Edward Lear

Sale, New York, Sotheby's, 8 June 1988, lot 359;
with Agnew’s, London

This watercolour is in very good condition. The colours are strong and fresh. There is slight staining to the sheet however this is very minor. The work has not been laid down. For further information on this lot please contacting Mark Griffith-Jones on 0207 293 5083 or mark.griffithjones@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."

Although Edward Lear went on to achieve fame for his landscape painting, his limericks and his nonsense verse, he began his career as a zoological draughtsman.  He served an informal apprenticeship with the naturalist Prideaux Selby (1788-1867) and by 1830 had published Illustrations of the Family of Psittacidae, a magnificent book on parrots. This brought him to the attention of Lord Stanley, later 13^th Earl of Derby (1775-1851), who invited him to draw at his private menagerie and aviaries at his family seat Knowsley. Between 1832 and 1837 Lear also worked closely with his fellow artist John Gould (1804-1881) and he contributed over sixty lithographic images to Gould’s publication: Birds of Europe.  Lear’s ornithological drawings were highly praised by his contemporaries and perhaps part of the reason for this success was that he only drew from living specimens. This enabled him to capture not only the precise physical details of the birds he painted, but their individual character traits as well.