Quarto, xvi, 204 pages plus 28 tipped-in colour illustrations by Walter Tyndale.
Attractive gilt-decorated cloth; top edge gilt; covers slightly flecked; extremities slightly bumped and rubbed; spine a little darkened; early leaves foxed; flyleaf with a small surface tear (presumably due to the removal of a bookplate); a very good... Read complete entry
London, The Cresset Press, 1928 and 1929 [first thus]/ 1614 and 1616.
Two volumes, oblong large octavo, [xiv],  (first blank) pages with 41 full-page plates, each with an accompanying page of text, plus an extra pictorial title leaf (from van de Pass' engraved garden design) and an errata slip; and [xvi] (last blank),  pages with 62 full-page plates plus a frontispiece. Most of the plates, which reproduce van de Pass' engravings, are accompanied by a facing page of text with calligraphy by Margaret Shipton.
Quarter green morocco and marbled boards, most edges uncut; extremities slightly bumped; all pastedowns, and the leaves adjacent to the covers of the first volume, are lightly foxed; an excellent set with the dustwrappers a little marked and worn,... Read complete entry
Numbers 102 and 122 respectively of editions limited to 500 copies; an additional deluxe issue of 30 copies of each volume on Arnold hand-made paper was also produced. The title does not follow the first English translation, so the spelling would appear to be an affectation. The second volume records that the text is 'translated from the Latin by Spencer Savage'. Crispin van de Pass (circa 1597-1670) was a second-generation member of a dynasty of Dutch engravers; 'he worked in Paris, at least from 1617 to 1627, in Utrecht (1630-1639), and from then until his death in Amsterdam' (Wikipedia).
London, printed for T. Payne and Son, 1777 [fourth edition]/ 1770.
Octavo, [viii], 257 pages.
Contemporary full polished speckled calf with a contrasting title-label on the gilt-decorated spine; extremities slightly rubbed, boards slightly bowed; plain inner surfaces of the marbled endpapers and the last leaf (verso blank) are slightly foxed;... Read complete entry
'Gardening, in the perfection to which it has been lately brought in England, is entitled to a place of considerable rank among the liberal arts. It is as superior to landskip [sic] painting, as a reality to a representation: it is an exertion of fancy: a subject for taste; and being released now from the restraints of regularity, and enlarged beyond the purposes of domestic convenience, the most beautiful, the most simple, the most noble scenes of nature are all within its province'. An influential and popular book, the 'most comprehensive work on the theory of landscape design developed by the natural school before the time of Humphrey Repton' according to Blanche Henrey ('British Botanical and Horticultural Literature before 1800').
Oblong quarto,  pages of text (one at the rear) plus a frontispiece and 240 full-page colour plates of natural Australian landscapes (divided into 35 sections, each with an introductory page which includes a map of the region) and the certificate of limitation bound in at the front.
Full tan calf very slightly scuffed; essentially a fine copy.
Number 17 of only 30 copies of the Collector's Edition signed by Williams and Stacey. Presumably Eleanor Williams supplied the fifteen-page poetic discourse and Wesley Stacey was the photographer. The preamble commences with 'No human thought has fashioned these gardens, no human hand has sown the seeds or watered the plants. They occur where the marks of man are minimal and are in a process of constant change'. A fine copy of the trade edition - an impressive production nonetheless, in cream cloth and housed in a colour pictorial box - is available for $75.
Oblong quarto,  pages of text (one at the rear) plus a frontispiece and 240 full-page colour plates of natural Australian landscapes (divided into 35 sections, each with an introductory page which includes a map of the region).
Cream cloth; a fine copy in the pictorial box.
Presumably Eleanor Williams supplied the fifteen-page poetic discourse and Wesley Stacey was the photographer. The preamble commences with 'No human thought has fashioned these gardens, no human hand has sown the seeds or watered the plants. They occur where the marks of man are minimal and are in a process of constant change'.
North Ipswich, [The Author], 1984 [third edition]/ 1979; 1984 and 1987.
Quarto, three volumes, [xvi], 288 pages; [i], 304 pages and [i, xvi], 319 pages with hundreds of colour illustrations plus endpaper maps in each volume.
Colour pictorial papered boards; top edges of two volumes lightly foxed; extremities very slightly rubbed and bumped; flyleaves of Volume 3 offset; a very good set with the dustwrappers slightly rubbed and torn, and the spine of the third volume a... Read complete entry
A fourth and final volume, which includes a cumulative index, was published in 1999.
Royal octavo, xii, 152 pages plus a colour frontispiece and 54 colour plates.
Gilt decorated blind-stamped cloth with a colour plate laid down on the front cover; all edges gilt; rebacked; covers slightly rubbed; corners slightly worn; verso of frontispiece foxed and tape-marked (otherwise clean); a very good copy.