Australian botanicals.. ‘native’ or ‘exotic’?

In botany, the word ‘exotic’ is used to indicate a botanical specimen has been introduced from another country. Many people describe our own native plants as ‘exotic’, meaning they have unusual foliage and flowers, - different from the better-known introduced annuals and perennials. Australia's flower emblem is the Acacia - better known as Wattle, and we illustrate this article with examples of original antique prints of these that are available  from the Antique Print Club.

Hundreds of years ago explorers travelled from Europe in search of new lands - to claim and settle, or to use as a source for trade. Whether by a professional botanist, a ship’s doctor, or an artistic crew member given the task, on these early voyages sketches were made of the first European sightings of Australian flora – limited only by accuracy in scientific observation and artistic skill of the artist.

In England in the 18th century, following public demand, many works were published to illustrate beautiful botany from around the world. William Curtis (1746-1799) was Praefectus Hortis of Chelsea Physic Garden in London. He began lectures at Kew Gardens in London in 1787 and began illustrating the plants he discussed. “The Botanical Magazine; or Flower-Garden Displayed” was published by Curtis to illustrate plants from around the world “in response.. to.. solicitations for a work.. (combining) Botany and Gardening”. Continuously published since then, it is now known as “The Kew Magazine”. Finely engraved, partially coloured to show the dissection details of flowers and leaves, the narrow upper right image is an excellent example of Curtis hand-coloured engravings.

William Curtis nurtured the artistic talent of many botanical artists. In the same year as the first series of botanical plates was issued, Curtis was introduced to and was impressed by the artistic ability of a young Welshman, Sydenham Teast Edwards (1769-1819). Curtis brought him to London and trained him in the art of botanical illustration. For over twenty years until William Curtis died, Sydenham Edwards sketched most of the illustrations for "Curtis’s Botanical Magazine". From his sketches, Francis Sansom created finely engraved copperplates which were printed on hand-made paper and individually hand-coloured with natural pigments. Curtis illustrations with their fine detail, which often includes dissections of the flower, have always been revered, not only for their beauty but also for their scientific accuracy. When the interesting accompanying text has also survived with the botanical study, they are a wonderful treasure.

Pierre Joseph Redouté (1759-1840) was born in Luxembourg and became a painter and interior decorator like his father and grandfather. In 1782 he worked in Paris with his older brother, but was persuaded to illustrate flowers instead, by two botanists who appreciated his artistic skill. Except during 1787-8 when he studied botanical specimens at Kew Gardens in London, Redouté spent most of his life sketching and painting for numerous botanical publications in France. He was appointed to the court of Marie Antoinette, and after the revolution worked at the Museum of Natural History in Paris. A master of the stipple engraving process he learned in England and introduced to France, Redouté dominated botanical painting in France from 1790 to 1830.

Napoleon Bonaparte had always been interested in gardening and science. His first wife, Josephine, acquired a large collection of plants from around the world for her famous gardens at Petite Trianon and later Malmaison. She was patron to Redoute and later appointed him court artist. Although Redouté is probably best known today for his beautiful illustrations of Roses and Lilies, his largest work was his Choix des Plus Belles Fleurs.., (his choice of most beautiful flowers and fruit). We are indebted to Napoleon’s love of science and exploration, for wonderful, large, rarely-seen botanical images of Australian flora by Redouté, published around 1800.

In England, Benjamin Maund (1790-1863) was a pharmacist, botanist, printer, bookseller, and fellow of the Linnean Society (from 1827). Maund published botanical illustrations from 1825 in “The Botanist: containing accurately coloured figures, of tender and hardy ornamental plants..”. Maund’s charming botanical images have uncoloured sections of the main beautifully drawn floral specimen, as well as of the additional flower and foliage detail. They are delightful works, showing meticulous detail in each finely hand-coloured engraving.

The superbly coloured botanical lithographs and engravings that were published by Joseph Paxton are quite a contrast in style. Almost glamorous by comparison, on thicker paper (not hand-made), they usually show slight age discolouration; but I think this actually adds to the charm of these brightly coloured antique prints.

Despite little education Joseph Paxton (1803-1865) had considerable talent as both architect and engineer, but was better known as a landscape gardener after being head gardener at one of the finest landscaped gardens in England, Chatsworth House. In 1831 Paxton began publishing botanical illustrations as a monthly magazine, “The Horticultural Register”. This was followed from 1834 to 1849 with hundreds of superb aquatints and hand-coloured lithographs for his “Magazine of Botany”. Paxton published other botanical works, but no antique prints surpassed the quality of these, with the depth and crispness of their colour.

Today, as cities become more densely populated and people move into apartment buildings and lose their gardens, the benefit of botanical pictures on our walls cannot be over-estimated. As well as being decorative, botanical artwork brings peace to a structural environment. Whether a haven away from work, an educational and active family environment, or a place where you spend a relaxing retirement, homes can all be improved by framed botanical artwork. Select from a great collection of antique prints of Australian native flora at www.antiqueprintclub.com/c-20-botanicalsfruit.aspx

Map Collecting. An enjoyable affliction!

Starting a collection in a new subject can be thrilling. Collecting maps can begin in many ways. A long time interest might result in a decision to begin collecting antique maps. Finding an old chart among papers might create a desire to research family history; receiving an antique map as a gift, might lead to a desire to know more about it. Great enjoyment and never-ending interest can be derived from a single antique map. As with all truly satisfying collections, the wonder of discovery that is experienced with the first unusual or fascinating map, continues for a lifetime. Early maps appeal at all ages. Anyone with an interest in geography, history, art, genealogy or even general nostalgia can be captivated. View some we have available http://www.antiqueprintclub.com/ As we have hundreds of others, please enquire if you are looking for a particular region.

Pictured above is a wonderful original antique map circa 1753 of Australia (called New Holland in 1753 before the arrival and charting by Captain Cook in 1770). It has a dotted line down an inaccurate east coast, and wording along this line saying that it is assumed that Tasmania joins to Vanuatu and Papua New Guinea, but without proof! Among the world's most recently discovered coastlines, early Australian maps vary greatly - depending on the reliability of their authorship. This map is one of the most requested. View the early Australian antique maps that are currently available at  http://www.antiqueprintclub.com/c-9-australianzng.aspx As an original copperplate engraving of this map is rarely available, it is available as a Heritage Editions reproduction from our website.

If you are not interested in the technique used to create an early map and hand-made paper, and the ownership of a rare original antique map does not excite you, interesting early interpretations of the mapping of Australia are available as Heritage Editions reproductions or Limited Edition prints from early charts. The (hand-coloured) Limited Edition map above at right is from an original engraving of the first map of Australia published in English and showing only Australia. By Emanuel Bowen, it was originally published in England circa 1744. Below at left, is the Heritage Editions map originally published circa 1798 by Cassini, to show Captain Cook's navigation of the east coast, prior to Flinders' circumnavigation of Australia. Select from Heritage Editions reproduction maps at http://www.antiqueprintclub.com/c-8-maps.aspx. 

Map enthusiasts have different motivations for collecting. Some may wish simply to create a fine display of framed maps along a hallway of their home for everyone to enjoy; others may wish to add a prestigious perspective to their office. When hung on the wall, a well-framed map or chart adds a touch of distinction to any environment. In the office, the atmosphere created may be just that little bit more intellectual and conducive to doing business. Early maps are certainly a good talking point, and the pleasure they give is endless.

Sometimes a collector will secrete antique maps in special conservation storage - to be brought out on rainy days and peered at through a magnifying glass, or revealed to captive friends and family. The narrative of early voyages and discoveries are told within the scientific parameters of mapmaking. The finely engraved geographic detail, vignettes (engraved views), cartouches (title pieces), and decorative borders all reveal hours of painstaking artistry. The charting of coastlines, as well as representing the progress of discoveries, sometimes revealed through their inaccuracy, the competitive and artistic nature of their creators. 

Brisbane River (Australia) charted by John Oxley in 1823

Plan de la Riviere Brisbane(Nouvelle Hollande) Découverte par M. OXLEY Ingenieur Géographe au Port Jackson (Décembre 1823)

Chart of the Brisbane River Discovered by John Oxley, Geographical Engineer at Port Jackson. (December 1823)

John Oxley's "Plan of the Brisbane River (New Holland)", complete with depth soundings, was published first in a French world journal of voyages, by Louis Isidore Duperrey. Oxley's record of the river was drawn by Hacq and engraved on a copperplate by Ambroise Tardieu, for inclusion in Duperrey’s narrative of his voyages that included other's recent charts of the region, and was published in Paris in 1824 for “Voyage autour du Monde.. Atlas Hydrographie”.

In 1823 John Oxley was sent north from Sydney in search of a suitable site for the extension of the settlement of Port Jackson. He was commissioned to explore Moreton Bay, Port Curtis and Port Bowen, which had been discovered in 1799 by Matthew Flinders. After visiting Port Curtis, Oxley returned to Moreton Bay where he was apparently directed to the Brisbane River by an ex-convict of the name of Pamphlett, who had been living with local aborigines. Oxley carried out expeditions along the Pine River and Brisbane River and the adjacent countryside.

On his return to Sydney in December 1823, Oxley lodged his report. Soon after his return to Port Jackson, Oxley was made Surveyor-General of the Australian colony known as New South Wales. He recorded that “a fine river of major proportions has been discovered in northern New South Wales, New Holland.” and that “the river is navigable a full 40 miles upstream and looks certain to be opened up for development". The Moreton Bay penal colony was proposed for the following year. John Oxley named the river, and later the town, after the Governor of New South Wales, Thomas Brisbane.

Brisbane was still part of New South Wales until "separation" of the State of Queensland in 1859. The name Brisbane was in the balance at one stage, with several eminent people suggesting the town be called Edenglassie. For some reason, Governor Thomas Brisbane decided that 'Brisbane' was better.
Oxley's charting of the river, with depth soundings, is acknowledged as being extremely accurate in its detail and scope. Despite the periodic abuse by tides and river traffic, this chart is still of considerable relevance and interest – particularly to those who live nearby or use the river. It is a beautiful river - and important to anyone with an interest in the history of Brisbane.

Original copperplate-engraved maps circa 1824 are rarely seen today. Heritage Editions has reproduced a fine Limited Edition from an original engraving of John Oxley's in-depth charting of the Brisbane River, to make this interesting chart more readily available. These reprints are also available with the Brisbane River highlighted by hand-colour (see framed example). http://www.antiqueprintclub.com/c-8-maps.aspx

China Revealed to the west..

"China and the Chinese. A series of views from original sketches, displaying the scenery, architecture, social habits, etc., of this ancient and exclusive empire. by Thomas Allom Esquire."

China is a vast country with a huge population and a long history of dynastic empires and battles spanning thousands of years. In 1842, at the end of the first Opium War with Britain, China became accessible to the West through the newly-acquired British port of Hong Kong. China’s different customs, dress, transport and architecture, combined with unfamiliar religious and superstitious beliefs, created an exotic image. China's amazing natural land formations, engineering achievements, and their production of porcelain, silk, cotton, tea and rice, all fascinated the British.

The Opium Wars resulted when the Chinese authorities tried to stop the British East India Company’s supply of opium from India. Britain sent war ships from India to protect their ships and their trade. Chinese junks were no match for the British navy. With surrender, the Chinese ceded Hong Kong to the British. Pictured are two of the wonderful finely engraved scenes illustrating this battle.

One of the first westerners to accommodate the enormous British interest in China was English architect and Royal Academy-trained artist, Thomas Allom (1804-1872), whose passion was historical art. For circulation to the British population (and for us enjoy today), skilled topographical engravers were commissioned to produce steel-engravings of Allom’s sketches for publication in London in 1843. They proved so popular that they were re-issued in 1845 and again in 1849. Today it is the 1845 edition of these engravings that are mostly seen, as they were issued in groups of six with flimsy paper wrappers that rarely survived handling. Traditionally, these engravings were hand-tinted with watercolour to highlight their fine detail.

Allom drew intricate architectural scenes incorporating grand city gates, temples, homes of mandarins and wealthy merchants, and the beautiful porcelain tower (pictured). He showed the elaborate lifestyle of the ruling classes and the general populace at work and relaxing – including an infamous opium den. Along with commodity production processes, Allom shows an “itinerant” barber and “itinerant” doctor at work, and the more leisurely trade of fishing using the cormorants. Elegantly composed scenes incorporate practical bamboo aqueduct and irrigation wheels, colourful celebrations of the 5^th day of the 5^th moon with the dragonboat, the 9^th day of the 9^th moon with kite-flying, and many other traditional spectacles – and even famous burial sites.

As populations grow, traditions change, and constructions disappear, we are fortunate that Thomas Allom used his architectural and artistic skill, dedication and passion, to create a marvellous historic overview of China and the Chinese. These images of a fascinating centuries-old country, are available from time to time. View Thomas Allom's China at Antique Prints-General http://www.antiqueprintclub.com/c-29-views-general.aspx?pagenum=2