{"id":14274,"date":"2017-03-08T10:18:25","date_gmt":"2017-03-08T15:18:25","guid":{"rendered":"http:\/\/www.georgeglazer.com\/wpmain\/?post_type=product&p=14274"},"modified":"2022-02-15T01:38:42","modified_gmt":"2022-02-15T06:38:42","slug":"botanical-art-redoute-choix-des-plus-belles-fleurs-paris-antique-prints-1827-33","status":"publish","type":"product","link":"https:\/\/www.georgeglazer.com\/wpmain\/product\/botanical-art-redoute-choix-des-plus-belles-fleurs-paris-antique-prints-1827-33\/","title":{"rendered":"Botanical, Art, Redoute, Choix des Plus Belles Fleurs, Paris, Antique Prints, 1827-33"},"content":{"rendered":"

Among the prints we typically offer from Choix<\/strong> are bouquets of carnations and of auriculas, often considered the two most desirable prints from the entire set of 144.\u00a0 These lively bouquet arrangements are embellished with dewdrops, insects, and butterflies. Also generally available are a huge white peony, a bright red, lush double dahlia, a white rose, and a group of tulips. The prints shown here are from the large-size paper edition.Pierre-Joseph Redout\u00e9 is the greatest botanical artist of the golden era of French botanical illustration — the first four decades of the 19th century.\u00a0 His artistic career lasted an astonishing 67 years.\u00a0 According to botanical scholar Wilfred Blunt, \u201c[r]oyal patronage, tireless energy, and the assistance of a brilliant team of stipple engravers and printers, made it possible for him to produce illustrated books which have few rivals in the whole history of botanical art.\u201d\u00a0 Born in Belgium to a family of artists, Redout\u00e9 left home at age 13, traveling, studying art, and making a living as an itinerant painter for the next 10 years, when he arrived in Paris to join his older brother, a theatrical scene painter.\u00a0 Following his interest in flower painting, he began to frequent the Jardin du Roi (King\u2019s Garden).\u00a0 There he met his first major patron, the wealthy botanist Charles Louis L\u2019H\u00e9ritier de Brutelle, for whom he illustrated two botanical studies.\u00a0 He also became a prot\u00e9g\u00e9 of the Dutch artist Gerard van Spaendonck (1746-1882), professor of flower painting at the museum at the Jardin, whose watercolor technique profoundly influenced Redout\u00e9\u2019s style.\u00a0 In 1793, Redout\u00e9 and his younger brother joined the museum staff; after van Spaendonck\u2019s death in 1822, Redout\u00e9 succeeded him as a \u201cmaster of drawing.\u201d<\/p>\n

In 1798, Redout\u00e9 attracted another important patron, the Empress Josephine, wife of Napoleon Bonaparte, who commissioned an extensive series of paintings after the ornamental flowers in her lavish gardens at Malmaison, which became the plates for the books Jardin de Malmaison<\/strong> (1803-04), Description des Plantes Rares Cultiv\u00e9es \u00e0 Malmaison et \u00e0 Navarre<\/strong> (1813).\u00a0 He also created plates for Duhamel du Monceau\u2019s monumental seven-volume horticultural study on fruit trees, Nouveau Trait\u00e9 des Arbres Fruitiers<\/strong> (1800-19).\u00a0 During this period he also produced two of his most famous works: Les Liliac\u00e9es<\/strong> (1802-16) and Les Roses <\/strong>(1817-24). There followed another renowned collection, Choix Des Plus Belles Fleurs <\/strong>(1827-33).\u00a0 Redout\u00e9 was esteemed by his artistic peers, and influenced a number of younger botanical artists including Pierre Jean Fran\u00e7ois Turpin, Pierre-Antoine Poiteau, Pancrace Bessa, Mme. Vincent and Jean Pr\u00e9vost.\u00a0 In 1825, he was made a member of the Legion of Honor.<\/p>\n

A large number of Redout\u00e9\u2019s original watercolors on vellum are in the collection of the Mus\u00e9e National de La Malmaison in France and other museums, though many are in private collections.\u00a0 His renown, however, is due to the remarkable quality of the prints made after these paintings, which brought his works to a wider audience during his lifetime and thereafter. The most accomplished engravers of the period were engaged to translate his original paintings into stipple engravings, in which the plates are etched with small dots rather than lines.\u00a0 Indeed, Redout\u00e9 helped refine the stipple engraving process to best capture the subtle effects, luminosity, sheen and dimensionality of his original paintings.\u00a0 Through a method he invented in 1796, the colors were applied to the engraved plate a la poup\u00e9e<\/em> before each printing, \u201cgiving to our prints all the softness and brilliance of a watercolor,\u201d as Redout\u00e9 noted.\u00a0 Finally, each print was finished with additional coloring by hand.\u00a0 Redout\u00e9\u2019s high standards are evident in the striking way in which the resulting prints capture the subtle delicacy of flower petals and foliage.<\/p>\n

Redout\u00e9’s Choix des Plus Belle Fleurs<\/strong> was produced during the latter portion of his career when he increasingly favored “elegant, decorative compositions” over the “straightforward botanical portraiture” of his earlier period. (Hunt). The work was issued as 144 plates in 36 parts between May 1827 and June 1833, each part consisting of four plates of either flowers, flowering trees, or fruits.\u00a0 Gordon Dunthorne, one of the leading 20th century scholars of botanical prints, praises the illustrations in Choix<\/strong> as “portrayed so perfectly in the delicacy of the stippled modeling that an impression of a third dimension is created.”<\/p>\n

Full title: Choix Des Plus Belles Fleurs Prises Dans Differentes Familles Du Regne Vegetal Et Quelques Branches Des Plus Beaux Fruits, et Souvent Anim\u00e9es Par Des Insectes et Des Papillons<\/strong> [Selection of the Most Beautiful Flowers Prized within Different Families of the Plant Kingdom and a Few Branches of the Most Beautiful Fruits, and Often Enlivened by Insects and Butterflies]<\/strong><\/p>\n

Condition: Generally very good with the usual overall light toning and wear.\u00a0 Some variation in paper tones from one print to another.<\/p>\n

References:<\/p>\n

Blunt, Wilfred, rev. by Stearn, William T.\u00a0 The Art of Botanical Illustration.<\/em>\u00a0 Woodbridge, Suffolk, England: Antique Collectors Club, 1994.\u00a0 pp. 25-26, 194-209.<\/p>\n

Brindle, John V., James J. White and Donald E Wendel.\u00a0 Flora Portrayed: Classics of Botanical Art from the Hunt Institute Collection.<\/em> Pittsburgh, PA: Hunt Institute for Botanical Documentation, Carnegie-Mellon University, 1985.\u00a0 pp. 44-45.<\/p>\n

Dunthorne, Gordon. Flower and Fruit Prints of the 18th and Early 19th Centuries. Their History, Makers and Uses, with a Catalogue Raisonne of the Works in Which They are Found.<\/em>\u00a0 Washington, D.C.: Published by the Author, 1938. 231 (Redout\u00e9 Lilies), 232 (Redout\u00e9 Roses), 235 (Redout\u00e9 Choix).<\/p>\n

Lawrence, G.M.A., F.A. Stafleu, I. MacPhail, J.V. Brindle and A. Lawalr\u00e9e.<\/p>\n

A Catalogue of Redout\u00e9ana. April-Aug. 1963.<\/em> Pittsburgh, PA: Carnegie Institute of Technology, Hunt Botanical Library, 1963.\u00a0 10 (Redout\u00e9 Lilies), 19 (Redout\u00e9 Roses), 20 (Redout\u00e9 Choix).<\/p>\n

Nissen, Claus. Die Botanische Buchillustration: ihre Geschichte und Bibliographie.<\/em> Stuttgart:1951-66.\u00a0 1591 (Redout\u00e9 Choix), 1597 (Redout\u00e9 Lilies), 1599 (Redout\u00e9 Roses).<\/p>\n

Pritzel, Georg August. Thesaurus Literaturae Botanicae Omnium Gentium.<\/em> Milan: 1950. 7456 (Redout\u00e9 Choix).<\/p>\n

Sitwell, Sacheverell. Great Flower Books, 1700-1900.<\/em> New York: The Atlantic Monthly Press, 1990.\u00a0 pp. 71-72.<\/p>\n

Stafleu, Frans A. and Richard S.Cowan. Taxonomic Literature.<\/em> Utrecht: 1967. 2nd ed., Utrecht: 1976-1988. TL2 8747 (Redout\u00e9 Lilies), TL2 8748 (Redout\u00e9 Roses), TL2 8750 (Redout\u00e9 Choix).<\/p>\n","protected":false},"excerpt":{"rendered":"

Pierre-Joseph Redout\u00e9 (1759-1840) (after)
\nBessin, Chapuy, Langlois, Victor, et al. (engravers)
\nNatural History Botanical Studies and Bouquets<\/strong>
\nfrom Choix Des Plus Belles Fleurs [Selection of the Most Beautiful Flowers]<\/em><\/strong>
\nChez l’Auteur, C.L.F Panckoucke, et al., Paris: 1827-33
\nStipple engravings, printed in color and finished by hand
\n11 x 9 inches, platemark, average approximate
\n18 x 12.25 inches, overall
\n$1,200 to $2,800 each<\/p>\n

Botanical prints from Choix des Plus Belles Fleurs<\/strong>, Redout\u00e9\u2019s last major work.\u00a0 In Choix<\/strong>, Redoute chose a more decorative approach to botanical illustration than in his earlier works, principally by selecting beautiful ornamental flowers rather than the full range of a species.\u00a0 The arrangements of the flowers in Choix <\/strong>were generally more decorative as well, including elaborate bouquets.<\/p>\n

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