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Pair of prints: a Jamaican banana tree and a study of banana fruit and flowers, based on the original studies by George Dionysius Ehret, considered one of the greatest of 18th-century botanical artists. The bananas and flowers are shown at actual size.
Christoph Jacob Trew, a physician and botanist, was Ehret's primary patron publishing both Plantae Selectae, one of the finest ever 18th-century botanical sets in which these prints were issued, and Hortus Nitidissimis, also with fine botanical plates. Trew had for a number of years been an admirer of Ehret's work. While Ehret was working as an artist for a banker in Regensburg, Germany, he met Trew, and the two remained friends and associates for life. Ehret's work was so accomplished, that the famous botanist Linnaeus wrote to Trew that "The miracles of our century in the natural sciences are your work of Ehret's plants. [N]othing to equal them was seen in the past or will be in the future."
Georg Dionysus (G.D.) Ehret was the dominant influence in botanical art during the 18th century. He was born in Heidelberg, Germany, and trained as a gardener. He became the protégé of the Margrave of Baden-Durlach, who hired him to design and draw plans for town and palace gardens at Karlsruhe and make paintings of his flowers. After leaving the Margrave's employ, he made his way to Regensburg, where he met Johann Wilhelm Weinmann. Ehret was engaged to produced drawings for Phythanoza Iconographia, which became hist first published works. Upon producing the first 500 drawings, he had a dispute with Weinmann over the considerably low payment he was given, and obtained a new position copying plates for another patron, while also working independently on new paintings.
About this time, Ehret’s talents were recognized by Dr. Jakob Trew of Nuremberg, who became his lifelong patron and friend. With Trew's backing, Ehret was able to leave his copying job. He travelled through Europe, eventually passing through Leiden in 1736, where he met the eminent naturalist Linnaeus, and then went to England, where he remained the rest of his life. In London, he had a busy and successful career as a painter and instructor, obtaining numerous commissions from aristocratic patrons with several duchesses and countesses among his pupils. He produced an important body of botanical paintings, including plates for a number of florilegia and travel books, notably Trew's Plantae Selectae (1750-73) and Hortus Nitidissimis (1750-86) and his own publication, Plantae Paliliones Rariores (1748-59). Ehret was multitalented; he often made the original drawings and engraved his own plates. In 1757, he was made a Fellow of the Royal Society. His works today are represented in many important museum collections including the Victoria and Albert Museum and the British Natural History Museum.References:
Blunt, Wilfred, rev. by Stearn, William T. The Art of Botanical Illustration. Woodbridge, Suffolk, England: Antique Collectors Club, 1994. Chapters 11-12.
Calman, Gerta. Georg Ehret, Flower Painter Extraordinary. 1977. p.97.
Coats No. 33.
Dunthorne, Gordon. Flower and Fruit Prints of the 18th and Early 19th Centuries. Their History, Makers and Uses, with a Catalogue Raisonne of the Works in Which They are Found. Washington, D.C.: Published by the Author, 1938. p. 309.
Hunt 539.
Nissen, Claus. Die Botanische Buchillustration: ihre Geschichte und Bibliographie. Stuttgart:1951-66. 1997.
Sitwell, Sacheverell. Great Flower Books, 1700-1900. New York: The Atlantic Monthly Press, 1990. p.144.
Pritzel, Georg August. Thesaurus Literaturae Botanicae Omnium Gentium. Milan: 1950. 9499.
Stafleu, Frans A. and Richard S.Cowan. Taxonomic Literature. Utrecht: 1967. 2nd ed., Utrecht: 1976-1988 TL2 15.131.