The earliest botanical illustrations are found in ancient herbals, practical works of knowledge written to pass on crucial information about how to heal the sick. Around the time of the Renaissance, however, flowers began to be more generally appreciated for their beauty, thus encouraging talented artists to attempt to capture their magic. Botanical illustration developed into a high art form during the golden era of the 18th and early 19th centuries. From that era date some of the most stunning examples of botanical art ever made. The earliest known examples of published botanical illustration can be found in the five-volume De Materia Medica written by the ancient Greek physician and scholar Pedanius Dioscorides, a traveling physician from Asia Minor who followed the Emperor Nero's army as it campaigned across the Roman Empire. Many other illustrators followed in the path of Dioscorides--even Leonardo da Vinci tried his hand at botanicals--but undoubtedly the most well-known illustrator is the Flemish artist Pierre Joseph Redout� (1759-1840), who painted exact scientific illustrations for the botanist Charles Louis L'H�ritier. Redout� also became Marie-Antoinette's official draftsman and Painter to the Queen's Cabinet, especially well known today for his illustrations of roses.

Contains material adapted and abridged from The art of nature coloring book. Avon, Mass.: Adams Media, 2013.

"Botanical Inspiration is a timeless collection of artwork and illustrations that feature flora and its many facets through a variety of visual concepts, styles, and techniques."--

Known for her scientific eye for precise detail, Maria Sibylla Merian (1647–1717) spared no expense to collect, study, and draw an incredible variety of plant and insect specimens. This easy-to-use archive is filled with 153 of her finest black-and-white engravings of roses, lilies, and carnations, plus more exotic flowers. Wonderfully accurate illustrations of butterflies, caterpillars, and other insects are also included. An excellent source of horticultural graphics, this remarkable collection will be treasured by craftspeople, art students, and natural historians.

Henry Evans (1918–1990) began making botanical prints in 1958, depicting some 1,400 subjects in 31 years. In that time, he was accorded more than 250 one–man shows in many countries around the world and in almost every state in the union. Admired by art lovers and naturalists alike, Henry's work reveals a style intriguingly personal and botanically faithful, unerring in its feeling for rhythm and design. Self–taught as a printer, botanist, and artist, he developed a unique style and technique. He drew directly from living subjects, and all subjects were portrayed life–size. He used linoleum as a printing surface and an 1852 Washington Hand Press to make the prints. All of the work was done by hand. All of the materials that were used were of the best quality, and all of the editions were limited. Each linoleum–block print was numbered, dated, and signed by the artist. After printing, the blocks were destroyed. Botanical Prints presents a vast array of Evans's work and goes one step further by providing excerpts from the artist's notebook, which illuminate not only the physical processes he used but also the brilliant mind that created both the prints and the prose.

The third volume of this book features twenty beautiful vintage sea shell prints. Images have been retouched, while keeping their vintage feel. Single-sided printing so images can be taken out and used for framing and decor.