View of Jaffa from the South - David Roberts
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A detailed 1839 lithograph by David Roberts depicting the coastal city of Jaffa, featuring local figures in the foreground and the historic city skyline.
David Roberts, a Scottish painter known for his extensive travels through the Near East, produced this lithograph following his expedition to the Holy Land in 1839. The work captures the coastal city of Jaffa as it appeared during the mid-nineteenth century. Roberts was meticulous in his documentation, often sketching on-site before refining his compositions into finished works for publication.
The composition is divided into two distinct zones. In the foreground, a group of figures in traditional attire gathers on the sandy terrain, providing a sense of scale and human presence. Their clothing and posture are rendered with careful attention to detail, reflecting the artist's interest in the customs of the region. The middle ground transitions into the coastline, leading the eye toward the city itself.
In the background, the architecture of Jaffa rises against the horizon. The city is depicted with its characteristic domes, minarets, and fortified walls, which were prominent features of the urban silhouette at the time. The light is soft, typical of the Mediterranean atmosphere Roberts sought to convey in his series of prints. The muted colour palette, dominated by ochre, sand, and pale blue tones, maintains a sense of historical authenticity. This print is part of the larger collection titled The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia, which brought images of the Middle East to a wide European audience. The lithographic process, executed by Louis Haghe, preserves the delicate line work and tonal variations of Roberts' original watercolours, ensuring that the architectural forms and the textures of the landscape remain clear and precise.
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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
View of Jaffa from the South - 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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