Hand-colored lithograph ["The Prisoners in the Citadel Ghuznee"] - T. Weld - Bauman Rare Books

Hand-colored lithograph ["The Prisoners in the Citadel Ghuznee"]

T. WELD | Thomas WINGATE

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Item#: 120391 price:$1,200.00

Hand-colored lithograph ["The Prisoners in the Citadel Ghuznee"]

HANDSOME HAND-COLORED LITHOGRAPH OF THE ANGLO-AFGHAN WAR

WELD, T., after WINGATE, Thomas. Hand-colored lithograph ["The Prisoners in the Citadel Ghuznee"]. England, 1842. Lithograph, measuring 17 by 11 inches; matted and framed, entire piece measures 24 by 18-1/2 inches. $1200.

Beautiful hand-colored lithograph of "The Prisoners in the Citadel Ghuznee" by T. Weld after an illustration of Col. Thomas Wingate that appeared in his 1839 book chronicling the Ghuznee campaign of the Anglo-Afghan War, handsomely framed.

This intricately hand-colored lithograph is after Col. Thomas Wingate's The Storming of Ghuznee and Kelat, 1839, which was based on Wingate's own service in Afghanistan with the 2nd Queen's Royal Regiment. "After forcing the Bolan Pass and capturing Kandahar without a fight, Sir John Keane's Army of the Indus advanced on the formidable Ghazni fortress. Protected by thick, 60-feet high walls it presented a major problem for the British who lacked heavy artillery. They were only able to capture it because Mohan Lal, a Kashmiri interpreter, spy and assistant to the political officer Captain Sir Alexander Burnes, managed to discover that one of the gates was poorly defended" (National Army Museum UK). From the collection of the late Frederick Hagar.

Fine condition.

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Aquatint Copperplate process by which the plate is “bitten” by exposure to acid. By changing the areas of the plate that are exposed and the length of time the plate is submerged in the acid bath, the engraver can obtain fine and varying shades of gray that closely resemble watercolor washes. Although the name contains the word “tint”, this is a black-and-white printing process; aquatint plates can often be hand colored, however.
Armorial Used to describe a binding bearing the coat of arms of the original owner, or with bookplates incorporating the owner’s arms.
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Boards Hard front and rear covers of a bound book which are covered in cloth, leather or paper. “Original boards” refers to cardboard-like front and back boards, from about 1700 to 1840, used as temporary protection for books before their purchasers would have them bound. Of particular value to collectors as evidence of a very early form of the book.
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Broadside Sheet printed on one side, typically for public display, usually larger than folio size (a folio being a broadside-size sheet printed on both sides and folded once, to make four pages).
Calf Binding material made from cowhide—versatile, durable, usually tan or brown in color, of smooth texture with no or little apparent grain. Readily marbled (“tree calf”), mottled, diced, colored, polished, tooled in gilt or blind, even scented (known as “russia”). Reverse calf, with a distinctive suede-like texture, is occasionally used.
Chromolithograph Lithograph printed in colors, typically three or more.
Collation Process by which the contents of a book are inspected for completeness, checking against internal evidence, the table of contents and/or plate list, and reference works. Also a shorthand bibliographical description of a book’s composition by its leaves and signatures, rather than its pages. A-C, for example, would indicate a quarto volume composed of three signatures or gatherings of eight pages each for a total of 24 pages.
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Doublure Pastedowns made not of paper but of leather, for decorative purposes.
Duodecimo (12MO) Smaller than an octavo, typically less than six inches tall; smaller formats, such as 24mo and 32mo, are uncommon.
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Lithograph Illustration produced by transferring an image drawn on a carefully prepared stone to paper. The process allowed illustrations to more closely resemble the original drawings, paintings or sketches, as it gave the lithographer a freedom of line impossible to achieve in earlier intaglio and relief processes. It does not require the same sort of pressure as an engraving to transfer the image, but still has to be printed on separate stock from the text
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