Humboldt’s Aracari – Pteroglossus Humboldtii – toekan ; John Gould – 1833-1835
John Gould (1804 – 1881) / Elisabeth Gould (1804-1841)
Beautiful antique print of a Humboldth’s Aracari from the first edition of ‘A Monograph of the Ramphastidae or family of the Toucans‘ by John Gould.
Prachtige antieke prent van een Humboldt arassari of toekan uit het eerste volume van ‘A Monograph of the Ramphastidae or family of the Toucans’ door John Gould.
1 in stock
- Type: natural history print, ornithology
- Title: Pteroglossus Humboldtii. Plate 22
- Technique: lithograph, contemporary colored with gum arabic
- Illustrator: John & Elisabeth Gould
- Lithographer: John & Elisabeth Gould
- Author: John Gould
- Date: 1833-1835
- Published in Volume 01 of: A Monograph of the Ramphastidae or family of the Toucans by John Gould in London
- Printer: Hullmandel
- Size: 55.6 x 38.3 cm (21.9 x 15.1 inches)
- Verso: blank
- ID: M0830V
- Source: Nissen 378, John Gould Toucans. Complete set of plates from the 1835 First Edition, Sotheran’s
Very good, given age. General age-related toning. Beautiful bright coloring. Wide margins, with a small tear in right margin not affecting the image, reinforced on verso.
Zeer goed, gegeven de leeftijd. Leeftijd gerelateerde verkleuring. Prachtige heldere kleuring van het beeld. Ruime marges, met een klein scheurtje in de rechtermarge buiten beeld, verstevigd op het verso.
John Gould (1804 – 1881)
John Gould was an English ornithologist and bird artist. He published a number of monographs on birds, illustrated by plates that he produced with the assistance of his wife, Elizabeth Gould, and several other artists including Edward Lear and Henry Constantine Richter. In 1824 he set himself up in business in London as a taxidermist, and his skill helped him to become the first Curator and Preserver at the museum of the Zoological Society of London in 1827. Gould’s position brought him into contact with the country’s leading naturalists. This meant that he was often the first to see new collections of birds given to the Zoological Society of London. In 1830 a collection of birds arrived from the Himalayas, many not previously described. Gould published these birds in A Century of Birds from the Himalaya Mountains (1830–1832). This work was followed by Birds of Europe in five volumes (1837); The books were published in a very large size, imperial folio, with magnificent coloured plates. Eventually 41 of these volumes were published, with about 3000 plates. Gould succeeded in making his ventures pay, realising a fortune.
The exotic Family of Toucans have a sense of familiarity because they are among the most often reproduced images of all bird art. The name toucan is derived from the Tupi Indians of Brazil who call them tucano. Their origin is the tropical rain forests of the Americas.
A Monograph of the Ramphastidae or Family of Toucans is the most flamboyant of Gould’s works. Originally published in London in three parts from 1833 to 1835, the first edition comprises 33 hand-colored and one uncolored lithograph. Edward Lear contributed nine of the plates and the rest were drawn and lithographed by Elizabeth Coxen Gould, John Gould’s talented wife, after sketches by John Gould. Gould published a second edition of the Family of Toucans from 1852—54 with 52 hand-colored plates drawn and lithographed by John Gould and H. C. Richter.
Throughout his professional life Gould had a strong interest in hummingbirds. The inspiration for his work on hummingbirds ‘A Monograph of the Trochilidae or Family of Humming-Birds’ (1849-1861) was derived from travels in America. It is estimated that only about 250 copies of the hummingbirds were produced, so these prints are a rare treasure indeed. Originally published in 25 parts with a 5 part supplement, the last three parts of the supplement were published posthumously by Sharpe in 1887. Of these six volumes of hummingbirds, consisting of 418 hand colored plates, even fewer have the highly prized gold or silver iridescence, produced by layering gold or silver leaf under the watercolor paint to mirror the shimmering beauty of each bird. This process is now lost to modern colorists and has become the hallmark of authenticity for Gould hummingbirds.
Considered one of Gould’s greatest achievements, the Birds of Asia was in production longer than any of his other works, taking 34 years for the appearance of its 35 parts. The ornithologist was fascinated by the diversity of the exotic, colorful species of Asia, and he conveyed his enchantment to viewers, creating one of his most monumental and magnificent sets. The subjects of the plates are among the most varied of Gould’s folios: trogons, kingfishers, sunbirds, woodpeckers, partridges, parrots, parakeets, pheasants, and many other genera are beautifully drawn, printed and colored. Gould placed many of the vibrant, showy and elegant birds in their appropriate settings.
The Birds of New Guinea was published in 25 parts (5 volumes) with 320 plates, and was Gould’s last major work. Including Gould’s celebrated depictions of many magnificent Birds of Paradise and colourful Parrots. Gould died on 3 February 1881 shortly after the publication of the 12th part of the planned 25. The remaining 13 parts were edited or written by Sharpe and illustrated by Hart.
Gould’s well-deserved reputation as the most respected publisher of 19th century ornithological texts owes much to his extraordinary ability to recognize, recruit and direct great talent. Without a doubt, Gould was the right man in the right time. In the not-to-distant future, photographic reproduction would forever change publishing and cause the demise of these superb hand-colored works. In every aspect, quality ruled the day. Printing had become far advanced and fine paper of large dimension was plentiful. Vibrant new colors and aniline dyes replaced the unstable, fragile and sometimes toxic colors of bygone days. At one time or another, the finest ornithological artists of the day worked for and with him, some for much of their professional lives. These included Edward Lear, W. M. Hart, H. C. Richter and Joseph Wolf, whom some consider the finest artist of his age. Wolf contributed 57 drawings to Birds of Great Britain.
Even at the time of publication, Gould’s plates were very expensive and only sold to a small set of subscribers. Due to the limited subscriber list, the plates remain rare and of high value for collectors today.