Henri Louis Duhamel du Monceau (1700-1782)
Trait des arbres fruitiers... Nouvelle dition, augmente d'un grand nombre d'espces de fruits obtenus des progrs de la culture, par A. Poiteau et P.J.F. Turpin. Paris: [1807-]1835. 6 volumes in five, 2 (515 x 337mm). Half-titles. 2 plain and 240 stipple-engraved plates printed in colours and finished by hand, after Poiteau or Turpin, engraved by Allais, Bocourt, Bouquet, Chazal, Gabriel, Giraud, Joyeau, Legrand, Massard, Rodrigue, Victor and others, printed by Langlois. (Slight offsetting to about 46 plates, light browning, spotting or dampstaining to about 22 plates.) Near-contemporary half diced-russia by Krauss of Vienna, spines in six compartments with raised bands, lettered in gilt in the second and fourth, the others panelled in gilt, the bands tooled with styllised floral tools and gilt fillets, decorative roll tools at head and foot of spine, 'C.L.' monogram blocked at centre of uppermost compartment, each volume signed 'Krauss' at the foot of each volume (split to lower joint of vol.I, small section of spine of vol.IV lacking, front free endpapers of vols.II and IV creased).
A FINE LARGE COPY OF 'ONE OF THE FINEST AND RAREST BOOKS ON FRUIT, WITH MANY BEAUTIFUL PLATES' (DUNTHORNE). The plates and text are arranged by fruits, all of one kind together as listed in 'Table' in each volume, so the plate numbers are not consecutive; the numbers refer to the order in which the plates were issued in the original 66 parts or 'livraisons'. The plates include 31 depictions of Almonds, 22 Peaches and Nectarines, 9 Apricots, 48 Plums and Greengages, 27 Cherries, 9 Citrus fruit, 12 Grapes, 57 berries of various kinds (Raspberry, Blackberry, Stawberry, Gooseberry, Red and Blackcurrant), 112 Pears, 58 Apples and others.
Although intended as an hommage to Duhamel's Trait.. of 1768, the present work is essentially an independant work, and should be viewed as part of the explosion of great illustrated botanical books that issued from France in the last decade of the 18th and first two decades of the 19th century. Pierre-Joseph Redout is of course the name above all others that is now called-to-mind, but the present work, with plates printed by Langlois after watercolours by Antoine Poiteau (1766-1854) and Pierre-Jean-Franois Turpin (1775-1840) is not out of place in the company of Les Roses or the Liliaces. Langlois, arguably the greatest exponent of colour-printing, also supervised much of Redout's work, Poiteau, a pupil of Redout, trained as a botanist and was employed at the Jardin des Plantes in Paris, Turpin, a self-taught artist who went on to illustrate a number of his own works. After Turpin's death in 1840, the present work was re-issued in 1846 under the title Pomologie Franaise with Poiteau's name on the title and with Turpin's name removed from all but 10 of the plates. Dunthorne p.192; Great Flower Books (1990) p.93; Nissen BBI 551; Stafleu & Cowan 1548. (5)