1825 Watertons Taxidermy Nondescript
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1825 Watertons Taxidermy Nondescript
1825 " A Nondescript" drawn by T.H. Foljambe engraved on copper (with later tinting) by I.W. Lowry, being the frontispiece to Charles Watertons " Wanderings in South America" J. Mawman, London (1825). The specimen is derived from a howler monkey (some say its head, others its rump) and shows Watertons unique skills and method of Taxidermy which employed a sublimate of mercury and hollow specimens, to reform shape. It is clear from Watertons own jocular account that it was a prank. He is said to have admitted in later life that it was given the likeness of J.R. Lushington, secretary to the UK Treasury who had levied heavy import duties on his specimens. But Watertons own account strongly hints at two more serious motives for the hoax. To prove his unrivalled skills at taxidermy and to make the point that a monkey cannot be turned into a man (this question was argued long before Darwin)
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Media ID 6346181
© PAUL D STEWART/SCIENCE PHOTO LIBRARY
Evolution Fake Fraud Hoax Mercury Monster Taxidermy Howler Monkey Waterton
EDITORS COMMENTS
This print showcases the intriguing "1825 Watertons Taxidermy Nondescript". Drawn by T. H. Foljambe and engraved on copper by I. W. Lowry, this piece served as the frontispiece to Charles Waterton's renowned book, "Wanderings in South America" published in London in 1825. The subject of this peculiar artwork is derived from a howler monkey, although there is debate about whether it depicts its head or rump. What makes this taxidermy specimen truly remarkable is Waterton's unique method, which involved using a sublimate of mercury and hollow structures to reshape the animal. However, it was later revealed that this creation was nothing more than an elaborate prank. Rumor has it that Waterton crafted the likeness of J. R. Lushington, secretary to the UK Treasury who had imposed heavy import duties on his specimens. Yet beyond mere mischief, there were deeper motives at play here. Through his jocular account and subsequent admissions, Waterton aimed to demonstrate his unparalleled taxidermy skills while also making a profound statement: no matter how skilled one may be at manipulating nature through artifice like taxidermy, transforming a monkey into a man remains an impossibility. This fascinating image raises questions about human evolution long before Darwin's time and delves into themes such as fraud and deception within scientific circles. It serves as both an artistic masterpiece and a thought-provoking historical artifact that continues to captivate viewers with its intricate details and complex narrative.
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