Edward Lear, Olevano

Edward Lear, Olevano.
Pencil and watercolor, 13,4×14,7 cm. Titled and signed lower right.

Associazione nazionale case d’asta.

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Edward Lear, Tomb of Cecilia Metella, Rome (1839)

Edward Lear, Tomb of Cecilia Metella, Rome.
Pencil and white tempera on paper, 25.3×34.5 cm. Signed, titled and dated Tomb of Cecilia Metella/ Rome/ Edward Lear del 1839 lower left.

Associazione nazionale case d’asta.

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Edward Lear, Parnassus

Edward Lear, Parnassus.
Pencil and ink wash on paper. 13.25″h x 23″w (sight) 24″h x 33″w (frame)

MutualArt.

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Edward Lear, Amalfi (1844)

Edward Lear, Amalfi.
Pencil, pen and brown ink and watercolour, entitled Amalfi, numbered 3 and dated 6th June 1844, approx 20 x 33 cms on watermark paper, unframed.

Provenance
Property of a lady – London, originally purchased at the Christies sale of Fine English Drawings and Watercolours, March 4th 1975.

Literature: Philip Hofer, Edward Lear as a landscape draughtsman, 1967, pg 20-1 refers to the vitality and strength of these early sketches and discusses a different view of Amalfi drawn three days after this one on June 9th 1944. Edward Lear visited Italy in late 1843 and began sketching landscapes in watercolour for the first time. Similar work can be seen in the V & A Prints & Study Room.

The Saleroom.

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Peter Newell, Cover for the Sunday Magazine of the Sunday Record-Herald

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Peter Newell on George Washington

More Peter Newell silliness.

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Peter Newell, Book with Cut-Out Eyes

No Edward Lear, for a change.

I suspect this manuscript chapbook was a prototype for Peter Newell’s 1909 Jungle Jangle, a mild satire of Theodore Roosevelt.

This “untitled book with cut-out eyes” is available on the Yale University Library website, together with other illustrations.

Visit my collection of (interactive) Peter Newell Books at nonsenselit.org.

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Edward Lear, Suda Bay, Crete

Edward Lear, Suda Bay, Crete.
Signed with initials and titled (lower left). Watercolour on paper. 17.5 x 36.8cm (6 7/8 x 14 1/2in).

Provenance
The Parker Gallery, London.
Private collection, Athens.

Bonhams.

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Edward Lear, Mount Athos

Edward Lear, Mount Athos.
Signed with initials and inscribed (lower left). Watercolour on paper. 10 x 20cm (3 15/16 x 7 7/8in).

Provenance
The Parker Gallery, London.
Private collection, Athens.

Bonhams.

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Edward Lear, The Quarries of Assouan, Egypt (1867)

Edward Lear, The Quarries of Assouan, Egypt.
Inscribed Quarries of Assouan / Am-11.30 1. pm / February 27. 1867. lower left; further inscribed with extensive artists colour notes. Pen and brown ink over pencil, heightened with watercolour and bodycolour. Unframed: 28.9 by 53cm., 11¾ by 20¾in. Framed: 54.7 by 77.5cm., 21½ by 30½in.

Provenance
Mrs R.K. Judges
The Fine Art Society, London, by 1993
Acquired from the above by Martin R. Davies, Bristol

This large-scale on the spot drawing dates from Lear’s second and final Nile trip of 1867. Lear had arrived in Cairo at the beginning of the year. He quickly moved onto Luxor, where he met up this cousin Archie Jones. The pair travelled down the Nile where they reached their most southern point, the second cataract, on 4 February.

They stopped at Aswan for two days and Lear made a series of drawings, including the present work which shows the ancient granite quarries. The drawing is topographically very accurate, its most important feature being the unfinished obelisk shown in the background.

Sotheby’s.

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