London: P. Vaillant, and W. Mears and F. Clay, 1721. First English edition, translated, with additions, by Richard Bradley. "This was the first treatise on cuttings and graftings, and it made Agricola famous." (Hunt 452). Georg Andreas Agricola was a German doctor from Regensburg whose discoveries regarding plant propagation aroused significant interest at the beginning of the eighteenth century. In a book entitled NEU- UND NIE ERHÖRTER DOCH IN DER NATUR UND VERNUNFFT WOHLGEGEGRÜNDETER VERSUCH DER UNIVERSAL VERMEHRUNG ALLER BÄUME, STAUDEN UND BLUMEN-GEWÄCHSE (1716-1717) he first published details of his methods, including the use of a plaster he called "vegetable mummy," to refute exaggerated claims made about his discoveries by another writer. Bradley prepared this English translation and added to it his own preface as well as a translation of the preface from the French edition. The text is illustrated with copies of the plates from the original German edition. These plates depict examples of the regenerative process described by Agricola along with the grafting techniques, tools and structures employed in the various operations. In publishing Agricola's discoveries in England Bradley was doing what he seemed to do best: publicizing the latest horticultural advances and theories at a moment close to their inception. Hunt 452; Henrey 411 Royal 4to (27 x 22 cm); (xxiv) + 300 + (iv) pp. + 22 plates (some folding) with 34 engravings.

London: Groombridge And Sons, n.d. (ca, 1851). Maund was a pharmacist, botanist and bookseller who was most noted as the publisher of several botanical periodicals with colored plates, the most famous of which, THE BOTANIC GARDEN, began in 1825. The FRUITIST appeared as a sequel to that series, although the format of its illustrations differed from the earlier flower plates by presenting a single subject per page instead of four. These delicately hand-colored wood engravings depict a variety of fruits placed above their printed descriptions and framed within an elaborate printed border. Included are 34 apples, 24 pears, 6 plums, 3 gooseberries and 7 other fruits. In the present volume the fruits have been grouped by type, with varieties placed in alphabetical order, rather than in the random order in which they were originally received by subscribers. 4to (21 x 17.5 cm); (iv) + engraved title + 72 leaves each with a hand-colored wood engraving of a specimen of fruit.

Augsburg: Johann Andreas Pfeffel, 1753. Second German edition of Dezallier's LA THÉORIE ET LA PRATIQUE DU JARDINAGE. This edition is complete with the full complement of 39 plates, including frontispiece. The work was first published in French in 1709 and then reprinted and enlarged in several later editions. It effectively codified the design principles of the French formal garden as established by LeNôtre and continued in print for nearly three-quarters of the eighteenth century. "France did not become mistress of Europe in garden art merely because of such of her examples as could be copied; of almost equal importance was the wide popularity of a book which first appeared anonymously in France in 1709 under the title THEORIE ET PRATIQUE DU JARDINAGE... Never before did a book lay down the principles of any style so surely and so intelligibly in instructive precepts." (Gothein, HISTORY OF GARDEN ART, volume II, pg 111). The most prominent Germanic exponent of the French formal style was the Austrian F. A. Danreiter, who spent several years in France in the 1720s before returning to Salzburg, where he passed the remainder of his career serving as Garden Director of the major gardens there. Danreiter's translation of Dezallier, first published in 1731, was the single most important source for the spread of the French formal style across German-speaking Europe during the eighteenth century. While the title page of this edition calls for only 33 plates, the present copy includes a full set of 39 plates. The plate count varies among different copies of this work, even within the same edition, with many copies having either 33 or 35 plates. Copies with all 39 plates are uncommon. Berlin Cat 3464 (1731 ed); Springer pg. 37. 8vo (18 x 11.5 cm); folding title + (vii) + 368 + (2) pp. + 38 folding engraved plates + engraved frontispiece.

Paris: Panckoucke, 1802. The enlarged and partially revised second edition, which includes significant material supplementing the original version of 1776. The newly added preface (128 pages) provides, among other things, an extended commentary on writings on garden design published since the first edition. There are also 75 pages of end notes and a new 100 page section on trees, consisting primarily of a "Tableau Dendrologique" listing the various features of over 1000 varieties of trees. Morel's THEORIE, following shorter works by Girardin and Watelet, presented the most thorough treatise on the new theories of natural garden design which dominated French taste at the end of the 18th century. It was also the first treatise on garden design in the natural style (French or English) to have been written by a professional rather than an amateur. Morel's practical experience is evident throughout, which may help account for the high esteem in which the book was held by French landscape gardeners far into the nineteenth century. Drawing heavily on Whately's OBSERVATIONS ON MODERN GARDENING, Morel rejected the formal symmetry of classical French gardens in favor of the picturesque and "natural" style associated with the English. He did not, however, actually visit England and its gardens until after the publication of the first edition, and the comments he added to this edition are the first to reflect first-hand experience of the places Whately had described. All these additions make this the generally preferred edition for purposes of study. The preferred edition for study. Ganay 98. Two volumes, 8vo (21 x 14 cm); (viii) + cxxviii + 234 + (1, errata), (iv) + 340 + (2, errata) pp. + engraved frontispiece.

The Hague: Chez Pierre Husson, 1711. First Dutch edition of the most influential work on garden design of the eighteenth century. It effectively codified the design principles of the French formal garden and continued in print for at least six decades. "France did not become mistress of Europe in garden art merely because of such of her examples as could be copied; of almost equal importance was the wide popularity of a book which first appeared anonymously in France in 1709 under the title THEORIE ET PRATIQUE DU JARDINAGE... Never before did a book lay down the principles of any style so surely and so intelligibly in instructive precepts." (Gothein, HISTORY OF GARDEN ART, volume II, pg 111.) This edition, published in Holland, is the first of many pirated editions to appear outside of France. It carefully follows the original Paris edition, even in its pagination, and the plates are nicely engraved by J. Lamsvelt with strong dark impressions. 4to (25.8 x 20 cm); (xii) + 208 pp. with numerous engraved text illustrations and ornaments + 32 folding plates (chiefly garden plans).

Paris: Monrocq frères, n.d. (ca, 1855). Victor Petit was an artist, lithographer and chromolithographer who documented the picturesque architecture and gardens built in and around Paris during the Second Empire. He was also a member of numerous archaelogical associations. Habitations Champêtres was one of four complementary works directed at the newly wealthy and culturally ambitious bourgeoisie of the time: the others were MAISONS DE COMPAGNE DES ENVIRONS DE PARIS, PARCS ET JARDINS DES ENVIRONS DE PARIS, AND PETITES CONSTRUCTIONS PITTORESQUES. In the present work the focus is on the variety of country house styles found in different regions of France and, to a small extent, in England and Italy. The parks, grounds arrangements, garden structures and outbuildings are also depicted. Belvederes, garden pavilions, rustic cabanas and the like are shown along with views of parks such as the Parc de Pinon in Picardie or the Parc du Marchais in Burgundy. Distinctions are made among maisons champêtres, maisons de plaisance, and maisons bourgeoises; all are shown in grounds settings. The work was available from the publishers in simple black and white lithography or in coloured lithography; individual plates could also be ordered separately, either coloured or in black and white. The present copy offers 30 plates in black and white and the remaining 70 hand finished to varying degrees in light color. They offer an interesting contrast to the forceful colors available as shown in sample plates from Petites Constructions and Parcs Et Jardins Des Environs De Paris which are laid in here. Ganay 254, but the Ganay copy does not have the title page. 4to (36.5 x 27 cm) Loose in portfolio, as issued. Partially colored title page + 100 lithographed plates, 70 of which are coloured to varying degrees, 30 are in black and white, plus, 8 coloured lithographed plates,, from PETITES CONSTRUCTIONS PITTORESQUES and one from PARCS ET JARDINS laid in.

Yokohama: (The Yokohama Nursery Co., Ltd.), ca. 1890-1900. A beautifully preserved color lithographed horticultural catalogue from the Yokohama Nursery Company, justly famous for the attractiveness of its publications. “The Yokohama Nursery Company catalogues from the mid-1890s through the mid-1920s are impressive documents, written in English and beautifully illustrated with colored plates, line drawings, and photographs of classic Japanese plants.” (ARNOLDIA 64/2 -3, Del Tredici. “From Temple To Terrace” p. 4) In this offering of iris kaempferi there are only large full page illustrations, with examples identified in small type. There were apparently at least three different collections of the iris kaempferi presented in this format: one with 25 varieties, another with 100, and this one, with 18. The 18 flowers exhibited here are illustrated 2 to a page on 9 plates. The flower colors are in delicate shades of purple, pink and white, all printed against a delicate green printed background. The varieties in this particular collection include: Kumo-isho; Gekka-no-nami;Senjo-no-hora; Oyodo; Shippo; Momiji-no-taki; O-torige; Manadzuru; Tsuru-no kegoromo; Warei-hotei; Gei-sho-ui; Yezo-nishiki; Shiga-no-uranami; Shimoyo-no-tsuki; Kakujakuro; Shishi-ikari; Osho-kun;and Iso-no-nami. Very scarce, especially in this fine condition. With 18 Color Plates Folio (38 x 29 cm); 9 color lithographed plates measuring 83 x 29 cm., with 2 varieties per plate.

Amsterdam: Pierre Mortier, 1695. Thomassin was sent by Colbert to study in Rome for four years before returning to France in 1680 and becoming court engraver to Louis XIV. Among his first projects after his return was to draw and publish illustrations of all the sculpture, ancient and modern, used to decorate the palace and gardens at Versailles. The first edition of this work appeared in Paris in 1694. It was quickly reissued, in the edition offered here, by Pierre Mortier in Amsterdam. This Dutch edition includes the same text and plates, but adds a folding engraved plan of the gardens of Versailles and a translation of the text into Latin, Italian and Dutch. The plates depict not only the statuary, but also the fountains, hermae and vases distributed throughout the gardens. A rare second Paris edition with 26 additional plates was published in the same year as the first, but that edition also appeared without the garden plan. Ganay 37; Berlin Cat 4212. Small 4to (19.1 x 13.8 cm); 59 + (1) + (1) + (1) pp. + engraved title, 228 engraved plates, and a folding plan (49.5 x 32.5 cm).

1610. The first state, before the number (of two). Vesme no. 841. Chone/Grivel. STEPHANO DELLA BELLA 1610-1664, no. 42-4. A richly evocative etching of Pan and Fame's grotto in the Renaissance Italian villa garden at Pratolino. The impression is a double view, presenting opposite ends of the grotto side by side. On opposite sides of the statue representing the river Mugrone are seen Pan playing his flute and Fame sounding her trumpet, both of them animated as hydraulic automatons. This is one of six views by Della Bella which depict this stunning Medici garden, created by the Florentine architect Buontalenti. "In terms of hydraulic wonders, the fountains and grottoes of Pratolino are surely the apogee... Buontalenti emerges as the foremost inventor of grottoes in Italy." (Miller HEAVENLY CAVES, pp. 47, 49) Impression measuring 25 x 37 cm; signed SD Bella between the two views

(France): ca. 1850s. An attractive and generally well preserved collection of 70 mounted botanical specimens collected in France during the mid-nineteenth century. Many, though not all, of the specimens are accompanied by hand-written descriptive labels, including a few with extended notes (in one case extending to several pages). Some specimens appear to have been collected in the region around Paris, while others (including a few tropical plants) appear to have been cultivated and collected in the herborist's own garden. They are, for the most part, reasonably preserved and attractively mounted., although because of their size, there is damage to some. Folios, 4 paper fascicles, approximately 45 x 32 cm., with a total of 70 mounted plant specimen sheets, folded in half to protect the specimens, with the mounted specimens on leaves measuring 45 x 30 cm.

Lyon: Chez Reymann, 1807. First edition. The author was a garden architect and engineer from Grenôble and Lyon. His "Essay On Gardens" begins with a general discussion of contemporary European garden design, including observations drawn from visits to gardens in Germany, England and France, followed by reflections on garden design in general (especially the jardin anglais) and specific recommendations for the layout and planting of gardens and parks. The second section of the book presents the author's plans for the Imperial gardens to be built next to the planned Napoleonic palace on the peninsula between the banks of the Saône and Rhône near the center of Lyon. The folding engraved plan for this project shows an extensive landscape garden in the "style anglais" to the south of the palace and a smaller and more formal area to the north. Ganay 164. 8vo (21 x 13.5 cm); viii + 119 pp. + folding plan.

New York: Wm. C. Bryant, 1864. This seventh annual report of the Central Park Commissioners is a part of an ensemble of reports, all issued separately over the years, which constitute the one essential documentary resource for the study of America's first and most important major urban park. As reported here, in April, 1863, the Commissioners finally gained the right through the courts to acquire land between 106th and 110th streets between Fifth and Eighth avenues for extension of the park. The Board reaffirms its aim to preserve the site's natural ruggedness and views of distant landscapes. Additional work which occupied the Board this year, in addition to extending drives and walks through newly acquired land, was constructing portions of the enclosing wall, completing most of the unfinished surface of the ground below One Hundred and Second street and the stone-work of the terrace and masonry of the ravine's rustic bridge. A large colored fold-out map of Central Park shows progress of work up to January 1st, 1864. Other plates illustrate the archway under the foot-path for the bridle road south of the meadows, another archway east of the lake and another northwest of the Ramble. There are views of the casino or ladies refreshment saloon and the boat landing, north east of the lake. The whole concludes with a 33 page catalogue of trees, shrubs and herbaceous plants in the park as of Dec. 31, 1863" with the months of Flowering and Fruiting of such as have conspicuous blossoms or fruits." 8vo (23.5 x 14.5 cm); (ii) + 123 + (i) pp. + large fold-out color map measuring 23 x 87 cm. + 5 tinted lithographed views + 3 untinted lithographs.

London: for Tho. Woodward, 1726. First edition. Laurence’s “most ambitious literary project...” (Henrey p. 421). With a handsome etched frontispiece by van de Gucht showing the Prince of Wales’s Richmond Lodge or Ormonde Lodge. The work is dedicated to the Princess of Wales, later Queen Caroline to George II, who would eventually improve Richmond Lodge with Charles Bridgeman.. The lodge no longer exists. (Henrey,p. 421 ). Laurence (sometimes spelled Lawrence), who bears the distinction of having written the first original eighteenth century treatise on gardening, THE CLERGY-MAN’S RECREATION, 1714, was rector at Yelverton in Northhamptonshire where he turned an unpromising patch into a thriving fruit garden over the course of 20 years. The first book in this ambitious work concerns every aspect of agriculture from dung to brickmaking. Book II describes the characteristics and uses of a great variety of forest trees, timber trees, evergreens and flowering shrubs, all suitable for growing in England without “housing”. Book Three is about the subject for which the author is perhaps best known, fruit culture. Book IV : the kitchen garden. Book V is devoted to the flower garden and includes “A complete catalogue of Flowers great and small perannual (sic) or annual, usually known or propagated in England, either in the naked Ground or Hotbed.” With seven engraved printer’s ornaments by Francis Hoffman. Henrey 945; Hunt 466; Johnson, A HISTORY OF ENGLISH GARDENING p. 156. Folio ( 34.4 x 21.2 cm); (xxiv) + 456 (i.e. 452) pp. + etched frontispiece + 2 copperplate engravings (with 3 impressions); with 7 engraved printer’s ornaments by F. Hoffman.

Paris: chez Desenne, Janvier, 1792. The gardens at Betz were built by Marie-Catherine Brignolé, princess of Monaco, between 1780 and 1789. They formed an important parc à fabriques, created at least partly by a collaboration of Hubert Robert and the duc d'Harcourt. Cérutti visited the gardens in 1785 and composed this poem while there to recite as an entertainment for his host and fellow guests. It narrates a promenade through the park in the course of which each of its many picturesque fabriques and features is carefully described. It is easily the most detailed and complete contemporary account of this important jardin anglais, which was abandoned during the Revolution and later lost to neglect. Though not originally written for publication, the poem was eventually published shortly before the author's death together with the extensive footnotes on the gardens which more than double the text. The present copy is marked as "Seconde Édition," although its imprint gives a date of January 1792, the same date as the first. Ganay 538. 8vo (19.4 x 12.5 cm); 72 pp. including three pages listing Cerutti's other publications.

Paris: Emile-PAULE, 1920. First edition, presentation copy to Gordon Knox, signed by Forestier. “(Forestier’s) friends noted his talents and asked him to design their grounds, and as a preparatory study for this he planned seventeen imaginary gardens, which later formed the central portion of his book “Jardins”.” (Fox, Helen Morgenthau. in “Jean C.N. Forestier”, LANDSCAPE ARCHITECTURE, 1930, pp. 93). Forestier was Conservateur of the Paris parks, city planner, designer of modern gardens, such as the rose and iris gardens at Bagatelle in the Bois de Boulogne, and authority on the design of Spanish and Arabic gardens. In JARDINS, Forestier went beyond the imaginary gardens proposed for friends to cover details of his approach to terraces, lawns, stairs, fountains, bassins, benches and tilework. A long list of his recommendations for best roses is included. Additionally, he offers illustration and commentary on gardens that made his fame: that of Joseph Guy at Beziers; of Montjuich at the Barcelona exposition; and of La Casa Del Rey Moro in Andalousia. “In his designs, plants partially erase, rather than reinforce, the rigor of the plan. This play between the grace of the vine and the strict line of the post situated Forestier precisely at the juncture of the jardin à la française and the cubist/modernist garden.” (Imbert, THE MODERNIST GARDEN IN FRANCE, p. 25) A signed presentation copy Small folio (32.5 x 25.2 cm); 240 unnumbered pp., profusely illustrated from drawings and plans, full page and in text.

Paris: chez l'auteur et Le Normant, Pelicier, 1817. First edition of a popular early 19th century French work on bourgeois villa gardens. Lalos, who identifies himself as an architect on the title page, succeeded with 5 editions of this work describing, in varying degrees of detail, numerous parks or gardens in various departments of France where he wholly or partly contributed to the creation. His work preceded that of Thouin, but, as Michel Conan has pointed out, depended almost entirely on the theoretical work of René Louis Girardin. "This was clearly a book of aesthetic theory aimed at potential patrons. In this respect, the fact that it was republished five times may be taken as an indication of garden tastes among landowners from 1817 to 1832, many of whom belonged to the bourgeoisie." (Michel Conan in HUNT, J.D. AND CONAN, Michel, TRADITION AND INNOVATION IN FRENCH GARDEN ART, p. 168.) The engraved plates show an artificial waterfall, a plan of the cascades and the lake of Lamotte, a section of a cascade and a plan of the pond of the park at Liverdy. Ganay 184. 8vo (19 x 12.5 cm); viii + 216 pp. + 4 folding engraved plates including two plans.

Edinburgh: W. H. Lizars, n.d. (ca, 1845). Lothian was gardener to W. A. Campbell of Ormsary. This scarce volume, the first English work devoted wholly to alpine plants, appears to be his only published book. It begins with instructions for the location and construction of rockeries, ponds and bogs and the arrangement of plants in the rockery. A second section gives directions for cultivation and treatment, arranged by season, with separate discussion of "tenderer and rarer" plants, as well as advice on cultivation in Wardian cases. The appendix lists nearly 1000 varieties of recommended plants. The illustrations include two engraved plates showing rockery layouts and four hand-colored plates of plants. The first English work devotd wholly to alpines 12mo (16 x 10.2 cm); iii-xiv + 17-84 pp. + decorative illustrated title and 6 plates (four colored).