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David RobertsFront Elevation of The Great Temple of Aboo Simbel
About the Item
Front Elevation of The Great Temple of Aboo Simbel
First edition lithograph
Full plate: 169
Presented in a acid free mount
£2,600
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Roberts reached Abu Simbel on the 8 November 1838. He noted in his journal 'By daybreak I was in the celebrated temple... which has often been described. There are four colossal figures in a sitting posture carved on the face of the rock. This is said to be the oldest of the Egyptian temples. If so, in what a labyrinth does it involve the history of these stupendous edifices! The beauty of the workmanship and colossal dimensions are not surpassed even by those at Thebes'
The temple of Rameses II, rediscovered for the West by Jacob Christoph Burckhardt in March 1813, was at the time of Roberts's visit almost completely obscured by sand. It was excavated by Giovanni Belzoni in 1817 but had to be cleared on several occasions during the nineteenth century. In 1964, when the rising waters of Lake Nasser threatened to submerge the temple, the entire complex was moved to higher ground.
- Creator:David Roberts (1796-1864, British)
- Dimensions:Height: 12 in (30.48 cm)Width: 19 in (48.26 cm)
- More Editions & Sizes:19cmX12.5cmPrice: $3,590
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:London, GB
- Reference Number:1stDibs: LU52415427932
David Roberts
David Roberts was born outside of Edinburgh, Scotland. At age 10 he became a house painter’s apprentice. He continued painting houses and, eventually, theater scenes in Edinburgh and then in London. Roberts’ friend, J.M.W. Turner, recognized his artistic talent and encouraged him to become a full-time artist.
In 1839 Roberts traveled to Egypt and then in 1840, through the Holy Land, concluding in Jerusalem. Upon his return to England, F.G. Moon agreed to publish lithographs created by Louis Haghe from Roberts’ sketches and watercolors. This publication was highly acclaimed and very popular for its esthetic quality, its historical and topographical accuracy, and Roberts’ dramatic depiction of his scenes. Queen Victoria and Charles Dickens were among the subscribers who collected his works. Roberts’ and Haghe’s duotone lithographs, often colored, remain extremely sought after today and have been rising steadily in value.
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