Lot Essay
A Street in Cairo is the more elaborate of two compositions by the artist from the 1890's (cf. Ackerman, pp. 270-271, no. 402, illustrated). The detailed depiction of the moucharaby (from the arabic mashrabiyah) stands out in the upper right of the composition. This recalls Cairene Horse Dealer (fig.2) in the Haggin Museum, Stockton from two decades earlier, in which the position of the trader and his horse below a moucharaby reflects the camels and their driver in our work.
The delicate pierced carving of moucharabys diffused the hot sun of the Middle East and Africa and the grills and lattices replaced glass to provide a current of air. It also allowed those within to view the street life below without being seen, particularly important for the women of the segregated Muslim harem. The portrayal of an Almeh at the Window of her Moucharaby (c.1887)(see Ackerman, pp. 260, no. 352, illustrated)(fig. 2) contradicts its purpose as the woman stares at the viewer from the open window; the once respected Almeh (from the Arabic Analeim, learned woman) is now presented as a dancing girl come harlot.
The delicate pierced carving of moucharabys diffused the hot sun of the Middle East and Africa and the grills and lattices replaced glass to provide a current of air. It also allowed those within to view the street life below without being seen, particularly important for the women of the segregated Muslim harem. The portrayal of an Almeh at the Window of her Moucharaby (c.1887)(see Ackerman, pp. 260, no. 352, illustrated)(fig. 2) contradicts its purpose as the woman stares at the viewer from the open window; the once respected Almeh (from the Arabic Analeim, learned woman) is now presented as a dancing girl come harlot.