{"title":"Botanicals","description":"\u003cdiv\u003e\u003c\/div\u003e","products":[{"product_id":"george-brookshaw-1751-1823-black-antigua-pl-lv","title":"George Brookshaw (1751-1823), Black Antigua Pineapple, Pl LV","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003eBlack Antigua Pineapple, Pl LV\u003c\/div\u003e\n\u003cdiv\u003efrom \u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21603172609,"sku":"","price":7000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Black_Antigua_Pl_LV.jpg?v=1467839379"},{"product_id":"george-brookshaw-1751-1823-bleeding-heart-ox-heart-maple-heart-cherries-pl-ix","title":"George Brookshaw (1751-1823), Bleeding Heart, Ox Heart, \u0026 Maple Heart Cherries, Pl IX","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003eBleeding Heart, Ox Heart, \u0026amp; Maple Heart Cherries, Pl IX\u003c\/div\u003e\n\u003cdiv\u003efrom \u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21603359809,"sku":"","price":4200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Bleeding_heart_Ox_heart_Maple_heart_Cherries_Pl_IX_6bc13818-80fe-4056-abdf-568cd681609c.jpg?v=1467839472"},{"product_id":"george-brookshaw-1751-1823-cherries-pl-vii","title":"George Brookshaw (1751-1823), Cherries, Pl VII","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003eCherries, Pl VII\u003c\/div\u003e\n\u003cdiv\u003efrom \u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21603560001,"sku":"","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Cherries_Pl_VII_05d323b7-259e-4618-b8dc-3e9bccea3c97.jpg?v=1467839495"},{"product_id":"george-brookshaw-1751-1823-grizzly-frontinac-pl-lv","title":"George Brookshaw (1751-1823), Grizzly Frontinac, Pl LV","description":"\u003cp\u003eGeorge Brookshaw (1751-1823)\u003c\/p\u003e\n\u003cp\u003eGrizzly Frontinac, Pl LV\u003c\/p\u003e\n\u003cp\u003efrom \u003cem\u003ePomona Britannicaa\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eLondon, 1804-1812\u003c\/p\u003e\n\u003cp\u003eEngravings with original hand-coloring\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21604183553,"sku":"","price":1900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Grizzly_Frontinac_Pl_LV.jpg?v=1467840484"},{"product_id":"george-brookshaw-1751-1823-nectarines-pl-xxxiv","title":"George Brookshaw (1751-1823), Nectarines, Pl XXXIV","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003eNectarines, Pl XXXIV\u003c\/div\u003e\n\u003cdiv\u003efrom \u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21604203585,"sku":"","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Nectarines_Pl_XXXIV.jpg?v=1467840613"},{"product_id":"george-brookshaw-1751-1823-peaches-pl-xxix","title":"George Brookshaw (1751-1823), Peaches, Pl XXIX","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003ePeaches, Pl XXIX\u003c\/div\u003e\n\u003cdiv\u003efrom \u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21604223041,"sku":"","price":2100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Peaches_Pl_XXIX.jpg?v=1467840683"},{"product_id":"george-brookshaw-1751-1823-peaches-pl-xxviii","title":"George Brookshaw (1751-1823), Peaches, Pl XXVIII","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003ePeaches, Pl XXVIII\u003c\/div\u003e\n\u003cdiv\u003efrom \u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21604289857,"sku":"","price":2200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Peaches_Pl_XXVIII.jpg?v=1467840816"},{"product_id":"george-brookshaw-1751-1823-peaches-pl-xxx","title":"George Brookshaw (1751-1823), Peaches, Pl XXX","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"line-height: 1.5;\"\u003ePeaches, Pl XXX\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"line-height: 1.5;\"\u003efrom \u003c\/span\u003e\u003cem style=\"line-height: 1.5;\"\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21604338113,"sku":"","price":2200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Peaches_Pl_XXX.jpg?v=1467840886"},{"product_id":"george-brookshaw-1751-1823-peaches-pl-xxxv","title":"George Brookshaw (1751-1823), Peaches, Pl XXXV","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003ePeaches, Pl XXXV\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003efrom \u003c\/span\u003e\u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21604351937,"sku":"","price":2400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Peaches_Pl_XXXV.jpg?v=1467840968"},{"product_id":"george-brookshaw-1751-1823-pear-pl-lxxvii","title":"George Brookshaw (1751-1823), Pear, Pl LXXVII","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003ePear, Pl LXXVII\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003efrom \u003c\/span\u003e\u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21604528065,"sku":"","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Pear_Pl_LXXVII.jpg?v=1467841322"},{"product_id":"george-brookshaw-1751-1823-pear-pl-lxxxv","title":"George Brookshaw (1751-1823), Pear, Pl LXXXV","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003ePear, Pl LXXXV\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003efrom \u003c\/span\u003e\u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21604587393,"sku":"","price":3200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Pear_Pl_LXXXV.jpg?v=1467841402"},{"product_id":"george-brookshaw-1751-1823-pears-pl-lxxvi","title":"George Brookshaw (1751-1823) Pears, Pl LXXVI","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003ePears, Pl LXXVI\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003efrom \u003c\/span\u003e\u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\n\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21604643009,"sku":"","price":3250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Pears_Pl_LXXVI.jpg?v=1467841462"},{"product_id":"george-brookshaw-1751-1823-pl-lxxiii","title":"George Brookshaw (1751-1823), Pl LXXIII","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003ePl LXXIII\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003efrom \u003c\/span\u003e\u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21631526721,"sku":"","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Pl_LXXIII.jpg?v=1467901966"},{"product_id":"george-brookshaw-1751-1823-pl-lxxv","title":"George Brookshaw (1751-1823), Pl LXXV","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003ePl LXXV\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003efrom \u003c\/span\u003e\u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21631635585,"sku":"","price":2750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Pl_LXXV.jpg?v=1467902193"},{"product_id":"george-brookshaw-1751-1823-pl-x","title":"George Brookshaw (1751-1823), Pl X","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003ePl X\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003efrom \u003c\/span\u003e\u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21631671681,"sku":"","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Pl_X.jpg?v=1467902251"},{"product_id":"george-brookshaw-1751-1823-pl-xc","title":"George Brookshaw (1751-1823), Pl XC","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003ePl XC\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003efrom \u003c\/span\u003e\u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21632314817,"sku":"","price":5000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Pl_XC.jpg?v=1467903079"},{"product_id":"george-brookshaw-1751-1823-pl-xcii","title":"George Brookshaw (1751-1823), Pl XCII","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003ePl XCII\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003efrom \u003c\/span\u003e\u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21632769409,"sku":"","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Pl_XCII.jpg?v=1467903650"},{"product_id":"george-brookshaw-1751-1823-pl-xiv","title":"George Brookshaw (1751-1823), Pl XIV","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003ePl XIV\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003efrom \u003c\/span\u003e\u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21632822337,"sku":"","price":3000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Pl_XIV.jpg?v=1467903740"},{"product_id":"george-brookshaw-1751-1823-pl-xxii","title":"George Brookshaw (1751-1823), Pl XXII","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003ePl XXII\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003efrom \u003c\/span\u003e\u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21633567617,"sku":"","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Pl_XXII.jpg?v=1467904647"},{"product_id":"george-brookshaw-1751-1823-pl-xxix","title":"George Brookshaw (1751-1823), Pl XXIX","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003ePl XXIX\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003efrom \u003c\/span\u003e\u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21633708993,"sku":"","price":2900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Pl_XXIX.jpg?v=1467904885"},{"product_id":"george-brookshaw-1751-1823-pl-xxv","title":"George Brookshaw (1751-1823), Pl XXV","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003ePl XXV\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003efrom \u003c\/span\u003e\u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21633730561,"sku":"","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Pl_XXV.jpg?v=1467904945"},{"product_id":"george-brookshaw-1751-1823-plums-pl-xvi","title":"George Brookshaw (1751-1823), Plums, Pl XVI","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003ePlums, Pl XVI\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003efrom \u003c\/span\u003e\u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\n\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21633862529,"sku":"","price":2800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Plums_Pl_XVI.jpg?v=1467905202"},{"product_id":"george-brookshaw-1751-1823-raisin-de-clames-pl-xlvii","title":"George Brookshaw (1751-1823,  Raisin de Clames, Pl XLVII","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003eRaisin de Clames, Pl XLVII\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003efrom \u003c\/span\u003e\u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21633905985,"sku":"","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Raisin_de_Clames_Pl_XLVII.jpg?v=1467905276"},{"product_id":"george-brookshaw-1751-1823-red-frontiniac-pl-lvi","title":"George Brookshaw (1751-1823) Red Frontiniac, Pl LVI","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003eRed Frontiniac, Pl LVI\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003efrom \u003c\/span\u003e\u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21633939521,"sku":"","price":2900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Red_Frontiniac_Pl_LVI.jpg?v=1467905341"},{"product_id":"george-brookshaw-1751-1823-strawberries","title":"George Brookshaw (1751-1823), Strawberries","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003eStrawberries\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003efrom \u003c\/span\u003e\u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21634055361,"sku":"","price":2200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Strawberries.jpg?v=1467905508"},{"product_id":"george-brookshaw-1751-1823-white-masculine-red-masculine-orange-apricot-turkish-apricot-pl-xix","title":"George Brookshaw (1751-1823), White Masculine, Red Masculine, Orange Apricot, Turkish Apricot, Pl XIX","description":"\u003cdiv\u003eGeorge \u003cspan class=\"il\"\u003eBrookshaw\u003c\/span\u003e (1751-1823)\u003c\/div\u003e\n\u003cdiv\u003eWhite Masculine, Red Masculine, Orange Apricot, Turkish Apricot, Pl XIX\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003efrom \u003c\/span\u003e\u003cem\u003ePomona Britannicaa\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eLondon, 1804-1812\u003c\/div\u003e\n\u003cdiv\u003eEngravings with original hand-coloring\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSheet size: approx. 22 3\/4 x 18 1\/4\"\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGeorge Brookshaw's splendid \"Pomona Brittanica\" is a masterpiece among 19th-century British flower books. The publication of the \"Pomona\" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual \"A New Treatise on Flower Painting\", 1797. \u003cbr\u003e\u003cbr\u003eCharacterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the \"Pomona\" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's \"Temple of Flora,\" Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the \"Pomona Britannica\" was an enduring work created for the enjoyment and edification of \"succeeding generations.\" \u003c\/span\u003e\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21634096513,"sku":"","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/White_Masculine_Red_Masculine_Orange_Apricot_Turkish_Apricot_Pl_XIX.jpg?v=1467905567"},{"product_id":"robert-john-thornton-1768-1837-a-group-of-auriculas","title":"Robert John Thornton (1768-1837), A Group of Auriculas","description":"\u003cp\u003eRobert John Thornton (1768-1837)\u003c\/p\u003e\n\u003cp\u003eA Group of Auriculas\u003c\/p\u003e\n\u003cp\u003eFrom \u003cem\u003eThe Temple of Flora\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eLondon, 1799-1810\u003c\/p\u003e\n\u003cp\u003eMixed method engraving, including aquatint, mezzotint, stipple and line engraving, printed in color and finished by hand\u003c\/p\u003e\n\u003cp\u003eSheet size: approx. 22 3\/4 x 17 1\/4”\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRobert John Thornton (1768-1837) was destined for a career in the church, but while at Trinity College, Cambridge he found inspiration in the botanical lectures of Thomas Martyn and switched to studying medicine. He went on to lecture in medical botany at Guy's Hospital. Conceived on a grandiose scale, Thornton's work was to comprise three parts: a dissertation on the sexual reproductive cycle of plates; an explanation of Linnaeus's plant system, lavishly illustrated with botanical plates and portraits of botanists; and \"The Temple of Flora\" which was to have no less than seventy large plates of exotic plant species arranged according to the classification system of Linnaeus. Each species was to appear in its native environment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe production of the plates for \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Temple of Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e involved a variety of techniques - aquatint, mezzotint, stipple engraving and stippling with line engraving or etching which required the participation of a large number of artists. Among those commissioned by Thornton were Philip Reinagle - who executed most of the preparatory drawings - Abraham Pether (known for his moody, quasi-Gothic landscapes), Sydenham Edwards, and Peter Henderson, and the engravers Richard Earlom, James Caldwall, and Thomas Burke. Only the plate of the Rose was drawn by Thornton and executed by Earlom.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn spite of using a host of artists and engravers, Thornton managed to \"maintain a remarkable homogeneity of style throughout\" (\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eAn Oak Spring Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e), but production was a protracted stop-and-go affair, causing the text and plates to appear irregularly, and to bring Thornton ultimately to the brink of personal bankruptcy. Because some plates were withdrawn or reworked in the course of publication, it is not possible to establish a definitive collation of the work. For his contribution to English botanical illustration, Thornton has been compared to Redouté by Alan Thomas: \"more or less coeval with Redouté in France came the production of the greatest English colour-plate flower book... What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X and the Duchesse de Berry, Thornton set out to do alone. The result was almost total failure. His fortune was engulfed and his family reduced to penury... It is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing... but he produced... the most strikingly beautiful set of flower plates ever to be printed in England [and] one of the loveliest books in the world.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGreat Books and Book Collectors\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e pp. 142). \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGreat Flower Books\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, p.77; Nissen BBI 1955; Grigson and Buchanan, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThornton's Temple of Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (London, 1951). \u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21696713345,"sku":"","price":9500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/A_Group_of_Auriculas.jpg?v=1468005589"},{"product_id":"robert-john-thornton-1768-1837-american-bog-plants","title":"Robert John Thornton (1768-1837), American Bog Plants","description":"\u003cp\u003eRobert John Thornton (1768-1837)\u003c\/p\u003e\n\u003cp\u003eAmerican Bog Plants\u003c\/p\u003e\n\u003cp\u003eFrom \u003cem\u003eThe Temple of Flora\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eLondon, 1799-1810\u003c\/p\u003e\n\u003cp\u003eMixed method engraving, including aquatint, mezzotint, stipple and line engraving, printed in color and finished by hand\u003c\/p\u003e\n\u003cp\u003eSheet size: approx. 22 3\/4 x 17 1\/4”\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRobert John Thornton (1768-1837) was destined for a career in the church, but while at Trinity College, Cambridge he found inspiration in the botanical lectures of Thomas Martyn and switched to studying medicine. He went on to lecture in medical botany at Guy's Hospital. Conceived on a grandiose scale, Thornton's work was to comprise three parts: a dissertation on the sexual reproductive cycle of plates; an explanation of Linnaeus's plant system, lavishly illustrated with botanical plates and portraits of botanists; and \"The Temple of Flora\" which was to have no less than seventy large plates of exotic plant species arranged according to the classification system of Linnaeus. Each species was to appear in its native environment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe production of the plates for \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Temple of Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e involved a variety of techniques - aquatint, mezzotint, stipple engraving and stippling with line engraving or etching which required the participation of a large number of artists. Among those commissioned by Thornton were Philip Reinagle - who executed most of the preparatory drawings - Abraham Pether (known for his moody, quasi-Gothic landscapes), Sydenham Edwards, and Peter Henderson, and the engravers Richard Earlom, James Caldwall, and Thomas Burke. Only the plate of the Rose was drawn by Thornton and executed by Earlom.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn spite of using a host of artists and engravers, Thornton managed to \"maintain a remarkable homogeneity of style throughout\" (\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eAn Oak Spring Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e), but production was a protracted stop-and-go affair, causing the text and plates to appear irregularly, and to bring Thornton ultimately to the brink of personal bankruptcy. Because some plates were withdrawn or reworked in the course of publication, it is not possible to establish a definitive collation of the work. For his contribution to English botanical illustration, Thornton has been compared to Redouté by Alan Thomas: \"more or less coeval with Redouté in France came the production of the greatest English colour-plate flower book... What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X and the Duchesse de Berry, Thornton set out to do alone. The result was almost total failure. His fortune was engulfed and his family reduced to penury... It is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing... but he produced... the most strikingly beautiful set of flower plates ever to be printed in England [and] one of the loveliest books in the world.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGreat Books and Book Collectors\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e pp. 142). \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGreat Flower Books\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, p.77; Nissen BBI 1955; Grigson and Buchanan, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThornton's Temple of Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (London, 1951). \u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21696735617,"sku":"","price":2700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/American_Bog_Plants.jpg?v=1468005632"},{"product_id":"robert-john-thornton-1768-1837-esculapius-flora-ceres-and-cupid-honoring-the-bust-of-linnaeus","title":"Robert John Thornton (1768-1837), Esculapius, Flora, Ceres and Cupid honoring the bust of Linnaeus","description":"\u003cp\u003eRobert John Thornton (1768-1837)\u003c\/p\u003e\n\u003cp\u003eEsculapius, Flora, Ceres and Cupid honoring the bust of Linnaeus\u003c\/p\u003e\n\u003cp\u003eFrom \u003cem\u003eThe Temple of Flora\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eLondon, 1799-1810\u003c\/p\u003e\n\u003cp\u003eMixed method engraving, including aquatint, mezzotint, stipple and line engraving, printed in color and finished by hand\u003c\/p\u003e\n\u003cp\u003eSheet size: approx. 22 3\/4 x 17 1\/4”\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRobert John Thornton (1768-1837) was destined for a career in the church, but while at Trinity College, Cambridge he found inspiration in the botanical lectures of Thomas Martyn and switched to studying medicine. He went on to lecture in medical botany at Guy's Hospital. Conceived on a grandiose scale, Thornton's work was to comprise three parts: a dissertation on the sexual reproductive cycle of plates; an explanation of Linnaeus's plant system, lavishly illustrated with botanical plates and portraits of botanists; and \"The Temple of Flora\" which was to have no less than seventy large plates of exotic plant species arranged according to the classification system of Linnaeus. Each species was to appear in its native environment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe production of the plates for \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Temple of Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e involved a variety of techniques - aquatint, mezzotint, stipple engraving and stippling with line engraving or etching which required the participation of a large number of artists. Among those commissioned by Thornton were Philip Reinagle - who executed most of the preparatory drawings - Abraham Pether (known for his moody, quasi-Gothic landscapes), Sydenham Edwards, and Peter Henderson, and the engravers Richard Earlom, James Caldwall, and Thomas Burke. Only the plate of the Rose was drawn by Thornton and executed by Earlom.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn spite of using a host of artists and engravers, Thornton managed to \"maintain a remarkable homogeneity of style throughout\" (\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eAn Oak Spring Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e), but production was a protracted stop-and-go affair, causing the text and plates to appear irregularly, and to bring Thornton ultimately to the brink of personal bankruptcy. Because some plates were withdrawn or reworked in the course of publication, it is not possible to establish a definitive collation of the work. For his contribution to English botanical illustration, Thornton has been compared to Redouté by Alan Thomas: \"more or less coeval with Redouté in France came the production of the greatest English colour-plate flower book... What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X and the Duchesse de Berry, Thornton set out to do alone. The result was almost total failure. His fortune was engulfed and his family reduced to penury... It is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing... but he produced... the most strikingly beautiful set of flower plates ever to be printed in England [and] one of the loveliest books in the world.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGreat Books and Book Collectors\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e pp. 142). \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGreat Flower Books\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, p.77; Nissen BBI 1955; Grigson and Buchanan, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThornton's Temple of Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (London, 1951). \u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21696765377,"sku":"","price":1900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Esculapius_Flora_Ceres_and_CUpid_honoring_the_bust_of_Linnaeus.jpg?v=1468005698"},{"product_id":"robert-john-thornton-1768-1837-flora-dispensing-her-favours","title":"Robert John Thornton (1768-1837)  Flora Dispensing her Favours","description":"\u003cp\u003eRobert John Thornton (1768-1837)\u003c\/p\u003e\n\u003cp\u003eFlora Dispensing her Favours\u003c\/p\u003e\n\u003cp\u003eFrom \u003cem\u003eThe Temple of Flora\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eLondon, 1799-1810\u003c\/p\u003e\n\u003cp\u003eMixed method engraving, including aquatint, mezzotint, stipple and line engraving, printed in color and finished by hand\u003c\/p\u003e\n\u003cp\u003eSheet size: approx. 22 3\/4 x 17 1\/4”\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRobert John Thornton (1768-1837) was destined for a career in the church, but while at Trinity College, Cambridge he found inspiration in the botanical lectures of Thomas Martyn and switched to studying medicine. He went on to lecture in medical botany at Guy's Hospital. Conceived on a grandiose scale, Thornton's work was to comprise three parts: a dissertation on the sexual reproductive cycle of plates; an explanation of Linnaeus's plant system, lavishly illustrated with botanical plates and portraits of botanists; and \"The Temple of Flora\" which was to have no less than seventy large plates of exotic plant species arranged according to the classification system of Linnaeus. Each species was to appear in its native environment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe production of the plates for \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Temple of Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e involved a variety of techniques - aquatint, mezzotint, stipple engraving and stippling with line engraving or etching which required the participation of a large number of artists. Among those commissioned by Thornton were Philip Reinagle - who executed most of the preparatory drawings - Abraham Pether (known for his moody, quasi-Gothic landscapes), Sydenham Edwards, and Peter Henderson, and the engravers Richard Earlom, James Caldwall, and Thomas Burke. Only the plate of the Rose was drawn by Thornton and executed by Earlom.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn spite of using a host of artists and engravers, Thornton managed to \"maintain a remarkable homogeneity of style throughout\" (\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eAn Oak Spring Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e), but production was a protracted stop-and-go affair, causing the text and plates to appear irregularly, and to bring Thornton ultimately to the brink of personal bankruptcy. Because some plates were withdrawn or reworked in the course of publication, it is not possible to establish a definitive collation of the work. For his contribution to English botanical illustration, Thornton has been compared to Redouté by Alan Thomas: \"more or less coeval with Redouté in France came the production of the greatest English colour-plate flower book... What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X and the Duchesse de Berry, Thornton set out to do alone. The result was almost total failure. His fortune was engulfed and his family reduced to penury... It is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing... but he produced... the most strikingly beautiful set of flower plates ever to be printed in England [and] one of the loveliest books in the world.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGreat Books and Book Collectors\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e pp. 142). \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGreat Flower Books\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, p.77; Nissen BBI 1955; Grigson and Buchanan, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThornton's Temple of Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (London, 1951). \u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21696780865,"sku":"","price":1900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Flora_Dispensing_her_Favours.jpg?v=1468005730"},{"product_id":"robert-john-thornton-1768-1837-large-flowering-sensitive-plant","title":"Robert John Thornton (1768-1837), Large Flowering Sensitive Plant","description":"\u003cp\u003eRobert John Thornton (1768-1837)\u003c\/p\u003e\n\u003cp\u003eLarge Flowering Sensitive Plant\u003c\/p\u003e\n\u003cp\u003eFrom \u003cem\u003eThe Temple of Flora\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eLondon, 1799-1810\u003c\/p\u003e\n\u003cp\u003eMixed method engraving, including aquatint, mezzotint, stipple and line engraving, printed in color and finished by hand\u003c\/p\u003e\n\u003cp\u003eSheet size: approx. 22 3\/4 x 17 1\/4”\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRobert John Thornton (1768-1837) was destined for a career in the church, but while at Trinity College, Cambridge he found inspiration in the botanical lectures of Thomas Martyn and switched to studying medicine. He went on to lecture in medical botany at Guy's Hospital. Conceived on a grandiose scale, Thornton's work was to comprise three parts: a dissertation on the sexual reproductive cycle of plates; an explanation of Linnaeus's plant system, lavishly illustrated with botanical plates and portraits of botanists; and \"The Temple of Flora\" which was to have no less than seventy large plates of exotic plant species arranged according to the classification system of Linnaeus. Each species was to appear in its native environment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe production of the plates for \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Temple of Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e involved a variety of techniques - aquatint, mezzotint, stipple engraving and stippling with line engraving or etching which required the participation of a large number of artists. Among those commissioned by Thornton were Philip Reinagle - who executed most of the preparatory drawings - Abraham Pether (known for his moody, quasi-Gothic landscapes), Sydenham Edwards, and Peter Henderson, and the engravers Richard Earlom, James Caldwall, and Thomas Burke. Only the plate of the Rose was drawn by Thornton and executed by Earlom.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn spite of using a host of artists and engravers, Thornton managed to \"maintain a remarkable homogeneity of style throughout\" (\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eAn Oak Spring Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e), but production was a protracted stop-and-go affair, causing the text and plates to appear irregularly, and to bring Thornton ultimately to the brink of personal bankruptcy. Because some plates were withdrawn or reworked in the course of publication, it is not possible to establish a definitive collation of the work. For his contribution to English botanical illustration, Thornton has been compared to Redouté by Alan Thomas: \"more or less coeval with Redouté in France came the production of the greatest English colour-plate flower book... What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X and the Duchesse de Berry, Thornton set out to do alone. The result was almost total failure. His fortune was engulfed and his family reduced to penury... It is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing... but he produced... the most strikingly beautiful set of flower plates ever to be printed in England [and] one of the loveliest books in the world.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGreat Books and Book Collectors\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e pp. 142). \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGreat Flower Books\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, p.77; Nissen BBI 1955; Grigson and Buchanan, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThornton's Temple of Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (London, 1951). \u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21696806849,"sku":"","price":6500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Large_Flowering_Sensitive_Plant.jpg?v=1468005807"},{"product_id":"robert-john-thornton-1768-1837-the-american-aloe","title":"Robert John Thornton (1768-1837), The American Aloe","description":"\u003cp\u003eRobert John Thornton (1768-1837)\u003c\/p\u003e\n\u003cp\u003eThe American Aloe\u003c\/p\u003e\n\u003cp\u003eFrom \u003cem\u003eThe Temple of Flora\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eLondon, 1799-1810\u003c\/p\u003e\n\u003cp\u003eMixed method engraving, including aquatint, mezzotint, stipple and line engraving, printed in color and finished by hand\u003c\/p\u003e\n\u003cp\u003eSheet size: approx. 22 3\/4 x 17 1\/4”\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRobert John Thornton (1768-1837) was destined for a career in the church, but while at Trinity College, Cambridge he found inspiration in the botanical lectures of Thomas Martyn and switched to studying medicine. He went on to lecture in medical botany at Guy's Hospital. Conceived on a grandiose scale, Thornton's work was to comprise three parts: a dissertation on the sexual reproductive cycle of plates; an explanation of Linnaeus's plant system, lavishly illustrated with botanical plates and portraits of botanists; and \"The Temple of Flora\" which was to have no less than seventy large plates of exotic plant species arranged according to the classification system of Linnaeus. Each species was to appear in its native environment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe production of the plates for \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Temple of Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e involved a variety of techniques - aquatint, mezzotint, stipple engraving and stippling with line engraving or etching which required the participation of a large number of artists. Among those commissioned by Thornton were Philip Reinagle - who executed most of the preparatory drawings - Abraham Pether (known for his moody, quasi-Gothic landscapes), Sydenham Edwards, and Peter Henderson, and the engravers Richard Earlom, James Caldwall, and Thomas Burke. Only the plate of the Rose was drawn by Thornton and executed by Earlom.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn spite of using a host of artists and engravers, Thornton managed to \"maintain a remarkable homogeneity of style throughout\" (\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eAn Oak Spring Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e), but production was a protracted stop-and-go affair, causing the text and plates to appear irregularly, and to bring Thornton ultimately to the brink of personal bankruptcy. Because some plates were withdrawn or reworked in the course of publication, it is not possible to establish a definitive collation of the work. For his contribution to English botanical illustration, Thornton has been compared to Redouté by Alan Thomas: \"more or less coeval with Redouté in France came the production of the greatest English colour-plate flower book... What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X and the Duchesse de Berry, Thornton set out to do alone. The result was almost total failure. His fortune was engulfed and his family reduced to penury... It is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing... but he produced... the most strikingly beautiful set of flower plates ever to be printed in England [and] one of the loveliest books in the world.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGreat Books and Book Collectors\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e pp. 142). \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGreat Flower Books\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, p.77; Nissen BBI 1955; Grigson and Buchanan, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThornton's Temple of Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (London, 1951). \u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21696832449,"sku":"","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/The_American_Aloe.jpg?v=1468005889"},{"product_id":"robert-john-thornton-1768-1837-the-maggot-bearing-stapelia","title":"Robert John Thornton (1768-1837), The Maggot Bearing Stapelia","description":"\u003cp\u003eRobert John Thornton (1768-1837)\u003c\/p\u003e\n\u003cp\u003eThe Maggot Bearing Stapelia\u003c\/p\u003e\n\u003cp\u003eFrom \u003cem\u003eThe Temple of Flora\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eLondon, 1799-1810\u003c\/p\u003e\n\u003cp\u003eMixed method engraving, including aquatint, mezzotint, stipple and line engraving, printed in color and finished by hand\u003c\/p\u003e\n\u003cp\u003eSheet size: approx. 22 3\/4 x 17 1\/4”\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRobert John Thornton (1768-1837) was destined for a career in the church, but while at Trinity College, Cambridge he found inspiration in the botanical lectures of Thomas Martyn and switched to studying medicine. He went on to lecture in medical botany at Guy's Hospital. Conceived on a grandiose scale, Thornton's work was to comprise three parts: a dissertation on the sexual reproductive cycle of plates; an explanation of Linnaeus's plant system, lavishly illustrated with botanical plates and portraits of botanists; and \"The Temple of Flora\" which was to have no less than seventy large plates of exotic plant species arranged according to the classification system of Linnaeus. Each species was to appear in its native environment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe production of the plates for \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Temple of Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e involved a variety of techniques - aquatint, mezzotint, stipple engraving and stippling with line engraving or etching which required the participation of a large number of artists. Among those commissioned by Thornton were Philip Reinagle - who executed most of the preparatory drawings - Abraham Pether (known for his moody, quasi-Gothic landscapes), Sydenham Edwards, and Peter Henderson, and the engravers Richard Earlom, James Caldwall, and Thomas Burke. Only the plate of the Rose was drawn by Thornton and executed by Earlom.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn spite of using a host of artists and engravers, Thornton managed to \"maintain a remarkable homogeneity of style throughout\" (\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eAn Oak Spring Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e), but production was a protracted stop-and-go affair, causing the text and plates to appear irregularly, and to bring Thornton ultimately to the brink of personal bankruptcy. Because some plates were withdrawn or reworked in the course of publication, it is not possible to establish a definitive collation of the work. For his contribution to English botanical illustration, Thornton has been compared to Redouté by Alan Thomas: \"more or less coeval with Redouté in France came the production of the greatest English colour-plate flower book... What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X and the Duchesse de Berry, Thornton set out to do alone. The result was almost total failure. His fortune was engulfed and his family reduced to penury... It is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing... but he produced... the most strikingly beautiful set of flower plates ever to be printed in England [and] one of the loveliest books in the world.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGreat Books and Book Collectors\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e pp. 142). \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGreat Flower Books\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, p.77; Nissen BBI 1955; Grigson and Buchanan, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThornton's Temple of Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (London, 1951). \u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21696950849,"sku":"","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/The_Maggot_Bearing_Stapelia.jpg?v=1468006032"},{"product_id":"robert-john-thornton-1768-1837-the-night-blooming-cereus","title":"Robert John Thornton (1768-1837), The Night Blowing Cereus","description":"\u003cp\u003eRobert John Thornton (1768-1837)\u003c\/p\u003e\n\u003cp\u003eThe Night Blowing Cereus\u003c\/p\u003e\n\u003cp\u003eFrom \u003cem\u003eThe Temple of Flora\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eLondon, 1799-1810\u003c\/p\u003e\n\u003cp\u003eMixed method engraving, including aquatint, mezzotint, stipple and line engraving, printed in color and finished by hand\u003c\/p\u003e\n\u003cp\u003eSheet size: approx. 22 3\/4 x 17 1\/4”\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRobert John Thornton (1768-1837) was destined for a career in the church, but while at Trinity College, Cambridge he found inspiration in the botanical lectures of Thomas Martyn and switched to studying medicine. He went on to lecture in medical botany at Guy's Hospital. Conceived on a grandiose scale, Thornton's work was to comprise three parts: a dissertation on the sexual reproductive cycle of plates; an explanation of Linnaeus's plant system, lavishly illustrated with botanical plates and portraits of botanists; and \"The Temple of Flora\" which was to have no less than seventy large plates of exotic plant species arranged according to the classification system of Linnaeus. Each species was to appear in its native environment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe production of the plates for \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Temple of Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e involved a variety of techniques - aquatint, mezzotint, stipple engraving and stippling with line engraving or etching which required the participation of a large number of artists. Among those commissioned by Thornton were Philip Reinagle - who executed most of the preparatory drawings - Abraham Pether (known for his moody, quasi-Gothic landscapes), Sydenham Edwards, and Peter Henderson, and the engravers Richard Earlom, James Caldwall, and Thomas Burke. Only the plate of the Rose was drawn by Thornton and executed by Earlom.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn spite of using a host of artists and engravers, Thornton managed to \"maintain a remarkable homogeneity of style throughout\" (\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eAn Oak Spring Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e), but production was a protracted stop-and-go affair, causing the text and plates to appear irregularly, and to bring Thornton ultimately to the brink of personal bankruptcy. Because some plates were withdrawn or reworked in the course of publication, it is not possible to establish a definitive collation of the work. For his contribution to English botanical illustration, Thornton has been compared to Redouté by Alan Thomas: \"more or less coeval with Redouté in France came the production of the greatest English colour-plate flower book... What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X and the Duchesse de Berry, Thornton set out to do alone. The result was almost total failure. His fortune was engulfed and his family reduced to penury... It is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing... but he produced... the most strikingly beautiful set of flower plates ever to be printed in England [and] one of the loveliest books in the world.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGreat Books and Book Collectors\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e pp. 142). \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGreat Flower Books\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, p.77; Nissen BBI 1955; Grigson and Buchanan, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThornton's Temple of Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (London, 1951). \u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":21696988353,"sku":"","price":18000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/The_Night_Blooming_Cereus.jpg?v=1468006072"},{"product_id":"robert-john-thornton-1768-1837-the-queen","title":"Robert John Thornton (1768-1837), The Queen","description":"\u003cp\u003eRobert John Thornton (1768-1837)\u003c\/p\u003e\n\u003cp\u003eThe Queen\u003c\/p\u003e\n\u003cp\u003eFrom \u003cem\u003eThe Temple of Flora\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eLondon, 1799-1810\u003c\/p\u003e\n\u003cp\u003eMixed method engraving, including aquatint, mezzotint, stipple and line engraving, printed in color and finished by hand\u003c\/p\u003e\n\u003cp\u003eSheet size: approx. 22 3\/4 x 17 1\/4”\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRobert John Thornton (1768-1837) was destined for a career in the church, but while at Trinity College, Cambridge he found inspiration in the botanical lectures of Thomas Martyn and switched to studying medicine. He went on to lecture in medical botany at Guy's Hospital. Conceived on a grandiose scale, Thornton's work was to comprise three parts: a dissertation on the sexual reproductive cycle of plates; an explanation of Linnaeus's plant system, lavishly illustrated with botanical plates and portraits of botanists; and \"The Temple of Flora\" which was to have no less than seventy large plates of exotic plant species arranged according to the classification system of Linnaeus. Each species was to appear in its native environment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe production of the plates for \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Temple of Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e involved a variety of techniques - aquatint, mezzotint, stipple engraving and stippling with line engraving or etching which required the participation of a large number of artists. Among those commissioned by Thornton were Philip Reinagle - who executed most of the preparatory drawings - Abraham Pether (known for his moody, quasi-Gothic landscapes), Sydenham Edwards, and Peter Henderson, and the engravers Richard Earlom, James Caldwall, and Thomas Burke. Only the plate of the Rose was drawn by Thornton and executed by Earlom.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn spite of using a host of artists and engravers, Thornton managed to \"maintain a remarkable homogeneity of style throughout\" (\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eAn Oak Spring Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e), but production was a protracted stop-and-go affair, causing the text and plates to appear irregularly, and to bring Thornton ultimately to the brink of personal bankruptcy. Because some plates were withdrawn or reworked in the course of publication, it is not possible to establish a definitive collation of the work. For his contribution to English botanical illustration, Thornton has been compared to Redouté by Alan Thomas: \"more or less coeval with Redouté in France came the production of the greatest English colour-plate flower book... What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X and the Duchesse de Berry, Thornton set out to do alone. The result was almost total failure. His fortune was engulfed and his family reduced to penury... It is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing... but he produced... the most strikingly beautiful set of flower plates ever to be printed in England [and] one of the loveliest books in the world.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGreat Books and Book Collectors\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e pp. 142). \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGreat Flower Books\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, p.77; Nissen BBI 1955; Grigson and Buchanan, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThornton's Temple of Flora\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (London, 1951). \u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default 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