2 volumes in one (of 8), comprising vols. 1-2 (parts 1-19 only), folio (521 x 343 mm). Half-title, general title for vol.1 only, dedication leaf, "Discours préliminaire;" 114 (of 120) stipple-engraved plates printed in color and finished by hand by various artists after Redoute's watercolors, and with explanatory texts by various scientists. (Sheets trimmed and plate numbers lacking, occasional spotting or toning in margins, a few leaves lightly soiled, mainly in margins.) Contemporary half calf, pink cloth over boards, upper cover with previous owner's green morocco lettering-piece gilt, spine in 5 compartments with 4 raised bands, green morocco lettering-piece gilt in second, the rest gilt-tooled, marbled edges (spots of wear to spine and joints, uneven sunning to covers, extremities rubbed with some wear at fore-corners, old recasing). Provenance: Maximilian Speck von Sternburg (1776-1856), wool merchant and German art collector (lettering-piece on upper cover).

FIRST EDITION OF VOLUMES ONE AND TWO OF ONE OF THE MOST BEAUTIFUL ILLUSTRATED WORKS ON BOTANY: REDOUTÉ'S MASTERPIECE. "The plants of this brilliant series will be drawn, engraved and colored with all the finesse that science can muster, and, what is more difficult, with the luxury of the brush with which nature has embellished them" (Redouté, Discours préliminaire). 

Redouté initially served Marie Antoinette as the "dessinateur du Cabinet de la Reine" in 1788. He dedicated the first volume of this work to "Citoyen Chaptal" during the revolutionary period and would later gain the support of Empress Josephine, continuing his influence into the Restoration era. Redouté worked in the gardens of the Petit Trianon and later oversaw those at the Château de Malmaison, owned by Josephine, where he found inspiration for his botanical illustrations. Although the title of his work suggests a focus on lilies, it also includes other flower families like irises and orchids, a testament to his wide-ranging curiosity. Over the course of 14 years (1802-1806), Redouté produced 80 installments of six plates each (with the final issue featuring 12 plates). His original watercolors on vellum were transformed into multi-color stipple engravings, a technique Redouté introduced to France, which allowed for consistent color reproduction. This meticulous process resulted in approximately two hundred sets of this work. A special large-paper edition was also created starting in 1807, with only 18 copies made, reportedly colored by Redouté himself. Dunthorne 231; Great Flower Books, p.128; Nissen BBI 1597; Pritzel 7453; Brunet IV:1175-1176; Sitwell, p.128; Stafleu & Cowan TL2 8747.