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Inside pages are clean and in good condition. Pages to are soiled, pages to are soiled on top corner. Inscription dated on top of p. Some spots on a few pages inside volume II. Photos available upon request. Louis Caron Professional seller. Facsimile reprint [of copies]. Green and blue hardback cloth covers.

Reproduces the sixth edition of Fep of first volume removed. Dust jacket of first volume price clipped. Barter Books Professional seller. Book, The fourth edition of this anthology. Illustrated throughout, with several large vignette woodcuts. Illustrations are by Thomas Bewick and L Clennell. ThomasBewickwas an incredibly famous engraver and natural history author.

He is credited with popularising a technical innovation in the printing of illustrations using wood. The woodcuts he produced were much more durable than traditional woodcuts resulting in high quality illustration at a low price.

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A collection of essays, narratives, allegories and instructive compositions. In a full morocco binding with gilt stamping to the board edges and spine. Externally, generally smart with a small amount of rubbing to the board edges and to the head and tail of joints. Pages are generally bright with spotting to the first and last few pages and the odd spot throughout. Rooke Books Professional seller. Greenock, Black Pennell Press. Printed on handmade paper, very good in boards.

Toby English Professional seller. The Bodley Head Ltd, Very Good in Very Good dust jacket. Castle Hill Books Professional seller. The Looking-Glass of the Mind. A reprint of the edition of , with the original illustrations by Bewick. With an introduction by Charles Walsh. Griffith, Farran, Okeden and Welsh, Original half-style brown cloth gilt, marbled paper sides, marbled eps, sprinkled leaf-edges. Re-backed with original spine laid down; extremes lightly rubbed; sides rubbed; occasional light spotting. Please contact us directly for further information.

John Turton Professional seller. Kupferstich zu Genesis, Chap. Celler Versandantiquariat Professional seller. A Memoir of Thomas Bewick, written by himself. Edited with an introduction by Iain Bain. Oxford University Press, There is a little light rubbing to the extremities of the dust-jacket.

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This copy has NO previous names or inscriptions present. The book has a firm binding with no hinge weakness and there are no turned corners to pages etc. Bright clean copy internally and illustrated throughout in black and white,8vo pp [] First Edition Thus. Richard Thornton Books Professional seller. Hay Cinema Bookshop Professional seller. Blue hardback cloth cover. Tan cloth with black letters and decoration, pp.

Memoir of acclaimed English wood engraver, artist and naturalist Thomas Bewick With an introduction by Selwyn Image. Includes dozens of examples of his engravings. G Has moderate wear to edges of outer spine; several bookplates from former owners inside front flyleaf; otherwise only lightly aged overall. Kevin Mullen, Bookseller Professional seller.

Newcastle Upon Tyne, Robert Ward. Green cloth with bevelled boards, a few marks to spine and rubbing to base of spine. Some bumping to corners.

Pend Books Professional seller. Tight and sound copy, presentable. Wrapper not price clipped but worn and rubbed at extremities, darkened on spine, spine panel chipped at ends with minimal loss of lettering. White was what Bewick never was, a man of science; but, if no naturalist, Bewick was a lover of nature, a careful observer, and a faithful copier of her ever-varying forms. In this, and in this alone, lies his charm. British Birds , reviewing a "lavishly illustrated" British Library book on Bewick, writes that "No ornithologist will ever regard Thomas Bewick, known primarily for The History of British Birds — , as a naturalist of the same standing as contemporaries such as Edward Donovan , John Latham and James Bolton ", noting however that Bewick helped to define "a certain English Romantic sensibility".

More directly, the review notes that "Bewick was aware that his role was to offer a modest guide to birds that the common man not only could afford but would also want to possess. The book's text was written by "failed author" Ralph Beilby, but the text is "almost extraneous" given Bewick's masterpiece.


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The Tate Gallery writes that Bewick's " best illustrations The History of British Birds 2 vols, Newcastle upon Tyne, — reveals Bewick's gifts as a naturalist as well as an engraver the artist was responsible for the text as well as the illustrations in the second volume. In later years these miniature scenes came to be more highly regarded than the figures they accompany. Dissenting from the general tone of praise for Bewick, Jacob Kainen cites claims that "many of the best tailpieces in the History of British birds were drawn by Robert Johnson", and that "the greater number of those contained in the second volume were engraved by Clennell.

Granted that the outlook and the engraving style were Bewick's, and that these were notable contributions, the fact that the results were so close to his own points more to an effective method of illustration than to the outpourings of genius. The Linnean Society writes that the History "shows that he was also an excellent naturalist, a meticulous observer of birds and animals in their habitats. The University of Maryland writes that "The Birds is specific to those species indigenous to Britain and is incredibly accurate due to Bewick's personal knowledge of the habits of birds in the wild acquired during his frequent bird-watching expeditions.

Jenny Uglow , writing in The Guardian , notes that "An added delight was the way he filled the blank spaces with 'tail-pieces', tiny, witty, vivid scenes of ordinary life. To Bewick, nature was the source of joy, challenge and perpetual consolation. In his woodcuts of birds and animals as well as his brilliant tail-pieces, we can still feel this today. Hilary Spurling, reviewing Uglow's biography of Bewick in The Observer , writes that when Birds appeared, people all over Britain "became his pupils". Spurling cites Charles Kingsley 's story of his father's hunting friends from the New Forest mocking him for buying "a book 'about dicky-birds", until, astonished, they saw the book and discovered "things they had known all their lives and never even noticed".

John Brewer, writing in the London Review of Books , says that for his Birds , "Bewick had acquired national renown as the artist who most truthfully depicted the flora and fauna of the British countryside. His engravings of British birds, which represent his work at its finest, are almost all rendered with the precision of the ornithologist: Thus the ploughboy in the distant field pulls our gaze past the yellow wagtail John Reed throws the History of British Birds at Jane when she is ten; Jane uses the book as a place to which to escape, away from the painful Reed household; and Jane also bases her artwork on Bewick's illustrations.

Jane and Mr Rochester use bird names for each other, including linnet , dove , skylark , eagle , and falcon. I returned to my book--Bewick's History of British Birds: They were those which treat of the haunts of sea-fowl; of 'the solitary rocks and promontories' by them only inhabited; of the coast of Norway, studded with isles from its southern extremity, the Lindeness , or Naze, to the North Cape -- [33]. Where the Northern Ocean, in vast whirls, Boils round the naked, melancholy isles Of farthest Thule ; and the Atlantic surge Pours in among the stormy Hebrides.

Oh now that the genius of Bewick were mine And the skill which he learned on the banks of the Tyne. Then the Muses might deal with me just as they chose, For I'd take my last leave both of verse and of prose. Peter Hall 's film Akenfield from the book by Ronald Blythe contains a scene where the grandfather as a young man is reaping a cornfield. He weeps when he accidentally crushes a bird's egg, an image derived from Bewick's tail-piece woodcut for the partridge.

The woodcut shows a reaper with a scythe, a dead bird and its nest of a dozen eggs on the ground under the scythe, which has just lifted. George Ewart Evans used the image on the title page of his book about Blaxhall near Charsfield , on which 'Akenfield' is probably partly based. Industry on a riverside, perhaps the Tyne near Newcastle. Hunter in the snow [g]. Polecat catching eel in winter. Volume 1 first appeared in , and was reprinted several times in , then again in and Volume 1 was priced 13s.

Volume 2 first appeared in price The first imprint was "Newcastle: Sold by them, and G. In a new edition appeared with supplements to both volumes and additional figures, with the imprint "Printed by Edward Walker, Pilgrim-Street, for T.

Charnley, Newcastle; and Longman and co. From Wikipedia, the free encyclopedia.

Thomas Bewick -

Of the Spoonbill 1 sp. Of the Ibis 1 sp. They produced A General History of Quadrupeds together in , but after Land Birds in and "a period of dissatisfaction" they separated. The skin that Bewick worked from was presumably Vigors' type specimen; it was much darker than a typical common snipe. The great bustard became extinct in Britain in the s. Retrieved 12 January Retrieved 21 January Transactions of the Linnean Society of London. Retrieved 21 March Gallinago Coelestis , var. Retrieved 14 January Trinity College, Hartford, Connecticut.

Retrieved 13 January Coal certificates - Tyne". Archived from the original on 11 June Magazine of natural history. A Note in the History of Wood Engraving". All about the birds and the bees. London Review of Books.