#gilbertwhite

‘The powers of its wing were wonderful....’ 🦉By no means an expert at identifying different species of birds, I get confused trying to identify artists’ depictions: it’s like looking through a filter. It’s even more confusing when birds are known by different names, although in this case I can go back to the original source for the illustration: Gilbert White’s Natural History of Selborne. This is a Nightjar (Caprimulgus)- apparently also known as a Fern Owl, Goatsucker and Goat Milker. The drawing is by John Nash and was first published in 1951 as a black and white line engraving, then in 1972 with lithographed colour added. Nash told a friend that he was ‘hatched off’ with all the detailed cross-hatching. The open-beaked pose catching a fly 🪰 appears over 100 years earlier in a drawing by John Thompson (after Thomas Bewick) for a Victorian edition of Gilbert White’s book. It illustrates a letter written in 1771: “DEAR SIR,—On the twelfth of July I had a fair opportunity of contemplating the motions of the caprimulgus, or fern-owl, as it was playing round a large oak that swarmed with Scarabai solstitiale or fern-chafers. The powers of its wing were wonderful, exceeding, if possible, the various evolutions and quick turns of the swallow genus. But the circumstance that pleased me most was, that I saw it dis- tinctly, more than once, put out its short leg while on the wing, and, by a bend of the head, deliver somewhat into its mouth. If it takes any part of its prey with its foot, as I have now the greatest reason to suppose it does these chafers, I no longer wonder at the use of its middle toe, which is curiously furnished with a serrated claw.” Looking forward to the John Nash exhibition at @townergallery later this spring. #johnnash #gilbertwhite #naturalhistory #fernowl #nightjar #selborne #johnthompson #thomasbewick @gilbertwhiteoc (at Brighton and Hove) https://www.instagram.com/p/CNW8Aiol6TT/?igshid=ul7cg6fgbfre

My obsession with the writings and life of Gilbert White continues. I never fail to be fascinated by how many Modern British artists have been inspired to make illustrations or design covers by White’s writings on his village. These are two jackets designed by Charles Stewart in 1950 for the Falcon Press. I love the Gothick touch of the first with White’s tricorn hat and cane propped up against the stone, with a macabre skull and a fallen finial. White’s own grave is much less grand: a little stone around the back of the church with just the letters G.W. and a date. The other features about 25 different kinds of birds mentioned by White. Stewart (1915-2001) was a talented book illustrator. Born in the Philippines, as a child he was sent to live with an uncle and nursemaid in a rambling Gothic pile in Scotland called Shambellie House, which he later inherited himself. It had a huge impact on his imagination. He illustrated various Dickens and other Victorian novels with macabre details, collected costume and costume illustrations, was a conscientious objector and later co-principal of Byam Shaw School of Art. A lifelong Batchelor, he left Shambellie and his extensive costume collections to @nationalmuseumsscotland , (I’m not sure what happened to Rosie his articulated dummy which he lent to Pietro Annigoni as a stand-in for the Queen when painting his famous portrait.) #gilbertwhite #charlesstewart #illustration #book #bookstagram #instabook #selborne @gilbertwhiteoc (at Brighton and Hove) https://www.instagram.com/p/CMOxCjvlTQy/?igshid=hoiap101fjqt

A window for Gilbert White: one of my favourite scenes in the movies is in the English Patient when during wartime Kit and Hana view the frescoes in a locked-up church via a flare. Less romantic and cinematic perhaps, but memorable in its own special way, was perching on a ladder in a side-aisle of St Mary’s church in Selborne yesterday in order to photograph Horace Hincks’ 1920 window dedicated to Gilbert White. I desperately wanted images of it in the book I am doing but no good photos seem to be available. It is one of the most beautiful windows I have ever seen. It has taken me three visits to Selborne before I managed to get to see it, but Robert the verger kindly opened up the church for me. It shows St Francis giving his sermon to the birds, albeit transported from Assisi to the Hampshire countryside, conveying the notion of god as the centre of nature. Art historians and theorists speak of site-specific art installations: you don’t get more site-specific than this. The inscription is perfect: ‘lovers of nature and the man have placed the window here as a mark of admiration and esteem.’ #gilbertwhite #horacehincks #selborne #stainedglass #birds (at Selborne) https://www.instagram.com/p/CNUTZsjFuwM/?igshid=181578quqtsqn

A window for Gilbert White: one of my favourite scenes in the movies is in the English Patient when during wartime Kit and Hana view the frescoes in a locked-up church via a flare. Less romantic and cinematic perhaps, but memorable in its own special way, was perching on a ladder in a side-aisle of St Mary’s church in Selborne yesterday in order to photograph Horace Hincks’ 1920 window dedicated to Gilbert White. I desperately wanted images of it in the book I am doing but no good photos seem to be available. It is one of the most beautiful windows I have ever seen. It has taken me three visits to Selborne before I managed to get to see it, but Robert the verger kindly opened up the church for me. It shows St Francis giving his sermon to the birds, albeit transported from Assisi to the Hampshire countryside, conveying the notion of god as the centre of nature. Art historians and theorists speak of site-specific art installations: you don’t get more site-specific than this. The inscription is perfect: ‘lovers of nature and the man have placed the window here as a mark of admiration and esteem.’ #gilbertwhite #horacehincks #selborne #stainedglass #birds (at Selborne) https://www.instagram.com/p/CNUTZsjFuwM/?igshid=181578quqtsqn

OBSERVATION: with a few clear days I’m trying to finish writing my book about Gilbert White and the artists who illustrated his Natural History of Selborne. The task over the next couple of days is titling and broadly ordering all the illustrations so that the designer can get on with his work. Although not an image of nature per se, this little 1937 Eric Ravilious wood-engraving is a particular favourite. It encapsulates how observation, which sits at the heart of White’s writings, is the basis of our understanding of the world, whether in scientific exploration, astronomy, geography or art and literature. It’s often overlooked amongst Ravilious’ other images in favour of other more narrative scenes, but as a little vignette carved and printed from a block of wood is rather wonderful. #woodengraving #ericravilious #observation #gilbertwhite #modernbritishart #printmaking (at Pallant House Gallery) https://www.instagram.com/p/CNRsZQJliiS/?igshid=p7t148ofy7cr

THE HERMITAGE: there’s something rather appealing about retreating from the world to a Gothic folly in the woods, even if just in the imagination. In the 18th century, garden hermits or ornamental hermits were encouraged to live in purpose-built follies or ‘hermitages’ on the estates of wealthy land-owners, where they would be encouraged to dress like druids and be cared-for and consulted for advice, or viewed for entertainment. In the case of the Rev Gilbert White of Selborne, he went to his wattled and thatched summerhouse to eat his home-grown melons whilst his brother Henry dressed ‘to great advantage’ to look picturesque and entertain his guests. For the exhibition ‘Drawn to Nature: Gilbert White and the Artists’ @pallanthousegallery last year I included the 1789 First Edition of White’s Natural History of Selborne with the oval half-plate by Samuel Hieronymous Grimm (with Henry playing the part) and the inscription ‘where the hermit hangs his straw-clad cell.’ I also included Eric Ravilious’ 1937 wood-engraved reimagining of the scene, and commissioned a new response from Ed Kluz, who created a scraper board drawing. As he said, ‘the notion of the hermitage is one which perfectly reflects White’s own relationship with nature; a raw dwelling where the boundaries between the human and natural world are frayed, allowing for quiet, deep contemplation and observation.’ Rather pleased to see that it has led to a series of these fantastical structures of mental escape: perfect for these times. #hermitage #gilbertwhite #selborne #ericravilious @edkluz @gilbertwhiteoc #modernbritishart #scraperboard #hermit #isolation #folly #gothick #gothicfolly (at Brighton and Hove) https://www.instagram.com/p/CL6QzqvFX9i/?igshid=1odu0di3vw2df

New gins from @winchester_distillery an excellent old tom gin and the very limited Gilbert White no 4 bottling #winchesterdistillery #hampshiregin #gintastic #gilbertwhite #Fareham #farehamwinecellar #ginlover #ginlovers (at Fareham Wine Cellar) https://www.instagram.com/p/Buqse4JB9Hm/?utm_source=ig_tumblr_share&igshid=18dxxdp7x3rd7

Amazing view from the top of the Zig Zag walk in Selbourne 👍✌️❤️😊 #selbourne #zigzagwalk #gilbertwhite #hampshire #uk #nature #naturephotography #hiking (her: Selborne) https://www.instagram.com/p/BoKGqAoldvz/?utm_source=ig_tumblr_share&igshid=bropi6sxrkbm