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This lithograph depicts the historically significant ancient Temple of A’Mada at Hassaia, in Nubia in southern Egypt, usually called the Temple of Amada. It is one of the oldest and best-preserved pharaonic temples in Nubia. Building was begun in around 1450 BCE in the 18th Dynasty pharaohs Thutmose III and Amenhotep II. It was dedicated to the gods Amun-Ra and Ra-Horakhty. Unlike the colossal rock temples of Nubia, Amada is a freestanding stone temple, intimate in scale but exceptionally rich in inscriptions. Its walls are built of sandstone blocks and covered with finely carved reliefs and hieroglyphs, many of which remain remarkably sharp. A long inscription by Amenhotep II describes his military campaigns in Syria and Nubia, the transport of captives back to Egypt, and the pharoah's physical prowess and divine favor. This stone inscription is a primary historical source, not just religious decoration. The site survived due to its relatively small scale and later conservation efforts, including relocation during the 1960s due to the creation of Lake Nasser behind the Aswan High Dam.
Roberts' composition includes the temple façade, dome and ruins which stand amid the desert landscape, with the Nile in the foreground. A sail boat is seen on the Nile in the foreground with a man steering at the rudder, all which ties the scene to the life and geography of the Nile River Valley.
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 lower edge of the sheet, a small spot in the left corner and a faint vertical crease in the left margin. 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.
