drawn on the Spot, in the Years 1780, 1781, 1782, and 1783, and Executed in Aqua Tinta.
[London], n.p, [1785-1788].
The first of the great view books of India in fine red morocco. A landmark in topographical book illustration; the first of the great view books of India.
'Probably but not certainly' (Abbey) the first issue with fewer text leaves than the later issue, and without the publisher's imprint and uncoloured.
Contains the first substantial series of aquatint views of India, including the first printed depiction of the Taj Mahal (shown in the background of plate 16 'A View of the Fort of Agra').
Following the increasing affluence of life in the cities as the Presidencies of Madras, Bombay, and Bengal developed during the eighteenth century, British portrait artists were attracted to India by the prospect of patronage, amongst these were John Zoffany, Tilly Kettle, and Ozias Humphrey.
It was not until 1780, however, that the first person to practice professionally as a landscape artist came to India, namely William Hodges, formerly the official artist on Captain Cook's second voyage to the South Seas, and a pupil of Richard Wilson. Hodges disembarked at Madras and made his way to Calcutta in 1781 where he met Warren Hastings who became his life-long friend and patron.
Many public buildings and mansions were under construction in Calcutta at this time and the city made an immediate impression upon him: 'The vessel has no sooner gained one other reach of the river than the whole city of Calcutta burst upon the eye'. He likened the various colonnades of the city to Grecian temples and was completely captivated by Indian, as opposed to British, architecture. In the same year Hodges made three journeys up-country, recording his observations. Arriving back in London in 1784, he single-handedly produced the prints for this publication from his drawings and paintings. The aquatint technique, then in its infancy, was used with exceptional fluency by Hodges to preserve the atmospheric quality of his original sketches.
The series was published in 12 parts between 1785 and 1788, with a description of each scene in English and French. The first part was probably published by Hodges, the next six parts were published by John Wells until August 1787, when another publisher, J. Grives, took over. Except for a view of Tanjore in the South, all the prints are based on drawings made during Hodges northern tours.
First edition. 2 volumes, large folio (59.5 x 48 cm),2 title-pages and dedication in French and English, 2 lists of plates, 2 engraved maps, 48 aquatint plates, printed in bistre, by and after Hodges, 27 leaves of text (2 with text to both sides), complete; plates 2 & 33 with marginal tears repaired to verso not affecting image, plate '11' with long tear going approx. 14 cm into image with paper repair to verso, plate 13 with margins slightly trimmed, plate 3 with irregular lower margin (probably paper flaw), very occasional light spotting; contemporary red morocco gilt, small repairs to heads of joints, a very good example in a handsome contemporary binding.
Abbey (Travel), 416; Tooley 263.
'Probably but not certainly' (Abbey) the first issue with fewer text leaves than the later issue, and without the publisher's imprint and uncoloured.
Contains the first substantial series of aquatint views of India, including the first printed depiction of the Taj Mahal (shown in the background of plate 16 'A View of the Fort of Agra').
Following the increasing affluence of life in the cities as the Presidencies of Madras, Bombay, and Bengal developed during the eighteenth century, British portrait artists were attracted to India by the prospect of patronage, amongst these were John Zoffany, Tilly Kettle, and Ozias Humphrey.
It was not until 1780, however, that the first person to practice professionally as a landscape artist came to India, namely William Hodges, formerly the official artist on Captain Cook's second voyage to the South Seas, and a pupil of Richard Wilson. Hodges disembarked at Madras and made his way to Calcutta in 1781 where he met Warren Hastings who became his life-long friend and patron.
Many public buildings and mansions were under construction in Calcutta at this time and the city made an immediate impression upon him: 'The vessel has no sooner gained one other reach of the river than the whole city of Calcutta burst upon the eye'. He likened the various colonnades of the city to Grecian temples and was completely captivated by Indian, as opposed to British, architecture. In the same year Hodges made three journeys up-country, recording his observations. Arriving back in London in 1784, he single-handedly produced the prints for this publication from his drawings and paintings. The aquatint technique, then in its infancy, was used with exceptional fluency by Hodges to preserve the atmospheric quality of his original sketches.
The series was published in 12 parts between 1785 and 1788, with a description of each scene in English and French. The first part was probably published by Hodges, the next six parts were published by John Wells until August 1787, when another publisher, J. Grives, took over. Except for a view of Tanjore in the South, all the prints are based on drawings made during Hodges northern tours.
First edition. 2 volumes, large folio (59.5 x 48 cm),2 title-pages and dedication in French and English, 2 lists of plates, 2 engraved maps, 48 aquatint plates, printed in bistre, by and after Hodges, 27 leaves of text (2 with text to both sides), complete; plates 2 & 33 with marginal tears repaired to verso not affecting image, plate '11' with long tear going approx. 14 cm into image with paper repair to verso, plate 13 with margins slightly trimmed, plate 3 with irregular lower margin (probably paper flaw), very occasional light spotting; contemporary red morocco gilt, small repairs to heads of joints, a very good example in a handsome contemporary binding.
Abbey (Travel), 416; Tooley 263.
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