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1545 Leonhard Fuchs Botanical Woodcut Prints
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Date: AD 1545, Basel, Isingrin, rare
Size: 6.3 x 3.5 inches
These are two woodcut prints with hand colored sketches and hand-written notes. This is original from the AD 1545 Octavo edition. Issued in Läbliche abbildung und contrafaytung aller kreüter so ... inn dem ersten theyl seins neüwen kreüterbuchs hat begriffen, in ein kleinere form auff das allerartlichste gezogen ... Basel, Isingrin 1545.
Fuch’s work and its beautiful illustrations effected a revolution in the natural sciences, comparable to that of Copernicus in astronomy and Vesalius in anatomy, both of which were published the following year, AD 1543. To effect this reform accurate illustration and identification was the first requirement and it was to this task that Fuchs addressed himself. Fuchs employed the best artists then available in Basle: Albrecht Meyer did the drawings, Heinrich Füllmaurer transferred them to the woodblocks, and they were cut by Veit Rudolph Speckle. All three are depicted in the book, the first time that book illustrators are themselves portrayed and named. These illustrations set a new standard for botanical depiction and were some of the most influential in botanical history, being copied for innumerable works well into the 18th century. Some 40 species are illustrated for the first time, including several American plants, such as maize and the pumpkin.
‘The coloring of many copies of Fuchs ... is authentic, in that they were issued by the publisher in a colored state based upon the artist’s original colored drawings made from living specimens’ (Blunt).
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![1545 Leonhard Fuchs Botanical Woodcut Prints
[b][u]Date[/u]: AD 1545, Basel, Isingrin, rare
[u]Size[/u]: 6.3 x 3.5 inches
These are two woodcut prints with hand colored sketches and hand-written notes. This is original from the AD 1545 [i]Octavo[/i] edition. Issued in [i]Läbliche abbildung und contrafaytung aller kreüter so ... inn dem ersten theyl seins neüwen kreüterbuchs hat begriffen, in ein kleinere form auff das allerartlichste gezogen ... Basel, Isingrin[/i] 1545.
Fuch’s work and its beautiful illustrations effected a revolution in the natural sciences, comparable to that of Copernicus in astronomy and Vesalius in anatomy, both of which were published the following year, AD 1543. To effect this reform accurate illustration and identification was the first requirement and it was to this task that Fuchs addressed himself. Fuchs employed the best artists then available in Basle: Albrecht Meyer did the drawings, Heinrich Füllmaurer transferred them to the woodblocks, and they were cut by Veit Rudolph Speckle. All three are depicted in the book, the first time that book illustrators are themselves portrayed and named. These illustrations set a new standard for botanical depiction and were some of the most influential in botanical history, being copied for innumerable works well into the 18th century. Some 40 species are illustrated for the first time, including several American plants, such as maize and the pumpkin.
‘The coloring of many copies of Fuchs ... is authentic, in that they were issued by the publisher in a colored state based upon the artist’s original colored drawings made from living specimens’ (Blunt).[/b]](albums/userpics/14285/normal_1545_Leonard_FUCHS_Drawing_37.jpg "Click to view full size image
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1545 Leonhard Fuchs Botanical Woodcut Prints
[b][u]Date[/u]: AD 1545, Basel, Isingrin, rare
[u]Size[/u]: 6.3 x 3.5 inches
These are two woodcut prints with hand colored sketches and hand-written notes. This is original from the AD 1545 [i]Octavo[/i] edition. Issued in [i]Läbliche abbildung und contrafaytung aller kreüter so ... inn dem ersten theyl seins neüwen kreüterbuchs hat begriffen, in ein kleinere form auff das allerartlichste gezogen ... Basel, Isingrin[/i] 1545.
Fuch’s work and its beautiful illustrations effected a revolution in the natural sciences, comparable to that of Copernicus in astronomy and Vesalius in anatomy, both of which were published the following year, AD 1543. To effect this reform accurate illustration and identification was the first requirement and it was to this task that Fuchs addressed himself. Fuchs employed the best artists then available in Basle: Albrecht Meyer did the drawings, Heinrich Füllmaurer transferred them to the woodblocks, and they were cut by Veit Rudolph Speckle. All three are depicted in the book, the first time that book illustrators are themselves portrayed and named. These illustrations set a new standard for botanical depiction and were some of the most influential in botanical history, being copied for innumerable works well into the 18th century. Some 40 species are illustrated for the first time, including several American plants, such as maize and the pumpkin.
‘The coloring of many copies of Fuchs ... is authentic, in that they were issued by the publisher in a colored state based upon the artist’s original colored drawings made from living specimens’ (Blunt).[/b]")
