Edward Lear, View of Zagori.
Pencil and watercolour, signed lower right, 12 x 18cm.
Provenance
Gallery label verso for Mark Fisher of London SW12 and with original purchase receipt for Mark Fisher Fine Art of SW12, January 1992 for 4,500ドル
Edward Lear, Villa Falconieri, Frascati.
Pencil on paper heightened with white chalk. Inscribed Villa Falconieri from Mondrajon/Frascati (lower left). 7 1/2 x 14 1/4 in.
Edward Lear, The castle at Genazzano, south-east of Tivoli, Italy.
Extensively inscribed with colour annotations; titled and dated ‘Gennazzano. Oct. 09. 1840.’ lower right. Pencil. 21.5 x 42cm.
Provenance
Albany Gallery, London
Although the gallery label verso suggests a date of 1860, the date is more likely to read 1840, when Lear is recorded as being in Italy around Tivoli and Rome.
[On 9 October 1860 Lear was in London.]
]]>Edward Lear, Capo Sant’Angeli, Amalfi.
Pencil with touches of white on paper. 11 x 17.5cm; 4 1/4 x 17 1/2in. 25 x 31.5cm; 9 3/4 x 12 1/2in (framed). Property from a Private Collection, Ravenscourt Park.
Provenance
Thomas Agnew & Sons Ltd, London
Purchased from the above by the present owner in 1991
The present drawing of the dramatic cliffs of Capo Sant’ Angeli on the Amalfi coast was one of a series of works Lear completed to illustrate the poem The Palace of Art by Lord Alfred Tennyson (1809-1892) first published in 1832. Comprising twenty-four quatrains, Tennyson’s verses describe the construction of a vast pleasure palace for the soul.
Lear’s depiction of Capo Sant’ Angeli illustrates verse sixteen: ‘One showed an iron coast and angry waves / you seemed to hear them climb and fall / and roar rock-thwarted under bellowing caves / Beneath the windy wall’. Variations on the drawing are in the collections of the National Gallery, Washington DC, and the Rhode Island School of Design.
Lear lived in Rome, for a decade, from 1837-1847. Tennyson and Lear were friends over many years, frequently exchanging letters and verse. Lear was a frequent visitor to the Tennysons’ house Farringford, in Freshwater on the Isle of Wight, which attracted a host of other Victorian luminories including the photographer Julia Cameron, critic and artist John Ruskin and the painter Danté Gabriel Rossetti.
Invaluable (Olympia Auctions).
]]>Edward Lear, A view of Santa Maura, Levkas, Ionian Islands, April. 1863.
Pencil, pen and brown ink and watercolour on paper. 13 x 20 1⁄4 in. (33.2 x 51.6 cm.)
Edward Lear, Louvère [Louvière in Swtzerland?].
Watercolour, Underdrawn In Pencil. 9.4 x 19.5 cm (3 3/4 x 7 3/4 ins). J. Leger & Son, 13 Old Bond St., label to frame verso.
Edward Lear, Rocky Valley of Musta, Malta.
Inscribed with title and colour notes, dated 2P.M. April 3, 1866 and numbered 275, pen and ink and watercolour. 23cm x 43.5cm (9in x 17.25in).
Provenance
Mrs Sowerby, February 3rd 1947
The Collection of Gordon & Ursula Bowyer
Edward Lear, Mount Sinai.
Inscribed with location and colour notes, dated 26 Jan, 1849, pen and ink and watercolour. 18cm x 28.5cm (7in x 11.25in).
Provenance
Fine Art Society Limited, London, July 1979
The Collection of Gordon & Ursula Bowyer
Edward Lear, Rocky Valley near Musta, Malta.
Inscribed and with colour notes, dated 3-4P.M. 24 March 1866 and numbered 241, pen and ink and watercolour. 17.5 by 25.5cm.
Provenance
Thos. Agnew & Sons Ltd, London, DB2609
The Collection of Gordon & Ursula Bowyer
Edward Lear, Pencil, a sketch on paper depicting a ruin of a grand building possibly a monastery, signed to lower left, details and magazine clipping from previous owner verso, under glass 14cm x 9cm & 26cm x 22.5cm overall. Some aging to paper.
Might this be Ninfa? See my essay “Prima di Gregorovius: Edward Lear, i Caetani e Ninfa.”
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