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Redouté, P J

Published by Remond (1111)

Used
Softcover
First Edition

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From: Victoria Bookshop (BERE ALSTON, DEVON, United Kingdom)

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About this Item: Remond, 1111. paperback. Condition: G-. First edition. Folio. NOT A BOOK. A single sheet illustration of a pink rose. 2" & half inch closed tears to outside edges, a little soiling. Seller Inventory # AB7115

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Benno,Wölfel, Artur Ostermayr

Published by Hahnemann Institut (2000)

ISBN 10: 3929271214 ISBN 13: 9783929271218

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Softcover

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From: medimops (Berlin, Germany)

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About this Item: Hahnemann Institut, 2000. Ausreichend/Acceptable: Exemplar mit vollständigem Text und sämtlichen Abbildungen oder Karten. Schmutztitel oder Vorsatz können fehlen. Einband bzw. Schutzumschlag weisen unter Umständen starke Gebrauchsspuren auf. / Describes a book or dust jacket that has the complete text pages (including those with maps or plates) but may lack endpapers, half-title, etc. (which must be noted). Binding, dust jacket (if any), etc may also be worn. Seller Inventory # M03929271214-B

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About this Item: 33x42.5 cm Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage. Seller Inventory # GR1389

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Ostermayr, Benno / Wölfel, Artur

Published by Hahnemann Institut 1999 (1999)

ISBN 10: 3929271214 ISBN 13: 9783929271218

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From: Antiquariat Walter Nowak (Göttingen, Germany)

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About this Item: Hahnemann Institut 1999, 1999. guter Zustand. Herrn Willibald Gawlik zum 80. Geburtstag Gewicht in Gramm: 550. Seller Inventory # 422746

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Pierre -Joseph Redouté (1759-1840), französischer Maler; Jean-Louis-Auguste Charlin (Lebensdaten unbekannt), französischer Kupferstecher und Lithograph

Published by Paris: Imprimerie de Rémond um (1830)

Art / Print / Poster
Signed
First Edition

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From: historicArt Antiquariat & Kunsthandlung (Wiesbaden-Breckenheim, Germany)

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About this Item: Paris: Imprimerie de Rémond um, 1830. 1. große Original-Lithographie von Charlin (in der Platte signiert) nach einer Zeichnung von P.J. Redouté auf rückseitig unbedrucktem Büttenblatt, Blattgröße ca. 36 x 24,5 cm, Papier alterbedingt leicht gebräunt und lichtrandig (war gerahmt), in der bildlichen Darstellung einige blasse Stockflecken und Wasserspuren, insgesamt befriedigend erhalten 2100 gr. Seller Inventory # GF-0056

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About this Item: London, 1956. Hardcover. Condition: Good. n/a. Please contact us for details on condition of available copies of the book. We have thousands of titles and often several copies of each title may be available. SKUALB04330759606 Language: Russian (unless indicated otherwise by the description). Seller Inventory # ALB04330759606

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About this Item: London, 1956. Hardcover. Condition: Good. n/a. Please contact us for details on condition of available copies of the book. We have thousands of titles and often several copies of each title may be available. SKUALB04799342862 Language: Russian (unless indicated otherwise by the description). Seller Inventory # ALB04799342862

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About this Item: London, 1956. Hardcover. Condition: Good. n/a. Please contact us for details on condition of available copies of the book. We have thousands of titles and often several copies of each title may be available. SKUALB04966633005 Language: Russian (unless indicated otherwise by the description). Seller Inventory # ALB04966633005

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About this Item: Kupferstich in Punktiermanier, mehrfarbig von einer Platte gedruckt aus P.J. Redoutés "Les Roses", kleine Ausgabe, Paris 1828-29, 20 x 15 cm. Nissen BBI, 1599. - Der wohl berühmteste Blumenmaler Pierre-Joseph Redouté (1759-1840), auch der Blumen-Raffael genannt, entstammt einer flämischen Malerfamilie. 1782 ging er nach Paris um zunächst mit seinem Bruder als Dekorateur und Bühnenmaler am Theatre des Italiens zu arbeiten. In seiner Freizeit konnte er im Jardin du Roi seinen botanischen Studien nachgehen. Bald erweckte er mit diesen die Aufmerksamkeit des Blumenmalers Gerard van Spaendonck und des Botaniker Charles Louis L'Héritier, die zu seinen Förderern wurden. Königin Marie Antoinette und die Kaiserin Joséphine ernannten ihn zum Hof- und Blumenmaler. 1817-24 erschien dann das Werk, das seinen Ruhm auf den Gipfel hebt, die von Firmin Didot prachtvoll gedruckte Monographie "Les Roses", mit insgesamt 170 Tafeln. In den Jahren 1824, 1828 und 1835 erschien "Les Roses" auch als sogenannte kleine Ausgabe. Stipple engraving, printed in colours, after Pierre-Joseph Redouté, published in Paris 1828-29. - In good condition. Seller Inventory # 5691DG

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About this Item: Kupferstich in Punktiermanier, mehrfarbig von einer Platte gedruckt aus P.J. Redoutés "Les Roses", kleine Ausgabe, Paris 1828-29, 20 x 15 cm. Nissen BBI, 1599. - Der wohl berühmteste Blumenmaler Pierre-Joseph Redouté (1759-1840), auch der Blumen-Raffael genannt, entstammt einer flämischen Malerfamilie. 1782 ging er nach Paris um zunächst mit seinem Bruder als Dekorateur und Bühnenmaler am Theatre des Italiens zu arbeiten. In seiner Freizeit konnte er im Jardin du Roi seinen botanischen Studien nachgehen. Bald erweckte er mit diesen die Aufmerksamkeit des Blumenmalers Gerard van Spaendonck und des Botaniker Charles Louis L'Héritier, die zu seinen Förderern wurden. Königin Marie Antoinette und die Kaiserin Joséphine ernannten ihn zum Hof- und Blumenmaler. 1817-24 erschien dann das Werk, das seinen Ruhm auf den Gipfel hebt, die von Firmin Didot prachtvoll gedruckte Monographie "Les Roses", mit insgesamt 170 Tafeln. In den Jahren 1824, 1828 und 1835 erschien "Les Roses" auch als sogenannte kleine Ausgabe. Stipple engraving, printed in colours, after Pierre-Joseph Redouté, published in Paris 1828-29. - In good condition. Seller Inventory # 5718DG

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About this Item: 1824. Condition: 0. Zwei blühende Blüten in verschiedenen Rosatönen und 3 Knospen. Gewicht in Gramm: 500. Seller Inventory # 1200

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About this Item: 1824. Condition: 0. Gewicht in Gramm: 500. Seller Inventory # 58678

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Art / Print / Poster

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From: ThePrintsCollector (Zeeland, Netherlands)

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About this Item: Original botanical print from volume 2 plate number 42. The title is: 'Quatre Saisons d'Italie' / 'Rosa Damascena Italica'. Handcoloured stipple engraving on a vellin type paper. Description: This plate originates from the third (second octavo) edition of Les Roses by Redoute and Thory. This edition was published 1828-1829, an edition of great popularity. This edition is the first to contain the wreath (frontispiece) and portraits, as well as 23 additional plates. The plates for this edition are reduced from the original folio plates, but lost none of the artistry of the originals - these are truly detailed masterpieces in miniature. The plates were engraved by Chardin, Langlois, Lemaire and others and coloured by hand after the originals by Redoute. Besides the plates listed, we carry some more. Please inquire if you're interested in a certain rose. Very scarse and desirable.Artists and Engravers: Pierre-Joseph Redoute (1759-1840) is seen as the most succesful flower painter of all time. Claude-Antoine Thory (1759-1827) was an ardent botanist amd collector of roses. Condition: Very good, given age. Remains from binding in the left margin as issued. General age-related toning and/or occasional light stains from handling or foxing. Rear blank. Please study scan carefully. Storage location: C259-46 The overall size is ca. 6.3 x 9.3 inch. The image size is ca. 5.5 x 7.9 inch. The overall size is ca. 16 x 23.5 cm. The image size is ca. 14 x 20 cm. Seller Inventory # 45413

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Carl Gottlob Roessig

Published by Leipzig Industrie-Comptoir -1817 (1802)

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From: GALERIE HIMMEL (Dresden, Germany)

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About this Item: Leipzig Industrie-Comptoir -1817, 1802. 0. Kupferstich, alt koloriert, 1802-1817. Von Luise von Wangenheim, nach Carl Gottlob Roessig. 18,5 x 18,0 cm (Darstellung) / 29,7 x 24,0 cm (Platte) / 32 x 25 cm (Blatt). Aus: Carl Gottlob Roessig, Die Rosen nach der Natur gezeichnet und colorirt (Leipzig: Industrie-Comptoir 1802-1817). - Links unten in der Platte bezeichnet "Rosen Cah: 8" und rechts nummeriert "N° 38". - Beiliegend das zugehörige Textblatt mit der Originalbeschreibung in Deutsch und Französisch. - Papier gebräunt und stärker angeschmutzt. Leicht fleckig. Verso Reste einere ehemaligen Montierung. Guter Gesamtzustand. Luise von Wangenheim (Ende 18. Jh. / Beginn 19. Jh.). Auch Louise von Wangenheim. Deutsche Blumenmalerin und Kupferstecherin. Wirkte an den Rosenbüchern von und nach Carl Gottlob Roessig mit. Vielleicht identisch mit Ludovica (Louise) Henriette Freiin von Wangenheim (1770-1822 Krauchenwies), Hofdame der Fürstin Amalie Zephyrine von Salm und später Leiterin einer Industrieschule in Krauchenwies. Carl Gottlob Roessig (1752 - 1806 Leipzig). Deutscher Ökonom, Staatswissenschaftler und Schriftsteller. Er veröffentlichte als Professor der Universität in Leipzig u.a. das "Lehrbuch der Technologie für den angehenden Staatswirth und den sich bildenden oder reisenden Technologen" (Jena 1790), das "Handbuch für Liebhaber englischer Pflanzungen" (Leipzig 1796) sowie schließlich als sein heute bekanntestes Werk sein schön illustriertes Rosenbuch (Die Rosen nach der Natur gezeichnet und colorirt, Leipzig: Industrie-Comtoir 1802-17). 1806 ging seine Bibliothek mit etwa 600 Bänden an die Leipziger Universitätsbibliothek. Sprache: Deutsch. Seller Inventory # 00095888

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REDOUTÉ, Pierre-Joseph (1759-1840)

Published by Firmin Didot], [Paris (1824)

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From: Donald A. Heald Rare Books (ABAA) (New York, NY, U.S.A.)

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About this Item: Firmin Didot], [Paris, 1824. Stipple engraving, by Chardin, after Redouté, printed by Rémond. Very good condition. 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. Seller Inventory # 14665

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REDOUTÉ, Pierre-Joseph (1759-1840)

Published by Firmin Didot], [Paris (1824)

Art / Print / Poster
First Edition

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From: Donald A. Heald Rare Books (ABAA) (New York, NY, U.S.A.)

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About this Item: Firmin Didot], [Paris, 1824. Stipple engraving printed in black, on ochre-tinted paper, by Bessin, after Redouté, printed by Rémond. Very good condition. 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. Seller Inventory # 15667

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REDOUTÉ, Pierre-Joseph (1759-1840)

Published by Firmin Didot, Paris (1824)

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First Edition

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From: Donald A. Heald Rare Books (ABAA) (New York, NY, U.S.A.)

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About this Item: Firmin Didot, Paris, 1824. Stipple engraving printed in black, after Redouté, printed by Rémond. Very good condition apart from some overall light soiling. 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. Seller Inventory # 9323

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About this Item: Kolorierter Kupferstich von Basilius Besler aus "Hortus Eytettensis", 1613, 48x40 cm, gerahmt. (Dekorative Graphik / Pflanzen / Rose / Original coloured copper-engraving). Seller Inventory # 70472

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I. Rosa ex rubro nigricans flore pleno: Rosen

About this Item: Kolorierter Kupferstich von Basilius Besler aus "Hortus Eytettensis", 1613ff, 48,5x41 cm, unter Stilpassepartout gerahmt. Seller Inventory # 106103

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Pierre-Joseph Redouté

Published by Paris: 1817-1824 (1817)

Used

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From: Arader Galleries San Francisco (San Francisco, CA, U.S.A.)

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About this Item: Paris: 1817-1824, 1817. No Binding. Condition: Very Good. Pierre-Joseph Redouté A selection from Les Roses Stipple engravings with original hand color Paris: 1817-1824 14 ¼ ” x 11” Very small area missing from top right corner. Redouté (1759-1840) is unquestionably the best-known botanical illustrator of any era. The decorative appeal of his original engravings has led to their modern reproduction, which in turn has popularized Redouté’s work in a way unique among botanical artists. Yet no reproduction can capture the great and subtle beauty of his original engravings from Les Roses, nor can any introductory paragraph fully describe his many achievements. These magnificent engravings demonstrate the full mastery of his abilities, as the forms of the roses are set off dramatically by Redouté’s masterful and rich modulations of tone and hue. Born into a family of artists in what is now Belgium, Redouté’s talent was recognized and encouraged from an early age. Eventually, Redouté had, as pupils or patrons, five queens and empresses of France, from Marie-Antoinette to the Empress Josephine and her successor, Marie-Louise. Despite many changes of regime in a turbulent epoch, he worked without interruption, eventually contributing to over fifty works on natural history and archeology. The luminosity of stipple engraving, a technique perfected by Redouté, is particularly suited to the reproduction of botanical detail. The medium involved engraving a copper plate with a dense grid of dots that could be modulated to convey delicate gradations of color. Because the ink rested on the paper in miniscule dots, it did not obscure the “light” of the paper beneath the color. After this complicated printing process was complete, the prints were finished by hand in watercolor, so as to conform to the exquisite models Redouté provided. Pierre-Joseph Redouté’s Roses are perhaps his most celebrated images, which the artist issued while under the patronage of the Empress Josephine, wife of Napoleon. The present selection comprises the three images that are often considered the most magnificent roses that Redouté ever painted and engraved. Certain common themes run through them. In each, the flowers are classical “portraits” which lack backgrounds or settings. The regal simplicity of the compositions allows the viewer to focus without distraction on the beauty and delicate complexity of the plants themselves. Perhaps better than any other engravings that the artist ever made, these three images demonstrate the flawless and pristine French style of botanical art that Redouté pioneered and brought to a pinnacle of quality. Seller Inventory # aI0816G

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Pierre-Joseph Redouté

Published by Paris: 1817-1824 (1817)

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From: Arader Galleries San Francisco (San Francisco, CA, U.S.A.)

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About this Item: Paris: 1817-1824, 1817. No Binding. Condition: Very Good. Pierre-Joseph Redouté A selection from Les Roses Stipple engravings with original hand color Paris: 1817-1824 14 ¼ ” x 11” Some foxing. Also known as "York and Lancaster" rose, of the Damask variety. Redouté (1759-1840) is unquestionably the best-known botanical illustrator of any era. The decorative appeal of his original engravings has led to their modern reproduction, which in turn has popularized Redouté’s work in a way unique among botanical artists. Yet no reproduction can capture the great and subtle beauty of his original engravings from Les Roses, nor can any introductory paragraph fully describe his many achievements. These magnificent engravings demonstrate the full mastery of his abilities, as the forms of the roses are set off dramatically by Redouté’s masterful and rich modulations of tone and hue. Born into a family of artists in what is now Belgium, Redouté’s talent was recognized and encouraged from an early age. Eventually, Redouté had, as pupils or patrons, five queens and empresses of France, from Marie-Antoinette to the Empress Josephine and her successor, Marie-Louise. Despite many changes of regime in a turbulent epoch, he worked without interruption, eventually contributing to over fifty works on natural history and archeology. The luminosity of stipple engraving, a technique perfected by Redouté, is particularly suited to the reproduction of botanical detail. The medium involved engraving a copper plate with a dense grid of dots that could be modulated to convey delicate gradations of color. Because the ink rested on the paper in miniscule dots, it did not obscure the “light” of the paper beneath the color. After this complicated printing process was complete, the prints were finished by hand in watercolor, so as to conform to the exquisite models Redouté provided. Pierre-Joseph Redouté’s Roses are perhaps his most celebrated images, which the artist issued while under the patronage of the Empress Josephine, wife of Napoleon. The present selection comprises the three images that are often considered the most magnificent roses that Redouté ever painted and engraved. Certain common themes run through them. In each, the flowers are classical “portraits” which lack backgrounds or settings. The regal simplicity of the compositions allows the viewer to focus without distraction on the beauty and delicate complexity of the plants themselves. Perhaps better than any other engravings that the artist ever made, these three images demonstrate the flawless and pristine French style of botanical art that Redouté pioneered and brought to a pinnacle of quality. Seller Inventory # aI0822g

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