C1875

1. Fiddle Dock, Rumex pulcher. 2. Broad Leaved. D, R. obtusifolius. 3. Golden. D, R. maritimus. 4. Yellow Marsh. D, R. palustris.

Artist:

Anne Pratt (1806 - 1893)

Botanical lithograph by Anne Pratt from her series, The Flowering Plants, Grasses, Sedges, and Ferns.

$A 20

S/N: TFPG-186-BOT-OS–231669
(DRW01)
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Details

Full Title:

1. Fiddle Dock, Rumex pulcher. 2. Broad Leaved. D, R. obtusifolius. 3. Golden. D, R. maritimus. 4. Yellow Marsh. D, R. palustris.

Date:

C1875

Artist:

Anne Pratt (1806 - 1893)

Condition:

Light spotting, otherwise in good condition.

Technique:

Lithograph printed in colour.

Image Size: 

130mm 
x 175mm
AUTHENTICITY
1. Fiddle Dock, Rumex pulcher. 2. Broad Leaved. D, R. obtusifolius. 3. Golden. D, R. maritimus. 4. Yellow Marsh. D, R. palustris. - Antique Print from 1875

Genuine antique
dated:

1875

Description:

Botanical lithograph by Anne Pratt from her series, The Flowering Plants, Grasses, Sedges, and Ferns.

Biography:

 Anne Pratt (1806-1893)

Pratt was a botanical and ornithological illustrator from Strood, Kent. The second of three daughters of Robert Pratt (1777–1819), a grocer, and Sara Bundock (1780–1845), Pratt was one of the best known English botanical illustrators of the Victorian age.[1] Owing to poor health and a ‘stiff knee’ in childhood, she missed out on ‘outdoor activities’ and was encouraged to occupy herself by drawing. Anne Pratt was educated at Eastgate House, Rochester, and introduced to botany by Dr. Dods, a family friend.[1] She moved to Brixton, London, in 1826, where she developed her career as an illustrator. She settled in Dover in 1849, then in East Grinstead in 1866, where she married John Pearless; they then moved to Redhill. Anne Pratt died in Shepherd’s Bush, London.  Anne Pratt wrote more than 20 books, which she illustrated with chromolithographs on which she collaborated with William Dickes, an engraver skilled in the chromolithograph process. Her works were written in popular style but were said to be accurate, and are partly responsible for the popularising of botany in her day. From her first book, Flowers and Their Associations, her work sold well, but she never achieved critical acclaim, owing to prejudice against her on the grounds that she was self-taught.[2] Her masterpiece is probably The Flowering Plants, Grasses, Sedges, and Ferns of Great Britain and Their Allies the Club Mosses, Pepperworts, and Horsetails, a six-volume project covering more than 1500 species, with 300 illustrations, that took over a decade to publish in full (1855–1873). This work had a remarkably long life as a standard reference work: the illustrations of ferns in the final volume continued to be used into the second half of the twentieth century, appearing, unattributed and in very much reduced in size and in half tone, in the Observer’s Book of [British] Ferns [3]

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