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An extract of our currently available views
from The Holy Land, Syria, Idumea, Arabia, Egypt & Nubia Published,
F. G. Moon. London 1842 - 9.
"One of the most elaborate publications of
the 19th century."
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David Roberts RA.
Scottish 1796 - 1864
Sometimes known as the Scottish Canaletto. Apprenticed as a house
painter but after a successful early career as a painter of theatre
scenery Roberts turned to fine art and specialized in architectural
and landscape subjects, both in oil & watercolour.
His early training instilled within him an eye for, and sense
of dramatic composition, elements of which appear in all his works.
He was one of a number of inveterate artist/travelers who catered
to the insatiable Victorian taste for topographical scenes of foreign,
especially exotic places, as their knowledge of the world increased
along with the expansion of the Empire. His reputation was already
well established (having exhibited in the RA. from 1826-64 and
BI. 1825-59) by the time he arrived in Egypt and the Holy Land
in 1838.
Public acclaim for both his exquisite lithographs and commissioned
paintings made him a wealthy man. He was elected a member of the
Royal Academy in 1844. His travels continued until his death from
a stroke in 1864.
It is the overriding sensation of sober and finely proportioned
grandeur that permeates every piece of work by David Roberts; his
unmistakable descriptive attention to detail that infuses even
the humblest of subjects with dignity, that instinctively make
his works readily familiar and recognizable to art experts, art
lovers and untrained connoisseurs alike.
His views have inspired many a Christian to visit for themselves
the sites of Christendom that he portrayed so superbly Indeed it
is true to say that Roberts' renderings have been so inspiring
that from their release in Victorian times that many, from the
mighty to the humble, have felt that they too have traveled to
the Holy Land, albeit vicariously - a significant achievement for
a Scottish house painter touched by genius.
The few remaining Roberts views in circulation from the original
500 have proven to be a sound investment in art.
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A View of St Jean D'Acre,
general view from the land, Gulf of Haifa
St. Jaen d'Acre, [sic] April 24th 1839
David Roberts RA.
A view from a drawing made on the spot by David Roberts depicting
a general view of the port town from the hills overlooking the
surrounding plain, this striking view depicts the town, silhouetted
against the sea at the moment of considerable military unrest
and political uncertainty.
The still waters of the Bay of Haifa & the Mediterranean
teem with shipping in the vicinity of this important 4000 year
old port. Located on its promontory, with fortified Crusader
masonry walls protecting the exposed landward approach.
Named by the Greeks Aka (Hebrew Akko or Acco) following the
local curative herbs that restored the wounded Hercules. Under
the Romans it was renowned for its glass. It was captured from
Saladin on the third crusade in 1191 and given to the Knights
of St. John who named and fortified the port - Saint-Jean d'Acre.
It was from there that Marco Polo reputedly sailed on his journey
to the Orient.
From 1291 to 1832 the town was under the rule of the Saracens & Ottoman
Turks, The Crusader walls, strengthened by the Turks, Citadel,
Crusader churches and al-Jazzar mosque are all visible in Roberts's
view. It was within the citadel that the founder of the Ba-Hai
faith was imprisoned.
Despite 12 attempts and a 61 day siege in 1799 Napoleon Bonaparte
was unable to conquer the port, an incident which brought it
to world prominence. Acre was taken however, by the Egyptian
forces of Ibrahim Pasha in 1832, but was recaptured by the Turks,
with British and Austrian assistance the year following Roberts'
visit in April 1839.
It is the Egyptian army conducting military exercises on the
plain below the city that Roberts observed and incorporated into
this view for dramatic middle ground effect. And yet it is the
posing of the group of armed Bedouin resting from their travels,
some conferring with Egyptian cavalrymen, that provided him with
safe passage through that troubled region, that adds life and
such colourful detail to the foreground of this splendid image,
that one can almost feel oneself present at the scene.
RARE.
Our splendid image is from the Standard Folio (First) Edition.
Double tinted chalk-stone colour lithograph with original hand
colour highlights, printed by Louis Haghe. Published by F.
G. Moon London. Sept 18th 1843. Handsomely double museum matted
with fillet, French lines and wash panel, Bespoke giltwood & turban
motif cornered frame.
Click for more information on the printing technique.
Approx. 13 3/4 x 20 " (350 X 507 mm) Frame 24 X 30"
(Ref. LRA.860 DSVAim+ARAfr>RVEL+ERNfr=EDVL/daannn)
Price Code H
Click Here for Pricing Details
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The Church of The Nativity,
Bethlehem
Chancel of The Church of St. Helena, Bethlehem
David Roberts RA.
A view from a drawing made on the spot by David Roberts depicting
The Church of the Nativity.
Built under the orders of St. Helena, mother of Emperor Constantine
ca 330 AD. in the manner of a Roman Basilica with its nave containing
a double row of 40 yellow marble Corinthian columns, the walls
being decorated by mosaics. Three chapels of the Greek Orthodox,
Roman & Armenian Christians comprise the nave and the two
transepts.
Many of the votive lamps and icons left by devout pilgrims may
be seen in Roberts' view, which we are led to believe, was executed
at the moment when the priests and pilgrims were waiting for
the "Holy Fire" to be brought from Jerusalem.
The small doorway to the right leads down to the Shrine of the
Nativity, one of Christendom's holiest sites.
The soft light emphasizing the ornate screen, and the illumination
of the scene from the right, is particularly well captured by
the genius of Roberts' and Haghe's double tinted image, the added
hand tinting of the full colour edition being almost superfluous,
for the subdued rendering and scale of the interior, the suspended
lamps, and above all the arrangement of the variously robed faithful,
or perhaps just the curious, portrayed in this scene, inspires
one with simple reverence.
RARE.
Our splendid image is from the Standard Folio (First ) Edition.
Double tinted chalk-stone lithograph, printed by Louis Haghe.
Published by F. G. Moon. London. Dec 1st. 1842. Museum matted,
(NB. Illustration shown is the tinted version).
Click for more information on the printing technique.
Approx. 12 7/8" x 18 7/8" (327 X 480 mm) excluding
letters
(Ref. JC/SNA.LAim>DLLN (uf)/ddannn)
Price Code E
Click Here for Pricing Details
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Nazareth
This is the scene of the birth village of Jesus
as etched in the minds of millions of Christians
Nazareth. April 28th, 1839 [sic]
David Roberts RA.
A view from a drawing made on the spot by David Roberts depicting
what was considered to be one of the most striking views in the
Holy Land.
On April 19th. (on the 28th he was in Sidon) Roberts sat on
the hill and gazed onto the plain of Esdrelon with Mt. Tabor
to the left, the village then housed about three thousand and
the landscape was almost unchanged since Biblical times, a far
cry from today's urban sprawl.
This general view of the birth village of Jesus has become highly
desirable and even in this double tint stone lithograph, without
added hand tinting, portrays a powerful image as it depicts a
scene as old as time itself, how often has a goat herder brought
his animals along that steeply winding track, whilst seated upon
the back of an ass, as he descended upon the tiny village within
the protective embrace of the surrounding hills.
Below him lies a circular encampment of tents. Perhaps Roberts
did slightly romanticize this image but it nevertheless evokes
a powerful sense in the viewer with the creations and activities
of man intruding upon nature. It is a beautiful and well thought
out composition, masterfully rendered, with the goats, tents
and smoking fire providing special points of interest.
RARE.
Our splendid image is from the Standard Folio Edition. Double
tinted chalk-stone lithograph, printed by Louis Haghe. (NB.
Illustration shown is the tinted version)
Click for more information on the printing technique.
Published by F. G. Moon. London. June 1st 1844.
Approx 14 1/4" X 21 3/4" (362 X 480 mm) excluding letters
(Ref. JC/SNA.LAim>DGNN (uf)/ddannn)
Price Code F
Click Here for Pricing Details
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Nablous, West Bank
Vestiges of the past glory of this biblical town
still remain.
Nablous, Ancient Shechem April 17th, 1839
David Roberts RA.
An evocative view of the town with its river, which today still
winds its way at the foot of Mt. Gerizim from a drawing made on
the spot by David Roberts depicting the approach of his party to
the bustling town of Nablous (Nablus) whence he and his fellow
travelers arrived at sunset on 16th April 1839.
This fertile valley has been noted for citrus fruit almost as
long as its association with Old Testament events, for it was
in this valley that the Ark of the Covenant was set down before
the ten tribes by Joshua. From the 8th. cent B.C. Shechem as
been associated with the Samaritan sect, and once their temple
sat atop Mt. Gerizim behind the town which the "Somerin" still
climb each Easter as an act of faith.
Again the town of Nablus has recently been the scene of much trouble
as the pages of history continue to be writ in this historic land,
a point not lost on Roberts, for it may be seen in the foreground
of his view, are scattered a few ruined columns, speaking to the
glory of a bygone age.
It is perhaps because of its turbulent history, as much as for
its considerable artistic merit, that this view has become much
sought and highly desirable in this double tint stone realization.
RARE.
Our splendid image is from the Standard Folio Edition. Image shown
is the tinted version. Double tinted chalk-stone lithograph,
printed by Louis Haghe.
Click for more information on the printing technique.
Published by F. G. Moon. London. Septr. 2nd. 1844.
Approx size 12 3/4" X 19 1/4 " (324 X 409 mm) excluding
letters
(Ref. JC/SNA.LAim>DGNN (uf)/ddannn)
Price Code F
Click Here for Pricing Details
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A general view of Karnak,
looking toward The Valley Of The Kings
haunting quality, evoking timelessness
Karnac
David Roberts RA.
A view from a drawing made on the spot by David Roberts depicting
a general view of Karnak, looking toward The Valley Of The Kings.
In the foreground are the remains of the ancient baths. In the
middle distance the massive scale and haunting magnificence of
the ruins set upon their plain. The 33 foot circumference pillars,
hypostyle colonnades, standing & fallen obelisks all faithfully
rendered by the artistry of Roberts and Haghe.
It is however the composition of the scene and the juxtaposition
of the tiny groups of figures and their camels, together with
a further touch of life added by the palm trees, that give a
sense of the gigantic scale, all further enhanced by the soft
interplay of November evening light and shadow to give this image
its haunting quality, evoking a timelessness and an atmosphere
that transports the viewer to the scene so that even we may stand "in amazement
at the sight of the shattered ruins and clap our hands with delight " as
apparently did the French army in 1799, in the words of Dominique
Vivant Denon, writing in 1802.
Karnak inspired Roberts' romantic sensibility in the four days
he spent sketching there from dawn to dusk. The image is untinted
as issued and both the chalk stones that comprise this superb image
may be observed at its edges, beneath which is the block lettered
title.
RARE.
Our splendid image is from the Standard Folio (First) Edition.
Double tinted chalk-stone lithograph, printed by Louis Haghe.
Click for more information on the printing technique.
Handsomely museum matted with fillet & French lines and wash
panel, polished gilt wood & acid wash frame. NB. Illustration
shown is the tinted version.
Published by F. G. Moon London. May 1st. 1847.
Approx. 123/4 X 191/4 " (327 X 488 mm) excluding letters
Frame 70 X 331/2"
(Ref. LRA859/AGVL im+RDE fr>RSNN+LSNfr=ERSN/ddannn)
Price Code H
Click Here for Pricing Details
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