Edward Lear, Sepolcro di Terone, Sicily (1847)

Edward Lear, Sepolcro di Terone, Sicily, Italy.
Inscribed, dated and numbered ‘Sepolero di Terone Gigenti 29 May 1847 (63)’ and further inscribed with notes throughout, pencil, pen and ink. 8.25cm x 25.5cm (3.25in x 10.25in).

Leaving Rome in April 1847, Lear travelled south together with John Proby (1780-1855), subsequently 2nd Earl of Carysfort. They stayed in Sicily from the 3rd of May to 19th of July, as a result of which a volume containing twenty Nonsense drawings of their adventures on the island was published in 1938 as Lear in Sicily. At the end of May they were in Agrigento, the city founded by Greek colonists in about 580 BC, and from there Lear wrote to his sister ‘Nothing of earth can be so beautiful as Girgenti with its 6 Temples — I speak of the old town — & the flowers & birds are beyond imagination lovely. I must however, need say that the gnats, fleas, flies, wasps, etc. etc.— require much philosophy to bear’.
The Tomb of Theron is located in the Valley of the Temples and dates from the 1st century BC. Theron (died 473 BC), son of Aenesidemus, was a Greek tyrant of the town of Acragas from 488 BC.

Lyon & Turnbull.

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Edward Lear, View of Mount Modino, near Abetone (1883)

Edward Lear, Edward Lear, View of Mount Modino, near Abetone, Tuscany.
Watercolour and brown ink. Titled and dated ’18 “20” August 1883′ (lower right). 30 x 54cm (11¾ x 21¼ in.)

Dreweatts.

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Edward Lear, Luxor

Edward Lear, Luxor, Egypt.
Pen, ink, and watercolour with white heightening. Signed (lower left), inscribed (lower right)11 x 18cm (4¼ x 7 in.).

Provenance
The Fine Art Society, London, September 1954

Dreweatts.

 

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Edward Lear, Sacro Monte di Varese (1879)

Edward Lear, Sacro Monte di Varese.
Black chalk, pen and brown ink, 275×495 mm. On the recto, lower left, pen and brown ink: “Sacromonte 8. Sept. 1879”

Exhibited
Edward Lear (1812 – 1888), Il viaggio come avventura estetica, vedute d’Italia, Milano, Finarte, 3 febbraio 1994

Bibliography
A. Porro, Edward Lear (1812 – 1888), Il viaggio come avventura estetica, vedute d’Italia. Catologo della mostra, Milano – Roma – Londra 1994, scheda 20.

Pandolfini.

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Edward Lear, Coast of Crete, looking towards the village of Perivolia and Mount Ida (Psilortis), 1864

Edward Lear, Coast of Crete, looking towards the village of Perivolia and Mount Ida (Psilortis), 1864.
With inscriptions and notes (lower left and right). Pen & ink. 27 x 6.5 cm (10 1/2 x 2 1/2 in.)

The work is inscribed primarily in Greek and dated; ‘Psilortis and Perivolia from the house of Mr Constantine Kalokarinos, in Rethimo, 8 May 1864, 6pm’ (lower).

Provenance
Thomas Agnew & Sons
Moore-Gywn Fine Art, British Pictures, Allen Street, London

Exhibited
Vivien Noakes, Edward Lear 1812 – 1888. Royal Accadmey, exh cat 1995 section 25

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Edward Lear, A view across Kozhikode (Calicut), Malabar, India

Edward Lear, A view across Kozhikode (Calicut), Malabar, India.
Inscribed ‘near Calikut’ (lower left). Watercolour. 10.1 x 19.3cm (4 x 7 5/8in).

Bonhams.

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Edward Lear, Two Peacocks

Edward Lear, Two Peacocks.
Watercolour on paper. 6 3/4″ x 9″ sheet, 17 3/4″ x 15 3/4″

MutualArt.

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Edward Lear, Agia Paraskevi (1857)

Edward Lear, Agia Paraskevi.
Watercolor over traces of pencil on paper. 13 3/4 x 19 1/2 in. (34.9 x 49.5 cm.)

MutualArt.

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Edward Lear, Amalfi (1844)

Edward Lear, Amalfi.
Inscribed and dated ‘Amalfihi/8. June. 1844’ (lower right). Pen and ink over traces of pencil. 48 x 34.5cm (18 7/8 x 13 9/16in).

Provenance
Ex collection of art critic Nicolas Powell (1920-1986).
Private collection, UK (thence by descent).

Bonhams.

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Edward Lear, Cannes

Edward Lear, Cannes.
Inscribed ‘the day/was sloping toward his western bower (Mariana) Cannes/France’ (on part of the original mount, affixed to the reverse). Grey wash over pencil. 10 x 15cm (3 15/16 x 5 7/8in).

Provenance
With Thomas Agnew & Sons Ltd., London.
The Ralph Richardson Collection sale, Sotheby’s, London, 27 April 2001, lot 298.
Private collection, UK.

Exhibited
London, Thomas Agnew & Sons Limited, 108th Annual Exhibition of Watercolours and Drawings, 19th January – 20th February 1981.

The inscription on the reverse is taken from the last verse of Alfred Lord Tennyson’s poem Mariana (VII, lines 79-80).

Bonhams.

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