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Carnegie Mellon University, Pittsburgh, Pennsylvania Vol. 26, No. 1 Bulletin Spring 2014 of the Hunt Institute for Botanical Documentation Inside 4 Duets on display 4 Open House 2014 4 William Andrew 4 Illustrated mushroom Archer papers books, part 2 Above right, Tulipe des jardins. Tulipa gesneriana L. [Tulipa gesnerana Linnaeus, Liliaceae], stipple engraving on paper by P. F. Le Grand, 49 × 32.5 cm, after an original by Gerard van Spaendonck (Holland/France, 1746–1822) for his Fleurs Sessinées d’après Nature (Paris, L’Auteur, au Jardin des Plantes, 1801, pl. 4), HI Art accession no. 2078. Below left, Parrot tulips [Tulipa Linnaeus, Liliaceae], watercolor on paper by Rose Pellicano (Italy/United States), 1998, 56 × 42.5 cm, HI Art accession no. 7405. News from the Art Department Duets exhibition opens The inspiration for the exhibition Duets 1746–1822) has done so with the began with two artworks of trumpet subtle tonality of a monochromatic vine, which were created by the stipple engraving and Rose Pellicano 18th-century, German/English artist (Italy/United States) with rich layers Georg Ehret and the contemporary of watercolor. The former inspired Italian artist Marilena Pistoia. Visitors a legion of botanical artists while frequently request to view a selection teaching at the Jardin des Plantes in of the Institute’s collection of 255 Ehret Paris, and the latter, whose work is and 227 Pistoia original paintings. One inspired by French 18th- and 19th- day we displayed side-by-side the two century artists, carries on this tradition paintings (above left and right) and noticed of exhibiting, instructing and inspiring not only the similarity of composition up-and-coming botanical artists. but also the contrast of two masterly styles: Ehret’s graphic compositions and Another duet of watercolor bold use of opaque color and Pistoia’s paintings compares John Tyley’s graceful portrayal and fluid application (Antigua/?England, fl. early 1800s), of transparent watercolor. Looking traditional depiction of the passion into their history gave us a better flower with slightly, and fully, open understanding of the professionalism blossoms viewed from varying and practicality of two artists surviving angles to Martin Allen’s (England), on patronage, commissions and teaching monumentalized bud about to burst Above left, Bignonia; Americana ... [Campsis who also have impacted generations of open. Tyley creates visual movement radicans (Linnaeus) Bureau, Bignoniaceae], botanical artists. with sinuous vines, leaves and flowers, gouache on vellum by Georg Dionys Ehret (Germany/England, 1708–1770), 53.9 × 37.2 and Allen creates anticipation by cm, HI Art accession no. 2648. Carrie Roy and I began to consider bringing our attention to the crisply other “duets” in the collection that rendered, centralized area of the bud, Below left, Eragrostis sessilispica Buckl. were visually harmonious by subject, while the rest of the structure, slightly [Eragrostis sessilispica Buckley, Poaceae alt. composition, technique or purpose. out of focus, quietly enfolds this energy. Gramineae], ink on paper by an unknown artist (United States, fl.1900s), 41 × 28 cm, for Frank This idea led us on a journey through This pairing became the exhibition’s Lamson-Scribner (1851–1938), “American the treasures of the Institute’s Art and publicity image. grasses (illustrated)” in Bulletin, Division of Library collections. As we whittled Agrostology, United States Department of Agriculture our selections down to 24 pairings, Both of the drawings (below left and right) (1897, vol. 7, p. 268, fig. 250), Hitchcock-Chase Collection of Grass Drawings, on indefinite the associations between works also are by artists whose work centered on loan from the Smithsonian Institution, HI Art began to show the trajectory that the documentation of grasses native to accession no. 6010.1135. botanical art has taken over the last the United States and Canada. Although five centuries and the influence of the ink drawing by an unknown artist historical botanical masters on the (United States, fl.1900s) was made for work of contemporary artists. The a scientific journal, it has similar visual subjects of these pairings explore the impact to Marcel Jomphe’s (Canada) parallels between works created for lyrical wash drawing, intended as a numerous botanical applications. They fine art piece. For visual interest both include classical botanical illustrations artists used the compositional device painted during expeditions and in of bending and crossing the grass stems native environs; plants of the Americas within the confines of the paper. and introductions now cultivated for horticultural and economic purposes Other pairings include contemporary and purely aesthetic or experimental watercolors by Ruriko Kato (Japan), representation with evocative intent. Anne Marie Trechslin (Italy/ Switzerland, 1927–2007) and Claus Both artists (cover) have captured the Caspari (Germany, 1911–1980), gestural form and exuberant energy of respectively, with horticultural serials the tulip in a style that is simultaneously from the Institute’s Library and Art 18th century and modern. Gerard collections. Included are hand-colored van Spaendonck (Holland/France, engravings in Edwards’s Botanical 2 Bull. Hunt Inst. Bot. Doc. 26(1), Spring 2014 Register, or Ornamental Flower-Garden agreement prior to 2010, we would and Shrubbery (1830); Curtis’s Botanical like to contact all living artists (or their Magazine (1820) and a bound album heirs) who have work in our collection of original watercolors for volume to request permission to include three of The Botanist (1838) showing a thumbnail images in our database. We watercolor by Augusta Innes Withers ask that any artist who has participated (England, ca.1793–1860). Other books in our International Exhibition of Botanical from the Institute’s Library include a Art & Illustration series prior to the color stipple engraving of corn that 13th International in 2010 and whose is the last technical illustration made work is in our collection please contact by Pierre-Joseph Redouté (Belgium, Assistant Curator of Art Carrie Roy 1759–1840) in Matthieu de Chevalier via email ([email protected]), Bonafous (France, 1793–1852), Histoire phone (412-268-3035) or mail (Hunt Naturelle, Agricole Et Économique du Institute for Botanical Documentation, Maïs (1836). It is paired with a delicate, 5th Floor, Hunt Library, 4909 Frew linear, colored-pencil drawing of Street, Carnegie Mellon University, yellow dent corn by Timothy Angell. Pittsburgh, PA 15213), stating either A woodcut of rosemary by Leonardo “Yes, I grant permission for a thumbnail Parasole (also Norsino; Italy, fl. late of my artwork to be included on the 1500s–early 1600s) in Castore Durante Web site” or “No, I do not wish for Above right, Bignonia Trumpet vine: Campsis (Italy, 1529–1590), Herbario Nuovo my artwork to have a thumbnail on the radicans (syn. Bignonia radicans, Tecoma (1585), is paired with a linocut of the Web site.” Be sure to include updated radicans) [Campsis radicans (Linnaeus) same subject by Elliot Offner (United contact information so that we can Bureau, Bignoniaceae], watercolor on paper by Marilena Pistoia (Italy), 35 × 25.5 States, 1931–2010). include it in our private records and cm, for Laura Peroni, Il Linguaggio dei Fiori contact you should there be any request (The language of flowers; Milan, Arnoldo We hope that you will gain a new involving your work. Mondadori, 1984, p. 41), HI Art accession no. perspective of our collections through 6773.14. this exhibition, which is on display Feel free to contact us with any Below right, Eragrostis hypnoides (Lam.) through 30 June. Please don’t hesitate questions you have about this issue, Britton, E. E. Sterns & Poggenb. [Eragrostis to contact the Institute if you would like and please note that this is a multi- hypnoides (Lamarck) Britton, Sterns & to schedule a group tour. Also, place on year project involving both a Web site Poggenburg, Poaceae alt. Gramineae], oriental your calendar the date, Sunday, 29 June, re-design and extensive photography. brush and ink on paper by Marcel Jomphe (Canada), 1987, 38 × 25.5 cm, HI Art accession and return for our annual Open House, Photos will be uploaded to the Web no. 6795. which will feature an exhibit tour and site in stages, and we cannot give an related talks (see page 12). exact date for when any single artwork will appear. Image permission As part of a multi-year photography — Lugene Bruno, Curator of Art initiative at the Hunt Institute for Botanical Documentation, we are Fall 2014 exhibition working to photograph our entire Art Proudly displaying their violent collection. These photos are primarily defensive structures, the plants in our for in-house purposes, but we would fall show illustrate the battle to protect like to add small, 100 dpi thumbnails delicious fruit and delicate flowers of the artwork to our Catalogue of the against the wicked intent of pests and Botanical Art Collection at the Hunt predators. Dangerous Beauty: Thorns, Institute database, which is accessible Spines and Prickles includes artworks on our Web site. These thumbnails and books featuring thistles, teasels, will be of low-resolution, unable to cacti, roses, berry brambles and citrus be reproduced and still protected by trees. The exhibition will open on 18 copyright where applicable. September with a reception from 5 to 7 pm and run through 18 December. Because this is a use not covered in the original donation or purchase — Carrie Roy, Assistant Curator of Art Bull. Hunt Inst. Bot. Doc. 26(1), Spring 2014 3 Back Shelf Tales from the Archives William Andrew Archer (1894–1973) William Andrew Archer was a man of many titles, trades and travels. Known as “Andy” to his close friends, Archer was a man of diligence, intelligence and overall passion, but he was notorious for his challenging character. Those who knew him personally, however, attribute his difficult nature to his many successes in the botanical world. As Archer’s friend and fellow colleague Donovan Correll (1908–1983) described, he was “… one of the most individualistic botanists ever to grace the profession …” (1974, p.
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  • Gerard's Herbal the OED Defines the Word

    Gerard's Herbal the OED Defines the Word

    Gerard’s Herbal The OED defines the word ‘herbal’ (n) as: ‘a book containing the names and descriptions of herbs, or of plants in general, with their properties and virtues; a treatise in plants.’ Charles Singer, historian of medicine and science, describes herbals as ‘a collection of descriptions of plants usually put together for medical purposes. The term is perhaps now-a-days used most frequently in connection with the finely illustrated works produced by the “fathers of botany” in the fifteenth and sixteenth century.’1 Although the origin of the herbal dates back to ‘remote antiquity’2 the advent of the printing press meant that herbals could be produced in large quantities (in comparison to their earlier manuscript counterparts) with detailed woodcut and metal engraving illustrations. The first herbal printed in Britain was Richard Banckes' Herball of 15253, which was written in plain text. Following Banckes, herbalists such as William Turner and John Gerard gained popularity with their lavishly illustrated herbals. Gerard’s Herbal was originally published in 1597; it is regarded as being one of the best of the printed herbals and is the first herbal to contain an illustration of a potato4. Gerard did Illustration of Gooseberries from not have an enormously interesting life; he was Gerard’s Herbal (1633), demonstrating the intricate detail that ‘apprenticed to Alexander Mason, a surgeon of 5 characterises this text. the Barber–Surgeons' Company’ and probably ‘travelled in Scandinavia and Russia, as he frequently refers to these places in his writing’6. For all his adult life he lived in a tenement with a garden probably belonging to Lord Burghley.