A scarce c. 1842 deluxe edition of David Roberts' view of the 'monastery' or temple at ed-Deir, one of the most recognizable ruins in Petra, Jordan.
A Closer Look
This view depicts ed-Deir (also as ad-Deir and el-Deir), 'the Monastery,' one of the largest and most iconic monuments in Petra. A group of local men, perhaps Roberts' guides, sit and rest in the foreground. In the background towards right are additional ruins, likely a portion of the Royal Tombs situated to the southeast of ed-Deir.
Most likely built at the height of the Nabataean Kingdom's power in the 1st century CE, ed-Deir probably served a religious function and may have later been used as a church in the Byzantine period, though a great deal of uncertainty surrounds the structure. Its architectural style is characteristically Nabataean, combining Mesopotamian, Phoenician, and Hellenistic influences and modifying them to suit local tastes and functions. The Corinthian-style columns are purely decorative, as the structure, carved directly into the sandstone, would not require columns for support.Petra
An UNESCO World Heritage site, Petra in Jordan is immediately recognizable due to its distinctive ancient architecture that was carved into cliff faces. The city developed in Antiquity when it was the capital of the Nabataean Kingdom, ideally situated along incense trade routes. Aside from their trading acumen, the Nabataeans were highly skillful in harnessing, storing, and channeling water in the arid environment to ensure agricultural production. Though the kingdom declined with the establishment of maritime trade routes, it left a legacy as one of the most unique and impressive built environments in human history. Europeans were unaware of the existence of Petra's ruins until 1812, when they were found by the Swiss explorer Johann Ludwig Burckhardt. Roberts was only the third European (after Léon de Laborde and Louis-Maurice-Adolphe Linant de Bellefonds) to sketch the ruins, making this an especially early illustration.Roberts' Travels in the Middle East
Roberts is best known for his work depicting the landscapes and architecture of the Middle East. His travels to Egypt and the Holy Land in the late 1830s resulted in a series of paintings and lithographs that gained widespread acclaim. He captured iconic sites such as the temples of Abu Simbel, the pyramids of Giza, and the ruins of Petra. The series of lithographs, The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia, were popular and influential, helping cement Europeans' imagination of the Middle East.Publication History and Census
This view was drawn by David Roberts in 1839 and lithographed by Louis Haghe in 1842, part of the series The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia, published between 1842 and 1849. This is an example of the scarce 'deluxe' or subscribers' edition of this print, which were trimmed and mounted on heavy stock with the marginal titles removed, presumably for framing. Examples from this edition were considerably more expensive than the standard edition when published and are, therefore, much scarcer. Due to the existence of standard and deluxe editions, and the intermingling of digital and physical examples in catalog listings, establishing a census for this work is difficult. The individual view is cataloged with the Library of Congress and the Wellcome Collection while the entire series is more widely distributed in institutional holdings, though the deluxe edition far less so.
CartographerS
David Roberts (October 24, 1796 - November 25, 1864) was a Scottish painter known for his detailed and romanticized depictions of landscapes and architectural scenes. Born in Edinburgh, Roberts apprenticed under a house painter and interior designer but began to study art on his own in his free time. He began painting stage scenes for traveling circuses and continued painting houses, trying his hand at landscapes in the evenings. In 1819, Roberts became the stage painter at the Theatre Royal in Edinburgh. In 1822, he moved to London to continue his work in stage painting, but began producing more 'serious' art, and gained some recognition as a gifted painter. In 1833, he travelled to Spain, a trip that resulted in a series of lithographs that were well received. But Roberts became most famous for his series of lithographs titled The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia, published between 1842 and 1849, based on sketches made during his travels in those lands between 1838 and 1840. The prints made Roberts one of the foremost painters in the 'Orientalist school' in Britain. Following this crowning achievement of his career, Roberts produced a series of views of Italy in the 1850s, and of scenes of London in the last years of his life. More by this mapmaker...
Day and Haghe (1830 - 1852) was a British lithograph firm founded in 1830 by Louis Haghe (March 17, 1806 - March 9, 1885) and William Day (1797 - 1845). Louis Haghe was born in Tournai, Belgium, the son and grandson of prominent Belgian architects. Haghe had a fondness for watercolor painting and turned his attention to the nascent art of lithography. He set up his first lithographic press in Tournai, but did not truly prosper until he moved to London in 1823. There, in 1830, he partnered with William Day to found 'Day and Haghe.' Day and Haghe engraved and printed lithographs detailing hunting scenes, architecture, topographical views, genre depictions, city views, and more. They pioneered the new techniques for chromolithography as well as issuing hand-tinted lithographs. In 1837, Day and Haghe became the only lithographers to receive the prestigious Royal Warrant wherein they were appointed 'Lithographers to the Queen'. The firm is most famous for producing the 250 images for David Roberts' The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia, 1842 - 1849. Although Haghe remained with the company, as early as the 1840, he left most of the management to Day. When William Day died in 1845, the firm's management fell to his son, William Day Jr. Haghe formally left the firm to persue art in 1852, after which the imprint changed to 'Day and Son.' Day and Son went into liquidation in 1867 and was acquired by Vincent Brooks (1815 - 1885). Brooks owned the firm outright, but kept the prestigious Day name, publishing under the imprint of 'Vincent Brooks, Day and Son' until the firm went defunct in 1940. Learn More...
Very good. Printed on heavy stock. Slightly uneven toning in margins.
Library of Congress, NC1115.R56 1842 (Case Z) [PandP]. Wellcome Collection 35428i.