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細節
Christoph Jakob Trew (1695-1769)
Hortus Nitidissimis omnem per annum superbiens floribus, sive amoenissimorum florum imagines, volume I edited by Johann Michael Seligmann, volume II edited by Adam Ludwig Wirsing Nuremberg: heirs of Seligmann (vol. I), Adam Ludwig Wirsing (vol. II), [1750]-1768-1772 [but 1774]. Volumes I-II only (of 3), large 2° (541 x 380mm.). 120 hand-coloured etched and engraved plates on 119 sheets, some printed in colours and heightened with gum arabic, by J.M. Seligman, J.M. Stock and A.L. Wirsing after G.D. Ehret, G.W. Baurenfeind, B.R. and M.B. Dietschin, N.F. Eisenberger, J.C. Keller and others. Parallel text in Latin and German in two columns. (Some light marginal soiling of plates and occasional short tears to deckle edges, plates 25 and 36 in vol. I with light creasemarks, lower corner of plate 79 slightly tattered, plate 83 with some soil marks and minor paper flaw, plate 88 with small hole below plate mark, plate 104 with tear at lower margin touching plate mark, GIr of vol. I rather soiled and spotted at margins, X2 dampstained, title to vol. II with short tear.) Unbound and uncut in early 20th-century red cloth portfolio.
A FINE, LARGE COPY UNBOUND AND UNCUT of a work described by Dunthorne as 'one of the finest records of the cultivated flowers of the period' and by Blunt (p. 166) as 'one of the most decorative florilegia of the mid-eighteenth century.' The great characteristic of the beautiful plates is the way in which the watercolour and bodycolour painting almost entirely eclipses the engraved lines. Although the work was actually started by Seligmann, the engravings were based on the collection of flower drawings owned by the botanist and bibliophile Christoph Trew, a distinguished physician of Nuremberg. Georg Ehret (1708-1770), who enjoyed Trew's patronage from 1732 and travelled widely on his behalf before settling in London in 1736, produced the designs for 40 of the eventual total of 188 plates. The remainder were drawn up by a team of local artists, including J.C. Keller, Professor of Drawing at Erlangen University, and the court painter Nikolaus Eisenberger. Of the 120 plates in the first two volumes, 21 are of tulips, 18 of hyacinths and 9 of roses. About a quarter of the 120 plates are after Ehret, including 3 of hyacinths and 5 of roses. The work was issued in parts, and the appearance of plates and text was not simultaneous. As Stafleu and Cowan note, the plates for volume I were published between 1750 and 1766, while the text was published in 1756 and 1768 (probably actually 1767). The text of volume II appeared in 1772, although the plates were not finished until 1774. The final volume was not completed until 1792. Brunet V, 943; Dunthorne 310; Great Flower Books p. 78; Harvard Arnold p. 700; Johnston Cleveland 493; Nissen BBI 1995; Pritzel 9500; Stafleu and Cowan 15.130; cf. Hunt 539 note.
Hortus Nitidissimis omnem per annum superbiens floribus, sive amoenissimorum florum imagines, volume I edited by Johann Michael Seligmann, volume II edited by Adam Ludwig Wirsing Nuremberg: heirs of Seligmann (vol. I), Adam Ludwig Wirsing (vol. II), [1750]-1768-1772 [but 1774]. Volumes I-II only (of 3), large 2° (541 x 380mm.). 120 hand-coloured etched and engraved plates on 119 sheets, some printed in colours and heightened with gum arabic, by J.M. Seligman, J.M. Stock and A.L. Wirsing after G.D. Ehret, G.W. Baurenfeind, B.R. and M.B. Dietschin, N.F. Eisenberger, J.C. Keller and others. Parallel text in Latin and German in two columns. (Some light marginal soiling of plates and occasional short tears to deckle edges, plates 25 and 36 in vol. I with light creasemarks, lower corner of plate 79 slightly tattered, plate 83 with some soil marks and minor paper flaw, plate 88 with small hole below plate mark, plate 104 with tear at lower margin touching plate mark, GIr of vol. I rather soiled and spotted at margins, X2 dampstained, title to vol. II with short tear.) Unbound and uncut in early 20th-century red cloth portfolio.
A FINE, LARGE COPY UNBOUND AND UNCUT of a work described by Dunthorne as 'one of the finest records of the cultivated flowers of the period' and by Blunt (p. 166) as 'one of the most decorative florilegia of the mid-eighteenth century.' The great characteristic of the beautiful plates is the way in which the watercolour and bodycolour painting almost entirely eclipses the engraved lines. Although the work was actually started by Seligmann, the engravings were based on the collection of flower drawings owned by the botanist and bibliophile Christoph Trew, a distinguished physician of Nuremberg. Georg Ehret (1708-1770), who enjoyed Trew's patronage from 1732 and travelled widely on his behalf before settling in London in 1736, produced the designs for 40 of the eventual total of 188 plates. The remainder were drawn up by a team of local artists, including J.C. Keller, Professor of Drawing at Erlangen University, and the court painter Nikolaus Eisenberger. Of the 120 plates in the first two volumes, 21 are of tulips, 18 of hyacinths and 9 of roses. About a quarter of the 120 plates are after Ehret, including 3 of hyacinths and 5 of roses. The work was issued in parts, and the appearance of plates and text was not simultaneous. As Stafleu and Cowan note, the plates for volume I were published between 1750 and 1766, while the text was published in 1756 and 1768 (probably actually 1767). The text of volume II appeared in 1772, although the plates were not finished until 1774. The final volume was not completed until 1792. Brunet V, 943; Dunthorne 310; Great Flower Books p. 78; Harvard Arnold p. 700; Johnston Cleveland 493; Nissen BBI 1995; Pritzel 9500; Stafleu and Cowan 15.130; cf. Hunt 539 note.
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