gallery

John Russell RA 1745-1806
Portrait of Sir Joseph Banks, 1st Bt, GCB, PRS ,1743 – 1820 Naturalist, Explorer , Botanist and patron of the natural Sciences
Portrait of Sir Joseph Banks, 1st Bt, GCB, PRS
oil on canvas
76 x 64 cm.

Sir Joseph Banks is holding a copy of Philip Miller's Botanical Dictionary,(Miller Gardeners Dictionary) Philip Miller FRS 1691 –1771 was an English botanist of Scottish descent.  chief gardener at the Chelsea Physic Garden from 1722 until he was pressured to retire in 1770  shortly before his death. Sir Joseph Banks conducted his botanical studies at Chelsea Physic Garden  in 1761 and made friends with many of the leading scientists of the day, including Linnaeus and was undoubtedly a keen  disciple of Philip Miller and his work. Miller held the post of head gardner for nearly 50 years and is acknowledged as one of the most renowned botanists of the age. He also taught plant names to the young Joseph Banks, who lived Turret House next to the garden. A favour that was returned when Banks donated to the garden many new specimens discovered during his travels with Captain Cook.

The identification with the great naturalist Sir Joseph Banks (1743-1820) is based on both circumstantial evidence and similarities to known portraits of Banks, including  pastel Portraits by Russell, e.g. exhibited at the Royal Academy in 1788, no.420 (see G.C. Williamson and Lord R. Gowes, John Russell, R.A., 1894, p.137). a portrait by Thomass. Phillips, R.A showing Sir Joseph Banks seated wearing the order of the Garter and  Sir Thomas Lawrences's Portraits

 
Russell was on friendly terms with Banks from 1774, when he addressed a letter to him 'Dear Banks', and did portraits not only of Sir Joseph but also two of Lady Banks in 1789, and companion pictures of Sir Joseph's mother Mrs. Banks, his sister-in-law Mary Hugessen, and his sister the eccentric Miss Sophia Banks (see Williamson and Gower, op. cit., pp.35-7, 137-8)
Russell and Banks also had certain scientific interests in common. Russell worked for many years from 1785 onwards on making a lunar map, producing in connection with this two circular drawings, engraved plates, and an apparatus he called the Selenographia, patented in 1797, for exhibiting the phenomenon of the moon; Banks owned two copies of the pamphlet explaining this machine and Russell's 1788 pastel shows him holding one of the plates.
As well as the other Russell pastel particularly telling likenesses in this context are the full-length portrait of Banks done some years earlier, circa 1771-3, by Benjamin West and now in the Usher Art Gallery, Lincoln (see H. von Erffa and A. Staley, The Paintings of Benjamin West, 1986, p. 487 no. 586, repr. p.29), the three-quarter length portrait of 1810 by Thomas Phillips in the National Portrait Gallery, and the marble bust of 1818 by Sir Francis Chantrey at Petworth House. Sir Joseph Banks sailed to the South Seas on the Endeavour with Captain Cook from 1768 to 1771; the objects he collected on his voyage are now in the British Museum. He was president of the Royal Society from 1778 until his death in 1820.

 

 

Literature

An inclusive survey, including a Portraiture-Bibliography, appears in H. B. Carter, Sir Joseph Banks, A guide to biographical and bibliographical sources, 1987, pp 297-316; see also R. Joppien, ‘Banks and the world of art in Great Britain’, in R. E. R. Banks et al. eds., Sir Joseph Banks: a global perspective, 1994, pp 87-103.

1771-72
Painting by Joshua Reynolds, see NPG 5868.

c.1771-73
Painting by Benjamin West, whole length, wearing a cloak of New Zealand flax (a drawing of flax by Parkinson at his feet) with a Tahitian head-dress. Usher Gallery, Lincoln (UG 89/9; H. von Erffa & A. Staley, The Paintings of Benjamin West, 1986, no.586). Exhibited RA 1773 (310, ‘a whole length of a Gentleman with a New Zealand mantle around him’. Engraved J. R. Smith 1773 and 1788.

1775
Wedgwood medallion, modelled by John Flaxman (illus. R. Reilly & G. Savage, Wedgwood the Portrait Medallions, 1973, p 55).

c.1775
Drawing by Thomas Hearne, bust-length oval. British Museum (1867.04.13.536). Traditionally, but not securely, identified as Banks. Hearne was in the Leeward Islands 1771-75.

1776
Painting by William Parry, Banks standing between Omai and Dr Daniel Solander. Private collection. Banks’s head was etched in 1800 by J. Owen (Public Characters of 1800-01). Omai, brought in 1775 from Tahiti whither he returned in 1776; Solander (1756-82), botanist, Banks’s professional companion, ‘the mildest, gentlest, most obliging of men’. A sepia copy by Frederick Peake sold Christie’s, 2 April 1965, lot 35.

1777-78
Painting by Joshua Reynolds, The Society of Dilettanti.

1779
Wedgwood medallion, modelled by John Flaxman (illus. R. Reilly & G. Savage, Wedgwood the Portrait Medallions, 1973, p 56). Apparently the medallion of Banks described by Josiah Wedgwood as ‘A good head, & a very strong likeness, but the original does not seem to have sat in an over pleasant mood’ (2 September 1779; R. Reilly & G. Savage, Wedgwood the Portrait Medallions, 1973, p 56). A medallion by James Tassie listed by J. M. Gray, James and William Tassie, a biographical and critical sketch with a catalogue of their portrait medallions of modern personages, 1894, no.27; he had never seen an example and supposed it may have been the same as the Wedgwood example (see also c.1788 below).

1786
Drawing by Paul Sandby, profile head with hat, one of the series of heads drawn at print sales. Royal Collection (A. P. Oppé, The Drawings of Paul and Thomas Sandby in the Collection of His Majesty the King at Windsor Castle, 1947, no.417/22, fig.23). Engraved anon., Sketches taken at Print Sales.

1788
Pastel by John Russell, half length holding drawing inscribed Carte de la Lune par J. Russell. Lord Brabourne (illus. H. B. Carter, Sir Joseph Banks, 1988, p 178). Exhibited RA 1788 (420). Engraved J. Collyer 1789; W. Ridley 1802 (reduced, European Mag.); W. Wright. Russell also drew Lady Banks in 1788 (private coll.), engraved J. Collyer 1790.

c.1788
Wedgwood medallion, the model attributed to John Flaxman (illus. R. Reilly & G. Savage, Wedgwood the Portrait Medallions, 1973, p 56).

c.1793
Drawing attributed to Nathaniel Dance. Art Gallery of New South Wales, Sydney (acquired 1926 from Mrs John Lane as by Henry Edridge). A copy at 2 Carlton House Terrace in 1905 was listed as ‘After H. Edridge, 1793’ (Lord Hawkesbury, 'Catalogue of Portraits, Miniatures, &c., at Kirkham Abbey and 2 Carlton House Terrace, in the Possession of Lord Hawkesbury', Transactions of the East Riding Antiquarian Society, XIII, I, 1906, no.211).

c.1795
Drawing by Thomas Lawrence, see NPG 853.

before 1796?
Pastel by James Sharples, and a miniature drawing from it by Ellen Sharples (illus. K. McC. Knox, The Sharples, 1930, p 105). Bristol City Museum and Art Gallery (Cat. of the Sharples Coll., Bristol, 1910, nos.19 and 68). The original probably dates from before 1796 when Sharples first went to America, but he was again in England 1802-09. Mrs Sharples was finishing miniature copies of Banks in November/December 1803, which she ‘improved’ in March/April 1805 (K. McC. Knox, The Sharples, 1930, pp 117-18); she exhibited a miniature of Banks RA 1807 (843).

1803
Drawing by George Dance, profile bust, dated 27 June 1803. National Library of Australia, Canberra (NK 2093). Engraved W. Daniell 1811; a tracing by Daniell in the Yale Center for British Art (B1975.4.1129); a pencil copy of the engraving, initialled R. W. P., in the Natural History Museum, London (illus. J. C. Thackray, A Catalogue of the Portraits, Paintings and Sculpture at the National History Museum, London, 1995, no.7).

1803
Painting by Rembrandt Peale, bust length in grey coat wearing the star of the Bath. Academy of Natural Sciences of Philadelphia (L. B. Miller, In Pusuit of fame: Rembrandt Peale, exhibition catalogue, NPG Washington, 1992, pl.5).

1804
Bust by George Garrard, wearing a fur cape over classical tunic with ribbon of the Bath. Burghley House. Exhibited RA 1804 (952).

1806
Painting by Thomas Lawrence, three-quarter length as President of the Royal Society, wearing the ribbon and star of the Bath. British Museum, bequeathed by the Rev Daniel Lysons 1834 (K. Garlick, Sir Thomas Lawrence: a complete catalogue of the oil paintings, 1989, no.59). Exhibited RA 1806 (72). Engraved A. Cardon 1811; T. Woolnoth 1823; H. Robinson 1831, and T. Phillibrown.

Bronze bust by Anne Seymour Damer, wearing the star of the Bath. British Museum (MLA 1814.3.12.1; A. Dawson, Portrait Sculpture, A catalogue of the British Museum collection, 2000, no.2), presented by the artist 1814; exhibited RA 1813 (912). Probably from the terracotta exhibited RA 1806 (838). Plaster casts in the Natural History Museum and the British Library.

1807
Painting by Solomon Williams, exhibited RA 1807 (544).

1808
Painting by Thomas Phillips, half length as President of the Royal Society, holding a copy of Sir Humphrey Davy’s Bakerian lecture of 1808 in his left hand. State Library, Sydney, New South Wales (Dixson Collection), commissioned by the Spanish astronomer Jose Mendoza y Rios. Exhibited RA 1809 (134), as ‘in the Chair as President of the Royal Society’). Engraved N. Schiavonetti 1812 and, reduced, W. Holl 1829 and C. E. Wagstaff 1833.

In 1808 Phillips asked Banks whether he would subscribe to a print; Banks replied that there were already three prints of him in the Print Shops, ‘one from a Picture of Sir Joshua, an admirable mezzotinto; another from the Pencil of the President, & a third, a most decided Likeness, from a Crayon picture of Russell’; he added 'much as I admire the Burin of Schiavanetti [sic], I should, was I to direct, Employ Sharp’ (Letters of Sir Joseph Banks, 2000, pp 287-88).

A version dated 1815, with a paper lying in the foreground inscribed: On an improved reflecting circle (a paper by Joseph de Mendoza read at the Royal Society in 1801), was commissioned by the Royal Society (illus. Letters of Sir Joseph Banks, 2000, p 289), cf. NPG 1075. A replica sold Sotheby’s, 6 April 1993, lot 51, is in the National Library of Australia, Canberra; a late copy, from the Brabourne collection, is in the County Hall, Maidstone; an enamel copy by Henry Bone dated 1815, exhibited RA 1816 (708), sold Christie’s, 3 March 1971, lot 16; his preparatory drawing NPG albums (R. Walker, 'Henry Bone's Pencil Drawings in the National Portrait Gallery', Wal. Soc., LXI, 1999, no.28).

1810
Painting by Thomas Phillips, see NPG 885.

1812
Impression from a gem by W. Brown, exhibited RA 1812 (620).

1814
Painting by Thomas Phillips three-quarter length, short hair, wearing Windsor uniform (dark blue coat with red facings and gold lace), with the star and ribbon of the Bath, holding a drainage map for the south Lincolnshire fens. Guildhall, Boston, Lincs., commissioned by the Corporation of Boston in 1813. Exhibited RA 1814 (52). Reduced version sold Sotheby’s, 24 November 1999, lot 69.

Marble bust by Peter Turnerelli, undraped. Royal College of Surgeons, London (illus. W. LeFanu, A Catalogue of the Portraits and other paintings drawings and sculpture in the Royal College of Surgeons of England, 1960, pl.4). Turnerelli carved two marble busts in 1814; as the Curators of the College of Surgeons were dissatisfied with that intended for them, Turnerelli agreed to work further on both and allow them to choose (W. LeFanu, A Catalogue of Portraits and other paintings drawings and sculpture in the Royal College of Surgeons of England, 1960, p 6); the second bust is presumably that now in the National Maritime Museum.

Medal by Thomas Wyon sr., exhibited RA 1814 (392).

1816
Drawing by Thomas Phillips, profile with tie-wig. From a sketch book in a private collection. Etched by Mrs Dawson Turner.

Impression from a medal die by William Wyon, exhibited RA 1816 (886). Medal by Thomas Wyon jr. and William Wyon 1816 (Brown 911).

Cameo by Benedetto Pistrucci (see H. B. Carter, Sir Joseph Banks, 1988, p 516). Presumably the bust to left with the date 1819 engraved after Pistrucci by Mrs Dawson Turner.

1818
Marble bust by Francis Chantrey, undraped. National Gallery of Victoria, Melbourne (A. Yarrington, I. D. Lieberman, A. Potts, M. Baker, 'An Edition of the ledger of Sir Francis Chantrey RA, at the Royal Academy, 1809-1841', Wal. Soc., LVI, 1994, no.40b; illus. Apollo, CXVIII, 1983, p 475). Probably that commissioned by G. Watson Taylor in 1818 (and sold as by Thomas Banks, Watson Taylor sale, 15th day, 25 July 1832, lot 165). Marble exhibited RA 1818 (1105). Replicas with the Royal Society, with slight drapery (M. Whinney, Sculpture in Britain 1530-1830, 1964, pl.188), presented by the artist in 1819; the Linnean Society, presented by subscribers 1822, and at Petworth, completed 1839 (see also A. Yarrington, I. D. Lieberman, A. Potts, M. Baker, 'An Edition of the ledger of Sir Francis Chantrey RA, at the Royal Academy, 1809-1841', Wal. Soc., LVI, 1994, nos.40b, 131b, 137b, 284b). A plaster dated 1818 is in a private collection.

See also NPG 316a(172).

c.1819
Drawing by W. M. Craig, half-length seated. Engraved H. Robinson, a crude portrayal.

1820
Medal by W. Wyon, ‘the Banksian Medal’ for the Royal Horticultural Society (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.1041).

Posthumous
c.1820
Engraving by L. Rados after A. L. F. Sergent-Marceau (using the Thomas Phillips frontal head).

1821
Painting by Thomas Phillips, three-quarter length seated, with botanical drawings spread on a table. Royal Horticultural Society, by whom commissioned 1820. Engraved S. W. Reynolds and S. Cousins 1822. Phillips copied ‘with some variations in drapery etc from [his portrait] belonging to the Royal Society [see 1808 above], instead of that in the possession of Sir Everard Hume' [see NPG 885] (Royal Horticultural Society minutes, 16 August 1820, as quoted by C. Miller, Thomas Phillips, MA report, 1977, p XIV).

1822
Impression from a medal die by W. Wyon, from the bust by Chantrey, exhibited RA 1822 (921).

1821-27
Marble statue by Francis Chantrey, seated, a paper held in his lap. Natural History Museum (A. Yarrington, I. D. Lieberman, A. Potts, M. Baker, 'An Edition of the ledger of Sir Francis Chantrey RA, at the Royal Academy, 1809-1841', Wal. Soc., LVI, 1994, no.141a; figs.95-97; A. Dawson, Portrait Sculpture, A catalogue of the British Museum collection, 2000, no.1), commissioned by the Linnean Society 1821 and first placed in the British Museum. Exhibited RA 1827 (1123). Engraved S. Cousins before 1833. The pose of the upper torso resembles the drawing of c.1793 attributed to Dance. Plaster model, reduced to head and shoulders, in the Ashmolean Museum, Oxford (N. Penny, Catalogue of European Sculpture in the Ashmolean Museum, Oxford, 1992, III, no.623).

Doubtful Portraits
Drawing by Francis Chantrey, see Unknown Sitters NPG 316a(172). Paintings by Francis Cotes (E. M. Johnson, Francis Cotes, 1976, no.129); attributed to Reynolds (Christie’s, 3 May 1884, lot 202); by Gainsborough (E. K. Waterhouse, Gainsborough, 1958, no.39); by West (H. von Erffa & A. Staley, The Paintings of Benjamin West, 1986, no.647); unattributed paintings: whole-length youth (Parham Park, ex-Revesby Abbey; illus. Country Life, CIX, 1951, p 1887; J. Gascoigne, Banks and the Enlightenment, 1994, p 84); half-length youth (Sotheby’s, 21 March 2001, lot 44); half-length middle-aged man (Newby Hall); miniatures by Andrew Dunn (illus. D. Foskett, British Portrait Miniatures, 1963, p 149) and Nathaniel Hone 1768, exhibited British Portrait Miniatures 1965 (178) lent Lord Beauchamp.

Engravings wrongly called Banks include those by S. W. Reynolds 1834 after Reynolds (cf. D. Mannings, Sir Joshua Reynolds, 2000, I, no.230), and by Mackenzie 1801, from a portrait belonging to Maxwell Garthshore.



This extended catalogue entry is from the out-of-print National Portrait Gallery collection catalogue: John Ingamells, National Portrait Gallery: Mid-Georgian Portraits 1760-1790, National Portrait Gallery, 2004, and is as published then. For the most up-to-date details on individual Collection works, we recommend reading the information provided in the Search the Collection results on this website in parallel with this text.

Notes

Sir Joseph Banks, 1st BaronetGCBPRS (13 February] 1743 – 19 June 1820) was an English naturalistbotanist, and patron of the natural sciences.

Banks made his name on the 1766 natural-history expedition to Newfoundland and Labrador. He took part in Captain James Cook's first great voyage (1768–1771), visiting BrazilTahiti, and after 6 months in New ZealandAustralia, returning to immediate fame. He held the position of president of the Royal Society for over 41 years. He advised King George III on the Royal Botanic Gardens, Kew, and by sending botanists around the world to collect plants, he made Kew the world's leading botanical garden. He is credited for bringing 30,000 plant specimens home with him; amongst them, he was the first European to document 1,400.

Banks advocated British settlement in New South Wales and colonisation of Australia, as well as the establishment of Botany Bay as a place for the reception of convicts, and advised the British government on all Australian matters. He is credited with introducing the eucalyptusacacia, and the genus named after him, Banksia, to the Western world. Around 80 species of plants bear his name. He was the leading founder of the African Association and a member of the Society of Dilettanti, which helped to establish the Royal Academy.

 
A 1757 portrait of Banks with a botanical illustration, unknown artist, but attributed to Lemuel Francis Abbott or Johann Zoffany

Banks was born in Argyll StreetSohoLondon, the son of William Banks, a wealthy Lincolnshire country squire and member of the House of Commons, and his wife Sarah, daughter of William Bate.[2] He was baptised at St James's Church, Piccadilly, on 20 February 1743, Old Style. He had a younger sister, Sarah Sophia Banks, born in 1744.

Education

Banks was educated at Harrow School from the age of nine and then at Eton College from 1756; the boys with whom he attended the school included his future shipmate Constantine Phipps.

As a boy, Banks enjoyed exploring the Lincolnshire countryside and developed a keen interest in nature, history, and botany. When he was 17, he was inoculated with smallpox, but he became ill and did not return to school. In late 1760, he was enrolled as a gentleman-commoner at the University of Oxford. At Oxford, he matriculated at Christ Church, where his studies were largely focussed on natural history rather than the classical curriculum. Determined to receive botanical instruction, he paid the Cambridge botanist Israel Lyons to deliver a series of lectures at Oxford in 1764.

Banks left Oxford for Chelsea in December 1763. He continued to attend the university until 1764, but left that year without taking a degree. His father had died in 1761, so when Banks reached the age of 21, he inherited the large estate of Revesby Abbey, in Lincolnshire, becoming the local squire and magistrate, and dividing his time between Lincolnshire and London. From his mother's house in Chelsea, he kept up his interest in science by attending the Chelsea Physic Garden of the Worshipful Society of Apothecaries and the British Museum, where he met Daniel Solander. He began to make friends among the scientific men of his day and to correspond with Carl Linnaeus, whom he came to know through Solander. As Banks's influence increased, he became an adviser to King George III and urged the monarch to support voyages of discovery to new lands, hoping to indulge his own interest in botany. He became a Freemason sometime before 1769.

Newfoundland and Labrador

In 1766, Banks was elected to the Royal Society, and in the same year, at 23, he went with Phipps aboard the frigate HMS Niger to Newfoundland and Labrador with a view to studying their natural history. He made his name by publishing the first Linnean descriptions of the plants and animals of Newfoundland and Labrador. Banks also documented 34 species of birds, including the great auk, which became extinct in 1844. On 7 May, he noted a large number of "penguins" swimming around the ship on the Grand Banks, and a specimen he collected in Chateau Bay, Labrador, was later identified as the great auk.

Endeavour voyage

Banks was appointed to a joint Royal Navy/Royal Society scientific expedition to the South Pacific Ocean on HMS Endeavour, 1768–1771. This was the first of James Cook's voyages of discovery in that region. Banks funded eight others to join him: the Swedish naturalist Daniel Solander, the Finnish naturalist Herman Spöring (who also served as Banks' personal secretary and as a draughtsman), artists Sydney Parkinson and Alexander Buchan, and four servants from his estate: James Roberts, Peter Briscoe, Thomas Richmond, and George Dorlton. In 1771, he was travelling with James Cook and docked in Simon's Town in what is now South Africa. There, he met Christoffel Brand and a friendship started. He was the godfather of Brand's grandson Christoffel Brand.

The voyage went to Brazil, where Banks made the first scientific description of a now common garden plant, Bougainvillea (named after Cook's French counterpart, Louis Antoine de Bougainville), and to other parts of South America. The voyage then progressed to Tahiti (where the transit of Venus was observed, the overt purpose of the mission), then to New Zealand.

From there, it proceeded to the east coast of Australia, where Cook mapped the coastline and made landfall at Botany Bay, then at Round Hill (23-25 May 1770), which is now known as Seventeen Seventy and at Endeavour River (near modern Cooktown) in Queensland, where they spent almost seven weeks ashore while the ship was repaired after becoming holed on the Great Barrier Reef. While they were in Australia, Banks, Daniel Solander, and Finnish botanist Dr Herman Spöring Jr. made the first major collection of Australian flora, describing many species new to science. Almost 800 specimens were illustrated by the artist Sydney Parkinson and appear in Banks' Florilegium, finally published in 35 volumes between 1980 and 1990. Notable also was that during the period when the Endeavour was being repaired, Banks observed a kangaroo, first recorded as "kanguru" on 12 July 1770 in an entry in his diary.

 
Satire on Banks titled "The Botanic Macaroni", by Matthew Darly, 1772: A macaroni was a pejorative term used for a follower of exaggerated continental fashion in the 18th century.

Return home

Banks arrived back in England on 12 July 1771 and immediately became famous. He intended to go with Cook on his second voyage, which began on 13 May 1772, but difficulties arose about Banks' scientific requirements on board Cook's new ship, HMS Resolution. The Admiralty regarded Banks' demands as unacceptable and without prior warning, withdrew his permission to sail. Banks immediately arranged an alternative expedition, and in July 1772, Daniel Solander and he visited the Isle of Wight, the Hebrides, Iceland, and the Orkney Islands, aboard Sir Lawrence. In Iceland, they ascended Mt. Hekla and visited the Great Geyser, and were the first scientific visitors to Staffa in the Inner Hebrides. They returned to London in November, with many botanical specimens, via Edinburgh, where Banks and Solander were interviewed by James Boswell. In 1773, he toured south Wales in the company of artist Paul Sandby.When he settled in London, he began work on his Florilegium. He kept in touch with most of the scientists of his time, was elected a foreign member of the Royal Swedish Academy of Sciences in 1773, and added a fresh interest when he was elected to the Dilettante Society in 1774. He was afterwards secretary of this society from 1778 to 1797. On 30 November 1778, he was elected president of the Royal Society, a position he was to hold with great distinction for over 41 years.

 
Banks as painted by Benjamin West in 1773

In March 1779, Banks married Dorothea Hugessen, daughter of W. W. Hugessen, and settled in a large house at 32 Soho Square. It continued to be his London residence for the remainder of his life. There, he welcomed the scientists, students, and authors of his period, and many distinguished foreign visitors. His sister Sarah Sophia Banks lived in the house with Banks and his wife. He had as librarian and curator of his collections Solander, Jonas Carlsson Dryander, and Robert Brown in succession.

Also in 1779, Banks took a lease on an estate called Spring Grove, the former residence of Elisha Biscoe (1705–1776), which he eventually bought outright from Biscoe's son, also Elisha, in 1808. The picture shows the house in 1815. Its 34 acres ran along the northern side of the London Road, Isleworth, and contained a natural spring, which was an important attraction to him. Banks spent much time and effort on this secondary home. He steadily created a renowned botanical masterpiece on the estate, achieved primarily with many of the great variety of foreign plants he had collected on his extensive travels around the world, particularly to Australia and the South Seas. The surrounding district became known as Spring Grove.

 
Banks' house in Isleworth

The house was substantially extended and rebuilt by later owners and is now part of West Thames College.

Banks was made a baronet in 1781, three years after being elected president of the Royal Society. During much of this time, he was an informal adviser to King George III on the Royal Botanic Gardens, Kew, a position that was formalised in 1797. Banks dispatched explorers and botanists to many parts of the world, and through these efforts, Kew Gardens became arguably the pre-eminent botanical gardens in the world, with many species being introduced to Europe through them and through Chelsea Physic Garden and their head gardener John Fairbairn. He directly fostered several famous voyages, including that of George Vancouver to the northeastern Pacific (Pacific Northwest), and William Bligh's voyages (one entailing the infamous mutiny on the Bounty) to transplant breadfruit from the South Pacific to the Caribbean islands. Banks was also a major financial supporter of William Smith in his decade-long efforts to create a geological map of England, the first geological map of an entire country. He also chose Allan Cunningham for voyages to Brazil and the north and northwest coasts of Australia to collect specimens.

 
Sir Joseph Banks (center), together with Omai (left) and Daniel Solander, painted by William Parrycirca 1775–76

Colonisation of New South Wales

Banks's own time in Australia, however, led to his interest in the British colonisation of that continent. He was to be the greatest proponent of settlement in New South Wales. A genus of the Proteaceae was named in his honour as Banksia. In 1779, Banks, giving evidence before a committee of the House of Commons, had stated that in his opinion the place most eligible for the reception of convicts "was Botany Bay, on the coast of New Holland", on the general grounds that, "it was not to be doubted that a Tract of Land such as New Holland, which was larger than the whole of Europe, would furnish Matter of advantageous Return".

Although Banks remained uninvolved in these colonies in a hands on manner, he was, nonetheless, the general adviser to the government on all Australian matters for twenty years. He arranged that a large number of useful trees and plants should be sent out in the supply ship HMS Guardian, which was unfortunately wrecked, as well as other ships; many of these were supplied by Hugh Ronalds from his nursery in Brentford. Every vessel that came from New South Wales brought plants or animals or geological and other specimens to Banks. He was continually called on for help in developing the agriculture and trade of the colony, and his influence was used in connection with the sending out of early free settlers, one of whom, a young gardener George Suttor, later wrote a memoir of Banks. The three earliest governors of the colony, Arthur PhillipJohn Hunter, and Philip Gidley King, were in continual correspondence with him. Banks produced a significant body of papers, including one of the earliest Aboriginal Australian words lists compiled by a European. Bligh was also appointed governor of New South Wales on Banks's recommendation. Banks followed the explorations of Matthew FlindersGeorge Bass, and Lieutenant James Grant, and among his paid helpers were George Caley, Robert Brown, and Allan Cunningham.

However, Banks backed William Bligh to be installed as the new governor of New South Wales and to crack down on the New South Wales Corps (or Rum Corps), which made a fortune on the trading of rum. This brought him in direct confrontation with post-Rum Rebellion de facto leaders such as John Macarthur and George Johnston. This backing led to the Rum Rebellion in Sydney, whereby the governor was overthrown by the two men. This became an embarrassment for Sir Joseph Banks, also, because years earlier, he campaigned that John Macarthur not be granted 10,000 acres of land near Sydney in the cow pastures, which was later granted by Lord Camden. The next governor, Lachlan Macquarie, was asked to arrest Macarthur and Johnston, only to realise that they had left Sydney for London to defend themselves. He was humiliated that Macarthur and Johnston were acquitted from all charges in London and both later returned to Sydney.

Later life

 
In The great South Sea Caterpillar, transform'd into a Bath Butterfly (1795), James Gillray caricatured Banks's investiture with the Order of the Bath as a result of his expedition.
 
Portrait of Banks by Thomas Phillips (1810) National Portrait Gallery, London
 
This 1812 print depicts Banks as president of the Royal Society, wearing the insignia of the Order of the Bath.

Banks met the young Alexander von Humboldt in 1790, when Banks was already the president of the Royal Society. Before Humboldt and his scientific travel companion and collaborator Aimé Bonpland left for what became a five-year journal of exploration and discovery, Humboldt requested a British passport for Bonpland, should the two encounter British warships. On their travels, Humboldt arranged for specimens be sent to Banks, should they be seized by the British. Banks and Humboldt remained in touch until Banks's death, aiding Humboldt by mobilising his wide network of scientific contacts to forward information to the great German scientist. Both men believed in the internationalism of science.

Banks was elected a member of the American Philosophical Society in 1787 and a foreign honorary member of the American Academy of Arts and Sciences in 1788.Among other activities, Banks found time to serve as a trustee of the British Museum for 42 years. He was high sheriff of Lincolnshire in 1794.

He worked with Sir George Staunton in producing the official account of the British mission to the Chinese Imperial court. This diplomatic and trade mission was headed by George, Earl Macartney. Although the Macartney Embassy returned to London without obtaining any concession from China, the mission could have been termed a success because it brought back detailed observations. This multivolume work was taken chiefly from the papers of Lord Macartney and from the papers of Sir Erasmus Gower, who was commander of the expedition. Banks was responsible for selecting and arranging engraving of the illustrations in this official record.

Banks was invested as a Knight of the Order of the Bath (KB) on 1 July 1795, which became Knight Grand Cross (GCB) when the order was restructured in 1815.

Banks was a large landowner and activist encloser, drainer and ‘improver’ in Fens at Revesby.

Banks's health began to fail early in the 19th century and he suffered from gout every winter. After 1805, he practically lost the use of his legs and had to be wheeled to his meetings in a chair, but his mind remained as vigorous as ever. He had been a member of the Society of Antiquaries nearly all his life, and he developed an interest in archaeology in his later years. In 1807, William Kerr named the Lady Banks climbing rose after Banks's wife.  Banks was made an honorary founding member of the Wernerian Natural History Society of Edinburgh in 1808. In 1809, he became associated member of the Royal Institute of the Netherlands. In 1809, his friend Alexander Henry dedicated his travel book to him. In May 1820, he forwarded his resignation as president of the Royal Society, but withdrew it at the request of the council. In 1819, Fabian Gottlieb von Bellingshausen on his First Russian Antarctic Expedition, briefly stopped in England and met Joseph Banks. Banks had sailed with James Cook 50 years earlier and supplied the Russians with books and charts for their expedition. He died on 19 June 1820 in Spring Grove House, Isleworth, London, and was buried at St Leonard's Church, Heston. Lady Banks survived him, but they had no children.

Legacy

 
Joseph Banks, detail of a painting by William Parry, 1775
 
Sir Joseph Banks by Anne Seymour DamerBritish Library
 
Banks' house was used for the offices of the Zoological Society of London.

Banks was a major supporter of the internationalist nature of science, being actively involved both in keeping open the lines of communication with continental scientists during the Napoleonic Wars, and in introducing the British people to the wonders of the wider world. He was honoured with many place names in the South Pacific: Banks Peninsula on the South Island, New Zealand; the Banks Islands in modern-day Vanuatu; the Banks Strait between Tasmania and the Furneaux IslandsBanks Island in the Northwest Territories, Canada; and the Sir Joseph Banks Group in South Australia.

The Canberra suburb of Banks, the electoral Division of Banks, and the Sydney suburbs of BankstownBanksia, and Banksmeadow are all named after him, as is the northern headland of Botany Bay, Cape Banks.

An image of Banks was featured on the paper $5 Australian banknote from its introduction in 1967 before it was replaced by the later polymer currency.

In 1986, Banks was honoured by his portrait being depicted on a postage stamp issued by Australia Post.

In Lincoln, England, the Sir Joseph Banks Conservatory was constructed in 1989 at The Lawn, Lincoln; its tropical hot house had numerous plants related to Banks's voyages, with samples from across the world, including Australia. The conservatory was moved to Woodside Wildlife Park in 2016 and has been named 'Endeavour'. A plaque was installed in Lincoln Cathedral in his honour. In Boston, Lincolnshire, Banks was recorder for the town. His portrait, painted in 1814 by Thomas Phillips, was commissioned by the Corporation of Boston, as a tribute to one whose 'judicious and active exertions improved and enriched this borough and neighbourhood'. It cost them 100 guineas. The portrait is now hanging in the Council Chamber of the Guildhall Museum.

The Sir Joseph Banks Centre is located in Horncastle, Lincolnshire, housed in a Grade II listed building, which was recently restored by the Heritage Trust of Lincolnshire to celebrate Banks' life. Horncastle is located a few miles from Banks' Revesby estate and the naturalist was the town's lord of the manor. The centre is located on Bridge Street. It boasts research facilities, historic links to Australia, and a garden in which rare plants can be viewed and purchased.

Situated in the Sydney suburb of Revesby, Sir Joseph Banks High School is a NSW government school named after Banks.

At the 2011 Chelsea Flower Show, an exhibition garden celebrated the historic link between Banks and the botanical discoveries of flora and fauna on his journey through South America, Tahiti, New Zealand, and eventually Australia on Captain Cook's ship Endeavour. The competition garden was the entry of Melbourne's Royal Botanic Gardens with an Australian theme. It was based on the metaphorical journey of water through the continent, related to the award-winning Australian Garden at the Royal Botanic Gardens, Cranbourne. The design won a gold medal.

In 1911, London County Council marked Banks' house at 32 Soho Square with a blue plaque. This was replaced in 1938 with a rectangular stone plaque commemorating Banks and botanists David Don and Robert Brown and meetings of the Linnean Society.

Banks appears in the historical novel Mutiny on the Bounty, by Charles Nordhoff and James Norman Hall. He appears briefly as a contact with British naval intelligence in the historical novel Post Captain, from the Aubrey–Maturin series by Patrick O'Brian. He is also featured in Elizabeth Gilbert's 2013 best-selling novel, The Signature of All Things, and is a major character in Martin Davies' 2005 novel The Conjuror's Bird.

A secondary school opened in Perth, Western Australia in 2015 named Joseph Banks Secondary College.

In his Endeavour journal, Banks recorded 30 years of his life. Letters, invoices, maps, regalia, and watercolour drawings have now been digitised on the State Library of NSW website. This rich research and educational tool accesses 8800 high-quality digital images.

Artist biography

John Russell (English painter)

 
 
John Russell, self-portrait c. 1780

John Russell RA (29 March 1745 – 20 April 1806) was an English painter renowned for his portrait work in oils and pastels, and as a writer and teacher of painting techniques.

Life and work

Russell was born in GuildfordSurrey, the son of John Russell Snr., book and print seller and four times mayor of the town; his father was something of an artist, and drew and published two views of Guildford. Russell was educated at the Royal Grammar School, Guildford, and soon showed a strong inclination for art. He trained under Francis Cotes RA (of Cavendish Square, London), one of the pioneers of English pastel painting, and, like Cotes, was an admirer of the pastel drawings of Rosalba Carriera whose methods influenced his technique of "sweetening". At the age of 19 he converted to Methodism, which was the cause of tension with his family and with his teacher; he made no secret of his strong evangelical leanings and would attempt to preach and convert at every opportunity.

Russell set up his own studio, in London, in 1767. He made the acquaintance of the notorious Dr. William Dodd, whose portrait he painted in 1768. He was introduced to Selina, Countess of Huntingdon, who unsuccessfully attempted to persuade him to give up painting and attend her Methodist ministers' training college at Trevecca in Wales. On 5 February 1770, he married Hannah Faden, daughter of a Charing Cross print and map seller, whom he had converted. They lived at No. 7 Mortimer Street, Cavendish Square, where he had moved in 1770.

Russell's work caused him to travel extensively around Britain. In 1772, he wrote Elements of Painting with Crayons, by which time he had won premiums for his drawings from the Society of Arts in 1759 and 1760, and entered the Royal Academy school of art in 1770, winning its gold medal for figure drawing the same year. He exhibited at the Society of Artists of Great Britain in 1768 and showed 330 works at the Academy between 1769 until and his death.

 
Portrait of George Whitefield

In 1770, Russell painted Methodist minister, George Whitefield (engraved by James Watson) and the future philanthropist, William Wilberforce, then only eleven years old. In 1771, he exhibited a portrait in oils of Charles Wesley at the Royal Academy and, in 1772, painted Selina, Countess of Huntingdon in pastel. This was a symbolic picture, and was lost on its voyage out; but it was engraved, and he later also painted her in oils. Also in that year he was elected an associate of the Royal Academy. The following year, 1773, he painted John Wesley (engraved by Bland).

In 1788, after a long wait, Russell was elected a royal academician, in the same year painting a portrait of the naturalist Sir Joseph Banks. In 1789, he was commissioned to portray the royal physician Francis Willis. The results obviously pleased the monarch as, in 1790, he was appointed Crayon (pastel) Painter to King George III, Queen Charlotte, the Prince of Wales (both of whom Russell also painted) and the Duke of York. With such royal patronage, he developed a large and fashionable clientele.

 
The Face of the Moon (1793–1797), Russell's pastel drawing of a gibbous moon.
"He showed the moon at seventeen or eighteen days, but in doing so added an oblique – and impossible – source of illumination. Under the resulting raking light all the variations of the moon's surface are thrown into greater relief."

Russell was a man of deep religious beliefs, a devout follower of George Whitefield. He began an elaborate introspective diary in John Byrom's shorthand in 1766 and continued it to the time of his death. In it, he recorded his own mental condition and religious exercises, and occasionally information concerning his sitters. Though his religion appears to have become less militant after his marriage, his diary bears witness to his anxiety with regard to his spiritual welfare. Not only would he not work on Sunday, but he would allow no one to enter his painting-room. He was afraid to go out to dinner on account of the loose and blasphemous conversation which he might hear. He was on good terms with Sir Joshua Reynolds, with whom he dined at the academy, the Dilettanti Society, and the Literary Club (now The Club), but he records that on these or other festive occasions he always left early.

He was troubled by ill-health for much of his life, and in 1803 became almost deaf following a bout of cholera. He died in Hull in 1806 after contracting typhus.

Russell's work can be viewed at many galleries in the UK and around the world, but the largest collection is held by Guildford House Art Gallery in Guildford. Many of his portraits were engraved by, amongst others, Joseph CollyerCharles TurnerJames Heath, Dean, Bartolozzi and Trotter.

Astronomy

Russell was interested in astronomy and made, with the assistance of his daughter, a lunar map, which he engraved on two plates which formed a globe showing the visible surface of the Moon – it took twenty years to finish. He also invented an apparatus for exhibiting the phenomena of the Moon, which he called "Selenographia". Russell's large and highly detailed pastel drawing of The Face of the Moon (1793–1797) is "the most faithful early representation of the lunar sphere". Some of his best portraits were of the era's acclaimed scientists, such as his friend William Herschel, who he depicted holding a stellar chart showing his discovery of Uranus. It was Herschel who provided the powerful telescope that Russell used for his painstaking lunar observations.

Family

Of his twelve children (of which four died in infancy), William Russell (1780–1870), exhibited portraits at the Royal Academy from 1805 to 1809. The National Portrait Gallery contains a portrait of Judge Sir John Bailey by him. He was ordained in 1809, and gave up painting. He was forty years rector of SheppertonMiddlesex, and died on 14 September 1870. Two of John's daughters, Anne and Jane, became artists as well.