Capercaillie or Cock of the Wood - Edward Lear
Archival giclée
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Description
A detailed zoological illustration of a male and female Capercaillie by British artist Edward Lear, rendered with scientific precision and soft watercolour tones.
This study of the Capercaillie, or Cock of the Wood, originates from Edward Lear's early career as a professional natural history illustrator. Before he became known for his nonsense verse, Lear produced precise, observational works for the Zoological Society of London. This specific plate demonstrates his ability to capture the distinct plumage and physical characteristics of the species with scientific accuracy.
The composition presents a male and female bird perched upon a branch. Lear employs a clean, white background, which allows the viewer to focus entirely on the anatomical details of the subjects. The male, positioned behind, displays the dark, iridescent feathers and the characteristic red patch above the eye. The female, in the foreground, shows a complex pattern of brown, black, and white markings, rendered with careful attention to the texture of the feathers. The use of watercolour over a lithographic base provides a soft yet defined appearance, typical of the high-quality scientific publications of the 1830s.
Lear's work in this period was instrumental in the production of 'Illustrations of the Family of Psittacidae, or Parrots', yet his skill extended to various avian subjects. His approach to ornithological art was defined by a balance between aesthetic appeal and biological truth. By avoiding unnecessary background elements, he ensures that the focus remains on the birds themselves. This print offers a clear view into the methods of nineteenth-century naturalists who sought to document the diversity of the animal kingdom through detailed observation and artistic skill. The work remains a fine example of the intersection between art and science during the Victorian era, reflecting the period's fascination with taxonomy and the natural world.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Capercaillie or Cock of the Wood - Edward Lear
Artist Biography
Edward Lear
His landscape career ran simultaneously. From the 1840s he made extended sketching tours through Italy, Albania, Greece, Egypt, Palestine, India, and Ceylon, producing illustrated travel journals of careful documentary precision. In 1846 Queen Victoria sought him out as a drawing teacher, having admired his Italian lithographs; he gave her twelve lessons. Brief study under William Holman Hunt in 1852 introduced Pre-Raphaelite rigour to his oils, though his watercolours and pen-and-ink drawings remain his most direct legacy.
Lear suffered from epilepsy throughout his life, calling it the Demon and concealing it carefully from a society ill-equipped to understand it. He was severely shortsighted from childhood and lived with considerable loneliness, despite the warmth of his nonsense verse. He settled in San Remo in 1871, eventually naming his house Villa Tennyson after his close friend Alfred, Lord Tennyson, for whom he composed settings of 212 poems.
His cat, Foss, was his companion for 15 years. When Lear moved to a larger house in San Remo, he had it built to identical proportions so Foss would not be disoriented. Foss died two months before Lear, in January 1888. The Owl and the Pussycat (1871), containing the word runcible spoon, now in everyday English use, is his most enduring poem.
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