Lear, Edward.

First edition, folio (530 x 375mm.), dedication, list of subscribers, 41 hand-coloured lithographed plates (only, of 42), list of plates, contemporary half morocco, [Anker 283; Nissen ZBI 536; Great Bird Books, p.87; Wood, p.429; Zimmer, pp.380-381], lacks plate 38 (Psittacula Kuhlii), title creased, occasional marginal dampstaining, some slight spotting, boards and edges rubbed

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Lear embarked on his remarkable series of drawings of parrots in 1830 at the age of 18. This was the first time that an illustrated ornithological work was entirely devoted to one family of birds, and was the first book of lithographed plates of birds published in England in folio format. Many of the sketches were made from parrots in the Zoological Gardens at Regent's Park (near to Lear's home), whilst others were done from parrots in private collections. Lear transferred the designs to lithographic stones which were then printed off by Hullmandel, coloured by hand, and sent to the 125 subscribers. The work was issued in 12 parts without text but then discontinued, probably because the venture proved to be unprofitable.

Christine Jackson gives an admirable summary of the artist's technique: "Lear worked in great detail, outlining every feather and filling in the details with fine lines. This scientific accuracy extended to every part of the bird, from the beak to the claws. He noted on the plate the scale of the bird as shown in relation to its life-size, whenever he had reduced it. Only one bird was figured on each signed and dated plate. More often, only the bird itself was coloured, but occasionally parts of a branch adjacent to the bird figure were also painted. The colouring was done with opaque water-colours with touches of egg-white for parts of the feathers requiring sheen and for the eye to add that 'life-touch'. The foregrounds were sketches of branches, leaves and twigs only, and no background details were added" (Bird Illustrators: Some Artists in Early Lithography, p.35).