Gregory M. Mathews and The Birds of Australia: a Monument of Ornithological Ambition

Gregory M. Mathews (1876–1949) devoted a significant part of his life to a single grand vision: documenting the avifauna of an entire continent. The result was The Birds of Australia, a monumental multi-volume work that combined rigorous taxonomy with some of the most refined bird illustration of the early 20th century. Today, its original plates are sought after both by collectors and by those who wish to bring a piece of natural history into their living spaces.

A continental project in print

Produced over several years and issued in parts, The Birds of Australia reflects a moment when ornithology, field observation and publishing technology converged. Mathews worked with a network of collectors, museums and local correspondents to refine species concepts, subspecies and distributions. Each plate was conceived not only to show a bird, but to crystallise a taxonomic idea: posture, plumage details and habitats were selected to illustrate diagnostic characters with scientific clarity.

From a technical point of view, the work stands at the intersection between 19th-century chromolithography and 20th-century fine colour printing. Careful stone or plate preparation, followed by expert hand-finishing, allowed subtle gradations in feather tone and atmospheric backgrounds, giving each bird a clear yet natural presence on the page.

The illustrators behind Mathews: Keulemans, Grönvold, Green and Goodchild

One of the defining features of The Birds of Australia is the variety and quality of its illustrators. Mathews collaborated with several major bird artists of his time, each bringing a distinct visual language to the project:

• J. G. Keulemans – celebrated for his precise line and structured compositions, he provided plates where anatomy and pattern reading are exceptionally clear, ideal for comparing closely related species.
• Henrik Grönvold – his calmer palettes and measured poses introduce a quiet elegance, perfectly suited to the more delicate Australian passerines and doves.
• Roland Green – known for his sense of movement and field-inspired angles, he gives waterbirds and shorebirds a dynamic, almost cinematic presence.
• H. Goodchild – a master of structure and tonal balance, whose shaded modelling of wings and bodies adds sculptural depth to the birds of prey and larger species.

Across the plates, these different hands are unified by a shared discipline: clean outlines, carefully organised compositions and a constant attention to plumage structure. Each illustrator respected the scientific demands of the project while leaving a recognisable artistic fingerprint.

Technical accuracy and aesthetic presence

From a technical perspective, the plates of The Birds of Australia are carefully constructed tools for identification. Bill shapes, wing formulas and tail patterns are rendered with a level of exactness that still impresses ornithologists today. Small details – such as the pattern of scapulars or the scaling on the tarsi – are drawn with enough precision to support subspecific distinctions.

At the same time, these images are far from dry diagrams. The backgrounds, often reduced to soft gradients or simplified vegetation, are designed to frame the bird without competing with it. This restraint creates a strong decorative impact: many plates work effortlessly as wall pieces, with birds positioned off-centre or diagonally to introduce rhythm and visual tension into the composition.

Colour plays a central role in this balance between science and aesthetics. The artists managed the vivid tones of Australian species – lorikeets, parrots, honeyeaters – by layering hues rather than using flat blocks, resulting in surfaces that appear luminous rather than harsh. In more neutral species, controlled palettes of browns, greys and olives are enriched by subtle iridescence or soft reflections, making even a “plain” bird feel visually engaging.

Plates as focal points in contemporary interiors

In modern interiors, plates from The Birds of Australia work particularly well in spaces where a balance of structure and colour is desired: studios, reading corners, hallways or above console tables. The vertical format and clear silhouettes make these prints easy to pair in symmetric arrangements, while the variety of species allows curated themes: coastal birds, parrots, raptors or forest passerines.

From a decorative standpoint, the neutral background tones make the birds themselves the true chromatic actors. A vivid parrot can become the single accent colour in an otherwise minimal room, while softer species in greys and browns work beautifully alongside natural materials such as wood, linen and stone. Framed with simple profiles and museum-quality mounts, these plates move effortlessly from scientific illustration to timeless wall art.

Selected plates from The Birds of Australia

Red-collared Lorikeet – Roland Green	Gold-breasted Lorikeet – Henrik Grönvold
Chestnut-breasted Cuckoo – Henrik Grönvold	Western Purple Kingfisher – Roland Green

Connecting Mathews to the broader Prantique ornithology collection

The Birds of Australia sits at the centre of a wider constellation of ornithological works that you can explore on our blog and in our catalogue. For those interested in the evolution of bird art across the 19th and early 20th centuries, we recommend reading our dedicated articles on

• J. G. Keulemans – precision and passion in ornithological illustration;
• Henrik Grönvold – a Scandinavian eye for ornithological grace;
• Roland Green – dynamic vision and field-born precision in bird art;
• H. Goodchild – shadows, structure and quiet drama in Australian bird plates.

Together with the original plates available in the category Mathews and The Birds of Australia, these works trace a complete visual history of how birds were observed, understood and celebrated in print – from strictly taxonomic plates to compositions designed to live as enduring works of art on the wall.