H. v. Hirt (19th century illustrator/lithographer)
“Plate 215: Caterpillar
Muscles”, c.1830, from Georg August
Goldfuss’ (1782–1848) “Naturhistorischer Atlas …” (Naturalist Atlas),
published 1824–42, Duesseldorf.
Lithograph in
black ink on wove paper (vellin) watermarked “J Whatman”
Size: (sheet)
46.2 x 58.6 cm
Lettered in the
plate: (upper left) “CL. VI. INSECTA. / ll ANATOM.”; (upper right) “215.”;
(lower centre) “Muskeln der Weidenraupe.”; annotated with letters, numerals and
symbols within and alongside the three images.
Condition: crisp
impression in very good condition but with a few signs of use (i.e. light
dustiness and minor marks).
I am selling
this huge 19th century lithograph illustrating the musculature of caterpillars
for the total cost of AU$92 (currently US$70.23/EUR64.49/GBP57.36 at the time
of this listing) including postage and handling to anywhere in the world. If
you are interested in purchasing this amazing curiosity of a print, please
contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal
invoice to make your payment easy.
This print has been sold
Collectors
often purchase the most bizarre subjects and this 19th century
lithograph of a caterpillar’s muscles should win a prize for being an extremely
curious subject. I guess I should have known that caterpillars had muscles
but the idea never seemed to dawn upon me until I saw this print.
___________________
Sometimes I can
be very lucky.
I have been
fortunate to receive two marvellous emails from Professor Stan Rachootin (Biological
Sciences at Mount Holyoke College, South Hadley, MA USA.) regarding background
information about this curiously interesting print.
The first email
that I received gives a broad understanding of the print and, thanks to Prof
Rachootin’s kind permission, I can offer the following insight:
“Goldfuss's
lithograph is based on of P. Lyonnet ‘s (or Lyonet) originals (Traité
anatomique de la chenille qui ronge le bois de saule 1750). Lyonnet traced thousands of muscles, nerves,
and branches of the tracheal trees of the caterpillar of the goat moth. He apologized for having caused the deaths
of 12 caterpillars in order to produce the drawings.
Goldfuss bases
several prints on Lyonnet. They are reversed from the originals and take some liberties
with the details that are Lyonnet’s claim to fame. Lyonnet also produced images
of hundreds of different kinds of scales from the wings and body of the adult
goat moth—these were published decades after his death.”
The second
email that I received is fascinating as it is a direct quotation on Lyonet from
J R Baker (Baker, John R. 1952. Abraham Trembley Scientist and Philosopher
1710-1784. Edward Arnold & Co. London):
“The illustrations to the Mémoires
[Mémoires pour servir à l'histoire d'un genre de polypes d'eau douce,1744], other
than the vignettes, were all drawn by Trembley’s friend Lyonet, who it will be
remembered, was one of those who confirmed Bonnet’s work on parthenogenesis in
plant lice (p. 21). It may be remarked
here that he was the first to prove that plant-lice, which are viviparous
during the summer, lay eggs in autumn that survive until Spring. Lyonet had been born at The Hague of French
parents. He was a lawyer by education, and a brilliant linguist; he acted as
cipher-secretary and confidential translator to the Dutch government. In May
1743, Lyonet showed some of his drawings to Wandelaar, the celebrated Dutch
engraver. The latter was struck by their beauty, and formed the opinion that
Lyonet could excel also at engraving. Lyonet went to Leiden the next month to
work in Wandelaar’s house. Here, for the first time in his life, he handled the
engraver’s burin. He engraved a dragonfly, and his first work could easily have
been taken for that of a master. He then engraved three butterflies. With no
further education in the subject, he proceeded at once to engrave his own
drawings of Trembley’s polyps. Plates
1-5 of the Mémoires had already been engraved from his drawings by another
hand: Plates 6-13 were both drawn and engraved by himself. Trembley had the
greatest admiration for his skill as an observer and draughtsman. “It was
sufficient for me to put subjects before Monsieur Lyonet’s eyes, he wrote, “and
he saw everything that it would have difficult to indicate to others.” Comment
on the extraordinary talent would be unnecessary: the reader has only to refer
to the figures copied from his drawings and engravings into the present work.
Lyonet went on the even higher
distinction in his art. He was as skilled in minute dissection and observation
as in drawing and engraving. He made an elaborate study of the anatomy of the
larva of the goat-moth, Cossus ligniperda. This larva feeds on the solid wood
of willow and certain timber-trees; its pungent smell gives the common name to
the species. As a study in minute anatomy, for detailed accuracy of description
and illustration, Lyonet’s work on this subject has probably never been
surpassed.” (pp. 40–41)
Following this quote Prof Rachootin gave me
one further gem: “In the Encyclopaedia Britannica, 5th ed 1810, it is stated
that the Lyonet’s lesson with Wandelaar lasted one hour. Article on Lyonet” and
proposed that “a visit to ‘Jan Wandelaar’ on Google Images will bring up some
familiar images...”
My sincere
thanks to Prof Rachootin for his wonderful insights.
