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Landscape Art, England, Picturesque Trees, H.W. Burgess, Eidodendron, Antique Prints, 1827


Henry William Burgess (fl. 1809-1860) (after)
Charles Hullmandel (lithographer)
Picturesque Trees
from Eidodendron – Views of the general Character and Appearance of Trees Foreign & Indigenous as connected with picturesque Scenery
J. Dickinson, London: 1827
Sepia-printed lithographs on chine applique
17 x 23 inches, sheet
12.75 x 16.5 inches, average, image
$300 each

Thorn Trees in Bushy Park, Middlesex, Pl. 3
Alder, Pl. 5
Spruce Fir, Pl. 6
Ash Trees at Bolton Abbey, Yorkshire,  Plate 8
Birch in the Grounds of Swinton Park, Yorkshire:  Seat of W. Danby Esqr.,  Plate 9
Poplar,  Plate 10
An Old Oak, at Chenies, Hertfordshire,  Plate 11
Pollard Willows,  Plate 12
Abele Trees (White Poplar), Pl. 19
Hazel Nut Tree in Knowle Park, Kent,  Plate 20
Red Cedar, in the Grounds at Wimbledon House. Plate 21
Yew Tree, in Buckstead Church Yard, Sussex, Plate 22
Cork Tree, at the Bishops Palace, Fulham, Plate 23
Beech Tree,in Knowle Park Kent, Plate 24
Queen Anns Tree, Windsor Forest,  Plate 25
Queen Charlottes Tree, Windsor Forest,  Plate 26
Weeping Willow,  Plate 27
Black Poplar, Near Rofs. Herefordshire, Plate 28
The King Oak, in Windsor Forest, Plate 29
Chestnut Trees, Suning Hill Park, Windsor Forest,  Plate 30

Set of pastoral landscapes, each featuring different species of large trees. Rural folk going about their routines provide a sense of scale. Burgess and Hullmandel were among the earliest practitioners of lithography in England, which in this series replicates the tonal variations of a sepia ink wash drawing very effectively. Burgess’ attention to the qualities of light exhibited in these prints links him to his contemporaries Constable and Turner. This work was published the year after Burgess became landscape painter to William IV of England. Hullmandel also published a similar work on trees with prints in a similar style after James Duffield Harding which we also have available.

Product description continues below.


The title page contains a dedication to the king and the following poem, reproduced here with its original spelling:

“No Tree in all the Grove but has it’s Charms
Though each it’s hue peculiar: paler some
And of a wannish gray: the Willow such
And Poplar that with Silver lines his Leaf,
And Ash, far stretching his umbrageous Arm.
Of deeper green the Elm: and deeper still
Lord of the Woods, the long surviving Oak.
Some glossy leaved, and shining in the Sun
The Maple and the Beech of oily Nuts
Prolific, and the Lime at dewy Eve
Diffusing Odors: nor unnoted pass
The Sycamore capricious in Attire
Now green, now tawny, and ‘ere Autumn yet
Have changed the Woods, in scarlet Honors bright.”

Henry William (H.W.) Burgess was a landscape painter based in London. He came from the Burgess family of British artists, the son of portraitist William (d. 1812) and grandson of Thomas (fl. 1766-1786), and his own son John-Bagnold (1830-1897) also became a painter. Between 1809 and 1844, Burgess exhibited a large number of works at the Royal Academy, the British Institution, Suffolk Street and the New Water-Colour Society in London. He also served as landscape painter to William IV beginning in 1826.

These lithographs were published by the firm of Charles Joseph Hullmandel (1789-1850), an English draftsman, lithographer and printer. He worked mainly in London, although he had trained in Paris as a painter and travelled extensively in Europe making topographical drawings. In 1817, on a visit to Munich, he was introduced to lithography by the pioneering lithographer Alois Senefelder. The following year he produced Twenty-four Views of Italy, a set of images he had drawn and lithographed. Dissatisfied with the way his work had been printed, Hullmandel set up his own lithographic press. The quality of work he published by himself and other artists such as Giovanni Belzoni helped popularize the topographical lithograph among British artists.

Full publication information: C. Hullmandel’s Lithographic Establishment, 51 Gt. Marlborough Street, London. J. Dickinson, 114 New Bond Street, London.

Condition: Generally very good with the usual light toning, wear, soiling, soft creases. Few marginal tears neatly restored. Few with faint dampstaining, mostly confined to margins, not obtrusive. Disbound holes in far end of margin, can be matted out.


Bénézit, E. Dictionnaire critique et documentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs. France: Librairie Gründ, 1966. Vol. 2, p. 212. (Burgess)

“Charles Joseph Hullmandel.” The Grove Dictionary of Art. New York: Macmillan. 2000. (28 March 2002).

“J(ames) D(uffield) Harding.” The Grove Dictionary of Art. New York: Macmillan. 2000. (28 March 2002).

Landow, George P. “J. D. Harding and John Ruskin on Nature’s Infinite Variety.” The Victorian Web. Reprinted from The Journal of Aesthetics and Art Criticism, 38 (1970). (28 March 2002).

Williamson, George C., ed. Bryan’s Dictionary of Painters and Engravers. London: G. Bell and Sons: 1930. Vol. 1, pp. 215-216. (Burgess)

Additional information


19th Century