| Set of three plates
from The Gentleman's Recreation in Three Parts of ancient
Roman goddesses of agriculture: Ceres the Roman name for the Greek Demeter,
goddess of agriculture; Flora, the goddess of flowers; and Pomona , a
wood-nymph whose attributes are the cultivation of gardens, especially
fruit-bearing plants. Allegorical semi-nude, draped figures of the goddesses
attended by nude children are seated in the foreground of pastoral scenes
of people in 17th-century garb. In Ceres, the contemporary
people go about agricultural tasks; in Flora, they stroll
through a formal estate garden; and in Pomona ,
they gather fruit from trees on the grounds of mansion. The
prints are dedicated to aristocratic patrons.
The
Gentleman's Recreations In Three Parts was comprised of First
Part: Introduction to the Liberal Arts, Second Part: Of Horsemanship,
Hawking, Hunting.Fowling, Fishing, etc. and Third Part:
Laws of the Forest and Game. The first part has 31 plates illustrating
liberal arts subjects, 19 of which were oval plates with tables in the
center and decorative borders depicting people engaged in activities
such as Rhetoric, Logic, Astronomy, Astrology, Cosmography, Navigation
and Geography. The second part includes 50 copperplate engravings on
horses and different types of hunting activities, including shooting,
fishing and falconry.
Richard
Blome was among the most active publishers
of cartographic and illustrated books in late 17th-century London .
He was the first publisher in England for 40 years to prepare a new
folio world atlas, the first in over 60 years to publish a new set of
folio county maps, the first to seriously plan an illustrated description
of London, and the first to plan a series of volumes related to the
various world continents. In the 1680s, Blome issued some illustrated
books, including The Gentleman's Recreation, The History of
The Old Testament and a three-volume translation of the works
of French philosopher Rene Descartes.
Condition:
Generally very good, with the usual light toning, soiling, soft creases.
References:
Schwerdt 72. Mellon 48.
|