Gate of Victory [Bab an-Nasr], and Mosque of El Hakim. (1846-1849)

Technique: Giclée quality print
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David Roberts' enchanting lithograph, titled "Gate of Victory [Bab an-Nasr], and Mosque of El Hakim" from the years 1846-1849, captures a historical and architectural glimpse of Old Cairo. The artwork features the prominent Bab an-Nasr, or Gate of Victory, which is one of the famed gates in the walls of the Fatimid city of Cairo, Egypt. Its robust, towering structure, adorned with intricate Arabic calligraphy, casts an imposing shadow over the figures nearby, emphasizing its historical and defensive significance.To the right stands the Mosque of El Hakim, known for its distinctive minaret with a pencil-like shape, which contrasts intriguingly with Cairo’s skyline punctuated by palm trees and distant architectural silhouettes. This mosque, named after the eccentric Fatimid caliph Al-Hakim bi-Amr Allah, holds significant historical and cultural reverence in Islamic history.Roberts' work is remarkable not just for its architectural accuracy but also for the life it breathes into the scene through the depiction of everyday people. Local Egyptians, depicted in vibrant attire, go about their daily routines or converse in groups, adding a layer of social narrative to the historical and cultural depiction. Meanwhile, a lone camel rider in traditional garb situated in the foreground against this monumental backdrop underscores the blend of daily life with the weight of historical legacy.This lithograph not only showcases Roberts’ meticulous attention to detail and his commitment to portraying his subjects with authenticity but also invites viewers to step back in time and experience the historical grandeur of 19th-century Cairo.

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David Roberts (24 October 1796 – 25 November 1864) was a Scottish painter. He is especially known for The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia, a prolific series of detailed lithograph prints of Egypt and the Near East that he produced from sketches he made during long tours of the region (1838–1840). These and his large oil paintings of similar subjects made him a prominent Orientalist painter. He was elected as a Royal Academician in 1841.