Roberts David 1796 1864 (107 results)

Condition: As New. Unread book in perfect condition.

Soft cover. Condition: Near Fine. David Roberts [1796-1864] (illustrator). First Edition. Bianucci introduces this popular Victorian artist with a brief biography and then offers illuminating commentaries on the near 50 detailed and delicate paintings from Roberts' travels, 1838-39. Clean and sound throughout. All our UK orders are posted First Class. All profits to Amnesty International.

Condition: New.

First Edition. Signed by Helen Guiterman. Fine copy in the original color-printed, stiff-card wrappers. Particularly and surprisingly well-preserved; tight, bright, clean and especially sharp-cornered.; 8vo 8" - 9" tall; 128 pages; Description: 128 p. : ill. (some col.) ; 29 cm. Subjects: Roberts, David (1796-1864) --Exhibitions. Note: Catalogue of the exhibition held at the Barbican Art Gallery, London, 6 Nov., 1986 - 4 January, 1987. Includes index. 1 Kg.

Condition: New. SUPER FAST SHIPPING.

First Edition. Good paperback copy; edges somewhat nicked and dust-dulled as with age. Remains quite well-preserved overall. Physical description : 32p. : col. ill. Language : English. Subjects : Illustrated. Israel ; History. Middle East ; History. 1 Kg.

Condition: New. SUPER FAST SHIPPING.

First Edition. Signed by Helen Guiterman. Fine copy in the original color-printed, stiff-card wrappers. Particularly and surprisingly well-preserved; tight, bright, clean and especially sharp-cornered.; 8vo 8" - 9" tall; 128 pages; Description: 128 p. : ill. (some col.) ; 29 cm. Subjects: Roberts, David (1796-1864) --Exhibitions. Note: Catalogue of the exhibition held at the Barbican Art Gallery, London, 6 Nov., 1986 - 4 January, 1987. Includes index. 1 Kg.

17,2 x 14,7 cm. Aus einer illustrierten Zeitschrift, Rückseite mit Text. Rechts leicht stockfleckig.[SW - Porträt, Portrait, David Roberts].

First Edition. Good paperback copy; edges somewhat nicked and dust-dulled as with age. Remains quite well-preserved overall. Physical description : 32p. : col. ill. Language : English. Subjects : Illustrated. Israel ; History. Middle East ; History. 1 Kg.

Pictorial wrappers. Neat inscription. Very fine. Israel, Palphot, 1982. Oblong 8vo. 32 pp. Reproductions in colour, several in full page. David Roberts (1796-1864), the famed Scottish artist, toured the Holy Land and the Near East in 1839 and produced a series of detailed lithographic prints from the sketches he made during his visit.

First Edition. Fine cloth copy in a near-fine, very slightly edge-nicked and dust-dulled dw. Remains particularly and surprisingly well-preserved overall; tight, bright, clean and strong. Physical description: 155 pages : illustrations (chiefly color) ; 26 cm. Notes: Sotheran catalogue loosely inserted. "Die in diesem Band enthaltenen Farbtafeln sind Reproduktionen einer Auswahl von Original-Lithographien, die von Frau Eileen Tweedy in der Grafik-Abteilung des 'Viktoria- und Albert-Museums' in London fotografiert wurden"- Page 6. Subject: Victoria and Albert Museum. Department of Prints and Drawings. Middle East in art. Palestine in art. Palestine - Middle East - Pictorial works. Other names: Huberman, Ida. Victoria and Albert Museum. Department of Prints and Drawings. Other titles: Reisen im Land der Bibel. Genre: Illustrated, text. 1 Kg.

Condition: Hervorragend. Zustand: Hervorragend | Sprache: Englisch | Produktart: Bücher.

Cartoné con sobrecubierta. Condition: Aceptable. Dust Jacket Condition: Aceptable. 177 p., abundantes il. color. -- Nombre de anterior lector.

1. Original-Stahlstich von J. Cousen (in der Platte signiert), nach einer Zeichnung von David Roberts auf rückseitig unbedrucktem Büttenblatt, bildliche Darstellung ca. 9,5 x 14,5 cm, unter Schrägschnitt-Passepartout montiert und geschmackvoll in versilbertem Rahmen unter Glas gerahmt, Rahmengröße ca. 19,5 x 23,5 cm, extrem feiner und detailreicher Stich, sauber und sehr gut erhalten, selten 1100 gr. Original-Stahlstich von J. Cousen (in der Platte signiert), nach einer Zeichnung von David Roberts auf rückseitig unbedrucktem Büttenblatt, bildliche Darstellung ca. 9,5 x 14,5 cm, extrem feiner und detailreicher Stich, sauber und sehr gut erhalten, selten 1100 gr.

Condition: Good. Lithograph. 12.1 x 17.8 cm. (image). 19.7 x 28.1 cm. (sheet). Very Good. Surface soiling, some specks of foxing, remains of tape on verso.

First Edition. Good copy in the original title-blocked pictorial cloth. Slightest suggestion only of dust-dulling to the spine bands and panel edges. Remains well-preserved overall; bright, clean and strong.Plates loose. Includes previous owner's inscription. Physical description; 80 pages, 26 leaves of plates : illustrations ; 25 cm. Notes; No date located on the book but taken from records displayed in CURL. The plates are engravings with the artist and engraver listed below each one. Added title page with engraving, imprint and short title "The album of Scottish scenery". Subjects; Scott, Walter (1771-1832). Scotland Description and travel. Scotland ; Pictorial works. Genre; Illustrated. 1 Kg.

1. Original-Stahlstich von E. Finden (in der Platte signiert) nach dem berühmten Gemälde von David Roberts auf rückseitig unbedrucktem Büttenkarton, bildliche Darstellung 8,5 x 13 cm, Kartongröße ca. 15 x 21 cm, im breiten Blattrand außerhalb der bildlichen Darstellung etwas Alterspatina, ansonsten sauber und sehr gut erhalten, selten 2100 gr.

First Edition. Good copy in the original title-blocked pictorial cloth. Slightest suggestion only of dust-dulling to the spine bands and panel edges. Remains well-preserved overall; bright, clean and strong.Plates loose. Includes previous owner's inscription. Physical description; 80 pages, 26 leaves of plates : illustrations ; 25 cm. Notes; No date located on the book but taken from records displayed in CURL. The plates are engravings with the artist and engraver listed below each one. Added title page with engraving, imprint and short title "The album of Scottish scenery". Subjects; Scott, Walter (1771-1832). Scotland Description and travel. Scotland ; Pictorial works. Genre; Illustrated. 1 Kg.

1 vols. Image size 14 x 10 inches. Matted, in handsome gilt painted wood frame, glazed. Fine 1 vols. Image size 14 x 10 inches.

1 vols. Image size 20 x 14-1/2 inches. Matted, in handsome gilt painted wood frame, glazed. Small stain and small tear at lower right, else fine 1 vols. Image size 20 x 14-1/2 inches.

Tinted lithograph by Louis Haghe, coloured by hand, mounted on card in imitation of a watercolour (as issued). In pristine condition. A fine example from the deluxe issue of David Roberts' monumental works on the Middle East: 'The Holy Land' and 'Egypt & Nubia', considered the greatest lithographically illustrated works issued in the 19th century. Roberts' masterpiece was issued in 41 parts over seven years in three states; tinted, tinted proof and in its finest form (as with the present image), coloured and mounted on card. It is beautifully lithographed by Louis Haghe, to whom Roberts paid tribute in glowing terms, `Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple and unlaboured, with a masterly vigour and boldness which none but a painter like him could have transferred to stone'. Abbey regarded the work as `one of the most important and elaborate ventures of nineteenth-century publishing, and.the apotheosis of the tinted lithograph'. David Roberts was born at Stockbridge near Edinburgh, and at the early age of 10 apprenticed to Gavin Buego, a house painter. He continued to work for Buego after his apprenticeship had been completed, carrying out work on imitation stone-work and paneling at Scone Palace and Abercairney Abbey. By 1818 Roberts had become assistant scene painter at the Pantheon theatre in Edinburgh, moving on to work in theatres in Glasgow and finally in late 1821 to Drury Lane theatre in London, where he worked with Clarkson Stanfield. Both artists exhibited at the Society of British Artists, Royal Academy and British Institution, and by 1830 Roberts was firmly established as a topographical artist and was able to give up his theatre work. In these early years he toured the continent and Scotland, and in 1832-33 visited Spain. In 1838 he made plans for his journey to the Near East, inspired by a love of artistic adventure; departing in August 1839 for Alexandria, he spent the remaining part of the year in Cairo, visiting the numerous tombs and sites. In February of the following year he set out to cross the desert for the Holy Land by way of Suez, Mount Sinai and Petra arriving in Gaza, and then on to Jerusalem, concluding his tour spending several months visiting the biblical sites of the Holy Land, and finally returning to England at the end of 1839. The drawings of his tour were submitted to F.G. Moon in 1840 who arranged to bring out a work illustrative of Scripture History, paying Roberts £ 3,000. for the copyright of the sketches, and for his labour in supervising Louis Haghe's lithography. Both the exhibition of his original watercolours and the subsequent published work were an immediate success and confirmed his reputation as an architectural and landscape artist of the highest order. Cf. Abbey Travel I, 272 & II, 385; cf. Blackmer 1432; cf. Gay 2216; cf. Ibrahim-Hilmy II,p.176; cf. Lipperheide Ma 27; cf. Röhrict 1984; cf. Tobler p. 229; cf. Tooley 402.

Hardcover. Condition: Very Good. Dust Jacket Condition: No Dust Jacket. First Edition. This three volume set is in very good condition, bound in maroon half calf with maroon pebbled buckram boards, edges a little rubbed, text block very good clean and tight. With folio sized 121 plates, numerous half plate lithographs, 120 text illustrations, all tinted lithographs by Louis Haghe after David Roberts, with a folio sized lithograph of David Roberts in Vol I. The tomes measure 24.5" x 18" (62.5cm x 45.7cm) and weigh around 10lbs each. Two bookplates, 1) Bookplate of John Madden (1836-1902) , husband of Lady Caroline Clements an father of Caroline, Marchioness of Alesbury. 2) Arthur Beresford Cane (1864-1939, Barrister. These tomes are legendary in stature and these are the third set that I have had in hand the past few decades as a book dealer. They are offered online for up to $123,000; 24.5" x 18".

Half-Leather. Condition: Good. Elephant Folio. (610 x 430 mm), 3 tinted lithographed titles with vignettes, lithographed frontispiece portrait of the author by Charles Baugniet, large tinted lithographed vignette on titles, 60 full-page tinted lithographed plates, 60 half-page tinted lithographed illustrations, all by Louis Haghe after Roberts, engraved map of Roberts' route, all mounted on stubs, tissue guards, top edge gilt, expertly rebacked preserving orginal boards, title gilt on front cover, some spotting throughout, staining to lower margin of volume one, Provenance: Leyton Public Library, bookplate (stamped "Withdrawn", small circular stamp to margin of titles, several preliminary text leaves, and a few plates not touching image, set published 1842-1849. THIS SET COVERS ONLY THE HOLY LAND. The most important and elaborate ventures of nineteenth-century publishing. David Roberts was born at Stockbridge near Edinburgh, and at the age of ten apprenticed to house painter Gavin Buego. After his apprenticeship he continued to work for Buego carrying out work on imitation stone-work and panelling at Scone Palace and Abercairney Abbey. By 1818 Roberts had become assistant scene painter at the Pantheon Theatre in Edinburgh, moving on to theatres in Glasgow, and finally in 1821 to Drury Lane Theatre in London, where he worked with Clarkson Stanfield. Both artists exhibited at the Society of British Artists, Royal Academy and British Institution, and by 1830 Roberts was firmly established as a topographical artist and was able to give up his theatre work. In these early years he toured the Continent and Scotland, and in 1832-1833 visited Spain. In 1838, he made plans for his journey to the Near East, inspired by a love of artistic adventure. Departing in August 1839 for Alexandria, he spent the remaining part of the year in Cairo, visiting the numerous tombs and sites. In February of the following year he set out to cross the desert for the Holy Land by way of Suez, Mount Sinai, and Petra, arriving in Gaza, and then on to Jerusalem, concluding his tour visiting the biblical sites of the Holy Land for several months. He returned to England at the end of 1839. The drawings of his tour were submitted to F.G. Moon in 1840, who arranged to bring out a work illustrative of Scripture history, paying Roberts £3,000 for the copyright of the sketches, and for his labour in supervising Louis Haghes lithography. "In no other publication have the sites and buildings famous in sacred history and Eastern legend been so vividly represented. It is difficult to speak in sufficiently high terms of the beauty and interest of the varied subjects in this great work. It represents the results of Robertss travels in the East during the years 1838 and 1839. The extraordinary merit and interest of the drawings which he exhibited on his return created a great sensation. The fidelity of his accurate pencil, his skilful adherence to truth of costume and surroundings, his attention to characteristic effect in architecture and landscape, won immediate recognition and praise. Commissions from royal and other patrons of art crowded upon him for pictures of his Eastern subjects, and a publisher, F. G. Moon, was soon found to undertake their reproduction for wider circulation. The result was the present work with about two hundred and fifty plates. Bibliographic reference: Abbey Travel I, 272 & II, 385; Blackmer 1432; Gay 25; Ibrahim-Hilmy II,p.176; Lipperheide Ma27; Röhrict 1984; Tobler p. 229; Tooley 402. #25904.

Edition : First Edition., Contemporary black half morocco over pebbled cloth boards, spine gilt-lettered. , It is considered "the most ambitious and impressive of English books illustrated with lithographs" (Ray), this set transports the viewer to exotic Egypt and Nubia through the eyes of prolific Orientalist painter David Roberts. After moving to London in the 1820s to continue his career in theatrical scene-painting, Roberts began to exhibit his fine art paintings to critical accord and joined the Royal Academy in 1841. He embarked on a tour of the Middle East in 1838, returning home with numerous sketches from his adventure. Belgian engraver Louis Haghe produced a total of 248 lithographs based on Roberts' series of watercolors (after the sketches), which were originally published in monthly parts forming two commercially successful series: The Holy Land (1842-5) and Egypt and Nubia (1846-9)."Roberts's Holy Land was of the most important and elaborate ventures of nineteenth-century publishing, and it was the apotheosis of the tinted lithograph . there is pleasure to be had from many of the individual plates, where Haghe's skillful and delicate lithography, and his faithful interpretation of Robert's draughtsmanship and dramatic sense, combine in what are undoubtedly remarkable examples of tinted lithographic work" (Abbey). Roberts' attention to detail and texture, as well as his ability to evoke a sense of the epic or nostalgic must surely be attributed to his early jobs painting trompe l'oeil stonework and paneling and as a scenic painter for the theater. Even Ruskin praised his "absolutely careful and faithful" panoramas (Abbey). From the daily lives of modern Egyptians attending mosque prayers and shopping at the bazaar to glorious ancient ruins rising from desert sands, Roberts' emotive landscapes captured the hearts and imaginations of the British public. , Size : Folio (605 x 426 mm). , 3 titles with lithographed vignettes and 121 tinted lithographed plates by Louis Haghe after drawings by Roberts, and a map. , Volume : 3 volumes, Herbert Watney M.D., Buckhold, Berks (bookplates)., References : Abbey Travel 272; Ray 88; Tooley 402 A near fine set, text and plates are clean and crisp.

Condition: Good. 2 vols. Folio. 62 x 46.5 cm. Black half-morocco; spine with raised bands; title, author and printed in gold letters on the spine; green percaline cloth delimited by a double gold fillet. Elegant French binding with the plates mounted on hinges (sur onglets) with fresh paper guards for each plate.Volume 1 : 1 portrait, 1 title frontispiece and 43 tinted lithographs including 21 hors texteVolume 2 : 1 title frontispiece and 43 tinted lithographs including 21 hors texte.Table of plates for the three volumes in volume 1.Original edition of the first two volumes concerning the Holy Land (without the 3 following ones announced in the title). They appeared in issues between 1842 and 1845. Copy with the tinted lithographs mounted on strong paper. According to Abbey (Travel, 385), this set constitutes one of the most important publishing ventures of this kind in the 19th century, and the apotheosis of tinted lithography. The illustrations by David Roberts (1796-1864), who stayed in the region from 1830, are finely interpreted in lithography by Louis Haghe (1806-1885), who here signs his most monumental work. It is one of the most beautiful illustrated works published in the Holy Land.The first two volumes alone are very complete with their plates.References:Travel In Aquatint And Lithography 1770-1860 From The Library of J.R. Abbey . A Bibliographical Catalogue Volume II (repr. 1991), no. 385, p.334-41 [describing a 3-vol. issue, 1842, 1843, 1849, but referring to an earlier 2-vol. issue]; R.V. Tooley, English Books With Coloured Plates 1790-1860 (1954; repr. 1987), no. 401, p.321-4;B. Culliford, ed., David Roberts: From an antique land: travels in Egypt and the Holy Land (1989); H. Guiterman and B. Llewellyn, ed., David Roberts [exhibition catalogue] (1986); J. Ballantine, The life of David Roberts R.A. (1866);M. Twyman, Lithography 1800-1850 (1970), esp. p.220-5.Summary Note:The publication-date of 1842 is given on the title-page of Volume I. Plate [5] carries no date, but all other plates carry dates within 1841 May - July (pl. 1-4, 6-12, 14, 24, 26), or 1842 July - December (pl. [113, 15-23]), apart from the last plate, which carries the date of June 1 1844. The frontispiece portrait also carries the date of 1844 (and an additional plate, possibly bound in this volume in error, carries the date of Jan 1 1845). The in-text illustrations also carry dates, most ranging from May 1 1841 to Nov 1 1842 but the last carrying the date of Jany 1 1845.The publication-date of 1843 is given on the title-plate of Volume 2. Its plates carry dates ranging from November 1 1842 to December 1 1843 (pl. 1, 2, 4-13, 15, 18) but also from May 1 to November 1 1844 (pl. 3, 14, 16, 17, 19-29, 30-33) and January 1 1845 (pl. 31, 34). The in-text illustrations carry dates ranging from November 1 1842 (pl.2) to September 18 1843 (pl. 1, 3-15), but also 1844 (pl. 16-30, 32-34) and January 1 1845 (pl. 31, 35).Abbey states that the work was originally published between January 1842 and the end of 1845 in twenty parts, in eighteen wrappers, containing all the plates and illustrations described above - a map was added in later issues. Although 'Egypt, & Nubia' are mentioned on the title-plates, the three volumes devoted to those regions were published separately as Egypt & Nubia From Drawings made On The Spot By David Roberts R.A. . (1846, 1849, 1849).The plates of Volume I show views in Jerusalem, Petra, Bethlehem, Bethany, Jericho and Jordan Valley. The last plate shows a view of Suez. The additional plate (separated from its text, in Vol. 2) shows an approach to Mt. Sinai.The plates in the second volume show Judaea (the Jordan, Jericho, Mar Saba monastery, Wilderness of Engadi), Beit Jibrin, Hebron, Askelon, Ashdod, Gaza, Lydda, Jaffa, Mt. Carmel, Ramla, St. Jean D'Acre, Cape Blanco, Tyre, Sarepta, Sidon, Baalbec, Jenin, Mt. Tabor; Galilee (Nazareth, Cana, Tiberias), Nablous (Shechem), Sebaste (Samaria), Akabah, Sinai (Monastery of St. Catherine, Mt. Horeb).Abbey describes Roberts's Holy Land as 'one of the most important and elaborate ventures of nineteenth-century publishing, and it was the apotheosis of the tinted lithograph' and 'a technical feat on the part of Louis Haghe'. (Ruskin thought that Roberts's fidelity to his subjects was of a kind inevitably surpassed by photography.)David Roberts's painting, 'The Gateway to the Great Temple at Baalbec' (corresponding to pl. [18] of Volume 2 of the present publication), was donated to the Royal Academy as his 'diploma work' on his accepting membership of the Academy in 1841.

Edition : First Edition. , Contemporary cloth boards, rebacked tastefully with six raised bands and extensive gilt tooling., Text in English.The Scottish painter David Roberts RA, 1796 ? 1864, is perhaps best known for his oil paintings and lithograph prints of the Near and Middle East after his visit to the region during 1838?1840. During the second part of the 1820s, and in addition to English and Scottish scenes, Roberts painted views of prominent buildings in France and the Low Countries. By 1829 he was working full-time as a fine artist, exhibited the ?Departure of the Israelites from Egypt?, in which his style first became apparent. In 1831, the Society of British Artists elected him as their president and finally, in 1832, he began his travels to Spain and Tangiers. He returned at the end of 1833 with a supply of sketches that he elaborated into attractive and popular paintings. The British Institution exhibited his Interior of Seville Cathedral in 1834? He executed a fine series of Spanish illustrations for the Landscape Annual of 1836. Then in 1837 a selection of his ?Picturesque Sketches in Spain? was produced using lithography thus creating the present first edition work. Abbey writes: ?He in fact worked on every stone, the figures in many of them being entirely in his own drawing; ?some? of the stones he erased entirely, so that the work took him seven months, instead of two. ? During this time, J.M.W. Turner managed to persuade him to abandon scene painting and devote himself to becoming a full-time artist. Thus, in 1838, Roberts started on his tour of Egypt, Nubia, the Sinai, the Holy Land, Jordan and Lebanon producing a vast collection of drawings and watercolour sketches. Roberts worked with lithographer Louis Haghe from 1842 to 1849 to produce illustrated plates from these sketches. In 1851 and 1853, Roberts visited Italy. His last volume of illustrations, ?Italy, Classical, Historical and Picturesque?, was published in 1859. Roberts executed, by command of Queen Victoria, a picture of the opening of the Great Exhibition of 1851. In 1858 Roberts was presented with the freedom of the city of Edinburgh. The last years of his life were occupied with a series of views of London from the Thames. In 1838 Roberts made a long tour in the East, and accumulated a vast collection of sketches of Middle Eastern scenery which had been hardly touched by British artists before, and which appealed to the public with all the charm of novelty. The next ten years of his life were mainly spent in elaborating these materials. In February of 1839 he traveled to the Holy Land via Suez, Mount Sinai and Petra arriving in Gaza, and then on to Jerusalem. He ended his tour by spending several months visiting the biblical sites of the Holy Land, and finally returning to England at the end of 1839. An extensive series of drawings was lithographed by Louis Haghe in Sketches in the Holy Land and Syria, 1842-1849. Generally accepted as the finest illustrated work on the Near East, Major Abbey considered this set to be "one of the most important and elaborate ventures of nineteenth-century publishing, and the apotheosis of the tinted lithograph . there is pleasure to be had from many of the individual plates, where Haghe's skillful and delicate lithography, and his faithful interpretation of Robert's draughtsmanship and dramatic sense, combine in what are undoubtedly remarkable examples of tinted lithographic work." Roberts' attention to detail and texture, as well as his ability to evoke a sense of the epic or nostalgic must surely be attributed to his early jobs painting trompe l'oeil stonework and paneling and as a scenic painter for the theater. Even Ruskin praised his "absolutely careful and faithful" panoramas. , Size : Elephant folio (604 x 430, Illustrated with one (1) lithographed frontispiece portrait of Roberts by C. Baugniet, with hand coloured titles, one hundred twenty-one (121) full-page finely hand coloured lithograph plates, together with one hundred and twenty (120) hand coloured in-text lithograph plates, wood engraved armorial insignia of Jerusalem and two (2) full-page lithograph maps. , Volume : Six volumes in three. , References : Abbey Travel 152: 'Roberts's first published set of views'; 385 & 272; Ray English: 88; Tooley: 401-402; Burch: 195; Martin Hardie: 247. A fine and attractive set, clean and crisp with finely hand coloured plates.

Condition: Good. [23] leaves of text and 20 colour engravings each with tissue guard. (4to) 32.5x24 cm (12¾ x 9½") period three-quarter blue morocco and marbled boards, spine gilt, raised bands, all edges gilt. Edges worn, front hinge open; paper a bit toned but overall internally near fine.Henry Vizetelly, Printer and engraver, Gough Square, Fleet Street"Plates engraved by Louis Marvy; after Sir Augustus Wall Callcott, J.M.W. Turner, J. Holland, Francis Danby, Thomas Creswick, William Collins, Richard Redgrave, Frederick Richard Lee, George Cattermole, William James Mu?ller, James Duffield Harding, Peter Nasmyth, Richard Wilson, Edward William Cooke, John Constable, Peter De Wint, David Cox, Thomas Gainsborough, David Roberts, and Clarkson Stanfield. Each plate is followed by a short critique by Thackeray. Thackeray was an old friend of Marvy, a French artist, who took refuge in London after the chaos of 1848. Theodore Taylor's 1864 biography of Thackeray mentions the history of the book: ?A fine and skillful landscape painter himself, M. Marvy, while here, as a means of earning a living, made a series of engravings after the works of our English landscape painters. The publishers, however, would not undertake the work without a series of letter-press notices of each picture from Thackeray; and the latter accordingly added some criticisms which are interesting as developing his theory of this kind of art? (p.32). An interesting and quite scarce Thackeray item, very rarely found colored.Abbey, Life in England, no 207 : "The majority of the copies issued were uncoloured.".

Tinted lithograph by Louis Haghe, coloured by hand, mounted on card in imitation of a watercolour (as issued). Very good condition apart from several small black spots in the image and some light soiling in the margins and the image. A fine example from the deluxe issue of David Roberts' monumental works on the Middle East: 'The Holy Land' and 'Egypt & Nubia', considered the greatest lithographically illustrated works issued in the 19th century. Roberts' masterpiece was issued in 41 parts over seven years in three states; tinted, tinted proof and in its finest form (as with the present image), coloured and mounted on card. It is beautifully lithographed by Louis Haghe, to whom Roberts paid tribute in glowing terms, `Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple and unlaboured, with a masterly vigour and boldness which none but a painter like him could have transferred to stone'. Abbey regarded the work as `one of the most important and elaborate ventures of nineteenth-century publishing, and.the apotheosis of the tinted lithograph'. David Roberts was born at Stockbridge near Edinburgh, and at the early age of 10 apprenticed to Gavin Buego, a house painter. He continued to work for Buego after his apprenticeship had been completed, carrying out work on imitation stone-work and paneling at Scone Palace and Abercairney Abbey. By 1818 Roberts had become assistant scene painter at the Pantheon theatre in Edinburgh, moving on to work in theatres in Glasgow and finally in late 1821 to Drury Lane theatre in London, where he worked with Clarkson Stanfield. Both artists exhibited at the Society of British Artists, Royal Academy and British Institution, and by 1830 Roberts was firmly established as a topographical artist and was able to give up his theatre work. In these early years he toured the continent and Scotland, and in 1832-33 visited Spain. In 1838 he made plans for his journey to the Near East, inspired by a love of artistic adventure; departing in August 1839 for Alexandria, he spent the remaining part of the year in Cairo, visiting the numerous tombs and sites. In February of the following year he set out to cross the desert for the Holy Land by way of Suez, Mount Sinai and Petra arriving in Gaza, and then on to Jerusalem, concluding his tour spending several months visiting the biblical sites of the Holy Land, and finally returning to England at the end of 1839. The drawings of his tour were submitted to F.G. Moon in 1840 who arranged to bring out a work illustrative of Scripture History, paying Roberts £ 3,000. for the copyright of the sketches, and for his labour in supervising Louis Haghe's lithography. Both the exhibition of his original watercolours and the subsequent published work were an immediate success and confirmed his reputation as an architectural and landscape artist of the highest order. Cf. Abbey Travel I, 272 & II, 385; cf. Blackmer 1432; cf. Gay 2216; cf. Ibrahim-Hilmy II,p.176; cf. Lipperheide Ma 27; cf. Röhrict 1984; cf. Tobler p. 229; cf. Tooley 402.

Hardcover. Condition: Very Good. 1st Edition. Six volumes bound in three, folio (23 7/8 x 16 7/8"). Lithographed portrait of Roberts, 2 maps, six pictorial titles, 121 plates, 120 text illustrations, all tinted lithographs by Louis Haghe after David Roberts; without the subscriber's list, some mostly marginal foxing occasionally entering text or touching a plate, a few small marginal tears, dampstain in upper right portion of three plates and lower margin of title in last volume of "Egypt and Nubia." Contemporary three-quarter red morocco gilt-ruled, corners and edges worn, a few scrapes and scuff marks. First edition of this monumental representation of the sites of the Near East which was an immediate success upon publication. Never before had the ancient sites of Baalbec, Petra, Egypt, and the Holy Land been portrayed with such splendor or on such a scale. Roberts' meticulous draughtsmanship and Haghe's skillful and delicate lithography combined to make the work "the apotheosis of the tinted lithograph." (Abbey). "Acceptance into the ranks of the Royal Academy came at a time when Roberts fulfilled an ambition from earliest boyhood, to visit the remote East (Roberts, record book, 1.108), leaving London in August 1838 for Paris and thence travelling via Alexandria to Cairo, before visiting the pyramids at Giza. Hiring a cangia, he sailed up the Nile as far as Abu Simbel, stopping on his return north to sketch temples and ancient sites such as Philae, Karnak, Luxor, and Dendera. Back in Cairo he drew its streets and mosques before departing for Syria and Palestine in February 1839. He travelled through Sinai to Petra and thence north, via Hebron and Jaffa, to Jerusalem. From there he made an excursion to the Jordan, the Dead Sea, and Bethlehem and, after spending a further week in Jerusalem, he continued north, visiting many places associated with the Bible, before exploring Baalbek. He sailed for England from Beirut in May 1839, was quarantined in Malta, and returned to London in July. He was the first independent, professional British artist to travel so extensively in the Near East, and brought back 272 sketches, a panorama of Cairo, and three full sketchbooks, enough material to serve me for the rest of my life (Roberts, eastern journal, 28 Jan 1839). "Over the next decade Roberts made a serries of intire new drawings for the 247 large coloured lithographs executed by Louis Haghe for The Holy Land, Syria, Idumea, Arabia, Egypt & Nubia (1842 9). No publication before this had presented so comprehensive a series of views of the monuments, landscape, and people of the Near East. Roberts was to paint more oils of the East than of any other region he visited, exhibiting thirty-one at the Royal Academy alone. These received critical acclaim and sold for high prices: for example, Jerusalem from the Mount of Olives (Holloway Collection at Royal Holloway and Bedford New College, Egham) was commissioned for £330 in 1841 and his Ruins of Baalbec sold for £440 the same year, while The Island of Philae (1843; priv. coll.) bought by a friend for £100, rapidly sold for £200, and in 1858 fetched 400 guineas. The works remain keenly sought after to this day. Copies of the lithographs likewise remain popular, both as market-stall souvenirs or in travel advertisements, and in facsimile editions" (Krystyna Matyjaszkiewicz for DNB). Abbey, Travel, 272 & 358. Catalogued by Kate Hunter (L64F24E) Size: 16" High By 21" Wide. Book.