Wings by Gregor Törzs Gregor Törzs :: Wing Color nº 2, 2017 and Libellenflügel (Dragonfly wings), 2013. | src l’œil de la photographie and Törzs
Dangers, Lilliput, Aug. 1941 Lilliput comparison from August 1941 issue. Lilliput Pocket Omnibus (aka Lilliput: The Pocket Magazine for Everyone) which was a pocket-sized monthly magazine produced by Stefan Lorant, Hungarian photojournalist, author, and filmmaker who had served time in a Nazi prison. The magazine was known for Lorant’s juxtapositions of images for political or aesthetic effects. | source Flickr
Leaf insect, 1950s Pierre Auradon :: Insecte feuille (Leaf insect), 1950s. Au dos: Phyllium, Phyllie, insecte feuille / Photo Pierre Auradon. | src eBay
Insect, ca. 1950 Pierre Auradon :: Insecte, vers 1950. Mention au dos: Photo / Pierre Auradon. | src eBay
Untitled (butterfly), ca. 1930 John Kauffmann (1864-1942) :: Untitled (butterfly), circa 1930. Carbon photograph. | src Art Gallery NSW Kauffmann · flowersDate20 April, 2023Authorun regard obliqueIn relation to1930sKauffmann · Tall grassDate25 May, 2023Authorun regard obliqueIn relation to1910sn.t. (Papyrus), 1920sDate3 July, 2021Authorun regard obliqueIn relation to1920s
Sisters, Summertime, 2014 Maxine Helfman :: Sisters. From Summertime series, 2014. | src don’t take pictures, issue 4, Spring 2015
Untitled (insect), 1930s Jacques-André Boiffard :: Sans titre, 1932-1933. | src Dards d’art (1999). Musée Réattu Cédérom
Insectes de Surinam, 1726 Maria Sybilla Merian :: Dissertatio de generatione et metamorphosibus insectorum Surinamensium | Dissertation sur la génération et les transformations des insectes de Surinam, translated by J. Rousset de Missy. The Hague: Pierre Gosse, 1726. | src Invaluable & Christie’sMerian embarked on the two month voyage to the Dutch colony of Surinam in South America in June 1699, accompanied by her younger daughter Dorothea. The two endured the rigours of the tropical climate for 21 months in their endeavours to discover, collect and record the insect life, as a complement to the Raupenbuch, their work on European insects. Their sketches were first made from life and then painted on vellum. When mother and daughter left the colony in June, 1701 they were ‘loaded with rolled vellum paintings, brandied butterflies, bottles with crocodiles and snakes, lizards’ eggs, bulbs, chrysalises that had not yet opened, and many round boxes full of pressed insects for sale’ (Kurt Wettengl, ed., Maria Sibylla Merian 1647-1717, Ostfildern, 1998, pp. 180-81). Work on the Metamorphosis continued in Amsterdam until the publication of the first edition in 1705 with 60 plates, depicting the insects life-size. Merian’s early training as a botanical artist is evident in the fine depiction of the plants on which the insects feed and breed. As Sitwell states, these ‘are drawn with the same delicacy and precision as the insects themselves, and the book may thus legitimately be considered a florilegium also’ (Great Flower Books p. 30). Further editions of the work followed in 1719, 1726, and 1730, containing not only the original 60 plates but 12 additional engravings of reptiles, amphibians and marsupials, originally intended for a projected second volume. Quoted from Christie’s