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convey subtle clues to the character of his natural subjects, with humour and feeling. This was achieved by carefully varying the depth of the engraved grooves to provide actual greys, not only black and white, as well as the pattern of the marks to provide texture. But this subtlety of engraving created a serious technical difficulty for his printers; they needed to ink his blocks with just the right amount of ink, mixed so as to be of exactly the right thickness, and to press the block to the paper slowly and carefully, to obtain a result that would satisfy Bewick. This made printing slow and expensive. It also created a problem for Bewick's readers; if they lacked his excellent eyesight, they needed a magnifying glass to study his prints, especially the miniature tail-pieces. But the effect was transformative, and wood engraving became the main method of illustrating books for a century. The quality of Bewick's engravings attracted a far wider readership to his books than he had expected: his
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727:, eventually published in 1818. The work is divided into three sections: the first has some of Dodsley's fables prefaced by a short prose moral; the second has "Fables with Reflections", in which each story is followed by a prose and a verse moral and then a lengthy prose reflection; the third, "Fables in Verse", includes fables from other sources in poems by several unnamed authors. Engravings were initially designed on the wood by Bewick and then cut by his apprentices under close supervision, refined where necessary by himself. This edition used a method that Bewick had pioneered, "white-line" engraving, a dark-to-light technique in which the lines to remain white are cut out of the woodblock.
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366:. Given his detailed knowledge of the birds of Northumberland, Bewick prepared the illustrations, so Beilby was given the task of assembling the text, which he struggled to do. Bewick ended up writing most of the text, which led to a dispute over authorship; Bewick refused to have Beilby named as the author, and in the end only Bewick's name appeared on the title-page, along with a paragraph of explanation at the end of the preface.
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2030:"Bewick's Select fables of Aesop and others. In three parts. 1. Fables extracted from Dodsley's. 2. Fables with reflections in prose and verse. 3. Fables in verse. To which are prefixed The life of Aesop, and An essay upon fable by Oliver Goldsmith. Faithfully reprinted from the rare Newcastle ed. published by T. Saint in 1784. With original wood engravings by Thomas Bewick, and an illustrated pref. by Edwin Pearson"
657:, each bird's description beginning on a new page. The images are full of life and movement, often with a moral, sometimes with humour, always with sympathy and precise observation, so the images tell a tale as well as being at the tail ends of articles. For example, the runaway cart, at the end of "The Sparrow-Hawk", fills what would otherwise be a 5 cm (2 in) high gap. Hugh Dixon explains:
1083:, published a generation after his death, brought about a new interest and a widening respect which has continued to grow ever since. The attraction to his contemporaries of Bewick's observations lay in their accuracy and amusement. Two centuries later these qualities are still recognised; but so, too, is the wealth and rarity of the historical information they have to offer.
406:, but the disagreement over authorship led to a final split with Beilby. Bewick was unable to control his feelings and resolve issues quietly, so the partnership ended, turbulently and expensively, leaving Bewick with his own workshop. Bewick had to pay £20, equivalent to about £20,000 in 2011, in lawyer's fees, and more than £21 for Beilby's share of the workshop equipment.
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shirt, and even asked for some of his smallpox scars to be shown." Baily was so taken with him that he presented Bewick with a plaster model of the finished bust. A bronze copy now rests in a niche of the building that replaced his workshop in the churchyard of Saint
Nicholas (see above) and still another is at the
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Many of the illustrations that have most frequently been reproduced in other books and as decorations are the small tailpieces that Bewick had placed at the bottoms of the pages of the original. The worlds depicted are so small that a magnifying glass is necessary to examine their detail; each scene,
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on Cook's expedition of 1772 to 1776, and animals from the
Southern Cape figure largely in the book. It was an energetic muddle, but it was at once greeted with enthusiasm by the British public. They liked the combination of vigorous woodcuts, simple and accurate descriptions, and all kinds of exotic
752:". It is particularly thorough on some of the domestic animals: the first entry describes the horse. Beilby and Bewick had difficulty deciding what to include, and especially on how to organise the entries. They had hoped to arrange the animals systematically, but they found that the rival systems of
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is specifically
British, but is the forerunner of all modern field guides. Bewick was helped by his intimate knowledge of the habits of animals acquired during his frequent excursions into the country. He also recounts information passed to him by acquaintances and local gentry, and that obtained in
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In 1786, when he was financially secure, he married
Isabella Elliott from Ovingham; she had been a friend when they were children. They had four children, Robert, Jane, Isabella, and Elizabeth; the daughters worked on their father's memoir after his death. At that period in his life he was described
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In 1776 Bewick became a partner in Beilby's workshop. The joint business prospered, becoming
Newcastle's leading engraving service with an enviable reputation for high-quality work and good service. In September 1776 he went to London for eight months, finding the city rude, deceitful and cruel, and
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The runaway cart is a wonderful mixture of action and danger. The boys have been playing in the cart and the horse has bolted; perhaps the dog's barking was the cause. The drawing of the wheel—an extraordinary depiction for its time—shows that the cart has gathered speed. One boy has already fallen
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It may be proper to observe, that while one of the editors of this work was engaged in preparing the
Engravings, the compilation of the descriptions was undertaken by the other, subject, however, to the corrections of his friend, whose habits led him to a more intimate acquaintance with this branch
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Bewick was also noted as having a strong moral sense and was an early campaigner for fair treatment of animals. He objected to the docking of horses' tails, the mistreatment of performing animals such as bears, and cruelty to dogs. Above all, he thought war utterly pointless. All these themes recur
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as a form of signature, (accompanied by the words "Thomas Bewick his mark"), as well as engraving it in one of his tail-pieces as if it had clouded the tiny image of a rustic scene with a cottage by mistake. Uglow notes one critic's suggestion that Bewick may have meant we are looking at the scene
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He is "usually considered the founder of wood-engraving" as "the first to realize its full potentialities", using metal-engraving tools to cut hard boxwood across the grain, producing printing blocks that could be integrated with metal type, but were much more detailed and durable than traditional
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to sculpt a marble portrait bust of Bewick; there are several copies beside the one still at the
Society itself. According to Uglow, when Bewick came to sit for the sculptor, he "stoutly refused to be portrayed in a toga. Instead he wore his ordinary coat and waistcoat with neckcloth and ruffled
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Bewick appears to have had a faultless sense of exactly what line was needed, and above all where to stop, as if there were no pause for analysis or reflection between the image in the mind and the hand on the wood. This skill, which has made later generations of engravers pause in awe, could be
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Bewick made use of his close observation of nature, his remarkable visual memory, and his sharp eyesight to create accurate and extremely small details in his wood engravings, which proved to be both a strength and a weakness. If properly printed and closely examined, his prints could be seen to
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as "a man of athletic make, nearly 6 feet high and proportionally stout. He possessed great personal courage and in his younger years was not slow to repay an insult with personal chastisement. On one occasion, being assaulted by two pitmen on returning from a visit to
Cherryburn, he resolutely
1103:. Newcastle's City Library has a collection of works and associated items based on the Pease Bequest which was made to the city by John William Pease in 1901. Bewick is memorialised around Newcastle and Gateshead with streets named after him, and plaques mark his former homes and workshops.
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some blocks would be drawn by one brother and cut by the other, the rough work would be done by pupils, who would also, if they showed aptitude, draw and finish designs—on the same principle as the schools of
Renaissance painters; and we cannot ... be sure in all cases that the
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and probably hurt himself. The others hang on shouting with fear. And why has it all happened? The carter with his tankard in his hand runs too late from the inn. Has he been distracted by the shapely girl? And is it an accident that the inn sign looks a little like a gallows?
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on 10 or 11 August 1753, although his birthday was always celebrated on the 12th. His parents were tenant farmers: his father John had been married before his union with Jane, and was in his forties when Thomas, the eldest of eight, was born. John rented a small
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much disliking the unfairness of extreme wealth and poverty side by side. He returned to his beloved
Newcastle as soon as he could, but his time in the capital gave him a wider reputation, business experience, and an awareness of new movements in art.
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as Adrian Searle writes, "is a small and often comic revelation", each tiny image giving "enormous pleasure"; Bewick "was as inventive as he was observant, as funny and bleak as he was exacting and faithful to the things he saw around him."
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The workshop of Beilby, Bewick, and son produced many ephemeral materials such as letterhead stationery, shop advertisement cards, and other business materials. Of these ephemeral productions, "bookplates have survived the best". Bewick's
206:, which is admired today mainly for its wood engravings, especially the small, sharply observed, and often humorous vignettes known as tail-pieces. The book was the forerunner of all modern field guides. He notably illustrated editions of
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writing that the way Bewick had engraved the feathers of his birds was "the most masterly thing ever done in woodcutting". His fame faded as illustration became more widespread and more mechanical, but twentieth-century artists such as
264:, an engraver in Newcastle, where he learnt how to engrave on wood and metal, for example marking jewellery and cutlery with family names and coats of arms. In Beilby's workshop Bewick engraved a series of diagrams on wood for
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conflicted, and in Linnaeus's case at least changed with every edition of his work. They decided to put useful animals first "which so materially contribute to the strength, the wealth, and the happiness of this kingdom".
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Boxwood cut across the end-grain is hard enough for fine engraving, allowing greater detail than in normal woodcuts; this has largely replaced the basic woodcut since Bewick's time. In addition, since wood engraving is a
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Bewick ran his workshop collaboratively, developing the skills of his apprentices, so while he did not complete every task for every illustration himself, he was always closely involved, as John Rayner explains:
170:, making the wood blocks for advertisements, and illustrating children's books. He gradually turned to illustrating, writing and publishing his own books, gaining an adult audience for the fine illustrations in
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Bewick went on to produce a third edition of the fables. While convalescing from a dangerous illness in 1812, he turned his attention to a long-cherished venture, a large three-volume edition of
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explained as an innate talent, the je-ne-sais-quoi of "genius". But it also came from the constant habit of drawing as a child, the painstaking learning of technique as an apprentice ...
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in his engravings, which echo Hogarth's attention to moral themes. For example, he shows wounded soldiers with wooden legs, back from the wars, and animals with a gallows in the background.
426:. Bewick, still lively at age 74, showed him the woodcut he was working on, a dog afraid of tree stumps that seem in the dark to be devilish figures, and gave Audubon a copy of his
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technique, inked on the face, it requires only low pressure to print an image, so the blocks last for many thousands of prints, and importantly can be assembled into the same
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began his anecdotal poem "The Two Thieves", composed in 1798, with the line "O now that the genius of Bewick were mine", in which case he would give up writing, he declared.
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The book's coverage is erratic, a direct result of the sources that Bewick consulted: his own knowledge of British animals, the available scholarly sources, combined with
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engravings ... are the work of Thomas Bewick from first to last, but he had a hand to a great extent in nearly all, and certainly had the last word in all of them.
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illustrated by Bewick span almost his entire creative life. The first was created for the Newcastle bookseller Thomas Saint during his apprentice years, an edition of
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titled "Lines on the celebrated Bewick" which describe the various scenes she comes across while leafing through the books illustrated by him. Later still, the poet
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published in 1776. With his brother John he later contributed to a three-volume edition for the same publisher in 1784, reusing some pictures from the 1776 edition.
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Characters of the Kings and Queens of England; selected from the best historians. To which is added a table of succession of each, from Alfred to the present time
413:, in 1804, as the sole author. He found the task of managing the printers continually troublesome, but the book met with as much success as the first volume.
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Bewick did not flourish at schoolwork, but at a very early age showed a talent for drawing. He had no lessons in art. At the age of 14 he was apprenticed to
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1004:. There is also a full-length statue of him at the top left of the former chemist's shop designed by M.V.Treleaven at 45 Northumberland Street in the city.
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Bookplates by Beilby & Bewick: A Biographical Dictionary of Bookplates from the Workshop of Ralph Beilby, Thomas Bewick & Robert Bewick, 1760–1849
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The book was an immediate success when published—by Beilby and Bewick themselves—in 1797. Before its publication, Bewick illustrated Arnaud Berquin's
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The tail- or tale-pieces, a Bewick speciality, are small engravings chosen to fill gaps such as those at the ends of the species articles in
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460:, which shows the fallen artist by a broken column. He died after a few days' illness on 8 November 1828, at his home. He was buried in
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or metal type for the text, allowing both on the same page, and all the printing to be done in a single run. In contrast, copper plate
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in 1790, intended for children but reaching an adult readership, and its success encouraged them to consider a more serious work of
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1861:"Does Left-Right Orientation Matter in the Perceived Expressiveness of Pictures? A study of Bewick's animals (1753-1828)"
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churchyard, beside his wife Isabella, who had died two years earlier, and not far from his parents and his brother John.
402:. Given the success of the 1797 publication of his bird illustrations, Bewick started work at once on the second volume,
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applying much higher pressure is required, and images must be printed separately from the text, at far greater expense.
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Bewick had at least 30 pupils who worked for him and Beilby as apprentices, the first of which was his younger brother
272:. He seems thereafter to have devoted himself entirely to engraving on wood, and in 1775 he received a prize from the
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through a playfully smudged window, as well as drawing our attention to Bewick, the maker. Adrian Searle, writing in
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The very large (7 1/4 × 9 3/4 inches) wood engraving by Thomas Bewick of a Chillingham Bull, executed for
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technique, inked in the engraved grooves, the face being wiped clean of ink before printing, so a special type of
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Bewick's illustrated books, admired since they first appeared, gave him some celebrity in his own lifetime. His
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This was less than a year after the calendar was reformed, a time when there was some confusion about dates.
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185:. He became a partner in the business and eventually took it over. Apprentices whom Bewick trained include
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Bust based on a design by Edward Hodges Baily at the site of Bewick's workshop in St Nicholas churchyard
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Notes by Mr. A.G. Stephens on Thomas Bewick illustrating a loan collection of his Drawings and Woodcuts
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There are numerous portraits of Bewick. In 1825, the Literary and Philosophical Society commissioned
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Works using his wood engraving technique, for which he became well known, include the engravings for
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in particular. He especially wanted to promote the Northumbrian smallpipes, and to support the piper
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A selection of high-resolution scans of pages from Bewick's books, featuring woodcut illustrations
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at Mickley Bank, which employed perhaps six men. Bewick attended school in the nearby village of
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were illustrations made from engravings, containing the name or initials of the book's owner.
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A minutely detailed tail-piece, only 8 cm (3 in) wide, showing children in a runaway cart, in
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780:. Bewick had to hand the Swedish naturalist Anders Sparrman's account of his visit to the
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Hugh Dixon, reflecting on Bewick and the landscape of North-East England, wrote that
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356:. In preparation for this Bewick spent several years engraving the wood blocks for
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2298:"The statues of Thomas Bewick, Harry Hotspur, Sir John Marley and Roger Thornton"
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1647:"Five Ways to Compute the Relative Value of a UK Pound Amount, 1270 to Present"
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in his honour and Bewick's son Robert engraved the bird for later editions of
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Bennett, K.M.; Latto, R.M.; Bertamini, M.; Bianchi, I.; Minshull, S. (2010).
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With the assistance of his apprentices Bewick brought out the second volume,
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Dixon, Hugh (2010). Faulkner, Tom E.; Berry, Helen; Gregory, Jeremy (eds.).
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The Watercolours and Drawings of Thomas Bewick and his Workshop Apprentices
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300:, said to be of Bewick himself as a thirsty traveller drinking from his hat
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author. Early in his career he took on all kinds of work such as engraving
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The fables of Aesop, and others, with designs on wood by Thomas Bewick
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Royal Society for the Encouragement of Arts, Manufactures and Commerce
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Prints and Printmaking: an Introduction to the History and Techniques
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Prints and Printmaking: an Introduction to the History and Techniques
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487:. This is due both to his skill and to the method, which unlike the
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turned upon the aggressors, and as he said, 'paid them both well'."
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University of Manchester: George Johnson Wood-Engraving Collection
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Bewick's art is considered the pinnacle of his medium, now called
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197:, who in their turn became well known as painters and engravers.
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2255:. Vol. 4. London: Smith, Elder & Co. pp. 455–460.
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Volume 2: Containing the History and Description of Water Birds
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2032:. London Bickers. 17 August 1871 – via Internet Archive.
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Volume 1: Containing the History and Description of Land Birds
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for a wood engraving of the "Huntsman and the Old Hound" from
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A General History of Quadrupeds: The Figures Engraved on Wood
615:, executed by Bewick on an exceptionally large woodblock for
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1579:"Newbery, Elizabeth (1745/6–1821), bookseller and publisher"
1306:(26 May 2005). "Bewick, Thomas (1753–1828), wood-engraver".
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came to Britain to find a suitable printer for his enormous
2267:"Bust of Thomas Bewick, by Edward Hodges Baily (1788–1867)"
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continued to admire his skill, and work by artists such as
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Poetical tributes came to Bewick even during his lifetime.
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Bewick was fond of the music of Northumberland, and of the
220:. The result was high-quality illustration at a low price.
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left his own tribute on the flyleaf of a copy of Bewick's
1838:, pp. 13, 22-24, 31, 34, 2nd edn., British Museum Press,
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Bewick's fame, already nationwide across Britain for his
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Four years after his death, his sixteen-year-old admirer
499:, using fine tools normally favoured by metal engravers.
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and in 1795 a anthology on the study of character in the
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Laing Art Gallery (Tyne and Wear Museums): Thomas Bewick
1174:--- (1975). Iain Bain (editor). Oxford University Press.
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In April 1827, the American naturalist and bird painter
2600:. Mickley, Stockspield: Thomas Bewick Birthplace Trust
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English engraver and natural history author (1753–1828)
2653:. Natural History Society of Northumbria Transactions.
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natural history works of his time, including those by
321:. Several gained distinction as engravers, including
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His career began when he was apprenticed to engraver
158:(c. 11 August 1753 – 8 November 1828) was an English
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Comparing average earnings of £20 in 1797 with 2011.
878:(1823) showing his trademark fingerprint signature.
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940:By thy wood-Art, that from rock, flood, and tree
1979:Aesop; Dodsley, Robert; Bewick, Thomas (1776).
1028:, grew during the nineteenth century. In 1830,
942:Home to our hearths, all lively, light and free
901:, it is a marvellous, timeless, magical joke."
744:from across the world, including animals from "
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2750:de Grummond Children's Literature Collection)
2488:Thomas Bewick and the North-Eastern Landscape
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944:In suited scene each living thing has brought
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649:A History of British Birds § Tail-pieces
2710:William Augustus Brewer Bookplate Collection
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2526:Lee, Henry C.; Gaensslen, Robert E. (2010).
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1966:
1588:(online ed.). Oxford University Press.
1486:(Fine Art Society's Galleries, London, 1880)
1312:(online ed.). Oxford University Press.
3308:Concealing-Coloration in the Animal Kingdom
2748:at The University of Southern Mississippi (
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2549:Nature's Engraver: A Life of Thomas Bewick
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547:were at the outset intended for children.
371:of Natural History. – Land Birds, Preface.
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2660:. Printed for Robert Robinson, Newcastle.
2441:"Thomas Bewick stone plaque in Gateshead"
2191:Poems, legendary, incidental and humorous
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1791:. Gateshead Local History. Archived from
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2959:Herball, or Generall Historie of Plantes
2708:in the University of Delaware Library's
2491:. Boydell and Brewer. pp. 261–278.
2360:. Newcastle City Council. Archived from
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1437:
1422:
1211:Isabella Bewick died on 1 February 1826.
1171:. Longman, Green, Longman, and Roberts.
1136:. S. Hodgson, R. Beilby, T. Bewick, etc.
1011:
915:
869:
829:in 1804, with a supplement in 1821. The
794:
696:
673:
634:
564:
501:
374:
289:
227:
2560:. British Library and Oak Knoll Press.
1665:
1644:
1585:Oxford Dictionary of National Biography
1575:
1309:Oxford Dictionary of National Biography
938:Xylographer I name thee, Bewick, taught
701:Bewick's illustration for the fable of
135: 1786; died 1826)
3433:
2534:
2235:
2209:, Cambridge University reprint, 2011,
2110:
1939:
1455:
1298:
1296:
1294:
1292:
1290:
1288:
1286:
946:As life elastic, animate with thought.
924:In 1823, Bewick's friend the Reverend
827:History and Description of Water Birds
491:technique of his predecessors, carves
2758:
2583:books about and illustrated by Bewick
2543:
2484:
2344:
2329:
2314:
2163:
2139:
2095:
2054:
1954:
1924:
1912:
1819:
1772:
1760:
1748:
1710:
1698:
1686:
1674:
1563:
1548:
1507:
1495:
1470:
1443:
1431:
1416:
1404:
1392:
1380:
1368:
1356:
1344:
1332:
968:found in Lord Ravenscroft's library:
823:History and Description of Land Birds
619:, a gentleman who owned an estate at
1526:. The Bewick Society. Archived from
1302:
785:animals alongside things they knew.
740:appeared in 1790. It deals with 260
3466:People from Mickley, Northumberland
3186:The Naturalist on the River Amazons
2784:
2069:"A bird in the bush is always best"
1283:
232:Cherryburn, Bewick's childhood home
13:
2684:Bewick at the Newcastle Collection
2575:
2528:Advances in Fingerprint Technology
2018:. Aesopica. pp. Fables 1–141.
1020:of the swan named after his father
776:and the antique John Caius's 1576
14:
3497:
3486:19th-century English male artists
3481:18th-century English male artists
2671:
2658:Thomas Bewick, His Life and Times
2614:. The Art Journal Office, London.
2113:"Thomas Bewick's Cheeky Woodcuts"
2067:Bate, Jonathan (15 August 2004).
1145:. Beilby and Bewick (Newcastle);
1087:Thomas Bewick Primary School, in
690:
3376:
2537:Wood Engravings by Thomas Bewick
2252:Dictionary of National Biography
2111:Searle, Adrian (16 April 2009).
1649:. MeasuringWorth. Archived from
842:, as well as the translation of
678:A bookplate with the initial 'D'
341:, and his son and later partner
3418:List of natural history dealers
3086:The Natural History of Selborne
2724:Works by or about Thomas Bewick
2612:Life and Works of Thomas Bewick
2454:
2433:
2419:
2397:
2376:
2350:
2308:
2290:
2277:
2259:
2229:
2215:
2207:In the Footsteps of the Brontës
2199:
2184:
2169:
2157:
2145:
2060:
2048:
2022:
1987:
1972:
1960:
1852:
1825:
1778:
1766:
1754:
1742:
1716:
1704:
1692:
1680:
1638:
1625:
1569:
1542:
1501:
1476:
1449:
1410:
1398:
1386:
1205:
1196:
1125:online fable by fable facsimile
1106:
974:A gate and field half ploughed,
738:A General History of Quadrupeds
732:A General History of Quadrupeds
132:
3320:Adaptive Coloration in Animals
2551:. University of Chicago Press.
1994:Aesop; Bewick, Thomas (1784).
1374:
1362:
1350:
1338:
1326:
1261:
1187:
1121:The 1818 edition of the fables
725:The Fables of Aesop and Others
703:The angler and the little fish
630:
560:
448:Bewick's last wood engraving,
1:
2610:Croal, Thomson David (1882).
2598:The Workshop of Thomas Bewick
2596:Bain, Iain (rev. edn. 1989).
1645:Officer, Lawrence H. (2009).
1218:
669:
348:The partners published their
283:, which he was illustrating.
268:, illustrating a treatise on
200:Bewick is best known for his
49:
3476:Natural history illustrators
2621:Thomas Bewick and his pupils
2556:Tattersfield, Nigel (1999).
2407:. Victoria and Albert Museum
1619:UK public library membership
1141:Bewick, Thomas (1797–1804).
983:And a titmarsh in the bough.
980:A child with a broken slate,
472:
240:, a house in the village of
7:
3076:Bernard Germain de Lacépède
2706:Bookplates by Thomas Bewick
2098:, pp. 242–261, 293–305
1713:, pp. 283–284, 398–399
1677:, pp. 262–279, 293–305
986:But where, alack, is Bewick
904:
506:One of Bewick's wood blocks
400:Kings and Queens of England
10:
3502:
3098:A History of British Birds
2667:. Oxford University Press.
2663:Weekley, Montague (1953).
2637:The Artists of Northumbria
2530:(2nd ed.). CRC Press.
2478:
1143:A History of British Birds
1115:Fables of Aesop and others
1101:Victoria and Albert Museum
882:Bewick sometimes used his
818:A History of British Birds
812:A History of British Birds
809:
790:A History of British Birds
646:
476:
390:in 1792 and J. H. Wynne's
388:Looking-Glass for the Mind
379:Thomas Bewick in 1827, by
363:A History of British Birds
297:A History of British Birds
278:Select Fables by the late
203:A History of British Birds
3413:Natural History Societies
3385:
3374:
3290:
3281:The Royal Natural History
3133:Ornithological Dictionary
3120:
3042:Johan Christian Fabricius
2968:
2874:
2801:
2792:
2656:Robinson, Robert (1887).
2462:"Thomas Bewick 1753–1828"
2045:Uglow, 2006. pp. 172–188.
1168:A Memoir of Thomas Bewick
1007:
774:Observations on Livestock
142:
116:
96:
73:
45:
30:
23:
3259:The Naturalist's Library
3162:On the Origin of Species
2651:The Many Faces of Bewick
2630:The Art of Thomas Bewick
2618:Dobson, Austin (1899) .
2405:"Works by Thomas Bewick"
2152:Lee & Gaensslen 2010
1180:
989:To tell the meaning now?
966:History of British Birds
708:The various editions of
394:in 1794 for the printer
305:by the Newcastle artist
3393:Natural history museums
2995:Antonie van Leeuwenhoek
2635:Hall, Marshall (2005).
2581:Online publications of
2283:All round shots at the
1165:Bewick, Thomas (1862).
1147:G. G. & J. Robinson
1130:Bewick, Thomas (1790).
467:
435:Northumbrian smallpipes
242:Mickley, Northumberland
223:
172:A History of Quadrupeds
66:Mickley, Northumberland
3456:English wood engravers
3245:William Jackson Hooker
3193:Alexander von Humboldt
3110:Philosophie zoologique
2893:Pinax theatri botanici
2715:Works by Thomas Bewick
2628:Donald, Diana (2013).
2624:. Chatto & Windus.
2358:"Thomas Bewick School"
2242:"Bewick, Thomas"
2015:Select Fables of Aesop
2012:Thomas Bewick (1818).
1998:. Newcastle: T. Saint.
1996:Select Fables of Aesop
1983:. Newcastle: T. Saint.
1981:Select Fables of Aesop
1594:10.1093/ref:odnb/63579
1576:Shefrin, Jill (2004).
1085:
1021:
932:to him with the lines
921:
879:
868:
807:
705:
679:
667:
644:
578:
558:
507:
383:
373:
360:, the first volume of
301:
233:
3331:The Study of Instinct
3270:Kunstformen der Natur
3174:The Malay Archipelago
3169:Alfred Russel Wallace
3105:Jean-Baptiste Lamarck
2649:Holmes, June (2006).
2535:Rayner, John (1947).
1319:10.1093/ref:odnb/2334
1077:
1015:
919:
873:
863:
857:Bewick's biographer,
798:
700:
677:
662:
647:Further information:
638:
568:
553:
505:
378:
368:
350:History of Quadrupeds
293:
231:
212:throughout his life.
3471:British bird artists
3461:English illustrators
3451:British illustrators
3250:Joseph Dalton Hooker
3203:The Birds of America
2742:Thomas Bewick Papers
2639:. Art Dictionaries.
2364:on 13 September 2011
2302:www.northumbria.info
2271:www.victorianweb.org
2237:Dobson, Henry Austin
2166:, pp. xvii, 459
1848:83 US edition online
1524:"Major Publications"
1245:British Museum Press
1113:The 1784 edition of
1018:Robert Elliot Bewick
613:The Chillingham Bull
592:The Deserted Village
343:Robert Elliot Bewick
3298:Martinus Beijerinck
2841:De Natura Animalium
2746:Special Collections
2694:2 June 2015 at the
2588:Bain, Iain (1981).
2205:Ellis H. Chadwick,
2193:(Shrewsbury 1825),
2073:The Daily Telegraph
1653:on 24 November 2009
1123:; there is also an
1093:Newcastle upon Tyne
997:Edward Hodges Baily
956:wrote a poem of 20
577:, Yorkshire in 1789
246:Newcastle upon Tyne
236:Bewick was born at
183:Newcastle upon Tyne
3403:Parson-naturalists
3235:Philip Henry Gosse
3198:John James Audubon
3181:Henry Walter Bates
3069:Histoire Naturelle
3057:Historia Plantarum
2945:Avium Praecipuarum
2929:Historia animalium
2830:Historia Plantarum
2818:History of Animals
2737:Linda Hall Library
2678:The Bewick Society
2332:, pp. 400–401
1957:, pp. 271–275
1775:, pp. 394–395
1763:, pp. 384–385
1751:, pp. 393–394
1701:, pp. 121–122
1689:, pp. 388–389
1635:. Newcastle, 1795.
1566:, pp. 242–261
1551:, pp. 153–186
1530:on 25 October 2012
1510:, pp. 407–408
1446:, pp. 263–264
1419:, pp. 106–107
1247:. pp. 22–24.
1235:Griffiths, Anthony
1022:
922:
911:William Wordsworth
880:
848:Histoire naturelle
808:
706:
680:
645:
617:Marmaduke Tunstall
579:
571:Marmaduke Tunstall
508:
430:for his children.
418:John James Audubon
384:
302:
234:
3426:
3425:
3372:
3371:
2990:Marcello Malpighi
2884:Ulisse Aldrovandi
2864:De Materia Medica
2719:Project Gutenberg
2632:. Reaktion Books.
2606:978-1-872125-00-8
1967:Tattersfield 1999
1832:Griffiths, Antony
1617:(Subscription or
1603:978-0-19-861412-8
1254:978-0-7141-2608-1
926:J. F. M. Dovaston
782:Cape of Good Hope
605:William Somervile
529:intaglio printing
493:against the grain
450:Waiting for Death
396:Elizabeth Newbery
381:Thomas Sword Good
307:Thomas Sword Good
153:
152:
3493:
3380:
3353:The Dancing Bees
3277:Richard Lydekker
3225:Jean-Henri Fabre
3210:William Buckland
3015:Regnier de Graaf
2909:Andrea Cesalpino
2799:
2798:
2779:
2772:
2765:
2756:
2755:
2728:Internet Archive
2625:
2593:
2592:. Gordon Fraser.
2571:
2552:
2540:
2531:
2522:
2516:
2512:
2510:
2502:
2473:
2472:
2470:
2468:
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2431:
2430:
2427:"Bewick Society"
2423:
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2161:
2155:
2154:, pp. 18–19
2149:
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2128:
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1782:
1776:
1770:
1764:
1758:
1752:
1746:
1740:
1739:
1737:
1735:
1726:. Archived from
1724:"Bewick Society"
1720:
1714:
1708:
1702:
1696:
1690:
1684:
1678:
1672:
1663:
1662:
1660:
1658:
1642:
1636:
1631:Bewick, Thomas:
1629:
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1396:
1395:, pp. 47–48
1390:
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1383:, pp. 39–44
1378:
1372:
1371:, pp. 12–13
1366:
1360:
1359:, pp. 10–11
1354:
1348:
1342:
1336:
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1324:
1323:
1321:
1300:
1281:
1280:
1278:
1276:
1271:. National Trust
1265:
1259:
1258:
1243:(2nd ed.).
1231:
1212:
1209:
1203:
1200:
1194:
1191:
1150:
1137:
954:Charlotte Brontë
800:"The Yellow Owl"
583:Oliver Goldsmith
423:Birds of America
136:
134:
122:Isabella Elliott
80:
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51:
35:
21:
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3422:
3381:
3368:
3349:Karl von Frisch
3286:
3255:William Jardine
3145:Le Règne Animal
3116:
3064:Comte de Buffon
3025:Systema Naturae
2964:
2936:Frederik Ruysch
2914:Valerius Cordus
2904:Hieronymus Bock
2870:
2852:Natural History
2847:Pliny the Elder
2804:
2794:
2788:
2786:Natural history
2783:
2696:Wayback Machine
2674:
2617:
2587:
2578:
2576:Further reading
2568:
2539:. King Penguin.
2514:
2513:
2504:
2503:
2499:
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2398:
2388:
2386:
2384:"The Wild Bull"
2382:
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2247:Stephen, Leslie
2234:
2230:
2221:Jenny Uglow in
2220:
2216:
2204:
2200:
2189:
2185:
2176:Lyrical Ballads
2174:
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2010:
2003:
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1965:
1961:
1953:
1946:
1938:
1931:
1923:
1919:
1911:
1904:
1857:
1853:
1830:
1826:
1822:, pp. xiii
1818:
1811:
1801:
1799:
1798:on 10 June 2015
1795:
1788:
1786:"Thomas Bewick"
1784:
1783:
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1347:, pp. 6, 9
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1053:J. M. W. Turner
1030:William Yarrell
1010:
977:A solitary cow,
962:Alfred Tennyson
945:
943:
941:
939:
907:
899:Tristram Shandy
895:Laurence Sterne
814:
793:
778:On English Dogs
735:
695:
672:
660:
651:
633:
563:
513:relief printing
481:
475:
470:
454:William Hogarth
392:Tales for Youth
354:natural history
331:Charlton Nesbit
226:
164:natural history
138:
130:
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108:natural history
92:
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77:8 November 1828
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1873:(7): 970–981.
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1730:on 22 May 2009
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1175:
1163:
1162:
1161:
1156:
1138:
1127:
1118:
1108:
1105:
1097:British Museum
1070:Eric Ravilious
1057:Paolo Veronese
1009:
1006:
1002:British Museum
993:
992:
991:
990:
987:
984:
981:
978:
975:
950:
949:
948:
947:
906:
903:
861:, writes that
836:Thomas Pennant
810:Main article:
792:
787:
734:
729:
714:Robert Dodsley
710:Aesop's Fables
694:
692:Aesop's Fables
689:
671:
668:
632:
629:
627:of Yorkshire.
597:Thomas Parnell
562:
559:
533:printing press
485:wood engraving
479:Wood engraving
477:Main article:
474:
471:
469:
466:
456:'s last work,
339:Robert Johnson
335:William Harvey
294:Tail-piece in
266:Charles Hutton
225:
222:
209:Aesop's Fables
195:William Harvey
151:
150:
144:
140:
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128:
124:
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105:
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83:
81:(aged 75)
75:
71:
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64:
61:11 August 1753
47:
43:
42:
36:
28:
27:
24:
15:
9:
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3:
2:
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3390:
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3384:
3379:
3364:
3360:
3357:
3354:
3350:
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3344:
3343:
3342:On Aggression
3338:
3337:Konrad Lorenz
3335:
3332:
3328:
3325:
3322:
3321:
3316:
3313:
3310:
3309:
3304:
3303:Abbott Thayer
3301:
3299:
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3293:
3289:
3282:
3278:
3275:
3272:
3271:
3266:
3265:Ernst Haeckel
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3256:
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3246:
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3230:Louis Agassiz
3228:
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3215:Charles Lyell
3213:
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3152:William Smith
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3119:
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3106:
3103:
3100:
3099:
3094:
3093:Thomas Bewick
3091:
3088:
3087:
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3081:Gilbert White
3079:
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3032:Georg Steller
3030:
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3021:
3020:Carl Linnaeus
3018:
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2970:Enlightenment
2967:
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2666:
2665:Thomas Bewick
2662:
2659:
2655:
2652:
2648:
2646:
2645:0-9532609-9-2
2642:
2638:
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2607:
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2567:1-884718-91-4
2563:
2559:
2554:
2550:
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2542:
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2533:
2529:
2524:
2520:
2508:
2500:
2498:9781843835417
2494:
2490:
2489:
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2463:
2457:
2442:
2436:
2428:
2422:
2406:
2400:
2385:
2379:
2363:
2359:
2353:
2347:, p. 278
2346:
2341:
2339:
2331:
2326:
2324:
2317:, p. 396
2316:
2311:
2303:
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2254:
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2238:
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2226:
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2208:
2202:
2196:
2192:
2187:
2181:
2177:
2172:
2165:
2160:
2153:
2148:
2142:, p. 241
2141:
2136:
2134:
2118:
2114:
2107:
2105:
2097:
2092:
2090:
2074:
2070:
2063:
2057:, p. 174
2056:
2051:
2042:
2040:
2031:
2025:
2017:
2016:
2008:
2006:
1997:
1990:
1982:
1975:
1968:
1963:
1956:
1951:
1949:
1941:
1936:
1934:
1927:, p. 269
1926:
1921:
1915:, p. 266
1914:
1909:
1907:
1898:
1894:
1890:
1886:
1881:
1880:10.1068/p6624
1876:
1872:
1868:
1867:
1862:
1855:
1849:
1845:
1841:
1837:
1833:
1828:
1821:
1816:
1814:
1794:
1787:
1781:
1774:
1769:
1762:
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1565:
1560:
1558:
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1545:
1529:
1525:
1519:
1517:
1509:
1504:
1498:, p. 273
1497:
1492:
1485:
1479:
1473:, p. 264
1472:
1467:
1465:
1457:
1452:
1445:
1440:
1434:, p. 265
1433:
1428:
1426:
1418:
1413:
1407:, pp. 92
1406:
1401:
1394:
1389:
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1358:
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1082:
1076:
1073:
1071:
1067:
1063:
1058:
1054:
1050:
1046:
1041:
1039:
1038:British Birds
1035:
1034:Bewick's swan
1031:
1027:
1019:
1014:
1005:
1003:
998:
988:
985:
982:
979:
976:
973:
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936:
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892:
891:
885:
877:
872:
867:
862:
860:
855:
851:
849:
845:
841:
840:Gilbert White
837:
832:
828:
824:
820:
819:
813:
805:
804:British Birds
801:
797:
791:
786:
783:
779:
775:
771:
770:George Culley
766:
763:
759:
755:
751:
747:
743:
739:
733:
728:
726:
721:
719:
718:Select Fables
715:
711:
704:
699:
693:
688:
686:
676:
666:
661:
658:
656:
655:British Birds
650:
642:
641:British Birds
637:
628:
626:
622:
618:
614:
610:
606:
602:
598:
594:
593:
588:
584:
576:
572:
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557:
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546:
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536:
534:
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377:
372:
367:
365:
364:
359:
355:
351:
346:
344:
340:
336:
332:
328:
327:Luke Clennell
324:
323:John Anderson
320:
315:
311:
308:
299:
298:
292:
288:
284:
282:
281:
275:
271:
267:
263:
258:
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247:
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230:
221:
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213:
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210:
205:
204:
198:
196:
192:
191:Luke Clennell
188:
187:John Anderson
184:
180:
175:
173:
169:
165:
161:
160:wood-engraver
157:
156:Thomas Bewick
149:
146:4, including
145:
141:
119:
115:
109:
106:
104:
103:Wood engraver
101:
100:
99:
95:
90:
86:
76:
72:
67:
48:
44:
40:
34:
29:
25:Thomas Bewick
22:
19:
3428:
3362:
3352:
3340:
3330:
3318:
3315:Hugh B. Cott
3306:
3291:20th century
3280:
3268:
3258:
3201:
3184:
3172:
3160:
3143:
3131:
3121:19th century
3108:
3096:
3092:
3084:
3067:
3055:
3047:James Hutton
3037:Joseph Banks
3023:
2983:Micrographia
2981:
2978:Robert Hooke
2958:
2948:
2944:
2927:
2892:
2862:
2850:
2840:
2828:
2825:Theophrastus
2816:
2664:
2657:
2650:
2636:
2629:
2620:
2611:
2597:
2589:
2557:
2548:
2545:Uglow, Jenny
2536:
2527:
2487:
2465:. Retrieved
2456:
2444:. Retrieved
2435:
2421:
2409:. Retrieved
2399:
2387:. Retrieved
2378:
2366:. Retrieved
2362:the original
2352:
2310:
2301:
2292:
2279:
2270:
2261:
2250:
2231:
2224:The Guardian
2223:
2217:
2206:
2201:
2195:Google Books
2190:
2186:
2175:
2171:
2159:
2147:
2120:. Retrieved
2117:The Guardian
2116:
2076:. Retrieved
2072:
2062:
2050:
2024:
2014:
1995:
1989:
1980:
1974:
1962:
1942:, p. 15
1920:
1870:
1864:
1854:
1835:
1827:
1800:. Retrieved
1793:the original
1780:
1768:
1756:
1744:
1732:. Retrieved
1728:the original
1718:
1706:
1694:
1682:
1655:. Retrieved
1651:the original
1640:
1632:
1627:
1607:. Retrieved
1583:
1571:
1544:
1532:. Retrieved
1528:the original
1503:
1491:
1483:
1478:
1458:, p. 26
1451:
1439:
1412:
1400:
1388:
1376:
1364:
1352:
1340:
1328:
1307:
1273:. Retrieved
1269:"Cherryburn"
1263:
1239:
1207:
1198:
1189:
1166:
1142:
1131:
1114:
1107:Bibliography
1086:
1080:
1078:
1074:
1062:Gwen Raverat
1042:
1037:
1025:
1023:
994:
965:
951:
928:dedicated a
923:
908:
890:The Guardian
888:
881:
875:
874:A page from
864:
856:
852:
847:
830:
826:
825:in 1797 and
822:
816:
815:
803:
789:
777:
773:
767:
737:
736:
731:
724:
722:
717:
707:
702:
691:
681:
663:
659:
654:
652:
640:
625:North Riding
612:
608:
600:
590:
586:
580:
554:
549:
544:
540:
537:
509:
482:
457:
449:
447:
439:John Peacock
432:
427:
421:
415:
410:
408:
403:
399:
391:
387:
385:
369:
361:
357:
349:
347:
316:
312:
303:
295:
285:
277:
262:Ralph Beilby
259:
235:
214:
207:
201:
199:
179:Ralph Beilby
176:
171:
155:
154:
79:(1828-11-08)
39:James Ramsay
37:Portrait by
18:
3446:1828 deaths
3441:1753 births
3363:Shearwaters
3220:Mary Anning
3005:Hans Sloane
2955:John Gerard
2949:New Herball
2876:Renaissance
2859:Dioscorides
2795:naturalists
2515:|work=
2285:Museum site
1969:, p. 1
1940:Rayner 1947
1657:25 November
1456:Rayner 1947
1335:, p. 7
1089:West Denton
1045:John Ruskin
1043:The critic
1016:Woodcut by
884:fingerprint
859:Jenny Uglow
631:Tail-pieces
561:Major works
521:letterpress
411:Water Birds
404:Water Birds
270:measurement
97:Occupations
3435:Categories
2793:Pioneering
2345:Dixon 2010
2330:Uglow 2009
2315:Uglow 2009
2164:Uglow 2009
2140:Uglow 2009
2096:Uglow 2009
2078:14 January
2055:Uglow 2009
1955:Dixon 2010
1925:Dixon 2010
1913:Dixon 2010
1866:Perception
1844:071412608X
1820:Uglow 2009
1773:Uglow 2009
1761:Uglow 2009
1749:Uglow 2009
1711:Uglow 2009
1699:Uglow 2009
1687:Uglow 2009
1675:Uglow 2009
1621:required.)
1564:Uglow 2009
1549:Uglow 2009
1508:Uglow 2009
1496:Dixon 2010
1482:Quoted in
1471:Dixon 2010
1444:Dixon 2010
1432:Dixon 2010
1417:Uglow 2009
1405:Uglow 2009
1393:Uglow 2009
1381:Uglow 2009
1369:Uglow 2009
1357:Uglow 2009
1345:Uglow 2009
1333:Uglow 2009
1304:Bain, Iain
1219:References
897:played in
685:bookplates
670:Bookplates
603:, and for
545:Quadrupeds
525:engravings
495:, in hard
458:The Bathos
428:Quadrupeds
358:Land Birds
238:Cherryburn
57:1753-08-11
2813:Aristotle
2805:antiquity
2803:Classical
2735:from the
2547:(2009) .
2517:ignored (
2507:cite book
2180:Gutenberg
1834:(1996b),
1149:(London).
1066:Paul Nash
958:quatrains
587:Traveller
473:Technique
91:, England
85:Gateshead
68:, England
3240:Asa Gray
3052:John Ray
2692:Archived
2239:(1885).
1889:20842973
1734:16 April
1609:11 March
1237:(1996).
1099:and the
905:Tributes
772:'s 1786
762:John Ray
754:Linnaeus
621:Wycliffe
575:Wycliffe
497:box wood
462:Ovingham
255:Ovingham
251:colliery
218:woodcuts
143:Children
2726:at the
2479:Sources
2467:29 June
2446:29 June
2389:29 June
2249:(ed.).
1897:8200380
1049:Holbein
750:Zorilla
742:mammals
623:in the
527:are an
519:as the
489:woodcut
244:, near
168:cutlery
137:
129:
125:
53:
3386:Topics
2837:Aelian
2643:
2604:
2564:
2495:
2411:21 May
2368:21 May
2122:21 May
1895:
1887:
1842:
1802:21 May
1615:
1600:
1534:21 May
1275:21 May
1251:
1081:Memoir
1055:, and
1032:named
1008:Legacy
930:sonnet
844:Buffon
806:, 1797
758:Buffon
748:" to "
643:, 1797
601:Hermit
595:, for
541:Fables
443:Robert
280:Mr Gay
193:, and
117:Spouse
110:author
89:Durham
2245:. In
2211:p.103
1893:S2CID
1796:(PDF)
1789:(PDF)
1181:Notes
1026:Birds
831:Birds
802:from
746:Adive
609:Chase
517:forme
131:(
127:
3407:List
3397:List
2641:ISBN
2602:ISBN
2562:ISBN
2519:help
2493:ISBN
2469:2019
2448:2019
2413:2013
2391:2019
2370:2013
2124:2013
2080:2013
1885:PMID
1840:ISBN
1804:2013
1736:2015
1659:2012
1611:2023
1598:ISBN
1536:2013
1277:2013
1249:ISBN
1068:and
838:and
760:and
589:and
543:and
468:Work
319:John
224:Life
162:and
148:Jane
74:Died
46:Born
2717:at
1875:doi
1590:doi
1314:doi
1091:in
846:'s
716:'s
607:'s
599:'s
585:'s
573:of
181:in
3437::
2947:,
2744:,
2511::
2509:}}
2505:{{
2337:^
2322:^
2300:.
2269:.
2178:,
2132:^
2115:.
2103:^
2088:^
2071:.
2038:^
2004:^
1947:^
1932:^
1905:^
1891:.
1883:.
1871:39
1869:.
1863:.
1846:,
1812:^
1667:^
1596:.
1582:.
1556:^
1515:^
1463:^
1424:^
1285:^
1226:^
1051:,
1040:.
850:.
756:,
345:.
337:,
333:,
329:,
325:,
257:.
189:,
174:.
133:m.
87:,
50:c.
3409:)
3405:(
3399:)
3395:(
3365:)
3361:(
3355:)
3351:(
3345:)
3339:(
3333:)
3329:(
3323:)
3317:(
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