Edward Lear, A thick-billed euphonia on a branch.
Signed ‘E. Lear’ l.r., pencil, watercolour and bodycolour. 20 x 15cm
Provenance
The collection of Mr and Mrs Nigell D’Oyly
Edward Lear, A thick-billed euphonia on a branch.
Signed ‘E. Lear’ l.r., pencil, watercolour and bodycolour. 20 x 15cm
Provenance
The collection of Mr and Mrs Nigell D’Oyly
Edward Lear, A golden-headed manakin in a tree.
Signed ‘E. Lear’ l.r., pencil, watercolour and bodycolour. 20 x 15cm
Provenance
The collection of Mr and Mrs Nigell D’Oyly
Edward Lear, from a sketchbook – a small working sketch, castle view across a lake, later inscribed and dated ‘Lear, 1884, 13.5cm x 18.5cm.
This looks like a Lear sketch, but the signature and date are not in his hand.
Edwqared Lear, On the Road to Galle.
Watercolour, pencil and gum arabic, heightened with white. 40 x 26cm (15½ x 10 in.)
Edward Leara, Askalon, Israel.
Inscribed and dated ‘1.20pm, April 5. 1867’, extensively annotated, pen and ink and wash. 13cm x 51.5cm (5in x 20.25in)
Provenance
Durlacher Brothers, New York;
George Dix Gallery, New York, by 1947;
Childs Gallery, Boston, where acquired by the mother of the current owners.
Exhibited
Hartford, Connecticut, Wadsworth Atheneum, (according to the label on reverse);
New York, George Dix Gallery, Edward Lear, December 1947.
Edwqard Lear, Medeenet Abou, Egypt.
Inscribed and dated ‘1856-19 Feby. tired out 3.p.m’, pen and ink. 20cm x 45cm (8in x 17.75in)
Provenance
Agnew’s, London, where bought by the mother of the present owners in 1966.
The present watercolour depicts the great 20th dynasty mortuary temple of Rameses III (c. 1182-1150 BC) and adjoining temples at Medinet Habu on the west bank of the Nile at Thebes (Luxor). To the right, behind the hills in the distance, lies the Valley of the Tombs of the Kings.
Edward Lear, The Caves of Beni Hassan, Egypt.
Inscribed and dated ‘11.30AM. Jany. 5. 1867’ extensively annotated, pen and ink and coloured wash. 13.5cm x 23cm (5.25in x 9in)
Edward Lear, Antrodoco, Italy.
Inscribed and dated August 14 1843, pen and ink and watercolour. 31cm x 45cm (12in x 17.75in)
Provenance
David Galleries, New York.
This watercolour relates to a lithograph in Lear’s Illustrated Excursions in Italy published in 1846. Queen Victoria was so impressed by this ambitious work of two volumes illustrating the artist’s travels through Italy in 1842-43 that she appointed Lear to give her a series of drawing lessons in the summer of 1846.
For 14th and 15th of August 1843 Lear notes ‘these two days I spent in sketching the town, and the pass up to the picturesque Madonna delle Grotte. The only chance for drawing is by rising before the sun, and making use of every moment of time until the heat (which in this valley is very great) obliges one to return to shelter. After the mid-day meal, which was a cheerful one enough, at the Casa Todeschini, sleep and music divided the hours until it was time to recommence drawing. The stillness of an Italian town during this period of the day is striking. Three or four children are playing with a tame sheep under my window, making a hundred pretty groups and pictures; the two widows are humming faintly to the guitar; all the rest of Antrodoco seems fast asleep. The magnificence of the pass just above the town towards evening is extreme: except in the creations of Titian or Giorgione, one seldom sees such hues of purple and blue and gold as those with which those lofty hills are clothed with in an Italian sunset.’ (Edward Lear, Illustrated Excursions in Italy, 1846, p. 58)
Edward Lear, Bordighera, Italy.
Inscribed and dated 1864, extensively annotated, pen and ink and coloured wash. 22cm x 33cm (8.5in x 13in)
Lear would have arrived in Bordighera, on the French-Italian border, in December 1864, returning from his walking tour along the Riviera to Genoa. He was drawn to the area in part because of its connection to Shelley, whose work Lear much admired. On the 30th of December he writes: ‘([glorious] clear morning.) […] The Hole d’Angleterre is vastly clean & nice: Cooking good, & W.C. best in all the Riviera. Joined the 4 horse Vettura, which G. had arranged with, & was off at 8. Uninteresting road from S. Remo – & next village. Railway workmen &c. Just before reaching Bordighera, at 9.15 – leave Vettura, & poke up queer lanes & into olive woods & palm gardens to find a “view”. Very beautiful semi oriental places, & Corfu-like groves of olives – which bewitched me – together with the bright sky – & I drew till 10.30. Came down the hill, & thereabout is one of the finest of all the Riviera “panoramas” – so drew again till 11, & did not get to the Hotel d’Angleterre till 11.30. “Neat” house. Capital breakfast – (6.20)[.] Looked at rooms: I fancy this would have been the nicest winter place of all. Off at 12.20 highly content. Hear, & pass Pifferari: & at 1 reach Ventimiglia, & leave carriage. Drew in river bed – mighty picturesque scene! […] 3.40. – Exit from Italy which I am vexed at.’
Edward Lear, Mountainous Landscape with Cedar.
Pen and ink and watercolour. 22cm x 45cm (8.5in x 17.75in).
Provenance
Thos. Agnew & Sons Ltd., London, no.42586.