Watercolour, a quince on the recto; an apple on the verso, a sheet from a series of drawings of English flowers, fruits, etc., Jacques Le Moyne des Morgues, French school, ca. 1575

Recto: botanical illustration of a quince.
Verso: botanical illustration of a branch on the apple tree, an apple, and a halved apple.

Purchased in 1856 as part of a sketchbook bought for its 16th-century binding. In 1922, De Morgues's signature was discovered and the significance of the watercolours recognised. Following this, the 34 leaves with watercolours were extracted from the volume to be transferred to the Prints and Drawings department (now Museum nos. A.M.3267a – 3267hh-1856). The binding remained in the library.

The present drawing belongs to an album of 59 botanical watercolours depicted on 34 sheets of paper and attributed to Jacques Lemoyne de Morgues.
The drawings from this series were acquired in 1856 as one of the first purchases of the V&A, almost by accident, and solely because they were bound up in an extremely fine French late-16th-century brown calf binding. Although Lemoyne has been long considered as an obscure artist providing designs for simple woodcuts, he was recognised at the beginning of the 20th century as one of the most remarkable early botanical painters.

The V&A binding and the inscriptions on the drawings in both French and Latin suggest that the series was probably made in France around 1575. Lemoyne left the Continent to London where he settled shortly before1580. The V&A album can be compared with another album, reputed to have been made around 1585 in England, and now in the British Museum.

Another group of 27 sheets stylistically close and on similar paper to the V&A watercolours appeared on the market in 2004, followed by a bound florilegium with eighty drawings in an 18th-century French mottled calf gilt and lettered ‘anno 1770’ in 2005.(See Sotheby's, New York, 21 January 2004, lots 29-55 and Sotheby's, New York, 26 January 2005, lot 46.) A highly finished group of six gouaches on vellum on blue and gold background were sold from the Korner collection in 1997 (Sotheby's, New York, January 29, 1997, lots 55-60).

The interest in plants for their medicinal properties and religious symbolism was well anchored since the Middle Ages in Western Europe. A great number of manuscripts were beautifully illuminated with flowers and plants, echoing an interest that goes back to the Antiquity. However this impressive album of botanical watercolours shows a renewed curiosity for the flora from both a scientific and an aesthetic point of view.

In this respect, Lemoyne de Morgues’ representations of plants and insects, which show a particular attention to details and a great sense of realism, can be seen as a forerunner of such projects as the Museum Chartaceum (Latin for ‘Paper Museum’), made by Cassiano dal Pozzo (1588-1657)who commissioned to minor and major artists a vast collection of drawings recording, among others, natural history subjects (see V&A E.731-1949 to E.735-1949, E.2776-1962 to E.2777-1962, E.426-2009 to E.428-2009, and E.1026-2011 – and also Royal Library, Windsor Castle, and British Museum, London).

This is one of 59 watercolours of fruit and flowers that the French artist Jacques Le Moyne de Morgues painted on 33 sheets. We do not know exactly when he painted them, but there are some clues. The watermark in the paper is the same as that used in Paris and Arras in 1568, and the binding is French. It therefore seems likely that they date from the period between 1568 and 1572. This is when Le Moyne fled to England with other Huguenots (French Protestants) to escape religious persecution in France.

The watercolours were originally in a fine tooled-leather binding dating to the late 16th century. Curators identified the watercolours as the work of Le Moyne in 1922. They removed them from the binding and mounted them individually. (The binding is in the collection of the National Art Library at the V&A.)

In the 16th century botanical illustrators revived the practice of working from real plants rather than copying from earlier painted or printed images. Here the degree of naturalistic detail, including leaves which have been damaged by insects, suggests that Le Moyne was studying a living specimen rather than using an existing illustrations as his source.

AM.3267Y-1856