(Woking): n.d. (ca. 1935). An eye-catching pen and ink wash drawing for worker/agricultural stone cottages in Cornwall designed by Carr, who worked for the well known architectural firm of W.D. Caroe. In this large drawing, Carr outlines the layout for 40 houses situated within a village green. It shows the first floor plans of the houses as they are arranged in a half circle, along with detailed elevations for West side and North side groupings. One pair of cottages is shown in front and back elevation. Room measurements are given for parlour, living room, kitchen, three bedrooms and bathrooms. Carr worked from Garthowen, Woking. Notice of his work on church architecture with W.D. Caroe can be found on the Lambeth Palace Library’s Church Plans online website. We also find mention of his winning a prize in the Industrial Design Competition of 1930 (see REPORT ON THE COMPETITION OF INDUSTRIAL DESIGNS, 1930, in “Journal of the Royal Society of Arts” Volume 78, No. 4063 pp. 1150-1172), but this must have been in his student days. The drawing offered here is an accomplished presentation for an entire project. Single sheet (68 x 47 cm); in pen, ink wash, black, green, red and tans, illustrating layout and elevations.

London: “Country Life”, 1903. The original edition of a first hand account of the creation, at the hands of English expatriates, of what would become a legendary Venetian garden, giardino eden, on La Guidecca in the Venetian lagoon. Located behind the Redentore, this one-time vegetable patch was transformed by Frederic (great uncle of the Prime Minister, Sir Anthony Eden) and Carolyn Eden ( the sister of Gertrude Jekyll) into a little English pleasure ground of pollarded willows, roses, Madonna lilies, irises, etc. beginning in 1884. While importing their own native tastes, the Edens took care to respect the local character of their grounds, “ Building on formal lines made by the canals, an abandoned orchard had been crossed with straight walks covered by 600-700 yards of square-topped vine-clad pergola.” (Festing, S. GERTRUDE JEKYLL p. 154). Traditional structures and ornaments were used. Eden includes an interesting account of well-making on the island and in the garden. The prominence of the Edens in the expatriate community brought notable guests to the garden, as did the caché of later residents such as Princess Aspasia of Greece and her daughter and son-in-law, the King and Queen of Yugoslavia. Henry James, Anna de Noailles, Maurice Barres and Jean Cocteau are also associated with the spot. D’Annunzio set a scene there in his IL FUOCO. In LES DELICES DE L’ITALIE, Jean Louis Vaudoyer calls the garden “the most alluring place in the world to abandon oneself to melancholy.” (as quoted in Weal, M.T., POSTFACE; A GARDEN IN VENICE ). The garden was locked up after the death of its last occupant, but garden historian John Hall obtained entrance and wrote a description for HORTUS, Autumn 2003. “ the most alluring place...” Small 4to (23 x 18 cm); (vi) +135 + (1) pp. with decorative head and tail pieces, initial letters and text figures, from older engravings, including some from the Dream of Polyphilis, + frontispiece and 16 full page illustrations from photographs, with tissue guards, hors texte.

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.

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.

N.P. (Bruyères -Le-Chatel): (Simon Louis Frères & Cie.), ca. 1930. An imressive presentation album of sample seed packet labels with all the plants shown printed in full color against a black background. These are displayed, usually 6 to a page, on tan card stock printed decoratively in light gray with the monogram of the firm and simple frame outlines for the placement of the illustrations. Both vegetables and flowers are shown; the colors are vibrant and the detail, particularly with the vegetables, is both informative and artistic. All designs are labeled. If you want to be able to recognize all your French lettuces, you have only to study these. Unusual and very uncommon. Learn your Lettuces Oblong album (26.5 x 36 cm); with color printed seed packet label designs tipped in to each of 70 unnumbered pages, usually 6 to a page, fewer on about 4 pages; in all, there are approximately 400 color printed labels, each measuring 9 x 5 cm.

London: (J. Jones), ca. 1860. An elegant little catalogue with its title printed in a variety of typeface, fancy and plain, and with detailed engraved illustrations in the text. As stated by the manufacturer, this catalogue of cast-iron garden ornaments accompanied Jones’s larger general catalogue. He praises the durability of his cast-iron over stone, cement, wood, etc. He also notes that his seats, chairs, and stairs can be easily assembled and reassembled. Shown are two vases with pedestals, two tables (rustic and stool), an ornamental chair, a rustic bench, glass frame and garden roller. Each item is priced, measurements are given, and, where applicable, different sizes and finishes are noted. We have not located this item in OCLC. Pamphlet “4to” ( 21.2 x 13.5 cm) sewn, with additional sewing marks visible; 8 ff. with 8 engraved illlustrations.

Springfield, Ohio: (Mast, Foos & Co.), n.d. An amusing late 19th century American set of square advertising cards held together by a grommet at the upper right corners enabling the reader to go through an illustrated “story”. In a progression from “Admiration” through “Flirtation,” “Tribulation” to “Termination,” a little outdoor garden romance takes place in the four scenes with a lady mowing a lawn attracting a gentleman pumping water (with a wind turbine in the background) and ending up with the two embracing at a decorative iron gate. On the “versos” of the chromolithographed scenes are advertisements for Mast, Foos & Co.’s wind engine Buckeye iron fence, Buckeye junior lawnmower, and Buckeye force pump. Get out there and create your garden with the latest enhancements and equipment! Watch out for the cat’s tail while mowing the lawn Four cards, 6.2 x 6.2 cm each, held together by a grommet at upper right corner.

London: B.T. Batsford, 1911. First edition. Mawson's enormous success as a landscape architect led him to town planning projects in Bolton, Southport, Athens, Calgary and Vancouver. He served as president of the Town Planning Institute and became one of Britain's foremost early town planners. His CIVIC ART provided an impressive text book on his ideas for town planning, similar in character to the later editions of his better known ART AND CRAFT OF GARDEN MAKING, the fourth edition of which appeared in the following year and which greatly resembled CIVIC ART in format and style of illustration. Mawson stressed the need for a deliberate system of aesthetics for town planning and relied heavily on examples from his own practice to illustrate his theories. The volume is divided into four parts: the theory of Civic Art; the practice of Civic Art; examples of town planning; and examples of public parks and town gardens. Appendices concerning trees and shrubs are also included. Folio (35.6 x 26.5 cm); (vi) + 376 pp. with color frontispiece and one color plate, decorative chapter titles, numerous reproductions of plans, engravings, drawings, and photographs.

Gand: ca. 1840, 1850. A "porcelain" trade card for the greenhouse builders Van De Cappell-De Pretter, rue de la Caverne, No. 50, Gand. The printing in gold and blue is by the Gand lithographers, G. Jacqmain. The card is illustrated with a view of a greenhouse in a gardenesque setting with fountain, house and two small human figures, all printed within a decorative Gothic-style frame. A lengthy caption informs the viewer that examples of the firm's "confection de serres en Fer" can be seen at the Verschaffelt nursery, at Van Houte's outside of Bruxelles, and in Paris at "MM les Barons Rotschild." Cartes porcelaines or "porcelain cards" were produced in the mid-nineteenth century lithography with a thin layer of white lead producing their beautiful porcelain-like effect. They were chiefly produced in Belgium between the late 1830s and the early 1860s and used as business or announcement cards. Their production was discontinued because of health hazards connected with the lead. Single sheet of glossy card stock, 10.5 x 14.2 cm., printed in colors.