This large lithograph
layered beautifully coloured original map of Tasmania was engraved in 1888 - the
date is engraved at the foot of the map - by Alex J Scally and was published in
the extremely significant Australian & New Zealand publication The
Picturesque Atlas of Australasia
between 1886-88. Also includes an index to the
map on the verso giving names and locations of places on the map.
These maps were some of the best maps published at the time in the "Modern"
look. The colour is bright, the engraving extremely fine and the paper heavy and
stable.
The Picturesque Atlas of Australasia
was published in Sydney between 1886-88. Many of its over 700 wood-engraved
illustrations were specially commissioned works by leading Australian artists.
It was released in 42 separate editions usually bound into
three large volumes
and sold a remarkable 50,000 copies.
Its publication was one of the most significant cultural projects in
nineteenth-century Australia. Writers, artists, academics and politicians came
together to prepare a book of unprecedented grandeur and ambition, and a
publishing company was established to produce and publish it. The seven hundred
engravings on steel and wood contained in the Picturesque Atlas were among the
finest engravings to be found anywhere in the world at this time.
The Atlas was a collegial project, staffed by a large number of artists
and garnering an unusual number of contributors for one work. Lightly supervised
by the former Sydney Morning Herald editor Andrew Garran it was lavishly
produced at the Wynyard Square headquarters of the Atlas company. It had the
services of the Melburnian journalist and public figure James Smith who wrote
much of the Victorian and Tasmanian material, and W.H. Traill wrote extensively
about Queensland. It was not, of course, an Atlas is the usual sense of the
word, maps playing a comparatively minor role. But use of Atlas in the
title, Hughes-d'Aeth notes, gave a sense of the scale of the publication both in
terms of comprehensiveness and format. As the author points out, calling it an
Atlas carries a promise of the exactitude of the relationship between the
subject and its representation, and also bears a sense of the acquisitiveness
that shadows the imperial phase of cartography.
There were only thirty maps in the Atlas's 800 pages, but there were hundreds of
pictures. This is where much of the ideological work of the Atlas was
completed and this is where Paper Nation concentrates its analysis. Its
first task is to unravel the linguistic ball of string that is the word
'picturesque'. Though Humphrey Repton and Uvedale Price had their opinions,
Hughes-d'Aeth is quite right to pick William Gilpin out of the line-up of
suspicious aesthetes, for it was he who really popularised the idea of
travelling in search of picturesque views. Paper Nation's dissection of
the term picturesque is particularly aware of the term's adaptation to colonial
usage, and its mutations through time. The picturesque took on an increasingly
acquisitive edge, as admiration of the beauty of the land was joined by a
concern to exploit it. A 'deep reverence for production' can be seen in the
Picturesque Atlas's many illustrations of mines, factories and agricultural
processes. The slag heaps of a mine were now as 'picturesque' as a fern-filled
valley, but this does mean that the term was evacuated of all meaning. Rather
the aesthetic appropriation of the land and its material exploitation were part
of a continuum of colonial attitudes, and it was the duty of the Picturesque
Atlas to affirm and re-affirm the rightness of European habitation and
progress. (Ref:
M&B; Tooley)
General Description:
Paper thickness and quality: - Light & stable
Paper color: - White
Age of map color: - Original
Colors used: - Pink, green, yellow, orange
General color appearance: - Authentic
Paper size: - 27in x 17in (685mm
x 430mm)
Plate size: - 27in x
17in (685mm x
430mm)
Margins: - Min 1in (25mm)
Imperfections:
Margins: - None
Plate area: - None
Verso: - None
|