Edward Lear

John, Lord D'Ayton (1922-2003);
thence by descent to the present owners

This watercolour has been generally well preserved. Although some of the more delicate pigments may have faded slightly, overall the colours remain bright. There is evidence of occasional small areas of surface dirt, however these are very minor. For further information on this lot please contact either Mark Griffith-Jones (mark.griffithjones@sothebys.com) or Emmeline Hallmark at emmeline.hallmark@sothebys.com.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The sculptor Thomas Woolner (1825-1892) believed that Lear's Holy Land drawings were 'the most beautiful things he has ever done...not only for the mystery and history attached to the places themselves but also for the excessive fineness, tenderness and beauty of the art displayed in them.'¹

Lear visited Palestine after leaving Cairo in the spring of 1867. He spent several days sketching at Memphis before travelling on to Jerusalem. On the way he stopped at Ascalon, where he executed the present work.

1. V. Noakes, Edward Lear 1812-1888, London 1985, p. 112