Petra, Lower End of the Valley, Viewing the Acropolis - David Roberts
Archival giclée
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Description
A detailed 1839 lithograph by David Roberts depicting the ancient rock-cut architecture of Petra, Jordan, with figures resting in the foreground.
David Roberts, a Scottish painter, travelled to the Near East in 1839 to document the architectural remains of ancient civilisations. This work captures the dramatic rock-cut structures of Petra, Jordan. The composition focuses on the sheer scale of the sandstone cliffs, which dominate the horizon and dwarf the figures in the foreground. Roberts employs a precise, measured approach to the geological formations, using light washes to suggest the arid atmosphere and the harsh sun of the desert.
In the foreground, a small group of figures rests near a stream, providing a sense of scale against the massive, weathered stone facades. The architectural details of the tombs and the Acropolis are rendered with clarity, reflecting the artist's background as a scene painter for theatres. This technical training allowed him to translate complex spatial relationships onto paper with accuracy. The palette remains restrained, relying on ochre, sandy beige, and soft grey tones to convey the texture of the stone and the dry environment.
This print originates from the series titled 'The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia', which was published between 1842 and 1849. These lithographs were produced by Louis Haghe, who worked closely with Roberts to ensure the printed versions maintained the quality of the original sketches. The work provides a record of the site as it appeared in the mid-nineteenth century, before extensive modern excavation or tourism altered the appearance of the valley. It remains a primary example of the topographical documentation that defined the European interest in the Near East during the Victorian era.
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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
Petra, Lower End of the Valley, Viewing the Acropolis - 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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