Histoire naturelle des pigeons or Les pigeons: Coenraad Jacob Temminck versus Pauline Knip

Abstract

Evidence for the dates of the parts of C. J. Temminck's Histoire naturelle des pigeons was planted by the artist who, with the benefit of royal patronage, had earlier made herself the apparent architect of the work as a whole and renamed it Les pigeons. We here reveal the flaws in the planted evidence, available in Philadelphia, and how these flaws show when she committed the deed. Wrappers play a major role, and a set in Berlin reveals the true dates of publication. The consequence is that the work must be seen as two works: one, the combined issue of the last parts where the artist must be allowed her pride of place; the other, the bulk of the work where her evidence crumbles and Temminck is undoubtedly and lead player in the publication not just the author.