Lear edward artist (9 risultati)

Hard Cover. Condizione: Very Good. No Jacket. Used Book.

Cloth. Condizione: Good. no date, presumed early 1900s. Orange illustrated cloth. Unpaginated, perhaps around 200 pp. Black and white illustrations throughout, as well as full page color plates. A collection of poetry for children, by Edward Lear, known for his witty, "nonsense" verse. Illustrated by Leonard Leslie Brooke, a British artist and author. While a few of his paintings are held in British collections, he is best known for his book illustrations. GOOD condition. Minor fading, toning and soiling to the covers. Minor spotting/mottling to the cloth at the upper portion near the spine. Spine faded. Minor toning in the interior.…

Cloth. Condizione: Good. no date, presumed early 1900s. Illustrated paper covered boards with a cloth spine. Unpaginated, perhaps around 50 pp. Black and white illustrations throughout, as well as full page color plates. A collection of poetry for children, by Edward Lear, known for his witty, "nonsense" verse. Includes the Dong with the Luminous Nose, a piece also done by Edward Gorey at one point. Illustrated by Leonard Leslie Brooke, a British artist and author. While a few of his paintings are held in British collections, he is best known for his book illustrations. GOOD condition. Cloth rather spotted and stained from the gluing process beneath. General toning, fading, scuffing and soiling to the covers, with some scuffing and fading to the pastedown illustration on the front cover. Minor toning in the interior. One leaf protruding from the text block but intact. …

Paperback. Very good. No dust jacket. All 4.

On slip of grey paper, roughly 4 x 13.5 cm. In fair condition, lightly aged, with traces of paper from mount adhering to the blank reverse. With two unobtrusive vertical fold lines. Reads: 'Kindest regards | Yours sincerely | Edward Lear.'.

On 2 x 6cm strip of paper, cut from a letter. In good condition, lightly aged. A good firm signature, underlined, with the tiniest part of the head of the loop of the iniitial 'E' of 'Edwd' has been shaved off.

This impressive lithograph from John Gould's work, The Birds of Europe. From the first edition of Gould's first multi-volume ornithological work, The Birds of Europe, and the first of his works to feature plates by Edward Lear: one of the greatest ornithological artists of all time. Lear's contributions included the most eye-catching subjects in the book: eagles, owls, cranes, pelicans, geese, swans, and flamingos. Lear's plates are from bird drawings that 'are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm' (Hyman). 'Lear's participation transformed the work of Mrs. Gould. [H]e propelled her limited sense of perspective into the third dimension. He encouraged movement, vigor, and a sense of character in her birds; he instilled an idea of composition in which the subject related to its background instead of perching in midair like a cardboard cutout. He introduced a sense of subtlety and freedom into her drawings where previously she had only mimicked the technique used in etching or engraving. There is no doubt that Edward Lear was the first person to understand the art of lithography and to use it to its fullest potential. It was a legacy that made the works of Gould into a success and took them into the forefront of nineteenth-century illustration' (Tree). Original hand-coloured lithograph; print size: 52.5cm x 32.5cm, framed and glazed, overall size: 61 cm x 43 cm.…

This impressive lithograph from John Gould's work, The Birds of Europe. From the first edition of Gould's first multi-volume ornithological work, The Birds of Europe, and the first of his works to feature plates by Edward Lear: one of the greatest ornithological artists of all time. Lear's contributions included the most eye-catching subjects in the book: eagles, owls, cranes, pelicans, geese, swans, and flamingos. Lear's plates are from bird drawings that 'are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm' (Hyman). 'Lear's participation transformed the work of Mrs. Gould. [H]e propelled her limited sense of perspective into the third dimension. He encouraged movement, vigor, and a sense of character in her birds; he instilled an idea of composition in which the subject related to its background instead of perching in midair like a cardboard cutout. He introduced a sense of subtlety and freedom into her drawings where previously she had only mimicked the technique used in etching or engraving. There is no doubt that Edward Lear was the first person to understand the art of lithography and to use it to its fullest potential. It was a legacy that made the works of Gould into a success and took them into the forefront of nineteenth-century illustration' (Tree). Original hand-coloured lithograph; print size: 52.5cm x 32.5cm, framed and glazed, overall size: 61 cm x 43 cm.…

Small 8vo. 8 pp on two bifolia. Author's annotations in blue pencil. To Emily Tennyson (1813-96), the wife of the poet Alfred, Lord Tennyson: a long, amusingly written and engaging letter on Lear's daily life in London, his progress on writing a new book, and his thoughts on religion. Suffering from writer's block, he starts the letter expressing his frustration: "I meant to have answered your last before now, but could not for though I am doomed to do-nothingness just now, I am so unsettled that I cannot write, & it is only because I am a tome [!] & have been dining on cold beer & beef that I am able to write a tall [!]". He goes on to complain about visitors who interrupt his daily routine: "For, since I asked people to come & see my pictures, they come, - horribly & disjointedly; sometimes 20 at a time - of all kinds of phases of life: sometimes - for 3 hours no one comes: - so then I partly sleep, & partly draw pages of a new Nonsense book. If I sleep, I wake up savagely at some newcomer's entrance, & they go away abashed. If I write nonsense, I am pervaded with smiles, & please the visitors". Lear provides an entertaining list of things he desires to have if he ever has some money: "I shall pay off all my debts - & profits - if there's any overplus, buy a pleasing tabby cat, or a guitar or some currant jelly, but I don't think there will be anything over". - An avid traveller, Lear was disinterested in the life and company which the city offered: "No, indeed, I do not like life in London. Dinners daily - but except now & then, they bore me to death [.] The middle classes - professional & otherwise, are by far the best fun & pleasure & knowledge or to converse. The big folk are in most cases a woeful bore. To hear the bigots & the apes talk of the Essays & Reviews!! It makes one ill." - The letter continues with a long digression on his dislike of religion and church: "It is a pity so kindly a man should have forsaken God's attribute - reason - for the Priests' art - 'religion' [.] If a man comes to believe the bread & wine made yesterday is the flesh & blood of a person dead 2000 years ago - how can he laugh at Timbuctoo & Mumbo Jumbo? Yet one may pity these poor fanatics - & never in anywise persecute them, for they are but as children who cannot reason much". - In the last pages of the letter, Lear discusses his travel plans and expresses concern for his sister Ann's health: "I am very uncomfortable about it, tho' I cannot at all realize her not getting well. She brought me up from the leastest childhood, & when she goes, - my whole life will change utterly." Ann died on 11 March 1861, only five days after this letter was written. - Tape residue from archival mounting; minor stains.…