Edward Lear, The Esterelles, from near Antibes, France (1876)

Edward Lear, The Esterelles, from near Antibes, France.
Signed with monogram and dated ‘1876’ (lower right) and inscribed and dated ‘The Esterelles/ from near Antibes./ Feby. 1865’ (lower left). Pencil and watercolour heightened with bodycolour. 10 3/8 x 16 in. (26.4 x 40.6 cm.)

Lear spent the winter between 1864 and 1865 in Nice, travelling along the coast recording the views that he saw in pencil and watercolour. This large drawing of the Esterelles was executed at the end of his stay in France. Whilst in Nice he was working on a number of the highly finished watercolours he produced for sale and exhibition and to which he referred as his ‘Tyrants’. The later date in this drawing refers to the fact that he returned to the subject in 1876 and developed the composition further, a practice that he undertook on a number of occasions.

Christie’s.

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Edward Lear, Cervo, Imperia, Italy (1882)

Edward Lear, Cervo, Imperia, Italy.
Signed with monogram and dated ‘1882’ (lower right) and inscribed and dated ‘Cérvo./ 27 Decbr. 1881′ (lower left). Pencil and watercolour heightened with bodycolour. 10 7/8 x 21 in. (27.7 x 53.4 cm.)

Provenance
Francis Braham, Lady Waldegrave, and her husband Chichester Fortescue, Lord Carlingford;
Constance Braham, Lady Strachey, niece of Lady Waldegrave, and by descent.
Anonymous sale; Sotheby’s, London, 10 November 1994, lot 145, where purchased for the present collection.

Cervo is on the coast close to San Remo, where Lear was to build the Villa Tennyson, his last home.

Christie’s.

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Edward Lear, Lago di Nemi

Edward Lear, Lago di Nemi.
Pencil. Inscribed with colour notes by the artist.

Exhibited
Agnews.

Abbot and Holder.

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Midsummer Readings

Edward Lear, Near Massa, 22 August 1838.

Jagger, Jasmine. “Lear’s Tears.Victorian Poetry 57.1 (2019). 101-129.

And:
Jagger, Jasmine. “The Endlessness of Alice.The Cambridge Quarterly 45.1 (2016). 91-97.

Caniglia, Maria Rossana, and Maria Concetta Fiorillo. “Disegno e narrazione in alcune vedute calabresi di Edward Lear.ArcHistoR EXTRA 4 (2018): 43-65.

And:
Nobile, Marco Rosario. “La Sicilia del Voyage Pittoresque, con uno sguardo veloce (e molto ‘personale’) alla letteratura di viaggio.ArcHistoR EXTRA 3 (2018): 501-515.
Valtiero, Simonetta. “I turisti del passato in Calabria: qui ‘si patisce e si gode’.ArcHistoR EXTRA 4 (2018): 9-19.
Valensise, Francesca. “Impressioni di viaggio nella Calabria Ulteriore dal diario di Dominique Vivant Denon.ArcHistoR EXTRA 3 (2018): 475-497.
Manfredi, Tommaso. “Alle origini dell’esplorazione: visioni e interpretazioni di un viaggio iconografico.ArcHistoR EXTRA 3 (2018): 9-39.

Yemelyanovam Ikeba- “Addressee’s Factor in the Limerick Discourse.” Advance Education 12 (2019): 168-173.

Granato, F., & Bastazin, V. “O livro infantil ilustrado: a produção nonsense de Edward Lear (1812-1888) e Edward Gorey (1925-2000).” Cadernos De Literatura Comparada 40 (2019): 245-270

Edward Lear, Capri from Massa, 1840.

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Edward Lear, Sunset over a Desert Landscape

Edward Lear, Sunset over a desert landscape.
Pencil heightened with white on buff paper, sheet 7.1×15.9cm.

Provenance
with Martyn Gregory, London, stock no. VA 343

Note
This studio sketch dates from the artist’s time in Rome.framed, in a gilded moulding frame, late 20th century, glazed and mounted.

The Saleroom.

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Edward Lear, Plataea, Greece (1848)

Edward Lear, Plataea, Greece.
Inscribed and dated ‘Platoea. [sic]/ 5. July. 1848’ (lower left), and numbered ‘123’ (lower right). Pencil, pen and brown ink and watercolour. 10⅛ x 16½ in. (25.8 x 41.9 cm.)

Provenance
Charles Church, a gift from the artist, and by descent to the present owners.

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Edward Lear, Shepherd Resting on Ruins, Plataea (1848)

Edward Lear, Shepherd resting on ruins, Plataea, Greece.
Inscribed and dated ‘Platoea / 5. July. 1848’ (lower left), numbered ‘124’ (lower right), and extensively inscribed with artist’s notes throughout. Pencil, pen and brown ink and watercolour, heightened with white. 12⅝ x 20 in. (32.1 x 50. 8 cm.)

Provenance
Charles Church, a gift from the artist, and by descent to the present owners.

Exhibited
Shefield, Graves Art Gallery, Edward Lear, Drawings from a Greek Tour, July
1964, no. 43.

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