Coconut / kokosnoot – Caryophylli hortensis maximus (..); J. Weinmann & N. Asamin – 1736-1748

Johann Wilhelm Weinmann (1683 – 1741) / N. Asamin / Johann Jakob Haid (1704–1767).

Contemporary colored print of a coconut by N. Asamin. From Duidelijke Vertoning, the Dutch edition of the famous Phytanthoza Iconographia by Johann Weinmann.

Oudtijds gekleurde prent van een kokosnoot door N. Asamin. Uit Duidelijke Vertoning, de Nederlandse uitgave van de beroemde Phytanthoza Iconographia van Johann Weinmann.

295,00

1 in stock

Description

Details

  • Type: natural history print, botany
  • Title: a. Palmae fructus de maldiva sive Coccus Maldivensium. b. Palmae Indicae fructus, seu nux, coccus major, Caquo. Plate 781
  • Technique: copper engraving, mezzotint colouring and finished by hand
  • Illustrator: N. Asamin
  • Engraver: Bartholomeus Seuter / Johann Jakob Haid
  • Author:
  • Botanist: Johann Wilhelm Weinmann
  • Date: 1736-1748
  • Published in: Duidelyke Vertoning, Eeniger Duizend in alle vier waerelds deelen wassende Bomen, Stammen, Kruiden, Bloemen, Vrugten, en Uitwassen (..). by Zacharias Romberg in Amsterdam
  • 33.2 x 21.0 cm (13.1 x 8.3 inches)
  • 40.0 x 24.7 cm (15.7 x 9.7 inches)
  • Verso: blank
  • 7590 B
  • Source: Nissen 2126 / Landwehr 212

Condition

Very good, given age. General age-related toning and/or occasional minor spots and defects from handling. Spot in the lower left margin. Sharp print on laid paper with clear coloring.

Zeer goed, gegeven de leeftijd. Scherpe afdruk op gelegd papier met heldere inkleuring en een enkel vlekje. Vlek in de linker onder marge, buiten beeld.

Backgrounds

Johann Wilhelm Weinmann (1683-1741) was a Regensburg apothecary and councillor. He created a botanical garden in Regensburg, published the Catalogus Alphabetico ordine exhibens Pharmaca in 1723 and contributed botanical notes as Observationes und Anmerkungen in the Breslauer Sammlungen.

Weinmann organized the publication of Phytanthoza Iconographia (1737-1745), a huge florilegum which was not only very beautiful but which also influenced the publication of similar works worldwide. The complete edition consists of 8 volumes (4 text & 4 plate) and was published in Regensburg. The mezzotint process used here had been invented by Johann Teyler in the Netherlands around 1688. As practiced here by Bartholomeus Seuter, it was really a combination of etching and mezzotint, which made possible delicate lines and a very fine grain. The addition of hand-tinting brought about unusual and subtle effects.

The current edition is the first Dutch translation of that epic work, reputedly with better plates, as a higher quality paper was used. It is said that the introduction of a copy of this Dutch translation into Japan radically changed the illustrated botanical literature, and led to the production of the 96-volume illustrated herbal Honzo Zufu by Iwasaki Kanen.

Phytanthoza Iconographia is highly regarded for the quality of its colour plates, and the accuracy of its images compared with previous herbals. Weinmann was greatly respected for his writings on medicinal plants and herbs, and Phytanthoza iconographia is recognised as the first important botanical work to use colour engraved prints.

The plates for this work were by the engravers Bartholomeus Seuter (1678-1754), Johann Elias Ridinger (1698–1767), and Johann Jakob Haid (1704–1767). The descriptions for plates 1-73 were provided by Johann Georg Nicolaus Dieterichs (1681–1737), for plates 76-525 by Ludwig Michael Dieterichs (1716–1769) and Ambrosius Karl Bieler finished the descripions. Herman Boerhaave and Johann Burmann compiled an index for the work.

In 1730 Weinmann employed the youthful Georg Dionysius Ehret (1708–1770) as illustrator. Because Phytanthoza iconographia was to become Ehret’s first published work, he set about the project with great enthusiasm. After the first 500 plates, Ehret realised that he was receiving a niggardly payment and soon found new employment copying plates, while being able to produce other paintings independently. As a result of this quarrel between artist and patron, his name was expunged from the plates. Even at this early stage in his career, Ehret’s style is easily identified, particularly in various gourds, aloes and cacti growing in distinctive pots and urns. Ehret was replaced by the female artist N. Asamin.