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Edward Lear may be best known for his nonsense verse, but in his early years he excelled as an illustrator of birds and reptiles. This set of 42 hand-colored lithographs, originally entitled Illustrations of the Family of Psittacidae, or Parrots, was the finest achievement of his relatively brief career as a natural history draftsman, before failing eyesight led him to concentrate on his writing.During Lear’s time, live parrots were rare and much sought-after, bought and sold for large sums by wealthy amateurs of natural history, and prized by 19th century European aristocracy for their astonishing plumage and mimickry of the human voice. Naturally, fine drawings of them were also highly prized. One of the first collections entirely dedicated to the species, Parrots includes African, Australian, and American parrots bred by eminent ornithologists such as Sir William Jardine and Prideaux John Selby, who sponsored Lear, inspiring and directing his work.Unlike other avian illustrators who often worked with stuffed birds, the young and prodigiously talented Lear (1812–1888) made his drawings from live parrots, capturing their expressions and movements in remarkably lifelike illustrations. The new medium of hand-colored lithography facilitated the vivid elegance of Lear’s work.This exquisite collection was originally reproduced in only 175 precious sets and sold by subscription to Britain’s most eminent scholars and wealthy collectors of living parrots. The Psittacidae established Lear as a celebrated illustrator, and professor of drawing to the young Queen Victoria. With a brief zoological introduction and written descriptions of each bird, this title revives TASCHEN's XL-sized edition to a more accessible, optimized format, bringing Lear’s parrots back to life for all to admire.

Bought for large sums of money from travellers and merchants, parrots were the object of much fascination to 19th century European aristocracy for their colorful liveries and most of all for their ability to speak, sing, and imitate the human voice. Completed in 1832 when he was just 20, Edward Lears set of 42 hand-colored lithographs entitled Illustrations of the Family of Psittacidae, or Parrots comprise one of the first collections entirely dedicated to parrots in the history of scientific illustration; they include different African, Australian, and American species bred by the collections subscribers, amongst whom were the artists patrons Sir William Jardine and Prideaux John Selby. The young and prodigiously talented Lear (1812-1888) made his drawings from live parrots, the collection was reproduced in only 175 precious sets With a brief zoological introduction and written portraits of each bird, TASCHEN reprint brings Lears parrots back to life for all to admire.

Edward Lear may be best known for his nonsense verse, but in his early years he excelled as an illustrator of birds and reptiles. This set of 42 hand-colored lithographs, originally entitled Illustrations of the Family of Psittacidae, or Parrots, was the finest achievement of his relatively brief career as a natural history draftsman, before failing eyesight led him to concentrate on his writing.During Lear’s time, live parrots were rare and much sought-after, bought and sold for large sums by wealthy amateurs of natural history, and prized by 19th century European aristocracy for their astonishing plumage and mimickry of the human voice. Naturally, fine drawings of them were also highly prized. One of the first collections entirely dedicated to the species, Parrots includes African, Australian, and American parrots bred by eminent ornithologists such as Sir William Jardine and Prideaux John Selby, who sponsored Lear, inspiring and directing his work.Unlike other avian illustrators who often worked with stuffed birds, the young and prodigiously talented Lear (1812–1888) made his drawings from live parrots, capturing their expressions and movements in remarkably lifelike illustrations. The new medium of hand-colored lithography facilitated the vivid elegance of Lear’s work.This exquisite collection was originally reproduced in only 175 precious sets and sold by subscription to Britain’s most eminent scholars and wealthy collectors of living parrots. The Psittacidae established Lear as a celebrated illustrator, and professor of drawing to the young Queen Victoria. With a brief zoological introduction and written descriptions of each bird, this title revives TASCHEN's XL-sized edition to a more accessible, optimized format, bringing Lear’s parrots back to life for all to admire.

* Large Hermes beach tote bag in Les Perroquets printed canvas * In green and blue cotton canvas with floral and parrot patterns * Circa 1990s * Double handle in green canvas allowing it to be worn in the hand or on the shoulder * Interior lining in beige canvas, 3 patch pockets * Signature: “Hermes Paris”. * Vintage in very good condition: slight traces inside the bag. * Dimensions: 45 x 30 x 9 cm * Grade: B * Reference 01022 Condition: Good, but used. A good but used item will have been worn and potentially washed but will be in good condition and well taken care of. The item will have visible wear and tear but the defects will be minor. These have to be mentioned and visible in photos.

Hermes silk scarf 'Les Perroquets', by Joachim Metz, design first published in 1984, nude. . 100% silk. Parrot motif in blue/red and gold on a white ground with a blue border. Hand-rolled hems. 90 x 90 cm. In good condition. Condition: Good, but used. A good but used item will have been worn and potentially washed but will be in good condition and well taken care of. The item will have visible wear and tear but the defects will be minor. These have to be mentioned and visible in photos.

Hermes Carre 90 Les Perroquets Detail Parrot Scarf Muffler Blue Green Silk Women's Hermes Condition: Good, but used. A good but used item will have been worn and potentially washed but will be in good condition and well taken care of. The item will have visible wear and tear but the defects will be minor. These have to be mentioned and visible in photos.

Sous la forme medievale du bestiaire, cet ouvrage narre l'histoire de plus d'une centaine d'animaux reels ou imaginaires - comme la colombe ou le basilic, le cheval et le perroquet, l'ane et le chameau, l'elephant et le dragon, le phenix et le paon, le ceraste et l'unicorne. Ils ont continument accompagne, par leur fonction symbolique, l'affirmation de l'autorite pontificale, mais ont parfois ete convoques par ceux qui entendaient critiquer, reformer ou delegitimer la papaute comme institution. Le cheval, prestigieux element symbolique de pouvoir et de vie de cour, a cavale pendant quinze siecles aupres des papes. La cour la plus ancienne du palais du Vatican s'appelle encore aujourd'hui Cour du Perroquet en souvenir du fait que pendant des siecles les perroquets ont eu la fonction d'annoncer vocalement le pape en tant que souverain. Comme les rois de France, les papes ont possede des menageries; celle du pape Medicis, Leon X, avait accueilli le magnifique elephant blanc indien offert par le roi Manuel Ier du Portugal et dont Raphael nous a laisse le portrait. Au revers de cette medaille, l'animal devint aussi un instrument de satire antipontificale, dans les droleries de superbes manuscrits enlumines, avec des singes et des serpents portant la couronne du pape (la tiare), bien avant que Luther et ses collaborateurs a Wittenberg (Lucas Cranach et Philippe Melanchthon) ne se servent de l'image du pape-ane (Papstesel) pour nourrir leur polemique anti-papale.

Au début, le chat du rabbin ne parle pas. Il est simplement libre comme un chat et ronronne dans les bras de la fille du rabbin, Zlabya, sa maîtresse adorée. Mais dans la maison du rabbin, il y a ce perroquet qui jacasse sans arrêt, et le chat le bouffe. Maintenant, il peut parler, et il commence par mentir : le perroquet est allé faire une course, dit-il, la gueule pleine de plumes. Mentir, c'est mal. Le rabbin décide donc de remettre le chat dans le droit chemin et d'en faire un bon Juif. Moyennant quoi, le chat exige de faire sa bar-mitsva. S'ensuivent des discussions très pointues avec le rabbin du rabbin, qui en conclut qu'on devrait noyer le chat. Malgré le plaisir qu'il prend à ergoter et chipoter à n'en plus finir, le chat a de la peine, depuis qu'il a la parole. Il a acquis un pouvoir dont il se passerait bien. Et finalement, il retourne vers le bonheur et les bras de sa maîtresse, à condition de se conduire comme un vrai chat et de ne plus jamais parler. Il est d'accord : "Ça vaut le coup de fermer sa gueule pour être heureux." Il a seulement beaucoup de mal à fermer sa gueule en écoutant pérorer les disciples du rabbin, qu'il n'aime pas du tout, surtout celui qui veut épouser sa maîtresse... Sfar, qui est né lui-même dans une famille juive, met en scène une communauté juive du début du XXe siècle, à Alger. Dans un décor luxuriant de tissus, carrelages et tapis orientaux, il plante un héros qui semble sorti d'une poubelle : un chat écorché, anguleux, l'air d'avoir avalé un sac de clous _ hilarant. Têtu comme une bourrique et pas toujours avenant (bien que capable de tendresses renversantes), il a aussi avalé ce qui se fait de mieux en matière de raisonnement vicelard, thèse, antithèse, etc. Le résultat est une sorte de conte initiatique d'une grande beauté, où l'on apprend bien des choses sur l'usage de la parole, de la vérité et du mensonge. Une merveille de subtilité, d'émotion et d'ironie.

Sous la forme medievale du bestiaire, cet ouvrage narre l'histoire de plus d'une centaine d'animaux reels ou imaginaires - comme la colombe ou le basilic, le cheval et le perroquet, l'ane et le chameau, l'elephant et le dragon, le phenix et le paon, le ceraste et l'unicorne. Ils ont continument accompagne, par leur fonction symbolique, l'affirmation de l'autorite pontificale, mais ont parfois ete convoques par ceux qui entendaient critiquer, reformer ou delegitimer la papaute comme institution. Le cheval, prestigieux element symbolique de pouvoir et de vie de cour, a cavale pendant quinze siecles aupres des papes. La cour la plus ancienne du palais du Vatican s'appelle encore aujourd'hui Cour du Perroquet en souvenir du fait que pendant des siecles les perroquets ont eu la fonction d'annoncer vocalement le pape en tant que souverain. Comme les rois de France, les papes ont possede des menageries; celle du pape Medicis, Leon X, avait accueilli le magnifique elephant blanc indien offert par le roi Manuel Ier du Portugal et dont Raphael nous a laisse le portrait. Au revers de cette medaille, l'animal devint aussi un instrument de satire antipontificale, dans les droleries de superbes manuscrits enlumines, avec des singes et des serpents portant la couronne du pape (la tiare), bien avant que Luther et ses collaborateurs a Wittenberg (Lucas Cranach et Philippe Melanchthon) ne se servent de l'image du pape-ane (Papstesel) pour nourrir leur polemique anti-papale.