Besler
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Originally an apothecary and botanist in the early 17th century,
Basilius Besler was commissioned by Prince-Bishop Johann Conrad
von Gemmingen to record the progress and changes in the Prince’s
botanical garden for each season of the year. Hundreds of
different plant species were specially imported to this garden
from the “New World” and from around Europe. Being
the earliest pictorial record of flowers from a single garden,
his 1613 series Hortus Eystettensis depicts drawings are that
true-to-life, yet are arranged and viewed in a decorative
and elegant manner. Although scientifically exact, they evoke
a true sense of beauty one would find in a garden. With two
to three colorfully detailed plants per page, and beautiful
calligraphy below, each of the 373 engraved plates were beautifully
mastered. Offered here are 8 reproduction prints after Besler's beautiful tulips, marigolds, and wallflowers.
Commelin
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Beaux Arts presents reproductions after Jan Commelin's engravings from Horti Medici Amstelodamensis Rariorum tam Orientalis, quam Occidentalis Indiae, aliarumque Peregrinarum Plantarum. This magnificent record of the exotic plants in the Amsterdam Physic Garden was originally engraved in Amsterdam between 1697 and 1701, and was produced by its director, Jan Commelin. The gardens were undergoing substantial enlargement during this time mainly due to introductions of plants from the Dutch East and West Indies by the Dutch Indies Company. This expensive and finely illustrated folio reflected the interest shown by the Dutch in the flora of their colonial possessions and was Commelin's most important contribution to botanical knowledge. The very fine hand colored original engravings were meticulouly reproduced and enlarged by Beaux Arts. They are offered in two sizes.
 Japanese Woodblock
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Beaux Arts presents reproductions after original 19th century wood block engravings of botanical flowers.
Rosette Drawings
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Beaux Arts presents reproductions after original 19th century graphite drawings of botanical flower rosettes.
U.S. Mexico Boundry Survey Cactaceae
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Beaux Arts presents here its series of cacti after the
United States and Mexican Boundary Survey (1848-1855).
The United States acquired vast new territories following
the annexation of Texas in 1846 and the signing of the Treaty
of Guadalupe Hidalgo in 1848 which ended the U.S.-Mexican
War. The United States and Mexican Boundary Survey was established
to ascertain the southern boundary of the United States from
the mouth of the Rio Grande to the coast of California, and
to explore the territory it enclosed. The Survey team collected
and described the natural history material of the boundary
which was ultimately sent to the Smithsonian for deposit and
study. From Brownsville to El Paso, the boundary simply followed
the Rio Grande river. But from El Paso west to the Pacific,
there were no landmarks, and the intervening country was largely
unknown. The western end of the boundary had been negotiated
at a point just south of San Diego, California, and without
landmarks or rivers, a completely artificial boundary had
to be fixed and marked. The Survey had to be renewed after
the Gadsden Purchase of 1853 added a new slice of land below
New Mexico and Arizona, south of the Gila River. The final
report on the work of the Survey was published between 1857 and 1859. All cacti prints are on 80lb. cover matte finish paper.
Citrus Fruit
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Beaux Arts presents reproductions of the finely detailed stipple engravings from a complete study of citrus fruit entitled Histoire et Culture des Orangers. The original engravings were based on drawings by the renowned by Pierre Poiteau and they were published in Paris in 1872. No French botanical artist of this period escaped the influence of Redoute, and Poiteau was among them. These oranges and lemons with leaves, flowers, and displayed cross-sections, form one of the most beautiful records of the varieties known in the nineteenth century.
Thornton
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Beaux Arts presents beautiful reproductions of the Temple of Flora originally published in London in 1811. These illustrations were originally produced as hand-colored aquatints and are admired for their imaginative qualities and aesthetic detail. It is counted as one of the greatest florilegia books ever published, although it's publication brought financial ruin to Dr. Robert Thornton.
Click here to see botanical prints from the Main Gallery
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