J.P. Cockburn, 1833

Spectacular and extremely rare set of J.P. Cockburn’s elephant folio aquatint views of Quebec. Not in Abbey or Tooley. Cockburn was certainly one of the most accomplished of the soldier-artists so prolific in Canada at this period. The present are gorgeous works, drawn in the years of peace, when Cockburn was commanding the Royal Artillery in the Canadas. Cockburn worked with the aid of a camera lucida. As noted by Spendlove, "the motive in using a camera lucida was probably that it became possible to paint 'action pictures,' the nearest approach to photographic speed ever achieved by manual methods ... diverse types of humanity are exactly drawn in such a way as to convey an impression of distinct personality, and the speed and accuracy of the camera lucida made it possible to record conversations and groups lasting a very short time." Cockburn, like many of his generation, was deeply influenced by the teaching of the landscape artist Paul Sandby (1725-1809). "The influence of Sandby was also found in Cockburn's dynamic and highly individualistic treatment of the figures; fully up to the master's level and perhaps beyond it" (ibid). Although individual prints occasionally appear at auction, we find only one record in the past 40 years for the complete set of six; that one selling at Forum Auctions in 2022. Not in Abbey or Tooley. Bobins 43; Spendlove, pp.46-51, pls. 69 & 70.

Each print includes a series number 1-6, dedication to King William IV and the publisher’s imprint. They are titled as follows:
1. “Cape Diamond and Wolf’s Cove from Point a Pizeau.” Engraved by C. Hunt.
2. “The Ice Pont formed between Quebec & Point Levi.” Engraved by J. Stewart.
3. “Quebec from below Aubigny Church, Point Levi.” Engraved by H. Pyall.
4. “The Falls of Montmorency (Quebec in the Distance).” Engraved by C. Hunt.
5. “The Cone of Montmorency, as it appeared in 1829.” Engraved by C. Bentley.
6. “The Lower City of Quebec, from the Parapet of the Upper City.” Engraved by C. Hunt.