Solan Goose
im Stein signiert von Jemima Blackburn
Original Lithographie von 1895 (kein Reprint - no copy)
![](https://www.antikestiche.de/images/ebay-
bilder/blackburn/73 blackburn.jpg)
Sehr schöner Steindruck nach einer Zeichnung der schottischen Malerin Jemima Blackburn aus: Mrs Hugh Blackburn,
Birds From Moidart and Elsewhere. Drawn From Nature. Published by Edinburgh: David Douglas, GB, 1895.
Blattgröße 22 x 15 cm - rückseitig nicht bedruckt.
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Dokumentation:
Jemima Blackburn (* 1. Mai 1823 in Edinburgh als Jemima Wedderburn; † 1909 auf Roshven Estate) war eine
schottische Malerin und in der Viktorianischen Ära eine der führenden Illustratorinnen, insbesondere für ornithologische
Themen. Ihre Aquarelle zeigen viele tägliche Familienszenen im späten 19. Jahrhundert im Schottischen Hochland sowie
Szenen aus Fantasy-Kinder-Fabeln. Jemima Wedderburn war die jüngste Tochter von Rt. Hon. James Wedderburn
(1782–1822), Solicitor General for Scotland, und seiner Ehefrau Isabella Clerk of Penicuik (1790–1865), Tochter von Sir
James Clerk of Penicuik und Janet Irving. Ihre ersten Zeichenstunden erhielt sie bei den Malern John Ruskin und Sir
Edwin Landseer, die deren großes zeichnerisches Talent lobten. Im Jahr 1849 heiratete Jemima Wedderburn in
Edinburgh ihren Jugendfreund Hugh Blackburn († 1911), Professor für Mathematik an der Universität Glasgow.
Jemima Blackburn machte Bekanntschaft mit den bekanntesten Persönlichkeiten des Jahrhunderts, unter anderem John
Ruskin, Sir John Everett Millais, Anthony Trollope, John Campbell, 9. Duke of Argyll, Louise, Duchess of Argyll, Charles
Darwin und Benjamin Disraeli.
Jemima Wedderburn Blackburn (1 May 1823 – 9 August 1909) was a Scottish painter whose work illustrated rural life in
19th-century Scotland. One of the most popular illustrators in Victorian Britain, she illustrated 27 books. Her greatest
ornithological achievement was the second edition of her Birds from Nature (1868). Most of the illustrations were
watercolors, with early paintings often including some ink work. A few were collages, in which she cut out a bird's outline
and transferred it to a different background, in a similar manner to John James Audubon. Her many watercolours showed
daily family life in the late 19th-century Scottish Highlands as well as fantasy scenes from children's fables. She achieved
widespread recognition under the initials JB or her married name Mrs Hugh Blackburn. She was the youngest child of
James Wedderburn (1782-1822), Solicitor General for Scotland, who died some months before her birth, and Isabella
Clerk, whose family were holders of the baronetcy of Clerk of Penicuik. Her paternal relatives, connected through the
Wedderburn baronets, included her great-grandfather Sir John Wedderburn, 5th Baronet of Blackness, executed for his
involvement with the Jacobite rising of 1745. The family was attainted and so several of the next generation went to
Jamaica, where they grew rich as sugar planters. Two of these sons were John Wedderburn of Ballendean, who
eventually reclaimed the family title, and James, Jemima's grandfather. The former was notable for the case brought
against him under Scots law by Joseph Knight. The latter fathered Robert Wedderburn, the radical preacher, whom he
did not acknowledge; Andrew Colville, governor of the Hudson's Bay Company; Jean, who married Thomas Douglas, 5th
Earl of Selkirk; and James, the judge, who was Jemima's father.
On her mother's side, Jemima was the first cousin of James Clerk Maxwell, who lived with her family in Edinburgh when
he was a schoolboy and she a young woman; she encouraged him to learn to draw.
Jemima was a friend and pupil of John Ruskin and Sir Edwin Landseer, both of whom praised her work highly.
She married the mathematician Hugh Blackburn and they bought the Roshven estate in 1854. This home became the
focus of visits from some of the most celebrated figures of the century, including the Duke of Argyll, Lord Kelvin, Lord
Lister, Hermann von Helmholtz, Sir John Everett Millais, Anthony Trollope and Benjamin Disraeli. Much of her work
portrayed Roshven, its animals and birds. She became one of the leading bird painters of the day. "...in portraying
animals, I have nothing to teach her..." - Sir Edwin Landseer, 1843
Jemima Blackburn was a keen observer of bird behaviour, as evidenced by her writings. She describes the ejection of
nestling meadow pipits (Anthus pratensis) by a blind and naked hatchling common cuckoo (Cuculus canorus),
accompanied by a small drawing. This behaviour had been reported by Edward Jenner in 1788 but dismissed as
impossible by Charles Waterton in 1836. Blackburn's account was originally published in a popular narrative for children,
The Pipits in 1871. Charles Darwin refers to Blackburn's observations in the sixth edition of On the Origin of Species.
Blackburn illustrated 27 books. A lost oil painting, "Plough Horse Startled by a Railway Engine", was exhibited at the
Royal Academy in 1849 and at the first exhibition of the Society of Female Artists in London in 1857. In the same year,
she was asked to contribute to the first exhibition of contemporary British art in America. Her works have been exhibited
in Edinburgh, Glasgow and London and examples have been acquired by the British Museum, the British Library, the
Natural History Museum, Royal Collection, the National Portrait Gallery, the Scottish National Portrait Gallery and the
James Clerk Maxwell Foundation.
In 1868 Blackburn published Birds drawn from Nature, which won immediate public acclaim. A copy, hand coloured
under Blackburn's own supervision, was presented to the Zoological Society of London. "...We have seen no such birds
since Bewick's. We say this not ignorant of the magnificent plates by Selby, Audubon, Wilson and Gould..." - The
Scotsman, 1868
Beatrix Potter, famous for her own illustrations of wild and domestic animals, was a fan of Blackburn from childhood.
Potter recalls her delight when given a copy of Blackburn's Birds drawn from Nature on her tenth birthday. As an adult,
Potter assessed her as a "broad intelligent observer with a keen eye for the beautiful in Nature", commenting: "I consider
that Mrs Blackburn's birds do not on the average stand on their legs so well as Bewick's, but he is her only possible
rival".[5] The two women met in 1894, when Blackburn was visiting Putney Park, near London, the home of a cousin of
Potter's. Potter found her an extraordinarily interesting woman. "I have not been so much struck by anyone for a long
time."
It is quite likely that Blackburn's work influenced Potter's 1894 illustrations for "Little Red Riding Hood", and possibly for
"The Cat's Tale" a generation earlier (1870). The botanist Mary Noble argues persuasively that Potter modelled Jemima
Puddle-duck, at least in name if not ornithological behaviour, on Jemima Blackburn. Blackburn died barely a year after
Potter published her Tale of Jemima Puddle-duck to great success.
During her life at Roshven, Blackburn created a priceless legacy of paintings covering every facet of the life and customs
of her time. Hardly a day passed without her recording some aspect of her varied and wonderful life. She painted her
family and friends, important visitors and local people going about their everyday work: cutting peat, gathering bracken,
making hay and many other rural activities. These paintings provide us with a treasured insight into the people and
pursuits of her time and of this area. Her abiding interest lay in the countryside and the wealth of wildlife which it
supported. The best of her work is to be found among her paintings of Roshven, its animals and its birds. It was through
this that she became acknowledged as one of the leading bird painters of the day.
Dokumentation:
Jemima Blackburn (* 1. Mai 1823 in Edinburgh als Jemima Wedderburn; † 1909 auf Roshven Estate) war eine
schottische Malerin und in der Viktorianischen Ära eine der führenden Illustratorinnen, insbesondere für ornithologische
Themen. Ihre Aquarelle zeigen viele tägliche Familienszenen im späten 19. Jahrhundert im Schottischen Hochland sowie
Szenen aus Fantasy-Kinder-Fabeln. Jemima Wedderburn war die jüngste Tochter von Rt. Hon. James Wedderburn
(1782–1822), Solicitor General for Scotland, und seiner Ehefrau Isabella Clerk of Penicuik (1790–1865), Tochter von Sir
James Clerk of Penicuik und Janet Irving. Ihre ersten Zeichenstunden erhielt sie bei den Malern John Ruskin und Sir
Edwin Landseer, die deren großes zeichnerisches Talent lobten. Im Jahr 1849 heiratete Jemima Wedderburn in
Edinburgh ihren Jugendfreund Hugh Blackburn († 1911), Professor für Mathematik an der Universität Glasgow.
Jemima Blackburn machte Bekanntschaft mit den bekanntesten Persönlichkeiten des Jahrhunderts, unter anderem John
Ruskin, Sir John Everett Millais, Anthony Trollope, John Campbell, 9. Duke of Argyll, Louise, Duchess of Argyll, Charles
Darwin und Benjamin Disraeli.
Jemima Wedderburn Blackburn (1 May 1823 – 9 August 1909) was a Scottish painter whose work illustrated rural life in
19th-century Scotland. One of the most popular illustrators in Victorian Britain, she illustrated 27 books. Her greatest
ornithological achievement was the second edition of her Birds from Nature (1868). Most of the illustrations were
watercolors, with early paintings often including some ink work. A few were collages, in which she cut out a bird's outline
and transferred it to a different background, in a similar manner to John James Audubon. Her many watercolours showed
daily family life in the late 19th-century Scottish Highlands as well as fantasy scenes from children's fables. She achieved
widespread recognition under the initials JB or her married name Mrs Hugh Blackburn. She was the youngest child of
James Wedderburn (1782-1822), Solicitor General for Scotland, who died some months before her birth, and Isabella
Clerk, whose family were holders of the baronetcy of Clerk of Penicuik. Her paternal relatives, connected through the
Wedderburn baronets, included her great-grandfather Sir John Wedderburn, 5th Baronet of Blackness, executed for his
involvement with the Jacobite rising of 1745. The family was attainted and so several of the next generation went to
Jamaica, where they grew rich as sugar planters. Two of these sons were John Wedderburn of Ballendean, who
eventually reclaimed the family title, and James, Jemima's grandfather. The former was notable for the case brought
against him under Scots law by Joseph Knight. The latter fathered Robert Wedderburn, the radical preacher, whom he
did not acknowledge; Andrew Colville, governor of the Hudson's Bay Company; Jean, who married Thomas Douglas, 5th
Earl of Selkirk; and James, the judge, who was Jemima's father.
On her mother's side, Jemima was the first cousin of James Clerk Maxwell, who lived with her family in Edinburgh when
he was a schoolboy and she a young woman; she encouraged him to learn to draw.
Jemima was a friend and pupil of John Ruskin and Sir Edwin Landseer, both of whom praised her work highly.
She married the mathematician Hugh Blackburn and they bought the Roshven estate in 1854. This home became the
focus of visits from some of the most celebrated figures of the century, including the Duke of Argyll, Lord Kelvin, Lord
Lister, Hermann von Helmholtz, Sir John Everett Millais, Anthony Trollope and Benjamin Disraeli. Much of her work
portrayed Roshven, its animals and birds. She became one of the leading bird painters of the day. "...in portraying
animals, I have nothing to teach her..." - Sir Edwin Landseer, 1843
Jemima Blackburn was a keen observer of bird behaviour, as evidenced by her writings. She describes the ejection of
nestling meadow pipits (Anthus pratensis) by a blind and naked hatchling common cuckoo (Cuculus canorus),
accompanied by a small drawing. This behaviour had been reported by Edward Jenner in 1788 but dismissed as
impossible by Charles Waterton in 1836. Blackburn's account was originally published in a popular narrative for children,
The Pipits in 1871. Charles Darwin refers to Blackburn's observations in the sixth edition of On the Origin of Species.
Blackburn illustrated 27 books. A lost oil painting, "Plough Horse Startled by a Railway Engine", was exhibited at the
Royal Academy in 1849 and at the first exhibition of the Society of Female Artists in London in 1857. In the same year,
she was asked to contribute to the first exhibition of contemporary British art in America. Her works have been exhibited
in Edinburgh, Glasgow and London and examples have been acquired by the British Museum, the British Library, the
Natural History Museum, Royal Collection, the National Portrait Gallery, the Scottish National Portrait Gallery and the
James Clerk Maxwell Foundation.
In 1868 Blackburn published Birds drawn from Nature, which won immediate public acclaim. A copy, hand coloured
under Blackburn's own supervision, was presented to the Zoological Society of London. "...We have seen no such birds
since Bewick's. We say this not ignorant of the magnificent plates by Selby, Audubon, Wilson and Gould..." - The
Scotsman, 1868
Beatrix Potter, famous for her own illustrations of wild and domestic animals, was a fan of Blackburn from childhood.
Potter recalls her delight when given a copy of Blackburn's Birds drawn from Nature on her tenth birthday. As an adult,
Potter assessed her as a "broad intelligent observer with a keen eye for the beautiful in Nature", commenting: "I consider
that Mrs Blackburn's birds do not on the average stand on their legs so well as Bewick's, but he is her only possible
rival".[5] The two women met in 1894, when Blackburn was visiting Putney Park, near London, the home of a cousin of
Potter's. Potter found her an extraordinarily interesting woman. "I have not been so much struck by anyone for a long
time."
It is quite likely that Blackburn's work influenced Potter's 1894 illustrations for "Little Red Riding Hood", and possibly for
"The Cat's Tale" a generation earlier (1870). The botanist Mary Noble argues persuasively that Potter modelled Jemima
Puddle-duck, at least in name if not ornithological behaviour, on Jemima Blackburn. Blackburn died barely a year after
Potter published her Tale of Jemima Puddle-duck to great success.
During her life at Roshven, Blackburn created a priceless legacy of paintings covering every facet of the life and customs
of her time. Hardly a day passed without her recording some aspect of her varied and wonderful life. She painted her
family and friends, important visitors and local people going about their everyday work: cutting peat, gathering bracken,
making hay and many other rural activities. These paintings provide us with a treasured insight into the people and
pursuits of her time and of this area. Her abiding interest lay in the countryside and the wealth of wildlife which it
supported. The best of her work is to be found among her paintings of Roshven, its animals and its birds. It was through
this that she became acknowledged as one of the leading bird painters of the day.
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