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browsing 4642 items
displaying items 3801 to 3900
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 ROBERTS, After David (1796-1864)
Cairo from the Gate of Citzenib, Looking Towards the Desert of Suez
[London: Day & Son, 1842-1849]. Tinted lithograph by Louis Haghe. Very good condition apart from some overall light soiling. Image size (including text): 13 1/8 x 19 3/8 inches. Sheet size: 15 5/8 x 22 1/4 inches.
A fine example from 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. 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.
#7835 $1,400.00  
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 ROBERTS, After David (1796-1864)
Jacob's Well at Shechem
[London: Day & Son, 1842-1849]. Tinted lithograph by Louis Haghe, coloured by hand, mounted on card in imitation of a watercolour (as issued). Very good condition apart from a small water stain in the lower margin and a skillfully repaired 4 3/4" tear in the top margin. Image size (including text): 14 1/4 x 20 1/2 inches. Sheet size: (of mount) 17 1/4 x 24 1/4 inches.
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.
#7854$1,500.00
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 ROBERTS, After David (1796-1864)
Hebron
[London: Day & Son, 1842-1849]. Tinted lithograph by Louis Haghe, coloured by hand, mounted on card in imitation of a watercolour (as issued). Very good condition apart from some light soiling in the margins and chipped left corner of mount. Image size (including text): 15 5/8 x 20 inches. Sheet size: (of mount) 16 3/4 x 23 3/4 inches.
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.
#7875$1,750.00
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 ROBERTS, After David (1796-1864)
View of the Nile Looking Towards the Pyramids of Dashour and Saccara
[London: Day & Son, 1842-1849]. 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. Image size (including text): 13 3/4 x 20 inches. Sheet size: (of mount) 17 x 24 inches.
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.
#7894$3,000.00
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 ROBERTS, After David (1796-1864)
Libyan Chain of Mountains, from the Temple of Luxor
[London: Day & Son, 1842-1849]. Tinted lithograph by Louis Haghe, coloured by hand, mounted on card in imitation of a watercolour (as issued). Fine condition. Image size (including text): 13 5/8 x 19 5/8 inches.Card 16 1/8 x 24 1/8 inches.
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.
Abbey Travel I, 272 (plate #30)
#16737$2,500.00
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 ROBERTS, After David (1796-1864)
Fragments of the Great Colossi at Memnonium-Thebes
[London: Day & Son, 1842-1849]. Tinted lithograph by Louis Haghe, coloured by hand, mounted on card in imitation of a watercolour (as issued). Fine condition. Image size (including text): 13 5/8 x 19 7/8 inches. Sheet size: 15 3/4 x 23 inches.
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.
Abbey Travel I, 272 (plate #47)
#16738$3,750.00
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 ROBERTS, After David (1796-1864)
Medinet abou, Thebes
[London: Day & Son, 1842-1849]. Tinted lithograph by Louis Haghe, coloured by hand, mounted on card in imitation of a watercolour (as issued). Fine condition. Image size (including text): 12 7/8 19 3/16 inches. Card 16 3/8 x 24 1/8 inches.
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.
Abbey Travel I, 272 (plate #63)
#16739$2,500.00
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 ROBERTS, After David (1796-1864)
Temple of Isis on the roof of the Great Temple of Dendera
[London: Day & Son, 1842-1849]. Tinted lithograph by Louis Haghe, coloured by hand, mounted on card in imitation of a watercolour (as issued). Fine condition. Image size (including text): 9 7/8 x 13 13/16 inches. Card 16 x 22 1/4 inches.
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.
Abbey Travel I, 272 (plate #66)
#16740$2,500.00
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 ROBERTS, After David (1796-1864)
General view of Esouan and the Island of Elephantine
[London: Day & Son, 1842-1849]. Tinted lithograph by Louis Haghe, coloured by hand, mounted on card in imitation of a watercolour (as issued). Fine condition. Image size (including text): 13 7/16 x 21 inches. Card 16 3/8 x 24 1/8 inches.
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.
Abbey Travel I, 272 (plate #71)
#16741$3,000.00
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 ROBERTS, After David (1796-1864)
Karnak
[London: Day & Son, 1842-1849]. Tinted lithograph by Louis Haghe, coloured by hand, mounted on card in imitation of a watercolour (as issued). Fine condition, apart from overall light toning, and slight cockling to paper. Image size (including text): 12 7/8 x 19 9/16. Card 16 3/8 x 24 1/8 inches.
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.
Abbey Travel I, 272 (plate #75)
#16742$3,000.00
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 ROBERTS, After David (1796-1864)
Cairo looking west
[London: Day & Son, 1842-1849]. Tinted lithograph by Louis Haghe, coloured by hand, mounted on card in imitation of a watercolour. Very good condition, but on a later card mount with occasional small repaired tears effecting the image area. Image size: 13 1/8 x 20 1/2 inches.
A fine example from 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. 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. Röhricht 1984; cf. Tobler p. 229; cf. Tooley 402.
#19300$3,000.00
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 ROBERTS, David (1796-1864)
St. Jean d'Acre
[London: Day & Son, 1842-1849]. Tinted lithograph by Louis Haghe, coloured by hand, mounted on card in imitation of a watercolour (as issued). Image size (including text): 13 3/4 x 20 inches. Sheet size: (of mount): 17 3/8 x 24 3/8 inches.
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.
#14807$3,000.00
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 ROBERTS, David (1796-1864)
[Jerusalem from the South] April 12th, 1839.
[London: Day & Son, 1842-1849]. Tinted lithograph by Louis Haghe, coloured by hand, removed from original card. Image size (including text): 12 3/8 x 18 7/16 inches.
A fine example of David Roberts' monumental work on the Middle East: 'The Holy Land' and 'Egypt & Nubia', considered the greatest lithographically illustrated work 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) with hand- colouring (and originally 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.
#14813$1,750.00
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 ROBERTS, David (1796-1864)
Jericho. April 3rd, 1839.
[London: Day & Son, 1842-1849]. Tinted lithograph by Louis Haghe, coloured by hand. Image size (including text): 12 1/2 x 18 1/2 inches.
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. This example has been removed from the card mount
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.
#14817$1,500.00
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 ROBERTS, David (1796-1864)
Approach to the Fortress of Ibrim, Nubia
[London: Day & Son, 1842-1849]. Tinted lithograph by Louis Haghe, coloured by hand, mounted on card in imitation of a watercolour (as issued). Image size (including text): 12 7/8 x 18 1/2 inches. Sheet size: (of mount): 17 3/8 x 24 3/8 inches.
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.
#14818$2,750.00
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 ROBERTS, David (1796-1864)
Approach of the Simoon - Desert of Giseh
London: published by F.G. Moon, 1st August 1849. Tinted lithograph by Louis Haghe. In fine condition. Image size: 13 x 19 inches. Sheet size: 17 7/16 x 23 13/16 inches.
One of best known images from 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 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.
A simoom was a sand storm whose approach was signalled by a blood red haze, so beautifully captured here by Roberts.
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.
#19299$12,000.00
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ROBERTS, David (1796-1864)
The Holy Land, Syria, Idumea, Arabia, Egypt & Nubia. After lithographs by Louis Haghe from drawings made on the spot by David Roberts...with historical descriptions by the Revd. George Croly
London: Day & Son, 1855-56. 6 volumes in three, quarto (11 1/2 x 8 1/8 inches). Tinted lithographic portrait of Roberts, 2 uncoloured lithographic maps, 6 tinted lithographic titles with vignette illustrations, 241 tinted lithographic plates after Roberts, occasional browning to text leaves, and light foxing to plates. Publishers' red morocco gilt, covers blocked with wide decorative borders surrounding the centrally blocked arms of the City of Jerusalem, neatly rebacked preserving original spines in six compartments with raised bands, lettered in the second and fourth, the others with repeat patterns in gilt, cream glazed endpapers, g.e.
A fine original set of the quarto edition of Roberts' masterpiece. He enjoyed a wide popularity in his day for his European views, but his outstanding success was certainly The Holy Land, and it is on this that the modern appreciation of his work is based.
David Roberts was born at Stockbridge near Edinburgh, and at the age of ten was apprenticed to Gavin Buego, a house painter. He continued to work for Buego after the end of his apprenticeship, carrying out work in 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 to theatres in Glasgow and finally in late 1821 to the Drury Lane Theatre in London where he worked with Clarkson Stanfield. Both artists exhibited regularly at the Society of British Artists, Royal Academy and the British Institution and by 1830 Roberts was able to give up his theatre work. In these early years he toured Scotland and the Continent, visiting Spain in 1832-1833.
His desire to travel farther afield was finally realized when in August 1838 he arrived in Alexandria. It is claimed that he was the first European to have unlimited access to the mosques of Cairo - with the proviso that he did not desecrate the holy places by using hog's bristle brushes. Leaving Cairo, he sailed up the Nile to record the monuments represented in the Egypt and Nubia part of the work and traveled as far as the Second Cataract.
On his return to Cairo, Roberts formed a party which included John Kinnear, who left his own account of the ensuing journey Cairo, Petra and Damascus (published in 1839). The party adopted Arab dress and set out with over twenty camels and a native bodyguard. Their route to Petra took them via Mount Sinai, St.Catherine's Monastery and Akaba. The period at Petra (or Idumea) was for Roberts one of the high points of the entire journey. Only trouble with local tribes forced him to move on to Hebron. From here rumours of plague in Jerusalem forced a detour to Gaza, Askalon and Jaffa before it was safe to enter the Holy City. From here he also visited Jericho, Lake Tiberias and other biblical sites. Finally Roberts made his way to the Mediterranean via Nablus and Nazareth and then visited the coastal cities of Tyre, Sidon and Acre. Baalbek was the last place visited before a combination of ill-health and the worsening political situation forced him to abandon hopes of reaching Damascus and Palmyra, instead he went to Beirut and thence homewards.
After some initial difficulty in finding a publisher, Roberts published the results of his travels between 1842 and 1849 in six large format volumes, to great critical and popular acclaim. The success of the folio issue was sufficient to persuade Day & Son to take on the publication of the present quarto edition of `one of the most important and elaborate ventures of nineteenth-century publishing' (Abbey), with the `plates...reduced to the required size by means of photography' (advertisement in the Monthly Literary Advertiser for June 1855). The present edition was originally available from the publishers in various forms, the present set in morocco being the most expensive at nine guineas for the set.
Abbey Travel II 388.
#20497$10,000.00
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ROBERTS, David (1796-1864)
The Holy Land, Syria, Idumea, Arabia...From drawings made on the spot...With historical descriptions, by the Revd. George Croly
London: F.G. Moon, 1842-1843-1849. 3 volumes. 3 tinted lithographic titles, lithographic portrait of Roberts by C. Baugniet on india paper mounted, 120 tinted lithographic plates (60 full-page, 60 half-page vignettes), all drawn on stone by Louis Haghe after David Roberts, one engraved map. (Bound without the 4pp. list of subscribers, some marginal spotting).
[With:]
David ROBERTS. Egypt & Nubia, from drawings made on the spot... With historical descriptions by William Brockedon. London: F.G. Moon, 1846-1849-1849. 3 volumes. 3 tinted lithographic titles, 121 tinted lithographic plates (61 full-page, 60 half-page vignettes), all drawn on stone by Louis Haghe after David Roberts, one engraved map.
2 works in 6 volumes, large folio (24 x 17 inches). Uniformly bound by by C. & J. Abbott, of Nottingham, in contemporary dark green half morocco over textured cloth-covered boards, lettered in gilt on upper covers, spines in seven compartments with raised bands, the bands flanked by gilt fillets, lettered in the second, third and fifth compartments, ochre glazed endpapers.
Very fine copies of the first editions of Roberts' monumental works on the Middle East: the Holy Land, Syria, Idumea, Arabia and Egypt. According to a number of authorities these two works constitute the greatest lithographically illustrated work issued in the 19th century.
Roberts' masterpiece was issued in 41 parts over seven years. 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 theater 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 copyright to 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.
Abbey Travel I, 272 & II, 385; Blackmer 1432; Gay 25; Ibrahim-Hilmy II,p.176; Lipperheide Ma27; Röhrict 1984; Tobler p. 229; Tooley 402.
#20848$95,000.00
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 ROBERTSON, After George (circa 1748-1788)
A View of the Ranger's House in the Park, and Part of the Town of Greenwich
London: John Boydell, 1 January 1781. Engraving, coloured by hand, by Thomas Morris. Image size (including text): 14 x 20 1/2 inches. Sheet size: 17 1/2 x 23 5/8 inches.
A fine copy of this lively and accurate view of the Ranger's House in Greenwich, London.
George Robertson, 'born in London about 1748, was son of a wine merchant, and received his education from a Mr. Rolfe in Red Lion Street, Clerkenwell. He studied art at Shipley's school, and was noted there for his skill in drawing horses, for which he received a premium from the Society of Arts in 1761. He afterwards went to Italy, and studied in Rome. He was patronised by William Beckford (1709-1770)... with whom Robertson went to Jamaica, where Beckford had a large property. Robertson drew several views of this property in Jamaica, which on his return were finely engraved by D. Lerpinière, T. Vivares, and J. Mason, and published by John Boydell. He also exhibited views of Jamaica and other landscapes at the Incorporated Society of Artists' exhibitions, acting as vice-president of the society for some years. He obtained employment in London as a drawing-master, notably at a ladies' boarding school in Queen Square, Bloomsbury. He inherited a small fortune from an uncle and a house in Newington Butts, where he died on 26 Sept. 1788, aged about 40.' (DNB).
Thomas Morris (fl. 1780-1800), 'born about 1750, was a pupil of Woollett. He worked in the line manner, and confined himself to landscape, the figures in his plates being frequently put in by others. Morris was employed by Boydell... His most important plates are: A landscape after G. Smith of Chichester, 1774; Hawking, after Gilpin, 1780; Fox Hunting, after Gilpin and Barret (the figures by Bartolozzi), 1783; view of Skiddaw, after Loutherbourg, 1787; Horse, Mare, and Foals, after Gilpin; Mare and Foals, after Garrard, 1793; views of the ranger's house in Greenwich Park and Sir Gregory Turner's mansion on Blackheath, a pair, after Robertson; and views of Ludgate Street and Fish Street Hill, a pair, after Marlow, 1795. A series of Indian views, from drawings by Hodges and others, was engraved by Morris for the European Magazine. He also executed a few original etchings, including two views on the Avon at Bristol, 1802.' (DNB).
#5746$1,750.00
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 ROBERTSON, Archibald (1765-1835) after Robert Andrew RIDDELL
Valley of Glencoe
London: Published by Robert Andrew Riddell, 1795. Colour-printed aquatint. Full inscription at bottom of print reads: 'To the Most Noble George Marquis of Tweedale & this View of the Valley of Glencoe is respectfully Inscribed by His Lordships most obedient Humble Servant. Very good condition apart from some light soiling, minor foxing, and several small losses in the margins. Image size (including text): 14 7/8 x 17 1/2 inches. Sheet size: 17 1/2 x 22 1/4 inches.
A fine plate of the scenic mountains of Glencoe in the Highlands of western Scotland.
This beautiful image is most likely part of a pair prints depicting Glencoe that Riddell published in 1795. Robert Andrew Riddell was a landscape painter, who primarily depicted the scenic topography of Scotland. He exhibited one of his works at the Royal Academy in 1793 and gave several of his paintings to the Scottish poet Robert Burns.
#12944$1,200.00
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 ROBERTSON, Archibald
Suite of six views: [1]: [Bareges in the Pyrenees] after a painting by G. Barrett; [2]: View of the East Front of the Wonderful Natural Bridge of Veja; [3]: A View of Recoaro; [4]: [Falls of the Gava.] after a painting by G. Barrett; [5]: A View of the Lake of Wallenstat; [6]: View of the Ruins of a Roman Arch at Aix in Savoy
London: Published by A. Robertson Charles Street, St. James's Square, May 1, 1783. Coloured aquatints with gum arabic. Printed on watermarked laid paper. 1]: [Bareges in the Pyrenees] after a painting by G. Barrett. Proof before title. In excellent condition. Plate mark: 16 x 21 inches. Sheet size: 16 3/8 x 22 1/4 inches. [2]: View of the East Front of the Wonderful Natural Bridge of Veja: In excellent condition with the exception of a small tear in the lower margin. Plate mark: 16 x 20 7/8 inches. Sheet size: 16 1/2 x 21 7/8 inches. [3]: A View of Recoaro: In excellent condition. Plate mark: 16 x 21 inches. Sheet size: 16 1/2 x 21 7/8 inches. [4]: [Falls of the Gava] after a painting by G. Barrett. Proof before title. In excellent condition. Plate mark: 16 x 20 7/8 inches. Sheet size: 16 5/8 x 21 5/8 inches. [5]: A View of the Lake of Wallenstat: In excellent condition. Plate mark: 16 x 21 inches. Sheet size: 16 3/8 x 21 5/8 inches. [6]: View of the Ruins of a Roman Arch at Aix in Savoy: In excellent condition. Plate mark: 15 7/8 x 20 3/4 inches. Sheet size: 16 5/8.
This is a stunning suite of aquatinted landscapes by the celebrated engraver Archibald Robertson from "Short Descriptive Account of the Pyrenean Part of Bigorre."
Archibald Robertson was an accomplished painter and engraver who specialized in aquatint landscapes. He was active in London between 1765 and 1786 and is recorded as exhibiting three landscape paintings at the Royal Academy between 1772 and 1775. Not much is known of Robertson's history, since he is often confused with the miniature painter Archibald Robertson, who was highly acclaimed in both England and America. Given the date, style, and medium of this suite of aquatints, it would seem more likely that these picturesque landscapes were executed by the London-based Robertson, who was known to be an accomplished aquatinter as well as a print seller. These handsome prints depict various sites of beauty throughout Europe. There are two proof prints, which makes it difficult to decipher their exact location, but the other four prints depict places famed for their natural beauty. Robertson has chosen to picture the celebrated Wallenstadt Lake in Switzerland, a favorite summer resort and eighteenth century tourist destination. He has also included a stunning view of the natural bridge in Veja, outside Verona, a tranquil view of the famous spa town Recoaro, in the province of Veneto, and a charming image of the Roman ruins in Aix-les-bains in France. The two proof titles are sites in the Pyrenees.
The complete work consisted of seventeen prints. These were published between 1783-87 under the titleShort Descriptive Account of the Pyrenean Part of Bigorre. From which Twelve of the Subjects intended for this Publications are selected. The selection of sites is somewhat random, moving from Spain to France to Sicily, though they are all within what could be called a western Mediterranean region. The unifying factor is Robertson's extraordinary ability as a landscape engraver.
Le Blanc, Manuel de L'Amateur D'Estampes Vol III, p. 342; Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs vol. 11, p. 773.
#13273$8,000.00
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 ROBERTSON, Archibald (1765-1835, artist and publisher). - William ROLLINSON (1762-1842, engraver and publisher)
Alexander Hamilton, Major General of the Armies of the United States of Americ | | | |
