Bethlehem. Shrine of the Nativity - David Roberts
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Beschreibung
A detailed lithographic print by David Roberts depicting the interior of the Church of the Nativity in Bethlehem, captured during his travels in 1839.
This fine art print reproduces the work of David Roberts, a Scottish painter who travelled extensively through the Near East during the nineteenth century. The image depicts the interior of the Church of the Nativity in Bethlehem, a site of significant historical and religious interest. Roberts was known for his meticulous documentation of ancient structures, and this piece captures the architectural details of the shrine with precision.
The composition focuses on the stone columns and the elevated platform where figures gather. Roberts employs a light, controlled palette to render the textures of the masonry and the soft illumination filtering into the space. Suspended lamps and religious icons add layers of visual interest to the scene, while the inclusion of various figures provides a sense of scale and daily activity within the sacred environment. The artist balances the structural weight of the stone arches with the delicate rendering of the hanging lamps and the varied attire of the individuals present.
Originally produced as a lithograph for his multi-volume publication, The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia, this work reflects the nineteenth-century fascination with the topography and culture of the region. Roberts worked from sketches made on-site, later refining them into finished compositions that were widely circulated across Europe. His ability to translate the atmosphere of these locations into print form made his work popular among collectors and scholars alike. This print offers a view into the historical state of the site, preserved through the artist's keen observation and technical skill in lithographic reproduction.
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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
Bethlehem. Shrine of the Nativity - 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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