Edward Lear, Corfu from Viros (1862)

Edward Lear, A distant view of Corfu from Viros, 1862.
Pencil, watercolour and bodycolour. 7 x 9 7/8 in. (17.5 x 25 cm.)

Christie’s.

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Edward Lear, View on Mount Lebanon (1858)

Edward Lear, View on Mount Lebanon.
Possibly Mount Sannine titled ‘Lebanon’ lower left and dated ’18 May 1858′, numbered ‘176’ lower left inscribed throughout with colour annotations watercolour and pencil with white heightening 33 x 47.5cm.

Provenance
Acquired in 1938 by Sir Maurice Amos (the grandfather of the present vendor), His sister-in-law, Margaret Bushell (daughter of Colonel Sir Colin Campbell Scott-Moncrieff), Doctor Rachel Bromwich (née Amos, the present vendor’s mother), Thence by descent

In the Spring of 1858, on his way to visiting Petra, Edward Lear travelled through Syria, Palestine and Lebanon – his only visit to the country. After two months in Palestine, Lear arrived in Beirut and wrote to his sister Ann on 14th May: ‘This place…is quite different from anything in southern Palestine – & reminds me more of Naples by its numerous villas & gardens…today I shall make a drawing of Mt. Lebanon [in the distance], & the Bay & town – which are really lovely as a whole.’ Two days before the date of this study, Lear wrote in his diary: ‘Rose late. Very high wind. mountains invisible. In dressing ― without my glasses, took hold of a hornet, which stung my right hand’s middle finger very badly indeed. Happily, [Nartolion] relieved it, but I was unfit for 4 hours ― & could not move my hand or arm. At breakfast Dr. & Mrs. K. ― Afterwards ― later: packed for the Lebanon, ― leaving a chest, & 2 lots of things here. Letters came for Hasbey from Col. Churchill.’ Given Lear was already in Beirut at this time, it is likely that ‘packed for the Lebanon’ reflects his intention to visit the mountain range itself, where he subsequently made the present picture.

Invaluable.

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Edward Lear, Finale (1864)

Edward Lear, Finale, Italy.
Titled ‘Finale’ lower left and dated ’17. December 1864 11.15 A.M’ numbered ’56’ lower right and variously inscribed with colour notes to the cliff watercolour and ink with white heightening 23 x 34cm

Provenance
Acquired in 1938 by Sir Maurice Amos (the grandfather of the present vendor), His sister-in-law, Margaret Bushell (daughter of Colonel Sir Colin Campbell Scott-Moncrieff), Doctor Rachel Bromwich (née Amos, the present vendor’s mother), Thence by descent

A view of Finale from a similar viewpoint, made on the same day half an hour earlier, was previously sold at Cheffins (11th March 2020, Lot 45). Lear notes in his diary on this day: ‘At 9 ― went up to the Ponte or Gallery to draw, & G. passed me at 9.30. A very grand coast scene: drew till 12. Morning fine, & weather cold ― apparently more settled.’

Invaluable.

Edward Lear, Finale Ligure, Italy.
Inscribed in ink lower left “Finale / 10.45 AM / 17 December 1864” and with the artist’s annotations in pencil and ink watercolour 17 x 51.5cm.

Provenance
The Leger Galleries, 13 Old Bond Street, London W1, October 1972.

Cheffins.

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There was an Old Man whose repose…

There was an old man whose repose
Consisted in warming his toes —
When they said — “Are they done?” — He answered “What fun! —
Do you think I am cooking my toes?” —

From the Huntington digital collection.

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Two Important Catalogues

Karen Taylor has always had Edward Lear paintings and drawings in her catalogue and has now published one entirely devoted to him: Poetical Topography: Travels with Edward Lear, which covers his whole career.

It includes the full text of “Lays of the Octopods (The Last of the Octopods)” in case you missed my previous post on it or could not get to the issue of Notes & Queries and, of course many beautiful pictures.

Karen has also produced a nice catalogue about British Women Artists 1750-1950.

Guy Peppiatt also never disappoints, his latest catalogue, British Drawings and Watercolours 2024, includes several pictures by Edward Lear. In this case I found two very early pictures of flowers and butterflies for Miss Frase particularly interesting.

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Edward Lear, Sirmione, Lago di Garda

Edward Lear, “Sermione” [Sirmione], Lago di Garda.
Watercolour, signed with monogram and titled recto, labels verso, 12cm x 18cm, within a gilt frame.

Provenance
Marc and Ismini Fitch, thence by descent; Hallam, Lord Tennyson.

The Saleroom.

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Edward Lear, Turbia (La Turbie)

Edward Lear, Turbia.
Pen and grey wash. Numbered and inscribed as titled ‘153 AT’ (lower left). 31.5 x 51cm (12¼ x 20 in.)

Provenance
Thomas Agnew and Sons Ltd., London, 1982, no 212

Edward Lear travelled to Southern France in the winter of 1864/5 and at the end of his journey along the Corniche wrote to his patron Lord Carlingford that he `brought back 144 drawings great and small’. The present work was derived from these sketches and depicts Turbia (La Turbie) which lies in the hills above Monaco on the highest point of the Via Aurelia. He used the work to illustrate Alfred, Lord Tennyson’s poem, The Daisy, a project that he originally conceived in 1852 that envisaged illustrating many of his poems with 200 works of `poetical topography’. The Daisy featured in 28 works and the inscription `153 AT’ refers to line five in the poem `What Roman strength Turbia showed’ and the poets initials. The project was never completed, but after Lear’s death Tennyson published a slim volume of three poems including The Daisy. The present lot was not illustrated but other works were, including a view of Monaco from Turbia.

The Saleroom.

See watercolor.

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Fae Kilburn’s Triptych, A Letter to Lear

Fae Kilburn made these on an antique printing press, which was brought to Ikon as the centrepiece of the exhibition Start the Press! Ikon invited eight regional printmakers to create new work on the press in front of a live audience. Funded by the Jerwood Foundation, the prints were added to the exhibition alongside work by David Hockney, Lubaina Himid and Yinka Shonibare.

 

The press was manufactured in Germany in the early 1800s and was originally used by the British Admiralty to print maps, so very much an instrument of empire. It was acquired by Wolverhampton School of Art in 1970 and has been used by staff and students ever since. Unfortunately the school is being slowly closed down, so we’re not sure what the future holds for the press.

Fae chose to create new work in response to Lear:

A Letter to Lear is a triptych I created for Start the Press! @ikongallery, inspired by the deep connection I felt when viewing the Ikon exhibition Edward Lear: Moment to Moment (2022). The text reflects my lived experience of epilepsy, 100 years after Edward Lear, and the stigma I have encountered. Like Lear, I also find solace in my artistic practice and the landscape. The works by Lear have stayed with me, highlighting the significance and power art can have. Each piece is a different segment of this letter. I created soft muted colours that reflect Lear’s landscapes, and suggest a 19thC aesthetic, linking to the time of Lear. I often connect different personal elements in my work, such as the use of the antique printing press, dated to 1810, an instrument that would have been used during Lear’s lifetime.

Fae has limited vision and chose to exhibit the etched copper plates, for audiences to touch, alongside the final prints. She spent her four days in residence in the gallery operating the press and talking to audiences about Moment to Moment.

 

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Edward Lear’s Studio Practice

Stephen Duckworth is at it again: he has created a new, very nice site, about Edward Lear and His Studio Practice, which covers all aspects of Lear’s painting activity: sketches, studio work.

A very useful resource for anyone interested in Lear as a painter.

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Edward Lear, Abetone (1883)

Edward Lear, Abetone.
Ink, pencil and watercolour – Passo di Abetone, Italy, annotated and dated ‘7.30. pm, August 28, 1883’, titled verso on gallery label, 9.5 x 17cms.

Provenance
With Colnaghi & Co. Ltd., no. 146, English Exhibition, 1973; private collection north Wales.

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