Another Lear Rebus (?)

The following was recently sold at an auction by Fonsie Mealy’s. It contains Lear’s only colour self-portrait I have seen.

The sale also included some correspondence between a Mrs Elinor Wiltshire, the owner of the sheet at the time (1985), and Vivien Noakes trying to make sense of the picture, which is not very satisfactory, in my opinion:

Mr Lear leaves this his ’appy peaceful season

“this his” is clearly written, but not easy to see in the image above, between the leaves and the picture of “a pea” (the green berry, peas in Italy are round and smooth and not attached to a stalk however) should give “’appy”, but then where does “peace-ful” come from? The “spray of pea blossoms” (if that is what it is) might resolve into “peas” = “peace” followed by “full seas” (the sea actually looks busy, with a steamship and a sailboat, as well as four fish, perhaps corresponding to the four people mentioned at the bottom?) and finally the explicit “on” in the last line

Here are the letters accompanying the image:

And the only passage available from Vivien Noakes’s reply, who I suspect intended to suggest that that the “berry” stood for “very”:

So perhaps:

Mr Lear leaves you this, his berry peas-ful seas-on

Can anyone help?

Sara Lodge kindly sent an interesting interpretation for the rebus (actually two different readings):

Thank you for sharing the coloured rebus. I have looked at it and don’t think the object below Lear is a pea. It looks much more like a plum to me. Peas, as you note, do not have stalks, and they are perfectly spherical.
I suggest ‘this his fruitful season’, or possibly ‘this his plum flowering season’. Lear was always most productive when the sun shone, like a plant. He got money from commissions and sales in the Summer to sustain him through Winter. A ‘plum’ in Victorian slang was a sum of money as well as a fruit or a synonym for ‘choice’, ‘desirable’.

Previously: 1 & 2.

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Edward Lear: Moment to Moment (reviews)

The Ikon exhibition has now closed but here is a page collecting the reviews devoted to it.

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Edward Lear, Coloured Views in the Seven Ionian Islands

From a coloured copy of Views in the Seven Ionian Islands (1863).
folio (497 x 333 mm). (λίγα στίγματα οξείδωσης στον τίτλο). Λιθόγραφος τίτλος με βινιέτα και 20 λιθογραφίες χαραγμένες από τον Lear με βάση σχέδιά του, ΟΛΕΣ ΕΠΙΧΡΩΜΑΤΙΣΜΕΝΕΣ ΜΕ ΤΟ ΧΕΡΙ, 2 φύλλα στην αρχή (εισαγωγή και πίνακας λιθογραφιών), 21 φύλλα με επεξηγηματικά κείμενα (ένα για τη βινιέτα και από ένα για κάθε λιθογραφία) και ένα φύλλο με κατάλογο συνδρομητών στο τέλος. Αρχικό πράσινο πανί (τίτλος με χρυσά γράμματα στο πάνω κάλυμμα, 2 ex-libris, το ένα του Earl of Dartmouth). Blackmer 987, Weber, I, 1183, Παπαδόπουλος (Iονική) 4288. – ΠΟΛΥ ΚΑΛΟ ΑΝΤΙΤΥΠΟ.
[folio (497 x 333 mm). (a few spots of oxidation on the title). Lithograph title with vignette and 20 lithographs engraved by Lear from his designs, ALL COLORED BY HAND, 2 leaves at the beginning (introduction and table of lithographs), 21 leaves with explanatory texts (one for the vignette and one for each lithograph) and a subscriber list sheet at the end. Original green cloth (title lettered in gold on upper cover, 2 ex-libris, one by the Earl of Dartmouth). Blackmer 987, Weber, I, 1183, Papadopoulos (Ionic) 4288. – VERY GOOD COPY.] Google translation.

invaluable.

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Edward Lear, A Group of Owls

Edward Lear, A Group of Owls, from Birds of Europe, c. 1835.
A group of 5 lithographs with hand-coloring on wove paper, printed by C. Hullmandel, London.

Barn Owl – Strix flammea; Barred Owl – Strix neblosa; Great Cinereous Owl – Strix Lapponica; Eastern Great Horned Owl – Bubo Ascalaphus; Little Owl – Strix nudipes (5). 19 1/2 x 13 1/2in (49.5 x 34.3cm).

Bonhams.

More from the same auction (not Lear):

John Gould & H.C. Richter (British, 1804-1881), A Group of Owls, from Birds of Europe and Birds of Great Britain, c. 1830; c. 1870.
A group of 5 lithographs with hand-coloring on wove paper, one printed by C. Hullmandel, London, the others printed by Walter, London, with margins, each framed.

Tawny or Wood Owl – Strix aluco; Bubo maximus; Snowy Owl – Nyctea nivea; Syrnium aluco; Strix flammea. 19 1/2 x 13 1/2in (49.5 x 34.3cm).

Bonhams.

And:

John Gould (British, 1804-1881), A Group of Owls, from Birds of Great Britain and Birds of New Guinea, c. 1865.
A group of three lithographs with hand-coloring on wove paper, printed by Mintern Bro’s and Walter, London with margins, together with R. Milford, Long Eared Owl, engraving with hand-coloring on wove paper, with margins, each framed.

Ninox forbesi; Ninox odiosa; Athene noctua (4)
each sight 19 1/2 x 13 1/2in (49.5 x 34.3cm)
each framed 26 3/4 x 20 1/2in (67.9 x 52.1cm)

Bonhams.

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Edward Lear, S. Gregorio & Tivoli

Edward Lear, Tivoli and San Gregorio, a pair, the first inscribed ‘Tivoli’ (lower left); the other inscribed and dated ‘S.Grigorio [sic]/23rd April’ (lower left).
Pen and ink and wash, heightened with white. The first 7 x 17.2cm (2 3/4 x 6 3/4in); the second 8.6 x 17.2cm (3 3/8 x 6 3/4in).

Provenance
With Squire Gallery, London.
Anon. sale, Mallams, Oxford, 3rd October 2012, lots 197 and 198.
Private collection, UK.

Bonhams.

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Edward Lear, Turbìa (1864)

Edward Lear, Turbìa (La Turbie in southeastern France, 31 December 1864.
Watercolour and ink with traces of pencil. 36 x 53.5cm.

Erroneously titled “Turkish Landscape, Dec. 1864” at MutualArt.

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Edward Lear, the Caetani and Ninfa

My essay is now out and available either on Amazon and the publisher’s website.

Marco Graziosi, “Prima di Gregorovius: Edward Lear, i Caetani e Ninfa.” In Ninfa: Percezioni nella scienza, letteratura e belle arti nel XIX e all’inizio del XX secolo, ed. Michael Mateus, Regensburg: Schnell + Steiner, 2022, pp. 165-192.

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Edward Lear, A Palm, Agrigento, Sicily (1847)

Edward Lear, A Palm, Agrigento, Sicily (1847).
Ink on paper. 8 3/4 x 6 3/4 in. (sheet), 17 x 14 1/2 in. (frame).

MutualArt.

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Edward Lear, Two Early Botanical Studies (1828)

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Reviews of the Ikon Exhibition: Edward Lear Moment by Moment

I’m starting a tour of Wales &c. today and will be away for a couple of weeks, but I want to recommend again the Ikon exhibition in Birmingham, and in particular the great catalogue, with essays by Matthew Bevis, Jenny Uglow, Adam Phillips, Hugh Haughton and Stephen Duckworth; don’t miss it if you go, or order it from the bookshop.

The Guardian.

Apollo: The International Art Magazine.

Prospect.

The Spectator.

 

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