Frederick Conrad Sander (14 results)

Hardcover. Condition: Good. 1st Edition. 1st Edition. pp330 + corrigenda page with tables throughout. Hardcover no dust jacket. Leather spine over black boards with gilt titles to spine and front board in good condition with some rubbing to edges of spine. Inside a little aging to free end papers, all other pages in very good clean condition with small stamp to title page. A very good copy of this scarce 1st edition by the Orchid King.

Leather. Condition: Good. None (illustrator). A set of three important orchidologist reference works, compiled by the eminent botanical figure Henry Frederick Conrad Sander. Three detailed reference works on orchids, containing detailed lists on orchids and their hybrids.Detailing the many different species of orchids found around the world, including one volume focusing solely on orchid hybrids.This is an important guide to orchids which was re-edited and amended for decades after its first publication, an essential reference for orchidologists.This set includes two copies of 'Sanders' Orchid Guide', one volume bringing the text up to date to the 1st January 1901. The differences in the text show the expansion of the orchid growing industry and how many new hybrids had been cultivated.Compiled by Henry Frederick Conrad Sander, an orchidologist and nurseryman. He also published a monthly magazine on orchids named 'Reichenbachia'.'Orchid Hybrids' dated 1906 from Jisc, from a copy held at Kew Gardens. Interleaved with blank lined pages for notes. In a quarter calf binding with cloth to the boards. Externally, a little worn. Cracks and loss to the spine of 'Orchid Hybrids'. Marks to the boards, heavier to the 1901 volume, with some damp stains. Light bumping to the head and tail of the spines and to the extremities. Leather is rubbed, light fading to the spines. A little loss of cloth to the extremities of the 1901 volume. Front hinge of the 1901 volume is starting but firm. Prior owner's ink inscription to the recto of the front endpaper of 'Orchid Hybrids'. Spots to the endpapers. Internally, firmly bound. Pages are bright and clean with the occasional scattered spot. Good. book.

4 volumes in 8, large folio. (26 x 20 inches). Text in English, French and German, plates mounted on card throughout (as issued), half-titles. 192 hand-finished chromolithographic plates drawn on stone by Joseph Mansell (124), Gustav Leutzsch (62), J.L. Macfarlane (3) and Gustav Leutzsch's successors (3), after Henry G. Moon (178), Walter Hood Fitch (2), A.H. Loch (4), Georg Hansen (1), Chas. Storer (1), T. Walton (1), J.L. Macfarlane (3) and 2 unsigned, printed by Joseph Mansell (124), Gustav Leutzsch (62), M. & N. Hanhart (3) and Gustav Leutzsch's successor (3). Contemporary full morocco gilt Provenance: John Pierpont Morgan (morocco booklabel) Very rare deluxe Imperial Edition on card of this truly imposing and authoritative work on orchids illustrated with life-size plates: Sander's great monument and one of the greatest of all flower books, this copy from the library of J. P. Morgan. It was named in honour of Heinrich Gustav Reichenbach (1824-1889), botanist and celebrated orchidologist. After a lifetime largely devoted to Orchids, Reichenbach's death during the publication of the present work caused controversy when it was revealed that he had left his herbarium and library to the natural history museum in Vienna, on the condition that the preserved orchids and orchid drawings were not to be consulted for 25 years after his death. Born in Bremen in 1865, Sander came to Britain in 1847 and worked in nurseries in Forest Hill. He had started his own independent business by 1874 and opened the famous St. Albans establishment in 1881. The firm was later expanded with establishments in both America and Belgium. The present work covers the period when the firm was at its most active: a contemporary work notes that in the spring of 1894 Sander's had twenty orchid collectors working simultaneously in Brazil, Columbia, Peru Ecuador, Mexico, Madagascar, New Guinea, Burma and Malaya. (see Hon. Mrs. Evelyn Cecil, A History of Gardening in England, 1910, pp. 281-282.) In the introduction Sander explains that "the growing popularity of Orchids, and the ever-increasing demand for information respecting them, is sufficient reason for issuing the present work. It will be our aim to represent truthfully the natural aspect of the plants, which will be drawn life size.Some of the plant portraits will be coloured by lithography, others will be hand painted when found expedient.It is our intention to illustrate all classes of the Orchid family." The majority of the plates are from originals by Moon, and most are orientated vertically (165 portrait format plates) as opposed to horizontally (26 landscape format plates). Henry George Moon (1857-1905), born in London, spent much of his career working for William Robinson at The Garden and later at Flora and Sylva. "His most celebrated illustrations were made for Frederick Sander's great orchid book Reichenbachia.[His] drawings were intended to help the gardener determine what effect plants would have in cultivation, rather than to help the botanist in identification. His work had a great impact on British plant drawing in the early twentieth century; artists such as E.A. Bowles, Dorothy Martin, and Lillian Snelling in her early days all show his influence." (B. Elliott, Treasures of the Royal Horticultural Society, 1994, p. 114.) "By modern standards the work was of a monstrous size.the care lavished on Reichenbachia still provokes astonishment. Apart from the elegance of Moon's drawings, the technical standards would have been a tribute to any large printing house. The blocks were hand-made, out of wood; and the chromolithographs were produced by the use of as many as twenty inks. The cost to Sander was enormous.It is no wonder that Sander often remarked in later years that the project almost ruined him" (A. Swinson, Frederick Sander: The Orchid King, 1970) Referred to by contemporary advertisements as the Imperial Edition, only 100 sets were done in the present deluxe format, with the plates hand-finished and mounted on card. Published in 48 parts over nine years, at the time of publication the regular edition cost 7s.6d per part, while the Imperial Edition was sold at £1.1s per part; the present set from the library of J. P. Morgan, one of few individuals who could afford the complete set at the time of publication. BM(NH) IV, p. 1800; Great Flower Books (1990) p. 135; Nissen BBI 1722; Stafleu & Cowan TL2 10.219.

Hardcover. Condition: Very Good. First Edition. [Orchidology: Great Flower Books] 2 series, bound in 4 volumes. Elephant folios, 53 x 40 cm. Bound in contemporary red half morocco. 6 spine compartments and 5 raised bands. All edges gilt. Bindings sound, with minor shelf wear, rubbing. Text in English, French and German. 192 fine chromolithographic plates, most finished by hand, by Joseph Mansell, G. Leutzsch and J.L. Macfarlane after Henry Moon, W.H. Fitch, A.H. Loch and C. Storer. An "important and authoritative work for orchid growers" (Great Flower Books). Named in honor of the botanist and celebrated orchidologist, Heinrich Gustav Reichenbach (1824-1889). "By modern standards the work was of a monstrous size . Where the orchid was concerned, Sander never spared himself, but even so, the care lavished on the Reichenbachia still provokes astonishment. Apart from the elegance of Moon's drawings, the technical standards would have been a tribute to any large printing house. The blocks were hand-made, out of wood; and the chromolithographs were produced by the use of as many as twenty inks. The cost to Sander was enormous, and it is said to have been well over £7,000 . It is no wonder that Sander often remarked in later years that the project almost ruined him" (A. Swinson, Frederick Sander: The Orchid King, 1970). Great Flower Books p 75; Nissen BBI 1722; Stafleu-Cowan TL2 10.219.

Hardcover. First Edition. Large Folios (21.5 in. x 16 in.), Four Volumes. In Good plus condition. Two series bound in four volumes, First series (two volumes) bound in full brown leather with gilt ruling and titling to spines, Second series (two volumes) three-quarters bound in black leather with morocco-grain cloth on boards; Complete with 48 plates to each volume (192 in total), plates for each series numbered sequentially 1-96. Plates are chromolithographic, by Joseph Mansell, G. Leutzsch and J.L. Macfarlane after Henry Moon, W.H. Fitch, A.H. Loch and C. Storer, heightened with gum arabic, wood-engraved illustrations based on original watercolors. First series (two volumes) with edges and corners of boards, heads and tails of spines, and joints moderately rubbed; numerous light marks to boards. Text on spine of Vol. II reads "Vol. II / Second Series," but the volume is actually from the first series. The majority of the grey paper wraps from the original monthly publications are preserved and bound in, though several have tears repaired with clear tape. Long closed tear to tissue protector for plate 13; several other tissue protectors with smaller tears. Large tear to page 39 repaired with clear tape. Plate 18 with small closed tear to margin repaired with clear tape; tear to margin of plate 49. Small tear to margin of pages 67, 87. Plate 35 with small patch of paper adhered to gum arabic added to plate (a common issue for this work); plates 81 and 93 in similar state; several other plates with trivial semi-transparent layers of paper fibers adhered to plates. Plate 70 bound in upside down. Tissue protector for plate 90 mostly adhered to gum arabic on plate. Second series (two volumes) with gilt titling and tooling to boards and paneled spines. Leather considerably rubbed and chipped with several small tears at heads and tails of spines; several tears to cloth covering boards, including a narrow four-inch long patch of missing cloth at the fore-edge of the front board of Vol. 1. Pages of all volumes age-toned with scattered foxing (foxing generally does not impact plates). Small patches of tissue protector adhered to gum arabic on plates 1, 7, 10, 11, 22, 24, 25, 27, 38, 39, 69,and 75. A large patch of tissue protector adhered to plate 2, with an open tear in tissue protector; plates 5, 54, and 56 in a similar state. Tissue protector mostly adhered to plate 8, with large tears in protector; plates 13 and 41 in similar states. Tissue protector for page 78 mostly adhered to plate, with a small tear. Tissue protector mostly adhered to plates 43, 44, 45, and 60. Several tears to tissue protector for plate 36, and smaller minor tears to the edges of other tissue protectors. CONTENTS: First Series, Vol. I (110 pages)--First Series, Vol. II (106 pages)--Second Series, Vol. I (iii, 104 pages)--Second Series, Vol. 2 (114 pages). MC [Shelved in Room A Elephant Oversized] [Oversized books. Additional postage necessary for expedited/international orders. Economy International shipping unavailable due to size/weight restrictions. For international/expedited customers, please inquire for rates]. The extraordinary magnum opus of Henry Frederick Conrad Sander, a German-born orchidologist who spent much of his career in England. Sander named the collection after Heinrich Gustav Reichenbach, a fellow German and fellow orchidologist, and drew heavily on Reichebach's work for the text in this collection. The majority of the life-size plates are based on watercolors by Henry George Moon, who eventually became Sander's son-in-law. Although Reichenbachia was not the first collaboration between Moon and Sanders (they first met in 1884, when Moon visited Sander's orchid nursery to make drawings for another publication), it is the work for which they are both most famous. The blocks on Moon's watercolors were hand-made out of wood, and the chromolithographs produced from them sometimes required as many as twenty inks; once the printing was completed, many of the plates were individually hand-finished. As a result, the work was fantastically expensive to print, reportedly costing well over £7,000 (over $1.2 million today). 1348849. Special Collections - Upstairs.

Hardcover. Condition: Very Good. First Edition. 2nd series only. 1892-1894. 2 volumes. Atlas folios, 520 x 385 mm. Bound in contemporary 3/4 green morocco, over green boards by Fazakerley. Gilt ruled. 6 spine compartments. Top edges gilt. Shelf wear to cover, rubbing. 96 chromolithographic plates; as well as wood-engraved illustrations within text. Minor offsetting from images. Illustrated by Joseph Mansell, G. Leutzsch and J.L. Macfarlane after Henry Moon, W.H. Fitch, A.H. Loch and C. Storer. "First Edition of the second series of this "important and authoritative work for orchid growers" (Great Flower Books), named in honor of Heinrich Gustav Reichenbach (1824-1889), botanist and celebrated orchidologist. After a lifetime largely devoted to Orchids, Reichenbach's death during the publication of the present work caused controversy when it was revealed that he had left his herbarium and library to the natural history museum in Vienna, on the condition that the preserved orchids and orchid drawings were not to be consulted for 25 years after his death. Sander had started an independent business in 1874. The firm was later expanded with establishments in both America and Belgium. The present work covers the period when the firm was at its most active: Sander's had twenty orchid collectors working simultaneously in Brazil, Columbia, Peru, Ecuador, Mexico, Madagascar, New Guinea, Burma, and Malaya. Henry Moon's "most celebrated illustrations were made for Frederick Sander's great orchid book Reichenbachia." (B. Elliott, Treasures of the Royal Horticultural Society 1994, p.114). Great Flower Books p. 75; Nissen BBI 1722; Stafleu-Cowan TL2 10.219." - Christies, Sale 3400, 4 December 2014. "By modern standards the work was of a monstrous size. Where the orchid was concerned, Sander never spared himself, but even so, the care lavished on the Reichenbachia still provokes astonishment. Apart from the elegance of Moon's drawings, the technical standards would have been a tribute to any large printing house. The blocks were hand-made, out of wood; and the chromolithographs were produced by the use of as many as twenty inks. The cost to Sander was enormous, and it is said to have been well over £7,000. It is no wonder that Sander often remarked in later years that the project almost ruined him" (A. Swinson, Frederick Sander: the Orchid King, 1970). This is an oversized or heavy book, which requires additional postage for international delivery outside the US. (First series pub. in 1888.).

Condition: Good. Folio (522 x 392). Housed in 4 elegant and massive slipcases of embossed lambskin over linen by the celebrated binder Sasha Mosalov.[viii (of x)], 110; [viii], 106; [8], iii, [1], 104; [viii], 24, 27-114 pp. 2 Series in 4 volumes; with 192 chromolithograph plates after Henry George Moon, W.H. Fitch & A.H. Loch, wood-engravings throughout the text. Lacks first volume title page, pp. 25/26 in final volume; plates with fresh tissue guards; some toning and edgewear, occasional spots (more so to verso), dampstain in margins of some plates, text with occasional foxing and toning, some chips and damp staining, wrappers with chips around extremities of the text pages, which are on brittle pages.OCLC Number: 221762250FIRST EDITION of what Sitwell considers an "important and authoritative work for orchid growers." German-born Sander settled in St. Albans, Hertfordshire where he ran a successful nursery specializing in orchids. The above work, which was a collaboration with landscape painter Henry G. Moon, was named in honor of the renowned German orchidologist Heinrich Gustav Reichenbach. The chromolithographs are among the best of its day with hand-cut blocks and use of up to 20 colors. Great Flower Books p 135.Very Heavy (will cost extra for shipping).

2 series bound in 4 volumes. Folio (21 x 15 4/8 inches). Half-titles, text in English, French and German. 192 exceptionally fine chromolithographed plates, by Joseph Mansell, G. Leutzsch and J.L. Macfarlane after Henry Moon, W.H. Fitch, A.H. Loch and C. Storer, heightened with gum arabic, wood-engraved illustrations in the text (one plate adhered to original tissue guard, some other plates affected in one or two places where gum arabic has previously adhered to the tissue guard). Fine binding of contemporary full green morocco, elaborately decorated in gilt by Zaehnsdorf, dated 1896, and with a small gilt tool of a binder at his bench on the lower dentelle, gilt floral endpapers (extremities just touched). FIRST EDITION, BOUND FROM THE ORIGINAL MONTHLY PARTS, OF THIS "IMPORTANT AND AUTHORITATIVE WORK FOR ORCHID GROWERS" (Great Flower Books). Sander named this superb book of life-sized, vibrantly coloured images of orchids after Heinrich Gustav Reichenbach (1824-1889), the celebrated botanist who was renowned for his collection and study of orchids. Tragically Reichenbach died before publication of the original parts was complete, and he did not go quietly. Dying at the height of orchid mania Reichenbach bequeathed in his will his entire herbarium and library to the natural history museum in Vienna, on the condition that the preserved orchids and orchid drawings in his collection were not to be consulted for 25 years after his death. So adamant was he on this point, that his will states that should Vienna refuse the collection that a short list of subsequent institutions must comply with the same condition. So a generation of orchidologists was denied all the opportunities that studying Reichenbach's lifetime's achievements should have provided. Sander, originally from Germany founded an extremely successful horticultural business Sander & Co, specialising in orchids in St. Albans in 1881, "which would become the most important nineteenth century orchid nursery in England. Sander was joined by his sons and the company was known by several names, the most frequent being Sander & Sons. At its peak it employed some twenty orchid collectors in South and Central America, New Guinea, Myanmar and Malaysia, and opened branches of the firm in the United States and Belgium. The cost was enormous and Sander later remarked that the project almost ruined him. Most of the plates were prepared by H.G. Moon (1857-1905), who would later marry Sander's daughter. Euanthe sanderiana (Rchb. f.) Schltr. is one of many orchids named in Sander's honour and the eponymous Calathea sanderiana (Sander) Gentil was originally published in the commercial catalogue (1894) of Sander & Co. as Maranta sanderiana Sander. Faced with the problem of rapidly growing numbers of names for orchid hybrids, chaotic usage and lack of standards, the company was innovative in introducing an international registration system for grex nomenclature in 1895, one of the earliest such nomenclatural standards in the world. From 1961 the system was transferred to the Royal Horticultural Society and managed as The International Orchid Register, containing over 100,000 grex names. The company sent specimens of cultivated or wild-collected plants to BM and K over many years, for identification or as voucher specimens, and numerous live plants went to Kew (1880-1910)" (Natural History Museum online).

Chromolithograph. Very good condition apart from some very minor rippling. A fine image from Sander's 'Reichenbachia. Orchids illustrated and described', an authoritative work illustrated with life-size plates, one of the greatest of all works on orchids. Born in Bremen in 1847, Sander came to Britain in 1865 and worked in nurseries in Forest Hill. He started his own independent business by 1874 and opened the famous St. Albans establishment in 1881. The firm was later expanded to include establishments in both America and Belgium. His Reichenbachia was named in honour of Heinrich Gustav Reichenbach (1824-1889), ornithologist, botanist and celebrated orchidologist. A contemporary work notes that in the spring of 1894, Sander's had twenty orchid collectors working simultaneously in Brazil, Columbia, Peru, Ecuador, Mexico, Madagascar, New Guinea, Burma and Malaya. (see Hon. Mrs. Evelyn Cecil, A History of Gardening in England, 1910, pp. 281-282.) "By modern standards the work was of a monstrous size. Where the orchid was concerned, Sander never spared himself, but even so, the care lavished on Reichenbachia still provokes astonishment.the technical standards would have been a tribute to any large printing house. The blocks were hand-made, out of wood; and the chromolithographs were produced by the use of as many as twenty inks. The cost to Sander was enormous, and it is said to have been well over £7000." (A. Swinson, Frederick Sander: The Orchid King, 1970). Cf. BM (NH) IV, p. 1800; cf.Great Flower Books (1990) p. 135; cf. Nissen BBI 1722; cf. Stafleu and Cowan TL2 10.219.

Beautiful orchid chromolithograph from Frederick Sander's Reichenbachia, considered by many to be the greatest illustrated work on orchids ever published. The publication, originally conceived and produced as a series of plates and descriptions was noted by Reinikka (1972) as "perhaps the greatest monument" to Henry Frederick Conrad Sander. The orchids were painted life-size. Size: 468 x 328 mm. Chromolithograph. Fine condition.

Beautiful orchid chromolithograph from Frederick Sander's Reichenbachia, considered by many to be the greatest illustrated work on orchids ever published. The publication, originally conceived and produced as a series of plates and descriptions was noted by Reinikka (1972) as "perhaps the greatest monument" to Henry Frederick Conrad Sander. The orchids were painted life-size. Size: 468 x 328 mm. Chromolithograph. Fine condition.

Imperial edition, copy 51 of 100 copies signed by Sander. Published during the heyday of the late Victorian orchid mania, Sander was the foremost authority on the Orchidaceae, as well as the largest grower, maintaining nurseries in England, Belgium, and the United States. He had agents gathering plants worldwide, often dangerous work, and he reports in the description of one orchid: "Orchidists are familiar with the names of Wallis, Endrès, Klaboch, Falkenberg, Schröder, Arnold, Douglas, and others, who have died in the cause of botanical science". He named the work in honor of Heinrich Gustav Reichenbach, a natural historian whose province was orchids (Reichenbach's library, drawing and specimens are in the Naturhistorisches Museum of Vienna). The illustrations are largely after the work of Henry George Moon, and these are of great elegance. The colour plates in this Imperial edition are of the same size as those of the regular unlimited edition, but were issued mounted to large sheets of card, and these sets were apparently intended for presentation by Sander. The distinction between these two editions is sometimes overlooked: it is an especially commanding work in this form, and also rare thus. Great Flower Books (1990) p. 135; Nissen BBI 1722; Stafleu and Cowan 10.219. 4 vols bound as 8, folio (65 x 48 cm). Nineteenth-century green half morocco, dark green cloth sides, gilt edges. 192 fine chromolithographic plates, most finished by hand with gum arabic or added colour, lithographed by Joseph Mansell, G. Leutzsch and J. L. Macfarlane after Henry Moon, W. H. Fitch, A. H. Loch, and C. Storer, occasional wood-engraved illustrations throughout the text. The plates mounted on card as issued and bound on guards, each plate protected with a tissue guard. The bindings scuffed with portions of the surface of the leather abraded, generally a very clean set internally, though with some minor discoloration from the mounting adhesive noticeable in the second volumes of the first series. Occasional trivial adhesion marks of the tissues to the plates, though in general this set has far less adhesion than frequently found. The first part of the first volume of the second series a little bumped with resultant creasing of corners of the mounts, with some embrittlement in that area.

FIRST EDITION. 545 x 406 mm. (21 1/2 x 16"). Lacking one text leaf. Two series in four volumes. Stately contemporary dark brown morocco, upper covers with elaborate gilt frame enclosing a gilt armorial supra libros of Peter Dowding Prankerd, raised bands, compartments lavishly gilt and with Prankerd's name stamped in gilt at tail of spine, all edges gilt. WITH 192 CHROMOLITHOGRAPHED PLATES OF ORCHIDS (96 in each volume) by H. G. Moon, W. H. Fitch, and A. H. Loch, many finished by hand, with new tissue guards. Front pastedowns with the bookplate of Peter Dowding Prankerd. Sitwell, "Great Flower Books," p.135; Nissen 1722. See also: Swinson, "Frederick Sander: the Orchid King" (1970). A hint of shelfwear, but the bindings sound and quite lustrous. Occasional light scattered foxing internally (including a handful of plates), several plates with expert (virtually indistinguishable) repairs to small patches of color (where the tissue guards were sticking--a common problem with this work), but overall AN EXTREMELY APPEALING COPY of a work often found in very disagreeable shape. Imposingly large and impressively illustrated, the present volumes reflect the collective efforts of one of the most successful nursery owners in England, a leading 19th century orchidologist, and a devoted landscape and botanical artist. German émigré Henry Sander (1847-1920) was the owner of a highly successful nursery located in St. Albans that catered, above all, to the orchid market. At the height of his business, Sander was the royal orchid grower to Queen Victoria, built over 60 greenhouses to house his orchid imports, and employed collectors in remote areas across the globe, including parts of Brazil, Peru, Ecuador, Mexico, Madagascar, New Guinea, and Burma. Sitwell calls the present work "an important and authoritative work for orchid growers," while Swinson goes into further detail about the monumentality of the undertaking: "By modern standards the work was of monstrous size. . . . Where the orchid was concerned, Sander never spared himself, but even so, the care lavished on the Reichenbachia still provokes astonishment. Apart from the elegance of Moon's drawings, the technical standards would have been a tribute to any large printing house. The blocks were hand-made, out of wood; and the chromolithographs were produced by the use of as many as twenty inks. The cost to Sander was enormous, and it is said to have been well over £7,000 [about £850,000 today]. . . . It is no wonder that Sander often remarked in later years that the project almost ruined him." Although Sander is considered the "author" here, most of the descriptions for this work were provided by the eponymous Heinrich Gustav Reichenbach (1824-89), considered to be the greatest orchid taxonomist of his day and the possessor of one of the finest herbariums in Europe. Reichenbach died before the publication was finished, leaving the project to be finished by Sander and his chief artist, H. G. Moon. The "Reichenbachia" was delivered to subscribers in monthly parts and took seven years to complete due in large part to the meticulous level of detail involved, including hand finishing of many of the chromolithographs; the resulting effect sets it apart as one of the finest botanical productions of the period. There was also an Imperial Edition of this work printed at the same time, limited to 100 copies; it was signed by Sander and the plates mounted on oversized sheets, but it is otherwise identical to the present edition. The beauty of the plates here also means that this is a work often found disbound and broken up. The bindings here were commissioned by Peter Dowding Prankerd (1819-1902), a British businessman who made a fortune from mining and real estate in Australia. Our copy is complete, save for a single leaf of text, and is also advantageously priced in comparison to the Imperial Edition, which fetches substantially more.

Couverture rigide. Condition: Très bon. Londres, J. French pour H. Sotheran et F Sander, 1886-1888-1894-1895.2 séries en 4 volumes impérial folio. Infimes rousseurs. Demi-peau de truie fauve à coins, tranche supérieure dorée. 670 x 492 mm. --- La rare édition sur grand papier impérial de ce superbe ouvrage sur les orchidées, « an important and authoritative work for orchid works ». Great Flower Books. 1956. 75; Nissen BBI. 1722; Stafleu & Cowan 10-219. L'édition, dédiée à sa Majesté Maria Feodorouna, impératrice de Russie, ne fut imprimée qu'à 100 exemplaires, tous signés par Sander. Ce glorieux traité célébrant la beauté des orchidées porte le nom de Reichenbach en l'honneur d'Heinrich Gustav Reichenbak (1824-1889), botaniste et célèbre orchidologiste. Ce dernier consacra une grande partie de sa vie au culte des orchidées et sa mort survint durant la publication de ce présent ouvrage. Sander se forma à la culture des orchidées dans les nurseries de Forest Hill. Un ouvrage contemporain mentionne ainsi qu'en 1894 Sander avait sous ses ordres 20 collecteurs qui exploraient simultanément le Brésil, la Colombie, le Pérou, l'Equateur, le Mexique, Madagascar, la Nouvelle Guinée? Il explique dans sa préface son souci de représenter toutes les classes d'orchidées en les replaçant dans leur aspect naturel et en respectant leurs dimensions. Le texte en anglais, français et allemand retrace à la fois, l'historique et les conditions de culture de chacune des orchidées. L'iconographie de toute beauté comprend 192 fines chromolithographies, la plupart retouchées à la main, montées sur carton fort, par Joseph Mansell, G. et J.L. Macfarlane d'après Henry Moon, W.H. Fitch, A.H. Loch et C. Storer. « Ses plus célèbres dessins furent exécutés pour le grand livre des Orchidées de Sander? Ils devaient permettre au jardinier de percevoir l'effet naturel de chacune des plantes replacée dans son milieu, plus que d'aider le botaniste dans leur identification ». « Hi /// Londres, J. French pour H. Sotheran et F Sander, 1886-1888-1894-1895.2 series in 4 imperial folio [670 x 492 mm]. Tiny foxing. Light-brown half-pig skin, gilt upper edge. --- The rare edition on large imperial paper of this superb work about orchids, "an important and authoritative work for orchid works". Great Flower Books. 1956. 75; Nissen BBI. 1722; Stafleu & Cowan 10-219. The edition, dédicated to her Majesty Maria Feodorouna, Empress of Russia, was printed in only 100 copies, all signed by Sander. This glorious treatise praising the beauty of orchids bear the name of Reichenbach in honor of Heinrich Gustav Reichenbak (1824-1889), a botanist and a famous orchidologist. The latter dedicated a great part of his life to the cult of orchids and his death happened during the publication of the present work. Sander trained to the culture of orchids in the Forest Hill's nursery. A contemporary work mentions that in 1894 Sander had under his orders 200 collectors who were simultaneously exploring Brazil, Colombia, Peru, Ecuador, Mexico, Madagascar, New Guinea? He explains in his forward his care to represent all the classes of orchids by replacing them in their natural aspect and by respecting their dimensions. The text in English, French and German retraces both the historical and the conditions of culture of each orchid. The iconography of great beauty includes 192 fines chromolithographs, most of them hand-retouched, mounted on strong cardboard, by Joseph Mansell, G. and J.L. Macfarlane after Henry Moon, W.H. Fitch, A.H. Loch and C. Storer. "His most famous drawings were executed for the great book of Orchids by Sander? It was supposed to enable gardeners to perceive the natural effect of each plant replaced in its habitat, more than helping the botanist in their identification." "His work had a great impact on British plant drawing in the early twentieth century". B. Elliott. Treasures on the Royal Horticultural society. 1994 The new printing processes,