Wolf travelled to London on 20th March 1848 on the Soho, and was introduced by David William Mitchell, an amateur illustrator himself and a secretary of the Zoological Society of London, to Trübner of Longmans publishing.
The very next day was set to work on Gray's The Genera of Birds.
While at work in the insect room of the British Museum, he met other naturalists including J. O. Westwood with whom he could converse in French.
He was a friend of William Russell, an accountant and a Campbell related to the Duke of Argyll.
Russell brought Sir Edwin Landseer and the Duke of Argyll to see the works of Wolf.
The Duke soon became a patron and he was also introduced to the Duke of Westminster.
Wolf's paintings were also appreciated by the Pre-Raphaelite Brotherhood of London.

John Gould admired Wolf and would have liked him on his staff, but Wolf only contributed illustrations on a freelance basis.
Wolf accompanied Gould on a collection trip to Norway.
Wolf thought of Gould as a shrewd and uncouth man.
Wolf also noted that Gould lacked a knowledge of feather patterning, apart from knowing nothing about composition, with a tendency to add too much colour, claiming that specimens in the wild were brighter.

Wolf was commissioned by the Zoological Society of London to paint a watercolour of wapiti deer in the snow; it is dated January 1881.
Wolf soon became the illustrator of choice for all the books published by returning adventurers like David Livingstone, Alfred Russel Wallace and Henry Walter Bates (for instance Bates' 1863 book The Naturalist on the River Amazons).

Wolf joined an association called the German Athenaeum which was founded in 1869 and members met for scientific, literary and musical evenings.
For their exhibitions he worked on a range of compositions often with natural elements.
His favourite medium was charcoal and ink.
Wolf became treasurer to a fund for German widows during the Franco-Prussian War  (War of 1870.)
After the war, he met Daniel Giraud Elliot in Paris and visited a battlefield.
He rendered the image in a design called "Peace and War" with turtle doves on a bush over a soldier's helmet.
He also produces some cartoon like illustrations including "Lecture on Embryology" in which he taunts certain men of science.
When Charles Darwin began his study of animal expressions, he was introduced by Abraham Dee Bartlett, the zoo superintendent, to the abilities of Wolf in illustrating minute details of animals in action.
Darwin requested Wolf to make some illustrations from photographs and living animals in the zoological garden.
Wolf held his own opinions on the reliability of others' observations and even doubted Darwin's interpretation of the face of a monkey as a "laugh".
Darwin visited him on several occasions and Wolf appreciated him for being very approachable, someone that even "a child could talk to".
Wolf travelled to London on 20th March 1848 on the Soho, and was introduced by David William Mitchell, an amateur illustrator himself and a secretary of the Zoological Society of London, to Trübner of Longmans publishing. The very next day was set to work on Gray's The Genera of Birds. While at work in the insect room of the British Museum, he met other naturalists including J. O. Westwood with whom he could converse in French. He was a friend of William Russell, an accountant and a Campbell related to the Duke of Argyll. Russell brought Sir Edwin Landseer and the Duke of Argyll to see the works of Wolf. The Duke soon became a patron and he was also introduced to the Duke of Westminster. Wolf's paintings were also appreciated by the Pre-Raphaelite Brotherhood of London.
John Gould admired Wolf and would have liked him on his staff, but Wolf only contributed illustrations on a freelance basis. Wolf accompanied Gould on a collection trip to Norway. Wolf thought of Gould as a shrewd and uncouth man. Wolf also noted that Gould lacked a knowledge of feather patterning, apart from knowing nothing about composition, with a tendency to add too much colour, claiming that specimens in the wild were brighter.
Wolf was commissioned by the Zoological Society of London to paint a watercolour of wapiti deer in the snow; it is dated January 1881. Wolf soon became the illustrator of choice for all the books published by returning adventurers like David Livingstone, Alfred Russel Wallace and Henry Walter Bates (for instance Bates' 1863 book The Naturalist on the River Amazons).
Wolf joined an association called the German Athenaeum which was founded in 1869 and members met for scientific, literary and musical evenings. For their exhibitions he worked on a range of compositions often with natural elements. His favourite medium was charcoal and ink. Wolf became treasurer to a fund for German widows during the Franco-Prussian War  (War of 1870.) After the war, he met Daniel Giraud Elliot in Paris and visited a battlefield. He rendered the image in a design called "Peace and War" with turtle doves on a bush over a soldier's helmet. He also produces some cartoon like illustrations including "Lecture on Embryology" in which he taunts certain men of science. When Charles Darwin began his study of animal expressions, he was introduced by Abraham Dee Bartlett, the zoo superintendent, to the abilities of Wolf in illustrating minute details of animals in action. Darwin requested Wolf to make some illustrations from photographs and living animals in the zoological garden. Wolf held his own opinions on the reliability of others' observations and even doubted Darwin's interpretation of the face of a monkey as a "laugh". Darwin visited him on several occasions and Wolf appreciated him for being very approachable, someone that even "a child could talk to".
Joseph Wolf