SOLD
14,500.00USDto t**********l+ buyer's premium (3,625.00)
This item SOLD at 2021 Feb 23 @ 09:52UTC-8 : PST/AKDT
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Spectacular collection of 42 original folio lithographs drawn by artist David Roberts (1796-1864) during his visit to the Holy Land in 1838-1839. Roberts published his entire catalog of art from this trip in two forms: a book “The Holy Land, Syria, Ideuma, Arabia, Egypt and Nubia: From Drawings Made on the Spot”; London, F.G. Moon, 1840. Roberts also published these fine art works as folios on a subscription basis between 1842-1849 through Francis Graham Moon. Roberts made 247 separate works over this eight year period. It is known that Roberts had 600 subscribers, though only a very few purchased all. No catalog has ever been published listing all 247 different lithographs to our knowledge.
David Roberts Lithographs from his Holy Land Series, 1838-9, published by F. G. Moon, 1842-1848
Fred N. Holabird
Spectacular collection of 42 original folio lithographs drawn by artist David Roberts (1796-1864) during his visit to the Holy Land in 1838-1839. Roberts published his entire catalog of art from this trip in two forms: a book “The Holy Land, Syria, Ideuma, Arabia, Egypt and Nubia: From Drawings Made on the Spot”; London, F.G. Moon, 1840. Roberts also published these fine art works as folios on a subscription basis between 1842-1849 through Francis Graham Moon. Roberts made 247 separate works over this eight year period. It is known that Roberts had 600 subscribers, though only a very few purchased all. No catalog has ever been published listing all 247 different lithographs to our knowledge.
Roberts was a natural born painter and artist. As a very young child, Roberts began to sketch animals and figures on the family kitchen wall. Lacking funds to send the blossoming artist to school, the family found him an “apprenticeship” with a house painter (1808-1815). Soon, the imaginative Roberts began painting walls to resemble complex patterns involving rock (probably mostly marble) and wood. His keen imagination led him to a more challenging wall painting job, that of a scenery painter for a circus, which in turn led to more work with theatres. For fifteen years, Roberts created large canvas after canvas, recreating indoor and outdoor scenes for nearly every important theatre from London to Edinburgh.
Transition from Artist of Commercial Canvas to Art in Illustrations and Folio Form
Roberts’ imagination grew to a wonderfully wild level – imagining exotic foreign places. He understood that these views would be of keen interest in London. Through time, word of exceptional and different scenery became commonplace throughout London, but traveling to these places was not easy. Afterall, it was a time of no public transportation. The railroad had only just been invented, and the only way to travel was by ship, horse or coach. Few could afford such luxuries.
Roberts dreamed. He needed to get out and experiment with his talents in a far away place, wondering if the views he brought home would be as popular as his massive canvases. Certainly they would pique the imagination of Londoners.
Roberts was off to Spain in 1832. He spent about a year drawing sights of famous places. Those views were later personally “polished” and later published as Picturesque Sketches of Spain in 1837. During that period he met and was encouraged by world-famous artist JMW Turner to become a full time artist. Turner clearly influenced Roberts, easily visible in some of his folio works here, where the deep orange and red tones reflect Turner’s love for the sunset effect.
Meanwhile, Roberts continued steady work. He published 21 illustrations in 1835 for the “Landscape Annual for 1836” for which he was paid 420 pounds Sterling. The run was a successful venture, and ten more pieces were commissioned for 50 pounds sterling. The publisher was so impressed with Roberts’ work that he sold them separately in folio form for 40 pounds sterling each in 1836. The same model was followed for the Spain landscapes, which sold for 500 pounds Sterling. After the Spain success, he again made views for the “Landscape Annual,” completing them in June, 1837 for the “1838” volume. This sales mechanism became very important for Roberts within a decade.
Roberts Off To Egypt, Land of Great Treasures
Roberts had a childhood dream of visiting Egypt and the Holy Land. The monumental ruins of Egypt and the ancient country were in every boy’s minds, and much discussed in London, but there were few who had ever been there, and there were almost no visual representations of these magical places. The success of the “Landscape Annual” work led Roberts to the idea of going to the Holy Land to undertake a serious series of sketches for which he thought the western European market would surely devour.
In the summer of 1838, Roberts “made preparations to set out on his journey to the Holy Land – a journey which had been the dream of his life from boyhood,” noted author James Ballentine in his book “The Life of David H. Roberts Compiled From His Journals and Other Sources.” He arrived in Alexandria September 24, 1838, and so began the journey of his life.
The Egypt Artistic Explosion
Alexandria lay before us, its mosques and palm trees giving it a different character from anything I had seen; while immediately over it rose the remains of an ancient city, now a mass of rubbish, but which at one time contained 600,000 inhabitants. In the bay were numerous ships, many of them vessels of war…
wrote Roberts in a letter to his daughter upon his arrival that first day. One of his folio sketches of Alexandria in this collection mirrors his observation, and as well is very reminiscent of Turner’s influence on Roberts. Immediately after leaving Alexandria, Roberts went to Rosetta, never knowing what spectacular discovery lay in wait for modern linguists and scientists – The Rosetta Stone, the magical tablet with translations of two dead languages and one still in use, rendering interpretation of the old language of the Pharaohs possible.
On September 30th, Roberts got his first glance of the Pyramids.
What sensations rush through us at first sight of these stupendous monuments of antiquity!,
wrote Roberts in his Journal. Several views of the pyramids are present within the collection, inclusive of his most famous. Many of the early sketches of this trip are undated, such as the Pyramids and the sketches of Cairo, a practice he appears to have started after he realized that he’d be there indefinitely, drawing the scenes which would become the quintessential work of his lifetime.
After Cairo and the Pyramids, Roberts proceeded along the Nile taking trips to ruins near and far. By October 21, he had reached Memnonium, noting the enormity of the stones and figures. (see sketch in this collection, also among the early undated sketches.)
On the 23rd, he reached the famous city of Luxor, and then Karnac. Here, he began dating all his sketches, a practice he continued until the end.
We then proceeded to Karnac, which is still more magnificent (than Luxor). The circumference of the pillars is 33 feet 6 inches, so that a man besides looks like a pigmy … There are rows of sphinxes with rams’ heads ranged along both sides of the approaches,
wrote Roberts in his Journal that day.
During this early part of Roberts’ journeys, some of his sketches take on a very striking Turneresque feel. The resemblance to Turner is unmistakable, easily visible in “Approach to Fortress of Ibrim – Nubia”, “Hadjar Silsilis” and “Approach of the Seamen, Desert at Geezah”. The stirring orange and red tones lend an easy comparison to Turner’s fine work.
By late November, Roberts was approaching Edfou. After a day’s stop in Kom Ombo on Nov 21, he wrote in his Journal
I made two colored sketches of this glorious ruin, and at sunset made an oil painting of the whole scene.
Both those sketches are part of this collection.
Roberts had compiled 100 sketches by December 9. On December 11th, Roberts had been sketching some caves and other sites in Nubia. Two days and 80 miles later, he discovered his sketch book was gone. He sent his assistants back for the treasured book, which they found underground in a place Roberts did not remember leaving it. He noted in his Journal:
My drawings, I feel are possessed of great interest, independent of their merits as pictures. I am the first English artist who has been here… We shall see what impression they make in England.
Donned in a straw hat, smoking a Turkish pipe, with eight men at his command, Roberts continued his journey.
Upon Roberts’ return to England, his family and publisher rejoiced at his accomplishment. Roberts spent part of two years “polishing” his works before Francis Moon published the colossal book in London in 1840. Moon and others were so impressed with his work that they followed the “subscription” sales method for folio sized prints two years later. The works were tremendously well received, and today Roberts is considered by many the finest lithograph artist of all time.
Credits
While many sources were quoted above, inclusive of Ballinger, the author wishes to recognize the excellent work of Sharon E, Murray, “The Gaze of the Beholder: How National Identity in Nineteenth Century England was Reinforced by the Collection and Display of Ancient Egyptian Material Culture,” 2004.
Inventory of This Collection
The inventory of these magical and wonderful works follows. The condition of most is exemplary, yet a few exhibit some foxing, generally away from the images, and mostly in a corner. A couple have foxing spots in the field, easily removeable by the expert.
Title
date**
format
style*
Approach to Fortress of Ibrim - Nubia
nd
H
1
Portis of the Temple of Kalubshe
nd
H
3
Sidon. Looking toward lebanon
nd
H
2
Alexandria (Harbor)
nd, 9.26.38
H
1
Hadjar Silsilis
nd, 9.28.38
H
1
Pyramids at Geezah
nd, 10.3-4.38 or 1.17.39
H
1
Approach of the Seamen at Geezah
nd, 10.3-4.38
H
3
View of the Nile, Ferry to Gizeh
nd, 10.3.38
H
1
Tombs of the Kahlifo, Cairo
nd, 10.5.38
V
1
Fragments of the Great Colusus at the Memnonium, Thebes
nd, 10.21.38?
H
3
Citadel of Cairo, Residence of Mehemet Ale
nd, 10.26.38
H
1
General View of the Ruins of Luxor
1838
H
2
Interior of the Temple at Abu Simbel
11.09.38
H
2
General view of the island of Philae, Nubia
11.18.38
H
3
Kom Ombo
11.21.38
H
2
Ruins of Kom Ombo
11.21.38
H
1
Edfou
11.24.38
H
1
Karnac
11.27.38
V
3
Karnac
11.29.38
V
3
Medinet Abou - Thebes
12.5.38
H
1
Cairo, Looking West
nd, 1.x 39?
H
1
Bizzare of the Coppersmiths, Cairo
nd, 1.x.39
V
1
Grand Entrance to the Mosque of the Sultan Hassan
nd, 1.1.39
V
3
Cairo from the Gates of Bitizerib, Looking toward the desert of Lurz
nd, 1.x.39
H
1
Minerets and Grand Entrance of the Metwaleys at cairo
nd, 1.x.39
V
1
Mosque El Moorsian, Cairo
nd, 1.x.39
V
1
Convent of St Catherine, Mt Sinai
2.21.39
H
3
Ruins of the Eastern Portion of the Temple of Boalbec
3.5.39
H
2
Petra
3.8.39
H
2
The Ravine, Petra
3.10.39
V
2
Garza
3.21.39
H
1
Convent of St Saba
4.4.39
H
2
Bethlehem
4.6.39
H
2
Jeruselem
4.12.39
H
3
Yaffa, Ancient
4.16.39
H
2
Nabulous Ancient Shecham
4.17.39
H
3
Convent of the Terra-Santa, Nazareth
4.21.39
H
3
City of Tiberias, Sea of Galilee
4.22.39
H
3
Caiphas Looking Toward Mt. Carmel
4.24.39
H
1
Tsur Ancini Tyre
4.27.39
H
2
Tsur Ancient Tyre from Isthmus
4.27.39
H
2
Laida, Ancient Lidon
4.28.39
H
2
Date**
nd=no date given on print. The following date is an educated guess from Roberts' Journal
*style
1-light warm colors: red, orange, brown
2-nearly black and white
3-nearly full color
Auction Location:
3555 Airway Drive Suite 309, Reno, Nevada, 89511, United States
Previewing Details:
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Nevada State Sales Tax
Taxes:
| Tax | Rate | Desc. |
| NSST |
8.265% |
Nevada Sales Tax |
| CSST |
8% |
California Sales Tax |
Buyer's Premiums:
| From (Incl.) | To (Excl.) | Premium |
| 0.00 |
Infinite |
25% |
Additional Fees:
| Fee | Amount | Applicable Locations | Applied To |
| Handling |
5.00
|
Not Applicable
|
This fee applies to the total of the invoice
|
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From: to: Increment:
$1 $95 $5
$100 $190 $10
$200 $475 $25
$500 $1,450 $50
$1,500 $3,400 $100
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$10,000 $30,000 $500
$30,000 up $1000
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