David Roberts oil, “The Round Tower of Oberwesel-on-the-Rhine” signed & dated 1829, Fresh Discovery.
$8,600.00 AUD
David Roberts R.A., R.B.A. (1796-1864)
The Round Tower of Oberwesel-on-the-Rhine
Oil on Board, in original frame
SIgned & dated 1829, lower right.
Old Catalogue entry pasted to the back:
“DAVID ROBERTS, R.A.
14. Oil Painting” “The Round Tower of Oberwesel-on-the-Rhine” (1829)
A Scottish Painter, born in Edinburgh , 1796, who attained great eminence as an architectural painter. This example represents him in his middle period, which is considered to he his best ….. (He is) … represented by many pictures in the National Gallery London, South Kensington, Melbourne, and Edinburgh National Galleries. Died in 1864″
Also old partial label in ink (Robert’s own hand?) reading:
“Round Tower of Oberwesel on
the Rhine. between …obleuty and… ….(?)
by D R 1829”
frame 290x340mm; work 139x201mm
Condition: panel has top left corner missing (hidden by original frame), surface with some old varnish, displays well; original frame with some signs of age & small repairs.
DAVID ROBERTS
David Roberts, R.A. (1796–1864), was one of the pivotal figures in 19th-century British art, renowned for his architectural and topographical paintings. Born in Edinburgh, he began his career as a theatrical scene painter before transitioning to fine art. Roberts is best known for his detailed and romanticized depictions of Middle Eastern, North African, and European landmarks, which he captured during extensive travels. His works, including the celebrated The Holy Land, Syria, Idumea, Arabia, Egypt & Nubia (1842–1849), were widely disseminated through lithographs by Louis Haghe, bringing exotic locations to a Victorian audience and influencing the era’s fascination with Orientalism.
Roberts’ mastery of perspective, light, and atmosphere set a new standard in architectural painting, bridging the gap between Romanticism and realism. His work contributed significantly to British art by expanding its scope to include foreign landscapes, enriching public appreciation of global architecture and culture.
There is no record of this work in the literature, unless we go back to the period: there we find evidence that this is one of David Robert’s earliest commercial successes.
This oil has details that prove it is the origin of an engraving of the same scene by Roberts, published in “The Literary Souvenir” – engraved in 1831, published 1832; while there is a watercolour slightly earlier, several details appear only in this oil and in the engraving. In an article titled “The Annuals of Former Years” published in “The Bookseller” December 24, 1858, the high prices paid by “The Literary Souvenir” for scenes are referred to, including “… one hundred and fifty guineas… was paid for .. the “Oberwesel” of David Roberts, by Goodall, executed for this work.” This was an impressive amount of money!—excerpt from an in-depth study of this work, to be published on moorabool.com – request a copy via email.
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