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This lithograph depicts the ruined remains of the Temple of Medamout near ancient Thebes (modern Luxor). Medamout was one of the main cult centers of Montu, the aggressive war god associated with Thebes before Amun rose to dominance. Montu symbolized military power, royal strength, and victory. Pharaohs invoked him especially during periods of conquest and expansion. Like Apis at Memphis, Medamout had a living sacred bull that embodied Montu on earth. The bull was housed, fed, and ritually honored inside the temple complex. When it died, it was buried ceremonially, and a new bull was selected, associated with a rare and powerful religious role.
In Roberts’s view you see architectural fragments, including walls, columns, bases, rock and stone structures that capture the mood of the monument caught between its ancient glory and the 19th-century landscape. Egyptian men and two women are seen around the right side of the structure, birds over and perched on the structure, along with some foliage.
This duotone lithograph is printed in the upper half of a wove paper sheet with the text description in the lower portion and on the verso. The print is signed in plate in the lower right and titled in the lower left. The sheet has wide margins. The portion of the sheet which includes the image and its margin measures 14" high and 16.75" wide. Overall the sheet measures 23.88" high and 16.75" wide. There is minimal discoloration along the upper, right and lower edges of the sheet on the left, a tiny spot in the lower portion of the right margin, a small area of loss in the lower left edge and a faint vertical crease in the left margin, stabilized on the verso. All of this would not be visible behind a mat at framing. The image and text portions of the print are in excellent condition.
The drawings and watercolors from Roberts' tour of the Holy Land and Egypt were collated together into folios and released over a seven year period by the publisher F.G. Moon from 20 Threadneedle Street London. This lithograph is from the Royal Subscription Edition (1842-1849) with only 500 copies produced per depiction. Louis Haghe (the Belgian engraver and friend of Roberts) worked on all of the lithographs for this series.
David Roberts (1796-1864) 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. His 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 Robert’s sketches and watercolors. This publication was highly acclaimed and very popular for its esthetic quality, its historical and topographical accuracy, and Robert’s 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.
