Antique Natural HistoryOriginal plates from the naturalists' books, 1600s to 1900s
Orchid & Cotton Elegance: A Botanical Legacy in Bloom - Old Engravings of 1845
Orchid & Cotton Elegance: A Botanical Legacy in Bloom - Old Engravings of 1845, view 2
Orchid & Cotton Elegance: A Botanical Legacy in Bloom - Old Engravings of 1845, view 3
Orchid & Cotton Elegance: A Botanical Legacy in Bloom - Old Engravings of 1845, view 4

Close-ups

Orchid & Cotton Elegance: A Botanical Legacy in Bloom - Old Engravings of 1845, close-up 1Orchid & Cotton Elegance: A Botanical Legacy in Bloom - Old Engravings of 1845, close-up 2

Framed and on the wall

Orchid & Cotton Elegance: A Botanical Legacy in Bloom - Old Engravings of 1845, shown framedOrchid & Cotton Elegance: A Botanical Legacy in Bloom - Old Engravings of 1845, shown framed on a wallOrchid & Cotton Elegance: A Botanical Legacy in Bloom - Old Engravings of 1845, shown framed in a room

Frame and rooms are illustrations of how the print could look; the description says what is included.

Orchid & Cotton Elegance: A Botanical Legacy in Bloom - Old Engravings of 1845

£205 ($270, €240)

Period original, not a reproduction.

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Shipped from the Netherlands, flat, insured and tracked, worldwide. Returns accepted within 14 days.

Date
1845
Size
10.4 × 6.7 in (26.5 × 17 cm)
Condition
Good. Overal toning and soiling but he images itself clean and hand-colored over 200 years ago in expliciet fresh colors. Both prints show offset of pages that were once bound with it, adding to the patina. Please study scan carefully.
Period
Early 19th century
Section
Botanical
Reference
f_37752432
What the condition grades mean
Excellent
Bright and clean, with no faults worth mentioning.
Very good
Only light signs of age, such as faint toning.
Good
Normal signs of age for a sheet of this period: toning, some foxing, small marks or neat old repairs.
Fair
Clear faults such as staining, tears or repairs, priced to match.

Every fault we see is written in the condition note, and the whole sheet is shown uncropped in the photos.

The title encapsulates the charm and detailed beauty of the two plants, suitable for an audience that appreciates botanical art and history.

The images have been cropped and assembled into a collage with a white border between them.

As for the plants depicted in the engravings:

1. **Oncidium Trictrum**: This engraving shows a detailed depiction of a type of orchid, commonly known as the "dancing lady". The plant has slender, upright leaves and a central spike adorned with multiple flowers, each intricately patterned with speckles and a central yellow marking that resembles a face or figure, hence the name. Below the main illustration, dissections of the flower reveal the internal structure, emphasizing the complexity and beauty of the orchid.

2. **Gossypium Tricuspidatum**: Commonly referred to as a type of cotton plant, this engraving features the plant's large, lobed leaves and hibiscus-like flowers. The blooms are substantial and showy, with a delicate cream color and a deep burgundy center. Smaller images below illustrate the fruiting body and the cotton fibers that emerge from it, as well as detailed views of the seeds and their cases. This level of detail would be crucial for understanding the plant's development and use in textile production.

Both engravings are typical of the era's botanical illustrations, intended for both scientific study and appreciation by plant enthusiasts. The careful attention to detail in these engravings reflects a deep appreciation for the complexity and diversity of plant life.

More info on the book in which it was published:

The 'Dictionnaire Classique des Sciences Naturelles' by Pierre Auguste Joseph Drapiez stands as a remarkable testament to 19th-century natural sciences. Published in Brussels in 1845, this work represents an expansive collation of knowledge, building upon the pioneering works of Buffon, Daubenton, Lacepede, Cuvier, de Jussieu, and other influential naturalists.

The prints within this compendium likely showcase a rich amalgamation of artistic precision and scientific accuracy. Drapiez, himself a Belgian naturalist, would have aimed for detailed representations of flora, fauna, and scientific phenomena, mirroring the illustrative styles prevalent during his time. Given the era's emphasis on illustration, these prints were likely engraved meticulously, possibly portraying intricate anatomical details or lifelike depictions of the natural world.

With Drapiez's background in natural history, the prints might bear testament to his commitment to scientific authenticity, aiming to educate and inspire scholars and enthusiasts alike. These engravings would have complemented the text, offering visual aids that elucidate the concepts and specimens discussed in the volume.

Overall, the prints of 'Dictionnaire Classique des Sciences Naturelles' likely serve as both artistic representations and invaluable scientific resources, encapsulating the essence of 19th-century natural history exploration and documentation.

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