Citadel of Jerusalem, without the Walls, Tower of David - David Roberts
Archival giclée
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Description
A detailed topographical lithograph by David Roberts, capturing the Citadel of Jerusalem and the Tower of David as they appeared in 1839.
This print depicts the Citadel of Jerusalem, specifically the structure known as the Tower of David, as observed by David Roberts during his extensive travels through the Near East in 1839. Roberts, a Scottish painter, sought to document the architecture and atmosphere of the region with precision. His work captures the imposing stone fortifications rising above the arid terrain, rendered with a focus on structural detail and the play of light across the masonry.
The composition places the fortress at the centre, surrounded by the rugged topography of the area outside the city walls. In the foreground, small figures and camels traverse the path, providing a sense of scale to the massive stone walls. The artist employs a muted palette, typical of his lithographic studies, which allows the architectural forms to remain the primary focus. The sky is treated with soft washes, suggesting the heat and clarity of the climate.
Roberts produced these images following his return to Britain, where they were published as part of his series on the Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia. These prints were highly regarded for their accuracy and their ability to convey the character of the locations to a European audience. The work reflects the nineteenth-century interest in documenting historical sites through careful observation and technical skill. The lithographic process, often finished with hand-applied colour, preserves the delicate line work of the original sketches while adding depth to the scene. This print offers a view of Jerusalem as it appeared to travellers in the mid-nineteenth century, documenting both the physical state of the citadel and the daily life occurring in its shadow.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Citadel of Jerusalem, without the Walls, Tower of David - David Roberts
Artist Biography
David Roberts
In 1838 he sailed for Egypt and spent the next two years travelling through the Middle East, filling sketchbooks with drawings of temples, mosques, ruins and desert landscapes that almost no British artist had recorded before. To enter the mosques he had to shave off his sideburns, leave his hog-hair brushes behind (the pig being unclean), and wear traditional Arab clothing while he worked. He was one of the first Europeans allowed to paint inside a mosque.
The sketches became The Holy Land, Syria, Idumea, Arabia, Egypt and Nubia, a series of 247 lithograph plates produced in collaboration with the printer Louis Haghe between 1842 and 1849. He funded the project through advance subscriptions, soliciting them personally. Queen Victoria was subscriber number one. Her complete set is still in the Royal Collection.
The lithographs gave Europeans their first detailed visual record of the ancient Near East. They were bought as art, used as reference by scholars, and shaped the Western imagination of Egypt and Palestine for the rest of the century.
His personal life was less composed. His wife Margaret became an alcoholic and in 1831 he sent her back to Scotland to be cared for by friends. He raised their daughter Christine largely alone. He was elected to the Royal Academy in 1841, a considerable achievement for a man who had started painting houses, and worked steadily until his death in 1864.
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