. Very good condition. Sheet size: 14 x 10 1/2 inches.
A very rare uncoloured 'connoisseur's' impression on ochre-tinted paper from the first edition of 'Les Roses': Redouté's most famous work, and perhaps the most celebrated flower book of all time
The present uncoloured plate was printed on ochre paper as it was realized that this gave a pleasing effect. The ochre background enhances the subtle gradations of tone achieved using the stipple engraving technique and gives a unique opportunity to appreciate the unrivalled artistry of both Pierre-Joseph Redouté himself and the master-craftsman he employed to translate his watercolour into a print of the highest quality. Redouté learned, whilst on a visit to London, that the most successful impressions of stipple engravings came from well-used plates. A number of black plates would thus be struck to take the edge off the plate before printing in colours. Redouté's printers struck black impressions - always on a paper with a distinct ochre tint - from the plates, and these early impressions were then combined with later colour-printed examples to form the de luxe issues of 'Les Roses'.
Redouté's 'Les Roses' was issued in four formats: a large paper folio with coloured plates, a large paper folio with the plates in two states, folio with coloured plates, and folio with the plates in two states (the present plate comes from this final de luxe form). Gavin Bridson and Donald Wendel, in their magisterial 'Printmaking in the service of botany' catalogue (Hunt Institute for Botanical Documentation, 1986, item 25) noted that Redouté 'For the interest of connoisseurs' included `a set of black plates as a parallel series to the usual color-printed versions' in 'special issues' of both the present work and his earlier 'Les Liliacées'. The number of these special issues that were produced is unfortunately not recorded but to judge from auction records over the past twenty-five years they are extremely rare: only four complete sets of 'Les Roses' in this format are recorded. The present print therefore comes from an edition that was severely limited, and is certainly much rarer than its colour-printed equivalent.
Cf.Cleveland Collections 807; cf. Dunthorne 232; cf. Hunt Redoutéana 19; cf. Hunt, Printmaking in the Service of Botany 25; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Ray French 89; cf. Stafleu and Cowan 8748
#15674$650.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Rosa sepium rosea. Rosier des hayes à fleurs roses
[Paris: Firmin Didot], 1817-1824. Stipple engraving printed in black, on ochre-tinted paper, by Lemaire, after Redouté, printed by Rémond. Very good condition. Sheet size: 14 x 10 1/2 inches.
A very rare uncoloured 'connoisseur's' impression on ochre-tinted paper from the first edition of 'Les Roses': Redouté's most famous work, and perhaps the most celebrated flower book of all time
The present uncoloured plate was printed on ochre paper as it was realized that this gave a pleasing effect. The ochre background enhances the subtle gradations of tone achieved using the stipple engraving technique and gives a unique opportunity to appreciate the unrivalled artistry of both Pierre-Joseph Redouté himself and the master-craftsman he employed to translate his watercolour into a print of the highest quality. Redouté learned, whilst on a visit to London, that the most successful impressions of stipple engravings came from well-used plates. A number of black plates would thus be struck to take the edge off the plate before printing in colours. Redouté's printers struck black impressions - always on a paper with a distinct ochre tint - from the plates, and these early impressions were then combined with later colour-printed examples to form the de luxe issues of 'Les Roses'.
Redouté's 'Les Roses' was issued in four formats: a large paper folio with coloured plates, a large paper folio with the plates in two states, folio with coloured plates, and folio with the plates in two states (the present plate comes from this final de luxe form). Gavin Bridson and Donald Wendel, in their magisterial 'Printmaking in the service of botany' catalogue (Hunt Institute for Botanical Documentation, 1986, item 25) noted that Redouté 'For the interest of connoisseurs' included `a set of black plates as a parallel series to the usual color-printed versions' in 'special issues' of both the present work and his earlier 'Les Liliacées'. The number of these special issues that were produced is unfortunately not recorded but to judge from auction records over the past twenty-five years they are extremely rare: only four complete sets of 'Les Roses' in this format are recorded. The present print therefore comes from an edition that was severely limited, and is certainly much rarer than its colour-printed equivalent.
Cf.Cleveland Collections 807; cf. Dunthorne 232; cf. Hunt Redoutéana 19; cf. Hunt, Printmaking in the Service of Botany 25; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Ray French 89; cf. Stafleu and Cowan 8748
#15676$450.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Rosa Gallica caerulea. Rosier de Provins à feuilles bleuâtres
[Paris: Firmin Didot], 1817-1824. Stipple engraving printed in black, on ochre-tinted paper, by Eug. Talbaux, after Redouté, printed by Rémond. Very good condition. Sheet size: 14 x 10 1/2 inches.
A very rare uncoloured 'connoisseur's' impression on ochre-tinted paper from the first edition of 'Les Roses': Redouté's most famous work, and perhaps the most celebrated flower book of all time
The present uncoloured plate was printed on ochre paper as it was realized that this gave a pleasing effect. The ochre background enhances the subtle gradations of tone achieved using the stipple engraving technique and gives a unique opportunity to appreciate the unrivalled artistry of both Pierre-Joseph Redouté himself and the master-craftsman he employed to translate his watercolour into a print of the highest quality. Redouté learned, whilst on a visit to London, that the most successful impressions of stipple engravings came from well-used plates. A number of black plates would thus be struck to take the edge off the plate before printing in colours. Redouté's printers struck black impressions - always on a paper with a distinct ochre tint - from the plates, and these early impressions were then combined with later colour-printed examples to form the de luxe issues of 'Les Roses'.
Redouté's 'Les Roses' was issued in four formats: a large paper folio with coloured plates, a large paper folio with the plates in two states, folio with coloured plates, and folio with the plates in two states (the present plate comes from this final de luxe form). Gavin Bridson and Donald Wendel, in their magisterial 'Printmaking in the service of botany' catalogue (Hunt Institute for Botanical Documentation, 1986, item 25) noted that Redouté 'For the interest of connoisseurs' included `a set of black plates as a parallel series to the usual color-printed versions' in 'special issues' of both the present work and his earlier 'Les Liliacées'. The number of these special issues that were produced is unfortunately not recorded but to judge from auction records over the past twenty-five years they are extremely rare: only four complete sets of 'Les Roses' in this format are recorded. The present print therefore comes from an edition that was severely limited, and is certainly much rarer than its colour-printed equivalent.
Cf.Cleveland Collections 807; cf. Dunthorne 232; cf. Hunt Redoutéana 19; cf. Hunt, Printmaking in the Service of Botany 25; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Ray French 89; cf. Stafleu and Cowan 8748
#15677$650.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Rosa Tomentosa/ Rosier Colonneux [Tomentose Rose]
Paris: Firmin Didot, 1817-1824. Stipple engraving, printed in colours and finished by hand, engraved by Langlois. Very good condition. Sheet size: 14 1/2 x 10 7/8 inches.
More than with any other painter, Redouté's flowers are alive, and always shown at the ephemeral moment of their greatest beauty.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre Italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually to Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full-time job as an illustrator, instructing him in plant anatomy. Redouté's scientific understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Roses from which this work comes.
Redouté together with Claude-Antoine Thory, an ardent botanist and collector of roses, have together in Les Roses produced a work not only of great artistic merit, but also an invaluable scientific record as well. `Redouté and Thory knew, described and figured almost all the important roses known in their day. Included were many of the key ancestors of our present-day roses. The plates in Les Roses have artistic value, botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared' (Gisele de la Roche). The roses used as specimens for the work were taken from the collections of Thory, the Malmaison gardens, and from other collections around Paris. Many of the flowers were novelties in Redouté's time, and a number were dedicated to the memory of his friends and acquaintances, such as l'Héritier de Brutelle and Ventenat.
Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Hunt, Redoutéana 19; Hunt, Printmaking in the Service of Botany 25; Nissen BBI 1599; Pritzel 7455; Ray, French 89; Stafleu & Cowan TL2 8747
#19942$1,500 | | | |
