Description: Mark: H. for engraver, Johann Jakob Haid (1704-1767)
Location of Origin: Europe
Dimensions: 19 ½ x 14 1/2 inches
Primary Classification: Fine Art : Prints and Multiples : Engraving
Secondary Classification: Scientific Instruments and Natural History : Natural History : Prints
Expertise: Reference: (http://www.bergbook.com/htdocs/Cache819.htm) Original copper-engraving, printed in colours and finished by hand. Published 1734-45 in Regensburg in the great botanical work 'Phytanthoza Iconographia'. This was the first time, that this technique of colour-printing was used successfully on the continent in a botanical series. Originally this technique was founded by Taylor in Great Britain. Among the artists in this enormous botanical series were Ehret, Haid and Seutter from+ Augsburg working. On the plates we find their individual initials in the lower right corner. (http://www.huh.harvard.edu/libraries/mycology/1737.htm) Johann Wilhelm Weinmann (1683 - 1741) was born in Gardelegen, Germany on March 13, 1683. He settled in Regensburg in 1710 as a pharmacist's assistant and in 1712 was able to purchase his own apothecary shop. He flourished in his business affairs and this success allowed him to indulge in his great love for botany. He established a botanical garden in Regensburg published a Catalogus Alphabetico ordine exhibens Pharmaca in 1723. In 1737-1745 Weinmann published Phytanthoza iconographia. His great work comprised eight folios with 1025 hand-colored engravings of several thousand plants. Among the artists employed to work on Phytanthoza was Georg Dionysius Ehret (1708-1770). Johann Wilhelm Weinmann (1683-1741) was the editor, Georg Dionysus Ehret (1708-1770) et al. made the original drawings and Bartholomäus Seuter (1678-1754), Johann Ridinger (1698-1767) and Johann Jakob Haid (1704-1767) engraved the work. It was published by H. Lentz and H.G. Neubauer, et al., Regensburg: 1737-1745. They are mezzotint engravings, printed in color and finished by hand. Reference: (http://en.wikipedia.org/wiki/Protea) The following is an informative background to the subject from http://www.georgeglazer.com/prints/nathist/botanical/weinmann/wein-main.html. Weinmann produced one of the most comprehensive and finest sets of botanicals ever. His background as an apothecary is evident in the composition and style of the prints, which are at once scientific (almost herbal/medicinal), and beautifully decorative as well. He used mezzotint to achieve subtle tonal variations of leaves and flower petals. In the Great Flower Books, Satcheverall Sitwell refers to this set as the "pioneering work of botanical prints engraved to be inked in color." Many of the superb plates of this important florilegium are engraved after drawings by the eminent botanical artist Georg Dionysus Ehret, though only a few are signed. A vast number of species are displayed -- over 4,000 plants and flowers depicted on 1,025 plates. Johann Wilhelm Weinmann was an influential pharmacist and botanist, director of the longest established pharmacy in Regensburg . He employed Ehret, who was then in his twenties, to make the drawings in Regensburg, many of which were engraved with a recently-developed printing process combining etching and mezzotint, allowing fine detail and subtle shading, which was enhanced by the hand-coloring. Seuter, who helped finance the project, and Ridinger, did the first volumes, while Johann Jakob Haid handled the later volumes The botanical descriptions for the first twenty-five plates was written by Johann Georg Nicolaus Dieterichs (1681-1737), who was succeeded by his son Ludwig Michael (1716-1747), and the work was completed after Weinmann's death by Ambrosius Karl Bieler (1693-1747). Phytanthoza Iconographia was an important and valuable 18th-century compendium of botanical studies, which inspired other works including the Japanese botanical works Honzo Zufu (1828) by Tsunemasa Iwasaki and Somoku-dzusetsu (1856) by Yokusai Iinuma. Georg Dionysus (G.D.) Ehret was the dominant influence in botanical art during the 18th century. He was born in Heidelberg, Germany, and trained as a gardener. He became the protégé of the Margrave of Baden-Durlach, who hired him to design and draw plans for town and palace gardens at Karlsruhe and make paintings of his flowers. After leaving the Margrave's employ, he made his way to Regensburg, where he met Johann Wilhelm Weinmann. Ehret was engaged to produced drawings for Phythanoza Iconographia, which became hist first published works. Upon producing the first 500 drawings, he had a dispute with Weinmann over the considerably low payment he was given, and obtained a new position copying plates for another patron, while also working independently on new paintings. About this time, Ehret’s talents were recognized by Dr. Jakob Trew of Nuremberg, who became his lifelong patron and friend. With Trew's backing, Ehret was able to leave his copying job. He travelled through Europe, eventually passing through Leiden in 1736, where he met the eminent naturalist Linnaeus, and then went to England, where he remained the rest of his life. In London, he had a busy and successful career as a painter and instructor, obtaining numerous commissions from aristocratic patrons with several duchesses and countesses among his pupils. He produced an important body of botanical paintings, including plates for a number of florilegia and travel books, notably Trew's Plantae Selectae (1750-73) and Hortus Nitidissimis (1750-86) and his own publication, Plantae Paliliones Rariores (1748-59). Ehret was multitalented; he often made the original drawings and engraved his own plates. In 1757, he was made a Fellow of the Royal Society. His works today are represented in many important museum collections including the Victoria and Albert Museum and the British Natural History Museum. Full title of work: Phytanthoza Iconographia, sive conspectus aliquot millium, tam indigenarum quam exoticarum, ex quatuor mundi partibus...plantarum, arborum, fruticum, florum, fructuum, fungorum, &c. German title: Phythanthoza Iconographia, oder eigentliche Vorstellung etlicher Tausend so wohl einheimisch-als ausländischer aus allen vier Welt-Theilen, in Verlauf vieler Jahr mit unermüdetem Fleisz... Pflanzen, Baüme, Stauden, Kraüter, Blumen, Früchte und Schwämme... English translation (approximate): Phythanthoza Iconographia, or comprehensive survey of thousands of native and foreign plants, from all four corners of the world, the result of many years of tireless study... Plants, Trees, Shrubs, Herbs, Flowers, Fruits and Mushrooms... References: Blunt, Wilfred, rev. by Stearn, William T. The Art of Botanical Illustration. Woodbridge, Suffolk, England: Antique Collectors Club, 1994. pp. 25, 154-55, 159-166, 181. "Johann Wilhelm Weinmann." Bibliopoly. http://www.polybiblio.com/watbooks/2133.html (22 March 2004). Sitwell, Satcheverall and Blunt, Wilfred. Great Flower Books: 1700-1900. London: Collins, 1956. pp. 151, 166. Nissen 2126; Dunthorne 327; cf. Hunt p. 494; Pritzel 10140; Stafleu/Cowan Tl2 17.050; cf. Bridson. Printmaking in the Service of Botany. 29.
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|Offered By:||Earle D. Vandekar of Knightsbridge (Maryknoll, NY, )|
Earle D. Vandekar of Knightsbridge is owned and run by Paul Vandekar. Historically known for our outstanding antique ceramics, I have also added new lines to the inventory that the company sells. Thus in addition to Chinese Export, English and European antique porcelain and pottery, I have created one of the most extensive collections of 19th-century British sailors’ woolworks (known as woolies) in the world, and feature other specialized antique textiles such as Georgian silkworks. I have also expanded the company, which still bears my father’s name, to offer an exquisite selection of 19th century Chinese watercolours and hand-coloured engravings of various subjects from the 18th and 19th centuries from across the world, as well as portrait miniatures and other period decorative arts. My mission is to offer our clients pieces which reflect my passion and the keen eye I have developed for the world of antiques. My commitment to excellence has made it my privilege to delight collectors and designers as well as museum curators for the last thirty five years. Earle D. Vandekar of Knightsbridge has a very active antique show schedule across the United States, so be sure to check the exhibition schedule to see when my collection will be nearby.