Mount Seir, Wady el Ghor - David Roberts
Archival giclée
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Description
A detailed lithograph by David Roberts depicting a desert encampment in Wady el Ghor, capturing the atmospheric light and scale of the Near Eastern terrain.
This lithograph depicts a scene from the travels of David Roberts through the Near East. Roberts, a Scottish painter, undertook an extensive journey in 1839 to document the architecture and geography of the region. His sketches were later transformed into a series of lithographs by Louis Haghe, which gained wide circulation in Britain during the mid-nineteenth century.
The composition captures a desert encampment set against the rugged backdrop of Mount Seir. In the foreground, groups of figures are gathered, their clothing rendered with careful attention to texture and colour. The tents are positioned to provide a sense of scale against the vast, arid expanse of the Wady el Ghor. The horizon is dominated by the distant, craggy mountain range, which is bathed in the soft, diffused light of a desert morning or evening.
Roberts utilised a restrained palette to convey the atmospheric conditions of the desert. The use of light and shadow creates a sense of depth, drawing the eye from the detailed figures in the foreground across the flat terrain towards the mountains. This work reflects the Victorian interest in travel and the documentation of foreign lands. It provides a glimpse into the life of the region as observed by a European traveller of the period. The print maintains the precision of the original watercolour sketches, capturing both the architectural details of the tents and the broader geological features of the terrain. It is a representative example of the topographical art produced during this era, focusing on the observation of light, form, and human activity within a specific geographical context.
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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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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
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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
Mount Seir, Wady el Ghor - 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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