The Holy Land, Syria, Idumea, Arabia ... With Historical Descriptions by the Revd. George Croly, David Roberts, London: F.G. Moon, 1842-1849

2 volumes (23 3/4 x 16 3/4 in.; 603 x 425 mm). Lithographic portrait of Roberts by C. Baugniet on india paper mounted; two hand-colored mounted lithographic titles; 120 hand-colored lithographic plates, all cut to the edge of the image and mounted on card in imitation of watercolors, as issued, all drawn on stone by Louis Haghe after David Roberts. Publisher’s half brown morocco over brown pebbled cloth, upper covers blocked in gilt; expert repairs to spines.

Frederick Straker (armorial bookplate)

The two volumes are as expected in very similar condition: Lithographic title-pages of both are heavily spotted and have some cockling. The last plate of the second volume and first plate of the first volume also have more foxing than the other plates. In general, half the plates have some light scattered to occasionally more pronounced foxing while the remaining plates are evenly divided with either one or two stray spots or no foxing. Foxing is as usual mostly in the lighter areas of the image (the sky for example). There are no tears or repairs to the plates or mounts and the text is almost entirely unfoxed, but for two pages in one volume with a cluster of spotting in the upper margin. It is worth noting that the mounts are not spotted or "tired" and that given the plates are printed on thin paper stock almost like India Paper and hen mounted, one usually finds this deluxe issue with varying degrees of spotting. The bindings are quite handsome publisher's original binding of half brown morocco over peddled cloth, the joints expertly restored.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The deluxe hand-colored edition of Roberts’ monumental work on the Middle East: the Holy Land, Syria, Idumea, and Arabia.

Roberts’ masterpiece (including his companion work on Egypt) was issued in forty-one parts over seven years and is the greatest lithographically-illustrated work of the nineteenth century. In the present example, the plates (and their accompanying text) are bound in a logical but unusual order and are all in particularly fine condition. The plates were prepared with great artistry and meticulous care 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.” J.R. Abbey regarded the work as “one of the most important and elaborate ventures of nineteenth-century publishing.”

In 1838, David Roberts (1796-1864) made plans for his journey to the Middle 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 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 first in Gaza and then moving on to Jerusalem. He spent several months visiting the biblical sites of the Holy Land and finally returned to England at the end of 1839. The drawings of his tour were submitted in 1840 to F.G. Moon, who arranged to bring out a work illustrative of Scripture History, paying Roberts £3,000 for copyright to the sketches and for his labor in supervising Louis Haghe’s lithography. Both the exhibition of his original watercolors and the subsequent published work were an immediate success and confirmed his reputation as an architectural and landscape artist of the highest order.

Following the publication in parts, the work was sold as both three-volume and two-volume sets (as here), with the former including an additional title page, as well as a map of the region.

Literature

John Roland Abbey, Travel in Aquatint and Lithography, 1770-1860: From the Library of J.R. Abbey: A Bibliographical Catalogue, vol. 2 (Storrs-Mansfield, CT: Maurizio Martino, 1995/1996), 385.