Beatrix Potter's parents did not discourage higher education. As was common in the Victorian era, women of her class were privately educated and rarely went to university. Beatrix Potter was interested in every branch of natural science save astronomy. Botany was a passion for most Victorians and nature study was a popular enthusiasm. Potter was eclectic in her tastes: collecting fossils, studying archaeological artefacts from London excavations, and interested in entomology. In all these areas, she drew and painted her specimens with increasing skill. By the 1890s, her scientific interests centred on mycology. First drawn to fungi because of their colours and evanescence in nature and her delight in painting them, her interest deepened after meeting Charles McIntosh, a revered naturalist and amateur mycologist, during a summer holiday in Dunkeld in Perthshire in 1892.
Scientific illustrations and work in mycology
Beatrix Potter
Beatrix Potter | Scientific illustrations and work in mycology
Yes, a collection of her fungus paintings at the Perth Museum and Art Gallery in Perth Yes,  Potter was eclectic in her tastes: collecting fossils, studying archaeological artefacts from London excavations, and interested in entomology. In all these areas, she drew and painted her specimens with increasing skill, . First drawn to fungi because of their colours and evanescence in nature and her delight in painting them Yes she was first  drawn to fungi because of their colours and evanescence in nature and her delight in painting them She she drew and painted her specimens from botany, collected fossils, archaeological artefacts from London excavations, and entomology.
where do guinea pigs come from in the wild
user
They originated in the Andes of South America
assistant
how do they look like?
user
Guinea pigs are large for rodents; the common pet breeds weigh between when full grown and measure between in length
assistant
which club is associated with it?
user
Cavy clubs dedicated to the showing and breeding of guinea pigs have been established worldwide.
assistant
what reference do they have in literature?
user
"The Fairy Caravan", a novel by Beatrix Potter, and Michael Bond's Olga da Polga series for children, both feature guinea pigs as the protagonist. Another appearance is in "The Magician's Nephew" by C. S. Lewis: in the first of his "The Chronicles of Narnia" series, a guinea pig is the first creature to travel to the Wood between the Worlds.
assistant
is there any specific program for their breeding?
user
Yes, Peruvian research universities, especially La Molina National Agrarian University, began experimental programs
assistant
you have mentioned three authors above; has the first one done any scientific illustrations?
user
Rebuffed by William Thiselton-Dyer, the Director at Kew, because of her sex and her amateur status, Beatrix wrote up her conclusions and submitted a paper, "On the Germination of the Spores of the Agaricineae", to the Linnean Society in 1897. It was introduced by Massee because, as a female, Potter could not attend proceedings or read her paper. She subsequently withdrew it, realising that some of her samples were contaminated, but continued her microscopic studies for several more years. Her paper has only recently been rediscovered, along with the rich, artistic illustrations and drawings that accompanied it. Her work is only now being properly evaluated.
Beatrix Potter | Scientific illustrations and work in mycology
He helped improve the accuracy of her illustrations, taught her taxonomy, and supplied her with live specimens to paint during the winter. Curious as to how fungi reproduced, Potter began microscopic drawings of fungus spores (the agarics) and in 1895 developed a theory of their germination. Through the connections of her uncle Sir Henry Enfield Roscoe, a chemist and vice-chancellor of the University of London, she consulted with botanists at Kew Gardens, convincing George Massee of her ability to germinate spores and her theory of hybridisation. She did not believe in the theory of symbiosis proposed by Simon Schwendener, the German mycologist, as previously thought; instead, she proposed a more independent process of reproduction.
Beatrix Potter | Scientific illustrations and work in mycology
Beatrix Potter's parents did not discourage higher education. As was common in the Victorian era, women of her class were privately educated and rarely went to university. Beatrix Potter was interested in every branch of natural science save astronomy. Botany was a passion for most Victorians and nature study was a popular enthusiasm. Potter was eclectic in her tastes: collecting fossils, studying archaeological artefacts from London excavations, and interested in entomology. In all these areas, she drew and painted her specimens with increasing skill. By the 1890s, her scientific interests centred on mycology. First drawn to fungi because of their colours and evanescence in nature and her delight in painting them, her interest deepened after meeting Charles McIntosh, a revered naturalist and amateur mycologist, during a summer holiday in Dunkeld in Perthshire in 1892.
Beatrix Potter | Scientific illustrations and work in mycology
Potter later gave her other mycological and scientific drawings to the Armitt Museum and Library in Ambleside, where mycologists still refer to them to identify fungi. There is also a collection of her fungus paintings at the Perth Museum and Art Gallery in Perth, Scotland, donated by Charles McIntosh. In 1967, the mycologist W.P.K. Findlay included many of Potter's beautifully accurate fungus drawings in his "Wayside & Woodland Fungi", thereby fulfilling her desire to one day have her fungus drawings published in a book. In 1997, the Linnean Society issued a posthumous apology to Potter for the sexism displayed in its handling of her research.
Beatrix Potter | Scientific illustrations and work in mycology
There are many interpretations of Potter's literary work, the sources of her art, and her life and times. These include critical evaluations of her corpus of children's literature and Modernist interpretations of Humphrey Carpenter and Katherine Chandler. Judy Taylor, "That Naughty Rabbit: Beatrix Potter and Peter Rabbit" (rev. 2002) tells the story of the first publication and many editions. Potter's country life and her farming have been discussed in the work of Susan Denyer and other authors in the publications of The National Trust, such as "Beatrix Potter at Home in the Lake District" (2004). Potter's work as a scientific illustrator and her work in mycology are discussed in Linda Lear's books "Beatrix Potter: A Life in Nature" (2006) and "Beatrix Potter: The Extraordinary Life of a Victorian Genius" (2008).
Beatrix Potter | Analysis
Helen Beatrix Potter (, US , 28 July 186622 December 1943) was an English writer, illustrator, natural scientist and conservationist; she was best known for her children's books featuring animals, such as those in "The Tale of Peter Rabbit". Born into an upper-middle-class household, Potter was educated by governesses and grew up isolated from other children. She had numerous pets and spent holidays in Scotland and the Lake District, developing a love of landscape, flora and fauna, all of which she closely observed and painted. Potter's study and watercolours of fungi led to her being widely respected in the field of mycology.
Beatrix Potter | Introduction
Potter left almost all the original illustrations for her books to the National Trust. The copyright to her stories and merchandise was then given to her publisher Frederick Warne & Co, now a division of the Penguin Group. On 1 January 2014, the copyright expired in the UK and other countries with a 70-years-after-death limit. Hill Top Farm was opened to the public by the National Trust in 1946; her artwork was displayed there until 1985 when it was moved to William Heelis's former law offices in Hawkshead, also owned by the National Trust as the Beatrix Potter Gallery. Potter gave her folios of mycological drawings to the Armitt Library and Museum in Ambleside before her death.
Beatrix Potter | Legacy
In the introduction to "Illustrations", she notes that: "A basket is in the first place needful, and if the student should leave home without one, a profusion of lovely and rare objects will be certain to strew his path; in which case there are but two alternatives, to dissect on the spot, always an imperfect operation, or to carry away the spoil in hat or handkerchief, when on arrival at home, a heterogeneous mass of caps, stems, etc., presents itself—"disjecta membra"!" A second volume of 50 colour plates was published posthumously in 1855, cut short by her early death. The two volumes, especially the illustrations, were well received and praised for their "scientific accuracy" as well as their "artistic elegance".
Anna Maria Hussey | Collecting and illustrating fungi
Mice and rabbits were the most frequent subject of her fantasy paintings. In 1890, the firm of Hildesheimer and Faulkner bought several of the drawings of her rabbit Benjamin Bunny to illustrate verses by Frederic Weatherly titled "A Happy Pair". In 1893, the same printer bought several more drawings for Weatherly's "Our Dear Relations", another book of rhymes, and the following year Potter sold a series of frog illustrations and verses for "Changing Pictures", a popular annual offered by the art publisher Ernest Nister. Potter was pleased by this success and determined to publish her own illustrated stories.
Beatrix Potter | Artistic and literary career
The nature artist and the fantasy artist in Potter are at odds: the mouse, the toad, and the insects share the same habitat but there seems no logical reason for the mouse and the toad to be humanised while the insects remain their natural selves. Logically, they should be humanised, too. It is possible Potter's carelessness in the details of "Mrs. Tittlemouse" can be attributed to a desire on her part to simply display her ability to draw from nature or to her interest in book production being supplanted by a growing interest in farming and local life and politics in Sawrey.
The Tale of Mrs. Tittlemouse | Illustrations
Forbes' scientific illustrations have been said to be anthropomorphic, often just hiding a human form even when depicting an invertebrate.
Edward Forbes | Illustrations
The "Brer Rabbit" stories of Joel Chandler Harris had been family favourites, and she later studied his "Uncle Remus" stories and illustrated them. She studied book illustration from a young age and developed her own tastes, but the work of the picture book triumvirate Walter Crane, Kate Greenaway and Randolph Caldecott, the last an illustrator whose work was later collected by her father, was a great influence. When she started to illustrate, she chose first the traditional rhymes and stories, "Cinderella", "Sleeping Beauty", "Ali Baba and the Forty Thieves", "Puss-in-boots", and "Red Riding Hood". However, most often her illustrations were fantasies featuring her own pets: mice, rabbits, kittens, and guinea pigs.
Beatrix Potter | Artistic and literary career
"Mrs. Tittlemouse" called upon Potter's keen observation of insects, arachnids, and amphibians, and her youthful experience drawing them. Their depictions in text and illustration reflect her understanding of insect anatomy, colouration, and behaviour; they are rendered with accuracy, humour, and true to their individual natures – she knew that toads only seek water during the spawning season, for example, and that they can smell honey. The spider and the butterfly are very much like those she drew from microscopic studies in the 1890s. Potter's source for the wildlife and the insect drawings in "Mrs. Tittlemouse" were those she had executed in her early adulthood, either directly from nature or by observing specimens in the collections of the Victoria and Albert Museum.
The Tale of Mrs. Tittlemouse | Illustrations
From 1902 to 1930 Warne published twenty-three story books written and illustrated for children by Beatrix Potter. Primarily they feature anthropomorphic animals, such as Peter Rabbit in the first of the series, "The Tale of Peter Rabbit". Here they are listed by year of the first edition. Warne also published the first British edition of one longer children's book written and illustrated by Potter.
Frederick Warne &amp; Co. | Beatrix Potter books
Claudia Hartert was acknowledged as an excellent illustrator, and provided 493 illustrations that appeared in "A Practical Handbook of British Birds". Her figures went without attribution in the first edition that was printed before World War I. In the preface to the second volume Harry Forbes Witherby wrote: I have also to acknowledge my gratitude to Mrs. Hartert for the care and trouble she has taken over the text figures, almost all of which have been drawn by her from specimens in the Tring Museum. Some of the drawings also appear in the five-volume "Handbook of British Birds", that Witherby published in 1952.
Claudia Bernadine Elisabeth Hartert | Illustrations
These went uncredited, however, as noted by a contemporary reviewer. At the same time, she produced (as Mrs T. J. Hussey) the first volume of an ambitious and expensive work entitled "Illustrations of British Mycology", containing 90 colour plates of species collected and illustrated by herself or by her sister, together with descriptions, personal observations, anecdotes, and comments. "Illustrations of British mycology" is not simply a taxonomic litany of fungi. It is instead a catalog of Anna's experiences with, and knowledge of, fungi. She hoped that her work would inspire future mushroom enthusiasts, especially young people. To that end, she provided instructions on hunting and caring for specimens caught in the countryside.
Anna Maria Hussey | Collecting and illustrating fungi
The book was carried out in aquatint and the 350 plant drawings painted in part by hand. The subscribers to this large folio numbered only 79, mostly from the Lancashire region, Audubon being one of them. The book was described as "one of the most effective colour-plate folios of its period" by Wilfrid Jasper Walter Blunt in his "The Art of Botanical Illustration".
Priscilla Susan Bury | Artistic work
Potter's artistic and literary interests were deeply influenced by fairies, fairy tales and fantasy. She was a student of the classic fairy tales of Western Europe. As well as stories from the Old Testament, John Bunyan's "The Pilgrim's Progress" and Harriet Beecher Stowe's "Uncle Tom's Cabin", she grew up with "Aesop's Fables", the fairy tales of the Brothers Grimm and Hans Christian Andersen, Charles Kingsley's "The Water Babies", the folk tales and mythology of Scotland, the German Romantics, Shakespeare, and the romances of Sir Walter Scott. As a young child, before the age of eight, Edward Lear's "Book of Nonsense", including the much loved "The Owl and the Pussycat", and Lewis Carroll's "Alice in Wonderland" had made their impression, although she later said of "Alice" that she was more interested in Tenniel's illustrations than what they were about.
Beatrix Potter | Artistic and literary career
These volumes comprise watercolour drawings of flowers, fruit, fish and marine invertebrates painted by Cust while on tour of the West Indies during January–July 1839 with detailed captions by her husband, Sir Edward; and, paintings of flowers, fruit, fish and marine invertebrates painted by Cust while in Tenerife and Madeira during 1866–1874.
Mary Anne Cust | Scientific Illustrator
Stewart is best known for his work preparing a long series of natural history illustrations for Sir William Jardine's 40 volume "The Naturalist's Library". The 40 volumes of this encyclopedic work were published between 1833 and 1843. The subjects covered included birds, mammals, fish, and insects, each volume typically being devoted to a group such as Hummingbirds, Cetaceans, British Fishes, or Moths. Stewart made and signed watercolour drawings for 213 mammal plates, 177 bird plates, 140 fish plates and 15 insect plates, a total of 545 under his name, in 28 volumes of "The Naturalist's Library". Many other plates in the series are in similar style and apparently by Stewart, but are unsigned.
James Hope Stewart | Illustrations for "The Naturalist's Library"
The interest in the book's illustrations lies in the microscopic accuracy of the insects rather than in any human qualities exhibited by Mrs. Tittlemouse or Mr. Jackson. Potter is uncharacteristically careless in the depiction of the insects however. They appear to be drawn for their own sake, or seem to be out of scale with the heroine, or to change scale without reason. The ladybird seems larger than Mrs. Tittlemouse, and the spider appears first larger than Mrs. Tittlemouse in one picture and then smaller in another. The bees are sometimes out of scale with both the toad and the mouse.
The Tale of Mrs. Tittlemouse | Illustrations
The book has 16 colored plates of paintings by Abbott Thayer and Richard S. Meryman, including the well known frontispiece "Peacock amid foliage", and the heavily criticised images of wood ducks, blue jays against snow, roseate spoonbills and flamingoes "at dawn or sunset, and the skies they picture". The last 4 colored plates are of caterpillars. Gerald Thayer claims that "The illustrations are of particular importance, inasmuch as they include what we believe to be the first scientific paintings ever published of animals lighted as they actually are in nature". There are 140 black and white figures, mainly photographs with a few diagrams and drawings.
Concealing-Coloration in the Animal Kingdom | Illustrations
Morris provided botanical illustrations for a paper by William Gambel in the Journal of the Academy of Natural Sciences (1848)
Margaretta Morris | Illustrations
It was reported in July 2014 that Beatrix had personally given a number of her own original hand-painted illustrations to the two daughters of Arthur and Harriet Lupton, who were cousins to both Beatrix and Catherine, Duchess of Cambridge. Beatrix's parents lived comfortably at 2 Bolton Gardens, West Brompton, where Helen Beatrix was born on 28 July 1866 and her brother Walter Bertram on 14 March 1872. Beatrix lived in the house until her marriage in 1913. The house was destroyed in the Blitz. Bousfield Primary School now stands where the house once was. A blue plaque on the school building testifies to the former site of The Potter home.
Beatrix Potter | Early life
Beatrix Potter's career as a children's author and illustrator was launched in 1900 when she revised a tale written in 1893 about a humanized rabbit, fashioned a dummy book in imitation of "Little Black Sambo", and privately published her work in December 1901 after a series of publishers' rejections. Frederick Warne & Co. had rejected the tale but, eager to compete in the burgeoning and lucrative small format children's book market, reconsidered and accepted the "bunny book" (as the firm called it) following the endorsement of their prominent children's book artist L. Leslie Brooke. Potter agreed to colour her pen and ink illustrations for the trade edition, and chose the then-new Hentschel three-colour process for reproducing her watercolours.
Cecily Parsley's Nursery Rhymes | Background
One scholar criticized this, saying "This is a disservice to the text, since part of its overall significance as an 'enlightened' compendium resides precisely in its structure as a miscellany." The volume is richly illustrated. He drew native plants and flowers (cacao, vanilla, avocado, sapote, mamey, passion flower, and pricky pear cactus) as well as animals not known in Europe. What has gained most attention are his depictions of race mixture (castas), which have been published in works on that topic. O'Crouley provides written text for the illustrations, which were likely copies of existing casta groupings. He devotes an entire section of text to the condition of the Indians, lamenting their current state.
Pedro Alonso O'Crouley | "A Description of the Kingdom of New Spain, 1774"
According to François Vuilleumier, curator of the Department of Ornithology, American Museum of Natural History in New York City:The number of topics covered in this monumental work (volume 1, pages 1–789; volume 2, pages 790–1,684) is simply astonishing, and includes the concept of adaptation, death of individuals and of species, homology, systematics, ecological specialization, teleology, convergences, social signalization, mimicry, sexuality, mating systems, and many others. Richly illustrated, this work draws its empirical examples from many forms of life, where birds, and Peruvian or South American birds especially, figure prominently. On 24 December 1971, Koepcke's wife Maria was killed in the crash of Lansa Flight 508 in the Peruvian jungle.
Hans-Wilhelm Koepcke | Scientific work in Peru
I think the book will go all right when once started." Three weeks later, she wrote, "The hedgehog drawings are turning out very comical. I have dressed up a cottonwool dummy for convenience of drawing the clothes. It is such a figure of fun." The dummy terrified her rabbit and her pet mouse pulled out the stuffing. "I think it should make a good book," she wrote, "When I have learnt to draw the child." Although Potter had little difficulty with the landscapes, the kitchen, and the birds and animals, Lucie presented a serious problem. Potter recognized and admitted the human form eluded her and confessed she faced a worrisome challenge whenever it was absolutely necessary to bring a human into an illustration.
The Tale of Mrs. Tiggy-Winkle | Illustrations and production
Anne Stevenson Hobbs in "Beatrix Potter's Art" (1989) asserts "Minute subjects demanded minute strokes: with Bewick, William Hunt, and Birket Foster, [Potter] is a descendant of the pictures 'in little' approach of the Elizabethans." In addition to the miniaturists, Potter once admitted that the Pre-Raphaelites, with their "somewhat niggling but absolutely genuine admiration for copying natural detail", had influenced her style. "Timmy Tiptoes" is unique amongst Potter's children's books: it is the only one depicting American mammals. The title character is an eastern grey squirrel, a species exported from America to Britain, and flourishing there around 1900. It was unlikely Potter saw the animals in the woods around Hill Top as they had yet to become established in the Lake District.
The Tale of Timmy Tiptoes | Illustrations
The book is remarkable as the first illustrated medical work to appear in print; notable illustrations include: a urine chart, a diagram of the veins for phlebotomy, a pregnant woman, Wound Man, Disease Man and Zodiac Man. In 1495, it appeared in Italian under the title "Fasiculo de Medicina". The ten handsome full-page woodcut illustrations influenced artists for some time – even as late as 1751 when the last of William Hogarth's Four Stages of Cruelty seems to borrow from the dissection scene (above).
Fasciculus Medicinae | Introduction
Plunket travelled Europe with her sister Katherine Plunket and they made many sketches of flowers in France, Italy, Spain and Germany, and Ireland. These were bound in a volume, "Wild Flowers from Nature", which was presented in 1903 to the Royal College of Science, and was later transferred to the Museum of Science and Art in the National Museum of Ireland. In 1970 it was part of the collections which were transferred to the Irish National Botanic Gardens at Glasnevin.
Frederica Plunket | Botanical illustration
She continued to paint and draw, and experienced her first professional artistic success in 1890 when she sold six designs of humanised animals to a greeting card publisher. She hoped to lead a useful life independent of her parents, and tentatively considered a career in mycology, but the all-male scientific community regarded her as an amateur and she abandoned fungi. Potter had maintained contact with her last governess Annie Carter Moore and had grown fond of her children. Through the 1890s, she sent illustrated story letters to the children. Mrs. Moore recognised the literary and artistic value of the letters and urged her former charge to publish.
The Tale of Jemima Puddle-Duck | Background
It was published in 1766 and 1767 in four volumes as quarto editions, and further small editions followed. The illustrations were so expensive to produce that he made little money from the publication, and when there was a profit, he gave it to charity. For example, the bookseller Benjamin White, brother of the naturalist Gilbert White, received permission, on payment of £100, to publish an octavo edition, and the money thus raised was donated to the Welsh Charity School. Further appendix volumes were added later and the text, largely written from personal observations, was translated into Latin and German. The observations Pennant recorded in "British Zoology" were sufficiently detailed and accurate that it was possible to use them to recreate a modern ecological study that had used a decade's worth of laboratory-based molecular data.
Thomas Pennant | Early works
Roos' work concerns early modern English science and the early history of the Royal Society. She studied the naturalist Martin Lister and his daughters Anna and Susanna, who engraved the images for the book "Historiae Conchyliorum" and were some of the first women to use a microscope. Roos detailed how Anna and Susanna became illustrators from their teenage years and that their work was used by their father because he considered that even the best professional engravers were not sufficiently reliable. Her book, "Martin Lister and his Remarkable Daughters", was published by the Bodleian Library in 2018. Roos' book "Goldfish", one of Reaktion Books' Animal series, was published in September 2019.
Anna Marie Roos | Research
Following her death, the volume was kept and circulated to interested scientists. It was acquired by the Crewe Hall library and then by Paul and Rachel Mellon in 1957 and is now held among the rare books and manuscripts at the Oak Spring Garden Foundation in Virginia, US.
Dorothea Eliza Smith | Botanical illustrations
Beginning in 1897, the young Brother Judulien went every Thursday to the National Museum of Natural Sciences, requesting help to classify the insects he had kept in a box shaped like a book. In those years, he donated insects and arachnids to the National Museum, which he collected in his research. The contributions of Brèthes can be seen in the "Notes Fitoteratológicas", published by Ángel Gallardo in 1899.
Juan Brèthes | His first steps
The holotype measures in snout–vent length. The following description is from the original species description by Gladwyn Kingsley Noble: Snout rounded, equal to the greatest diameter of the orbit; loreal region abrupt, nearly vertical; nostril midway between the tip of the snout and the anterior corner of the eye; interorbital space a little broader than the upper eyelid; horizontal diameter of the tympanum about one-half, vertical diameter nearly two-thirds the greatest width of the eye; tympanum about one-half its smallest diameter from the latter. Digits pointed, no terminal disks; a well-developed tarsal and two metatarsal tubercles. Tibio-tarsal articulation reaching just beyond the posterior angle of the eye; when the limbs are held vertical to the axis of the body, the tibio-tarsal articulation overlapping its mate of the opposite side.
Noblella peruviana | Description
He spent six years dedicated exclusively to the study and re-ordering of materials collected during the expedition, which he would include in his future works. In 1870, he published the article "Some new and curious facts about the Amazonian fauna" in a bulletin of the Universidad de Madrid. In this work, he described, among other things, the appearance and behavior of the Thyroptera albiventer bat. In 1871, he published the report "Unknown Species of Neo-tropical Fauna" in the Lisbon "Science Academy Journal", and that same year he founded, along with other colleagues, the Spanish Society of Natural History, where he would publish most of his further works.
Marcos Jiménez de la Espada | Zoology
The book is also remarkable for its realistic representations of 337 plants in the borders that most text pages are given. There are flowers, cultivated and wild, shrubs, some trees and among the plants a wide variety of insects and small animals of the countryside. The plants include "Cannabis sativa" on f. 90v, and the major cereal crops of the day on ff. 94–96. The insects represented are butterflies and moths, dragonflies, grasshoppers, caterpillars, beetles, flies, carpenter bees, crickets, earwigs, bees and beetles. The small animals represented are snakes, lizards, slow worms, frogs, turtles, squirrels, snails, rabbits, monkeys and spiders.
Grandes Heures of Anne of Brittany | Description
Although she was not trained as a botanist or commissioned as a professional artist, she was the author of several artistic and scientific plant illustrations She began to draw plants from the glasshouse at her family home 'Fairfield', and by 1829 had enough studies of lilies and allied plants for publication. The 1829 "Drawings of lilies", as lithographs by Hullmandel, features her illustrations accompanied by short notes. This was modelled on a book, and its publicity materials, by William Roscoe. From 1831-1834, her drawings were published in "A Selection of Hexandrian Plants". The engraving was entrusted to the Londoner Robert Havell, engraver of the John James Audubon (1785-1851) plates.
Priscilla Susan Bury | Artistic work
Under decorating manager Jim Hayward, there was a shift towards lifelike animal pieces, including cats, dogs, farm animals, fish and wild animals. Continued expansion enabled the acquisition of the adjoining factory in 1945 to accommodate offices, warehousing and new potting and firing facilities. In 1947, Lucy Beswick suggested bringing to life the illustrations in the Beatrix Potter books. In 1948, John Beswick secured the right to reproduce a range of 10 Beatrix Potter earthenware characters, the first of which was Jemima Puddle-Duck, modelled by Arthur Gredington. In 1952, Beswick began manufacturing a range of Disney characters, including Snow White, Mickey Mouse and Bambi.
Beswick Pottery | History
Weatherly's prose publications include "Wilton School", (1872); "The Rudiments of Logic, Inductive and Deductive", (1879); "Oxford Days: or How Ross got his Degree", (1879); "Questions in Logic, Progressive and General", (1883) and "Musical and Dramatic Copyright" (1890), with Edward Cutler. He published several collections of verse including "Muriel and other Poems"; "Dresden China and other Songs"; and "Songs for Michael, 1927". Beatrix Potter's first signed illustrations were published in "A Happy Pair", a book of verse written by Weatherly.
Frederic Weatherly | Works
We may state that not only has Lady CUST procured a collection of those curiosities that are the result of the skill and ingenuity of other people, but she has superadded a valuable collection of drawings of the scenery and especially of the plants of the West Indies, which may be of much use to aid researches of such as may hereafter be deputed to gather information as to the floral and horticultural produce of the West India Islands. - The Liverpool MercuryShe is known for her botanical, natural, and ichthyological drawings in watercolor. The British Museum holds three volumes of her illustrations containing 205 drawings of plants and fishes made during her voyages.
Mary Anne Cust | Scientific Illustrator
The book has four colour plates by Peter Smit, who both drew and prepared the chromolithographic plates. Plate 1 is stated in the "List of Illustrations" "To face page 108", but as bound in the first edition it is used as a Frontispiece, facing the title page. There are also 36 woodcuts (in black and white) in the text, though one of these, "Eolis and Dendronotus" is intentionally repeated as figures 10 and 19 to accompany the text in two places. The woodcuts vary from small line drawings on a simple white background (as in the diagrammatic figure 28 of "Psyche helix", and figure 34 of the winter moth) to page-width illustrations like figure 2 which shows ermines in winter pelage, in a realistic depiction with a detailed snowy scene in the background.
Animal Coloration (book) | Illustrations
Hairy Maclary books are designed to be read by an adult to a child. The plots are simple, keeping with the comprehension-level of the age group for which they are written. They generally involve Hairy and his friends in adventurous scenarios pitched against local cats. The animals in this series, unlike the creatures of Beatrix Potter's stories, are not given human thoughts and motives, their actions tell the stories, and reflect their animal natures. Each double-sided page has an illustration on one side, and text on the other. The pictures and the written words together tell the story, and the illustrations and their meanings are as important as the text.
Hairy Maclary and Friends | Description
Potter borrowed a cat, and took a pet rabbit to Fawe Park as models. Her meticulous preparation before finalizing an illustration was noted in a letter to Warne: "I think I have done every imaginable rabbit background and miscellaneous sketches as well – about seventy! I hope you will like them, though rather scribbled." Scribbled or not, the work is of the highest quality with the sketches of onions and red carnations (which were dropped as the frontispiece) being chief examples. The illustrations communicate her obvious appreciation and love for the humble pots, onions, and flowers of the garden. Many of the objects in the illustrations – the gate, the potting shed, the wall – have changed little over the years and are recognizable today from her illustrations.
The Tale of Benjamin Bunny | Illustrations
Unlike her husband, Blackwell was untrained in botany. To compensate for this, she was aided by Isaac Rand, then curator of the Chelsea Physick Garden, where many of these new plants were under cultivation. At Rand’s suggestion, she relocated near the Garden so she could draw the plants from life. In addition to the drawings, Blackwell engraved the copper printing plates for the 500 images and text, and hand-coloured the printed illustrations. The first printing of "A Curious Herbal" met with moderate success, both because of the meticulous quality of the illustrations and the great need for an updated herbal.
Elizabeth Blackwell (illustrator) | Prison
They were to record and collect a large number of novel specimens; their publication introduced these to an English audience. From March 1786 to December 1787 they surveyed the plants and animals of the eastern Mediterranean, Sibthorp collecting and describing, Bauer making dried specimens and producing colour-coded sketches. Bauer's work, including around a thousand intricate and annotated sketches, is now regarded as one of the finest examples of botanical illustration. Sibthorp's volumes were to become a botanical publication, the original intention to produce a herbal or medical volume was transformed into a scientific survey. An accompanying volume, "Fauna Graeca", and other planned works on the region, was not realised.
Flora Graeca | Introduction
1200 plants in his "Rerum Medicarum" of 1615. Nicolás Monardes’ "Dos Libros" (1569) contains the first published illustration of tobacco.
Herbal | Hernandez – "Rerum Medicarum" and the Aztecs
While there, he drew and painted the stuffed animals at the Rijksmuseum van Natuurlijke Historie in Leiden. As a result, his uncle Adriaan van Oordt, Director of Brill Publishers, was able to get him his first commissions doing scientific illustrations. From 1889 to 1890, he became interested in lithography. That same year, he took up temporary residence in a garden house at . The following year, after the success of his first picture book about birds ("Hoe de vogels aan een koning kwamen"), he was married and moved to Loosduinen. The marriage was, however, short-lived and childless, ending in divorce in 1902.
Theo van Hoytema | Biography
The children's author Beatrix Potter painted hundreds of accurate watercolour illustrations of fungi. More recently, artists such as Martin Belou, Helen Downie (alias "Unskilled Worker"), and Steffen Dam have created installations and paintings of mushrooms.
Human interactions with fungi | In literature and art
Tiggy. She hasn't seemed well the last fortnight, and has begun to be sick, and she is so thin. I am going to try some physic but I am a little afraid that the long course of unnatural diet and indoor life is beginning to tell on her. It is a wonder she has lasted so long. One gets very fond of a little animal. I hope she will either get well or go quickly." A few weeks later Potter chloroformed her beloved hedgehog and laid her to rest in the garden at the Potter family home at 2 Bolton Gardens, Kensington.
The Tale of Mrs. Tiggy-Winkle | Publication history and adaptations
A number of the plates were engraved by William Home Lizars (1788-1859) from Stewart's drawings. Stewart may have added background detail to further plates by other artists such as Edward Lear. According to Jardine's biographers, Christine Jackson and Peter Davis, another publisher, Captain Thomas Brown recognised from the publication of the first volume in 1833 that "James Stewart's illustrations were going to make the series very attractive", and Brown attempted to lure Stewart to work on his rival series, "Miscellany of Natural History" for "any price he cared to name"; but Stewart chose to remain loyal to Jardine. It is also recorded that Stewart disliked having to paint mammals, but was prevailed upon by Lizars to draw a St Bernard dog for Sir Thomas Lauder.
James Hope Stewart | Illustrations for "The Naturalist's Library"
Coudrille took up the writing and illustration of children's books as a form of occupational therapy, while recovering from spinal damage. This unexpected turn of events led to him becoming an award-winning author and illustrator. The illustrated alphabet "A Beastly Collection" was published in 1974 by Frederick Warne & Co, the publishers of Beatrix Potter. The book received critical acclaim, and was compared to the work of John Tenniel. His second book "Farmer Fisher" (1975) was a best seller, winning the UK Children's Book of The Year award in 1976. "Farmer Fisher" is thought to have been the first picture book on the UK market to include a record (7-inch vinyl disc).
Jonathon Coudrille | Writing
In 2001, Ryan completed a scientific Illustration Internship at the Carnegie Institution of Washington, Department of Plant Biology, Stanford University, Stanford, CA. She did volunteer work and scientific illustration work at Pohnpei Agriculture and Trade School (PATS), Pohnpei, Micronesia and the Marine Science and SCUBA Study at Marine and Environmental Research Institute, Pohnpei, Micronesia. In 2004, Ryan worked as a Botanical Illustrator in collaboration with Dr. Chris Somerville at the Carnegie Institution of Washington, Department of Plant Biology, Stanford University, Stanford, California.
Abbey Ryan | Scientific illustration
His original colour illustration is now accepted as representing the species but his anatomical information is considered problematic, and "M. fulvicola" is considered a synonym.
Marionia levis | Taxonomy
In the same year the first scientific university expedition was organized in Peru, organized by the wise Carlos Rospigliosi Vigil and in 1920 a second expedition with the Swedish aid and the participation of Otto Nordenskjöld . All the collected material was sent to Buenos Aires for its taxonomic classification. As a thank you Brèthes called Tanava rospigliosi to one of the found types.
Juan Brèthes | Campaigns in Peru
Only in the fourth, rewritten edition of 1871–85 were illustrations by other artists (Charles Whymper, J. G. Keulemans, Edward Neale) added. Some of the bird figures, such as "The Snowy Owl" and "Richard's Pipit" in Volume 1, are signed "A. FUSSEL DEL." (A. Fussel drew this), but most are entirely unsigned. Some few, such as "The Black Redstart" and "The Common Cuckoo", are signed "THOMPSON DEL ET SC." (Thompson drew and cut this), so in these cases Fussell was not involved.
A History of British Birds (Yarrell book) | Illustrations
Early herbals and pharmacopoeia of many cultures have included the depiction of plants. This was intended to assist identification of a species, usually with some medicinal purpose. The earliest surviving illustrated botanical work is the Codex vindobonensis. It is a copy of Dioscorides's "De Materia Medica", and was made in the year 512 for Juliana Anicia, daughter of the former Western Roman Emperor Olybrius. The problem of accurately describing plants between regions and languages, before the introduction of taxonomy, was potentially hazardous to medicinal preparations. The low quality of printing of early works sometimes presents difficulties in identifying the species depicted.
Botanical illustration | History
Also known as "Dr. Ameisenhaufen's Fauna" or "Secret Fauna", Fontcuberta created this series in collaboration with the writer and photographer Pere Formiguera. The premise was that Fontcuberta and Formiguera discovered the long-lost archives of German zoologist Dr. Peter Ameisenhaufen, who was born in 1895 and who disappeared mysteriously in 1955. Ameisenhaufen had catalogued a number of unusual animals; for example, "Cercopithecus icarocornu" resembles a monkey with a unicorn-like horn on its head and wings; and "Solenoglypha polipodida" resembles a snake with 12 feet. A review of the exhibition as presented in 1988 at the Museum of Modern Art noted that the evidence presented for the existence of the animals included "photographs...
Joan Fontcuberta | "Fauna" (1987)
In her thirties, Potter self-published the highly successful children's book "The Tale of Peter Rabbit". Following this, Potter began writing and illustrating children's books full-time.
Beatrix Potter | Introduction
Their striking depictions and descriptions of the island's moths and butterflies attest to the enormous dedication of the family to their self-imposed project. A glimpse into the daily lives of the two sisters is provided by the meticulous records they kept. Together with their father, they collected live specimens from their neighbourhood, then determined the proper food plants to take back home and feed the hungry creatures. They then conducted a lively correspondence with various specialists to pin down the identities of the problematic species. Their father gave them full credit for their achievements, praising the quality of the drawings that showed the insects in all their various stages.
Helena Scott | Family life
She was notable in observing the problems of afforestation, preserving the intake grazing lands, and husbanding the quarries and timber on these farms. All her farms were stocked with Herdwick sheep and frequently with Galloway cattle.
Beatrix Potter | Lake District conservation
The incredulous scientist goes to the shanty town to obtain the mice. There, Pedro meets Muecas, Muecas's wife Ricarda and their two daughters Florita and Conchi. With the warmth of the women's breasts, as the flirtatious Florita shows Pedro, the mice are able to reproduce. Pedro himself lives in a modest boarding house run by a military widow and her daughter Dora, who also has a vivacious daughter, Dorita. The owner of the boarding house tries to encourage the doctor to fall in love with his granddaughter, Dorita, so that his medical career may release them all from a life of squalor and penury.
Tiempo de Silencio | Plot
Sometime in the mid 1840s, the botanist Charles Alexander Johns saw Stackhouse's watercolours and asked her to provide illustrations for a series of popular natural history books that he was publishing through the Society for Promoting Christian Knowledge. The first two were "Forest Trees of Britain" (1847) and "A Week at the Lizard" (1848, focusing on the Lizard peninsula in Cornwall); in both, some of the illustrations were engravings based on watercolours by Stackhouse, uncredited, but signed 'E.S.' This was followed by Johns's best-known book, "Flowers of the Field", published in two volumes in 1851 with over 200 uncredited illustrations by Stackhouse.
Emily Stackhouse | Botanical work
Children's writers Beatrix Potter, May Gibbs, and Theodor Seuss Geisel are as well known for their illustrations as for their texts.
Writer | Multimedia
An example entry, for Charles Tunnicliffe, may be seen at http://www.uni-stuttgart.de/hi/gnt/dsi2/index.php?table_name=dsi&function=details&where_field=id&where_value=5570
Stuttgart Database of Scientific Illustrators 1450–1950 | Example
It is not known exactly how much of his own drawing he contributed to the illustrations of the books he edited and printed, but he would sometimes remove an artist's name and replace it with his own. Louis Wain, known for his anthropomorphic cats, was one of the illustrators who worked for Nister. In 1894, Beatrix Potter sold a series of verses and illustrations to Nister for his "Changing Pictures" series.
Ernest Nister | Editing
It was completed by her colleague Mary Shaw and published posthumously in 1908 as "Phycologia Barbadensis", with 93 plates of anatomical drawings by Vickers and other illustrations in color by a Mlle Trottet. It included descriptions of five new species. Along the way, Vickers collected numerous specimens that went into the collection of the British Museum and the New York Botanical Garden as well as to other museums in Europe and the United States.
Anna Vickers | Scientific work
She collected specimens and published scientific and popular articles on turtles, lizards, salamanders, spiders, shipworms, and diatoms. She also published poetry. In her seventies, she consulted on topics including marine biology, entomology, botany, and geology from her cottage and garden in San Pedro. "I am pleasing myself as I please," she explained of her unconventional interests. "I have been bossed all my life." Publications by Monks included the textbook "Anatomy Physiology Hygiene" (though she was not credited as author of this text, only as illustrator), "A Partial Biography of the Green Lizard" ("The American Naturalist", 1881), "Regeneration of the Body of a Starfish" ("Proceedings of the Academy of Natural Sciences of Philadelphia", 1903), "Variability and Autotomy of Phataria" ("Proceedings of the Academy of Natural Sciences of Philadelphia" 1904).
Sarah P. Monks | Career
Harriet earned admiration and praise from leading colonial scientists who she collected for and corresponded with. After the publication of "Australian Lepidoptera and their transformations, drawn from the life by Harriet and Helena Scott" she was elected an honorary member of the Entomological Society of NSW. However, she was constrained by her class and position in society. Her father suffered financial hardship in the 1860s but no matter how poverty stricken he became, he did not want either of his daughters to accept commissions, sign their own published drawings or be formally educated, however Alexander Scott did finally relent and permitted his daughters signing their published drawings.
Harriet Morgan | Professional illustrator
As well as illustrating scientific papers, Vallentin co-wrote and illustrated the book "Illustrations of the flowering plants and ferns of the Falkland Islands". Cecil Victor Boley Marquand regarded Vallentin's drawings as being "beautiful". Vallentin also exhibited her illustrations at the 73rd Exhibition of the Royal Cornwall Polytechnic Society in 1912 as well as at the 1924 British Empire Exhibition at the Falkland Islands Court. The Manchester Museum holds some of the specimens Vallentin used to produce her coloured illustrations.
Elinor Frances Vallentin | Illustrations
This allowed her to earn enough money to begin her studies at South Kensington School of Art, and later at the Westminster School of Art followed thereafter by the Académie Julian in Paris. She took lessons in illustration from Joseph Pennell and Maurice Greiffenhagen and her connection with Pennell led to commissions from J. M. Dent and Macmillan and Company to illustrate children's books. She also continued to illustrate for scientific work throughout her career. Alice Woodward died in 1951. Her sister, Gertrude Mary Woodward, also worked in anatomical lithography, and was a lifelong friend of Beatrix Potter.
Alice B. Woodward | Biography
The ornithologist John Gould's bird illustrations, in books such as "A Century of Birds hitherto unfigured from the Himalaya Mountains" (1830–1833) with 80 plates, and his 7-volume "The Birds of Australia" (1840–1848) with 600 plates, related directly to his research, were both beautiful and scientifically useful. Birds are popular characters in children's books, which are often handsomely illustrated. Beatrix Potter's 1908 "The Tale of Jemima Puddle-Duck" created an enduringly popular bird heroine. Other authors followed with many bird characters in books for children of different ages.
Human uses of birds | Prose
The work is noted for its early botanical illustrations of Redouté, birds by Jean-Baptiste Audebert, and engravings produced from the surviving illustrations of Piron.
Relation du Voyage à la Recherche de la Pérouse | Introduction
Audubon's folio renderings of a male and female Bachman's warbler were painted on top of an illustration of the "Franklinia" tree first painted by Maria Martin, Bachman's sister-in-law and one of the country's first female natural history illustrators. In the comic strip "Doonesbury", Dick Davenport, a bird watcher, died in 1986 of a massive coronary while observing and photographing this species. This death scene has been noted as a particularly memorable one in the history of comics.
Bachman's warbler | In culture
They sent their sons to the United States and a month later the two fled Cuba, leaving behind all their personal items, except one suitcase. Pérez Farfante, with her family, returned to Cambridge, Massachusetts, and Pérez Farfante found work back at the Museum of Comparative Zoology. There, she served as associate in invertebrate zoology from 1961 until 1969. For a number of years she did independent research, receiving funding from Radcliffe College and the National Science Foundation. She started working as systematic zoologist at the National Marine Fisheries Service lab at the National Museum of Natural History (NMNH) in Washington, D.C.
Isabel Pérez Farfante | 1960s
She provided Ernest with some rough sketches and instructions as to composition and colouring, which, together with Ernest's originals are now in the ownership of the Victoria and Albert Museum. In engaging him, she is careful not to let him know that she is Beatrix Potter. Within the month, Ernest has finished the commission, and he forwards the drawings, advising Mrs. Heelis that, "I have not adopted your colour schemes as there was a tendency to be on the sombre side". He also altered the composition. Although she advised, "Russet brown and blue grey check (rather than greens) would show well on the elves clothing" Ernest, in his inimitable way, chose red.
Ernest Aris | Literary Associations
Historically, biological illustrations have been in use since the beginning of man's exploration and attempts to understand the world around him. The paleolithic cave paintings were so detailed that we can even recognize species and breeds of many of the depicted animals today. For example, in the Chauvet-Pont-d'Arc Cave (circa 30,000 BC), at least 13 different species have been identified. In one prehistoric cave (circa 15,000 BC), there is a drawing of a mammoth with a darkened area where the heart should be. If this is indeed the intention of the illustration, it would be the world's first anatomical illustration.
Biological illustration | History
She thus became the first botanical illustrator hired by the Smithsonian Institution.
Alice Tangerini | Early life and education
As a result, all too many of his new species are now relegated to lists of "nomina dubia" (names of uncertain application). Most of the collections he did retain are now in the mycological herbarium at Kew. Part of Massee's personal herbarium was, however, sold to the New York Botanical Garden in 1907. The fungal genus "Masseea" was named after him, as were several species, including "Acremonium masseei", "Ascobolus masseei", "Entoloma masseei", and "Ocellaria masseeana". Beatrix Potter, whose mycological interests he encouraged, called him "a very pleasant kind gentleman." His colleague John Ramsbottom said of him that "though often brilliant he was often careless: if he had had any capacity whatever for taking pains he would have been a genius."
George Edward Massee | Mycological career
She also produced numerous botanical illustrations.
Lady Charlotte Murray | Introduction
The contribution of botanical illustrators continues to be praised and sought and very fine examples continue to be produced. In the 1980s, Celia Rosser undertook to illustrate every "Banksia" species for the masterwork, "The Banksias". When another species was described after its publication, "Banksia rosserae", it was named to honour her mammoth accomplishment. Other illustrators, such as the profuse illustrator Matilda Smith, have been specifically honoured for this work. In 1972 the Smithsonian Institution hired its first botanical illustrator, Alice Tangerini.
Botanical illustrator | History
She wanted to lead a useful life independent of her parents and considered a career in mycology, but the all-male scientific community regarded her as an amateur and she abandoned fungi. She continued to paint and draw, and experienced her first professional artistic success in 1890 when she sold six designs of humanised animals to a greeting card publisher. In 1900, Potter revised a tale about a rabbit named Peter she had written for a child in 1893, and prepared a dummy book of it in imitation of Helen Bannerman's 1889 best-seller "The Story of Little Black Sambo". Unable to find a buyer, she published the book for family and friends at her own expense in December 1901.
The Tale of Mrs. Tittlemouse | Background
The text blocks were sent to America where they were bound with a new title page and sold there. Apart from E. Gertrude Thomson, who illustrated the cover of "The Nursery "Alice"" (1890), the first artist other than Tenniel to produce illustrations for "Alice" was Beatrix Potter, who created six illustrations in the 1890s although none appeared in book form.
Illustrators of Alice's Adventures in Wonderland | Introduction
However the book had far fewer illustrations than the magazines, with only the six drawings by H. M. Brock shown here and only nine photographs.
Dr. Thorndyke | Example of the illustration of a Doctor Thorndyke book
Markwick provided the natural history illustrations for some of his works, both zoological and botanical.
William Markwick | Illustrations
He published instructional material in the various branches of his science. The species in his garden were described by the botanist Étienne Pierre Ventenat (1757–1808) and illustrated by Pierre-Joseph Redouté (1759–1840) in "Description des plantes nouvelles et peu connues, cultivées dans le jardin de J.-M. Cels", published in Paris in 1799. A second illustrated work with illustrations by a "student of Redouté", Pancrace Bessa, appeared in 1803, "Choix de plantes :dont la plupart sont cultivées dans le jardin de Cels", accessible at "version numérique sur Botanicus". Cels died in Montrouge in 1806.
Jacques Philippe Martin Cels | Introduction
As this book was supposedly based on information supplied by the children themselves, Ransome drew the pictures as though done by the characters. These illustrations were so popular that Ransome illustrated the remainder of his books himself. In 1938, he drew his own pictures for "Swallows and Amazons" and "Swallowdale" to replace Webb's. Ransome's pictures were done in pen and ink with no colour, although colours have been added by some publishers in later editions. Typically, figures in the pictures are shown from the back, though there are some which show the faces of a few of the characters. Taqui Altounyan, the oldest of the children to whom the first edition of "Swallows and Amazons" was dedicated, recalls that "He shirked drawing faces and got over that difficulty with back views of shaggy heads of hair or hats".
Swallows and Amazons series | Illustrations
Due to the variable quality of work done by some artists, some drawings have proved difficult to identify. Nonetheless, botanists have identified some of these problematic drawings, one a drawing of a male Raffles's malkoha in which the breast is too yellow. Others which have yet to be identified include a drawing of a climber similar to "Smilax". Plate 29 of the collection inscription reads "Soogow", probably a misspelling of "saga". However, the drawing shows little resemblance to the latter. Historians suggest that many of the backdrops of the drawings were copied from drawing manuals. One such example is a drawing of the greater mousedeer, the background of which shows a leafless climber attached to a rock.
William Farquhar Collection of Natural History Drawings | Controversy
Where feasible, Willughby and Ray compared the available illustrations with life or specimens, or, if that were not possible, against each other, to select the most accurate version for publication. In addition to these authors, sources used for the text included works by Carolus Clusius, Adriaen Collaert, Gervase Markham, Juan Eusebio Nieremberg and Ole Worm. Olina's "Ucelliera", at least, seems to have been revisited between the Latin and English editions of the "Ornithology", since the later version contains a description of territorial behaviour by the nightingale absent from the earlier work.
Francis Willughby | Illustrations and sources
The site is searchable by 20 fields. Suggestions for additional entries, or amendments, may be submitted by members of the public, but are subject to editorial review before inclusion.
Stuttgart Database of Scientific Illustrators 1450–1950 | Introduction
The book was published in 1831, beautifully illustrated by lithographs prepared by his daughter Elizabeth (known as Betsey). It was dedicated to the 3rd Duke of Northumberland and was very well received in the literature.
Hugh Ronalds | Plant breeding
In "Beatrix Potter: A Life in Nature" (2007), biographer Linda Lear describes "Timmy Tiptoes" as "the least satisfactory" of Potter's books, and ascribes its literary and artistic shortcomings to the author's desire to satisfy her publisher's demand for yet another book, to court her American fans with a tale about North American animals, and to make quick money in the American market. Potter's output decreased strikingly after "Timmy Tiptoes" and the length of time between books increased. Two books that followed "Timmy Tiptoes", "The Tale of Mr. Tod" (1912) and "The Tale of Pigling Bland" (1913), have been described as the culmination of Potter's well-structured, imaginative art rather than a continuation of that art.
The Tale of Timmy Tiptoes | Production
1921 Fauna ibérica Himenópteros, fam. encírtidos Madrid :Museo Nacional de Ciencias Naturales
Ricardo García Mercet | Works
Three illustrators primarily illustrated the Jane books - for each of the publishing houses which published the Jane stories (John Hamilton, Newnes, and Robert Hale). Thomas Henry, the first illustrator of the William books, was the illustrator for Newnes, but did not depict Jane as the angelic girl with golden curls. The enduring image of Jane was due to the illustration of Frank R. Grey, who was with the publishing house of Robert Hale. It is worth noting that, even with the handover of Jane copyrights from publishing house to publishing house, the copyrights of the illustrations were not transferred.
Jane Turpin | Book illustrations
Ruth K. MacDonald, author of "Beatrix Potter" (1986), believes the success of "The Tale of Two Mice" lies in the plentiful and meticulous miniature details of the doll's house in the illustrations. Potter persistently and consistently pursued a mouse-eye perspective and accuracy in the drawings. She could not have clearly seen the staircase down which the mice drag the bolster because it was impossible to take a photograph at that location, yet she placed herself imaginatively on the staircase and drew the mice in anatomically believable postures and in scale with the features of the doll's house. She took so much pleasure in the many miniature furnishings of the doll's house that Warne cautioned her about overwhelming the spectator with too many in the illustrations.
The Tale Of Two Bad Mice | Illustrations
Notable botanical illustrators include: The Linnaean Society of London awards the Jill Smythies Award for botanical illustration.
Botanical illustrator | Notable botanical illustrators
She continued to paint and draw, and experienced her first professional artistic success in 1890 when she sold six illustrations of her pet rabbit to a greeting card publisher. She hoped to lead a useful life independent of her parents, and tentatively considered a career in mycology, but the all-male scientific community regarded her as nothing more than an amateur and she abandoned fungi. In 1900, Potter revised a tale that she had written for a child in 1893, fashioning it into a dummy book similar to the size and style of Helen Bannerman's "The Story of Little Black Sambo".
The Story of Miss Moppet | Background
Betty Temple Watts (1901–1992) was a scientific illustrator who was employed to provide water-colour paintings of birds for several works published by the CSIRO. She began her training in art during her youth, but her first work was not published until 1952. The author of the accompanying article provided introductions to scientists at Canberra, and she moved to the capital in 1958. Her publications include, both works edited by the CSIRO chief Harry Frith. Some of the artists works are held at the National Library of Australia. The artist's illustrations for "Diurnal birds of prey" (1960) are noted for the incorporation of biological aspects of raptors, in the act of hunting or reproduction, and figured with typical postures and in flight.
Betty Temple Watts | Introduction