Gordon Ginzburg, Etti. “Voracious Nonsense: The Cannibalistic Pleasures and Gluttonous Delights of Edward Lear’s and Laura Richards’s Nonsense Poetry.” Eating Cultures in Children’s Literature: National, International and Transnational Perspectives. Eds. Gasperini, Anna, Björn Sundmark and Laura Tosi. Malmö: Malmö University Press, 2024. 59-74. https://doi.org/10.24834/isbn.9789178775651_4

Hoffman, A. Robin. “The Perils and Pleasures of Pronunciation and Perspective in Edward Lear’s Nonsense Alphabets.” In Victorian Alphabet Books and the Education of the Eye: British Approaches to Literacy through the Nineteenth Century. Oxford: Oxford University Press, 2025. 88-111. https://doi.org/10.1093/9780198938163.001.0001

Leonardi, Angela. “‘Travelling with the eyes open’. Il senso del non-luogo nel viaggio in Basilicata e Calabria di Edward Lear.” Scritture del Paesaggio e Memoria nei Luoghi. Eds. lo Feudo, Michela, Antonio Rollo and Erminia Surmonte. Napoli: Federico II University Press, 2025. 57-74. http://www.fedoabooks.unina.it/index.php/fedoapress/catalog/view/763/849/3897.

Wales, Katie. “Where Owls Nest in Beards: Making Sense of Edward Lear’s Book of Nonsense.” Style as Motivated Choice: In Memory of Peter Verdonk (1934-2021). Eds. Burke, Michael and Joanna Gavins. Amsterdam: John Benjamins, 2025. 93-113. https://doi.org/10.1075/lal.44?locatt=mode:legacy

Graziosi, Marco. “The Evolution of Edward Lear’s A Book of Nonsense: The Making of the 1846, 1855, and 1861 Editions.” Book History 28.2 (2025): 282-315. https://dx.doi.org/10.1353/bh.2025.a976869.

Dilworth, Thomas. Edward Lear as a Victorian Modernist: The Illustrated Limericks. New York and London: Routledge, 2026. https://doi.org/10.4324/9781003675020

Edward Lear, Study of the Roman Campagna.
Signed ‘Edward Lear del.’ (lower left), inscribed and dated ‘Roma/1840’ (lower right)
pencil heightened with white. 41 x 27 cm (upper left corner missing), framed and glazed 63 x 45 cm.

The Saleroom.

Edward Lear, A View of Subiaco, Italy.
Signed and dated lower right: Edward Lear. del. 1842 and inscribed lower left: Subiaco. Pencil on blue paper, heightened with white. 25.4 by 35 cm., 10 by 13 ¾ in.

Provenance
Anonymous sale, Sotheby’s London, 15th February 1961, lot 55 (2 in the lot);
By descent to the present owner

Lear arrived in Rome, aged twenty-five, in December 1837 on his first overseas tour. Apart from two brief visits to England he remained there for ten years. This fine early drawing show the influence of the drawing master and watercolourist James Duffield Harding (1798-1863). By the mid 1840s Lear had developed his own unique style for which he is best known.

Subiaco lies directly east of Rome. This view is taken from the west of the town with the Ponte di San Francesco in the foreground. Built in 1358 it has a span of 121 feet over the Aniene river. On the hill behind is the large Rocca Abbaziale or Abbot’s Castle dating from medieval times.

Guy Peppiatt.

Edward Lear, Abetone, Monte Modina.
August 1883

Also see:
Edward Lear, View of Mount Modino, near Abetone (1883)
Edward Lear, Abetone (1883)
Edward Lear, Abetone (1883)
Edward Lear, Monte Libro-Aperto (1883)

Edward Lear, Sacro Monte in Switzerland.
Pen and pencil with brown ink, inscribed and dated 1879 lower right, 34 x 50.5cm.

Provenance
Spink Gallery, Kings Street, St James’, London

The Saleroom.

Edward Lear, Lavello from Minervino Murge, Sunrise.
Watercolour over traces of pencil heightened with touches of white on buff paper
inscribed ‘from Minervino/Sept 24 1847’ (lower left),Sunrise and extensively inscribed  with notes. 10 x 29 cm. (4 x 11 1/2 in.)

Provenance
Private Colletion, London

Invaluable.

Edward Lear, Philae from Biggeh Sunset.
Extensively inscribed with artist pallet references throughout, further titled and dated  ‘Philae from Biggeh, sunset, Feb.3.1854, p. 18’ (lower right). Watercolour. 32 x 50 cm. (12 5/8 x 19 3/4 in.)

Provenance
With Appleby Bros, Trafalgar Square, London, no. 2139, according to label attached verso,
Private Collection, UK

Invaluable.

Edward Lear, Santa Maura.
Inscribed, titled and dated ’20th April 1863′. Watercolour over pen and ink. 15 x 25 cm. (6 x 10 in.)

Provenance
With John Spink, London

Invaluable.

Edward Lear (British, 1812-1888) Trees at Tivoli.
Pencil and stump work on buff paper. 24 x 35 cm. (9 1/2 x 13 3/4 in.)

Provenance
Private Collection, London

Invaluable.

Edward Lear (British, 1812-1888) The Village of Simpion, Switzerland.
Inscribed ‘…mplon/ Sept. 1837’ and inscribed ‘H’ (lower right). Pencil, heightened white on grey paper. 32.4 x 22.6 cm. (12 3/4 x 8 3/4 in.)

Provenance
With Guy Peppiatt Fine Art Ltd, Duke Street, London, according to label attached verso.

Invaluable.