‘Coprosma propinqua’ from Joseph Banks’ Florilegium (1769/1980). £250

Sydney Parkinson and Frederick Polydore Nodder (artists). ‘Plate 473. Coprosma propinqua, Cunningham, Pelaphia parviflora’. London: Alecto Historical Editions in association with the British Museum (Natural History), 1980.

Engraving by Gerard Sibelius, printed à la poupée by Alecto Historical Editions. Platemark circa 460 x 299mm, printed on acid-free Somerset mould-made 300gsm paper manufactured by the Inveresk Paper Company. The sheet is watermarked ‘AHE’, measures 715 x 561mm, and bears blind embossed stamps incorporating the publisher’s and printer’s chops, the copyright symbol, and date of publication; the initials of the individual printer, the plate number, and the edition number are recorded in pencil. The engraving is protected by a bifolium of acid-free Somerset mould-made 300gsm paper, cut to form a window mount on which is recorded the modern and Banksian name of the plant, the location and date of its collection and the names of the artists and engraver.

In November 1769, His Majesty’s Bark Endeavour first anchored at the bight now known as Cook Bay when entering the Opoorage (Mercury Bay) region. On 10 November, Cook recorded in his journal that ‘I went with 2 Boats, accompanied by Mr. Banks and the other Gentlemen into the River which Emptys itself into the head of the Bay, in order to Examine it’. On this stretch, they are likely to have come across large areas covered with the Coprosma propinqua, a shrub of the family Rubiaceae.

The plant grows in swampy areas and near streams across New Zealand, preferring full sunshine. Its distinctive smell inspired its scientific name (‘coprosma’ from the Greek for ‘foul smelling’). This, the most ‘twiggy’ of the ca 15 coprosma species in New Zealand, is called ‘”mickeymick” (māori mingimingi)’ (Joseph Banks’ Florilegium. Botanical Treasures from Cook’s First Voyage (London, 2017) entry 68). It flowers from August to September and bears fruit from March to April, so that Joseph Banks would not have seen it in either state.The specimen gathered by Banks and Solander was first sketched by Sydney Parkinson in situ and then drawn in watercolours by Frederick Polydore Nodder in 1780 before it was engraved by the Dutch-born artist Gerard Sibelius.

The history of the Florilegium

The seeds for Joseph Banks’ Florilegium had been planted with his earliest expedition: on his return to London from Labrador and Newfoundland, Banks had commissioned the young Scottish natural history artist Sydney Parkinson to draw some of the natural history specimens from the expedition on HMS Niger. On the Endeavour, Banks took both Solander and Parkinson (who sadly died at sea in January 1771) with him as members of his scientific party. On his return to England Banks planned an account of the expedition’s botanical discoveries, and employed a team of engravers to produce copper plates of Parkinson’s drawings. 743 plates were engraved under Banks’ supervision by eighteen engravers over a period of thirteen years, at a cost of more than £7,000. Manuscript descriptions of the specimens were prepared by Daniel Solander, but (apart from some small groups of proof plates) the long-anticipated work remained unpublished at Banks’ death in 1820, nearly fifty years after he had returned from the Endeavour expedition. 

On Banks’ death, the engraved copper plates were bequeathed to the British Museum, where they remained in storage until 1900-1905, when monochrome lithographic plates of the Australian flora were made after the original plates (British Museum, Illustrations of Australian Plants, reproducing 320 of the 743 images). The 1973 limited edition (100 copies) of Captain Cook’s Florilegium, edited by Wilfrid Blunt and W.T. Stearn included a small number of engravings printed from the original copper plates in black ink only.

It was not until 1979, following successful trial printings of the plates in colour, that Alecto Historical Editions and The British Museum (Natural History) agreed to jointly publish the full set of 738 plates (five of the original 743 had been stolen), printed in colour à la poupée (i.e. by applying the colour to the plate with a cotton ball, and then adding further colour if necessary with a brush). Only 100 sets of Banks’ Florilegium, which appeared between 1980 and 1990, were printed for sale (of which all were subscribed), together with sixteen further sets, comprising three printers’ proof sets (of which number 1 is at the Royal Botanic Gardens, Kew); three sets printed for exhibition purposes; and ten hors commerce sets (120 plates from set no. VII were sold by Sotheby’s, London in 1988 to benefit the Banks Alecto Endeavour Fellowship, and sets IX and X went to The British Museum, Natural History).

The reception was enthusiastic: The Book Collector (vol. XXXVIII, 1989) considered the Alecto edition ‘a triumph on many scores: a triumph of imagination, to conceive such an enterprise; a triumph of aesthetic sensibility, to realize that plates originally intended to be printed in black could be rendered in colour with such magical beauty, yet true to nature; a triumph of technical skill, to restore the tarnished plates and print them with unerring precision, maintaining the same high standard from first to last . . .; a triumph, above all of tenacity to bring such a colossal enterprise . . . to a final successful conclusion’. 

£250 incl. VAT

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