An homage to the natural history museums of yesterday
When I was a child growing up in 1950s Britain, every village had a small natural history museum. Invariably, these small institutions had a diorama with stuffed birds and a hand painted background. To this day, I can still smell that musty combination of dust, wax, and wood that accompanied the displays.
Birdwatching is a small salute to these quaint exhibits, long gone in today’s interactive world. Instead of stuffed birds, I used vintage bird toys, and the book on birdwatching adds to the academic tone.
To give the feel of an old natural history diorama display, I painted a muted landscape that would convey the places I remembered. The lighting is concentrated in the foreground like you would see in a case.
Featured in Birdwatching is an assemblage of splendid metal bird toys from the 40s that waddle, walk, or flap when wound up. The leather-wrapped binoculars are from the 1950s.
All Richard Hall prints are limited edition and hand-signed and numbered by the artist.
All of our prints are finished with a coating that protects the print and enhances light-fastness; we use the highest quality pigmented inks with an estimated lifetime of 118 years.
Canvas giclées: Edition of 50 (for all sizes), signed and numbered on the back of the piece. Archivally mounted or stretched and hand-coated with protectant. Framed canvas giclées are hand-framed in our studio with an espresso-colored frame with gold-tone lip. Unframed canvas giclées should not be framed with glass.
Paper giclées: Edition of 250 for 12” x 16” sizes; edition of 125 for 18” x 24”. Printed on high-quality, acid-free paper and comes with a hand-cut mat that fits into a standard-size frame. We recommend that you use a frame with glass to ensure longevity of your paper print.
For 35 years, Richard Hall enjoyed a successful career in fine art, using his talents to explore the opposing worlds of abstract art and traditional still life. But chance intervened when a mischievous toddler added her two-cents worth to one of Richard’s still life settings, prompting Richard to see his work in an entirely new way. READ MORE
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