PBA Galleries

Title leaf and 12 plates (comprising 25 engravings). (Oblong folio) 27.5x34.5 cm (10¾x13¼"). With the exception of the title leaf, the lithograph views are mounted on heavy leaves. Letterpress on plates is in purple ink. With the original paper envelope. . Laid in is a single sheet, 34.5x56 cm, folded to make four pages, containing introductory remarks and description of plates. For this enlarged format the views on plates II and VIII are entirely redrawn. Custom black cloth tray-case with facsimile cover label. First Edition, Third (and best) Issue.

Vischer visited the Calaveras Grove in 1859 and again in 1861. In 1862, following his second visit, a broadside and a portfolio reproducing his sketches by the lithographic process were issued. Lithographic reproduction ceased when the stone upon which the principal views were drawn was broken. As this process had proved unsatisfactory to Vischer, he turned to photography for the reproduction of his sketches. Edward Vischer (1809-1878), a native of Bavaria, settled in California about 1847. He established himself in San Francisco, principally as a commission merchant. Late in life he took up drawing and was soon making sketches wherever he went. According to Francis P. Farquhar, Edward Vischer & His "Pictorial of California" (San Francisco 1932), Vischer "... developed great facility in making a rapid draft of outlines which he would fill in with greater detail at leisure. He could thus make notes for a sketch while stagecoach horses were being changed, or on other such occasions. He used all manner of media-whatever came to hand. Many of his sketches were made on a bond paper. Some were made on an enameled surface paper. The latter was sometimes tinted with varying shades and colors. He would sometimes scratch off the enamel in spots in order to give a white surface, and produce highlight effect. He used pencil and quill pen and sometimes watercolors or crayon and a soft leather blender." Vischer's early work was reproduced by lithography, but the artist found the process unsatisfactory as it did not faithfully render the quality of his drawings. He had his drawings photographed and mounted the prints on cards or in albums, thus achieving flexibility in quantity and variety for his later publications.