Large and diverse collection of over 25 panoramas depicting the city of Jerusalem and the Temple, engravings and prints from various travelogues and scholarly works. Some hand-colored. [Europe, 17th-19th centuries].

Among the maps and views:

• Ierusalem – panorama of Jerusalem from the east, by Matthäus Merian, after Reuwich–Breydenbach; with legend in German. [Frankfurt am Main, ca. 1645]. Two copies (one mounted on board).

• Ierusalem – panorama of ancient Jerusalem, viewed from the east, by Olfert Dapper, after Wenceslaus Hollar; from the first Dutch edition of Dapper's Naukeurige beschryving van gantsch Syrie en Palestyn of Heilige Lant (Part II, plate 327). [Amsterdam: Jacob van Meurs, 1677]. With legend to 52 sites in Dutch, and additional legend in Latin in the lower margin.

• Jerusalem – panorama by Wenceslaus Hollar, after Olfert Dapper; from the geographical dictionary Kanaan. [Leeuwarden: François Halma, 1717].

• Ierusalem, hodierna – large panorama of modern Jerusalem from the east, engraving by Georg Balthasar Probst, after Giovanni Pietro Fabbroni. [Augsburg: Haeres Ier. Wolffy, ca. 1740].

• Ierusalem – panoramic view of Jerusalem from the Mount of Olives – two copies, from two different editions of the travelogue Voyage au Levant by the Dutch traveler and painter Cornelius de Bruyn (1652- ca.1726). Plate 143. [Late 17th or early 18th century].

• Vue & Description de la Ville de Jerusalem – panorama of modern Jerusalem, after De Bruyn, from Atlas Historique by Henri Abraham Chatelain (Vol. V, p. 52). [Amsterdam, 1732]. With legend and explanatory notes in French, and five smaller illustrations of the Tomb of Zechariah, Absalom's Pillar, the Tombs of the Kings, and the Lebanon mountains.

• A draught of the city of Jerusalem as it is now, taken from the South-East, by Corneille Le Bruyn – panorama of Jerusalem from the southeast; engraving by James Hulett (signed in plate), after Cornelius de Bruyn. [London?, 1737]. Two copies; one hand-colored.

• The City of Jerusalem – panorama of Jerusalem from the southeast; engraving by James Mynde (signed on plate), after Cornelius de Bruyn, from The Universal Traveller by Thomas Salmon. [London, 1759]. Two copies; one hand-colored.

• Vuë de Jérusalem – hand-colored engraved panorama. [Paris: Basset, mid-18th century]. Intended for viewing through a zograscope, an optical device using mirrors and magnifying glass to emphasize perspective and depth; the title printed in mirror writing for reading through the zograscope.

• Jerusalem, zoo als het tegenwoordig is – small panorama of Jerusalem from the east, by Isaak Tirion; from Hedendaagsche Historie of … alle Volkere. [Amsterdam, 1732].

• The celebrated city of Jerusalem (now called by the Turks Cudsembaric) including its several famous buildings now in decay – panorama of Jerusalem from the southeast, engraving by John Lodge (signed on plate), after Cornelius de Bruyn, from Millar's New Complete & Universal System of Geography. [Britain: Alexander Hogg, 1784].

• Das Biblische Jerusalem aus der Vogelschau – bird's-eye panorama of Jerusalem by Adolf Eltzner. Folding plate, bound with printed title. Leipzig: J. J. Weber, 1852.

• Vue générale de Jérusalem historique et moderne – panorama of historic and modern Jerusalem, with 100 numbered sites – reproduction of Adolf Eltzner's panorama, from the French weekly L'Univers illustré. [Paris, ca. 1862].

• Panorama de Jérusalem – large panoramic view of Jerusalem, lithograph by Muller. [Paris: Victor Poupin, ca. 1870].

• Panorama Jerusalems / Panorama de Jérusalem / Panorama of Jerusalem / Panorama di Gerusalemme – very large panorama of Jerusalem, as seen from the tower of the Church of the Ascension on the Mount of Olives. Engraving by J. Ruf in Zurich, after drawing by Ulrich Halbreiter. [Munich, mid-19th century].

• And more.

Size and condition vary.

Ierusalem – Panoramic view of Jerusalem from the Mount of Olives, by Dutch artist Cornelis de Bruyn. [Delft (the Netherlands): Henrik van Krooneveld, 1698].

Panorama from the work "Reizen van Cornelis de Bruyn" ("A Voyage to the Levant") by Dutch traveler and artist Cornelis de Bruyn (1652-ca. 1726), plate no. 143.

Engraved map: approx. 34.5X130 cm (printed on two joined sheets; verso blank). Good-fair condition. Stains and creases. Tears and small open tears to margins (not affecting engraving). Backed with paper for reinforcement.

Collection comprising over 45 prints with panoramic views of Jerusalem, from various vantage points. [19th century or early 20th century].

The collection includes a wide range of prints from different periods, in various techniques – lithographs and engravings, some hand-colored, some printed in color, together with several chromolithographs and photogravures – depicting Jerusalem from many angles. Some panoramas are accompanied by detailed legends; some bear full imprint details. Many are folding.

Over 45 prints, some in multiple copies. Size varies: approx. 20X15 cm to 85X60 cm. Overall good to good-fair condition. Stains, wear, defects and minor tears to some prints.

The Holy Land, Syria, Idumea, Arabia, Egypt & Nubia, after lithographs by Louis Haghe from drawings made on the spot by David Roberts, R.A. London: Day & Son, 1855-1856. English. Six parts in three volumes.

David Roberts' monumental work, The Holy Land – a copy of the first quarto edition. Six parts, comprising 248 lithographs after Roberts' drawings, and two engraved maps tracing his journeys throughout the Near East. The plates are accompanied by descriptive texts by George Croly and William Brockedon. The lithographs depict buildings, ruins, churches, mosques, cities, landscapes, and sacred sites throughout Palestine, Syria and Lebanon, Transjordan, and Egypt, serving as visual documentation of Roberts' travels in 1839-1840.

The publication of The Holy Land was a project unprecedented in the history of printing – hundreds of views of the Holy Land, issued in full folio format (approx. 60 cm), prepared under Roberts' supervision by leading lithographers of the time (see previous lot). The completion of the project spanned nearly a decade, and was financed by advance subscribers including Queen Victoria, the Austrian Emperor, the Russian Tsar, the Kings of France and Prussia, and the Archbishops of York and Canterbury.

The immense size of the folio edition, as well as the scope of the work, provoked criticism among some readers, who complained of its impracticality. The scholar Titus Tobler, for instance, remarked that "the work is so heavy that in order to deliver it my house, three hours away, the volumes were divided into two separate loads. It was thus possible for me to study this inconvenient thing at leisure" (Titus Tobler, Bibliographia geographica Palaestinae, Leipzig, 1867, p. 229, German). As a result, the publishers decided to issue a more manageable edition in quarto format, begun in 1855 and completed in 1856 – the present edition.

Six parts in three volumes (original bindings): Vol. I (Parts I-II): [3] leaves, 35 pages, [23] leaves + plates 1-44; [1] leaf, 3 pages, [22] leaves + plates 45-87. Vol. II (Parts III-IV): [1] leaf, 3 pages, [19] leaves + plates 88-125; [1] leaf, 9 pages, [22] leaves + plates 126-168. Vol. III (Parts V-VI): [23] leaves + plates 169-212; [20] leaves + plates 213-250. 29 cm. Gilt edges. Overall good condition. Stains, creases and minor wear. Several leaves and plates detached. Bindings rubbed, with minor wear.

Eleven color lithographs after paintings by David Roberts. [London, ca. 1842-1845; some lithographs dated in the plate 1839-1841; some are titled, with print details].

Lithographs that were part of the monumental work "The Holy Land… " by David Roberts: Views of Jerusalem from different angles; the Tower of David; the Kidron Valley; and more.

David Roberts (1796-1864), regarded as the foremost trailblazer among 19th-century artist-travelers who journeyed to the Near East in an attempt to acquaint the European public with its landscapes. Roberts produced quick sketches "in situ" (or in his words, "on the spot"), in watercolor, which he later converted into handsome, readily presentable lithographs.

11 printed plates, two of them in duplicate copies. Approx. 48X32. Overall good condition. Matted.