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The William Farquhar Collection of Natural History Drawings consists of 477 watercolour botanical drawings of plants and animals of Malacca and Singapore by unknown Chinese (probably Cantonese) artists that were commissioned between 1819 and 1823 by William Farquhar (26 February 1774 – 13 May 1839). The paintings were meant to be of ...
Acacia cunninghamii from the 1900 Illustrations of Australian Plants release of part of Florilegium in black and white.. Banks' Florilegium is a collection of copperplate engravings of plants collected by Sir Joseph Banks and Daniel Solander while they accompanied Captain James Cook on his first voyage around the world between 1768 and 1771.
The first in Ross-Craig's series Drawings of British Plants was published in 1948. [5] The series was issued as a set of inexpensive paperbacks retailing initially for 6 shillings, [9] a departure from similar books for professionals and wealthy amateurs.
Botanical illustration is the art of depicting the form, color, and details of plant species. They are generally meant to be scientifically descriptive about subjects depicted and are often found printed alongside a botanical description in books, magazines, and other media.
Giulio Campagnola, The Astrologer, c. 1509, with areas such as the dark foreground, the man's bald head, and the tree trunks created by a burin stippling technique. An example of the mastery of coloured stipple engraving by Francesco Bartolozzi (1727–1815) Cupid Binding Aglaia to a Laurel, detail, after Angelica Kauffmann (1741–1807)
Capodimonte porcelain jar painted in the stipple style of Giovanni Caselli with three figures of Pulcinella from the commedia dell'arte, 1745–1750 Graphics complex of a seashell with stipple shading modeled in Mathematica 13.1. Stippling is the creation of a pattern simulating varying degrees of solidity or shading by using small dots. Such a ...
Laporte published: Characters of Trees (1798–1801), Progressive Lessons sketched from Nature (1804), and The Progress of a Water-colour Drawing. Between 1801 and 1805 he and his collaborator William F. Wells made seventy-two soft-ground etchings after drawings by Thomas Gainsborough (thirty-three by Laporte, the remainder by Wells). [3]
The drawing is related to the painting W27 : Study of the legs of a seated woman: c. 1628: Chalk: 22.6 x 17.6 cm: Rijksmuseum Amsterdam: The drawing is related to the painting W37 : The Raising of the Cross: 1628-1629: Black chalk, heightened with white, framing lines in pencil and with the pen and brown ink: 19.3 x 14.8 cm: Museum Boijmans Van ...