Lamarck botany, original boards, deluxe edition

50.000,00 25.000,00

The publisher Editions Liber presented in 1997 for the first time in this exclusive Spanish and important work of botany and had to do with the collaboration of eminent botanist Spanish Royal Botanic Gardens, Dr. Santiago Castroviejo, who conducted the studies, and directed adaptation of the text the scientific aspects of the Spanish edition.

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Botany Lamarck (Lamarck – Redoute, Marechal and others). The publisher Editions Liber presented in 1997 for the first time in this exclusive Spanish and important work of botany and had to do with the collaboration of eminent botanist Spanish Royal Botanic Gardens, Dr. Santiago Castroviejo, who conducted the studies, and directed adaptation of the text the scientific aspects of the Spanish edition.

The Botany of Lamarck has 1,000 illuminated hand original boards representing all the species illustrated by Lamarck. It includes full description of the 2900 illustrated species besides indexes and studies.

The lighting of the plates was done manually using the technique “pochoir” by the miniaturist M. Marty, using pigments gouache and watercolor.

The Botany of Lamarck, coveted by collectors and bibliophiles, including a justification of lying on the technical features of the work and the specified number of copy.

Technical characteristics of the work:

Strictly limited to 200 copies only original artistic editing.
10 Cases for 1,000 sheets and 2 volumes sewn to the text: It comes in 12 volumes.
For the sheets used d’Arches vellum paper of 250g. / M. special manufacturing.
It comes in a luxurious leather case goat in one piece with golden and dry irons. Format 25 x 34 cm.

Lamarck Botany is considered the masterpiece of world botany. It has illustrations made by a selection of collaborators composed of the best botanical artists such as Redouté, Marechal, JE de Sève, Fossier, Benard, Poiret siblings (son) issues, among others. It was first published in Spanish after an intense and hard work of more than ten years. The issue of Botany of Lamarck, also contributes to rescue the figure of Lamarck and stresses the importance of the research this scientist conducted in the field of botany, medicine and biology, a field in which he surpassed Darwin in more than fifty years.

This edition of Botany of Lamarck not only presents the detailed and comprehensive description of the 2,900 species illustrated and still surprised today by its rigor and precision, but also every one of the films that were commissioned by Lamarck to more and rigorous illustrious artists of the moment.

Botany sheets Lamarck collect even the smallest details of each of the species represented. Originally, the plates that were used were monochrome, black and white, typical of the era, but this Spanish edition wanted to illuminate each of the sheets to obtain a clear result of spectacular.

A total of 1,000 sheets make this work. Each sheet is colored by hand with stencil technique, climb or estarcedido, using natural pigments gouache and watercolor. These pigments allow a result that gives it durability by using a paper support one hundred percent cotton specially made for this edition.

Lamarck’s investigations were considered in his time as a decisive contribution in the field of botany; the “Encyclopedic Botanique” Jean-Baptiste Lamarck (1744-1829) stands out for the quantity and quality of descriptions of plants from very different geographical areas, ranging from Europe to the tropics, and the excellent drawings the Reduté and Marechal, among others, which contributed significantly to the undeniable success of the work.

For this edition, aimed at investors, collectors, bibliophiles and lovers of botany, studies, text adaptation and direction of all scientific aspects of the eminent botanist Spanish Royal Botanic Garden of Madrid, Dr Santiago Castroviejo was entrusted. The issue also had the collaboration of some of the leading botanists of the world: Ghillean T. Prance, director of the Royal Botanic Gardens Kew deLondres, and Dr. Yves Delange Lucile Allorge and the Museum National d’Histoire Naturelle in Paris..

A work that can not miss in the most select and EXCLUSIVE libraries.

“Lamarck was favored by fortune to count on the collaboration of an exceptional team of artists and prints of the films could be performed without hindrance. The success in the selection of its artists converts each of its blades in a perfect miniature in Lectures and small works of art drawings. The colorful, composition, stroke, make each film an art object, regardless of their undoubted value for naturalists. Art and science shook hands in the botanical illustrators of the XVIII and XIX, the artists and writers who made possible masterpieces and unique works as the original editions of botanical texts Lamarck. His undeniable scientific merit not obscure the talent shown by their artists. Seldom has produced such fruitful collaboration as starring botanists from the eighteenth and nineteenth centuries and its artists. The Spanish expeditions are an obvious example, but many obstacles had before them. By contrast, Lamarck and artists and writers could pursue his work without being disturbed by problems unrelated to the quality of their work. These favorable conditions make the work of one of the summits Lamarck moments of collaboration between botanical science, the art of the artists and the art of the engravers, collaboration finds its peak in the whole of Jean-Baptiste de Monet work knight of Lamarck and “Raphael of flowers”. Pierre Joseph Redoute “
Joan Esteva de Sagrera, Professor at the University of Barcelona.

“Since its publication in 1783 the” Encyciopédie Méthodique “was the greatest work of reference for botanists and horticulturists from around the world.”
Prof. T. Ghillean Prance, Royal Botanic Gardens Kew, London.

“Lamarck is an author must botanical reference for the world.”
Dr. Santiago Castroviejo, Royal Botanic Gardens, Madrid.

TO THE BLACK COLOR. LIGHTING FOIL botany. Michel Marty, enlightening workshop.

The technique of “stencil”, now unknown, is, however, an ancient procedure whose invention would go back to the fifth century used to color prints in black and white. After analyzing the colors of the original, the necessary forms reconstituted craftsman tracing the contours of future patterns or stencils on thin sheets of zinc or copper, these are then cut through a thin steel tip attached to a wooden handle and they are committed to the colorist. Using brushes, stencil after stencil, successive passes of the colors flow into the final image after getting the exact tone, minor nuances, the finer values. The limited number of colorful, repeating important to get past the color (sometimes up to a hundred or more) and the patient rhythm of the strokes by hand manufacturing impose longer terms. The stencil is thus a purely manual work; hence the difficulty and rarity. It is also one of the essential components that ensure the sustainability of this type of prints and revaluation.

NOTE: at the request of the publisher who made this excellent edition, and for reasons of “intellectual property”, we have removed the images that we offered, as they came from their website. We regret the inconvenience we could cause our visitors. Soon we will place our own photographs; Meanwhile, we offer you these three that are in the public domain.

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