C1789

Eucalyptus obliqua

Artist:

Pierre Joseph Redouté (1759 - 1840)

Rare folio edition of this copper engraving of Eucalyptus obliqua which is normally found in a very much smaller size format. From the first issue of Charles Louis L’Heritier de Brutelle’s, ‘Sertum Anglicum‘ (1789). Common name            : … Read Full Description

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S/N: HNBO-020-BOT-AA–231988
(F-C107)
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Details

Full Title:

Eucalyptus obliqua

Date:

C1789

Artist:

Pierre Joseph Redouté (1759 - 1840)

Condition:

In good condition.

Technique:

Hand coloured copper engraving.

Image Size: 

270mm 
x 395mm

Paper Size: 

327mm 
x 505mm
AUTHENTICITY
Eucalyptus obliqua - Antique Print from 1789

Genuine antique
dated:

1789

Description:

Rare folio edition of this copper engraving of Eucalyptus obliqua which is normally found in a very much smaller size format. From the first issue of Charles Louis L’Heritier de Brutelle’s, ‘Sertum Anglicum‘ (1789).

Common name            : Tasmanian oar, Stringybark.
Modern binomial name: Eucalyptus obliqua
First described             : L’Heritier 
Distribution                   : TAS, SA, VIC, NSW & QLD

It was Charles L’Héritier who described the genus and named the first eucalypt specimen in 1788. This specimen had been collected in Tasmania by botanist David Nelson on Cook’s third expedition in 1777 and brought to Kew Gardens, London, where L’Héritier was working at the time. L’Héritier coined the generic name from the Greek roots eu and calyptos, meaning ‘well’ and ‘covered’, in reference to the operculum of the flower bud. In 1788, L’Héritier’s was published in Paris. 

L’Héritier was murdered by an unknown assailant. He left a herbarium of approximately 8,000 species and a large botanic library. The herbarium was added to the French national collections. 

Biography:

Pierre Joseph Redouté (1759-1840) 

Redoute was one of the most famous flower painters of all time. His professional career began after he went to Paris in 1782 where he initially worked as a decorative painter at the “Theatre des Italiens”. He was steered into botanical painting after he met the botanist Charles Louis L’Héritier. Soon after he helped illustrate L’Héritier’s “Stirpes Novae”. Redoutes work was noticed by the famour botanical artist Gérard von Spaendonck, who produced drawings and paintings for the famous Velins du Roi. Spaendonck recruited Pierre Joseph Redouté as a staff member, and he subsequently contributed over 500 paintings to this huge undertaking.

Redoute learnt  Spaendonck’s watercolor technique, by which he used to produce flower paintings with a bright transparency. He was then appointed court painter to Marie-Antoinette and subsequently becoming one of France’s most popular flower painters. He perfected the color stipple engraving technique, which he had learned during a stay in London and first applied it in his illustrations for de Candolle’s work “Plantes Grasses”. In 1805 he was appointed court and flower painter to the Empress Josephine. From 1817 to 1824 he produced his greatest illustrated work, the monograp “Les Roses”. 

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