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Donate There was an issue with the request. Optional. The nature-printed British sea-weeds : a history, accompanied by figures and dissections of the Algae of the British Isles / By William Grosart Johnstone and Alexander Croall. Nature printed by Henry Bradbury. Title The nature-printed British sea-weeds : a history, accompanied by figures and dissections of the Algae of the British Isles / By William Grosart Johnstone and Alexander Croall.

The nature-printed British sea-weeds : a history, accompanied by figures and dissections of the Algae of the British Isles / By William Grosart Johnstone and Alexander Croall. Nature printed by Henry Bradbury.

Nature printed by Henry Bradbury. By Johnstone, William Grosart. Bradbury, Henry, 1831-1860 1831 1860 Croall, Alexander, 1809-1885 1809 1885 Genre Book Publication info London :Bradbury and Evans,1859-1860. 1859 Subjects Algae , Great Britain Find in a local library Johnstone, William Grosart. [Plantes vivantes exprimées par le cylindre] : [estampe] / [fait à Florence par Zenobe Pacini pharmacien] [Plantes vivantes exprimées par le cylindre] : [estampe] / [fait à Florence par Zenobe Pacini pharmacien] Aller au contenu.

[Plantes vivantes exprimées par le cylindre] : [estampe] / [fait à Florence par Zenobe Pacini pharmacien]

Treasures of the Library : Nature printing. This small volume of ‘nature printed’ leaves and flowers offers an intriguing insight into late eighteenth-century botany.

Treasures of the Library : Nature printing

It belonged to Charles Darwin (1758-1778), the eldest son of Dr Erasmus Darwin (1731-1802), of Lichfield, Derbyshire (himself the grandfather of the Charles Darwin of the ‘theory of evolution’ fame). As a child, Charles had been interested in botany, and had travelled with a botanical tutor in France when nine years old.

He either made or acquired the book the year he went up to Oxford University, labelling it number eighty-four in his library, and noting the year as 1774. Charles left Oxford after a year to study medicine in Edinburgh. As a medic, he would be expected to have a knowledge of botany as many drugs were plant based. Charles’s death in 1778, while still a medical student at Edinburgh University, meant that the book reverted to his father, just when Erasmus Darwin was developing an intense interest in botany. Dr Anne Secord Darwin Correspondence Project.

Lost nature printing technique subject of new book inspired by Chelsea Physic Garden. March 18, 2016 by ArtPlantae Nature-printed fern by Henry Bradbury © private collection The Chelsea Physic Garden has announced the the upcoming release of The Nature-Printer: a tale of industrial espionage, ferns and roofing lead by Simon Prett & Pia Östlund, a limited edition book about a lost technique of nature printing first announced in Vienna in the 1850s.

Lost nature printing technique subject of new book inspired by Chelsea Physic Garden

Prett and Östlund’s book was inspired by a book Pia Östlund discovered while working at the Physic Garden five years ago. Overwhelmed by the beauty of the images, she set out to rediscover this lost technique of nature-printing. The book that launched her journey was The Ferns of Great Britain and Ireland Nature-Printed (1855) by Henry Bradbury. Nature Printing: The Italian Art. 2013 Botany List Web. Art & Algae: The Work of Anna Atkins  Polysiphonia Affinis from Anna Atkins’ Photographs of British Algae: Cyanotype Impressiona “To my dearest father this attempt is affectionately inscribed” reads a touching dedication in the frontispiece of a rare book.

Art & Algae: The Work of Anna Atkins 

The page is a cyanotype print of the most vibrant blue, and the lines of white hand-written words are those of early naturalist and photographer Anna Atkins. Several lifetimes older than myself, Photographs of British Algae: Cyanotype Impressions is thought to be the first book to feature photographic images. In 1841, William Harvey had published another first of its kind, A Manual of British Marine Algae. It was a survey of British algae which, although the most comprehensive thus far, included no illustrative content, relying only on written descriptions of the specimens it classified. I first came to Atkins’ cyanotypes in preparation for Bloom, an exhibition at the Horniman Museum, a museum of anthropology and natural history in the south London suburb of Forest Hill.

Wellcome Images.