A marriage of art and science - botanical illustrations at Amgueddfa Cymru
Mankind has always been fascinated by flowers and the plants on which they grow - by their beauty and their possibilities for healing and knowledge. The stories behind botanical illustrations are rich and intriguing in their own right - the desire to capture the flower before it fades often amounted to an obsession. Scientists risked life and limb to acquire new specimens and the collection of over 7,000 botanical prints and drawings at Amgueddfa Cymru reveals the human tales behind the history of botanical discovery.
Botanical illustrations
Botanical Illustration
Pawpaw Carica papaya from The fruits and flowers of Java 1863 by Berthe Hoola Van Nooten.
The Belgian lady accompanied her husband to java where he unfortunately died, leaving her alone to bring up two daughters. In the introduction of her book, she apologises for having put herself forward in this respect but explains that she has been forced to employ her talents as a botanical artist "against penury and a refuge in sorrow".
The mid-17th to mid-18th centuries saw the Golden Age of scientific illustration. In this age of curiosity, exploration, and experiment, the artist complimented the scientific process.
Georg Dionysius Ehret (1708-1770) was one of the most talented artists of this era. This image shows a Magnolia from Ehret's Plantae Selectae of 1772. Magnolias were a favourite of Ehret and he was said to have taken a daily walk to watch the progress of Magnolia grandiflora. Hand-coloured engraving:50cm x 35cm
This giant water-lily, Victoria regia, later renamed Victoria amazonica created a sensation when it was first brought to Britain in 1849. This lithograph is taken from Victoria regia 1854, an impressive folio book specially commissioned to celebrate the first flowering of the plant at Kew. Tens of thousands of people travelled to the gardens especially to see the flower open and change colour; this occurred regularly over a period of eight hours.
, a water-lily named in honour of Queen Victoria, was discovered in South America in 1837, the year of her accession to the throne. The leaves were an astonishing 2 metres across. The daughter of Joseph Paxton, Head Gardner at Chatsworth where the water-lily first flowered in Britain, managed to stand on one leaf without it sinking.
The structure of the plant inspired Joseph Paxton's design for the Crystal Palace, built to house the Great Exhibition in Hyde Park in 1851. This highly detailed lithograph from the folio book Victoria regia 1854 by Walter Hood Fitch, illustrates the intricate structure of different parts of the plant.
from Hortus Eystettensis (1613) created by Basilius Besler (1561-1629).
Hand-coloured engraving: 48.5cm x 40cm.
In the early 17th century, travel and trade brought many new and exotic plants to Europe, and flowers were grown for their beauty as well as their practical use. So called 'Tulipomania' rose from the passionate desire of the wealthy to own the rarest plants. The introduction of cheaper varieties made tulips accessible to all, creating a massive surge in demand. A single 'Viceroy bulb' was paid for with 'two last of wheat and four of rye, four fat oxen, six pigs, twelve sheep, two ox-heads of wine, four tons of butter, 1,000 pounds of cheese, a bed, some clothing and a silver beaker.'
In 1665, Robert Hooke published a revolutionary book entitled Micrographia where minute details, such as the stinging spines of this nettle, were seen for the first time. Until the development of microscopy people were ignorant of the existence of intricate plant structures. Increasingly sophisticated microscopes allowed investigation of cell structure and small plants.
Carica papaya Papaya, from Plantae Selectae 1772 by Georg Dionysius Ehret (1708-1770).
Hand-coloured engraving: 50cm x 35cm.
Many of the exotic fruits such as the Paw-paw and Pineapple were discovered on the great voyages of discovery during the 18th and 19th centuries and quickly became fashionable in Europe. The Paw-paw is a native of tropical America.
The Night Blowing Cactus Cereus grandiflorus commissioned by Robert John Thornton (1768 - 1837) in Temple of Flora.
Hand-coloured engraving: 57cm x 46cm.
This plant has also been named Moon Cactus and Torch Thistle since it only flowers at night. It is a native of hot, dry countries where pollinators are more active at night. The large vanilla scented flowers are sometimes said to be among the most beautiful flowers in existence. The flowers fade and die before sunrise.
Night Blowing Cactus Cereus grandiflorus, from Plantae Selectae by G.D. Ehret, 1772.
Hand-coloured engraving: 50cm x 34cm.
The composition of this study reflects Ehret's talents as an accomplished designer and draughtsman. The result is both scientifically valuable with accurate dissections and aesthetically pleasing.
(Lords and Ladies) from Flora Londinensis (1777-1787) published by William Curtis.
Hand-coloured engraving: 46cm x 31.5cm.
Flora Londinensis included all wild flowers growing within a ten mile radius of London, which was then surrounded by fields and undrained marshland. The hand-coloured illustrations are exceptionally delicate and precise so it is surprising that it failed to attract many subscribers. After ten years, Curtis had to admit financial defeat and in 1787, he produced the smaller Botanical Magazine, which is still in production today, over 200 years later.
from Temple of Flora 1799 by Robert Thornton.
Hand-coloured engraving: 57cm x 46cm.
Thornton vowed that his book, Temple of Flora would be the most magnificent botanical publication ever. Exotic plants were lavishly illustrated in dramatic landscape settings. The extravagant costs of publishing this sumptuous book ruined Thornton financially.
