George EdwardsGeorge Edwards: 18th Century Engravings of Birds1749-1761
1749-1761
About the Item
- Creator:George Edwards (1694 - 1773, English)
- Creation Year:1749-1761
- Dimensions:Height: 15.75 in (40.01 cm)Width: 13.75 in (34.93 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Richmond, GB
- Reference Number:
George Edwards
Known today as the Father of British Ornithology, George Edwards was a draftsman and naturalist who popularized the art of bird and animal illustrations throughout the 18th century. His main collections of etchings, which were bound as the volumes A Natural History of Uncommon Birds and Gleaning of Natural History, together comprise more than 600 animals and were the first works to delineate many of the featured species.
Edwards cultivated an interest in natural history while traveling around Europe, becoming particularly enamored with birds. Upon his return to the United Kingdom, in 1733, Irish physicist Hans Sloane, an acquaintance of British naturalists/illustrators Eleazar Albin and Mark Catesby, offered Edwards a librarian position at the Royal College of Physicians. The job granted him access to a large collection of works on natural history, which he explored enthusiastically.
With instruction from Catesby, Edwards learned etching and spent much of his time preparing plates and drawings for his books. While Edwards hand-colored his early editions, later works were colored in by other artists, like British artist Peter Paillou, allowing Edwards to focus on etching and writing.
George Edwards earned his reputation for both his illustrations and written descriptions of his subjects — widely acclaimed for their accuracy. Swedish botanist Carl Linnaeus cited Edwards’s texts when developing his major work, Systema Naturæ. The Royal Society in London awarded Edwards the Copley Medal in 1750 for outstanding achievement in the field of science. Edwards retired in 1763 to Plaistow, England, and died in 1773.
On 1stDibs, find a collection of George Edwards engravings and wall decorations.
- ShippingRetrieving quote...Ships From: Richmond, United Kingdom
- Return PolicyA return for this item may be initiated within 14 days of delivery.
- Set of Twelve 18th Century Engravings of BirdsBy George EdwardsLocated in Richmond, GBGeorge Edwards: ""A History of Uncommon Birds"", 1749-1761. A prominent English naturalist and ornithologist, George Edwards (1694 -1773) is best known for his work, ""A Natural His...Category
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18th Century Animal Drawings and Watercolors
MaterialsEngraving, Watercolor
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18th Century Animal Drawings and Watercolors
MaterialsEngraving, Watercolor
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MaterialsEngraving, Watercolor
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She was part of the post-war school of expressionist British sculptors dubbed the Geometry of Fear, and enjoyed a highly acclaimed career that was commercially successful, broke boundaries and contributed greatly to bringing wonderful sculpture to public places. She was born on 14 November 1930 in Thurlow, the daughter of a cavalry officer, and brought up in rural Suffolk near to an active airbase. She was brought up a Catholic and educated at the Convent of the Holy Family, Exmouth. She then studied at the Guildford School of Art from 1947-1949 under Willi Soukop and Henry Moore’s assistant, Bernard Meadows, and then at the Chelsea School in London 1949-1953. She taught at Chelsea School of Art 1951-61, St. Martin’s School of Art 1954-62 and was a visiting instructor at the Royal College of Art 1965-1967, after which she lived in France until 1973. Frink first came to the attention of the public in 1951 at an exhibition at the Beaux Arts Gallery, London. In 1952 she represented Britain at the Venice Biennale, being described by Herbert Read as “the most vital, the most brilliant and the most promising of the whole Biennale”. The same year the Tate bought its first work by her, and she began to enjoy commercial success. Thereafter she exhibited regularly and was for 27 years associated with Waddington’s, London. The subjects which Frink was most concerned with were man, dog and horses, with and without riders. Interestingly she seldom sculpted the female form, drawing on archetypes of masculine strength, struggle and aggression. Her work has the recurring themes of the vulnerable and the predatory, in the spirit of an authentic post-war artist. It has been said that she was more concerned with representing mankind that portraits of individuals. The appeal of her work lies in its directness, provoking a frank statement of feeling. The anatomy is often exaggerated or incorrect; the impact growing more out of her interest in the spirit of the subject. Her animals and birds may be drawn from nature but verge on the abstract, conveying raw emotion and character rather than a realistic depiction. Her unique style is characterised by a rough treatment of the surface which embeds each piece with vitality and her personal impression. In her later work even the distinction between human and bird figures becomes blurred. Commentators have noted that the often rugged, brutal and contorted surfaces of her work reflect the destruction and terror of the six-year world-wide conflict that she witnessed as a child. Frink was an active supporter of Amnesty International. In the 1960s and early 1970s Frink produced a notable series of falling figures and winged men. Later, living in France during the Algerian war, she began making heads, blinded by goggles which had a threatening facelessness. 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