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Summary
Title: The botanist's repository, for new, and rare plants : containing coloured figures of such plants, as have not hitherto appeared in any similar publication, with all their essential characters, botanically arranged, after the sexual system of the celebrated Linnaeus : in English and Latin : to each description is added a short history of the plant, as to its time of flowering, culture, native place of growth, when introduced, and by whom
Identifier: botanistsreposit12andr (find matches)
Year: 1797 (1790s)
Authors: Andrews, Henry Charles, fl. 1799-1828; Bensley, Thomas, ca. 1760-1835, printer; Haworth, Adrian Hardy, 1768-1833; Kennedy, John, 1759-1842; Jackson, George, d. 1811; Smith, John Donnell, 1829-1928, donor. DSI
Subjects: Plants, Cultivated; Botany; Flowers
Publisher: London : Printed by T. Bensley, and published by the author . .. : To be had of J. White, Fleet-street, and all the booksellers
Contributing Library: Smithsonian Libraries
Digitizing Sponsor: Biodiversity Heritage Library
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This large AI-assisted collection comprises about 60,000 images of botanical drawings and illustrations. It spans from the 14th to 19th century. As of today, we estimate the total number of botanical illustrations in our archive as 200,000 and growing. The "golden age" of botanical illustration is generally considered to be the 18th and 19th centuries, a time when there was a great deal of interest in botany and a proliferation of botanical illustrations being produced. During this period, many of the great botanical illustrators of the time, such as Maria Sybilla Merian, Pierre-Joseph Redouté, and John James Audubon, were active and produced some of the most iconic and influential botanical illustrations of all time. In addition to being used for scientific purposes, botanical illustrations were also highly prized for their beauty and were often used to decorate homes and other public spaces. Many of the most famous botanical illustrations from this period are still admired and collected today for their beauty and historical significance. All large Picryl collections were made possible with the development of neural image recognition. We made our best to reduce false-positive image recognition to under 5%.
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