Albertus Seba's collection of natural specimens and its pictorial inventory
Excerpt from the book 'Albertus Seba's Cabinet of Natural Curiosities'
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She is receiving from a winged messenger, who personifies Commerce, natural specimens from the different parts of the world. These last are personified in turn by allegorical figures standing behind Commerce. A Native American represents the New World, followed by a dark-skinned inhabitant of the African continent, and an oriental from Asia. Europe is not represented, indicating that natural specimens from overseas – brought back on the large sailing ships visible in the background – are the focus of attention. Since Australia was still unknown to Europeans, its symbolical representative is missing. Many putti are scampering about at Industria`s feet, engaged in gathering specimens, examining and discussing them. As can be seen, pictures and books are also part of this study of nature. Two spirits are descending from the heavens to acknowledge Industria`s tireless collecting for the benefit of knowledge about the natural world. The one in front is carrying a circlet wrought in the shape of a snake biting its tail. This symbol of eternity, together with the laurel wreath in the hands of the second spirit, stands for lasting fame. The personification of diligent collecting thus outshines the idle reaper Chronos and is rewarded with symbols of enduring honour. The frontispiece of course reflects how Seba saw himself: its allegorical composition celebrates his own industriousness as an indefatigable collector and as the author of a comprehensive catalogue of his collection.
Publication of a work like the Thesaurus called for considerable sums of money. Hugely expensive to produce were above all the many illustration plates, whose engraving was a laborious and drawn-out task. The names of no less than 13 artists are recorded as being employed on the transferral of the drawings, frontispiece, and portrait to the copperplates. Besides Houbraken and Tanjé, who have already been mentioned, these included copper engravers from Amsterdam such as Frans de Bakker (active from 1736–1765), Adolf van der Laan (active from 1717–1740), and Jan Punt (1711–1779). But first Seba had to find a publisher willing to take on the financial risk associated with such an elaborate enterprise. It was customary in the Netherlands for several publishers to join forces in the case of such costly book projects. The contract drawn up between the two publishers of the Thesaurus reveals that the author was still obliged to put up one third of the money himself. Initial production costs were funded by means of a subscription: future customers placed their names on a list, paid at least a partial amount in advance and were granted in return a discount of 30 per cent.
The expensive work was initially published in black-and-white, in other words, without the vibrant colouring of the copy upon which this reprint is based. It is not known whether the publishers also offered a hand-painted edition, which would naturally have raised the price and profit margin considerably. Buyers probably had the work painted at their own extra expense by specialist colourists. The gorgeous colours add substantially to the attractiveness of the plates, but their purpose was not just aesthetic enhancement. They had a scientific use as well. Some specimens, such as those of butterflies, snakes and shellfish, are only distinguishable by their colouring, and the differences in patterning of many fauna can barely be discerned in black-and-white. The colourist`s skill and knowledge of the subject played an important part in enabling the illustrations to convey their message.
Page [1] [2] [3] [4] [5] [6]
Page [1] [2] [3] [4] [5] [6]
She is receiving from a winged messenger, who personifies Commerce, natural specimens from the different parts of the world. These last are personified in turn by allegorical figures standing behind Commerce. A Native American represents the New World, followed by a dark-skinned inhabitant of the African continent, and an oriental from Asia. Europe is not represented, indicating that natural specimens from overseas – brought back on the large sailing ships visible in the background – are the focus of attention. Since Australia was still unknown to Europeans, its symbolical representative is missing. Many putti are scampering about at Industria`s feet, engaged in gathering specimens, examining and discussing them. As can be seen, pictures and books are also part of this study of nature. Two spirits are descending from the heavens to acknowledge Industria`s tireless collecting for the benefit of knowledge about the natural world. The one in front is carrying a circlet wrought in the shape of a snake biting its tail. This symbol of eternity, together with the laurel wreath in the hands of the second spirit, stands for lasting fame. The personification of diligent collecting thus outshines the idle reaper Chronos and is rewarded with symbols of enduring honour. The frontispiece of course reflects how Seba saw himself: its allegorical composition celebrates his own industriousness as an indefatigable collector and as the author of a comprehensive catalogue of his collection.
Publication of a work like the Thesaurus called for considerable sums of money. Hugely expensive to produce were above all the many illustration plates, whose engraving was a laborious and drawn-out task. The names of no less than 13 artists are recorded as being employed on the transferral of the drawings, frontispiece, and portrait to the copperplates. Besides Houbraken and Tanjé, who have already been mentioned, these included copper engravers from Amsterdam such as Frans de Bakker (active from 1736–1765), Adolf van der Laan (active from 1717–1740), and Jan Punt (1711–1779). But first Seba had to find a publisher willing to take on the financial risk associated with such an elaborate enterprise. It was customary in the Netherlands for several publishers to join forces in the case of such costly book projects. The contract drawn up between the two publishers of the Thesaurus reveals that the author was still obliged to put up one third of the money himself. Initial production costs were funded by means of a subscription: future customers placed their names on a list, paid at least a partial amount in advance and were granted in return a discount of 30 per cent.
The expensive work was initially published in black-and-white, in other words, without the vibrant colouring of the copy upon which this reprint is based. It is not known whether the publishers also offered a hand-painted edition, which would naturally have raised the price and profit margin considerably. Buyers probably had the work painted at their own extra expense by specialist colourists. The gorgeous colours add substantially to the attractiveness of the plates, but their purpose was not just aesthetic enhancement. They had a scientific use as well. Some specimens, such as those of butterflies, snakes and shellfish, are only distinguishable by their colouring, and the differences in patterning of many fauna can barely be discerned in black-and-white. The colourist`s skill and knowledge of the subject played an important part in enabling the illustrations to convey their message.
Page [1] [2] [3] [4] [5] [6]
Albertus Seba's Cabinet of Natural Curiosities
Hardcover, 29 x 44 cm (11.4 x 17.3 in.), 636 pages
$ 200.00
$ 200.00
Albertus Seba's Cabinet of Natural Curiosities - One of the most prized natural history books of all time
Gerard Blasius: Anatome Animalium, 1681. Plate XIV