page_title: Thomas Bewick
section_title: Tail-pieces
hierarchical_section_title: Thomas Bewick / Work / Technique / Tail-pieces
caption_attribution_description: Pictorial Bookplate. Subjects: Children; Reading; Libraries.
context_page_description: Thomas Bewick was an English wood-engraver and natural history author. Early in his career he took on all kinds of work such as engraving cutlery, making the wood blocks for advertisements, and illustrating children's books. He gradually turned to illustrating, writing and publishing his own books, gaining an adult audience for the fine illustrations in A History of Quadrupeds.
  His career began when he was apprenticed to engraver Ralph Beilby in Newcastle upon Tyne. He became a partner in the business and eventually took it over. Apprentices whom Bewick trained include John Anderson, Luke Clennell, and William Harvey, who in their turn became well known as painters and engravers.
  Bewick is best known for his A History of British Birds, which is admired today mainly for its wood engravings, especially the small, sharply observed, and often humorous vignettes known as tail-pieces. The book was the forerunner of all modern field guides. He notably illustrated editions of Aesop's Fables throughout his life.
  He is credited with popularising a technical innovation in the printing of illustrations using wood.
context_section_description: The tail- or tale-pieces, a Bewick speciality, are small engravings chosen to fill gaps such as those at the ends of the species articles in British Birds, each bird's description beginning on a new page. The images are full of life and movement, often with a moral, sometimes with humour, always with sympathy and precise observation, so the images tell a tale as well as being at the tail ends of articles. For example, the runaway cart, at the end of "The Sparrow-Hawk", fills what would otherwise be a 5 cm (2 in) high gap. Hugh Dixon explains:
  The runaway cart is a wonderful mixture of action and danger. The boys have been playing in the cart and the horse has bolted; perhaps the dog's barking was the cause. The drawing of the wheel – an extraordinary depiction for its time – shows that the cart has gathered speed. One boy has already fallen and probably hurt himself. The others hang on shouting with fear. And why has it all happened? The carter with his tankard in his hand runs too late from the inn. Has he been distracted by the shapely girl? And is it an accident that the inn sign looks a little like a gallows?
caption: A bookplate with the initial 'D'
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