The author, Carlo Fuccaro or Foccaro (he signs both ways), thanks the unnamed recipient for sending acacia seeds and dried flowers of anemone and apologises for the delay in the response, caused by the time needed to paint the tulips attached to the letter.more...
He asks his correspondent which flowers he can send to him among the portrayed tulips, a white Peruvian hyacinth [tulip], of which he has only one plant, or another type of hyacinth that will be available for the autumn. While these two hyacinths do not appear among the surviving watercolours here, the five extant slips are doubtless remnants of the original group sent, folded as they are to fit snugly with the folds of the letter.
It is a document of considerable interest that shows the exchange of botanical material in early seventeenth-century Europe, the era of ‘Tulipomania’.
Among the papers by Johannes Faber (Bamberg, 1574-Rome, September 17, 1629), a pupil of Cisalpino and director of the Pontifical Botanical Garden (held by the Accademia dei Lincei and Corsiniana), are letters by Faber concerning a flower exchange between Fuccaro and a certain Alessandro Rondanini. One in particular reports: ‘Flowers requested by Mr. Rondinini from Mr. Carlo Fuccaro’, [Rome] 25 October 1619 (see A. Mercantini, Inventory of the Johannes Faber Fund of the Biblioteca dell’Accademia Nazionale dei Lincei and Corsiniana, 2013, p.24, available online: http: //www.lincei. en / files / archive / Archivio_Faber_12-2014.pdf). In the same document the Fuccaro is also called, ‘Fuggerus’; Fuccaro or Foccaro is likely to be an Italianization of the Fugger surname, and the author is almost certain to be identified with Karl Fugger, Graf von Kirchberg and Weißenhorn (died 1642), dean of the Salzburg Cathedral..see full details
An elegant new year gift book, comprising an illustrated survey of the popular French rose varieties, notes on culture and cultivation and a collection of rose poetry, completed with a calendar for the year 1819. The finely engraved plates are after Pancrace Bessa, a pupil and collaborator of Henri Redouté, painting tutor to the duchesse de Berry, and from 1823, official painter at the Museum d’Histoire Naturelle (replacing Redouté). The book was reissued several times with added calendars for successive years. The varieties illustrated include: Grand cuisse de nymphe, Rose de Portland, Damas simple, Manteau d’Evêque and Rose Bichonne..see full details
First edition in English of one of the most influential technical painting manuals of both the seventeenth and eighteenth centuries: Traité de mignature (also École de la mignature).more...
First printed by Christophe Ballard in 1673, the publisher’s initials perhaps giving rise to unproven attribution to one ‘Claude Boutet’, it appeared in over 30 editions in a variety of European languages over the next 200 years, often with additions and alterations by anonymous authors.
The English edition is dedicated to John Montagu, second duke of Montagu (1690–1749) by its anonymous translator. After an exposition of the available colours and materials, the chapters consider in turn: Draperies; Of Carnations [flesh], or the Naked Parts of Painting; Landskips and Flowers; followed by a short treatise on the advantages of miniature painting over other techniques. The section devoted to flowers is extensive, with detailed instructions on the painting of roses, tulips, anemones (’wind-flower’), carnations, lilies, hyacinths, peonies, crocuses, irises, jasmine, tuberoses, hellebores, daffodils, passion-flowers, pinks, pomegranate, indian bean flower and crown imperial, among others..see full details