The Great Hall, Karnak - David Roberts
Archival giclée
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Description
A detailed lithograph by David Roberts depicting the monumental columns of the Hypostyle Hall at the Temple of Karnak, Egypt.
David Roberts, a Scottish painter, travelled to Egypt in 1838 to document the monuments of the Nile. This print depicts the Hypostyle Hall at the Temple of Karnak in Thebes. The composition focuses on the massive papyrus-shaped columns that define the space. Roberts captures the scale of the architecture by placing small figures at the base of the pillars, which provides a sense of the immense height of the stone structures.
The artist employed a precise technique to render the hieroglyphics and decorative carvings on the columns. His work is known for its accuracy in documenting the state of these ruins during the nineteenth century. The light filters through the upper sections of the hall, creating shadows that define the depth of the interior. The colour palette remains grounded in the earthy tones of the sandstone, with subtle applications of pigment to suggest the remnants of original paint on the columns.
This image is part of a larger series of lithographs published following his travels. These prints were instrumental in introducing European audiences to the scale and detail of ancient Egyptian architecture. Roberts worked closely with lithographer Louis Haghe to translate his original watercolours into this printed format. The result is a detailed record of the site, capturing both the structural form and the decorative surface of the temple. The print serves as a historical document of the site before later archaeological interventions.
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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
The Great Hall, Karnak - 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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