Entrance to the Citadel, Jerusalem - David Roberts
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A detailed lithograph by David Roberts depicting the historic stone fortifications of the Jerusalem Citadel, featuring figures in the foreground.
David Roberts, a Scottish painter known for his meticulous documentation of Near Eastern architecture, produced this work following his extensive travels in 1839. This image captures the imposing stone fortifications of the Jerusalem Citadel, often referred to as the Tower of David. The composition focuses on the heavy masonry of the walls and the prominent minaret, which rises above the defensive structures. Roberts employs a precise technique to render the texture of the weathered stone, contrasting the solid, geometric forms of the architecture against the soft, atmospheric treatment of the sky.
In the foreground, small figures on camels and on foot provide a sense of scale, situating the viewer within the arid terrain surrounding the city. The artist uses a muted palette of ochre, beige, and warm grey to reflect the sun-drenched environment of the region. This print is part of the broader series titled The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia, which was published between 1842 and 1849. These lithographs were created by Louis Haghe based on the original sketches Roberts made on-site. The work demonstrates the artist's ability to balance topographical accuracy with a sense of historical atmosphere. By documenting these sites with such clarity, Roberts provided nineteenth-century European audiences with a visual record of locations that were then difficult to access. The print remains a significant example of the period's interest in the archaeology and culture of the Levant, rendered with the technical precision characteristic of the era's lithographic production.
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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
Entrance to the Citadel, Jerusalem - 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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