Illegitimate, half-French, half-American, poorly educated, chronically short of money and obsessed with birds, Audubon came to England in 1826 to find a publisher for his extraordinary paintings. He insisted that they must be reproduced on double-elephant folio paper - sheets almost 40 inches by 30 - so that even the largest species could be represented life size, and no-one in America had been prepared to tackle such a gigantic task. With his dramatic good looks and flamboyant Woodsman's clothes he attracted attention wherever he went.
Drawing on Audubon's journals, letters to his wife and the archives of the families with whom he stayed and worked, Duff Hart-Davis recreates Audubon's twelve years in Britain in search of patrons and publishers. It is an extraordinary story of an obsessive genius and his observations of people, places and events in early nineteenth-century England and Scotland.
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America honours Audubon's memory by giving his name to the foremost conservation society in that country. Over here, we revere him more for the spectacular plates. Hart-Davis's book reproduces a number of them on pages that are about one-twentieth the size of a double-elephant. They still look magnificent, and not surprisingly. They are, after all, among the most memorable images of birds ever produced. (David Attenborough THE SUNDAY TIMES (21.9.03))
'Duff Hart-Davis recounts with verve and much fascinating long-lost detail the hugely entertaining story of how the handsome, warm, long-haired frontiersman charmed his way into late-Georgian society...Audubon's Elephant is beautifully illustrated and will foster renewed interest in Audubon, not only for his art, but also for the man, optimistic, enthusiastic, irrepressible.' (Michael McCarthy INDEPENDENT (10.10.03))
'[a] vividly written and copiously illustrated book.' (Simon Barnes TIMES (20.9.03))
'...elegant and beautifully produced...Duff Hart-Davis has buffed Audubon's travails and wanderings into a picaresque tale. He captures the personalities and habitats of all thos involved with a bird-spotter's eye for telling details and in prose that is entirely free from nature-mimsy...an exceptionally vivid account of an extraordinary man and his equally extraordinary project.' (Michael Prodger SUNDAY TELEGRAPH (28.9.03))
'Making valuable use of Audubon's own writings, and fully in tune with his way of thinking...Hart-Davis has produced an attractive account of a publishing story that will be enjoyed by both specialists and by those who don't know one end of a Roseate Spoonbill from another.' (Robert Douglas-Fairhurst TELEGRAPH (27.9.03))
'Hart-Davis's book focuses on the man's energy and obstinacy, as well as on his great luck in attracting partners - such as his printmaker, Robert Harvell of London. But fittingly for a book celebrating a book, the great glory of Audubon's Elephant is its own colour illustrations, which reproduce more han 30 of the original plates.' (Robin Blake FINANCIAL TIMES magazine (27.9.03))
'gorgeous reproductions...' (Michael Herron GEOGRAPHICAL (October issue))
'fascinating facts and beautiful reproductions of his [Audubon's] works.' (HOME AND COUNTRY (November issue))
Duff Hart-Davis sets Audubon and his world vividly before us...This delightful book does Audubon and his creation proud. (Huon Mallalieu COUNTRY LIFE (16.10.03))
Excellent illustrations are well used in this beautifully produced book. It is both an enticing introduction to Audubon, and a sobering reflection on the human cost of genius and great achievement. (Paddy Woodworth IRISH TIMES (25.10.03))
The unlikely story of how the most famous work on birds came into being
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