JJA wrote in the Ornithological Biography that he had never seen this western duck and, therefore, “I have introduced a figure of it taken by my son John Woodhouse, from a beautiful specimen in the Museum of Norwich, in England.” The watercolor of the standing bird after a stuffed specimen (1863.18.37) was predominantly by JJA’s son. After studying his son’s work, with great imagination and knowledge, he animated the bird in his own watercolor of the species (1863.17.429). Then, he instructed Havell to combine the two in the engraving (Figure 1), placing the more horizontal adult bird in the foreground with the head and neck of the more vertically positioned juvenile behind the grass at the right.
Audubon’s Aviary: Part I and Part II of The Complete Flock
Powerful and fast-flying (speeds up to 69 miles per hour), the Peregrine Fa[...]
After the publication of the first volume of the Ornithological Biography i[...]
Letter from Lucy Audubon (New York, New York) to Frederic De Peyster (New York, New York), February 13, 1863
In this letter to Frederic De Peyster, who brokered the sale of Audubon’s w[...]
Letter from John James Audubon (Liverpool, England) to Robert Havell Jr. (London, England), December 31, 1827
This letter dates from the first year of the Audubon-Havell collaboration, [...]
Museum StoreWritten by Roberta J.M. Olson with a contribution by Marjorie Shelley, Audubon’s Aviary: The Original Watercolors for the Birds of America returns to these original paintings and tells the story behind this monumental classic with new discoveries about this American icon. Audubon’s Aviary was awarded the 2013 Association of Art Museum Curators Outstanding Permanent Collection Catalogue Prize, as well as the Henry Allen Moe Prize for Catalogs of Distinction in the Arts, the New York State Historical Association, 2013. It was also selected as one of Amazon.com’s 2012 Best Books of the Year and the 2013 New York Book Show Award winner in the category of Fine Art.