Jericho by Roberts David (10 results)

Litho print, 320 x 250mm inc margins. Light margin stain o/w G.

Tinted lithograph, 15.1 x 22.8 cm; 24.6 x 32.3 cm (sheet including caption), marginal toning and abrasions at the foot, small edge tear, but in very good condition. Fine view of the ancient city of Jericho. Prepared for David Roberts' great work "The Holy Land, Syria, Idumea, Arabia, Egypt and Nubia" from drawings made "on the spot". The first lithographs were published in 1842 in monthly parts by Moon, Boys and Graves, the final issues appearing in 1849. This is from the re-issue in smaller format by Cassell published in 1879.

Original hand-coloured lithograph (44 x 62 cm) from the Subscribers' Edition, mounted on card as issued. Some light marginal toning and dampstaining, generally very good. Roberts was the first independent, professional British artist to travel so extensively in the Near East. His tour in 1838-9 produced 272 sketches, a panorama of Cairo and three full sketchbooks, enough material to "serve me for the rest of my life" (Roberts, eastern journal, 28 Jan 1839). Over the next decade he made "a series of intire new drawings" for the large coloured lithographs executed by Louis Haghe for The Holy Land, Syria, Idumea, Arabia, Egypt & Nubia, which was originally published by subscription, 1842-9. No publication before this had presented so comprehensive a series of views of the monuments, landscape, and people of the Near East. "Robert's Holy Land was one of the most important and elaborate ventures of nineteenth-century publishing, and it was the apotheosis of the tinted lithograph" (Abbey, Travel). These lithographs were originally published in twenty parts, most parts containing six plates, the price for each part with coloured plates (the most expensive state) being 3 guineas.

Original tinted lithograph (c. 44 x 61 cm) with additional later hand-colouring. Full page. A very good example. Roberts was the first independent, professional British artist to travel so extensively in the Near East. His tour in 1838-9 produced 272 sketches, a panorama of Cairo and three full sketchbooks, enough material to "serve me for the rest of my life" (Roberts, eastern journal, 28 Jan 1839). Over the next decade he made "a series of intire new drawings" for the large coloured lithographs executed by Louis Haghe for The Holy Land, Syria, Idumea, Arabia, Egypt & Nubia, which was originally published by subscription, 1842-9. No publication before this had presented so comprehensive a series of views of the monuments, landscape, and people of the Near East. "Robert's Holy Land was one of the most important and elaborate ventures of nineteenth-century publishing, and it was the apotheosis of the tinted lithograph" (Abbey, Travel). Yesterday and Today: The Holy Land, 59.

Tinted lithograph by Louis Haghe, coloured by hand. From David Roberts' monumental works on the Middle East: 'The Holy Land' and 'Egypt & Nubia', considered the greatest lithographically illustrated works issued in the 19th century. This example has been removed from the card mount Roberts' masterpiece was issued in 41 parts over seven years in three states; tinted, tinted proof and in its finest form (as with the present image), coloured and mounted on card. It is beautifully lithographed by Louis Haghe, to whom Roberts paid tribute in glowing terms, `Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple and unlaboured, with a masterly vigour and boldness which none but a painter like him could have transferred to stone'. Abbey regarded the work as `one of the most important and elaborate ventures of nineteenth-century publishing, and.the apotheosis of the tinted lithograph'. David Roberts was born at Stockbridge near Edinburgh, and at the early age of 10 apprenticed to Gavin Buego, a house painter. He continued to work for Buego after his apprenticeship had been completed, carrying out work on imitation stone-work and paneling at Scone Palace and Abercairney Abbey. By 1818 Roberts had become assistant scene painter at the Pantheon theatre in Edinburgh, moving on to work in theatres in Glasgow and finally in late 1821 to Drury Lane theatre in London, where he worked with Clarkson Stanfield. Both artists exhibited at the Society of British Artists, Royal Academy and British Institution, and by 1830 Roberts was firmly established as a topographical artist and was able to give up his theatre work. In these early years he toured the continent and Scotland, and in 1832-33 visited Spain. In 1838 he made plans for his journey to the Near East, inspired by a love of artistic adventure; departing in August 1839 for Alexandria, he spent the remaining part of the year in Cairo, visiting the numerous tombs and sites. In February of the following year he set out to cross the desert for the Holy Land by way of Suez, Mount Sinai and Petra arriving in Gaza, and then on to Jerusalem, concluding his tour spending several months visiting the biblical sites of the Holy Land, and finally returning to England at the end of 1839. The drawings of his tour were submitted to F.G. Moon in 1840 who arranged to bring out a work illustrative of Scripture History, paying Roberts £ 3,000. for the copyright of the sketches, and for his labour in supervising Louis Haghe's lithography. Both the exhibition of his original watercolours and the subsequent published work were an immediate success and confirmed his reputation as an architectural and landscape artist of the highest order. Cf. Abbey Travel I, 272 & II, 385; cf. Blackmer 1432; cf. Gay 2216; cf. Ibrahim-Hilmy II,p.176; cf. Lipperheide Ma 27; cf. Röhrict 1984; cf. Tobler p. 229; cf. Tooley 402.

Condition: Very Good. Image Size : 240x315 (mm), 9.45x12.40 (Inches), Platemark Size : , Paper Size : 600x395 (mm), 23.62x15.55 (Inches), Hand Colored, Lithograph.

Condition: Excellent Condition. The Prints of David Roberts:Part 1 - The PrinterLouis Haghe (1806-1885) was one of the msot skillful exponents of the tinted lithograph who became a leading reproductive lithographer in England and on the Continent. Haghe's reputation as a lithographer was primarily based upon topographical views, of which Twyman notes "his most important work of this kind, the translation of Roberts' sketches of the Holy Land, represents the culmination of his art".Part 2 - The Publication of Roberts' Holy Land and EgyptRoberts first sketched in his journals "on the spot" the vaious subjects which, on returning to London, he transcribed into finished paintings and watercolors. These then formed the basis of the lithographs drawn and printed by Louis Haghe. It is interesting to note that in some instances Roberts' original drawings were twice or three times the size of the published print, which indicated the skill of Haghe and his assistants in transferring Roberts' designs onto lithographic stones.Part 3 - A Genesis of Roberts' PrintsDavid Roberts fulfilled a boyhood dream by visiting the East and recording what he saw there; by August 1838 he had resolved to "visit the Holy Land, and make drawings of the scenes of sacred history and the antiquities of Egypt". By this time Roberts had already established himself as a successful topographical artist and published his set of Spanish scenery as tinted lithographs, Picturesque Sketches in Spain, 1837. Eventually he would be elected to the prestigious Royal Academy on the strength of his topographical paintings.Part 4 - The PlatesRoberts' Holy Land and Egypt project has been called "the most ambitious work ever published in England with lithographic plates" (according to Micheal Twyman). Its production involved over 600 lithographic stones used over an eight to nine year period. It is generally agreed the lithographers Day & Haghe were the most efficient for such large scale work, while Louis Haghe himself was a master lithographer.The plate formats strongly influenced their presentation as prints: large full-page and small half-page vignettes representing what Roberts intended to be the difference between finished drawings and sketches. roberts was a good judge of accurate transposition of his watercolors and sketches into lithography.Today historians regard Roberts' Holy Land and Egypt as the last link between the established artist and topographical lithography. Since Roberts' prints were the most costly publishing venture in Britain at the time, undertaken by a publisher "on his own responsibility", Roberts sighed on its completion: " . thank God . that with being blessed with health and backed by my ever esteemed friend Louis Haghe I may also say the most satisfactory."References:Micheal Twyman, Lithography, 1800-1850, London, 1970Katherine Sim, David Roberts, London 1984J.R. Abbey, Travel in aquatint and lithograph 1770-1860, Nos. 272, 385James Ballantine, The Life of David Roberts, Edinburgh, 1866Helen Guiterman, David Roberts, London 1978Barbican Art Gallery (catalogue), David Roberts, London, 1986British Library (BS), Image Size : 340x500 (mm), 13.375x19.625 (Inches), Platemark Size : , Paper Size : 432x597 (mm), 17x23.5 (Inches), Hand Colored, Lithograph.

Original hand-coloured lithograph on fine paper mounted on card as issued from the subscription edition of Roberts' 'Egypt'. David Roberts' magnificent images of Egypt and the Holy Land rank amongst the finest topographical views of the nineteenth century. Roberts made a two-year journey to the Middle-East commencing in 1838, and whilst there executed numerous watercolours from which the finest were selected for the publication; The lithographs were executed by Louis Haghe. In order to help fund the project, Roberts produced a deluxe subscription edition, from which this lithograph was taken, which is notable for being the only edition to have original hand-colour, which would have been executed under the direction of the artist.

Hand-coloured lithograph by Louis Hague, on fine paper mounted on card as issued from the subscription edition of Roberts' "The Holy Land", published London 1849, good condition with clean, bright colours. David Roberts' magnificent images of Egypt and the Holy Land rank amongst the finest topographical views of the nineteenth century. Roberts made a two-year journey to the Middle-East commencing in 1838, and whilst there executed numerous watercolours from which the finest were selected for the publication; The lithographs were executed by Louis Haghe. In order to help fund the project, Roberts produced a deluxe subscription edition, from which this lithograph was taken, which is notable for being the only edition to have original hand-colour, which would have been executed under the direction of the artist.

unbound. Condition: very good. Louis Haghe (illustrator). View. Tinted lithograph with hand coloring, mounted on card, as issued. Image measures 13 3/8" x 19.5", sheet measures 16.5" x 23.75". Beautiful view overlooking the Jordan River from David Roberts' "Views in the Holy Land, Syria, Idumea, Arabia, Egypt and Nubia". Born in Scotland, Roberts (1796-1864) gained renown as a landscape artist from documenting his extensive travels through Spain and the Near and Middle East. His most well known work, "Views in the Holy Land.Egypt and Nubia" illustrates Roberts' trip in 1838-39. The subsequent publication was issued in 41 parts between 1842 and 1849. This magnificent set was a collaborative project between Roberts and the skilled printer Louis Haghe (1806-1885) and is recognized as one of the most important lithographic works of the 19th century. This particular print comes from the deluxe subscribers edition, which was issued without text and the illustrations mounted to evoke the original watercolors of his sketchbook. Minor aging and glue residue along edges. Slight stain to upper right corner of image.