“A View of Savannah as it Stood the 29th of March 1734” shows the gridlike layout of the port town upon a bluff overlooking the river, with the background cloistered by a dense forest of trees. The engraving, based on an earlier plat probably made by the Savannah surveyor Noble Jones, is the first known plan of the city.
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In 1734 a professional printmaker, Paul Fourdrinier, who worked in London, made an engraved and etched print showing the developing Savannah. Zebra Swallow-Tail Butterfly From Natural History of Carolina, Florida, and the Bahama Islands, by M. The drawings are stored at the Royal Library in London. The 220 etchings of birds, plants, trees, snakes, and other subjects were based on carefully executed preparatory drawings made, in part, on the expeditions to Fort Moore.
Catesby’s Natural History of Carolina, Florida, and the Bahama Islands was published in 1731-32 (vol.
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Back in London, finding that the Royal Society could not publish his notes and drawings, he secured financing and learned how to etch and make prints after his sketches. He worked in watercolor and gouache (an opaque watercolor) over lines made with either brown ink or pencil, and sometimes both.
On this tour, endorsed by the venerable Royal Society in London, England, Catesby made fine, delicate drawings of animals and plants, which emphasize the general look of a species. During his Carolina tour of 1722 to 1726 he traveled three times to Fort Moore, an outpost on the Savannah River near Augusta. Catesby made the first major natural history drawings of wildlife and their habitats in or near the future state of Georgia. Mark Catesby, during the early eighteenth century, documented natural history subjects in drawings that form essential records of wildlife and plant life in the southern British colonies. Visual Records of Georgia in the Eighteenth Centuryĭuring the eighteenth century the South attracted several expeditions that studied natural history subjects, recorded new settlements, and produced drawings and prints that are significant for the early history of Georgia and natural history illustration. Their efforts, which are tied to larger artistic worlds in America and abroad, comprise four major spheres of artistic interest: records of the New World, portraiture, landscape and city views, and illustrations for popular books and magazines. Georgia artwork from the eighteenth and nineteenth centuries is typically covered in larger histories of southern art, where painting, architecture, and/or decorative arts dominate, and a few valuable studies are available on individual artists who made early drawings and prints involving Georgia.Īlthough a published history of the drawings and prints of Georgia made during this time does not exist, these vivid works, as well as their creators, are worthy of study in their own right as early documentation of the colony and the state.Ī range of artists, through their involvement in the picture making of Georgia, made significant contributions to the history of American prints and drawings.
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