botany

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  • Keywords = botany
  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘As you like it’, Act II, Scene 7:

    ‘Heigh-ho! sing heigh-ho! unto the… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘As you like it’, Act II, Scene 7:

    ‘Heigh-ho! sing heigh-ho! unto the green holly.
    Most friendship is feigning, most loving mere folly.
    Then, heigh-ho, the holly!
    This life is most jolly’.

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Primroses illustrating ‘Twelfth Night’, Act 3, scene 1:

    ‘Cesario, by the Roses of the… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Primroses illustrating ‘Twelfth Night’, Act 3, scene 1:

    ‘Cesario, by the Roses of the Spring,
    By maidenhood, honour, truth and every thing,
    I love thee so, that, maugre all thy pride,
    Nor wit nor reason can my passion hide’.

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘Titus Andronicus’ Act II, Scene 3:

    ‘The trees, though summer, yet forlorn and… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘Titus Andronicus’ Act II, Scene 3:

    ‘The trees, though summer, yet forlorn and lean,
    O’ercome with Moss and baleful Mistletoe...
    But straight they told me they would bind me here
    Unto the body of a dismal Yew,
    And leave me to this miserable death’.

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating Ophelia’s ‘mad speech’ in Hamlet:

    ‘There’s Rosemary, that’s for remembrance. Pray you, love,
    remember.… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating Ophelia’s ‘mad speech’ in Hamlet:

    ‘There’s Rosemary, that’s for remembrance. Pray you, love,
    remember. And there is Pansies, that’s for thoughts.
    ... There’s Fennel for you, and Columbines. There’s Rue for you,
    and here’s some for me. We may call it herb of grace o’ Sundays.
    O, you must wear your Rue with a difference! There’s a Daisy. I
    would give you some Violets, but they wither’d all when my father
    died’.

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘Midsummer Night’s Dream’, Act II, scene 1 (she incorrectly gives ‘scene 2’),… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘Midsummer Night’s Dream’, Act II, scene 1 (she incorrectly gives ‘scene 2’), Titania’s speech:

    The seasons alter; hoary headed frosts
    Far in the fresh lap of the Crimson Rose,
    And on old Hyems' chin and icy crown
    An odorous chaplet of sweet Summer Buds
    Is, as in mockery, set.’

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Honeysuckle illustrating ‘Much ado about Nothing’, Act III, scene 1, in Leonato’s garden:

    ‘Bid… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Honeysuckle illustrating ‘Much ado about Nothing’, Act III, scene 1, in Leonato’s garden:

    ‘Bid her steal into the pleached bower,
    Where Honeysuckles, ripen’d by the sun,
    Forbid the sun to enter, like favourites,
    Made proud by princes, that advance their pride
    Against that power that bred it.’

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Lilies and a moss rose, illustrating King John, Act IV, scene 2:

    ‘But thou… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Lilies and a moss rose, illustrating King John, Act IV, scene 2:

    ‘But thou art fair, and at thy birth, dear boy,
    Nature and Fortune join'd to make thee great:
    Of Nature's gifts thou mayst with Lilies boast,
    And with the half-blown Rose’.

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘A Winters Tale’, Act IV, scene 3:

    ‘Here’s flowers for you!
    Hot Lavender, Mints, Savory,… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Illustrating ‘A Winters Tale’, Act IV, scene 3:

    ‘Here’s flowers for you!
    Hot Lavender, Mints, Savory, Marjoram;
    The Marigold, that goes to bed with the sun
    And with him rises weeping’.

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Samphire illustrating ‘King Lear’, Act IV, Scene 6:

    ‘How dizzy ‘tis, to cast… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Samphire illustrating ‘King Lear’, Act IV, Scene 6:

    ‘How dizzy ‘tis, to cast one’s eyes so low!
    The crows and choughs that wing the midway air
    Show scarce so gross as beetles: half way down
    Hangs one that gathers samphire; dreadful trade!’

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Red and white roses illustrating Henry VI, Part I, Act II, scene 4, Warwick’s… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Red and white roses illustrating Henry VI, Part I, Act II, scene 4, Warwick’s speech:

    ‘This brawl today,
    Grown to this faction in the Temple garden,
    Shall send, between the red rose and the white,
    A thousand souls to death and deadly night’.

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Hawthorn and bramble illustrating ‘As you like it’, Act III, scene 1, Rosalind’s… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Hawthorn and bramble illustrating ‘As you like it’, Act III, scene 1, Rosalind’s speech:

    ‘There is a man haunts the forest, that abuses our young plants with carving Rosalind on their barks; hangs odes upon hawthorns and elegies on brambles, all, forsooth, deifying the name of Rosalind’.

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Briars, furze, gorse and blackthorn illustrating ‘The Tempest’, Act IV, scene 1, Ariel’s speech:… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Briars, furze, gorse and blackthorn illustrating ‘The Tempest’, Act IV, scene 1, Ariel’s speech:

    ‘So I charm’d their ears
    That, calf-like, they my lowing followed through
    Tooth’d briers, sharp Furzes, pricking Gorse, and Thorns.’

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Wild pansy (’Love -in-idleness’) illustrating ‘Midsummer Nights Dream’, Act II, Scene 2, as… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Wild pansy (’Love -in-idleness’) illustrating ‘Midsummer Nights Dream’, Act II, Scene 2, as the basis of the elixir which makes Titania, Oberon’s queen, fall in love with Bottom the ass.

    ‘Yet mark’d I where the bolt of Cupid fell:
    It fell upon a little western flower,
    Before milk-white, now purple with love's wound,
    And maidens call it love-in-idleness’.

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  • The Flowers of Shakspeare. by GIRAUD, Jane Elizabeth. William SHAKESPEARE. GIRAUD, Jane Elizabeth. William SHAKESPEARE. ~ The Flowers of Shakspeare. 1845.
    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Oak leaves, acorns and rosehips illustrating ‘Timon of Athens’, Act IV, scene 3:

    ‘Why should… (more)

    An original hand-coloured lithograph from Jane Elizabeth Giraud’s Flowers of Shakspeare (1845).

    Oak leaves, acorns and rosehips illustrating ‘Timon of Athens’, Act IV, scene 3:

    ‘Why should you want? Behold, the earth hath roots;
    Within this mile break forth a hundred springs;
    The oaks bear mast, the briers scarlet hips;
    The bounteous housewife, nature, on each bush
    Lays her full mess before you’.

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  • Fleurs poétiques dédiées a S.A.R. Madame, duchesse de Berry … orné de seize gravures de fleurs coloriés. by DENNE-BARON, P[ierre-Jacques-René]. DENNE-BARON, P[ierre-Jacques-René]. ~ Fleurs poétiques dédiées a S.A.R. Madame, duchesse de Berry … orné de seize gravures de fleurs coloriés. Paris: [Lachevardiere fils for] Librairie d’Alexis Eymery, 1825.
    First edition of this delightful collection of floral poetry illustrated with unusual colour printed plates, each of two or three tints probably applied to the… (more)

    First edition of this delightful collection of floral poetry illustrated with unusual colour printed plates, each of two or three tints probably applied to the plate simultaneously. They are described by the online catalogue of the Bibliothèque nationale as lithographs, but they appear to be a kind of stipple engraving. A couple are marked as being after drawings by Poitreau, one of the most prominent botanical artists of the era (alongside Redouté). The work is dedicated to the young salon host, collector and bibliophile, the duchesse de Berry (1798-1870).
    The plates comprise: Le lis, la rose, la violette, la fleur d’oranger, la scabieuse, le bleuet, l’immortelle, la perce-neige, le soleil, les marguerites, le laurier rose, l’hortensia, le souci, l’astérie, le pavot et le narcisse and le lilas.

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  • The Language of Botany: being a Dictionary of the Terms made use of in that Science, principally by Linneus: with Familiar Explanations, and an Attempt to Establish Significant English Terms. The whole Interspersed with Critical Remarks. by MARTYN, Thomas. MARTYN, Thomas. ~ The Language of Botany: being a Dictionary of the Terms made use of in that Science, principally by Linneus: with Familiar Explanations, and an Attempt to Establish Significant English Terms. The whole Interspersed with Critical Remarks. London: for B. and J. White, 1793.
    First edition. The Language of Botany was reprinted in 1796. Martyn was Cambridge professor of botany for sixty-three years and the first reader of botany… (more)

    First edition. The Language of Botany was reprinted in 1796. Martyn was Cambridge professor of botany for sixty-three years and the first reader of botany following the foundation of the Cambridge botanical garden. Henrey, British botanical and horticultural Literature before 1800, 1026

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  • An Encyclopaedia of Gardening; comprising the Theory and Practice of Horticulture, Floriculture, Arboriculture, and Landscape-Gardening... illustrated with many hundred engravings on wood by Branston. by LOUDON, J[ohn] C[laudius]. LOUDON, J[ohn] C[laudius]. ~ An Encyclopaedia of Gardening; comprising the Theory and Practice of Horticulture, Floriculture, Arboriculture, and Landscape-Gardening... illustrated with many hundred engravings on wood by Branston. London: Longman, Rees, Orme, Brown, and Green, [1830].
    Second (revised) edition (the first of 1822). Loudon’s was one of the most widely read gardening encyclopaedias of the Victorian era and ran to at… (more)

    Second (revised) edition (the first of 1822). Loudon’s was one of the most widely read gardening encyclopaedias of the Victorian era and ran to at east six editions, covering plant culture, botany, garden design, and an international survey and history of gardening.

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  • ‘Histories of the Tête-à-Tète annexed; or, Memoirs of the Circumnavigator and Miss B—n’ [chapter title in] The Town and Country Magazine; or, Universal Repository of Knowledge, Instruction, and Entertainment for September 1773. by (BANKS, Joseph). (BANKS, Joseph). ~ ‘Histories of the Tête-à-Tète annexed; or, Memoirs of the Circumnavigator and Miss B—n’ [chapter title in] The Town and Country Magazine; or, Universal Repository of Knowledge, Instruction, and Entertainment for September 1773. London: for A. Hamilton, 1773.
    The short article plays on Banks’s youthful reputation at Oxford, his curiosity for the natural world and his experiences in the South Seas: ‘As nature… (more)

    The short article plays on Banks’s youthful reputation at Oxford, his curiosity for the natural world and his experiences in the South Seas: ‘As nature has been his constant study, it cannot be supposed that the most engaging part of it, the fair sex, have escaped his notice; and if we may be suffered to conclude from his amorous descriptions, the females of most of the countries he has visited, have undergone every critical inspection by him...’� The plate is described in BM Satires 5146.

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  • Florilège [spine title]. by [JEAN, prêtre]. [JEAN, prêtre]. ~ Florilège [spine title]. [France, c. 1890s].
    A curious florilegium, with extensive lithographed devotional text, presumably after the handwriting of author (’Jean, prêtre’) and a series of handcoloured lithographs. The latter include… (more)

    A curious florilegium, with extensive lithographed devotional text, presumably after the handwriting of author (’Jean, prêtre’) and a series of handcoloured lithographs. The latter include 31 of flowers (marigold, violet, primula, iris, cornflower, honeysuckle etc) which are paired with a description and devotional meditation on the opposite page. The others depict a hermit, a memento mori, a decorative contents list and (at the end) women in a religious procession with a banner. At least one them is signed ‘Jean’. The prefatory text is from Chateaubriand’s Le Martyrs: ‘En achevant ces mots, Zacharie s’arrêta, me montra le ciel où nous devions nous retrouver un jour, et, sans me laisser le temps de me jeter à ses pieds, il me quitta après m’avoir donné sa dernière leçon. C’est ainsi que Jésus-Christ dont il imite l’exemple, se plaisoit à instruire ses disciples, en se promenant au bord du lac de Génésareth, et faisoit parler l'herbe des champs et le lis de la vallée’.

    Although marked ‘Deposé’ on the first leaf, we have been unable to find any other copies or record of its publication. It was presumably printed in very small numbers.

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  • [Rikka zu]. by (IKEBANA). (IKEBANA). ~ [Rikka zu]. [Kyoto: not after 1792].
    A delightful example of Japanese art of flower arrangement, ikebana, in the form of 24 ‘Rikka Zu’ (flower arrangements), with an important provenance. The arrangements… (more)

    A delightful example of Japanese art of flower arrangement, ikebana, in the form of 24 ‘Rikka Zu’ (flower arrangements), with an important provenance. The arrangements combine boughs of trees or bamboo. with flowers including chrysanthemums, lotus, lilies, irises, and cherry blossom. The style is deliberately and strikingly asymmetrical, with stems tightly bundled at the foot in keeping with prevailing decorative aesthetics.

    The manuscript is dated, on the first extant image, Kansei 4 (1792) July 7th and there is a further inscription to the verso of one fold, now partly obscured by a paper strip (an old reinforcement) but still legible. It reads: ‘The lord Todo Izumino-kami, when his ambassador’s mission at Kyoto had a celebration in Ryokan’ and ‘Ikeno bo’. Ikenobo was the oldest and most important school of ikebana in Japan, founded at Kyoto in the fifteenth century, while the Todo clan were an ancient Samurai family with origins in the sixteenth century. The manuscript may be considerably older than the inscription of 1792. Its style is closely comparable with a manuscript now at Cambridge, Ikenobō rikka no zu (CUL FJ.978.12) dated to the ‘seventeenth or eighteenth century’ (2223 in Hayashi and Kornicki, Early Japanese books in Cambridge University Library).

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