the study: Havell Edition

    The Birds of America, from Original Drawings

The Havell edition of The Birds of America, also known as the Double Elephant Folio, included 435 plates, all the birds painted "the size of life."  Although most plates depict only a single species, many of the later plates included multiple species as Audubon sought a balance between the expense of the project and his desire to depict newly discovered birds.  The techniques used by Havell to make the prints consisted primarily of copper-plate etching, with the addition of some engraving and aquatint (a process that allows for subtle shades of gray).  The plates by Lizars use etching and engraving, but lacked aquatint unless Havell retouched the plates (as he did on four of the ten).

Engraving and etching are two different ways to putting down lines of varying depths on a printing plate.  Engraving involves use of a burin, a tool that cuts precise grooves, while etching involves the use of acid baths, the length of exposure to the acid determining the deepness of the grooves.  (Deeper grooves create darker lines.)  Aquatint is a way to create subtle shadings of gray; it is similar to etching in that it involves an acid bath, but instead of creating lines on the plate, it leaves the surface of the plate pitted.  The superiority of Havell's work is attributable in good measure to his mastery of this difficult and challenging technique, and to his considerable artistic skills.  In Havell, Audubon found a true collaborator, a man whose greatness as an engraver matched Audubon's greatness as an artist.

Plate VI Wild Turkey - Female and Young.  This plate was originally the work of Lizars, Audubon's first engraver.  As the first plate of the second part, Audubon himself considered it an important image.  The copper plate used for printing was "retouched" by Havell, meaning he added aquatint shading to parts of the background plus some fine artistic touches, including the famous addition of a snail.  Like many of the Double Elephant Folio plates--particularly those in the first 100 of the set -- the Wild Turkey went through many states during the course of publication.   Read an article about this print.

The clearest explanation we have ever read on the creation of the printing plates was in Bill Steiner's book, Audubon Art Prints: A Collectors Guide to Every Edition  (University of South Carolina Press, 2003).  With the kind permission of Bill and his publisher, we now are hosting an excerpt from Audubon Art Prints that explains in detail how Audubon worked as a painter, and how the Double Elephant Folio prints were created from his paintings.  We recommend this excerpt (and Bill's book) to anyone who wishes more information on the collaborative process that led to the creation of these extraordinary prints.

Because of the large size of the paper used, and the liveliness and beauty of the art, the volumes of this work are amazing to behold.  Although individual plates can be extremely impressive when hung on a wall, seeing a single framed plate is nothing like seeing a complete volume, even if you cannot see more than a single plate from that volume.  Because they have been protected from light, the color of bound plates is usually well beyond anything you would see in single and framed prints, even those found in museums.  When you see the plate bound into an actual book, you feel an immediate connection to the passion that motivated Audubon to live his dream.  Today, 120 of the sets are known to survive.  If you can, find one and try to see at least a few plates as they were meant to be seen, as part of the magnificent work to which Audubon, his family, and collaborators devoted so much of their lives.  Without a doubt, the whole exceeds the sum of the parts.

Collecting Issues

Havells seem plagued by condition problems to a greater extent than prints from the other Audubon editions. This is partially due to the composition of the original paper, but is also a consequence of the large size of the original sheets.  It is not uncommon to see prints that were trimmed to fit into frames, rolled up, or even folded for storage.  Prints sold by dealers are usually in good to excellent condition, but that condition may be the outcome of restoration or conservation work. A print that you are "discovering" for yourself (e.g., at an estate or garage sale or small-town auction) is not as likely to be clean or undamaged. You may occasionally see references to prints being sold in "as found" condition. This means that no attempt has been made to clean the print or repair any damage.

If Havells have not been stored in a protective environment, they will likely show signs of ill treatment in the form of stains, dirt, wrinkles, folds, or the bleaching effects of light (which, in Havells, often affects the red tones -- pinks, oranges, reds, and some browns -- more than other colors).  Many of the things that look worst on an old print, e.g., ugly stains, can often be improved by a professional conservator.  Repairs of small tears and cleaning can be very reasonable priced.  Of course, not all damage can be easily or successfully repaired.  If you choose restoration, talk with your conservator about options and costs so you can strike a reasonable balance between expense and improving the appearance of the print.

Another condition issue to explore when purchasing a print is whether or not the print is "laid down."  In the past, prints were often glued to a backing when framed.  Such prints are said to be "laid down."  Although it may be possible for a professional conservator to remove the print from the backing, this procedure is very uncertain and may turn out to be time-consuming (meaning expensive), or even impossible.  An alternative to removing the print from the backing is for the restorer to leave it in place, and attempt to deacidify the backing along with the print.  This is considered a less optimal approach.  Remember, a laid down print is worth significantly less than a loose print in otherwise similar condition.  When framing your pictures, make sure the framer uses good conservation techniques and high-quality acid-free materials.  Also consider using conservation (that is, UV protective) glass.  It costs more, but when you consider the extra protection over the life of the print, it may well be worth it.

Letterpress

The letterpress (text) that accompanied The Birds of America, titled Ornithological Biography, was published separately in 5 volumes from 1831 to 1839.  Audubon was assisted in writing the text by James MacGillivray, who supplied the scientific knowledge and rigor that Audubon lacked.  Interspersed between descriptions of individual birds, Audubon inserted colorful vignettes that told of his experiences in the field.  He called these  "Delineations of American Scenery and Manners."  In addition to Ornithological Biography, Audubon published A Synopsis of the Birds of North America in 1839; this single volume provides an index and summary of the longer work.

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Last updated 02.28.09