GEORGE CHRISTIAN OEDER (1728-1791) AND OTHERS Aftegninger paa de Planter, som vore vildt i Kongerigerne Danmark og Norge, i hertugdommene Slesvig og Holsteen, og i Grevskaberne Oldenborg og Delmenhorst, til at oplnse det under titel FLORA DANICA. . Copenhagen: Nicolaus Moller and others, 1766-1883. 17 volumes, plus 3 supplementary parts bound in 1 volume, 2° (373 x 235mm). Title to volumes 1-11 printed in red and black, titles to volumes 1-9 in Danish and volumes 10-18 in Latin, 3240 hand-coloured engraved and lithographic plates, 11 folding, one duplicate, lacking text to parts 24-27. (Light browning and scattered spotting in vols. 13-18, faint spotting in about 25 other plates, tiny tear at edge of one plate, one plate very slightly shaved at upper edge.) Near-uniform set, volumes 1-9 tree sheep, volumes 10-14 tree-calf-backed paper boards, vols. 15-18 polished tree-calf-backed boards, single gilt floral ornament in spine compartments, leather title and volume labels (a few very minor abrasions). One of the great National Floras, the Flora Danica had an important influence on the development and encouragement of Botanical research. Appointed by King Frederik V of Denmark, Georg Christian Oeder founded the Royal Botanical Institute in Copenhagen and commenced the publication of the Flora Danica in 1761. It continued for 122 years becoming, with its 3240 plates, the most comprehensive illustrated survey of wild plants of Denmark and its adjacent regions, from the far side of the Elbe to the Arctic Sea. Nissen praises the engraved illustrations as the best in their field, combining precise scientific accuracy with great aesthetic merit. The main artists involved were Michael and Martin Rössler, who produced some 600 plates, Christian Friedrich Mller, who contributed excellent illustrations, and his pupil and successor J.T.Bayer, who produced over 1500 plates during the course of 60 years. Later editors include O.F.Mller, M.Vahl, J.W.Hornemann, F.M.Liebermann and J.M.C.Lange. The publication enjoyed the active support of the Danish monarchy, and the project embodied national enlightenment as well as international prestige. Copies were intended to be sent to each parish in Denmark for the benefit of the general population and, at the request of the King, Oeder sent presentation copies to renowned botanists such as Hallerand Linnaeus, as well as to the Botanical Garden in Amsterdam. The copy presented to Sir Joseph Banks, director of Kew Gardens and president of the Royal Society, was then given to the British Museum, and Professor Antoine Gouan's copy passed into the university library at Montpelier. Copies were sent to royal and noble families of Europe: the King of England, the King of Both Sicilies, the King of Wrttemberg, and the Grand Duke of Mecklenburg-Strelitz, among others. The great influence of Flora Danica on subsequent botanical works can be read in the foreword of Jaquin's Flora Austriaca where he writes (after fulsome praise of the Danish kings): 'I therefore offer... at my own expense, Austria's contribution to Flora Danica ...' In 1777 - 78 Curtis published Flora Londonensis , and Russia joined in with Pallas's Flora Russica in 1784. Kurt Spengel commented in 1808 that: 'Our entire science has become illuminated by a remarkable light from Denmark,... this incomparable work have a first place among botanical aids.' ( Historia rei botanicae). The Flora Danica also influeced fields beyond botany and science, and its illustrations were taken as the model for the largest porcelain dinner service of the 18th century. Composed of more than 1800 pieces forming 100 place-settings, the service created for the Danish court by Royal Copenhagen from 1790 to 1802. Johann Christoph Bayer, a renowned porcelain painter from Meissen decorated the vast majority of the service. Nissen BBI 2249; Pritzel 6799; Great Flower Books , pp.69-70; Dunthorne 218; Stafleu TL2 7001 and 7008; Hunt 594. (18)
GEORGE CHRISTIAN OEDER (1728-1791) AND OTHERS Aftegninger paa de Planter, som vore vildt i Kongerigerne Danmark og Norge, i hertugdommene Slesvig og Holsteen, og i Grevskaberne Oldenborg og Delmenhorst, til at oplnse det under titel FLORA DANICA. . Copenhagen: Nicolaus Moller and others, 1766-1883. 17 volumes, plus 3 supplementary parts bound in 1 volume, 2° (373 x 235mm). Title to volumes 1-11 printed in red and black, titles to volumes 1-9 in Danish and volumes 10-18 in Latin, 3240 hand-coloured engraved and lithographic plates, 11 folding, one duplicate, lacking text to parts 24-27. (Light browning and scattered spotting in vols. 13-18, faint spotting in about 25 other plates, tiny tear at edge of one plate, one plate very slightly shaved at upper edge.) Near-uniform set, volumes 1-9 tree sheep, volumes 10-14 tree-calf-backed paper boards, vols. 15-18 polished tree-calf-backed boards, single gilt floral ornament in spine compartments, leather title and volume labels (a few very minor abrasions). One of the great National Floras, the Flora Danica had an important influence on the development and encouragement of Botanical research. Appointed by King Frederik V of Denmark, Georg Christian Oeder founded the Royal Botanical Institute in Copenhagen and commenced the publication of the Flora Danica in 1761. It continued for 122 years becoming, with its 3240 plates, the most comprehensive illustrated survey of wild plants of Denmark and its adjacent regions, from the far side of the Elbe to the Arctic Sea. Nissen praises the engraved illustrations as the best in their field, combining precise scientific accuracy with great aesthetic merit. The main artists involved were Michael and Martin Rössler, who produced some 600 plates, Christian Friedrich Mller, who contributed excellent illustrations, and his pupil and successor J.T.Bayer, who produced over 1500 plates during the course of 60 years. Later editors include O.F.Mller, M.Vahl, J.W.Hornemann, F.M.Liebermann and J.M.C.Lange. The publication enjoyed the active support of the Danish monarchy, and the project embodied national enlightenment as well as international prestige. Copies were intended to be sent to each parish in Denmark for the benefit of the general population and, at the request of the King, Oeder sent presentation copies to renowned botanists such as Hallerand Linnaeus, as well as to the Botanical Garden in Amsterdam. The copy presented to Sir Joseph Banks, director of Kew Gardens and president of the Royal Society, was then given to the British Museum, and Professor Antoine Gouan's copy passed into the university library at Montpelier. Copies were sent to royal and noble families of Europe: the King of England, the King of Both Sicilies, the King of Wrttemberg, and the Grand Duke of Mecklenburg-Strelitz, among others. The great influence of Flora Danica on subsequent botanical works can be read in the foreword of Jaquin's Flora Austriaca where he writes (after fulsome praise of the Danish kings): 'I therefore offer... at my own expense, Austria's contribution to Flora Danica ...' In 1777 - 78 Curtis published Flora Londonensis , and Russia joined in with Pallas's Flora Russica in 1784. Kurt Spengel commented in 1808 that: 'Our entire science has become illuminated by a remarkable light from Denmark,... this incomparable work have a first place among botanical aids.' ( Historia rei botanicae). The Flora Danica also influeced fields beyond botany and science, and its illustrations were taken as the model for the largest porcelain dinner service of the 18th century. Composed of more than 1800 pieces forming 100 place-settings, the service created for the Danish court by Royal Copenhagen from 1790 to 1802. Johann Christoph Bayer, a renowned porcelain painter from Meissen decorated the vast majority of the service. Nissen BBI 2249; Pritzel 6799; Great Flower Books , pp.69-70; Dunthorne 218; Stafleu TL2 7001 and 7008; Hunt 594. (18)
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
