Engraving from Joseph Banks' Florilegium






SIR JOSEPH BANKS BT (1743-1820) first dedicated himself to the study of the sciences, especially botany, while a student at Christ Church, Oxford. Upon inheriting Revesby Abbey, Lincolnshire in 1761, he focused his research on collections of the Chelsea Physic Garden and the British Museum, where he met Daniel Solander, one of Linnaeus’ students.

In 1766 the young Banks ‘served his apprenticeship as a scientifically trained Linnaean naturalist – as opposed to an undiscriminating virtuoso gentleman collector – by accompanying his old Etonian friend, the naval officer and future MP and lord of the Admiralty, Constantine Phipps, on an expedition . . . to Labrador and Newfoundland. Though Banks was the sole naturalist on board, Solander assisted him in his choice of equipment and reference works’ (ODNB).

This ‘apprenticeship’ with Phipps ‘served as a virtual rehearsal for the great Endeavour voyage of 1768 to 1771’ through which Banks became ‘a figure of international scientific significance . . . The Endeavour expedition made it possible for Banks to explore a whole portion of the globe hitherto largely unexposed to European gaze’ (loc. cit.).

Engraving from Joseph Banks' Florilegium



THE SEEDS FOR 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were prepared by Daniel Solander, but (apart from some small groups of proof plates) the long-anticipated work remained unpublished at Banks’ death in 1820, nearly fifty years after he had returned from the Endeavour expedition.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.

Engraving from Joseph Banks' Florilegium

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 ENTHUSIASTICThe 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’. 




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BIBLIOGRAPHY OF LITERATURE CITED

  • [Joseph Banks]. J.C. Beaglehole (ed.), The Endeavour Journal of Joseph Banks, 1768-1771 (Sydney, 1962)
  • Denis J. Carr, Sydney Parkinson: Artist of Cook’s Endeavour Voyage (London, 1983)
  • [James Cook]. W.J.L. Wharton (ed.), Captain Cook’s Journal During his First Voyage Round the World made in H.M. Bark ‘Endeavour’, 1768-71… (London, 1893)
  • [James Cook]. J.C. Beaglehole, The Life of Captain James Cook (Stanford, CA, 1974)
  • Neil Chambers, Endeavouring Banks: Exploring Collections from the Endeavour Voyage 1768-1771 (London, 2016)
  • Mel Gooding, David Mabberley, and Joe Studholme, Joseph Banks’ Florilegium: Botanical Treasures from Cook’s First Voyage (London, 2017)
  • Sydney Parkinson, A Journal of a Voyage to the South Seas… (London, 1773)
  • William T Stearn, ‘A Royal Society Appointment with Venus in 1768: The Voyage of Cook and Banks in the Endeavour in 1768-1771 and its Botanical Results’, in Tony Ballantine (ed.), Science, Empire and the European Exploration of the Pacific (London, 2018), pp. 93-122

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