Awful Protection against Midges

John Everett Millais, Awful Protection against Midges, 1853.
Pen and sepia ink on paper. Signed with monogram, inscribed and dated 1853.

This drawing comes from a series of about twenty-five amusing records that Millais made as a visual diary of his stay in Scotland with John Ruskin and his wife Effie. It was on this holiday at Brig o’Turk, taken between July and October in 1853, that Millais painted his famous portrait of John Ruskin standing beside Glenfinlas Falls and became deeply infatuated with his wife, Effie. Millais was an avid fan of the humorous magazine Punch and on returning from Scotland he showed the results of the lighter side of his trip (his relations with Ruskin having become naturally somewhat strained) to his friend, the Punch cartoonist John Leech. Although Millais was delighted to see his sketches published he asked for them to be anonymous. The images “would never go with the serious position I occupy in regard to Art”.

John Leech, in Punch, no. 644, 12 November 1853, p. 198.

Awful Protection Against Midges was published on the 12th November 1853. It appeared with the title Ingenious protection against midges – a valuable hint to sketchers from nature. Simplified by Leech for the wood block engraving, the Punch illustration lacks the delicate detail of the original drawing. Millais had written to his friend Martha Combe from Brig o’Turk on the 6th September describing this well-known Scottish pest. “There is one drawback to this almost perfect happiness – the midges. They bite so dreadfully that it is beyond human endurance to sit quiet, therefore many a splendid day passes without being able to work”. Martha and Thomas Combe were important Pre-Raphaelite patrons.

The kilted figure on the left is Millais’ pupil and friend, the artist Michael Halliday in his adopted native attire. On the right may well be Millais himself, however Millais usually portrayed himself with exaggerated gangly legs and arms. An alternative candidate is Millais’ brother William, who can be seen sketching in another of the drawings smoking a similar cheroot. William’s favoured pastime was trout fishing for breakfast.

Text from Leicester Galleries website.

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On the Shores of Lake Lugano

Edward Lear, Lago di Lugano, 1878.
Signed with monogram (lower right) and inscribed ‘Lago di Lugano’ (lower left). Watercolour heightened with touches of bodycolour. 6 1/8 x 10 in. (15.5 x 25.4 cm.).

Preparatory sketch of Lugano, dated 3 July 1878.

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Edward Lear, Cefalu, Sicily

Edward Lear, Cefalu, Sicily.
Inscribed, dated and numbered ‘Cefalu. 8 July. 1847. 230A’ (lower right), and further inscribed and dated ‘8. July/1847./Cefalu’ (lower left) and further inscribed with colour notes. Pencil, pen and brown ink and watercolour. 9½ x 18 in. (24.2 x 45.8 cm.)

Lear travelled to Sicily in the company of John Joshua Proby (1780-1855), subsequently 2nd Earl of Carysfort, between May and July 1847, recording the places that they visited both in his sketchbook and in his diary. He wrote in a later letter that ‘Proby makes a perfectly excellent companion – and we now go on with perfect comfort and smoothness; indeed I now like him so much that I do not at all like to think of his leaving me’ (A. Davidson, Edward Lear: Landscape Painter and Nonsense Poet, 1812-1888, London, 1938, pp. 43-44).

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Edward Lear, An Arab Encampment

Edward Lear, An Arab Encampment in the Sinai, near Gebal Serbal, Egypt.
Signed with monogram (lower right). Pencil, pen and brown ink and watercolour with gum arabic heightened with touches of bodycolour, on paper. 4 5/8 x 7¼ in. (11.7 x 18.1 cm.).

Lear reached Sinai in January 1849 remarking in a letter to his sister Ann that ‘the excessive & wonderful grandeur of the spot is not to be described, though I hope to shew you drawings of it – : the adaptation of the whole scene to that recorded in Scripture is equally astonishing’ (Letter to his sister Ann, 16 January 1849, in V. Noakes, Edward Lear 1812-1888, London, 1985, p. 148).

According to an old catalogue note, the back of the original frame bore an inscription in the artist’s hand which read; ‘Gertrude Lushington from her affectionate godfather Edward Lear, August 9th, 1879’.

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Humphrey Jennings’s Edward Lear

Humphrey Jennings (1907-1950), Sketch for Portrait of Edward Lear.

Signed with initials, inscribed and dated ‘H.J. 1948 Sketch for portrait of/Edward Lear’ (on the canvas overlap) and with studio stamp (on the canvas overlap).
Oil on canvas 14 x 12 in. (35.5 x 30.5 cm.).

Christie’s.

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Edward Lear, The Pass of Tyrana

Edward Lear, The Pass of Tyrana, Albania

Signed and dated ‘Edward Lear del. 1851 (?)’ (lower right) and inscribed ‘Pass of Tyrana/Albania’ (lower left).
Pencil, pen and brown ink and watercolour heightened with touches of bodycolour on paper, 10¾ x 15 5/8 in. (27.3 x 39.7 cm.).

Christie’s.

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Sunset & periwinkles

This enigmatic drawing by Edward Lear is from a set sold at Christie’s on 3 June 2003:

LEAR, Edward (1812-1888). An album containing 9 comic and other sketches in pen and ink (one in pencil), together with photographs of Lear’s villa in San Remo, and of other subjects: the drawings depicting parrots (three). a self-caricature with Foss (fragment of a letter), an owl smoking a pipe with a mouse in its claws, two small landscapes signed, ‘sunset and periwinkles’, and ‘ye hippopothamouse [&] ye crorkodile’, various sizes, 72 x 55 – 110 x 182mm; 11 photographs showing Lear’s villa and gardens at San Remo, others showing the graves of Lear and his servant, Giorgio Cocali, ‘Yews at Chichester given to me by Mr Lear at San Remo 1885′, and his drawing of temples on the Nile, 1895, and a small portrait photograph of his sister, Anne, ’30 March 1885’, various sizes, 120 x 115mm – 270 x 205mm, laid down in an album; together with approximately 98 photographs, circa 1885-1891, mostly of stately homes, interiors, street scenes, public buildings, places of natural beauty, and works of art in England, Ireland, France and Italy, various sizes; and a few other items, blank leaves (approximately 11 photographs damaged from pages being stuck together), in a late 19th-century album. Provenance. Mrs George Clive and by descent.

The Clives were longstanding friends and patrons of Lear: Ann Sybella Clive was one of the sponsors of Lear’s Indian expedition and visited him at San Remo. He corresponded with her, sending limericks and caricatures for her family. Her husband, George Clive, was a barrister and politician, and Under-Secretary of State for the Home Department from 1859-62.

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Phos, ye cat

From a letter to Mrs. G. Clive of 25 March 1875 after coming back from the Indian tour.

The letter complains of the changes in San Remo since the Franco-Prussian War (‘You may suppose how many Germen & Gerwomen there are, when I tell you that 37 have died here this winter alone!’), mentioning his falling income from the sale of his pictures, referring to his Indian tour (the country has ‘so fascinated me that I hardly fancy I can make any other views for the rest of my life’) and ‘Lord Northbrook’s great picture of Kinchinjunga’, and concluding with mournful description of his ‘semi-demoralized’ condition: ‘I am become like a periwinkle in the wilderness, with an owl for his dessert. It ain’t pleasant at 63 … I shall have recourse to the society of my Cat, & walk up & down the terrace.’

Christie’s, 6 June 2001.

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Edward Lear and the Ionian Islands

E. Lear, Corfu - Viros, 1863

The Corfu Museum of Asian Art has officially announced the dates for the bicentenary exhibition, Edward Lear & the Ionian Islands, at the Palace of St. Michael and St. George, from 25 May to 31 August 2012.

The exhibition also has an informative official page.

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Edward Lear Conference

Harvard University - Houghton Library MS Typ 55.23

As you know if you follow the list of Bicentenary Events, there will be an Edward Lear Bicententennial Conference at Jesus College, Oxford, on 21-22 September.

The page announcing it now lets you pre-register to be notified as soon as registration opens. Still here? What are you waiting for?

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