Alphabet-Flore
The rarest first edition of Redouté, illustrated with 192 flowers colored at the time.
Only one copy in Public Libraries, the one in the BNF, which is in black.
“The Language of Flowers: a romantic book. Unlike Liliacées (1802–1813) or his masterpiece Les Roses (1817–1824), which were scientific and documentary in nature, Alphabet-Flore is more gallant, as if, at the end of his career, the “Raphael of flowers” had relaxed by creating a more artistic work.”
Large 8vo. Contemporary half-sheepskin, plain plum-colored leather-style covers, gilt title along spine, minor foxing not affecting readability.
260 x 168 mm.
Redouté, Pierre-Joseph (1759-1840). Alphabet-flore renfermant 192 dessins, composé des plus belles fleurs croissant dans toutes les parties du monde... Ouvrage utile aux Dessinateurs de Fleurs, aux Manufacturiers d'Etoffes faconnées, aux Collèges et aux Chefs d'institution.
Paris, Chavant, [1835].
Very rare first edition with 192 flowers by Redouté.
A very rare collection of 24 lithographed plates by Jean François Benard, published by Chavant. Each double-page plate features eight flowers per letter (except J and W), for a total of 192 flowers, with their names and symbolism.
This copy was colored at the time.
The collection was sold as a whole, in black or colored as here, but the plates were also available individually.
There is only one copy in a public library, at the BNF, which is in black. This extremely rare work presents eight different flowers for each letter of the alphabet, except J and W, whose names begin with that letter, with an indication of their names and allegories. The plates were sold individually, in color or black, or as a complete work. Pierre-Joseph Redouté, a famous painter nicknamed “the Raphael of flowers” by his contemporaries, was born in Saint-Hubert, near Liège, on July 10, 1759. Coming from a family of painters, he received an education at a young age that encouraged his talent, but he was pushed by his family to paint frescoes and religious paintings. During a trip to Holland and Belgium, he discovered the work of flower painters Rachel Ruysch and Jan Van Huysum and felt his vocation awakening. He developed this vocation and was noticed by the Dutchman Gérard Van Spaendonck, professor of plant iconography at the “Jardin du Roi,” who entrusted him with work, notably the execution of plants for the Collection des vélins. He then became a plant painter at the Jardin du Roi, where he met L'Héritier de Brutelle, a wealthy amateur botanist, who offered him his protection and helped him develop the scientific aspect of his flower paintings. In 1787, he traveled to London, where he discovered the technique of color printing using a single plate, whereas in France, polychrome printing was used, involving three passes. In 1788, he became Marie Antoinette's cabinet artist and private tutor. During this period, he learned engraving techniques, particularly stipple engraving. In 1798, he caught the attention of Joséphine de Beauharnais, who took a liking to him and asked him to reproduce the Malmaison Botanical Garden. He was then appointed Draftsman of the Academy of Sciences, Draftsman of the Institute, and finally, by Louis XVIII, Professor of Plant Iconography at the “Jardin du Roi.” He taught painting to Marie-Amélie, wife of Louis Philippe, and to Marie Caroline, Duchess of Berry. He was the painter and poet of universal flora and had the rare quality of combining the magic of color and drawing with a knowledge of natural history as extensive as that of Linnaeus. He died in 1840 of a cerebral hemorrhage while teaching a class at the Jardin des Plantes. Redouté produced a large number of works, including the famous Roses, which were published from 1816 onwards.
The Language of Flowers: a romantic book. Unlike Liliacées (1802-1813) or his masterpiece Les Roses (1817-1824), which were scientific and documentary in nature, Alphabet-Flore is more gallant, as if, at the end of his career, the “Raphael of flowers” had relaxed by creating a more artistic work.
This flora by Redouté, produced in the vein of Aimé Martin's Langage des fleurs (1819), analyzes the symbolism of flowers. So, if you venture to offer bellflowers, you will be expressing flattery; a bouquet of delphiniums will say, “You are keeping me waiting,” while gypsophila will confide, “You are my divinity.”
This delightful and extremely rare work is missing from all the specialized bibliographies consulted.
It is complete with all 24 original double lithographed plates and 192 beautifully hand-colored flowers.
