DODOENS, Rembert (1517-1585). Stirpium historiae pemptades sex . Antwerp: Plantin-Moretus, 1616.
DODOENS, Rembert (1517-1585). Stirpium historiae pemptades sex . Antwerp: Plantin-Moretus, 1616. 2° (353 x 228 mm). Engraved architectural title-page with figures of Theophrastus and Dioscorides, over 1,300 woodcuts in the text, Plantin's device on verso of final leaf. (Lacking final blank, overall browning and staining, a few leaves with minor worming in lower margin). Modern calf. Second and most definitive edition of Dodoens' "last and most comprehensive botanical work" (Hunt), including more illustrations than the first edition. Plantin acquired a portion of the blocks, those already used for the octavo edition of Leonhard Fuchs' herbal, from the widow of Jan van der Loe, the publisher of Dodoens' Cruydeboek . The rest were the work of the artist Pieter van der Borcht whose collection of paintings in the Staatsbibliothek in Berlin forms one of the most important surviving collections of 16th-century flower paintings. Cleveland Collections 163; Hunt 201; Nissen BBI 517; Stafleu-Cowan TL2 1489.
DODOENS, Rembert (1517-1585). Stirpium historiae pemptades sex . Antwerp: Plantin-Moretus, 1616.
DODOENS, Rembert (1517-1585). Stirpium historiae pemptades sex . Antwerp: Plantin-Moretus, 1616. 2° (353 x 228 mm). Engraved architectural title-page with figures of Theophrastus and Dioscorides, over 1,300 woodcuts in the text, Plantin's device on verso of final leaf. (Lacking final blank, overall browning and staining, a few leaves with minor worming in lower margin). Modern calf. Second and most definitive edition of Dodoens' "last and most comprehensive botanical work" (Hunt), including more illustrations than the first edition. Plantin acquired a portion of the blocks, those already used for the octavo edition of Leonhard Fuchs' herbal, from the widow of Jan van der Loe, the publisher of Dodoens' Cruydeboek . The rest were the work of the artist Pieter van der Borcht whose collection of paintings in the Staatsbibliothek in Berlin forms one of the most important surviving collections of 16th-century flower paintings. Cleveland Collections 163; Hunt 201; Nissen BBI 517; Stafleu-Cowan TL2 1489.
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