Edward Lear: Art, Prints, & Posters (33 results)

loose plates in box. 1st edition. Taschen, 2009 THE PARROTS. - The complete Plates / DIE PAPAGEIEN. - Sämtliche Tafeln / LES PERROQUETS. - Toutes les Planches NEW in publisher's shrink wrap, published in 2009 by Taschen, a folio of 42 leaves of plates, each a scientific illustration of parrots. Size: 20Ì áº 1.5áº" x 13.5ÌÌ . Plus a 32 page multiple language booklet. Contained in a sturdy cloth bound box. Ships from Hawaii ==. == An unsurpassed monument in the history of scientific illustration Edward Lear may be best known for his nonsense verse, but in his early years he excelled as an illustrator of birds and reptiles. This set of 42 hand-colored lithographs, originally entitled Illustrations of the Family of Psittacidae, or Parrots, was the finest achievement of his relatively brief career as a natural history draftsman, before failing eyesight led him to concentrate on his writing. During Lear's time, live parrots were rare and much sought-after, bought and sold for large sums by wealthy amateurs of natural history, and prized by 19th century European aristocracy for their astonishing plumage and mimickry of the human voice. Naturally, fine drawings of them were also highly prized. One of the first collections entirely dedicated to the species, Parrots includes African, Australian, and American parrots bred by eminent ornithologists such as Sir William Jardine and Prideaux John Selby, who sponsored Lear, inspiring and directing his work. Unlike other avian illustrators who often worked with stuffed birds, the young and prodigiously talented Lear (1812-1888) made his drawings from live parrots, capturing their expressions and movements in remarkably lifelike illustrations. The new medium of hand-colored lithography facilitated the vivid elegance of Lear's work. This exquisite collection was originally reproduced in only 175 precious sets and sold by subscription to Britain's most eminent scholars and wealthy collectors of living parrots. The Psittacidae established Lear as a celebrated illustrator, and professor of drawing to the young Queen Victoria. With a brief zoological introduction and written descriptions of each bird.

Poster. The original promotional poster for the children's book Nonsense! (Atheneum, 2004) with nonsense poems by Edward Lear and illustrations by Valorie Fisher. Size: 18 x 24 inches. Condition: Fine with a hint of a crease at one corner. Will be mailed rolled in a heavy card tube and shipped the next business day. Posters rolled in a tube need to ship via Priority Mail or Fed Ex; please choose expedited shipping at the time of purchase.

Original lithograph 24 x 36 cm (sheet size 37 x 54 cm.). (Abbey Travel, 183).

Original lithograph 24 x 36 cm (sheet size 37 x 54 cm.). (Abbey Travel, 183).

Condition: Good. Fifteen handcolored engravings. 17.5 x 10.7 cm. after Lear and others.

Original lithograph 27.5 x 42.5 cm (sheet size 37 x 54 cm.). (Abbey Travel, 183).

Original lithograph 23 x 36 cm (sheet size 37 x 54 cm.). (Abbey Travel, 183).

No Binding. Condition: Near Fine. 1st Edition. This is a hand-colored original lithograph published in Gould's Birds of Europe in conjunction with Edward Lear famous in his own right for his Birds of Europe. Appears to be the same bird with different background. This lithograph is signed by Lear and appears priced as high as $2000. This lithograph is in excellent condition and priced to allow investment in museum quality framing. Comments have appeared that this"Gould print" signed by Lear, is one of the first, if not the first collaboration between Edward Lear and John and Elizabeth Gould. Every Gould collector should have a Gould/Lear lithograph in his/her collection. Lear signed this litho. Add $20 for special handling and shipping. Signed by Author(s).

Technic: Lithography, colorit: original coloredcondition: Very good, size (in cm): 26 x 37 cm cm; - View shows the port and the city of Vathi on the Greek island of Ithaca in the Ionian Sea. Views in the Seven Ionian Islands by Edward Lear.;Lithography, published in 1863 by the Artist, Oldham London, Hugh Broadbent (1863/1979). Published from Day and Son. Lith to the Queen.

Technic: Lithography, colorit: original coloredcondition: Perfect condition, size (in cm): 26,5 x 37 cm cm; - View shows the fortress Angelokastro on the Greek island of Corfu in the Ionian Sea. From Views in the Seven Ionian Islands, by Edward Lear.

Hand-coloured lithograph, printed by Charles Hullmandel. Wove paper. A fine example of the work of "perhaps the greatest draughtsman of birds in European culture." (Philip Hofer) This image is from Lear's masterpiece: "Illustrations of the Family Psittacidae, or Parrots," a work that combines "the most exacting scientific naturalism with a masterly sense of design and intuitive sympathy for animal intelligence." (Susan Hayman, "Edward Lear's Birds", 1980) This beautiful lithograph is from Lear's first published work, limited to 175 copies, the first English ornithological work published in folio format with lithographic plates. Lear began work on this monograph when he was only eighteen and carefully supervised every step of the publication. He made many of his original sketches from the live specimens at the Regent's Park Zoological Gardens. Christine Jackson describes Lear's painstaking approach to his work: "Lear worked in great detail, outlining every feather and filling in the details with fine lines. This scientific accuracy extended to every part of the bird, from the beak to the claws .The colouring was done with opaque watercolours with touches of egg-white for parts of the feathers requiring sheen, and for the eye, to add that life-like touch." (Bird Illustrators: Some Artists in Early Lithography, London: 1975). Cf. Anker 283; cf. Fine Bird Books (1990) p. 115; cf. Nissen IVB 536; cf. Ray The Illustrator and the Book 90; Zimmer, pp. 380-381.

Technic: Lithography, colorit: original coloredcondition: Perfect condition, size (in cm): 26,5 x 37 cm cm; - View from Monte Skopó to the city of Zakynthos on the island of the same name (Italian Zante). Large olive trees in the foreground. From Views in the Seven Ionian Islands, by Edward Lear. Lithography, published in 1863 by the Artist, Oldham/London, Hugh Broadbent (1863/1979). I.

Technic: Lithography, colorit: original coloredcondition: Perfect condition, size (in cm): 26 x 37 cm cm; - View shows the city of Gastoúri on the Greek island of Corfu in the Ionian Sea. From Views in the Seven Ionian Islands by Edward Lear.;Lithography, published in 1863 by the Artist, Oldham London, Hugh Broadbent (1863/1979). Published from Day and Son. Lith to the Queen.

Technic: Lithography, colorit: original coloredcondition: Perfect condition, size (in cm): 26 x 37 cm cm; - View shows the orange garden of the city of Viros on the Greek island of Corfu. Views in the Seven Ionian Islands by Edward Lear.;Lithography, published in 1863 by the Artist, Oldham London, Hugh Broadbent (1863/1979). Published from Day and Son. Lith to the Queen.

Technic: Lithography, colorit: original coloredcondition: Perfect condition, size (in cm): 26,5 x 36,5 cm cm; - View shows the natural harbor near the village of Asos and the Erisos peninsula where Assos Castle is located. These are located on the Greek island of Kefalonia in the Ionian Sea. From Views in the Seven Ionian Islands, by Edward Lear. Lithography, published in 1863 by the Artist, Oldham/London, Hugh Broadbent (1863/1979).

Technic: Lithography, colorit: original coloredcondition: Perfect condition, size (in cm): 26,5 x 36,5 cm cm; - View shows a bay at Paleokastritsa on the west coast of Corfu. From - Views in the Seven Ionian Islands, by Edward Lear- A Lithography,published in 1863 by the Artist, Oldham London, Hugh Broadbent (1863/1979).

Technic: Lithography, colorit: original coloredcondition: Perfect condition, size (in cm): 26,5 x 37 cm cm; - View shows the city of Lefkimi on the Greek island of Corfu in the Ionian Sea. Views in the Seven Ionian Islands by Edward Lear.;Lithography, published in 1863 by the Artist, Oldham London, Hugh Broadbent (1863/1979). Published from Day and Son. Lith to the Queen.

Technic: Lithography, colorit: original coloredcondition: Perfect condition, size (in cm): 26 x 37 cm cm; - View of the city of Kerkyra from the "Hill of Santi Deka". Kerkyra is the capital of the Greek island of Corfu. From Views in the Seven Ionian Islands, by Edward Lear. Lithography, published in 1863 by the Artist, Oldham/London, Hugh Broadbent (1863/1979).

Technic: Lithography, colorit: original coloredcondition: Perfect condition, size (in cm): 26,5 x 37 cm cm; - View shows the old wall of Samosa on the Greek island of Cephalonia. It is the largest of the Ionian Islands in the Ionian Sea. Views in the Seven Ionian Islands by Edward Lear.;Lithography, published in 1863 by the Artist, Oldham London, Hugh Broadbent (1863/1979). Published from Day and Son. Lith to the Queen.

Technic: Lithography, colorit: original coloredcondition: Perfect condition, size (in cm): 26 x 37 cm cm; - View from Monte Skopó to the city of Zakynthos on the island of the same name (Italian Zante). Large olive trees in the foreground.From -Views in the Seven Ionian Islands , by Edward Lear-. Lithography, published in 1863 by the Artist, Oldham London, Hugh Broadbent (1863/1979). Issued from Dayand Son., Lith to the Queen.

Technic: Lithography, colorit: original coloredcondition: Perfect condition, size (in cm): 26 x 36,5 cm cm; - View shows the city of Kapsali with harbor, in the background the capital Chora and the Venetian castle or fortress from the 13th century on the Greek island of Kythira (Italian: Cerigo). It lies in front of the southeastern tip of the Peloponnese. From -Views in the Seven Ionian Islands , by Edward Lear-. Lithography, published in 1863 by the Artist, Oldham/London, Hugh Broadbent (1863/1979).

Technic: Lithography, colorit: original coloredcondition: Perfect condition, size (in cm): 26,5 x 37 cm cm; - View shows the island's capital Argostoli on the Greek island of Kefalonia. It is the largest of the Ionian Islands in the Ionian Sea. From -Views in the Seven Ionian Islands;, by Edward Lear. Lithography, published in 1863 by the Artist, Oldham/London, Hugh Broadbent (1863/1979). Puplished from Day and Son. Lith to the Queen.

Technic: Lithography, colorit: original coloredcondition: Perfect condition, size (in cm): 26 x 37 cm cm; - View shows the area around Galaro with large olive trees in the foreground on the Greek island of Zakynthos. From Views in the Seven Ionian Islands by Edward Lear. Lithography, published in 1863 by the Artist, Oldham London, Hugh Broadbent (1863/1979). Published from Day and Son. Lith to the Queen.

Hand-coloured lithograph, printed by Charles Hullmandel. Wove paper. A fine example of the work of "perhaps the greatest draughtsman of birds in European culture." (Philip Hofer) This image is from Lear's masterpiece: "Illustrations of the Family Psittacidae, or Parrots," a work that combines "the most exacting scientific naturalism with a masterly sense of design and intuitive sympathy for animal intelligence." (Susan Hyman, "Edward Lear's Birds", 1980) This beautiful lithograph is from Lear's first published work, limited to 175 copies, the first English ornithological work published in folio format with lithographic plates. Lear began work on this monograph when he was only eighteen and carefully supervised every step of the publication. He made many of his original sketches from the live specimens at the Regent's Park Zoological Gardens. Christine Jackson describes Lear's painstaking approach to his work: "Lear worked in great detail, outlining every feather and filling in the details with fine lines. This scientific accuracy extended to every part of the bird, from the beak to the claws .The colouring was done with opaque watercolours with touches of egg-white for parts of the feathers requiring sheen, and for the eye, to add that life-like touch." (Bird Illustrators: Some Artists in Early Lithography, London: 1975). The image shows a member of theTrichoglossus genus, which is distributed widely throughout Australia, Wallacea and Melanesia, with outliers in the Philippines and Micronesia. Members of the genus are characterised by barring, sometimes prominently, on the upper breast, as depicted here. Cf. Anker 283; cf. Fine Bird Books (1990) p. 115; cf. Nissen IVB 536; cf. Ray The Illustrator and the Book 90; Zimmer, pp. 380-381.

Hand-coloured lithograph, printed by Charles Hullmandel. Wove paper. A fine example of the work of "perhaps the greatest draughtsman of birds in European culture." (Philip Hofer) This image is from Lear's masterpiece: "Illustrations of the Family Psittacidae, or Parrots," a work that combines "the most exacting scientific naturalism with a masterly sense of design and intuitive sympathy for animal intelligence." (Susan Hyman, "Edward Lear's Birds", 1980) This beautiful lithograph is from Lear's first published work, limited to 175 copies, the first English ornithological work published in folio format with lithographic plates. Lear began work on this monograph when he was only eighteen and carefully supervised every step of the publication. He made many of his original sketches from the live specimens at the Regent's Park Zoological Gardens. Christine Jackson describes Lear's painstaking approach to his work: "Lear worked in great detail, outlining every feather and filling in the details with fine lines. This scientific accuracy extended to every part of the bird, from the beak to the claws .The colouring was done with opaque watercolours with touches of egg-white for parts of the feathers requiring sheen, and for the eye, to add that life-like touch." (Bird Illustrators: Some Artists in Early Lithography, London: 1975). The image shows the species of bird that is now known as the Western Rosella, which is endemic to Western Australia. The specimens painted by Lear for his publication were two living captives in England. Cf. Anker 283; cf. Fine Bird Books (1990) p. 115; cf. Nissen IVB 536; cf. Ray The Illustrator and the Book 90; Zimmer, pp. 380-381.

Hand-coloured lithographed plate, heightened with gum arabic; framed and glazed, overall dimensions: 453 mm x 614 mm x 40 mm. Edward Lear is one of the greatest ornithological artists of all time. His contributions to John Gould's work Birds of Europe included the most eye-catching subjects in the book:, cranes, pelicans, 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). '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). Anker 169; Fine Bird Books, p.77; Nissen IVB 371; Sauer 2; Wood, p.364; Zimmer, p.251.

Lithograph, coloured by hand, by E. Lear, printed by C. Hullmandel. Very good condition apart from some light foxing. A beautiful image from John Gould's "The Birds of Europe": a work which, according to Hyman, "included some of the most remarkable bird drawings ever made." This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya Mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, while the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: "It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, the Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency." The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: "They 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-consious clumsiness and his unselfconscious charm." (Hyman) Cf. Anker 169; cf. Balis, 101; cf. Fine Bird Books (1990), p. 102; cf. Nissen, IVB, 371; cf. Sauer, 2; cf. Zimmer, p. 251.

Lithograph, coloured by hand, by Edward Lear, printed by C. Hullmandel. Very good condition apart from some minor foxing. A beautiful image from John Gould's "The Birds of Europe": a work which, according to Hyman, "included some of the most remarkable bird drawings ever made." This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya Mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, while the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: 'It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, The Birds of Europe, in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency." The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: "They 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-consious clumsiness and his unselfconscious charm." (Hyman) Cf. Anker, 169; cf.Balis, 101; cf.Fine Bird Books (1990), p. 102; cf. Nissen, IVB, 371; cf. Sauer, 2; cf. Zimmer, p. 251.

Original lithograph with fine later hand-colouring for the "Family of Toucans". Good condition.

Hand-coloured lithograph by Lear, printed by Charles Hullmandel. Wove paper. In gold leaf frame with hand-painted French wash-line. Provenance: John James Audubon. A fine example of the work of "perhaps the greatest draughtsman of birds in European culture." (Philip Hofer) This image is from Lear's masterpiece: "Illustrations of the Family Psittacidae, or Parrots," a work that combines "the most exacting scientific naturalism with a masterly sense of design and intuitive sympathy for animal intelligence." (Susan Hayman, "Edward Lear's Birds", 1980) This excellent image is from Lear's first published work, limited to 175 copies, and the first English ornithological work published in folio format with lithographic plates. Lear began work on this monograph when he was only eighteen and carefully supervised every step of the publication. He made many of his original sketches from the live specimens at the Regent's Park Zoological Gardens, and then prepared numerous preliminary lithographs. Many of these appear not to have satisfied him, for they were never published. Christine Jackson describes Lear's painstaking approach to his work: "Lear worked in great detail, outlining every feather and filling in the details with fine lines. This scientific accuracy extended to every part of the bird, from the beak to the claws .The colouring was done with opaque watercolours with touches of egg-white for parts of the feathers requiring sheen, and for the eye, to add that life-like touch." (Bird Illustrators: Some Artists in Early Lithography, London: 1975). The present image depicts a long-billed black cockatoo (Calyptorhynchus baudinii) native of southwestern Australia, named in honor of the French explorer Nicolas Baudin. The provenance of this plate is impressive, having originally come from a copy of Lear's parrots presented by Lear to famed ornithologist John James Audubon (sold Sotheby's New York, 14 June 1993, lot 62). Cf. Anker 283; cf. Fine Bird Books (1990) p. 115; cf. Nissen IVB 536; cf. Ray The Illustrator and the Book 90; Zimmer, pp. 380-381.