Tag Archives: caricature

Another Edward Lear Letter to Mrs Hankey

Edward Lear:  Autograph letter addressed to Mrs. Hankey, from Rendcomb Park, Cirencester, dated Sept. 1, 1872, 3pp. 8vo., written at speed in his characteristic hand, linking many of the words, concerning commissions for drawings, his movements and an account of a … Continue reading

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An Edward Lear Letter to Mrs Thomson Hankey

Edward Lear: Autograph letter addressed to Mrs. Thomson Hankey, Brambridge Place, Winchester, dated 9 Sept. 1867, on blue paper, 2 pp. 4to, the first page nearly filled (c. 150 x 200mm) with a large drawing of Lear ensconced in a melon-bed … Continue reading

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Ronald Searle’s Edward Lear Medal

Ronald Searle‘s  medal of Edward Lear [Père du non-sens], modelled in 1975 and issued by the Monnaie de Paris. More here.

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Son of A Wheelbarrow to Hell

From Yale University, Beinecke Library MS 404, Rothschild Canticles, 169v (thanks to Francois Soyer). Previous instalments: The Natural History of the Wheelbarrow, A Wheelbarrow to Hell. Rather than devils carrying souls to hell, the scene seems to represent a (good?) … Continue reading

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Matticchiate: Il Pandalone

Il Sole 24 ore, 6 November 2016.

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Matticchiate: Il tasso Torquato

Il Sole 24 ore, 11 Decembere 2016.

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Matticchiate: Il Klownala

Form Il Sole 24 ore, 19 March 2017.

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Edward Lear Letters under the Hammer

Several letters by Edward Lear were auctioned last September at Forum Auctions. I would be interested in knowing where they ended up, especially the two containing nonsense and pictures. One from 1848 to Charles Church on their travels in Greece … Continue reading

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Jennie Feldman, The Grey Bird

No bright rhyme for this backward glare, the oboe-squawk half throttled with hindsight’s effort. Barely, acrobatically, hanging on. Is it in the way fear squiggles a frown and overdoes the eye’s black brow that we glimpse relief? Gravity resisted against … Continue reading

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Edward Lear, Hubert and Arnold Congreve (1871)

This one is a very unusual picture for Edward Lear, and I think it shows clearly why he avoided placing large human figures in the foreground of his paintings. Here the two boys are drawn in a stiff pose and appear completely separated from … Continue reading

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