{"id":3157,"date":"2020-05-12T17:34:56","date_gmt":"2020-05-12T17:34:56","guid":{"rendered":"https:\/\/www.typeandforme.com\/?p=3157"},"modified":"2020-06-08T18:45:33","modified_gmt":"2020-06-08T18:45:33","slug":"joseph-banks-the-history-of-his-florilegium","status":"publish","type":"post","link":"https:\/\/www.typeandforme.com\/index.php\/2020\/05\/12\/joseph-banks-the-history-of-his-florilegium\/","title":{"rendered":"Joseph Banks: The History of his Florilegium"},"content":{"rendered":"\n\n\n\n\n
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SIR JOSEPH BANKS BT (1743-1820)<\/strong> 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\u2019 students.

In 1766 the young Banks \u2018served his apprenticeship as a scientifically trained Linnaean naturalist \u2013 as opposed to an undiscriminating virtuoso gentleman collector \u2013 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\u2019 (ODNB).

This \u2018apprenticeship\u2019 with Phipps \u2018served as a virtual rehearsal for the great Endeavour<\/em> voyage of 1768 to 1771\u2019 through which Banks became \u2018a figure of international scientific significance . . . The Endeavour<\/em> expedition made it possible for Banks to explore a whole portion of the globe hitherto largely unexposed to European gaze\u2019 (loc. cit.<\/em>).
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THE SEEDS FOR BANKS\u2019 FLORILEGIUM<\/em> <\/strong>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<\/em>. On the Endeavour<\/em>, 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\u2019s botanical discoveries, and employed a team of engravers to produce copper plates of Parkinson\u2019s drawings. 743 plates were engraved under Banks\u2019 supervision by eighteen engravers over a period of thirteen years, at a cost of more than \u00a37,000. 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\u2019 death in 1820, nearly fifty years after he had returned from the Endeavour<\/em> expedition. 

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ON BANKS\u2019 DEATH<\/strong>, 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<\/em>, reproducing 320 of the 743 images). The 1973 limited edition (100 copies) of Captain Cook\u2019s<\/em> Florilegium<\/em>, edited by Wilfrid Blunt and W.T. Stearn included a small number of engravings printed from the original copper plates in black ink only.
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IT WAS NOT UNTIL 1979<\/strong>, 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 \u00e0 la poup\u00e9e<\/em> (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\u2019 Florilegium<\/em>, which appeared between 1980 and 1990, were printed for sale (of which all were subscribed), together with sixteen further sets, comprising three printers\u2019 proof sets (of which number 1 is at the Royal Botanic Gardens, Kew); three sets printed for exhibition purposes; and ten hors commerce <\/em>sets (120 plates from set no. VII were sold by Sotheby\u2019s, London in 1988 to benefit the Banks Alecto Endeavour Fellowship, and sets IX and X went to The British Museum, Natural History).

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THE RECEPTION WAS ENTHUSIASTIC<\/strong>: The Book Collector <\/em>(vol. XXXVIII, 1989) considered the Alecto edition \u2018a 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\u2019. <\/p>\n\n\n\n

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Back to the Introduction<\/a><\/div>\n\n\n\n
To the Gallery<\/a><\/div>\n<\/div>\n\n\n\n




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BIBLIOGRAPHY OF LITERATURE CITED<\/p>\n\n\n\n