Prideaux John Selby (23 July 1788 – 28 March 1867) stands as a monumental figure in the annals of British natural history, a distinguished ornithologist, botanist, and an exceptionally gifted artist. His life and work unfolded during a period of fervent scientific discovery and artistic refinement in the 19th century, an era when the lines between scientific inquiry and artistic representation were often beautifully blurred. Selby's contributions, particularly his magnum opus, Illustrations of British Ornithology, cemented his reputation as one of the foremost chroniclers of avian life, his work often compared in ambition and quality to that of his renowned contemporary, John James Audubon.
Born in Alnwick, Northumberland, into the prominent Selby family of Beal and Twizell House, Prideaux John Selby was the eldest son of George Selby and his wife, Margaret Cook. This privileged background afforded him the education and leisure to pursue his burgeoning passion for the natural world from a young age. The rich biodiversity of the Northumberland countryside, with its varied landscapes of coast, moorland, and woodland, provided an early and enduring inspiration for his studies. He was educated at Durham School and later attended University College, Oxford, though he did not complete a degree, a common path for gentlemen of means who preferred to pursue independent scholarship.
Early Life and Developing Interests
Selby's fascination with nature, especially ornithology and botany, was evident from his youth. He was an astute observer, spending countless hours in the field, meticulously noting the habits, forms, and plumage of birds. This hands-on approach, combined with a keen artistic eye, laid the foundation for his later, more systematic works. His family's estate, Twizell House, situated near the River Till, became his personal laboratory and studio. Here, he could study birds in their natural habitats, collect specimens, and translate his observations into detailed sketches and, eventually, magnificent illustrations.
The early 19th century was a vibrant time for natural history in Britain. The Linnaean system of classification had provided a framework for organizing the natural world, and there was a growing public and scientific appetite for illustrated works that could bring the diversity of flora and fauna to life. Figures like Thomas Bewick, a fellow Northumbrian, had already revolutionized zoological illustration with his masterful wood engravings, particularly in A History of British Birds (Land Birds 1797, Water Birds 1804). Bewick's work, known for its accuracy and charm, undoubtedly influenced the young Selby, demonstrating the power of art to disseminate scientific knowledge.
Selby was not merely an observer; he was also a sportsman and a collector, practices common among naturalists of his time. The specimens he collected, often shot by himself, provided crucial material for detailed anatomical study and artistic rendering. This practice, while viewed differently today, was then considered essential for accurate scientific depiction.
The Magnum Opus: Illustrations of British Ornithology
Prideaux John Selby's most significant contribution to science and art is undoubtedly his Illustrations of British Ornithology. This monumental work, published in parts between 1821 and 1834, was the first to attempt to depict all known British bird species in life-size, a truly ambitious undertaking. The work was issued in two series: Land Birds and Water Birds, eventually comprising around 218 hand-coloured, elephant folio-sized plates, illustrating approximately 280 species. The accompanying text volumes were published separately between 1825 and 1833.
What set Selby's Illustrations apart was not just its scale but also the quality and dynamism of the artwork. Unlike many earlier ornithological illustrators who depicted birds in stiff, profile poses, Selby aimed for naturalism. He drew his subjects from freshly killed specimens whenever possible, allowing him to capture the true colours and textures of their plumage, as well as their characteristic postures and even hints of their behaviour. He was a skilled draughtsman and, remarkably, etched most of the copper plates himself. This direct involvement in the printmaking process ensured a high degree of fidelity to his original drawings.
The hand-colouring of the plates was expertly executed, primarily by the Edinburgh firm of W. H. Lizars, the same engravers who had initially worked with John James Audubon on his Birds of America. The vibrant yet accurate colours brought Selby's birds to life on the page, making the volumes highly sought after by both scientists and wealthy collectors. Indeed, Selby's work is often seen as the British counterpart to Audubon's American masterpiece, sharing a similar grandeur and commitment to life-sized representation. Selby and Audubon were acquainted, with Audubon visiting Selby at Twizell House in 1827, where they shared their passion and discussed their respective projects.
Among the many stunning plates in Illustrations of British Ornithology, several stand out. His depiction of the "Hooded Crow" showcases his ability to capture intricate feather detail and the bird's alert intelligence. The "Common Buzzard, Female" is a powerful study of a raptor, conveying its predatory grace. Smaller birds, like the "Jackdaw" or the "Starling," are rendered with equal care, their iridescent plumage and lively character evident. Water birds, such as the "Little Egret Heron" and the "Brown Snipe (Summer Plummage)," demonstrate his versatility and understanding of different avian forms and habitats. The "Raven," a bird rich in folklore, is presented with a commanding presence, while the "European Dipper" is shown in a typical waterside setting. The "Redstart, Male and Female" plate is an excellent example of his frequent practice of showing sexual dimorphism or different life stages on a single plate.
The scientific text accompanying the plates was also noteworthy. Selby collaborated with his friend and fellow ornithologist Sir William Jardine, and also with the anatomist William MacGillivray, who provided much of the descriptive ornithology for the letterpress volumes. This collaboration ensured that the work was not only artistically impressive but also scientifically robust for its time.
Artistic Style and Techniques
Selby's artistic style is characterized by its scientific accuracy, meticulous detail, and a certain elegance in composition. He possessed a profound understanding of avian anatomy, which allowed him to depict birds in lifelike poses, avoiding the flatness that plagued many earlier illustrations. His birds have a three-dimensional quality, their forms well-modelled and their plumage rendered with a delicate touch that conveys both softness and structure.
He typically placed his subjects against simple, often unadorned backgrounds, or with minimal landscape elements. This was a deliberate choice to keep the focus squarely on the bird itself, allowing its form and colour to dominate the composition. This contrasts with artists like Audubon, who often incorporated elaborate habitat details. Selby's approach, however, emphasized the bird as a scientific specimen, albeit one imbued with life and character.
His mastery of etching was crucial to the success of his Illustrations. Etching allowed for fine, precise lines that could capture the delicate tracery of feathers and the subtle contours of a bird's body. By creating the plates himself, Selby maintained artistic control throughout the production process, a rare feat for such a large-scale project. The subsequent hand-colouring, overseen by professionals like the Lizars family, added the final layer of realism and beauty. His original watercolours, many of which served as studies for the etchings, are highly prized for their freshness and artistic merit, showcasing his skill with washes and fine brushwork.
Compared to his contemporary John Gould, another giant of 19th-century ornithological illustration, Selby's style is often described as bolder and more individualistic. Gould, while a brilliant ornithologist and publisher, relied on a team of artists, including his talented wife Elizabeth Gould and later, Edward Lear, Joseph Wolf, and William Hart, to produce the illustrations for his numerous lavish publications. Selby's direct hand in drawing and etching gives his work a more personal and unified artistic vision.
Other Scientific and Artistic Contributions
While Illustrations of British Ornithology remains his most celebrated work, Selby made other significant contributions to natural history. He was a keen botanist and dendrologist, publishing A History of British Forest-Trees, Indigenous and Introduced in 1842. This comprehensive volume, illustrated with charming wood engravings (though not by Selby himself in this instance), detailed the characteristics, cultivation, and uses of various trees found in Britain, reflecting his deep knowledge of the country's flora and his interest in practical forestry and estate management.
Selby also co-founded the Magazine of Zoology and Botany in 1837 with Sir William Jardine, which later became the Annals and Magazine of Natural History, a highly influential scientific journal that continues to this day. He contributed numerous articles and papers on ornithology and entomology to this and other scientific periodicals, including the transactions of the Linnean Society and the Wernerian Natural History Society of Edinburgh, of which he was an active member.
He collaborated with Sir William Jardine on several volumes of The Naturalist's Library, a popular series of affordable natural history books. Selby authored the volumes on Pigeons (1835) and Parrots (1836) for this series, providing accessible yet scientifically sound information, accompanied by smaller, though still attractive, coloured plates, many based on drawings by Edward Lear, who was then at the beginning of his career as a natural history artist before becoming famous for his nonsense verse.
His extensive bird and insect collections were also of scientific importance, providing material for his own research and for other naturalists. Twizell House became a hub for naturalists visiting the north of England, fostering scientific exchange and camaraderie.
Collaborations and Contemporaries
The 19th century was an age of scientific societies and collaborative endeavors, and Selby was well-integrated into this world. His most significant collaborator was Sir William Jardine, 7th Baronet of Applegirth, a fellow ornithologist and naturalist. Together, they not only worked on The Naturalist's Library and co-edited journals but also embarked on another major illustrated work, Illustrations of Ornithology, published in parts from 1825 to 1843. This was a broader project than Selby's British Ornithology, aiming to depict new and interesting bird species from around the world. Selby contributed numerous plates to this series, as did Jardine and other artists like Edward Lear.
Edward Lear, known for his distinctive style and later for his landscape paintings and "Book of Nonsense," was a significant figure in ornithological illustration during the 1830s. His work on parrots for Selby and Jardine, and his magnificent Illustrations of the Family of Psittacidae, or Parrots (1830-1832), showcased his exceptional talent. Selby and Lear collaborated on at least one known occasion on a watercolour of the Great Auk, a now-extinct species, highlighting the interconnectedness of the period's natural history artists.
As mentioned, John James Audubon was a key contemporary. Their meeting at Twizell House was a significant event, representing a coming together of the leading ornithological artists of the Old and New Worlds. While their artistic approaches differed in some respects, both shared a passion for depicting birds in a dynamic, life-sized manner. Audubon's engraver, Robert Havell Jr., played a role similar to that of William Lizars for Selby, translating the artist's vision into printed form.
John Gould, often seen as Selby's main "rival" in the British context, was a prolific publisher of ornithological monographs covering birds from across the globe, including Australia, the Himalayas, and Europe. While Selby focused primarily on British birds in his major work, Gould's scope was international. The artists Gould employed, such as Joseph Wolf, Henry Constantine Richter, and William Hart, produced works of exceptional quality, contributing to a golden age of bird illustration. Joseph Wolf, in particular, was renowned for his ability to capture the vitality and wildness of animals.
Other notable figures in the broader field of natural history illustration during or overlapping Selby's time include the Sowerby family (James Sowerby, James de Carle Sowerby), whose works on British botany, mineralogy, and conchology set high standards for scientific illustration. Alexander Wilson, the "father of American ornithology," whose American Ornithology (1808-1814) predated Audubon's major work, was another pioneer whose efforts would have been known to Selby.
Selby's interactions also extended to botanists like Robert Kaye Greville, a noted cryptogamist, with whom he maintained correspondence. The scientific community was relatively small, and figures like Selby, Jardine, Greville, and visiting scholars like Audubon, formed a network of shared interests and expertise.
Twizell House: A Centre of Natural History
Twizell House, Selby's ancestral home, was more than just a residence; it was central to his life's work. The estate's extensive grounds provided a rich environment for his field studies. He meticulously documented the local avifauna, and it's noted that over 110 of the species depicted in Illustrations of British Ornithology were observed on his own estate. This direct, local observation lent an authenticity to his work.
The house itself contained his growing collections of bird skins, nests, eggs, and insects, as well as a substantial library of natural history books. It served as a welcoming place for fellow naturalists. The exchange of ideas, specimens, and observations that occurred at Twizell House contributed to the broader scientific discourse of the time. Selby's status as a "gentleman naturalist" allowed him the resources and time to dedicate to these pursuits, and his home became an informal centre for natural history study in Northumberland.
He was also active in local affairs, serving as a Justice of the Peace and a Deputy Lieutenant for Northumberland, roles typical for a landowner of his standing. These responsibilities, however, did not seem to detract significantly from his scientific and artistic endeavors, which remained his primary passion.
Personal Life and Character
In 1810, Selby married Lewis Tabitha Mitford (sometimes referred to as Dorothy), and they had several children. His family life, while not extensively documented in public records, appears to have been stable, providing a supportive backdrop for his scholarly pursuits. Through his wife, he was connected to the Mitford family, known for literary figures like Mary Russell Mitford.
Anecdotes and correspondence suggest Selby was a dedicated and meticulous individual, with a keen eye for detail essential for both scientific observation and artistic execution. His willingness to undertake the arduous task of etching his own plates speaks to his commitment and artistic confidence. Some correspondence, for example with his friend Robert Mitford, reveals a lighter, more humorous side to his personality, offering glimpses beyond the serious naturalist.
Later in life, Selby experienced periods of ill health. By 1843, his health had declined to a point where he reportedly ceased all official duties. Despite this, his interest in natural history likely continued. He moved from Twizell House in his later years, and eventually died at Tynemouth, Northumberland, on 28 March 1867.
Later Years and Enduring Legacy
Prideaux John Selby's contributions to ornithology and natural history illustration were profound. His Illustrations of British Ornithology set a new standard for British bird art, influencing subsequent generations of illustrators. His emphasis on life-sized figures, naturalistic poses, and meticulous detail helped to elevate ornithological illustration from mere scientific record-keeping to a respected art form.
His work is held in high regard by collectors and institutions worldwide. Original copies of Illustrations of British Ornithology are valuable and sought after, and his preparatory watercolours are considered masterpieces of the genre. Museums and libraries, including the Natural History Museum in London and the National Museums Scotland, hold significant collections of his work.
Selby's legacy extends beyond his artistic achievements. As a field naturalist, he contributed valuable data on the distribution, habits, and classification of British birds. His involvement in scientific societies and publications helped to advance the study of natural history in Britain. He successfully bridged the gap between the dedicated amateur naturalist and the professional scientist, a common trajectory in the 19th century.
The comparison with Audubon is inevitable and, in many ways, apt. Both men were driven by a passion to document the avian life of their respective continents on a grand scale, and both produced works of enduring beauty and scientific importance. Selby's achievement, while perhaps not as widely known to the general public as Audubon's, is no less significant within the context of British ornithology. He stands alongside Thomas Bewick and John Gould as one of the pivotal figures in the visual representation of Britain's natural heritage.
Conclusion
Prideaux John Selby was a quintessential figure of 19th-century natural history: a gentleman scholar, a keen observer, a talented artist, and a dedicated scientist. His life's work, particularly the magnificent Illustrations of British Ornithology, remains a testament to his skill, dedication, and profound love for the natural world. By meticulously drawing and etching the birds of Britain, he not only created a vital scientific record but also produced works of art that continue to captivate with their accuracy, elegance, and vitality. His influence on ornithological illustration was significant, and his contributions helped to shape our understanding and appreciation of avian biodiversity. In the grand tapestry of art and science, Prideaux John Selby's threads are woven with precision, beauty, and an enduring passion for the feathered inhabitants of the British Isles.
