Search
Program Calendar
Browse By Day
Search Tips
Personal Schedule
Sign In
X (Twitter)
In 1736, British naturalist George Edwards painted a portrait of a pet parrot that in all aspects appeared to be an African Grey Parrot (Psittacus erithacus), except for the fact that the usual gray body plumage was instead mottled gray and red. He published the image along with a description, dubbing it the “Ash-Coloured and Grey Parrot.” Several more depictions of similarly plumaged parrots subsequently appeared in Europe, some with accompanying descriptions suggesting such individuals were not uncommon at the time. And yet, the visual record of this type seems to disappear by the end of the 18th century, with the exception of a single late 19th century entry. However, that last image also accompanies an ornithological text claiming the bird was, in fact, a distinct species.
In modern times, such parrots are only known in aviculture as African Grey Parrots that are either the result of “red factor” genetic mutations (who are then selectively bred to develop highly sought after red factor varieties), or as the result of “red suffusion,” a condition believed to be caused by poor diet and/or liver disease. So then, what were these other parrots who appeared then seemingly disappeared during the course of 18th century European avian collecting? Were they, in fact, a now lost (sub)species driven to extinction by colonial pressures? Did they just have aberrant plumage due to red factor mutations, making them targets for collection as novelties? Did the plumage develop in captivity due to poor keeping? Were they, as one source suggested, evidence of tapirage practices in Africa?
This paper presents my found image collection of these mystery parrots and, along with the accompanying textual evidence, considers these various possibilities, along with how this case can connect to broader questions in the study of avian colors in both nature and art.