Bird illustration in the twentieth century, with particular reference to publications on the British scene Alan Harris

An angled telescope allows the artist to see the subject and the sketchbook simultaneously when sketching in the field. Note that the telescope is reversed on the tripod head, to prevent the pan handle from interfering with comfortable drawing. Alan Harris ABSTRACT This article traces the enormous developments in bird art for illustration during the past 100 years, with particular reference to books, magazines and other publications available to British birdwatchers. Emphasis is placed on those individuals who have broken new ground in the field of illustration.The search for the ‘perfect’ field guide is one of the key themes during the latter half of the century under review. This article is supported by The BIRDscapes Gallery Glandford, Cley-next-the-Sea, Norfolk NR25 7JP; tel. 01263 741742

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hen British Birds first appeared, in Keulemans finishing Lilford’s commission and 1907, it helped to meet the needs of a Archibald Thorburn (1860–1935), then Wgrowing body of people interested in working independently of patronage, was con- Britain’s birdlife. Although there were full-time tracted to complete the work. He produced 268 bird illustrators at work at the end of the nine- of the 421 plates, mostly the non-passerines. teenth century, they were few in number as These illustrations reappeared in several books there was only a limited and specialised market on British birds, for example as a single volume for their talents. The typical scenario would be Birds of the British Isles and Their Eggs by T. A. of an illustrator working under the patronage of Coward (1920). They were still being reprinted a wealthy individual, painting under their in this volume until the late 1960s when, inci- instruction. They would be painting from a dentally, four new plates were commissioned series of bird skins, perhaps collected for the from Robert Gillmor by publisher Frederick patron, to create a private collection of paint- Warne. ings or perhaps in order to publish a folio illus- A number of the plates from Lilford’s work trating their patron’s particular interest. Bird art were also used to produce the first widely avail- was thus commissioned by the wealthy enthu- able and accessible bird book, The Observer’s siast, reproduced only in classic nineteenth- Book of Birds, in 1937. This tiny volume was the century folios – with small print runs – and mainstay of many post-war ornithologists. Each sold exclusively to the wealthy collector and plate showed a species in a natural pose and museums. The advance from hand-coloured lithographs to chromolithography and letterpress colour reproduction was the sig- nificant first step in making the mass production of coloured artwork at low cost a possibility; this in turn would eventually make illustrated books available to a much broader range of people.

The early decades of the twentieth century At the turn of the century, illus- trated bird books did not exist as we know them today; it was a spe- cialist field, reserved for the wealthy. For them, A History of the Birds of Europe by H. E. Dresser, published between 1871 and 1896, was the key reference of the day. It was illustrated by (among others) Dutch artist John G. Keulemans (1842–1912). Keulemans was one of the most prolific of bird painters, contributing to over 115 books. He lived in London from 1869 under the patronage of Richard Bowdler Sharpe, working from specimens in the British Museum. Keulemans also con- tributed to Lord Lilford’s multi- Fig. 1. Firecrests Regulus ignicapilla by John Keulemans, from Lord Lilford’s Coloured Figures of the Birds of the British Islands (1885–98). volume set Coloured Figures of the This example is typical of his work – the birds are accurate in Birds of the British Islands pattern and structure, if lacking a little in character, and are set (1885–98). Ill health prevented in well-executed habitat.

British Birds 100 • May 2007 • 266–279 267 Bird illustration in the twentieth century setting, usually the brighter male but occasion- of the earliest published ‘jizz’-orientated illus- ally the pair (the female often just nominally trations. hinted at), without being specifically arranged to show field characters (notably the Common The Handbook Snipe Gallinago gallinago, with its bill deep in The Handbook of British Birds was published by mud!) or a range of plumages. Feather tracts H. F. & G. Witherby between 1938 and 1941, a were accurately portrayed, notably in the major triumph in war-time Britain. The five waders, and in this respect it was way ahead of volumes were a much enlarged and revised several later, ‘new’ field guides. It was with this version of the Practical Handbook of British small book that field observers were first armed. Birds, first published (without colour illustra- James Fisher regarded Thorburn as the first tions) between March 1919 and February 1924. great bird artist of the twentieth century. Thor- The Handbook at last had colour illustrations, burn was the first to embrace the new age of although these were not commissioned specifi- print and his work remained popular long after cally for the work. A series of 407 paintings by his death in 1935. In 1967, James Fisher Marinus A. Koekkoek (1873–1944) had been renewed interest in his work by reprinting the prepared in Lieden (from whence Keulemans plates from Thorburn’s four-volume British had learnt his trade) between 1922 and 1935 for Birds, originally published by Longmans a work on the birds of The , De between 1915 and 1918, in his book Thorburn’s Vogels van Nederland by Dr E. D. van Oort. Birds, published by Ebury Press. They were large These formed the bulk of the coloured plates in plates, typically featuring several closely related The Handbook, but a number of additional species and covering almost every bird recorded plates were required to illustrate the British avi- in the British Isles at that time (including the fauna, and Witherby commissioned Roland ‘Hastings Rarities’), delightfully yet economi- Green (1890–1972), H. Grönvold (1858–1940), cally set in habitat. For me, it was to be an influ- George Lodge, Philip Rickman (1891–1982) ential introduction to bird art. and (1909–1989). Koekkoek’s illus- A series of 135 plates by Allen W. Seaby trations have, I think, been unfairly judged by (1867–1953) also proved highly influential to modern commentators. Both he and fellow budding bird painters in the early decades of countryman Keulemans were ‘museum men’ the twentieth century. They formed the bulk of and although Keulemans captured the ‘jizz’ of the illustrations in The British Bird Book by F. B. the living bird a little better and was able to Kirkman and F. C. R. Jourdain, published in 12 place it in habitat with confidence, the birds parts between 1910 and 1913. George E. Lodge depicted by Koekkoek are highly accurate, some (1860–1954) and Winifred Austen (1876–1964) showing field characteristics ‘discovered’ only (a fine painter and etcher of birds) also con- much later. In reviewing the work of these illus- tributed significant plates. A condensed volume, trators, it is worth remembering that fieldwork British Birds, with all the plates and facing pages would have been difficult; optics were of poor of text, was published in 1930 and reprinted quality and photographic references would have many times. The publishers, T. C. & E. C. Jack, been virtually non-existent. Travels abroad in reused many of the plates in several other search of the living bird were fraught with books. Kirkman produced perhaps the first dangers, as the young Keulemans discovered, small, pocket-sized book, British Birds (pub- having had to abandon plans to live in Africa lished by Nelson in the late 1920s), illustrated through ill health. with what Eric Ennion described as Seaby’s The Handbook was a massive step forward in ‘exquisite line sketches’ (Robert Gillmor pers. terms of both illustrations and text. Volume 3, comm.). This was enlarged and reprinted at featuring as it did raptors and wildfowl, sold least six times in the early 1930s. especially well and became the reference for the Another book published around this time learned country sportsman (A. Witherby pers. was The Bodley Head Natural History (1913), comm.)! The Popular Handbook, published in featuring some remarkable work by J. A. Shep- 1962, condensed the five-volume set into one, herd (1867–1946), a magazine illustrator and and contained within the text some of the first cartoonist. Unusually for the time, each species illustrations drawn specifically as field identifi- was illustrated by a series of simple field cation aids, some pen-and-ink drawings by sketches drawn directly from life; they are some Peter Hayman (1930–).

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The post-war years Tunnicliffe’s work was by no means restricted to David Bannerman’s The Birds of the British Isles birds and he is well known to a wider audience (published between 1953 and 1963) was for his illustrations of rural life and for the another major work that deserves some discus- wood engravings for the books of Henry sion. It was a grand, 12-volume set more in the Williamson, such as Tarka the Otter. Inciden- style of a lithographic folio (taking ten years to tally, his true wealth of ornithological talent was publish) and featured the work of George fully appreciated only latterly, through publica- Lodge, who sadly never lived to see the set pub- tion of a selection of his field sketches, a reser- lished. It was one of the last of this type of pub- voir of material used throughout his working lication and, even then, was almost a step back life and so revealing of his method; he was one in time. Lodge provided nearly 400 plates and of the first illustrators to work extensively from the book was the culmination of a long career material observed and gathered from life. Even devoted to illustrating ‘scientific books’ more remarkable were the beautifully designed (Vincent & Lodge 1980). His paintings were sheets of over 300 life-sized measured drawings large and often executed in oil and tempera, and from dead birds, known to only a few before the his birds, though lifelike, often had that ‘beaten out of dense cover’ look and the appearance of being in poor condition, which for me added something to the excite- ment and mystery of his illustra- tions of rarities in the Witherby Handbook to the Rarer British Birds! The growing interest in birds in Britain was nurtured by, and in turn was fuelling, the RSPB, who embraced bird art effectively as a way to win and educate more members. Thorburn had produced Christmas card designs for the RSPB from 1899 until his death in 1935. The mantle then fell to Charles Tunnicliffe (1901–1979). His cover paintings for the RSPB magazine Bird Notes (from 1953 to 1965) were delightful watercolour designs and his series of tea cards produced by Brooke Bond helped to take the conservation message to a wider audience. The two sets of British Birds, ‘Bird Portraits’ in 1957 (later appearing as a book) and ‘Wild Birds of Britain’ (in 1965), were clever in composition and the albums featured exquisite scraperboards. Along with his series of four cov- Fig. 2. Plate 4 from The British Bird by Eric Ennion, published in 1943 by ering the seasons, entitled What to Oxford University Press. Printed in just two colours, owing to war-time Look for in… (Spring, Summer, shortages (and rather savagely trimmed), this plate shows lekking Autumn and Winter), these displays of Ruff Philomachus pugnax and Black Grouse Tetrao tetrix. popular publications were readily The work is lively and seemingly spontaneous; note the carefully studied tail shapes of the Blackcock, which clearly required some available and inspirational to working out. Ennion will have redrawn these from the sketch book and many children and adults alike. did so without losing any of the immediate quality of the field sketches.

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Tunnicliffe retrospective exhibition at the Royal The first true field guides Academy in 1974. After his death in 1979, his In the late 1940s, interest in bird identification studio contents were saved from dispersal and was clearly growing. Several ornithologists and secured in a Heritage Centre on . A publishers were exploring the way forward and selection of the measured drawings were pub- the first of the modern field guides was almost lished in Tunnicliffe’s Birds: measured drawings upon us. Previously, illustrations in bird books by C. F. Tunnicliffe RA (Gollancz, 1984) with a had set the birds within their habitat, with little text by Noel Cusa. thought for their use as aids to identification. From the 1940s, Eric Ennion (1900–1981) Expert fieldsmen were pushing back the bound- was also illustrating (and writing) books with a aries, however, and illustrated bird books now much looser, perceptive and immediate style required images that were orientated to field and, even better, was able to transfer the spon- identification at the beginning of a period of taneity of field sketches into finished works of discovery in some of the finer points of identifi- fluid yet contained designs. Although innova- cation. It was thus necessary for these books to tive, he illustrated fewer than 30 books, and had highlight field marks and characteristics – both trouble finding publishers for many of his book visual and behavioural – and confusion species. ideas. His studies of gull behaviour in Signals for The first guide to incorporate this new Survival by Niko Tinbergen, published in 1970, approach was the Collins Pocket Guide to British were spectacularly vibrant, but my own Birds by R. S. R. Fitter, published in 1952 and favourite is the autobiographical tale of his illustrated by Richard Richardson (1922–1977). efforts to establish a bird observatory cum field Richardson’s plates were born of a man devoted studies centre at Monks’ House in Northumber- to the field. Scientific classification was ignored land, A House on the Shore (1960), which is full and birds were grouped by size and similarity, of terrific monochrome vignettes and unique arranged on a clear background from the ‘reality’ diagrams of bird-trapping techniques. smallest on the first plate through to the largest, Few other bird artists have been as proficient as in three broad categories: land birds, waterside Ennion in this apparently loose (yet perfectly birds and water birds. A second, monochrome, ‘captured’), spontaneous style. In Britain, John section contained predominantly images of Busby (1928–) comes close and his rapidly exe- birds in flight. It was a significant leap forward cuted field drawings consistently capture the and all the more so for the fact that Richardson bird’s jizz and proportions. He draws what he really knew his birds. It seems extraordinary to sees, and occasionally this leads to an uncom- me that he rarely field sketched, but drew from fortable composition but... he draws what he memory. Because he lived on the Norfolk coast, sees. His Birds in Mallorca (1988) is full of con- his small passerines often look as if they are fident line. The small watercolour scenes crouching behind a shingle ridge, sheltering therein are beautiful; the bold and stimulating from the northeasterly which delivered them. colour combinations are perceptively chosen to He was a master of the dull plumages, and his surprise and impress. economic touch with the pen ensured that his Both Ennion and Tunnicliffe pursued par- line-drawings have never been bettered. allel careers in the fine-art side, as exhibitors of Just two years after the Pocket Guide paintings, where they joined other working bird appeared, a second field guide emerged from artists including Peter Scott and Keith Shack- the same publishing house (Collins were, at that leton (1923–), creators of large oils of dramatic time, the centre of the natural history pub- sea- or landscapes. Peter Scott produced many lishing universe): Peterson had arrived. Natural large illustrated books early in his career, which history editor James Fisher met Roger Tory may well have been an important factor in the Peterson (1908–1996) in 1950 and the two of post-war interest in birds (N. Hammond pers. them plotted the first European field guide, comm.). Scott is well-known as the creator of becoming firm friends in the process. It was the Wildfowl and Wetlands Trust, and his work Peterson who came up with the original idea for decorated many of its publications and the project, fresh from his successes with the appeared in its popular identification guide A American ‘Peterson’ series, and this was the first Coloured Key to the Wildfowl of the World in field guide to embrace Europe as a whole. This 1957. introduced many keen birders to species previ- ously unheard of and as a result many realised

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Fig. 3. Lapland Bunting Calcarius lapponicus, Snow Bunting Plectrophenax nivalis and Shore Lark Eremophila alpestris by Richard Richardson, from Guardian Spirit of the East Bank (Taylor 2002).This painting of three characteristic winter visitors to the Norfolk coast is a fine example of Richardson’s work. He often drew in ink and then coloured the drawing with watercolour; in this example the painting has been overworked with pencil. that these exotic creatures were within their the species by size in the Collins Pocket Guide grasp. Countries like Spain were gradually did not gain universal applause) or patterns becoming accessible through the package were now outdated. holiday – suddenly, you could go to see a Euro- Whereas Richardson was home-grown and pean Bee-eater Merops apiaster and know what familiar with most species, many were com- else to look for besides! The sales potential of pletely new to the American Peterson, but the the European market wasn’t lost on Collins and unfamiliarity was easily disguised by his repeti- by the mid 1970s this guide had sold 750,000 tive format. Birdwatchers tended to fall into one copies and been translated into 13 languages or other camp, Richardson or Peterson; ulti- (Devlin & Naismith 1978); by 1996, sales had mately, Peterson won through on simplicity and topped the one-million mark (Mountfort ease of use and was to become the benchmark. 1996). Peterson went on to ‘empire build’ and worry Peterson’s plates showed the birds in iden- endlessly about whether or not he was a great tical postures within each family group and artist, whereas Richardson was content in a ‘non-ID’ differences (such as jizz) were clini- spartan life, at Cley and on Fair cally eliminated. The plates were clear, crisp and Isle and producing a relatively small amount of the field marks highlighted with pointers work. The ‘gallery paintings’ that Peterson made (although duller plumages were often skilfully in later life, and which he agonised over, were, it hidden behind the adult male). Author Guy seemed to me (of the few I’ve seen) to be very Mountfort described Peterson’s work as ‘diag- illustration orientated, without strong light or nostic portraiture’ (Devlin & Naismith 1978), external influence, and owing much to which I think is an excellent description. With in composition. the species arranged in Wetmore order, The enormous surge of interest created by Peterson set the trend for field guides to follow these two field guides (and the inadequacies the taxonomic order of the day, the new order exposed therein) pushed forward the cutting superseding that of Hartert. Previous systems edge of bird identification; suddenly, the minu- based on habitats, size (Fitter’s arrangement of tiae of bird identification were uppermost

British Birds 100 • May 2007 • 266–279 271 Bird illustration in the twentieth century among the thoughts of top birders. The endeav- Popular Handbook of Rarer British Birds ours of pioneer birdmen were frequently pub- (Hollom, 1960) fed a growing understanding of lished in BB, often illustrated by experts on and ability to identify rarities, which had been their subjects such as Ian Wallace (1933–) and crystallised in the mind by the Hastings Rarities Ian Willis (1944–). Wallace daringly pushed the affair (reported fully in BB in 1962). Disap- idea of ‘jizz’ and even exaggerated the character pointingly, the plates in this new volume were of the birds, while Willis went the other way, his not all new, in fact most were from The Hand- overhead raptors represented more of a ‘flat book. These older plates presented a complete map’ approach. The compilation of BB papers contrast with the handful of newly commis- in Frontiers of Bird Identification (1980) is testa- sioned images by David Reid-Henry ment to the astonishing progress. For the keen (1919–1977), whose work had a light and and more expert observer, the two ‘standard’ modern touch. Producing illustrative material field guides began to fall short of requirements. from around 1946, Reid-Henry worked in Meanwhile, in the late 1950s there were gouache or tempera and was able to render several other factors at work. The formation of meticulous detail while never losing sight of the the BBRC in 1958 was designed to bring order form, so that his birds ‘live’ brilliantly, occu- to rarity claims, while the publication of The pying the space within beautifully painted habitat. Robert Gillmor (pers. comm.) described him as ‘the best painter of birds’ feet in the business’ and certainly his raptors’ feet are truly excellent – probably because, being a fal- coner, he was able to observe closely from life. His most sub- stantial body of published work was for David Bannerman in Birds of Cyprus (1958) and the four-volume Birds of the Atlantic Islands (1963–68) (Watson 1980). Eventually, he became somewhat disillusioned with life in and gave up illus- trating to live his last years in Rhodesia, where he concentrated on painting (Hosking 1977).

The 1960s: environmental (and commercial) awareness During the 1960s there was an awakening of ecological aware- ness and a groundswell of envir- onmental concern motivated people. Bird conservation bodies grew rapidly in membership, and their sales departments grew rapidly too, expanding their Fig. 4. Common Buzzard Buteo buteo of the Canaries race insularum, range of products to increase Red Kite Milvus milvus and Egyptian Vulture Neophron percnopterus by David Reid-Henry.This painting was reproduced as plate 5 in The Birds funds and reach new members. of the Atlantic Islands.Vol 1: A History of the Birds of the Canary Islands and Christmas cards, calendars, the Salvages (Bannerman 1963).There is clearly a great understanding books and prints all took the of the structure of the birds and how the feather tracts overlap and message of conservation to ‘fold up’, particularly on the difficult rear-view kite, while the buzzard’s wings are masterful. Placing the birds in their habitat was one of receptive minds and bird art Reid-Henry’s great strengths, as this fine montane scene attests. played an important role. Among

272 British Birds 100 • May 2007 • 266–279 Bird illustration in the twentieth century the most popular artists to feature on these apparent that the birds are going to have to be products were Basil Ede (1931–) and Robert too small in order to fit my composition, I Gillmor (1936–). Basil Ede’s paintings of birds admire Watson all the more! One Pair of Eyes, on tinted ground with local flora owed a lot to published by Arlequin Press in 1994, presents Thorburn; his paintings were of the initially many of his bird landscapes, and is well worth a dazzling type, and extremely popular. Upon look. closer examination, they frequently left the crit- As the interest in birds continued to expand, ical observer uneasy, however, with slightly too the potential market for some publications many skilful visual tricks such as unzipped reached the financially viable point. Notable feather barbs and the like, and monotonous among these was the success of John Gooders’s lighting. In contrast, Gillmor showed inventive- Birds of the World (1969–71), a weekly magazine ness and reliable quality, which ensured that he building into nine volumes. This gave regular became a lynchpin for bird art in the surge of work to a small team of artists (including interest in birdlife in the UK. The wide range of Gillmor and Hayman), encouraging some to his cards and calendars produced by the pub- take the plunge into full-time freelancing. This lishing house Penna Press were sold by the RSPB series was, incidentally, invaluable for any and BTO and did much to popularise birds and would-be student of bird art, as not only were bird art. What a pleasure it was to receive a new works being commissioned, but previously Gillmor card at Christmas! His strength lay in published illustrations from worldwide sources crisp clear designs (born of a strong sense of were reproduced, enabling those interested to composition guided by the disciplines of print- become familiar with the work of illustrators making) and he soon became ‘first stop’ for the who were poorly known here, such as Don Eck- major driving forces within British bird-book elberry (1921–2001), Frederick J. Lansdowne publishing. After a few years teaching, Gillmor (1937–) and David Reid-Henry. I studied each was a full-time freelance artist by 1965. His issue in detail and could soon recognise every enthusiasm and genial personality soon gal- artist’s work by style alone. I am guessing that vanised the major bird artists of the day, Eric many young artists were doing something Ennion, Peter Scott and Keith Shackleton among similar. By researching the work of established them, to form the Society of Wildlife Artists artists, deciding what’s good and finding out (SWLA) in 1964. As a teacher and mentor, how it works, subconsciously ‘cherry picking’ Robert Gillmor has had an immense influence favourite techniques becomes a basis for one’s on the British bird-art scene. Most bird artists in own style; and so much easier with the wealth the UK since the 1960s have received his wise of published images to pore over. I wonder if counsel, generous encouragement and practical that is why so many good illustrators today are advice. Gillmor acted as art editor for many self-taught – after all, they have access to their publishing projects for the BTO and others, as peers as never before. well as serving on the councils of several bird conservation bodies. The 1970s: more field guides and BWP Several publishers dipped their toes into the In the early 1970s, more field guides emerged to field-guide market during the 1960s. Oxford swell the market. The Hamlyn Guide to Birds of University Press commissioned Donald Watson Britain and Europe was published in 1970, and (1918–2005) to prepare plates for The Oxford was the first real attempt to compete with Book of Birds (1964). It was similar in concept to Peterson. Once again the plates were painted by Thorburn’s Birds, with several related species on an American artist with a Nearctic field guide one plate, but differed in that several images of under his belt, this time Arthur Singer each species showed various ages and plumages (1917–1990). In my opinion, his style of illus- (though still depicted ‘in habitat’), thus offering tration was unsuited to the field-guide format, more in the way of an aid to identification. the images apparently rendered in oils or Watson did well to contain his usual freer style; opaque pigment. Many were inaccurate (even his particular talent is in capturing huge, evoca- given the year of publication) and the artist tive landscapes on a sheet of paper while main- clearly struggled with birds in flight. In partic- taining the bird interest within it at a plausible ular, the structure of his wading birds and gulls scale. It is a problem that I like to tackle myself was poor. Perhaps the best thing about this and when (as so often) it eventually becomes guide was that it was eventually overhauled by a

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Swedish team, which in later editions (from pages, a landmark series of identification 1986) introduced us to the beautiful water- ‘spreads’ by Peter Hayman was innovative. They colour work of Dan Zetterström (1954–), featured tiny ‘jizz’ thumbnails which often high- starkly superior to Singer’s efforts. Singer was lighted identification through behaviour, the perhaps underrated by his European field-guide artist’s remarkable perception captured on audience, as his paintings are considered to be paper. His techniques (particularly in measured full of life and well designed (N. Hammond flight images) were influential as his work pers. comm.). became widely known through The Birdlife of The Hamlyn guide was followed in 1972 by Britain (1976), The Mitchell Beazley Bird- the Collins Pocket Guide to Birds of Britain and watcher’s Pocket Guide to Birds (1979) and later, Europe, featuring the paintings of Herman to masterful effect, in Shorebirds (1986). Heinzel (1939–), which spread the boundaries During this period, the popularisation of of Europe into the now familiar Western birds led to their use more and more in adver- Palearctic, and featured many island forms. It tising too. Many travellers on the London tube was the most completely illustrated of the will remember the Eagle Star advertising cam- guides so far, although the images were tiny and paign featuring raptors by Trevor Boyer artistically unremarkable. (1948–). These later found their way into book By the mid 1970s, the RSPB was increasingly form (Philip Burton’s Birds of Prey of the World, using bird art and illustration in its magazines published by Dragon’s World in 1989). and catalogues, and had moved into book pub- The most ambitious of publishing ventures lishing, typically in partnership with an estab- broke onto the scene in 1977 with the first lished publishing house. In the late 1960s, the volume of The Handbook of the Birds of Europe, RSPB had commissioned a set of bird identifi- the Middle East and North Africa: The Birds of cation charts from Noel Cusa (1909–1990) and the Western Palearctic. The arduous, and I these appeared in almost every bird hide or imagine largely thankless, task of recruiting nature reserve centre at some point over the fol- artists for BWP fell to Robert Gillmor. Enthu- lowing two decades; many present-day birders siasm far outweighed organisation (and grew up with them. The RSPB magazine Birds funding!) at BWP but even Gillmor struggled to (developed from Bird Notes in 1966) featured find suitable artists, perhaps because the fees paintings on the cover (with a few exceptions) and conditions were so poor. In the early from 1966 to 1988. For most members, the volumes, many who undertook the task were cover painting was their main exposure to con- able to do so only because they were not full- temporary bird art (Gillmor 2006). Within its time illustrators, or at least did not need the fee to provide their living. Gillmor and Hayman held the fort for Vol. 1. It was perhaps as well that BWP fell so far behind its publishing schedule, as some young illustrators, eager to make their mark, later had their chance. As a set of illustrations the standard was somewhat vari- able. Noel Cusa’s wildfowl plates were roundly condemned, which was a great shame since most hardcore birders are unaware of his skill as a painter of understated watercolours. Ian Willis’s raptors were disappointing too. Never- theless BWP highlighted the increasing require- ment for illustrators to be ever more competent birders. The ‘new brushes’ of Norman Arlott Fig. 5. Greylag Goose Anser anser by Robert (1947–), Hilary Burn (1946–), Alan Harris Gillmor, from The Atlas of Breeding Birds in Britain (1957–) and Chris Rose (1959–) were the next and Ireland (Sharrock 1976).This is a technically batch of artists to emerge, followed in later clever scraperboard drawing, creating a full range volumes by Ian Lewington (1964–) and Trevor of tones to set this incubating goose into the Boyer. Gradually, over the years, the standard of moorland.The treatment of the body feathering beautifully describes the form while a surprisingly artwork improved and the waders of the genus simple range of marks become grasses and heather. Tringa in Vol. 3 by Philip Burton (1936–) and

274 British Birds 100 • May 2007 • 266–279 Bird illustration in the twentieth century the owls by Håkan Delin (1939–) in Vol. 4 are ‘Macmillan’, the poorly known Birder’s Guide to of the highest quality. European and Middle Eastern Birds (published in 1996, with text by Hadoram Shirihai and The 1980s: family monographs and the David Christie, and illustrated by Alan Harris), continuing quest for the perfect field guide set about the trickier groups of Europe and the No time was more exciting for me in British Middle East in the same manner and really birding than when I embarked on a freelance broke new ground. career in 1980, with new books and magazines The race was still on for the ultimate field and a vibrant, fast-moving birding scene. An guide, however. Rumours circulated of a ‘super’ early opportunity for me on a path to serious field guide under production. In fact, the major bird illustration was provided by this journal. project known as ‘HBI’ took well over a decade BB had encouraged line artwork within its to emerge. By the time that it did, in 1998, The pages for many years and began featuring line Handbook of Bird Identification for Europe and artwork on the cover in the mid 1970s. For the Western Palearctic had missed its time slot. many aspiring artists it was the first place they The original illustration team lost Peter Har- saw their work in print, while for others it was a rison, so principal illustrators Hilary Burn, step up from the county bird report. Editor Tim Peter Hayman and Laurel Tucker were joined by Sharrock was an enthusiastic champion for bird Martin Elliott (1964–), who clearly knew his art in BB and instigated the annual Bird Illus- gulls exceptionally well, and Dan Zetterström. trator of the Year competition (BIY) in 1979. For the bird-art devotee, this book was a land- BIY gave aspiring artists that important ‘leg-up’ mark because it was the largest published col- and introduction to the publishing business, lection of the late Laurel Tucker’s work. It is affording them exposure. Indeed Sharrock often hard to describe Laurel’s style, it has a looseness acted as ‘go-between’ for artist and publisher. and is character-led, being full of jizz; every The list of BIY winners (Appendix 1) is a ver- image convinces you that she’s seen the bird! itable who’s who of the ‘new’ British bird artists Her background touches are simply unique. of the 1980s and 90s and few have emerged Zetterström’s raptors are magnificent and since the competition ceased. I have known confirm his stature following the ‘tasters’ of the several cases where publishers have attended the revamped Hamlyn guide and the BWP Phyllo- prize-giving ceremony and signed up the scopus warblers (in Vol. 6, 1992). winners! Meanwhile, in 1978, a series of four small The British or European field guide con- bird books arranged by habitat had appeared in tinued to fascinate publishers and the quest was mainstream bookshops in the UK. Priced at a still on for a worthy successor to ‘Peterson’. The modest £1.95, they were intriguing and took a RSPB Book of British Birds (1982) is noteworthy little while to catch on. The artwork was loose for its return to a solely British arena. The birds and variable, but the best of it was astonishing of Hilary Burn are bold and confident, and her in the way it captured the character of the bird ability to deftly place the birds in their habitat as well as accurately depicting feather tracts, in a natural, accurate and aesthetically pleasing wear and moult. The postures were daring, con- way shows rare skill. Much anticipated was the fident; no angle held fear for the artist. The Shell Guide to the Birds of Britain and Ireland flight images were remarkably lifelike and per- (1983), illustrated by Ian Willis, although the ceptive. These were live birds the like of which images were too small and the colour reproduc- you saw through your bins! It surprises me now tion weak. Nonetheless, it briefly held sway as that it was 14 years before these small books the twitcher’s book of choice, mainly through (plus a fifth volume in similar format covering its fuller-than-average treatment of vagrants. the Mediterranean and Alps) were amalgamated The Macmillan Field Guide to Bird Identification to form Birds of Europe (Christopher Helm, (1989) illustrated by Laurel Tucker 1992) by Lars Jonsson (1952–). Many plates (1951–1986) and Alan Harris concentrated on from the earlier series had been extensively ‘difficult’ species groups in a way that space pro- reworked and it is fascinating in itself to hibited in a standard guide, simply by ditching compare the two styles. The new plates were the non-problem species altogether; in effect, it breathtaking – tighter, more subtle than the became a dossier of mini identification papers earlier ones, but sublime in the depiction of penned by Keith Vinicombe. The second character and mood (whether relaxed or alert),

British Birds 100 • May 2007 • 266–279 275 Bird illustration in the twentieth century the detail and jizz. For the field-guide market, it much as they were able and then more. As the was the biggest leap forward since Peterson. burgeoning list of books in production followed Jonsson’ ability to paint life into the birds is the rush to sign up new titles, publishing simply unequalled, the touches of habitat in timetables began to slip at the very time that Birds of Europe are delightfully created. The publishers needed to deliver on schedule. Dead- Swede has become the best known of European lines slipped, some publishers were taken over bird painters (with the possible exception of and new ones emerged. Some titles were pub- Peter Scott) and is deservedly held in interna- lished and some were not. One publisher seems tional acclaim. to have got it right. The monumental Handbook of the Birds of the World, published by Lynx Edi- Family monographs cions, has reached Vol. 11 at the time of writing, In 1983, Croom Helm published the first of the the first having appeared in 1992. Strictly busi- modern family guides, the monumental ness-like, Lynx has given artists realistic remu- Seabirds, written and illustrated by Peter Har- neration and the publishing schedule has been rison. This book has special significance, not rigidly adhered to. Lynx appears to have learnt especially for its artwork but because it opened from all the mistakes of BWP, and HBW has a door. Ambitious and successful, it was fol- artwork by the very best bird illustrators lowed by Shorebirds in 1986 (illustrated by Peter working today, and is notable for maintaining Hayman and arguably showing his work at its an exceptional standard. very best) and Hilary Burn’s Wildfowl in 1988, and opened up a new market for comprehen- Magazines sive global titles much in demand by the cos- As well as the ‘in house’ magazines of the con- mopolitan travelling birder of the 1980s, as well servation bodies, several new independent bird as the increasingly clued-up birder seeking magazines arrived in the late 1980s and early vagrants at home. The idea of books on family 1990s to feed the growing interest in birds at groups, and therefore including birds of foreign varying levels, and all are home to artwork. countries, was certainly not new and several Birdwatching magazine was first published in were produced in the post-war period, featuring 1986 and is aimed at the reader of modest skills work by the likes of J. C. Harrison (1898–1985) and interest level, whilst Birdwatch, first and David Reid-Henry. These earlier tomes appearing in 1992, is a little more ‘serious’. Both were, by and large, poorly known in the UK, not have given opportunities to illustrators to illus- least because overseas travel was difficult and trate articles (usually identification orientated), expensive by today’s standards, and such but it is the more specialised Birding World ‘foreign’ guides had a limited UK market. (first published in 1987) that has taken the In the wake of the ‘big three’ (Seabirds, mantle of colour cover art vacated by the RSPB Shorebirds and Wildfowl), however, birders Birds magazine and so is presently the most began collecting these new guides enthusiasti- illustrator-friendly. Fairly new onto the scene is cally and there was something of an undignified Birds Illustrated (first published in 1991, rush to sign up titles by several publishers. Bub- relaunched in 2003), a British publication bling under the surface throughout the 1980s, devoted to birds in art, from sculpture through this was a ‘sudden’ new source of work (albeit painting to photography. poorly paid) for illustrators. This brought several new and truly talented artists to the fore, The 1990s: the dream team and the ultimate notably David Quinn (1959–), John Cox field guide (1967–) and Ian Lewington, as well as some In 1986, Peter Grant and Lars Svensson more or less talented amateurs and a few rather embarked on yet another European field guide. pedestrian ‘shape colourers’. The quality of the Given their (considerable) pedigree as identifi- artwork was reflected in the popularity of the cation experts, the project certainly had creden- titles and, to some extent, the plates sold the tials. A young artist from Ireland, Killian books. However, the huge amount of illustra- Mullarney (1958–) was their chosen illustrator. tion work involved in each volume resulted in Mullarney was an advocate of field sketching poor estimates on timescales, a reflection par- and painstakingly gathered his material first- ticularly of the increasing need for research, hand. The workload associated with this which hamstrung illustrators, who took on as approach was clearly a problem, but the recruit-

276 British Birds 100 • May 2007 • 266–279 Bird illustration in the twentieth century ment of Dan Zetterström to the project was a lishing ornithological titles. This had the effect master stroke. Even so, the book was still 13 of bringing many titles in production/prepara- years in the making and, cruelly, Peter Grant tion under a single roof. This may have been never lived to see the result. The Collins Bird good news for the bird-book-buying public, Guide finally appeared in 1999. The style of the who may no longer have the dilemma of which, illustrators’ work was complimentary, and the or how many, of the books on, say, wheatears to approach of Peterson-type uniformity (to aid buy; but it was not such good news for choice, comparison) fine-tuned to capture the jizz col- nor for the writers and illustrators involved in lected first-hand from the field, worked bril- these ‘duplicate’ titles, held in limbo without liantly. Together with the ‘in habitat’ vignettes publication. In some cases, illustrators were left, seemingly direct from the sketchbook, the quite suddenly, without work. quality of the artwork surpassed that of any It may be surprising to learn that even some previous field guide by some margin. Each plate of those artists and illustrators who are house- is quite superb, as an aid to identification as hold names to BB readers regularly live on four- well as being exquisite as art. figure annual incomes, and are only able to continue painting thanks to supportive part- The future of bird illustration ners. Even as illustrators try to diversify, or A&C Black acquired Christopher Helm Pub- break into the fine-art market, the decline of lishers in 1990 and, a little over a decade later, the family-monograph market that spurred the company took over Pica Press and Poyser, many to take the plunge has already left some both of which had a strong track record in pub- as, at best, part-time illustrators. While the

Fig. 6. The four landmark field guides, showing a progression of layout in order of publication.Top left:a well- used copy of Collins Pocket Guide to British Birds, by Richard Fitter and illustrated by Richard Richardson, where similar-looking but not necessarily related birds are grouped. Bottom left: A Field Guide to the Birds of Britain and Europe by , and Phil Hollom.The birds are now grouped in family order with brief caption text opposite.Top right: Birds of Europe with North Africa and the Middle East, by Lars Jonsson. All the relevant text now faces the plate, but not all images of a particular species are always on the same pages. Bottom right: The Collins Bird Guide by Killian Mullarney, Lars Svensson, Dan Zetterström and Peter Grant. Now every image of the species and all text are arranged on a single spread.

British Birds 100 • May 2007 • 266–279 277 Bird illustration in the twentieth century future is difficult to predict, some will undoubt- fuscicollis. An explosion of rare-bird photog- edly be forced into a change of career. Those raphy, identification articles and the emergence bird-book illustrators still painting are as likely of monthly bird magazines, available at to be preparing illustrations for information newsagents or by subscription, resulted in my boards or interpretation panels for reserves, White-rumped Sandpiper database extending country parks and other wildlife watchpoints, to 27 images plus reference listings of images in or painting murals in reserve centres, designing various journals or books. Despite seeing stamps or all imaginable manner of work. You White-rumped Sandpipers on only three occa- will meet them at birdfairs selling their own sions, I have enough material to gauge the original art. The boom years are certainly over typical posture, all ID features and in all distinct for now, and we wait for ‘a new wave’. plumages to the extent that I no longer collect As some of our most respected bird illustra- more information on this species. There are tors enjoy retirement, the modern-day bird also vast numbers of images on the internet or illustrator inhabits a very different world from in the digiscoped collections of many birders, to that of John Keulemans a century ago. Imagine say nothing of video. This is great news surely? him sitting at his desk, with an endless supply of Well, yes, but as I start an illustration my bird skins passing under his scrutiny. He knew problem now is ‘have I sourced all the current as much about birds as anyone. Some of the information or have I missed a recent revela- species he painted may have been new to tion?’ To meet the expectation to produce first- science; certainly some would not have been class, bang-up-to-date work, illustrators must studied in the field, seen only by the collector continually raise their game, which involves who shot them. Yet Keulemans skilfully inter- travel and research, buying countless journals preted the skins to produce remarkably lifelike and perusing websites. So, let us imagine having portraits of thousands of birds during his to paint gulls. A thorough knowledge of career. plumage sequences is essential, added to which For the modern bird illustrator things have you must ride a huge wave-crest of fast-moving changed. The fundamental task is no longer information, be sufficiently well-informed to about portraying the bird in as lifelike a manner judge whose taxonomic opinion you favour, as possible while showing all the field marks. It and maintain that position, to produce work to is not just a matter of studying skins (in fact, satisfy your peers. It’s not easy! Such is the that is more difficult now since the British wealth of material available now that even the Museum has singled out illustrators alone to pay most mediocre of illustrators can (and should) for the privilege of examining the national col- do a stunning job with the bird itself providing lection, and that can add considerable, even they have the ability to source what’s out there. prohibitive, costs to a publication). The bird- As an aside, the test for many as true artists is in watching public is becoming ever more expec- the treatment and understanding of form, and tant and discerning. Not only must the clues are often in the use and effect of the light illustration be structurally accurate, the jizz source (if any!), and in backgrounds. Choose an must be right. Ideally, the illustrator needs to see illustrator, then look at his or her perches and and study the birds in the field; but even though leaves… the cost of air travel is now low, such trips are Our top bird illustrators have risen to the expensive and it is often frustrating to feel like challenges and it is amazing how they continue the only person not to know the bird – while to raise the bar, utilising the wealth of new your paintings are being used to identify it! information and technologies available to them It is not only the economics of travel that with rare skill. Will forward-thinking and may trouble the modern illustrator: the surge of inventive publishers find projects to showcase information is astounding. In the early 1970s, I their talents? The prevailing feeling today is that began collecting photographic images of birds the search for the ultimate field guide is now for reference. Seaside postcards and mono- over, there being general agreement that chrome images from magazines were duly nobody will ever top the Collins Guide, with its pasted into a loose-leaf folder. For Europe, I superlative illustrations by Killian Mullarney now run to 12 bulging volumes (my ‘alternative and Dan Zetterström. Of course, we thought BWP’). For ten years or more I had only one that after Peterson, and then again after image of a White-rumped Sandpiper Calidris Jonsson!

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Acknowledgments Devlin, J. C., & Naismith, G. 1978. The World of Roger Tory I thank Roger Riddington for planting the seed and Peterson: an authorised biography. David & Charles, allowing me freedom in the direction this article would Newton Abbot & London. take. Peter Clarke kindly read an early draft and made a Gillmor, R. 2006. Cutting Away: the linocuts of Robert Gillmor. number of useful comments. Nicholas Hammond Langford Press, Peterborough. commented on the final draft, providing several insights Gooders, J. 1969–71. Birds of the World. 9 vols. IPC, and details which have improved the text. Robert Gillmor London. has been, as ever, helpful way above and beyond Hosking, E. 1977. Obituary: David Morrison Reid-Henry reasonable expectation, commenting on the text and (1919–1977). Brit. Birds 70: 539–541. assisting in the compilation of the illustrations. In the last- Mountfort, G. 1996. Obituary: Roger Tory Peterson mentioned task, several other people were conscripted: (1908–1996) Brit. Birds 89: 544–545. Moss Taylor arranged the use of Richard Richardson’s Sharrock, J.T. R. 1976. The Atlas of Breeding Birds in Britain painting and Liz and Steve Harris at BIRDscapes arranged and Ireland. Poyser, Calton. scans. I thank them all for their many kindnesses. Taylor, M. 2002. Guardian Spirit of the East Bank.Wren Publishing, Norfolk. Vincent, J., & Lodge, G. E. 1980. A Season of Birds: a Norfolk References diary 1911. A & W Publishers, New York. Bannerman, D. A. 1963. The Birds of the Atlantic Islands: Watson, D. 1980. Obituary: David Armitage Bannerman Vol. 1.A History of the Birds of the Canary Islands and (1886–1979). Brit. Birds 73: 26–29. the Salvages. Oliver & Boyd, Edinburgh.

Alan Harris, 60 East Park, Harlow, Essex CM17 0SE

Appendix 1.Winners of the British Birds Bird Illustrator of the Year award.

1979 Crispin Fisher 1991 John Davis 1980 Norman Arlott 1992 John Gale 1981 Norman Arlott 1993 Richard Allen 1982 Alan Harris 1994 Ren Hathway 1983 Martin Woodcock 1995 Andrew Stock 1984 Bruce Pearson 1996 Dan Powell 1985 Ian Lewington 1997 John Walters 1986 Chris Rose 1998 Paul Henery 1987 David Quinn 1999 Brin Edwards 1988 Martin Hallam 2000 Dan Cole 1989 John Cox 2001 Rosemary Watts/Powell 1990 Gordon Trunkfield 2002 Steve McQueen

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