Edward Lear, View of Florence (1861)

Edward Lear, View of Florence.
Inscribed and dated ‘June 14/ (9)’ (lower left). Pen, ink and watercolour over pencil. 33.2 x 55cm (13 1/16 x 21 5/8in). Painted in 1861.

Provenance
With Thomas Agnew & Sons, Ltd., London where purchased 8 October 1960.

At 3.30 went to Villa S. Firenze, & drew all the rest of the day ― i.e. ― from 4.20 ― at the great view.
(Edward Lear’s Diaries)

The present lot relates to an oil View of Florence from the Villa San Firenze, 1862, now in the Government Art Collection, London, accession no. 6950.

Bonhams.

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Edward Lear, Ceylon (1874)

Edward Lear, Ceylon.
Numbered and dated ‘(792) 11.30 A.M. 20 Nov 1874’ and further inscribed with notes throughout, pen and ink and watercolour.  9.25cm x 25.75cm (3.5in x 10in)

Provenance
The Fine Art Society, London, by 1952

Travelling along the southern coastline of Sri Lanka in November 1874, Lear writes ‘Certainly, the lofty, lofty coco-lined roads of South Ceylon are wonderful and so, on all sides is the crammed luxuriance of a thousand sorts of beautiful vegetation; but beyond these, and now and then a brilliant space of shore and sea.’

Lyon & Turnbull.

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Edward Lear, Venice and Santa Maria della Salute (1865)

Edward Lear, Venice and Santa Maria della Salute.
Inscribed, dated and numbered ‘Venice 11 Nov (2)’, pen and ink and watercolour. 11.5cm x 16.5cm (4.5in x 6.5in)

Provenance
Agnew’s, no. 29488

After a first visit to Venice in 1857, Lear returned in November 1865 to make studies for a commission of an oil painting he had received from Lady Waldegrave. His diary entry for 13th of November indicates the artist’s engagement with the view of Santa Maria della Salute at that time, and reads as follows: ‘Had a cup of café noir in the Hotel – & then got a gondola for the day. First drew S[anta] M[aria] de S[salute] by the Doge’s Palace -then from the Iron Bridge… but it was very cold’.

Lyon and Turnbull.

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Edward Lear, Aswan (1854)

Edward Lear, Aswan, Egypt.
Inscribed and dated ‘Assouan 9. Feb 1854 9.10AM’ and further inscribed with colour notes throughout, pen and ink and watercolour. 24.25cm x 43.75cm (9.5in x 17.25in).

Provenance
Agnew’s, no. 28008

During his second visit to Egypt Lear arrived in Cairo in December 1953. From there, he travelled up the Nile for several months, writing to his sister ‘I have been at work every day throughout the whole daylight, and so charming is the place and the climate that I shall be very sorry to leave it.’ However, his unusually extensive colour notes from this period show the difficulties Lear experienced depicting the Nile scenery: ‘Egypt is at least a land to learn colour in.’ Lear travelled as far as Philae near Aswan before beginning his return journey on 8 February. A week later his boat arrived at Luxor and there he spent ten days exploring Karnak and the ruined temples at Thebes.

Lyon & Turnbull.

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Edward Lear, Patti (1847)

Edward Lear, Patti.
Inscribed and dated ‘Patti 4 July 1847’ and numbered 2/2, and further inscribed with notes throughout, pencil and pen and ink. 30cm x 46cm (11.75in x 17.75in).

Patti, which is close to Messina, is most known for the magnificent ruins of the surrounding ancient Greek city of Tindari and the ruins of its ornate Roman villa, which dates back to the second and third centuries AD. Founded in 1094 by Norman King Roger II of Sicily, Patti was destroyed by Frederick of Aragon in 1300 due to its affiliation with the House of Anjou. Rebuilt in the 16th century, it was eventually sacked by Ottoman Turks.

Lyon & Turnbull.

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Edward Lear, Sunset on the Nile

Edward Lear, Sunset of the Nile.
Signed with monogram and inscribed ‘Nile’, watercolour. 17cm x 36.5cm (6.75in x 13.5in).

Provenance
Agnew’s, London, no.48070

At the end of his journey along the Nile, Lear writes on 25 February 1867 ‘In no place – it seems to me, can the variety & simplicity of colours be so well studied as in Egypt; in no place are the various beauties of shadow more observable, or more interminably numerous’

Lyon & Turnbull.

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Edward Lear, Walls of Pavia (1841)

Edward Lear, Walls of Pavia.
Signed and dated ‘Edw. Lear 11 May 1841’ and inscribed ‘Walls of Pavia’, watercolour.  6.5cm x 13.5cm (2.75in x 5.25in).

Provenance
Child’s Gallery, Boston

Apart from two visits to England, Lear stayed in Italy between 1837 and 1847 where he enjoyed financial freedom and was actively involved in the community of international artists in Rome. A fine example of Lear’s early landscapes, the present watercolour was executed when the artist travelled to England in the spring of 1841 after having spent the winter in Rome.

Lyon & Trunbull.

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Edward Lear, Sunset on the Nile near Mankabat (1867)

Edward Lear, Sunset on the Nile near Mankabat.
Inscribed and dated ‘5.20 sunset Jan 8 1867 (near Mankabat)’ and numbered ‘107’ and further inscribed with colour notes throughout, pen and ink and watercolour. 12.5cm x 19cm (5in x 7.5in).

Provenance
Colnaghi, London

This drawing can be compared with the watercolour titled Near Gan el Kebir and dated 9 January 1867 at the Yale Centre for British Art (inv.no.B1997.7.105). Both drawings were executed when Lear was travelling on the river Nile near the town Asyut, around 200 miles south of Cairo.

Lyon & Trumbull.

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Edward Lear, Wady Halfeh, Egypt (1867)

Edward Lear, Wady halfeh, Egypt.
Signed with the monogram, dated 1884 and inscribed ‘Wady Halfey Feb 3 1867’, watercolour. 9cm x 17.5cm (3.5in x 7in) .

Provenance
Childs Gallery, Boston;
Agnew’s London No. 15361

This work shows Wadi Halfa situated on the shore of Lake Nubia (Lake Nasser) on the present-day Sudanese-Egyptian border. Lear was particularly interested in the stark contrast between the landscape in Lower Egypt and Nubia writing in a letter to Lady Waldegrave ‘Nubia delighted me, it isn’t a bit like Egypt… Sad, stern, uncompromising landscape – dark ashy purple lines of hills, piles of granite rocks, fringes of palm, and ever and anon astonishing ruins of oldest temples.’

Lyon & Trumbull.

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Edward Lear, Drymades, Albania

Edward Lear, Drymades, Albania.
Signed with the monogram and inscribed ‘Drymades’, watercolour heightened with white. 11.5cm x 18cm (4.5in x 7.25in).

Provenance
Thos. Agnew & Sons Ltd, London

Lear painted some of the wildest and most dramatic countryside when he first travelled through Albania under challenging conditions in the autumn of 1848. Few foreigners had been to the remote area beyond Yannina. On occasion Lear was prevented from making drawings in this Islamic country where pictorial representations were regarded with fear and suspicion.

Lyon & Trumbull.

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