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Heliconia angusta

Heliconia angusta


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Heliconia angusta

Heliconia angusta (Two-coloured heliconia, Heliconia bicolor). Handcoloured copperplate engraving by S. Nevitt after a botanical illustration by Mrs Priscilla Bury from Benjamin Maund and the Rev. John Stevens Henslows The Botanist, London, 1836

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Media ID 23161582

© Florilegius/Mary Evans

Benjamin Bicolor Botanist Brazil Bury Heliconia Henslow Maund Nevitt Priscilla Stevens Two Coloured


FEATURES IN THESE COLLECTIONS

> Animals > Mammals > Cercopithecidae > Bicolor

> Animals > Mammals > Vespertilionidae > Bicolor

> Arts > Artists > Related Images

> Arts > Artists > S > John Stevens

> Arts > Portraits > Botanical illustrations > Fine art

> Arts > Realistic drawings > Botanical illustrations > Fine art

> Europe > United Kingdom > England > London > Related Images

> Mary Evans Prints Online > New Images August 2021

> South America > Brazil > Related Images


EDITORS COMMENTS
This exquisite handcoloured copperplate engraving depicts the Two-coloured Heliconia, or Heliconia angusta, a stunning tropical plant native to Brazil. The engraving is based on a botanical illustration by the talented Mrs. Priscilla Bury, and was published in Benjamin Maund and the Reverend John Stevens Henslow's esteemed work, "The Botanist," in London during 1836. Heliconia angusta is characterized by its vibrant, bi-coloured bracts, which are a rich red and green hue. The plant's elegant, elongated inflorescence is adorned with these bracts, creating a striking visual display. The flowers themselves are a contrasting yellow, adding to the plant's allure. Mrs. Bury's illustration captures the intricacies of the Heliconia angusta's form with remarkable detail, from the veining on its leaves to the delicate textures of its bracts. Nevitt's expert engraving technique brings the illustration to life, adding depth and dimension to the final print. The Victorian-era botanical illustration and engraving process was a laborious one, requiring great skill and patience. The illustrator would painstakingly render the subject in watercolour, while the engraver would then carefully transfer the image to copperplate, using finely sharpened tools to etch the lines and details. The plate would then be handcoloured, often by a separate specialist, to add the final touches of colour and vibrancy. This beautiful Heliconia angusta print is a testament to the artistry and dedication of those involved in the botanical illustration and engraving process during the Victorian era. It serves as a reminder of the importance of documenting the natural world, and the beauty that can be found in even the smallest of details.

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