Mount Tabor from the Plain of Esdraelon - David Roberts
Archival giclée
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Description
A detailed topographical lithograph by David Roberts, capturing the expansive Plain of Esdraelon and Mount Tabor with figures in the foreground.
David Roberts, a Scottish painter known for his meticulous documentation of Near Eastern architecture and geography, produced this work following his extensive travels in 1839. The image depicts Mount Tabor rising from the Plain of Esdraelon, a site of significant historical and biblical association. Roberts captures the vast, arid expanse of the plain, drawing the eye toward the rounded silhouette of the mountain, which is partially obscured by a low-hanging band of cloud.
In the foreground, Roberts introduces a group of figures dressed in traditional attire, providing a sense of scale and human presence against the immense geological backdrop. The composition relies on a clear division between the immediate, detailed activity of the travellers and the distant, atmospheric rendering of the mountain. His technique, often translated into lithography by Louis Haghe for the published volumes of 'The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia', maintains a balance between precise draughtsmanship and soft, tonal washes.
This print reflects the nineteenth-century fascination with the topography of the Levant. Roberts avoids overly dramatic embellishment, preferring a measured, observational approach that documents the terrain as he encountered it. The muted palette of ochre, pale blue, and soft grey reflects the natural light of the region, creating a sense of quiet observation. By placing the viewer on the elevated ridge, Roberts invites a panoramic perspective that emphasises the relationship between the nomadic figures and the enduring physical geography of the region. The work remains a primary visual record of the area as it appeared to European travellers during the mid-nineteenth century, offering a window into the intersection of travel, art, and historical documentation.
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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.
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Specific Features
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- 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
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- Dust gently with a soft, dry cloth
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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 Tabor from the Plain of Esdraelon - 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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