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Veracruz in the 1830s
A beautiful early 19th-century color lithograph of the Mexican city of Veracruz by the German artist Carl Nebel. This view comes from the very rare plate book: Voyage pittoresque et archéologique dans la partie la plus intéressante du Méxique, published in Paris in 1836. Nebel's Voyage pittoresque... was praised by his countryman, Alexander von Humboldt: "I am very pleased to be able to offer Mr. Nebel a public acknowledgment of the esteem deserved by such arduous and important work. The work, executed in Paris under the direction of the author, encompasses both ancient and modern architecture... [including] views of the main cities of the Mexican confederation."
The lithograph depicts the main square of Veracruz, with the port visible in the background. Several people, including men on horseback and carriages, can be seen in the foreground. In the right background one can discern the tower of the 18th-century San Francisco Xavier church, which would be hit by the United States gunboat Chester during the 1914 U.S. invasion and occupation of Veracruz.
Veracruz, one of Mexico's oldest and most significant port cities, played a crucial role in the country's history long before the 1830s, serving as a key entry point for Spanish colonizers in the early 16th century. By the 1830s, Veracruz was a bustling hub of trade and military activity, reflecting Mexico's turbulent post-independence era. The city's main square, the Zócalo, is surrounded by historic buildings that echo its colonial past, including the 17th-century Baluarte de Santiago, and the neoclassical Palacio Municipal from the 18th century. These structures stand as enduring symbols of Veracruz’s strategic and economic importance throughout Mexican history.
Nebel described Veracruz thusly:
The climate of Veracruz is hot, and although yellow fever or black vomit prevails there, as in Havana and other ports of the Antilles, it cannot be called unhealthy. The natives are not subject to this dreadful disease; however, every foreigner who comes from abroad or from inland must pay this toll before acquiring the right of residence.
Rarity
Nice examples of the hand-colored city views from Nebel's Voyage Pittoresque (1836) are rare in the market.
Carl Nebel's Voyage Pittoresque (Paris, 1836)
Carl Nebel's 1836 book Voyage Pittoresque et Archéologique is a landmark in the artistic documentation of Mexico, blending romanticized portrayals with a keen observational eye. A German architect and painter, Nebel arrived in Mexico in 1829, inspired by writings of explorers and chroniclers such as Humboldt and Bernal Díaz del Castillo. Indeed, Humboldt would publicly praise Nebel's "arduous and important" Mexican work. Over five years, Nebel traveled extensively, capturing scenes in Puebla, Guadalajara, Zacatecas, and Mexico City, among other regions. Back in Paris, he created a book of 50 lithographs, many of which were hand-colored, depicting both archaeological sites and the contemporary life of a nation newly visible to European travelers. His work reflects the allure of the picturesque through a methodical approach, representing Mexico’s landscapes, people, and architecture, appealing to the European fascination with the Americas during a period of increasing accessibility.
Carl Nebel (1805-1855) was a German artist and lithographer known for his detailed and vivid depictions of Mexico in the mid-19th century. After traveling to Mexico in the 1820s, Nebel captured the country's landscapes, architecture, and everyday life through a series of lithographic views that gained widespread acclaim. His most notable work, Voyage pittoresque et archéologique dans la partie la plus intéressante du Méxique (1836), featured 50 hand-colored lithographs that offered European audiences a rare visual insight into Mexican culture and scenery. Nebel's work was characterized by uncommon attention to detail and color, making his lithographs important visual documents that chronicled Mexico during a period of significant social and political change. His work was also featured in The War Between the United States and Mexico (1851), perhaps the most ambitious color plate book of the Mexican War, on which he collaborated with George Wilkins Kendall.
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