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Edward Lear
On Lear and Nonsense
- A Very Good Children’s Book (1865)
- Nonsense Verse, &c. (1880)
- Word-Twisting Versus Nonsense (1887)
- Concerning Nonsense (1889)
- Delightful Nonsense (1890)
- G.K. Chesterton, A Defence of Nonsense (1902)
- The Poems in Alice in Wonderland (1903)
- Limericks (1903)
- Ian Malcolm on Edward Lear (1908)
- G.K. Chesterton, Two Kinds of Paradox (1911)
- H. Jackson, Masters of Nonsense (1912)
- H. Hawthorne, Edward Lear (1916)
- G.K. Chesterton, Child Psychology and Nonsense (1921)
- How Pleasant to Know Mr Lear (1932)
- G.K. Chesterton, Both Sides of the Looking-Glass (1933)
- G.K. Chesterton, Humour (1938)
- G. Orwell, Nonsense Poetry (1945)
- George Orwell, Funny, But Not Vulgar (1945)
- Michele Sala, Lear’s Nonsense: Beyond Children’s Literature
- More Articles
Twitter Updates
- Edward Lear, The Grand Canal looking towards the Rialto Bridge, Venice (1865) nonsenselit.com/2020/12/28/edw… 2 weeks ago
- An Edward Lear Alphabet, a Story and a Letter in Italian nonsenselit.com/2020/12/24/an-… 3 weeks ago
- An Early Limerick Manuscript nonsenselit.com/2020/12/19/an-… 3 weeks ago
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Tag Archives: Edward Lear
Edward Lear, The Grand Canal looking towards the Rialto Bridge, Venice (1865)
Edward Lear, The Grand Canal looking towards the Rialto Bridge, Venice. Pen and brown ink and watercolor over pencil; dated lower right: 13 November 1865 (2.pm), extensively inscribed with the artist’s color notes. 352 by 504 mm; 13 7/8 by 19 7/8 … Continue reading
An Edward Lear Alphabet, a Story and a Letter in Italian
The British Library website has published the manuscript of Edward Lear’s History of the Seven Families of Lake Pipple-Popple, which also contains a full Nonsense alphabet and another version of “High diddle diddle.” Add MS 47462: ‘Written & illustrated for Lady … Continue reading
Posted in Edward Lear
Tagged Edward Lear, letters, manuscripts, nonsense rhymes, William Holman Hunt
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Edward Lear, Pentedatilo
Edward Lear, Pentedatilo, Calabria, Italy. Pen and brown ink and watercolour; signed with the artist’s monogram lower left. 164 by 257 mm. Lear travelled through Calabria in southern Italy in 1847, and he recorded in his journal upon his arrival in late … Continue reading
Edward Lear, Assiut on the Nile
Edward Lear, Assiut on the Nile, Egypt. Pen and brown ink and watercolour; inscribed with artist’s colour notes, unframed. 138 by 312 mm. Provenance Sale, London, Bonham’s, 8 June 2004, lot 58; with James Mackinnon. Having initially travelled to Egypt in 1849, … Continue reading
Edward Lear, Lago d’Iseo (1867)
Edward Lear, Lago d’Iseo. Signed and dated May 21, 1867, and extensively inscribed, mixed media, 10.5cm by 20cm. Tennants. See also.
Edward Lear, La Piana, Corsica (1868)
Edward Lear, La Piana, Corsica. Ink and watercolour. Titled and dated 11 May 1868 5am-6am lower left, numbered 185 lower right and variously annotated. 35 x 53cm (13¾ x 20¾ in.) Provenance Pawsey and Payne Ltd., London Edward Lear travelled to Corsica in … Continue reading
Edward Lear, Grosseto, Corsica (1868)
Edward Lear, Grosseto, Corsica. Ink and watercolour. Titled and dated 3 May 1868 5:30am lower left, numbered 165 lower right and variously annotated. 33.5 x 51cm (13 x 20 in.) Provenance Pawsey & Payne Ltd., London Edward Lear travelled to Corsica … Continue reading
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Tagged Corsica, Edward Lear, France, landscape, travel, watercolours
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Victorian Poetry Issue on Edward Lear
The summer 2020 issue of Victorian Poetry (Volume 58, Number 2), edited by Jasmine Jaegger and Benjamin Westwood, is entirely devoted to Edward Lear. Here is the table of contents: Introduction: New Work on Edward Lear, Jasmine Jagger, Benjamin Westwood, … Continue reading
Edward Lear in Ninfa
Last Friday (23 October) I was in Ninfa, where “the most romantic garden in the world” is situated, for a conference celebrating 100 years since its creation among the ruins of a Medieval town. The conference was organized by Fondazione … Continue reading
Edward Lear, Ruins in the Campagna
Edward Lear, Ruins in the Campagna. Oil on canvas, 23.2 x 32.6 cm, framed, slightly damaged. Provenance: Directly from the artist by inheritance to the great-great-grandfather of the present owner; Private Collection United States of America. Catalogued and illustrated in: … Continue reading