Table Of ContentFeather and Brush traces the history of bird art in Australia – from the simple engravings F SECOND EDITION
illustrating accounts of the earliest European voyages of discovery to the diversity of artwork
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available today. It explores the early European approach, in which naval draughtsmen,
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officers, convicts, settlers, naturalists, artists and scientists alike contributed both to the art
and the science of ornithology, through to a wealth of contemporary artists who feature birds T
in their works. H
This book contains more than 400 images, representing the work of 158 artists; some
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well-known, others published for the first time. The illustrations have been selected for their
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interest, whether ornithological, historical or artistic. They range from classical to quirky,
decorative to functional, monumental to intimate. Together they demonstrate the rich history
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of Australian bird art, as it evolved in Europe and Australia, and continues today, along with
the trends and technologies of the times. N
This second edition includes new and revised chapters, and features about 200 new artworks, D
including some by Indigenous artists.
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ABOUT THE AUTHOR R
Penny Olsen is an award-winning research scientist and author. She has written more than U
30 books on Australia’s natural history and its practitioners. Feather and Brush developed
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from her belief that Australia has a fascinating ornithological history, which is incomplete
without full recognition of the contributions of artists and illustrators. H
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publish.csiro.au
PENNY OLSEN
THIS BOOK IS DEDICATED TO WILDLIFE ARTISTS EVERYWHERE BUT PARTICULARLY TO
the memory of Robert Ulmann, Lars Knudsen, William T. Cooper, Peter Slater, Mulkuṉ
Wirrpanda and Michael Oberhofer, who died since the preparation of the first edition, or
during preparation of the second, and were a source of inspiration to the author.
FEATHER AND BRUSH
JOHN GOULD and HENRY CONSTANTINE RICHTER Southern Cassowary Casuarius
casuarius. Hand-coloured lithograph; 53.5 × 37 cm; 1869. Richter became Gould’s primary
illustrator for The Birds of Australia after Elizabeth Gould’s death. The cassowary was
previously known from New Guinea but was not discovered in Australia until 1848 on the
ill-fated Kennedy Expedition to Cape York. Jacky Galmarra, an Indigenous guide from the
Blue Mountains, shot one for food, and naturalist Thomas Wall attempted to preserve the
remainder. The skin was lost but word got back to Sydney that the expedition had seen
a cassowary. Nearly two decades later, ornithologists obtained a specimen and, in 1868,
one was sent to the Zoological Society in England. Gould used this and descriptions of the
colours of the soft parts to inform the illustration. NATIONAL LIBRARY OF AUSTRALIA
SECOND EDITION
F E AT H E R A N D B R U S H
A H I S T O R Y O F A U S T R A L I A N B I R D A R T
PENNY OLSEN
© Text: Penny Olsen 2022
© Artwork: The Artists 2022
All rights reserved. Except under the conditions described in the Australian Copyright Act 1968 and subsequent
amendments, no part of this publication may be reproduced, stored in a retrieval system or transmitted in any
form or by any means, electronic, mechanical, photocopying, recording, duplicating or otherwise, without the prior
permission of the copyright owner. Contact CSIRO Publishing for all permission requests.
Penny Olsen asserts her right to be known as the author of this work.
A catalogue record for this book is available from the National Library of Australia.
ISBN: 9781486314171 (hbk)
ISBN: 9781486314188 (epdf)
ISBN: 9781486314195 (epub)
How to cite:
Olsen P (2022) Feather and Brush: A History of Australian Bird Art. 2nd edn. CSIRO Publishing, Melbourne.
Published by:
CSIRO Publishing
Private Bag 10
Clayton South VIC 3169
Australia
Telephone: +61 3 9545 8400
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Front cover: GREG POSTLE Yellow Chat Epthianura crocea. Oil on canvas, 70 × 35 cm; 2017.
Back cover: Detail from RICHARD WEATHERLY Yellow-tailed Black-Cockatoos Zanda funerea. Oil on linen,
60 × 90 cm; 2016.
Endpapers: Feather illustrations by Bodor Tivadar/Shutterstock.com.
Title page: JOHN HUNTER Tail feathers from Yellow-tailed Black-Cockatoo Zanda funerea (left) and Glossy Black-
Cockatoo Calyptorhynchus lathami (centre and right). Watercolour, 22.6 × 18.3 cm; 1788–1790. NATIONAL LIBRARY
OF AUSTRALIA
Page 219: Feather illustration by mashakotcur/Shutterstock.com.
Edited by Adrienne de Kretser, Righting Writing
Cover design and typeset by Cath Pirret Design
Index by Indexicana
Printed in China by Leo Paper Products Ltd
CSIRO Publishing publishes and distributes scientific, technical and health science books, magazines and journals
from Australia to a worldwide audience and conducts these activities autonomously from the research activities of
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are those of the author(s) and do not necessarily represent those of, and should not be attributed to, the publisher
or CSIRO. The copyright owner shall not be liable for technical or other errors or omissions contained herein. The
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CSIRO acknowledges the Traditional Owners of the lands that we live and work on across Australia and pays its
respect to Elders past and present. CSIRO recognises that Aboriginal and Torres Strait Islander peoples have made
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The use of Western science in this publication should not be interpreted as diminishing the knowledge of plants,
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Jan22_01
CONTENTS
Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .vii
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi
Cultural sensitivity warning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii
1. INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
2. NEW LAND, NEW BIRDS:
SEAMEN AND DRAUGHTSMEN, 1600–1777 . . . . . . . . . . . . . . . . . . . . . . . . . . 17
3. THE ESCAPE OF NATURAL HISTORY STUDY:
CONVICTS AND OFFICERS, 1788–1800 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
4. STIRRINGS OF AN AUSTRALIAN SENSIBILITY:
SETTLERS AND SURVEYORS, 1800–1840 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
5. THROUGH DISTANT EYES:
NATURAL HISTORY ARTISTS IN EUROPE, 1770–1840 . . . . . . . . . . . . . . . . .73
6. A SYNERGY OF ART AND SCIENCE:
JOHN AND ELIZABETH GOULD AND THE
AUSTRALIA-BASED ARTIST-CATALOGUERS, 1840–1900 . . . . . . . . . . . . . .99
7. FAMILY AFFAIRS:
NATURAL HISTORY ARTISTS IN EUROPE, 1840–1940 . . . . . . . . . . . . . . . . .131
8. ART AND SCIENCE ESTRANGED:
INERTIA AND AN AUSTRALIAN FIELD GUIDE, 1900–1960 . . . . . . . . . . . . . .151
9. ART AND SCIENCE REGROUP:
BIRD-LOVERS AND CONSERVATIONISTS IN AUSTRALIA,
1960–2000 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
10. ILLUSTRATION FOR FIELD IDENTIFICATION:
FIELD GUIDES AND HANDBOOKS, 1920–2020 . . . . . . . . . . . . . . . . . . . . . . 179
11. ART IN THE ANTHROPOCENE:
AUSTRALIAN ARTISTS, 2000–2020 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
12. THE CONTEMPORARY ARTISTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .324
Alphabetical list of artists represented . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .330
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .332
GREG POSTLE Australian Reed-Warbler Acrocephalus
australis. Acrylic and oil; 81 × 71 cm; 1999.
PREFACE
BIRDS HAVE LONG BEEN POPULAR SUBJECTS It is impossible to review the history of Australia’s
for artists, from scientific illustrators to great masters, bird art without delving into its ornithological history.
whether working on cave walls, watercolour paper, Unfortunately, these foundations in scientific illustration
large canvases or sculptures. Their purpose might only help to fuel the art versus illustration debate, so
be practical, aesthetic, symbolic, humorous, joyful, prevalent in discussions on the merits of contemporary
spiritual, political, scientific or ecological. Their wildlife art. Typically, in art schools, they are taught as
representation might be realistic or conceptual, independent subjects – illustration with the intention of
innovative or conventional, detailed or sketchy, or earning money, fine art with the intention of harnessing
anywhere between. the creative spirit. I have aimed to cover the continuum
Australia is home to some of the earliest human between purely didactic illustration and fine art and
representations of birds, testament to their enduring leave it to the individual viewer to decide where, or
importance to humankind. We also have a rich even whether, to draw a line between the two. After all,
history of European bird art, which flourished from any division between art and illustration is necessarily
the late eighteenth through the nineteenth century subjective. As some of the artists represented in the
alongside development of the nation. In the twentieth book commented: ‘at one extreme it’s bleeding obvious
century, increasing interest in the environment led and at the other it hardly matters’ (Peter Marsack), ‘the
to its revitalisation. A diversity of contemporary good ones are worth looking at, whether illustration or
Australian artists has turned their attention to birds art’ (Peter Slater) and ‘what is illustration today could
and never before has such a range of approaches be art tomorrow’ (Rob Freeman). Indeed, several of
been so acceptable. Some have taken the tradition of the historical portraits of birds, only ever intended to
realistic bird art to the heights of excellence, others are be illustrations for ornithological tests, are now highly
happy in the popular arena, and still others aspire to regarded and valued as works of art.
that grey area known as ‘fine art.’ With such a vibrant Many of the contributors to this book would not wish
and varied heritage and a wealth of current artists, it to be known as bird or wildlife artists, but simply as
seemed opportune, if not overdue, to bring them all artists, and a concern is that by bringing them together
together in Feather and Brush: A History of Australian it may appear that I am promoting this dubious genre.
Bird Art. However, I believe that this book will serve to illustrate
vii
that wildlife art is a convenient but arbitrary category, basically separating the artists who had never been to
distinctive only in subject matter. A fascination with Australia from those who had. The Goulds straddle that
birds can be a powerful unifier, linking author, artist divide, Elizabeth and John having seen some species
and audience. when they visited Australia, but not those discovered
In the original edition of this book, in 2001, I wrote: later or painted in England by John’s other artists. There
is an additional chapter covering the two decades since
My hope is for better acceptance and support
the first edition. The chapter on contemporary artists is
of wildlife art beyond an enthusiasm for
completely new. Hopefully, most of the errors in the first
calendars, stamps and gift cards, and for the
edition have been addressed and further information,
old favourites, kookaburras, blue wrens and
not available then, has been added.
pelicans. The establishment of a few dedicated,
The greater part of the book was relatively
enthusiastic wildlife galleries and a prestigious
straightforward. I aimed to place the wildlife artists
annual or biennial exhibition such as that at
working today in context by presenting a potted
the Leigh Yawkey Woodson Art Museum in the
history of Australian natural history art relating to
USA, would do much to increase the currency
birds, accompanied by a selection of illustrations
and focus of artists.
representative of the various times. Although hardly
There has been some positive change. To an extent, an in-depth analysis, I also attempted to position
artists can now create their own market by establishing the artists and their art alongside the major events
websites and selling online – not only originals and and trends of their times, both as influencees and
prints but also mugs, tea-towels and other merchandise influencers. I selected some famous illustrations, some
– soliciting commissions and conducting art workshops. ornithologically significant illustrations and some
There are two relevant national prizes: the Waterhouse that appealed because of their beauty, quirkiness or
Natural Science Art Prize, based at the South Australian particular relevance to the times.
Museum, and the Holmes Prize for Realistic Australian When it came to the contemporary artists, the
Bird Art, sponsored by Sunshine Coast dermatologist path was less clear. In the first edition, sticking with
Gary Holmes and run by the Friends of the Caloundra two-dimensional art, I started with artists I knew and
Regional Gallery. Occasionally, other regional galleries admired and asked them to nominate others. This time,
hold solo or group exhibitions of wildlife art and the any artists from the first edition were again included,
Melbourne-based Wildlife Art Society of Australasia and provided they lived in Australia, I could track them
Brisbane-based Queensland Wildlife Artists Society aim down and they were still painting birds. The remainder
to stage regular exhibitions of members’ works. Several were either recommended to me or I found online.
artists represented in this book have been accepted There were no strict criteria for inclusion: mainly
into the Leigh Yawkey Woodson and some have had that that birds were an important part of their oeuvre
their work acquired by the museum, but many artists and they added to the variety of approaches, which
do not enter competitions and some are so busy with meant that some worthy practitioners missed out. To
commissions and other projects that they rarely exhibit. my delight almost everyone accepted my invitation;
Regrettably, the degree in natural history illustration, no-one declined, but a few did not reply to my emails.
first offered by the University of Newcastle in 2003 – and Everything was so much easier this time around.
the only such course in Australia for aspiring wildlife A great deal is online – a gift to researchers and fact-
artists – was terminated in 2021. And an attempt to checkers. Trove, the Biodiversity Heritage Library, Project
establish the Wildlife Art Museum Australia, at Halls Gutenberg Australia, Design and Art Australia Online
Gap, Victoria, is making slow progress. and various online library catalogues were a boon. Not
What has changed in Feather and Brush since the first least, rather than mailing precious transparencies which
edition? I have divided a few of the original chapters, had to be returned, digital files landed in my inbox in
viii FEATHER AND BRUSH
