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HENRY SALT (1780-1827)
Twenty Four Views taken in St. Helena, the Cape, India, Ceylon, Abyssinia & Egypt. London: William Miller, 1809.
Atlas volume, broadsheet (approximately 775 x 560mm). Aquatint title incorporating dedication, printed in sepia, 24 hand-coloured aquatint plates by D. Havell, J. Hill and J. Bluck, supervised by Robert Havell, after Salt, on thick paper, mounted on guards and interleaved throughout, some interleaves watermarked 'Edmeads & Pine 1804'. (Small mark to sky of plate IX.) 20th-century half calf incorporating contemporary marbled paper-covered boards, early manuscript title label on upper cover 'Views in Cape Colony India Ceylon etc', contemporary endpapers (scuffed).
A COMPLETE SET OF THE VERY FINE LARGE FORMAT PLATES AFTER HENRY SALT. A quarto text volume, with the same title, was published by Miller in the same year. Henry Salt, artist, traveller, diplomat and collector of antiquities, was born in Lichfield, Staffordshire, 14 June 1780. He studied to become a portrait-painter, moving to London in 1797 where he became a pupil of Joseph Farington, R.A., and (in 1800) of John Hoppner, R.A. His career path was altered by his appointment as secretary and draughtsman to George, viscount Valentia (later Lord Mountnorris) who left London on 3 June 1802 on a tour of the East. Salt visited the Cape, then India. In Calcutta, the party was entertained by the Governor-General, Marquis Wellesley (the dedicatee of the present work) and then travelled to Benares, Lucknow, Ceylon and Madras. Salt then explored the Red Sea, returned to Bombay and Poona, to the Red Sea again, before making an extensive excursion into the Abyssinian highlands, here repesented by six views. Salt returned to England on 26 October, 1806. He made many drawings, all of which remained the property of Lord Valentia, who also retained the ownership of the copper plates after Salt's death. As is made clear by contemporary advertisments, the work was designed to be similar in size and presentation to the plates of Thomas and William Daniell's great work, Oriental Scenery (1795-1808): the undoubted artistry of Salt and his engravers have ensured that this work is a worthy successor. Cf. Abbey Travel II, 515 (late issue with text volume); Tooley 440.
Twenty Four Views taken in St. Helena, the Cape, India, Ceylon, Abyssinia & Egypt. London: William Miller, 1809.
Atlas volume, broadsheet (approximately 775 x 560mm). Aquatint title incorporating dedication, printed in sepia, 24 hand-coloured aquatint plates by D. Havell, J. Hill and J. Bluck, supervised by Robert Havell, after Salt, on thick paper, mounted on guards and interleaved throughout, some interleaves watermarked 'Edmeads & Pine 1804'. (Small mark to sky of plate IX.) 20th-century half calf incorporating contemporary marbled paper-covered boards, early manuscript title label on upper cover 'Views in Cape Colony India Ceylon etc', contemporary endpapers (scuffed).
A COMPLETE SET OF THE VERY FINE LARGE FORMAT PLATES AFTER HENRY SALT. A quarto text volume, with the same title, was published by Miller in the same year. Henry Salt, artist, traveller, diplomat and collector of antiquities, was born in Lichfield, Staffordshire, 14 June 1780. He studied to become a portrait-painter, moving to London in 1797 where he became a pupil of Joseph Farington, R.A., and (in 1800) of John Hoppner, R.A. His career path was altered by his appointment as secretary and draughtsman to George, viscount Valentia (later Lord Mountnorris) who left London on 3 June 1802 on a tour of the East. Salt visited the Cape, then India. In Calcutta, the party was entertained by the Governor-General, Marquis Wellesley (the dedicatee of the present work) and then travelled to Benares, Lucknow, Ceylon and Madras. Salt then explored the Red Sea, returned to Bombay and Poona, to the Red Sea again, before making an extensive excursion into the Abyssinian highlands, here repesented by six views. Salt returned to England on 26 October, 1806. He made many drawings, all of which remained the property of Lord Valentia, who also retained the ownership of the copper plates after Salt's death. As is made clear by contemporary advertisments, the work was designed to be similar in size and presentation to the plates of Thomas and William Daniell's great work, Oriental Scenery (1795-1808): the undoubted artistry of Salt and his engravers have ensured that this work is a worthy successor. Cf. Abbey Travel II, 515 (late issue with text volume); Tooley 440.
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