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Instead, she found the lushly forested watersheds and waterways that Audubon had passionately described in his journals vastly altered with many of the bird species extinct and their supporting habitat all but disappeared. Industrial buildings, parking lots, and strip malls had overtaken much of the area, edging out the natural world. It was a country no more. \u003c\/p\u003e\u003cp\u003eWith a vintage Hasselblad film camera in hand, Elrick traveled more than 45,000 miles over ten years, following in the footsteps of Audubon as she sought clues to what had happened to these places and to the animals and peoples who once lived there. Starting at his home in Mill Grove near Philadelphia, she retraced Audubon's many journeys to the bluffs of Cincinnati overlooking the Ohio River; to the key port town of Henderson, Kentucky; to the confluence of the Ohio and Mississippi Rivers and the burgeoning frontier towns of Natchez in Mississippi and St. Francisville and New Orleans in Louisiana; then back east to Charleston in South Carolina and St. Augustine and Key West in Florida on the Atlantic Coast; and on to far West and the confluence of the Missouri and Yellowstone Rivers; and on a final journey to Audubon's gravesite in the Trinity Church Cemetery in New York City. What a journey. \u003c\/p\u003e\u003cp\u003eAudubon's approach to painting birds was unique. He would kill however many birds he needed, brought them back to a studio or a room where he was lodging, constructed scenes with backdrops from a variety of locales, and rendered them in the paintings we revere today. Elrick responds to that approach by creating collages of her own, integrating the black-and-white images she made of the places Audubon and she traveled through with historic bank notes, period maps, and other ephemera that yield fascinating insights into the landscapes of Audubon today. And we see the changes and resulting effects on the natural world and its species as well as on the lives of the Native Americans and African Americans who once occupied the areas during Audubon's day. \u003c\/p\u003e\u003cp\u003eIn her research Elrick also discovered - as his biographers have - that Audubon himself was something of an enigma, a fabulist who told enchanting yet often conflicting stories about his own history and identity and what he saw in the field. 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The book is landscape format printed on fine quality satin art paper and the size is 350 mm x 305 mm.\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eWell before the Australian coastline was first sighted, European voyagers coming to the \u003ci\u003e'Spice Islands'\u003c\/i\u003e in Southeast-Asia were told of a great land to the south where there occurred many parrots a \u003ci\u003e'Land of Parrots'\u003c\/i\u003e. From the time of European settlement Australian parrots have fascinated naturalists and artists, with species found in the vicinity of Port Jackson featuring in the Collection of First Fleet Artwork. Approximately one-sixth of the world's species occur in Australia and no other country has such a richness and diversity of forms. This strong diversity is a legacy of the Gondwanan ancestry of parrots, with focus on Australasia as the most likely centre of origin.\u003c\/p\u003e\n\u003cp\u003eThis book adopts an entirely new approach with the integration of an updated technical text and an exciting visual record of the beauty, diversity and appeal of Australian parrots. It is a tribute to William (Bill) Cooper, and features numerous previously unpublished field sketches, preliminary drawings and spectacular paintings of parrots in their natural environment. No Australian artist has left such a wealth of scientifically accurate visual records of Australian parrots engaging in their daily activities, and now for the first time readers of this book can enjoy and appreciate this outstanding legacy.\u003c\/p\u003e\n\u003cp\u003eProbably no artist has been more closely associated with parrots than Bill Cooper, and his spectacular paintings of Australian species have met with universal acclaim. He certainly enjoyed painting parrots, especially the black cockatoos with which he felt a strong affinity. He was an experienced field observer with an eye for detail - a legacy of his lifelong love of the Australian bush. That experience is reflected in his artwork, especially in the finely detailed field sketches and drawings. He worked quickly and achieved a prolific output, amassing a vast collection of drawings that he had available for use as reference material when needed. These are now held by the State Library of New South Wales. Most of these annotated drawings and part-coloured sketches have not been published until now and their reproduction for the first time in this book, gives readers an opportunity to appreciate the workmanship of arguably Australia's greatest wildlife artist.\u003c\/p\u003e\n\u003cp\u003eBill's skill and talent as a botanical artist is widely acknowledged, and his exquisite drawings of food plants and habitat vegetation reproduced in this book are further evidence of his outstanding craftsmanship.\u003c\/p\u003e\n\u003cp\u003eIn the 15 years since Joseph Forshaw last wrote about Australian parrots there have been very significant advances in our knowledge of their natural history. There have been encouraging findings coming from some field investigations, such as a resurgence in the numbers of Superb Parrots \u003ci\u003ePolytelis swainsonii \u003c\/i\u003efollowing implementation of a management plan and a dramatic expansion of the range of Little Corellas \u003ci\u003eCacatua sanguinea\u003c\/i\u003e. Conversely, there is evidence of population declines, which in some instances are quite disturbing. None more so than the extremely low counts of Orange-bellied Parrots \u003ci\u003eNeophema chrysogaster \u003c\/i\u003eat their nesting sites in southwestern Tasmania raising the strong likelihood of this species being lost.\u003c\/p\u003e\n\u003cp\u003eMolecular analyses have played a major role in taxonomic research, giving us new insights into the evolutionary history and current relationships of all species. Because of these advances it is most opportune to again focus on the natural history of Australian parrots, and that is the purpose of the text in this book, which gives prominence to the findings from recent research.\u003c\/p\u003e\n\u003cp\u003eAward-winning book designer, Derrick Stone, has brought the artwork and text together in a format that retains the tradition of classic natural history works. This finely produced book will appeal to collectors of books of the highest quality as well as meeting the needs of ornithologists, birdwatchers and all those with an interest in Australian wildlife.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAn Artist's Tribute to William Cooper.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e...I do believe that Bill has settled to matter of painting parrots, especially these Australian parrots, once and for all. Search all you like, there are no better paintings of parrots to be found anywhere, not by any living artist, not by any of the master bird illustrators of the past, and not, I greatly suspect, by any future bird artist\u003c\/i\u003e.\u003c\/p\u003e","brand":"Nokomis","offers":[{"title":"Default Title","offer_id":51768181817651,"sku":"14669","price":350.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0888\/4515\/6659\/files\/14669.jpg?v=1754003433"},{"product_id":"a-natural-history-of-the-birds-of-new-south-wales","title":"A Natural History of the Birds of New South Wales","description":"\u003cp\u003eMelbourne: Queensberry Hill Press, 1978. A true facsimile from a copy of  the 1838 edition. 26 color plates including separate proof plates of Plates 13 and 21 laid in. Introduction and bibliographical descriptions by Allan MCEVEY. 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In this first biography, Arthur Singer, The Wildlife Art of an American Master, sons Paul and Alan describe a career of more than forty years, accompanied by vivid color reproductions of his extensive artwork. \u003c\/p\u003e\u003cp\u003eIncluded in Singer's biography are several unpublished works not yet seen by his collectors or fans.  Some of these images include sketches of American jazz artists, Cab Calloway, Fats Waller and Duke Ellington, whom he befriended in the late 1930s. In this book are paintings Singer created while traveling the world or preparing additions to his volumes on ornithology. \u003c\/p\u003e\u003cp\u003eAs a student at the Cooper Union Art School in New York City, Singer experimented with abstractions from nature which fueled his ambition to become a wildlife artist. After graduating from college, his artistic career took a turn in 1944 when he entered the U.S. Army during World War II.  His talents were recognized by a general who assigned him to a special unit - the 603rd Camouflage Engineers - whose mission was visual deception against enemy forces. This band of artists were also known as 'The Ghost Army' and they created not only camouflage, but visual, sonic, and audio deception to undermine German intelligence. \u003c\/p\u003e\u003cp\u003eOnce his Army obligation had ended, Singer worked briefly for an advertising agency and then became a full-time illustrator and painter in the mid-1950s. He received the Augustus St. Gaudens Medal in 1962, after his bird paintings appeared in the book Birds of the World which sold more than half a million copies. \u003c\/p\u003e\u003cp\u003ePerhaps he is best known for his paintings of state birds which were seen by millions when the U.S. Postal Service issued the State Birds \u0026amp; Flowers stamps in 1982. 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