The Pool of Bethesda - David Roberts
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Beskrivning
A detailed 1839 lithograph by David Roberts depicting the historic Pool of Bethesda in Jerusalem, capturing the architectural scale and atmosphere of the site.
David Roberts, a Scottish painter known for his extensive travels through the Near East, produced this depiction of the Pool of Bethesda during his expedition to the Holy Land in 1839. The work captures the architectural character of Jerusalem, focusing on the massive stone walls and the surrounding urban structures that define the site. Roberts utilised his training as a scene painter to construct a sense of scale, balancing the imposing masonry of the ancient city with the human figures positioned in the foreground.
The composition employs a wide perspective, drawing the eye across the deep, shadowed basin of the pool toward the sun-drenched buildings beyond. The minaret and domes visible in the background provide context for the mid-nineteenth-century appearance of the city. Roberts was meticulous in his documentation of these sites, often sketching on location before refining his compositions into finished lithographs. His work remains a primary visual record of the region before the significant urban changes of the late nineteenth century.
In this print, the interplay of light and shadow is central to the visual experience. The warm, earthy tones of the stone contrast with the cooler, darker recesses of the pool, creating a sense of depth. The figures in the foreground, dressed in traditional attire, provide a scale reference that emphasises the height and breadth of the ancient walls. This piece reflects the Victorian fascination with biblical geography and the documentation of foreign cultures. It is a precise example of the topographical art that defined Roberts' career, offering a window into the historical topography of Jerusalem as it appeared to European travellers during the early Victorian era.
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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
The Pool of Bethesda - 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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