John James Audubon was an American ornithologist, naturalist, and painter. The Birds of America contains 435 life-size watercolours of North American birds, some of which reproduced here in our QuickNotes notecard set. 20 notecards and envelopes, 5 each of 4 images. Packaged in a sleek, sturdy flip-top box with magnetic closure. Cards printed on coated paper stock to bring out their full colour. Cards and envelopes bundled together with a paper belly band inside each box. Box measurements 143 x 120 x 34mm.

Natural history illustration is a popular choice for artists and perfect for developing colour technique.

The Birds of America is one of the best known natural history books ever produced and also the most valuable - a complete set sold at auction in December 2010 for GBP7.3 million, which is a world record for a book. First published in double elephant size (approximately a metre tall) in the first half of the nineteenth century, it is famous for its stunning life-size illustrations of birds set within landscaped backgrounds. The book was issued inparts over 11 years and only around 200 completed sets were ever produced. Less than 120 of these survive today, locked away in museums, galleries and private collections around the world. To create this edition of Audubon's masterpiece, the Natural History Museum's own original edition was disbound and each of the 435 beautiful hand-coloured prints was specially photographed. The artworks are accompanied by the scientific descriptions that were used in the original The Birds of America and there is also a new introduction by David Allen Sibley.

Many people believe in Jesus Christ but want nothing to do with the church. Some others who call themselves committed Christians will not commit to a local church. We have to be honest. There is a dearth in the church in many countries. At times the church has been very sick and the illness seemed to be terminal; yet it survives and in many places grows phenomenally. "Dry Bones can Live", addresses this problem and proposes a dynamic remedy; setting out a strategy for local churches to consider. It is full of stories from the pastor's casebook, which illustrate the reality and effectiveness of the Gospel in transforming lives

This book is based on William Caxton's translation of 15th century French author Raoul Lefevre book Histoire de Jason (he wrote in 1460). The Histoire de Jason is known from 20 manuscripts and 30 different printed editions, and was translated in English in 1477 by William Caxton, and in Dutch in 1485. Lefevre was the chaplain of Philip the Good, the creator of the Order of the Golden Fleece, which was based on the classical Jason story.

John James Audubon is arguably America's most widely recognized and collected artist. His Birds of America has been reproduced often, beginning with the double elephant folio printed by Havill in England, followed by a much smaller "Octavo" edition printed in Philadelphia and sold by subscription. After Audubon's death, his family arranged with the New York printer Julius Bien to produce another elephant folio edition, this time by the new chromolithographic process. It too would be sold by subscription, but the venture, begun in 1858, was brought to an abrupt end by the Civil War. Only 150 plates were produced, and the number remaining today is slight; they are among the rarest and most sought after Audubon prints. Bound in cloth with a full cloth slipcase, this beautifully produced book is the first complete reproduction of Bien chromolithographs and will become the centerpiece of any bird lover's library.

Winner of the Max Ritvo Poetry Prize, The Milk Hours is an elegant debut that searches widely to ask what it means to exist in a state of loss. "We lived overlooking the walls overlooking the cemetery." So begins the title poem of this collection, whose recursive temporality is filled with living, grieving things, punctuated by an unseen world of roots, bodies, and concealed histories. Like a cemetery, too, The Milk Hours sets unlikely neighbors alongside each other: Hegel and Murakami, Melville and the Persian astronomer al-Sufi, enacting a transhistorical poetics even as it brims with intimacy. These are poems of frequent swerves and transformations, which never stray far from an engagement with science, geography, art, and aesthetics, nor from the dream logic that motivates their incessant investigations. Indeed, while John James begins with the biographical-the haunting loss of a father in childhood, the exhausted hours of early fatherhood-the questions that emerge from his poetic synthesis are both timely and universal: what is it to be human in an era where nature and culture have fused? To live in a time of political and environmental upheaval, of both personal and public loss? How do we make meaning, and to whom-or what-do we turn, when such boundaries so radically collapse?

This book is based on William Caxton's translation of 15th century French author Raoul Lefevre book Histoire de Jason (he wrote in 1460). The Histoire de Jason is known from 20 manuscripts and 30 different printed editions, and was translated in English in 1477 by William Caxton, and in Dutch in 1485. Lefevre was the chaplain of Philip the Good, the creator of the Order of the Golden Fleece, which was based on the classical Jason story.

First published in the middle of the nineteenth century, following years of research and field study, The Viviparous Quadrupeds of North America (its original title) became the outstanding illustrated work on American mammals of its time and is still considered by many to include the finest animal prints published in North America. The book included many frontier animals never depicted before and helped to increase appreciation of American nature around the world. This edition of Audubon's classic work has been directly reproduced from an original copy held by the Library of the Natural History Museum, London. All the mammals' current scientific names have been included in the reference section at the back of the book.

Everything about Suffolk is unexpected: A New Suffolk Garland gathers the best writing, new and old, from people who love this special county. Everything about Suffolk is unexpected. For centuries it has been a much-loved place for writers, artists, musicians, fishermen, farmers ... A New Suffolk Garland gathers the best writing, new and old, from people who love this special county: from a twelfth-century monk to Ed Sheeran, through Gainsborough, Dickens, W.G. Sebald, Ronald Blythe, Robert MacFarlane, Michael Ondaatje and Penelope Fitzgerald to Roger Deakin, Melissa Harrison and Helen Macdonald. The anthology contains specially written new work by Craig Brown, Ralph Fiennes, India Knight, Olivia Laing, Lucy Hughes-Hallett, Robin Robertson and Lucy Walker. From the art of hedge-laying to the undiscovered treasures of Suffolk's churches, from the Suffolk punch stable to Delia Smith's kitchen table, from swimming with otters in the River Waveney to the golden aurioles of Lakenheath, this new collection encapsulates all that is best about Suffolk.

In poems as tautly constructed as they are trenchantly observed, Winter, Glossolalia probes the nature of language to depict the world from which it springs. Paired with humorous, often satirical images, this collection explores human ingenuity and creativity against the material resources of the given world, highlighting the possibilities and the limits of artistic making. In that sense, it is both a timely and enduring book, one that recalls Virgil’s Georgics as readily as it evokes the crisis of anthropogenic climate change.

Winner of the Max Ritvo Poetry Prize, The Milk Hours is an elegant debut that searches widely to ask what it means to exist in a state of loss. “We lived overlooking the walls overlooking the cemetery.� So begins the title poem of this collection, whose recursive temporality is filled with living, grieving things, punctuated by an unseen world of roots, bodies, and concealed histories. Like a cemetery, too, The Milk Hours sets unlikely neighbors alongside each other: Hegel and Murakami, Melville and the Persian astronomer al-Sufi, enacting a transhistorical poetics even as it brims with intimacy. These are poems of frequent swerves and transformations, which never stray far from an engagement with science, geography, art, and aesthetics, nor from the dream logic that motivates their incessant investigations. Indeed, while John James begins with the biographical—the haunting loss of a father in childhood, the exhausted hours of early fatherhood—the questions that emerge from his poetic synthesis are both timely and universal: what is it to be human in an era where nature and culture have fused? To live in a time of political and environmental upheaval, of both personal and public loss? How do we make meaning, and to whom—or what—do we turn, when such boundaries so radically collapse?

This stunning edition of one of the most celebrated and highly valued natural history books of all time features impeccably reproduced images of Audubon's original watercolors, along with an introduction by world-renowned ornithologist David Allen Sibley. First published in installments between 1827 and 1838, John James Audubon's collection of life-sized watercolors of North American birds is the standard against which all wildlife illustration is measured. Fewer than 120 copies survive today, locked away in museums and private collections around the world. For this volume, the Natural History Museum in London disbound one of the two original editions it owns, and each of the 435 exquisite hand-colored prints of the original watercolours were photographed using the latest digital scanning technology. From an avocet grazing in a tidal pond to a zenaida dove perched on a flowering branch, each of Audubon's subjects is depicted with the grace and beauty of a living bird in its natural habitat. An avid outdoorsman and explorer, Audubon traveled from Florida to Labrador to Texas and the Dakotas to study and collect his specimens. Straddling the line between science and art, this book mesmerized 19th-century audiences around the world; today it stands as a reminder of the spectacular biodiversity of the North American continent, and of the pioneer spirit that Audubon himself revered.

Every week between Easter and November, some 200 funfairs open in cities and towns across every part of the UK. Over 4500 travelling showmen and their families run them, a community deeply rooted in historical tradition and strong family values. "Fairground Attraction" has the intimacy of a family album. Through formal portraits and candid observation we meet showmen not only at work but also away from their brash, public arena in the private spaces of their living trailers and winter-quarters and during their family celebrations.

Daniel Patterson and Eric Russell present a groundbreaking case for considering John James Audubon's and John Bachman's quadruped essays as worthy of literary analysis and redefine the role of Bachman, the perpetually overlooked coauthor of the essays. After completing The Birds of America (1826-38), Audubon began developing his work on the mammals. The Viviparous Quadrupeds of North America volumes show an antebellum view of nature as fundamentally dynamic and simultaneously grotesque and awe-inspiring. The quadruped essays are rich with good stories about these mammals and the humans who observe, pursue, and admire them. For help with the science and the essays, Audubon enlisted the Reverend John Bachman of Charleston, South Carolina. While he has been acknowledged as coauthor of the essays, Bachman has received little attention as an American nature writer. While almost all works that describe the history of American nature writing include Audubon, Bachman shows up only in a subordinate clause or two. Tenacious of Life strives to restore Bachman's status as an important American nature writer. Patterson and Russell analyze the coauthorial dance between the voices of Audubon, an experienced naturalist telling adventurous hunting stories tinged often by sentiment, romanticism, and bombast, and of Bachman, the courteous gentleman naturalist, scientific detective, moralist, sometimes cruel experimenter, and humorist. Drawing on all the primary and secondary evidence, Patterson and Russell tell the story of the coauthors' fascinating, conflicted relationship. This collection offers windows onto the early United States and much forgotten lore, often in the form of travel writing, natural history, and unique anecdotes, all told in the compelling voices of Antebellum America's two leading naturalists.

of Audubon's noted illustrations rendered for coloring by Paul Kennedy: red-winged blackbird, painted bunting, wood duck, great blue heron, ruby-throated hummingbird, purple finch, blue jay, etc. Original plates reproduced in full color on covers. Common and scientific names and current range. ..".printed on quality stock which works with a variety of media..."--Bookstyle.

We need a bigger vision for the city. It's not enough to plant individual churches in isolation from each other. The spiritual need and opportunity of our cities is too big for any one church to meet alone. Pastors Neil Powell and John James contend that to truly transform a city, the gospel compels us to create localized, collaborative church planting movements. They share lessons learned and principles discovered from their experiences leading a successful citywide movement. The more willing we are to collaborate across denominations and networks, the more effectively we will reach our communities-whatever their size-for Jesus. Come discover what God can do in our cities when we work together.

Add avian appeal to almost any flat surface with 24 beautiful full-color reproductions of Audubon's exquisite paintings of a brown pelican, mountain quail, snow bunting, burrowing owl, red knot, Anna's hummingbird, cerulean warbler and many others. Just peel and apply. Also great for learning to recognize and identify various species.