Recognisable plant portraits have been around since ancient times on tombs, utensils and in mosaics but botanical work began with the need to identify specific plants for medicinal purposes. Early medieval collections of plant drawings, often in woodcut form, were called Herbariums and were the forerunner of the Renaissance herbals. Otto Brunfels and Leonart Fuchs were among those who began to work from live specimens producing fresh and accurate results. Leonardo da Vinci and Albrecht Durer's paintings are among some of the most beautiful of this period. A move from depictions of medicinal plants to the native and exotic collections of the very wealthy came with the increase in exploration in the 1500s. Exquisitely illustrated Florilegiums became an aristocratic obsession supplied with master drawings from Daniel Rabel, Nicholas Robert and Claude Aubriet.

Science and botanical understanding grew apace as different countries vied to put their stamp on far flung places. The influx of plants from newly discovered lands demanded a systematic analysis and cataloging which Carl Linnaeus developed in the 1700s working with the likes of Maria Sybille Merian and Georg Ehret. One of the most famous botanical illustrators was the Frenchman Pierre Joseph Redoute who worked for the French royal family before the Revolution and Josephine Bonaparte afterwards. He turned his masterly waterclours into fine prints and completed entire collections of lilacs, roses and lilies as well as portraying every plant in the Malmaison gardens.

In the 19th century it became normal for plant illustrators to go as part of the scientific teams exploring new countries. Their job was to document the native flora under what were often dangerous and difficult conditions, Sydney Parkinson who sailed with Captain Cook on the Endeavour succumbed to typhoid and dysentry on the way home.

Although most work was completed in watercolour, much was reproduced as hand coloured lithographs for botanical periodicals. Walter Hood Fitch worked for Curtis's Botanical Magazine and in his lifetime produced 10,000 drawings and illustrations before his eyesight failed.

Contemporary botanical illustrators follow in this great tradition, working for the twin masters of Science and Art, creating works of beauty out of the need to explain and catalogue the infinite plant varieties of the world.