Search Results: Topographical Views from Donald Heald Rare Books

London: F. Jukes, 1793. Aquatint engravings, coloured by hand, by Francis Jukes. A lovely set of large early Romantic views of the border region The plates are titled: 1. 'View of Jedburgh Abbey'; 2. 'View of the Town and Bridge of Berwick'; 3. 'View of Berwick upon Tweed'; 4. 'View of Dryborough Abbey and the Elden-Hills'. Created for an English audience, they reflect a new admiration for the beauties of Scotland and for pre-industrialized regions generally. Francis Jukes advanced the art of printed landscape considerably with his beautifully colored views of ruined abbeys, desolate seashores and expansive valley vistas, enunciating the longing to "return to Nature" that found expression in the work of Wordsworth and others at just this time. Charles Catton, the elder, was born in Norwich 'one of a family of thirty-five children, was apprenticed to a London coach-painter, and found time also for some study in the St. Martin's Lane academy. He is chiefly known as a landscape and animal painter, but… Read More

London: Smith & Elder, 1822. Hand-coloured aquatint, by John Clark. An important topographical view of Aberdeen, county town of Aberdeenshire in north east Scotland This view should perhaps be seen as an immediate forerunner of John Clark's own Views in Scotland published in London between 1824 and 1825 with a total of 35 plates. The view is taken from the south bank of the Dee looking across the river to what a contemporary gazetteer calls 'New Aberdeen', the same work notes that the town was situated 'on rising ground, on the north bank of the Dee, near the mouth of the river, and about 1 1/2 miles to the south of the river Dona royal burgh and parish in the county of the same name.' (Fullarton [publishers] A Gazetteer of the World 1856, I, p.12). The population in 1821 was 26,484 and had risen to 35,260 by 1841. The gazetteer notes that New Aberdeen 'is a large and handsome city with spacious streets. Union-street is upwards of a mile in length, and of great beauty. Broad-street... is celebrated… Read More

Vienna: Artaria & Comp, 1798. A fine view of the city of Worms, a river-port on the Rhine, twelve miles north-north-west of Mannheim. Hand-coloured aquatint etching by Ziegler after Janscha, with contemporary ruled and wash border. Accompanying the plate is a descriptive leaf of letterpess text, in French and German, with a contemporary manuscript English translation beneath `After passing the little island of Neusatz, the Rhine arrives at Worms... situated in the Lower Palatinate beyond the Rhine. The surrounding countryside produces much corn & rape seed also the excellent wine known as "Liebfraumilch"... The Church in the middle of the picture belongs to the Protestants who built it in 1725. The Catholics although they are few in number possess the Dome Church & four others. The Lutherans also have one. The residence of the bishop & the Town Hall are worthy of note it was in the latter that Luther appeared in 1521 at the Diet before the Emperor Charles 5th. It was at Worms that a treaty was… Read More

Antigua, West Indies, 1850. Watercolour on paper, inscribed lower left and lower right. Sheet size: 9 7/8 x 13 7/8 inches. Excellent panoramic view from the Monks' Hill Fort looking south east down across Falmouth Harbour, English Harbor and out across the Caribbean. According to William R. O'Byrne's A Naval Biographical Dictionary (London: 1849) Vol. 1, p.70, Bellairs joined the Navy in 1809 and made Lieutenant in 1819. From 1842 he served as Admiralty Agent on board a 'contract Mail steam-vessel'. He evidently travelled widely: the National Maritime Museum in London holds two of his West Indian drawings, the National Library of Australia a watercolour of a scene in Panama, and a collection of his drawings of the Far East were sold in 1982. As the present drawing shows he was clearly gifted, and more than a match for many of the professional artists working at the time. His 'professional' status received contemporary confirmation when his watercolour 'View of the town of St. Thomas, in the West… Read More

[London: Day & Son, 1849. Tinted lithograph by Louis Haghe, with later professional hand-colouring. Very good condition apart from some overall light soiling. 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… Read More

[London: Day & Son, 1849. Tinted lithograph by Louis Haghe, coloured by hand, mounted on card in imitation of a watercolour (as issued). 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,… Read More

London: Published by William Scott, Brighton & Colnaghi & Co, 1819. Colour-printed aquatint on fine wove paper. Very good condition apart from some overall light soiling, mild mat burn, and a small brown spot in the bottom margin. A picturesque view of the stately family seat of the Duke of Norfolk. Situated on the River Arun in West Sussex and surrounded by lush parkland, Arundel Castle has been the ancestral home of the Dukes of Norfolk and Earls of Arundel for centuries. It was built by Roger de Montgomery, Earl of Arundel, in the eleventh century and was later appropriated in 1102 by King Henry I, who gave the castle and its surrounding lands to his second wife, Alice de Louvain. Arundel passed matrilineally through the d'Albini and Fitzlan families in the thirteenth century to the powerful Howard family in the 15th century, in whose possession it has remained virtually uninterrupted to the current day. After weathering besiegement by Cromwell's troop during the Civil War (1642-51), the castle… Read More

[London: Day & Son, 1849. Tinted lithograph by Louis Haghe, with later professional hand-colouring. Very good condition. 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… Read More

London: Rodwell & Martin, 1820. Hand-coloured aquatint by Robert Havell & Son, after Fraser. A fine example of a view taken during the first recorded journey by Europeans through the Himalayas. In 1815, following the end of the war with Nepal, Fraser and his brother William, a political agent, spent two months on a tour of the Himalayas. Their journey took the brothers along the river valleys of the Himalayas, with occasional sorties to higher altitudes, and as far as the sources of both the Jumna and Ganges rivers. This view is from the spectacular Views in the Himala Mountains which contains twenty of Havell's masterly plates worked up from sketches made on the spot by Fraser. In style the plates are similar to, and very much a match, for Henry Salt's and the Daniell brothers' large scale views published 10 and 20 years earlier. This was a deliberate strategy by the publishers who drew attention to the similarities in their advertisements which describe the work as being `In Elephant Folio,… Read More

London: Rodwell & Martin, 1820. Hand-coloured aquatint by Robert Havell & Son, after Fraser. A fine example of a view taken during the first recorded journey by Europeans through the Himalayas. In 1815, following the end of the war with Nepal, Fraser and his brother William, a political agent, spent two months on a tour of the Himalayas. Their journey took the brothers along the river valleys of the Himalayas, with occasional sorties to higher altitudes, and as far as the sources of both the Jumna and Ganges rivers. This view is from the spectacular Views in the Himala Mountains which contains twenty of Havell's masterly plates worked up from sketches made on the spot by Fraser. In style the plates are similar to, and very much a match, for Henry Salt's and the Daniell brothers' large scale views published 10 and 20 years earlier. This was a deliberate strategy by the publishers who drew attention to the similarities in their advertisements which describe the work as being `In Elephant Folio,… Read More

London: Published by Samuel Daniel, 1804. Aquatint, coloured by hand, backed, with two skillfully repaired tears into image area. Image area: 12 3/4 x 17 3/4 inches. Sheet size: 17 1/4 x 21 3/4 inches. A stunning aquatint from Samuel Daniell's celebrated work, "African Scenery and Animals at the Cape of Good Hope". Samuel was the younger brother of the famous topographical painter William Daniell, and the nephew of Thomas Daniell: the least known because of his early death, but Thomas Sutton considered him 'the most inspired and original of the three.' Samuel evidently developed a keen interest in natural history and an insatiable desire to travel, a combination which inspired him to follow in his brother's footsteps. Soon after the first British occupation of South Africa, Daniell left England for the Cape of Good Hope, arriving in December of 1799. His affable nature and considerable artistic skills earned him an appointment as artist on Truter's expedition. The party set off in October of 1801 to… Read More

London: Willyams, 1796. Aquatint by Samuel Alken. The Reverend Cooper Willyams (1762-1816) was a topographer and artist, as well as minister and chaplain. The son of a British naval commander, he went to Cambridge, was ordained and contributed to "Topographical Miscellanies" before going to sea as Chaplain on the Boyne in 1793. England was at war with revolutionary France, and the Boyne participated in the West Indies' action of that war. In 1796, Willyams returned to London and published An Account of the Campaign in the West Indies..., which was illustrated with six drawings by Willyams, rendered in aquatint by Samuel Alken. This view on Guadeloupe was taken just outside Fort Matilda where Willyams served as chaplain. From his commanding position but minimizing the fortress as a geographical figure, Willyams gives a rich view of the lush hills and the rushing river below. Abbey, 677; Hough,The Beinecke Lesser Antilles Collection at Hamilton College, 486.

London: Published by Thos. Agnew & Son, 1853. Tinted lithograph with rich publisher's colour. Printed on wove paper. Trimmed to image as issued. In excellent condition. A stunning view of Brother's Water, from the deluxe portfolio edition of John Baker Pyne's magnificent work "The English Lake District." The Lake District first came to the fore with the rise of the Romantic Movement during the second half of the eighteenth century. The poet William Wordsworth, a native of the district, established the area as the epitome of the ideal landscape, and artists and tourists alike visited the regions natural beauties in search of the Romantic ideal. Poets such as Byron, Shelley, and Keats proclaimed the Lakes as the manifestation of the "Picturesque." By the middle of the nineteenth century, when Pyne visited the area, the Lakes were well established in the national consciousness as the most beautiful natural reserve in England. Bristol-born James Baker Pyne is now considered by many to have been second… Read More

London: Published by J. Deeley, Berwick St. Soho, 1811. Coloured aquatint. Printed on watermarked Whatman paper. In excellent condition with the exception of being trimmed within the plate mark. Right and left corner have been skillfully repaired. A few tiny tears along lower edge which have been skillfully mended. Image size: 10 5/8 x 14 3/4 inches. A picturesque aquatint of Burnell Castle near the villiage of Acton Burnell in Shropshire. This beautiful aquatint of Burnell Castle in Shropshire epitomizes the grand era of English printmaking. Burnell Castle was built in the 13th century by Robert Burnell, the bishop of Bath and Wells. Burnell was the favored confidante of Edward I, and the King was a regular visitor to the castle. It is believed that Edward convened one of the first parliaments here in 1263.

Manchester: Thomas Agnew & Sons, 1853. Lithograph by W. Gauci, printed in tints by M. & N. Hanhart, coloured by hand. Very good condition apart from some minor foxing. An evocative image of the Lake District, an area renowned as the cradle of the Romantic Movement in Britain. The Lake District, an area of only some 700 square miles, contains all the main English lakes and is found within the northwestern counties of Cumbria and Lancashire. 'The Lakes' (as the area is also known) first came to prominence with the rise of the cult of the Picturesque in the second half of the 18th century, but it was Wordsworth, a native of Cumbria, born in 1770 on the outskirts of the Lake District itself, who really made it a mecca for those in search of the romantic ideal of landscape. He was joined in the area, at one time or another, by Robert Southey, Samuel Taylor Coleridge, Percy Bysshe Shelley, John Keats, Lord Byron, Sir Walter Scott, Thomas de Quincey and many others. By the middle of the 19th century, when… Read More

[London], 1839. Lithograph by Shotter Boys. Printed in colours by Charles Hullmandel, deluxe edition, trimmed to the subject as issued, mounted on archival mount. A very fine image from Boys' 'Picturesque Architecture in Paris, Ghent, Antwerp, Rouen &c': ''a work of exceeding beauty' (Abbey) and one of the most important in the history of English colour-printing. This striking winterscape shows the hospital and abbey known as Bijloke, a section of Ghent. The hospital was constructed in the 13th century and the abbey added later. This print represents part of what was the first serious challenge to the supremacy in England of the hand-coloured aquatint. The plates in Boys' Picturesque Architecture in Paris, Ghent, Antwerp, Rouen &c 'are produced entirely by means of lithography: they are printed with oil-colours, and come from the press precisely as they now appear.' As detailed in the Descriptive Notice, it was strictly stipulated by the publisher that no colour be added, and goes on to state that… Read More

Paris: chez l'Editeur.. Imprime par Sauniée, 1832. A fine and rare separately issued view of the main French port on the north coast after "one of the earliest and most accomplished of English water-colourists" (DNB). Hand-coloured aquatint engraving by Paul Legrand after Francia, printed by Sauniée. Francia (1772-1839) was born at Calais, and was brought early in life to London by his father, a refugee. He commenced to exhibit at the Royal Academy in 1795, and contributed from that year to 1821 (inclusive) eighty-five works in all to its exhibitions. He was one of the sketching society formed by Thomas Girtin about 1799. He was a member of the (now Royal) Society of Painters in Water-Colours, and for some time its secretary, but he resigned his membership, and became in 1816 an unsuccessful candidate for the associateship of the Royal Academy. The next year he retired to Calais, where he resided till his death on 6 Feb. 1839. Here he gave instruction to R. P. Bonington, whose coast scenes bear… Read More

[N.p., but London, 1815. Aquatint printed in brown, coloured by hand, by R. Havell. (Trimmed to the image and mounted). A classic Pollard image from the great age of coaching. James Pollard was the youngest son of the London engraver and print-seller Robert Pollard. He began work at the age of fifteen as a painter but quickly turned to engraving as well. In the 1820s his coaching scenes became both fashionable and lucrative. From 1821 he exhibited a small number of pictures at the Royal Academy and the British Institution which brought him more patrons. Between 1830 and 1840, Pollard also painted a number of racing pictures and some of the earliest scenes of steeplechasing. In all his work he took great pains over accuracy. "Changing Horses to the Mail Coach is the first of four prints after James Pollard illustrating this familiar scene on the road" (Selway, The Regency Road, p. 50). Mail was transported in Great Britain via Royal Mail coaches beginning in 1784. They traveled over ever improving… Read More

London: Published by Edward Orme, 1802. Hand-coloured aquatint engraving by Stadler after Colonel Ward, a skilled amateur artist and member of the Madras Army. Very good condition apart from some light soiling and minor foxing in the margins. An excellent view from Francis Blagdon's "Brief History of Ancient and Modern India," which was comprised of plates after drawings William Orme made of the paintings in the collection of Richard Chase Esquire by Ward and the renowned landscape artists Thomas and William Daniell. Located in a district of Southern India that was once under British rule, the Trichinopoly Rock is a renowned landmark that dominates the town of Tiruchirapalli and overlooks the surrounding landscape. A number of Pallava cave temples are carved into the rock, on top of which sits the ornate multiple-pillared Vinayaka Temple most likely pictured here. Cf. Abbey, Travel, vol. II, 424.; cf. Tooley 93.

London: Smith, Elder & Co, 1824. Hand-coloured aquatint, 'drawn on the spot by I. Clark'. An historically important topographical view of Glasgow in Scotland, from John Clark's 'Views in Scotland'. There is some debate as to who executed this stunning print. There is no reference which identifies the author of this view, but there is some indication that it is the work of the celebrated painter John Heaviside Clark (1770-1863). Born in Scotland, Clark exhibited regularly at the Royal Academy between 1801 and 1832. He was primarily a landscape and marine painter, but he also produced a number of fine aquatints, which exhibit his exceptional talents as an engraver. Known as "Waterloo Clark" for his early sketches of the battle of Waterloo, he was a painter of some repute across the British Isles, and his beautiful views remain some of the most attractive images of the English countryside. A contemporary gazetteer notes that the city was 'the manufacturing and commercial metropolis of Scotland, and the… Read More