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JAY T. SNIDER COLLECTION OF ILLUSTRATED MANUSCRIPTS
TOMBLESON, William (c. 1795-1846), attributed. Album of watercolors depicting the Lower Danube and European reaches of the Ottoman empire, in English. 1841-43.
Details
TOMBLESON, William (c. 1795-1846), attributed. Album of watercolors depicting the Lower Danube and European reaches of the Ottoman empire, in English. 1841-43.
Quarto album (302 x 235mm). 77 pages of watercolor illustrations of various sizes, mounted on brown paper, with manuscript captions; 1 watercolor inserted. Original olive half morocco over marbled boards (front endpaper detached, boards scuffed).
An album of watercolors depicting the landscapes, topography, and costumes of the Lower Danube and the European lands of the Ottoman empire during the Tanzimât period. The artist depicts both sweeping landscapes, with attention paid to the geology of the region, and scenes of daily life in Hungary, Slovakia, Romania, and Serbia. The attribution to British topographical artist William Tombleson comes from a curious mock-engraving mounted on the final leaf, which lists him as its “draftsman.” This work has some resemblance in approach and style to Tombleson’s 1832 Views of the Rhine—and is perhaps a preliminary work left uncompleted upon the artist’s death, or even an imitation by a member of his circle (possibly William Taylor, an engraver who worked for Tombleson and is listed on the final leaf of this work).
Quarto album (302 x 235mm). 77 pages of watercolor illustrations of various sizes, mounted on brown paper, with manuscript captions; 1 watercolor inserted. Original olive half morocco over marbled boards (front endpaper detached, boards scuffed).
An album of watercolors depicting the landscapes, topography, and costumes of the Lower Danube and the European lands of the Ottoman empire during the Tanzimât period. The artist depicts both sweeping landscapes, with attention paid to the geology of the region, and scenes of daily life in Hungary, Slovakia, Romania, and Serbia. The attribution to British topographical artist William Tombleson comes from a curious mock-engraving mounted on the final leaf, which lists him as its “draftsman.” This work has some resemblance in approach and style to Tombleson’s 1832 Views of the Rhine—and is perhaps a preliminary work left uncompleted upon the artist’s death, or even an imitation by a member of his circle (possibly William Taylor, an engraver who worked for Tombleson and is listed on the final leaf of this work).