Animals Drawn from Nature and Engraved in Aqua-tinta is a book written and illustrated by Charles Catton the younger and published in London in 1788. It is a very early example of a work including hand-coloured aquatints. The thirty-six animals described, all mammals except for the crocodile, were from both the New World and the Old World. At the time Catton had not travelled abroad so he drew native British animals as well as exotics kept in captivity in Britain.
Catton was by profession an artist who was taught his skills by his father, also called Charles Catton, who is known in the history of art as Charles Catton the elder.
The elder Catton (1728–1798) was apprenticed to a coach builder at a time when it was fashionable to have heraldic coats of arms painted on the sides of the coaches. He became skilled in the artistic part of his trade and was well known for his ability at painting animals supporting coats of arms in a naturalistic way rather than heraldically. [1] As well as becoming coach painter to George III he became an accomplished portraitist and a founder member of the Royal Academy. [1]
Charles Catton the younger (1756–1819) was apprenticed to his father, working closely to his style, and was trained at the Royal Academy schools. [1] [2] He exhibited regularly at the academy (1775–1800) – landscapes, animals and topographical watercolours – and was an occasional scene painter at Covent Garden Theatre (1781–1794). [3] [4] He toured Great Britain making paintings and sketches, many of which were later engraved by others but he was a skilled engraver himself. He did not leave Britain until he emigrated to the United States in 1804. [2] [5] [4]
Shortly after "Animals" was published he contributed some illustrations for John White's 1790 Journal of a Voyage to New South Wales. [6]
Animals was first published in 1788 in London by I. and J. Taylor and then again in 1825 in New Haven by H. Howe, a local bookseller and publisher. [7] Thirty-six animals are described, each having a whole-page illustration and a page of text – 74 pages in all. The first edition is upright folio (2°), 16.8 by 10.8 inches (426 by 275 mm) and the prints are 12 by 8 in (300 by 200 mm). [8] The text and most of the illustrations are orientated sideways so the pages are in landscape format. [9] The binding is calfskin with gilt embellishments and the spine is in seven panels with a morocco leather title label in the second panel. The endpapers are with spot and veined marbling. [9] [note 1]
The Österreichische Nationalbibliothek in Vienna has placed page images of its first edition online. [10] The book is also hosted on the Internet Archive. [11] and a proofread text version is on Wikisource at Animals drawn from Nature and engraved in aqua-tinta. [note 2]
In the first edition the aquatints are coloured and, according to Sarah Prideaux (1909) [5]
"There are very few books on natural history illustrated in aquatint, but these are, for various reasons, of considerable interest. The earliest use of aquatint for this class of subject that I have found is in a book of Charles Catton, Animals drawn from Nature, with coloured plates in line and aquatint, all of which are covered with a thick yellow varnish. At the bottom of each plate is Drawn from life and engraved by Charles Catton, Jun. No. 7 on the Terrace, Tottenham Court Road, and the date, which is generally 1788; on one, however, it is 1787, and a few are undated."
The "thick yellow varnish" referred to by Prideaux is very evident in the scan available. An example of the American 1825 edition is described as having its images uncoloured. [15]
When describing prints, "hand-coloured" means that a monochrome print has been painted afterwards. This is to be distinguished from "colour-printed" which means that the printing itself was in colour. Colour printing could be produced either by painting the plate carefully with differently coloured inks and then making a single pressing, or by making a number of plates, engraved appropriately for each colour, and making sequential impressions. These techniques may be combined in a single illustration. [16] An example of the British 1788 edition of Animals is described as having "hand-coloured aquatint plates by and after Catton, heightened with white and gum arabic." meaning that the illustrations were coloured afterwards and the reference to gum arabic further suggests that this what is meant. [9] According to Baynton-Williams (1990) [16]
"Despite the fact that stipple engraving and mezzotints were being printed in colours at the time aquatinting started, it was some time before aquatints were colour-printed. James Molton first published a series of views titled Picturesque Views of the City of Dublin in 1795, printed in monotone, but there is a colour version printed in 1798, which is probably the first colour aquatint book."
In 1791 the book was on sale for £3 17s 0d (equivalent to £580in 2023) and £9 5s 0d (£1410) if the plates were coloured, [note 3] but by 1831 the inclusive price was only £3 13s 6d (£420) with the recommendation "Catton was an eminent coach-painter and a very superior draftsman. The above work is scarce in any state, but particularly so in colours and varnish, in which state the plates have the appearance of oil paintings." [17] In 2006 a British first edition sold at Christie's for £3,600 ($6,401 then) and in 2016 an American edition sold for $1,845 (£1,494 then). [18] [15]
Before Catton's book had been published, Thomas Bewick, who had been preparing his own book with monochrome woodcut engravings, A General History of Quadrupeds (1790), got into "a pitch of nervous curiosity" about the forthcoming competition. However, when he saw Catton's work he thought the prints were feeble and the book was considerably overpriced – when "Quadrupeds" was published in 1790 it was "greeted with delight". [19] What Catton had called an "animal of the bear kind" (and what is now known as a sloth bear) made its appearance in Bewick's second, 1791, edition of "Quadrupeds" although it was not named in any way. [20] [note 4] At the end of the 18th century, it was controversial whether this creature was a bear-like sloth or a sloth-like bear, and the matter was still worthy of comment in Richard Owen's 1833 Zoological Magazine where Bewick is praised but Catton is given a slightly adverse review: [21]
"Bewick, in his History of Quadrupeds, has given a characteristic figure and an accurate description of this species; and from the striking correspondence of parts observable between it and the common bear, as well as from an attentive examination of its disposition and manners, he was induced to place it in the same genus, notwithstanding it seemed to differ in some of those characteristics, which have been pointed out by naturalists as the guides to a regular and systematic arrangement. In an earlier and ruder figure, which we find in Caton's Figures of Animals, the good sense of the artist also detected the true relations of this subject, and the animal is called the Petre Bear."
Bewick's engravings in Quadrupeds were not beyond all criticism. Bewick's brother John was dealing with the publishers and wrote to Thomas: [19]
"I was exceeding sorry, & vext, to see your Hyena done without a tail, an Animal so particularly well known among the Curious, I should thout you might have seen Mr Cattons, which is a pretty good one, I was obliged to cut it from the Proposals as I could not show it to any Body."
To remedy this sorry situation Bewick cut out part of his wood block and inserted a new piece of wood so that he could engrave a tail. [19]
Despite the title of Catton's book the animals were not all drawn from nature and not even from life as his individual texts sometimes acknowledge. [22]
Catton did not use Linnaean taxonomy and his descriptions were those of an artist experienced in careful observation, not of an experienced naturalist. Hence, except when he uses the same name as is extant (even if rather archaic), this section records what experienced naturalists have later claimed are the specific identifications (sometimes from first-hand knowledge) or what Catton himself said were other naturalists' identifications. No attempt is made here to make identifications based on Catton's physical or behavioural descriptions, or from his illustrations.
This is a partial list of people mentioned in the book.
The University of Delaware has information on coloured printing and colour printing. [52]
Illustrations from a different example of the 1788 edition, once owned by the Duke of Gloucester. [note 14] [9] [18]
Animals Drawn From Nature And Engraved in Aqua Tinta (1788) Upright at the Internet Archive
Aquatint is an intaglio printmaking technique, a variant of etching that produces areas of tone rather than lines. For this reason it has mostly been used in conjunction with etching, to give both lines and shaded tone. It has also been used historically to print in colour, both by printing with multiple plates in different colours, and by making monochrome prints that were then hand-coloured with watercolour.
Thomas Bewick was an English wood-engraver and natural history author. Early in his career he took on all kinds of work such as engraving cutlery, 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 A History of Quadrupeds.
The sloth bear, also known as the Indian bear, is a myrmecophagous bear species native to the Indian subcontinent. It feeds on fruits, ants and termites. It is listed as vulnerable on the IUCN Red List, mainly because of habitat loss and degradation. It is the only species in the genus Melursus.
The Turkish Angora is a breed of domestic cat. Turkish Angoras are one of the ancient, natural breeds of cat, having originated in central Anatolia. The breed has been documented as early as the 17th century. Outside of the United States, the breed is usually referred to as simply the Angora or Ankara cat. These cats have slender and elegant bodies.
Wood engraving is a printmaking technique, in which an artist works an image into a block of wood. Functionally a variety of woodcut, it uses relief printing, where the artist applies ink to the face of the block and prints using relatively low pressure. By contrast, ordinary engraving, like etching, uses a metal plate for the matrix, and is printed by the intaglio method, where the ink fills the valleys, the removed areas. As a result, the blocks for wood engravings deteriorate less quickly than the copper plates of engravings, and have a distinctive white-on-black character.
Thomas Daniell was an English landscape painter who also painted Orientalist themes. He spent seven years in India, accompanied by his nephew William, also an artist, and published several series of aquatints of the country.
William Daniell (1769–1837) was an English landscape and marine painter, and printmaker, notable for his work in aquatint. He travelled extensively in India in the company of his uncle Thomas Daniell, with whom he collaborated on one of the finest illustrated works of the period – Oriental Scenery. He later travelled around the coastline of Britain to paint watercolours for the equally ambitious book A Voyage Round Great Britain. His work was exhibited at the Royal Academy and the British Institution and he became a Royal Academician in 1822.
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Thomas Malton, was an English painter of topographical and architectural views, and an engraver. J. M. W. Turner and Thomas Girtin were amongst his pupils. He is designated "the younger" to differentiate him from his father Thomas Malton, the Elder.
Jemima Wedderburn Blackburn was a Scottish painter whose work illustrated rural life in 19th-century Scotland. One of the most popular illustrators in Victorian Britain, she illustrated 27 books. Her greatest ornithological achievement was the second edition of her Birds from Nature (1868). Most of the illustrations were watercolours, with early paintings often including some ink work. A few were collages in which she cut out a bird's outline and transferred it to a different background, in a similar manner to John James Audubon. Her many watercolours showed daily family life in the late 19th-century Scottish Highlands as well as fantasy scenes from children's fables. She achieved widespread recognition under the initials JB or her married name Mrs. Hugh Blackburn.
Robert John Thornton (1768–1837) was an English physician and botanical writer, noted for A New Illustration of the Sexual System of Carolus Von Linnæus (1797–1807) and "The British Flora" of 1812.
Edmund Evans was an English wood-engraver and colour printer during the Victorian era. He specialized in full-colour printing, a technique which, in part because of his work, became popular in the mid-19th century. He employed and collaborated with illustrators such as Walter Crane, Randolph Caldecott, Kate Greenaway and Richard Doyle to produce what are now considered to be classic children's books. Little is known about his life, although he wrote a short autobiography before his death in 1905 in which he described his life as a printer in Victorian London.
Francis Jukes (1745–1812) was a prolific engraver and publisher, chiefly known for his topographical and shipping prints, the majority in aquatint. He worked alongside the great illustrators of the late eighteenth century. He contributed numerous plates to various publications of rural scenes. His early prints were published in collaboration with Valentine Green, and later worked in collaboration with the engraver and publisher Robert Pollard.
Charles Catton the younger was an English-born American topographical artist, illustrator, theatrical scene-painter, and slave-owner.
A History of British Birds is a natural history book by Thomas Bewick, published in two volumes. Volume 1, Land Birds, appeared in 1797. Volume 2, Water Birds, appeared in 1804. A supplement was published in 1821. The text in Land Birds was written by Ralph Beilby, while Bewick took over the text for the second volume. The book is admired mainly for the beauty and clarity of Bewick's wood-engravings, which are widely considered his finest work, and among the finest in that medium.
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