Edward Lear, Lago d’Iseo (1867)

Edward Lear, Lago d’Iseo.
Signed and dated May 21, 1867, and extensively inscribed, mixed media, 10.5cm by 20cm.

Tennants.

See also.

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Edward Lear, La Piana, Corsica (1868)

Edward Lear, La Piana, Corsica.
Ink and watercolour. Titled and dated 11 May 1868 5am-6am lower left, numbered 185 lower right and variously annotated. 35 x 53cm (13¾ x 20¾ in.)

Provenance
Pawsey and Payne Ltd., London

Edward Lear travelled to Corsica in April 1868 with the writer John Addington Symonds and stayed until early June. While exploring the island he filled pages of his sketchbooks with views and produced over three-hundred and fifty drawings, carefully annotated with his highly-recognisable colour suggestions, locations and timings. He documented his journey in his last travel book, Journal of a Landscape Painter in Corsica, published in 1870, which includes forty engravings based on the sketches. He also worked these up as the basis for his watercolours and also a series of oil painting, several of which were painted on a monumental scale.

Dreweatts.

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Edward Lear, Grosseto, Corsica (1868)

Edward Lear, Grosseto, Corsica.
Ink and watercolour. Titled and dated 3 May 1868 5:30am lower left, numbered 165 lower right and variously annotated. 33.5 x 51cm (13 x 20 in.)

Provenance
Pawsey & Payne Ltd., London

Edward Lear travelled to Corsica in April 1868 with the writer John Addington Symonds and stayed until early June. While exploring the island he filled pages of his sketchbooks with views and produced over three-hundred and fifty drawings, carefully annotated with his highly-recognisable colour suggestions, locations and timings. He documented his journey in his last travel book, Journal of a Landscape Painter in Corsica, published in 1870, which includes forty engravings based on the sketches. He also worked these up as the basis for his watercolours and also a series of oil painting, several of which were painted on a monumental scale.

Dreweatts.

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Victorian Poetry Issue on Edward Lear

The summer 2020 issue of Victorian Poetry (Volume 58, Number 2), edited by Jasmine Jaegger and Benjamin Westwood, is entirely devoted to Edward Lear. Here is the table of contents:

Introduction: New Work on Edward Lear, Jasmine Jagger, Benjamin Westwood,
pp. 107-119.

“One of the Dumms”: Lear, Deafness, and the Wound of Sound, Sara Lodge, pp. 121-133.

“Antic Dispositions”: Lear and Dickens, Eliza Haughton-Shaw, pp. 135-149.

The Old Person of Chroma, James Williams, pp. 151-167.

“Provocative propinquity”: Paul Muldoon and Edward Lear, Alex Alonso,
pp. 169-185.

Edward Lear’s Happiness, Matthew Bevis, pp. 187-205.

Lear’s Leftovers, Noreen Masud, pp. 207-220.

Afterword: Lear Outside Time, Jenny Uglow, pp. 221-233.

Contributors, pp. 235-236.

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Edward Lear in Ninfa

Last Friday (23 October) I was in Ninfa, where “the most romantic garden in the world” is situated, for a conference celebrating 100 years since its creation among the ruins of a Medieval town.

The conference was organized by Fondazione Roffredo Caetani in collaboration with the Institut für Geschichtliche Landeskunde an der Universität Mainz e. V.

The proceedings were streamed on YouTube and are now available from the Fondazione channel. My paper was about “Edward Lear, i Caetani e Ninfa” but the others are at least as interesting so take a look even if you do not speak Italian, the pictures are great in themselves.

Owing to the Covid-19 pandemy the number of papers had to be reduced and people could only follow the proceedings online. Here is the”Invito.”

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Edward Lear, Ruins in the Campagna

Edward Lear, Ruins in the Campagna.
Oil on canvas, 23.2 x 32.6 cm, framed, slightly damaged.

Provenance:
Directly from the artist by inheritance to the great-great-grandfather of the present owner;
Private Collection United States of America.

Catalogued and illustrated in:
Rodolfo Falchi, Valerie Wadsworth, Edward Lear. Holloway 1812 – Sanremo 1888, Sanremo 1997, p. 279 (wrong length).

We are grateful to Valerie Wadsworth-Falchi for her scientific assistance.

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Edward Lear, Ponte Rotto

Edward Lear, Ponte Rotto, Rome.
Indistinctly inscribed (lower left) and further inscribed ‘The sketch/ on the other side/ taken from below the Ponte Rotto – a bit/ of which is on the left corner.’ (verso) pencil, pen and brown ink and watercolour, heightened with bodycolour on pale blue paper 5 7/8 x 9 ¼ in. (14.7 x 23.5 cm.).

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Edward Lear, Tor San Eusebio (1845)

Edward Lear, Tor San Eusebio.
Inscribed and dated ‘Tor Sant’Eusebio./ 13th. February 1845.’ (lower left) and further inscribed with colour notes.

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Edward Lear, Figures Loading a Barge (1837)

Edward Lear, Figures Loading a Barge.
Signed ‘Edward Lear del’ (lower left), dated ‘Oct. 1837’ (lower right) and numbered 53.W. (lower right).

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Edward Lear, A Tower in the Campagna, Rome (1846)

Edward Lear, A Tower in the Campagna, Rome.
Signed and dated ‘Edward Lear. del./ 1846.’ (lower right).

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