Roberts, DavidThe 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 ; [And:] Egypt & Nubia, from drawings made on the spot... With historical descriptions by William Brockedon London: F.G. Moon, 1846-1849-1849 Together 2 works in 6 volumes, large folio (602 x 438 mm). Tinted lithographic titles to each volume. The Holy Land: Lithographic portrait of Roberts by C. Baugniet on india paper mounted, 120 tinted lithographic plates, 60 of which full-page and 60 half-page vignettes, all drawn on stone by Louis Haghe after David Roberts one engraved map. Egypt & Nubia: 121 tinted lithographic plates, 61 of which full-page and 60 half-page vignettes, all drawn on stone by Louis Haghe after David Roberts one engraved map. Bound to style in half purple morocco and contemporary purple cloth covered boards, spines with raised bands in six compartments, second and third gilt-lettered, glazed yellow endpapers, gilt edges. The tinted editions of Roberts's monumental works on the Middle East: the Holy Land, Syria, Idumea, Arabia and Egypt. In the 1830s tourism in the Holy Land was increasing as the Pasha of Egypt, Muhammad Ali, consolidated his authority and promoted the research into and adoption of European culture. Travel books describing and illustrating the holy sites proliferated, and the scientific investigations of Edward Robinson were published in 1841. David Roberts (1796-1864), a scene-painter for the Pantheon Theatre in Edinburgh, who had established a reputation as a painter of topographical and architectural views, took advantage of the trend to organize a painting expedition to the Holy Land in 1838. Arriving in Cairo in September 1838, he crossed the desert by way of Suez, Mount Sinai, and Petra, to Gaza and Jerusalem accompanied by tribes of Bedouins, friends and guides. He later visited the Dead Sea, the Lake of Tiberias, Lebanon, and the ruins of Baalbac.
Returning to England in late 1839, he sought a publisher willing to produce a lavish edition of his views. Rejected by the Finden Brothers and by John Murray he signed a contract with Francis Graham Moon in 1840. He and Moon shrewdly promoted their project by organizing a private viewing of Roberts' watercolors and drawings for Queen Victoria, the Archbishop of Canterbury and other influential people who immediately subscribed. They mounted public exhibition of some travel sketches in many British cities, and the favorable press notices attracted additional subscriptions, amounting to nearly double what the project required. The six folios were issued to subscribers, as they were completed, with the option of a hand-colored or uncolored edition, beginning in 1842.
The first folio of Egypt and Nubia is dated 1846, and the whole project was completed in 1849. His work brought tremendous fame, and historians praise the accuracy of his rendering of architectonic details and sculptures. The greatest lithographically illustrated work issued in the 19th century. REFERENCE:Abbey Travel I:272 & II:385; Blackmer 1432; Gay 25; Ibrahim-Hilmy II:176; Lipperheide Ma27; Röhrict 1984; Tobler 229; Tooley 402
Roberts, DavidThe 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 ; [And:] Egypt & Nubia, from drawings made on the spot... With historical descriptions by William Brockedon London: F.G. Moon, 1846-1849-1849 Together 2 works in 6 volumes, large folio (602 x 438 mm). Tinted lithographic titles to each volume. The Holy Land: Lithographic portrait of Roberts by C. Baugniet on india paper mounted, 120 tinted lithographic plates, 60 of which full-page and 60 half-page vignettes, all drawn on stone by Louis Haghe after David Roberts one engraved map. Egypt & Nubia: 121 tinted lithographic plates, 61 of which full-page and 60 half-page vignettes, all drawn on stone by Louis Haghe after David Roberts one engraved map. Bound to style in half purple morocco and contemporary purple cloth covered boards, spines with raised bands in six compartments, second and third gilt-lettered, glazed yellow endpapers, gilt edges. The tinted editions of Roberts's monumental works on the Middle East: the Holy Land, Syria, Idumea, Arabia and Egypt. In the 1830s tourism in the Holy Land was increasing as the Pasha of Egypt, Muhammad Ali, consolidated his authority and promoted the research into and adoption of European culture. Travel books describing and illustrating the holy sites proliferated, and the scientific investigations of Edward Robinson were published in 1841. David Roberts (1796-1864), a scene-painter for the Pantheon Theatre in Edinburgh, who had established a reputation as a painter of topographical and architectural views, took advantage of the trend to organize a painting expedition to the Holy Land in 1838. Arriving in Cairo in September 1838, he crossed the desert by way of Suez, Mount Sinai, and Petra, to Gaza and Jerusalem accompanied by tribes of Bedouins, friends and guides. He later visited the Dead Sea, the Lake of Tiberias, Lebanon, and the ruins of Baalbac.
Returning to England in late 1839, he sought a publisher willing to produce a lavish edition of his views. Rejected by the Finden Brothers and by John Murray he signed a contract with Francis Graham Moon in 1840. He and Moon shrewdly promoted their project by organizing a private viewing of Roberts' watercolors and drawings for Queen Victoria, the Archbishop of Canterbury and other influential people who immediately subscribed. They mounted public exhibition of some travel sketches in many British cities, and the favorable press notices attracted additional subscriptions, amounting to nearly double what the project required. The six folios were issued to subscribers, as they were completed, with the option of a hand-colored or uncolored edition, beginning in 1842.
The first folio of Egypt and Nubia is dated 1846, and the whole project was completed in 1849. His work brought tremendous fame, and historians praise the accuracy of his rendering of architectonic details and sculptures. The greatest lithographically illustrated work issued in the 19th century. REFERENCE:Abbey Travel I:272 & II:385; Blackmer 1432; Gay 25; Ibrahim-Hilmy II:176; Lipperheide Ma27; Röhrict 1984; Tobler 229; Tooley 402
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