Jerusalem, The Damascus Gate - David Roberts
Giclée de archivo
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Hecho bajo pedido
Descripción
A detailed architectural study of the Damascus Gate in Jerusalem, captured by David Roberts during his 1839 travels through the Near East.
David Roberts, a Scottish painter, travelled extensively through the Near East between 1838 and 1839. This work captures the Damascus Gate in Jerusalem, a site of significant historical and architectural interest. Roberts was known for his precise documentation of ancient structures, and this piece reflects his ability to combine topographical accuracy with atmospheric detail.
The composition focuses on the imposing stone facade of the gate, which dominates the upper portion of the frame. The artist employs a warm, earthy palette to convey the arid environment of the region. Below the structure, a small group of figures and camels provides a sense of scale, suggesting the daily activity surrounding this entry point to the city. The use of light and shadow across the masonry demonstrates the artist's technical skill in rendering texture and form.
This image was produced as part of a series of lithographs based on his sketches from the journey. These works were widely circulated in the nineteenth century, shaping European perceptions of the Middle East. The print captures the gate as it appeared during the Ottoman period, before later urban developments altered the surrounding area. The work remains a valuable record of the city's appearance during the mid-nineteenth century, documenting both the architectural features and the human presence in the vicinity of the walls.
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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
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- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
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- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
Jerusalem, The Damascus Gate - 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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