Untitled genially

Painted Bunting with (adult male)

George Edwards England, 1733 Watercolor on paper Location of this watercolor is unknown The painted bunting appears three times in the portfolio.

Silver Pheasant (male)

George Edwards England, 1733 Watercolor on paper Lenhardt Collection of George Edwards Watercolors at Drayton Hall The Silver Pheasants, known to George Edwards as “Black and White Chinese Pheasants,” appear in Volume One of A Natural History of Uncommon Birds with the cock and hen appearing in one plate. John Drayton’s portfolio contains individual watercolors of both the male and female forms. Edwards states, “These curious Birds were kept many Years by Sir Hans Sloane at his House in London, where they hatched young ones, and brought them to Maturity… these Birds being the Property of my good Patron, whose House I frequented, and had Opportunity often to repair my Draughts, by strictly examining them in their minute Parts, not only while they were living, but after they were dead.”

Painted Bunting with Ruby-throated Hummingbirds

George Edwards England, 1733 Watercolor on paper Courtesy of the Collection of Deen Day Sanders The painted bunting appears three times in the portfolio.

Bald Eagle

George Edwards England, 1733 Watercolor on paper Lenhardt Collection of George Edwards Watercolors at Drayton Hall

Indigo Bunting (nonbreeding male)

George Edwards England, 1733 Watercolor on paper Private collection The Indigo Bunting appears twice in the portfolio.

Northern Flicker

George Edwards England, 1733 Watercolor on paper Lenhardt Collection of George Edwards Watercolors at Drayton Hall

George Edwards England, 1733 Watercolor on paper Lenhardt Collection of George Edwards Watercolors at Drayton Hall The Carolina Parakeet, the only endemic species of parrot in North America, had similar habits to the Bobolink and was a nuisance on rice plantations. Unfortunately, the Carolina Parakeets were a social species and would gather around a fallen companion making it easier to kill the entire flock at once. Mark Catesby first published the Carolina Parakeet in his 1731 volume of Natural History of Carolina, Florida and the Bahama Islands. It was officially declared extinct in 1939.

Carolina Parakeet

Rufous-sided Towhee

George Edwards England, 1733 Watercolor on paper Private Collection

Painted Bunting with moth (immature male)

George Edwards England, 1733 Watercolor on paper Lenhardt Collection of George Edwards Watercolors at Drayton Hall The painted bunting appears three times in the portfolio.

Red Headed Woodpecker

George Edwards England, 1733 Watercolor on paper Private Collection

Grey Parrot

George Edwards England, 1733 Watercolor on paper Courtesy of the Collection of Deen Day Sanders While Edwards painted and published numerous parrot species, the distinctive Grey Parrot does not appear in any of his volumes. The Grey Parrot is easy to spot with its white face and red tail feathers; found along the Gulf of Guinea, it is now an endangered species. It appears the parrot is eating cherries, but Edwards may have been attempting to depict the fruits of the African oil palm tree, the parrots’ natural food source. This bird appears twice in the portfolio.

Unidentified Goshawk

George Edwards England, 1733 Watercolor on paper Ogden Museum of Southern Art Two of the watercolors in the c.1733 portfolio display unidentified birds of prey, surrounded by objects of falconry. Falconry, a hunting sport, used trained hawks or falcons to capture and bring back prey. Falconry began in Asia 4000–2000 BC and by the 18th century in England was only a sport of the upper-class. In this watercolor Edwards depicts an unidentified hawk or falcon perched on a falconer’s gloved hand. Falconer’s wore heavy leather gloves to protect themselves from the birds’ sharp and powerful talons. The glove pictured has heavy trim, embroidered with blue and red flowers. Looped through the falconer’s pinky finger and hanging down, is a highly decorated falconry hood with a plume of pink feathers. Hoods were used to calm newly captured birds and quiet the birds during training; the hoods covered the birds’ eyes completely and trained the bird to attend to its owner’s voice. Attached to each of the bird’s legs is a tiny falconry bell, used by the falconer to keep track of their specific bird.

Ivory-billed Woodpecker

George Edwards England, 1733 Watercolor on paper Lenhardt Collection of George Edwards Watercolors at Drayton Hall The Ivory-billed Woodpecker continues to intrigue bird enthusiasts with occasional hopeful “sightings” referring to birders hearing their call; the last official sighting of an Ivory-billed Woodpecker was in 1944. Despite no verified sightings in 80 years, it remains on the “Critically Endangered” list. An official extinction ruling was set for October 2023, but was delayed once again. Its most distinctive features are its large size, light-colored “ivory” bill and, in the case of the male pictured here, the red crest.

Orchird Oriole or Baltimore Bird(immature male and adult male)

George Edwards England, 1733 Watercolor on paper Location of this watercolor is unknown

White-throated Toucan

George Edwards England, 1733 Watercolor on paper Lenhardt Collection of George Edwards Watercolors at Drayton Hall Two of the distinctive South American birds from the c.1733 portfolio are a trio of hummingbirds and the easily recognizable Toucan. The White-throated Toucan, referred to by Edwards as “the Toucan, or Brasilian Pye” in Volume One is a vibrant bird of South America, generally in the area of Brazil. Edwards writes, “This Bird I met with by good Fortune alive at Mr. Concanen’s, the King’s Attorney-General for the Island of Jamaica, from which Place he brought it to England, it came from some Part of the Spanish Main Land.” At the end of the passage he also makes an interesting note, “After this Bird was dead, the Colours in the Bill were wholly lost and obscur’d, and the bare Space round the Eye turn’d black.”

European Goldfinch

George Edwards England, 1733 Watercolor on paper Location of this watercolor is unknown

Indigo Bunting (breeding male)

George Edwards England, 1733 Watercolor on paper Lenhardt Collection of George Edwards Watercolors at Drayton Hall The Indigo Bunting appears twice in the portfolio.

Gray Crowned-Crane (mature)

George Edwards England, 1733 Watercolor on paper Ogden Museum of Southern Art The male Grey Crowned-Crane is one of the male/female pairs in the portfolio; Edwards titled it: “The crowned African Crane.” George Edwards states in Volume Four of his A Natural History of Uncommon Birds, “The first of these Birds I drew at Sir Hans Sloane’s, the other at Sir Charles Wager’s…In Astley’s Collection of Voyages, I find this Bird mentioned by several Authors there collected, which proves it to BE A CRANE OF THE RIVERS GAMBIA AND SENEGA.” In Volume Four, Edwards painted the male and female together in one plate. This bird appears twice in the portfolio.

Eastern Meadowlark

George Edwards England, 1733 Watercolor on paper Lenhardt Collection of George Edwards Watercolors at Drayton Hall This bird appears twice in the portfolio.

House Wren

George Edwards England, 1733 Watercolor on paper Lenhardt Collection of George Edwards Watercolors at Drayton Hall

Gray Crowned-Crane (immature)

George Edwards England, 1733 Watercolor on paper Lenhardt Collection of George Edwards Watercolors at Drayton Hall The male Grey Crowned-Crane is one of the male/female pairs in the portfolio; Edwards titled it: “The crowned African Crane.” George Edwards states in Volume Four of his A Natural History of Uncommon Birds, “The first of these Birds I drew at Sir Hans Sloane’s, the other at Sir Charles Wager’s…In Astley’s Collection of Voyages, I find this Bird mentioned by several Authors there collected, which proves it to BE A CRANE OF THE RIVERS GAMBIA AND SENEGA.” In Volume Four, Edwards painted the male and female together in one plate.

George Edwards England, 1733 Watercolor on paper Lenhardt Collection of George Edwards Watercolors at Drayton Hall Many of the birds found in the portfolio would have been highly recognizable to John Drayton (1715–1779) as he became one of the most profitable planters in colonial South Carolina. Rice became the leading exported crop out of the South Carolina colony in the 18th century, so much so that it became known as “Carolina Gold.” The depiction of North American birds eating rice speaks to the larger trans-Atlantic trade of enslaved individuals whose knowledge brought from Africa enabled 18th century plantation owners to profit exponentially from their expertise. The Bobolink became known as the “rice bird” as flocks of Bobolinks would descend on the fields of rice to eat the crops. The Bobolink depicted here is a nonbreeding male in his fall plumage; the addition of the branch of acorns helps place the bird in its proper season. This bird appears twice in the portfolio.

Bobolink (nonbreeding male)

Red-eyed Vireo

George Edwards England, 1733 Watercolor on paper Location of this watercolor is unknown

Cooper's Hawk

George Edwards England, 1733 Watercolor on paper Location of this watercolor is unknown

Eastern Meadowlark

George Edwards England, 1733 Watercolor on paper Lenhardt Collection of Location of this watercolor is unknown This bird appears twice in the portfolio.

Common Kingfisher (small Blue Kingfisher)

George Edwards England, 1733 Watercolor on paper Lenhardt Collection of George Edwards Watercolors at Drayton Hall The colorful Common Kingfisher (Small Blue Kingfisher) also appeared in Volume One identified as “The little Indian Kingfisher.” Edwards says of these birds of which two appear in one plate, “There came with one of these Birds from India a King-fisher, altogether like ours in England, both from Bigness, Shape, and Colour. Mr. Peter Colinson obliged me with the upper Bird, and Mr. Dandridge with the lower. They came from Bengal in the East Indies."

Rosey faced Locebird

George Edwards England, 1733 Watercolor on paper Courtesy of Frank B. and Marley S. Drayton, Jr. The Rosy-faced Lovebird is found further down the western coast of Africa in modern-day Namibia. While this bird does not appear in any of Edwards’ volumes, the Cleveland Museum of Art does hold another George Edwards painting of a Rosy-faced Lovebird. This bird was previously misidentified as Edwards’ “The smallest Green and Red Indian Paroquet,” but the markings, size, and shape of the bird resembles a Lovebird.

Red Avadavat

George Edwards England, 1733 Watercolor on paper Lenhardt Collection of George Edwards Watercolors at Drayton Hall The tiny pair of female and male Red Avadavat are not found in any of Edwards’ volumes and were previously misidentified as Fire Finches. They are a species of finch found in India with striking red feathers and covered with tiny white spots.

Northern Cardinal

George Edwards England, 1733 Watercolor on paper Lenhardt Collection of George Edwards Watercolors at Drayton Hall

Silver Pheasant (female)

George Edwards England, 1733 Watercolor on paper Private Collection The Silver Pheasants, known to George Edwards as “Black and White Chinese Pheasants,” appear in Volume One of A Natural History of Uncommon Birds with the cock and hen appearing in one plate. John Drayton’s portfolio contains individual watercolors of both the male and female forms. Edwards states, “These curious Birds were kept many Years by Sir Hans Sloane at his House in London, where they hatched young ones, and brought them to Maturity… these Birds being the Property of my good Patron, whose House I frequented, and had Opportunity often to repair my Draughts, by strictly examining them in their minute Parts, not only while they were living, but after they were dead.”

Grey Parrot

George Edwards England, 1733 Watercolor on paper The location of this watercolor is unknown While Edwards painted and published numerous parrot species, the distinctive Grey Parrot does not appear in any of his volumes. The Grey Parrot is easy to spot with its white face and red tail feathers; found along the Gulf of Guinea, it is now an endangered species. It appears the parrot is eating cherries, but Edwards may have been attempting to depict the fruits of the African oil palm tree, the parrots’ natural food source. This bird appears twice in the portfolio.

European Starling

George Edwards England, 1733 Watercolor on paper Location of this watercolor is unknown

Yellow-bellied Sapsucker

George Edwards England, 1733 Watercolor on paper Lenhardt Collection of George Edwards Watercolors at Drayton Hall

Red-winged Blackbird (breeding male)

George Edwards England, 1733 Watercolor on paper Courtesy of the Colonial Williamsburg Foundation The Red-winged Blackbird appears twice in the portfolio.

Yellow-billed or Guinea Turaco

George Edwards England, 1733 Watercolor on paper Courtesy of Frank B. and Marley S. Drayton, Jr. The Yellow-billed or Guinea Turaco was simply titled “Turaco” by Edwards in Volume One. He notes “these Birds are indeed Africans, brought from Guinea, by the Way of the West Indies, to us… this Bird is now living at Colonel Louther’s House in St. Jame’s Park, where I have been permitted to make Drawings of it for several Persons of Distinction.”

Scarlet Macaw (male)

George Edwards England, 1733 Watercolor on paper Private Collection The Scarlet Macaw appears twice in the portfolio.

Blue Jay

George Edwards England, 1733 Watercolor on paper Lenhardt Collection of George Edwards Watercolors at Drayton Hall The blue jay appears twice in this portfolio.

George Edwards England, 1733 Watercolor on paper Private collection Many of the birds found in the portfolio would have been highly recognizable to John Drayton (1715–1779) as he became one of the most profitable planters in colonial South Carolina. Rice became the leading exported crop out of the South Carolina colony in the 18th century, so much so that it became known as “Carolina Gold.” The depiction of North American birds eating rice speaks to the larger trans-Atlantic trade of enslaved individuals whose knowledge brought from Africa enabled 18th century plantation owners to profit exponentially from their expertise. The Bobolink became known as the “rice bird” as flocks of Bobolinks would descend on the fields of rice to eat the crops. The Bobolink depicted here is a nonbreeding male in his fall plumage; the addition of the branch of acorns helps place the bird in its proper season. This bird appears twice in the portfolio.

Bobolink (breeding male)

Unidentified Goshawk

George Edwards England, 1733 Watercolor on paper Courtesy of the Collection of Deen Day Sanders Two of the watercolors in the c.1733 portfolio display unidentified birds of prey, surrounded by objects of falconry. Falconry, a hunting sport, used trained hawks or falcons to capture and bring back prey. Falconry began in Asia 4000–2000 BC and by the 18th century in England was only a sport of the upper-class. In this watercolor Edwards depicts an unidentified hawk or falcon perched on a falconer’s gloved hand. Falconer’s wore heavy leather gloves to protect themselves from the birds’ sharp and powerful talons. The glove pictured has heavy trim, embroidered with blue and red flowers. Looped through the falconer’s pinky finger and hanging down, is a highly decorated falconry hood with a plume of pink feathers. Hoods were used to calm newly captured birds and quiet the birds during training; the hoods covered the birds’ eyes completely and trained the bird to attend to its owner’s voice. Attached to each of the bird’s legs is a tiny falconry bell, used by the falconer to keep track of their specific bird.

Common Nighthawk

George Edwards England, 1733 Watercolor on paper Location of this watercolor is unknown

Scarlet Macaw (female)

George Edwards England, 1733 Watercolor on paper Lenhardt Collection of George Edwards Watercolors at Drayton Hall The Scarlet Macaw appears twice in the portfolio.

Eastern Screech-Owl

George Edwards England, 1733 Watercolor on paper Lenhardt Collection of George Edwards Watercolors at Drayton Hall

Ruby-throated Hummingbirds

George Edwards England, 1733 Watercolor on paper Private Collection

Black Metaltail Hummingbirds

George Edwards England, 1733 Watercolor on paper Lenhardt Collection of George Edwards Watercolors at Drayton Hall Two of the distinctive South American birds from the c.1733 portfolio are a trio of hummingbirds and the easily recognizable Toucan. The hummingbirds are Black Metaltail Hummingbirds of Peru, though Edwards refers to them as “The Black-Belly’D Green Huming Birds.” The Black-bellied Green Hummingbird species have tailfeathers with white tips, whereas the birds in the painting have all black tailfeathers indicating that they are instead Black Metaltail Hummingbirds. Edwards wrote in Volume One about the Black-Belly’D Green Humingbirds of which there were two on one plate, “The first Bird was lent to me by James Theobald, Esq; the other by Taylor White, Esq; From what particular Part they came, I could not be informed; but we know that America only produces these Birds, and chiefly between the Tropicks, they being rarely met with far without the Tropicks, and not at all in Winter. Near the Equinoctial they continue all the Year, as I have been informed.”

Red-winged Blackbird (nonbreeding male)

George Edwards England, 1733 Watercolor on paper Lenhardt Collection of George Edwards Watercolors at Drayton Hall The Red-winged Blackbird appears twice in the portfolio.

American Kestrel (adult male, Northern)

George Edwards England, 1733 Watercolor on paper Location of this watercolor is unknown

ABOUT THE EXHIBIT

In 1733, John Drayton (1715–1779), received a portfolio containing 47 watercolor paintings by artist George Edwards (1694–1773), the father of British ornithology. These watercolors were completed ten years before the publication of the first volume of Edwards’ A Natural History of Uncommon Birds (1743) and are the oldest of their type to survive in North America. Drayton was 18 years old, and this exchange is the best evidence for him experiencing a grand tour of Europe as Edwards never visited North America. Long forgotten, the watercolors were discovered in the attic of 25 East Bay Street upon the death of Charlotta Drayton in 1969. Over time, portions of the portfolio were sold. In 2009, Drayton Hall was able to purchase 21 of the 47 paintings, now recognized as the Lenhardt Collection of George Edwards Watercolors at Drayton Hall. Flights of Fancy: An Exploration of Uncommon Birds highlights some of the most important species and reunites additional original portfolio paintings from museums and private collectors for the first time in 55 years

Blue Jay

George Edwards England, 1733 Watercolor on paper Courtsey of the Collection of Deen Day Sanders The blue jay appears twice in this portfolio.