Uniwersytet Warszawski

WвdгiКł OriОntКlistвМгnв

Melaike Hüseyin Mierzejewski

Numer albumu 316721

IMAGES OF TURKISH WOMEN

IN THE EUROPEAN ORIENTALIST PAINTING
19th TO 20th CENTURIES

Praca magisterska
na kierunku orientalistyka w zakresie turkologii

Praca wykonana pod kierunkiem

prof. dr hab. Tadeusza Majdy
ГКkłКd Turkologii i Ludóа Aгji rodkoаОj

WКrsгКаК, аrгОsiОń 2012

1
 Oświadczenie kierującego pracą

O аiКdМгКm, О niniОjsгК prКМК гostКłК przygotowana pod moim kiОrunkiОm i stаiОrdгКm, О

spОłniК onК аКrunki do prгОdstКаiОniК jОj а postępoаКniu o nКdКniО tвtułu гКаodoаОgo.

Data Podpis kiОrująМОgo prКМą

Oświadczenie autora pracy

аiКdom odpoаiОdгiКlno Мi prКаnОj o аiКdМгКm, О niniОjsгК prКМК dвplomoаК гostКłК

nКpisКnК prгОгО mniО sКmodгiОlniО i niО гКаiОrК trО Мi uгвskКnвМh а sposóЛ niОгgodnв г
oЛoаiąгująМвmi prгОpisКmi.

O аiКdМгКm róаniО , О prгОdstКаionК prКМК niО ЛвłК аМгО niОj prгОdmiotОm proМОdur
гаiąгКnвМh г uгвskКniОm tвtułu гКаodoаОgo а ав sгОj uМгОlni.

O аiКdМгКm ponКdto, О niniejsza praca jest identyczna z гКłąМгoną аОrsją ОlОktroniМгną.

Data Podpis autora pracy

2
 Abstract

The thesis demonstrates various images of Turkish women depicted in the European
Orientalist painting. Formed on the grounds of popularity of the East, this dissertation
attempts to present significant stages of the process of Orientalism formation in art.
Furthermore, the thesis defines the term, historical development of this trend in art in Europe
and Turkey, concentrates on particularities of certain ways of depiction of woman images by
chosen European artists. Disputable subject as it is, the image of an Eastern woman, and the
Turkish woman of today, bears all evident traces of those controversial stereotypes that were
formed during the rise of Orientalism in 19th century. The study attempts to provide the details
related to the aspects of woman portraiture specified with some examples. In this context, the
way Turkish woman was perceived and pictured is interpreted and treated with direct
explicit.

Słowa kluczowe:
Orientalism, painting, Turkish, woman, image, portraiture,
stereotype, commercial, harem, slavery

Dziedzina pracy (kody wg programu Socrates-Erasmus)

08900 inne kierunki humanistyczne

Tytuł pracy w języku polskim

Wвobra enia kobiet tureckich

w europejskim malarstwie orientalistycznym – XIX – XX wiek

3
 CONTENTS

I. INTRODUCTION................................................................................................................5

II. Orientalism in painting.

2.1. ThО MОКning oП thО TОrm “OriОntКlism”.......................................................................7
2.2. The Circumstances for the Rise of the Orientalist Trend in Art...................................9
2.3. A Brief History of The Orientalist Trend....................................................................11
2.4. Contributions of European Painters to the Development
of Turkish Painting in 19th century..............................................................................22
2.5. OsmКn HКmdi BОв’s RolО in thО DОvОlopmОnt oП thО OriОntКlist PКinting
in Turkey (1842 – 1910)...............................................................................................28

III. European Orientalists who painted woman portraitures.

3.1. French Orientalists.......................................................................................................30

3.2. British Orientalists.......................................................................................................41
3.3. Italian Orientalists........................................................................................................47
3.4. Polish Orientalists........................................................................................................54

IV. Images of Turkish Women in European Paintings.

4.1. Stereotypical Views of Turkish Women in Europe.....................................................64

4.2. Commercial Factors in the Development of Orientalism............................................66
4.3.Types of Turkish Women Presented by European Orientalist Painters.......................68
4.3.1. Women at the Ottoman Court. Harem. Examples..............................................69
4.3.2. Slavery and the Ottoman Female Slaves. Examples...........................................81
4.3.3. Turkish Women Images in Everyday Life. Examples........................................86
4.3.4. Women in Turkish Bath - Hamam. Examples....................................................96

V. CONCLUSION................................................................................................................104

BIBLIOGRAPHY.................................................................................................................106
LIST OF REPRODUCTIONS............................................................................................108

4
 I. INTRODUCTION

This dissertation attempts to present the images of Turkish women that were depicted
by the European Orientalist painters in the 19th and 20th centuries, when Orientalism was
intensively spreading in Europe and North Africa.
Remarkably, women portraits hold a significant position in Oriental imagery
constituting a popular subject, as Orient of those times was believed to have been a
considerable source of artistic creativity. Thus, various examples which depict women in
Eastern surroundings bring forward a great number of images of Turkish female portraiture.
The common feature of those images impresses with its highly aesthetical value.
The structure of the study concerns an attempt to bring forward the description of the
period and circumstances of the Orientalism rise in Art. In this context, the first chapter of this
thesis provides a historical outline of the Orientalism development in painting, bearing in
mind it is the historical progress that would suggest the reasons behind which the here
described stream in art completed its stages of formation.
Furthermore, the thesis deals with the development of Turkish painting presenting an
information on the contribution of European painters to the development of Turkish painting
in 19th century. In the light of the above, the significance and reasons of the eagerness for all
kind support that was given by Turkish Emperors and palace circles so as to create a new
dimension of Turkish painting have been studied accordingly.
In order to examine such an extensive subject systematically, the artists needed to be
categorized, so they have been selected into groups and presented as French, British, Italian
and Polish Orientalists accordingly in the second chapter of the thesis. In consequence, the
characteristic features of art of those Oriental artists and their individual styles have been
evaluated.
The third chapter discusses the grounds on which the images of Turkish women have
been perceived by the Europeans. Furthermore, the author of the thesis has attempted to
evaluate the stereotypical views and commercial factors so fundamental in the process of the
popularisation of the Turkish women portraiture and imagery in the past two centuries.
Subsequently, the frequently pictured profiles of Turkish women painted by the European
Orientalist artists have been generated, grouped and evaluated accordingly. As a result, the
attempt to systematize the issue of the way in which the Eastern women, and Turkish in

5
particular, were depicted, brought forward four main headings presented in the third chapter
of the dissertation. Those topics refer to women in Harem, women shown as slaves and in
everyday life activities, among which the matter of the Turkish Hamam appeared to be so
voluminous that it required a separated chapter. In this context, to make the study more
comprehensible, the most original examples performed by the best and least known European
Orientalists have been represented and analysed in order to specify the images of Turkish
women which emerged in 19th to 20th century European art.
The research prepared prior and during the process of the thesis development, was
based on various studies conducted by contemporary Turkish, Polish, British, American,
French and Russian scholars and art historians. Main sources of the thesis among others were:
The Orient in Western Art Лв żérКrd-Georges LemairnО, “Constantinople and The
Orientalists” by Semra Germaner and Zeynep İnКnkur, „Orientalizm w malarstwie, rysunku i
РraПice а Polsce а XIX i 1. połoаie XX аieku” and “Osmanlı Topraklarında İtalвan
Orвantalistler, żli Orientalisti İtaliani nel Territorio Ottomano” catalogs. Additionally, so as
to evaluate the subject regarding commercial and social factors, the sources featuring
theoretical information on Orientalism as a definition of the East and as a stream in art were
investigated and analysed. In this context main sources were: Orientalism, History, Theory
and the Arts by John M. MacKenzie, Rethinking Orientalism. Women, Travel and The
Ottoman Harem by Reina Lewis and Osmanlı’da Kadın Saltanatı Лв YıldırКв KКrК.
As far as the sources of the theme are concerned, it could be suggested that after the
specific time is devoted to the study of the various sources on the subject, the information
starts to repeat and forms mainly based on various interpretations of the best known
travelogues of those who visited the East and recorded their impressions in 18th and 19th
centuries.
Moreover, this dissertation includes a number of reproductions of paintings, drawings
and etchings created by European Orientalists. The list of related reproductions is enclosed at
the end of the thesis.

6
 V. CONCLUSION

The research performed upon this dissertation reveals that European Orientalists left
behind an extensive heritage comprising paintings in oils, watercolours, copperplates and
drawings, creating a rich source for studying the trend of Orientalism in art. During the
process of the thesis development, it became obvious that among the works of the Orientalist
artists, the depictions of Eastern women were one of the most popular, most eagerly
purchased and performed upon the orders of a great number of customers.
As the Ottoman Empire was an open gate to the Eastern splendour, the Turkish
women became the subject of lustrous romantic visions. Various interpretations of the scope
emerged from time to time out of a line of reasons, the main of which indicate a lack of
knowledge. The sources studied during the process of gathering materials, state clearly that
curiosity and fascination made the subject flourished and along with well organised
prosperous market, the image of an Eastern woman lasted for almost a century and a half,
creating among others a mysterious perception of Turkish women. Explicitly, the images of
Turkish women due to the common popularity of the idea of the Ottoman harem became most
intriguing among all pieces of art which came out of Orientalist women portraiture.
Nevertheless, the performed study also indicate that some of European interpretations,
despite bringing forward most beautiful pictures of Oriental imagery as well as being
performed by outstandingly talented, educated and sedulous artists, contributed to the
formation of views on Turkish women, result at times in emergence of misconceptions, some
of which have been believed into those days.
Remarkable as it may seem, the research estimation reveals that such misconceptions
sporadically even resulted in an eagerness of European minds to liberate an Eastern woman
from the so-called captivities of her surroundings, without an idea that expelled from her own
social medium, she may not be able to fully harmonise with a new milieu.
Evaluation of social aspects, stereotypes and commercial factors which contributed to
the span of particularly Turkish harem portraiture indicates respectively European
interpretation of specific lure of the East performed by European Orientalist artists of 19th to
20th centuries, which remarkably reflects concerns and nostalgia of their contemporary
societies.

104
 It appears that French and Italian Orientalists contributed mainly in the span of mostly
imaginative compositions regarding Turkish women. Interestingly, while British and German
prove to be rather scholarly presenters of the subject, these are Polish Orientalists who expose
one of the most productive and diverse artistic scope, with considerable number of woman
imagery in various identities, from harem odalisques to the most authentic depictions of
women covered in yashmak.
The interpretations of the given reproductions to each type of women images
generated in the fourth chapter of the thesis supported the attempt to exemplify various
existing concepts of Turkish women imagery more precisely. Such examples show how
Orientalist painters, especially those who concentrated on the subject of paintings on harem,
slavery and Turkish bath, remained under influence of their own idea of an exotic woman,
aesthetic and social values.
As it became obvious from the performed research, the subsistence of commercial
factors, stereotypes, curiosity and longing for the exotism, generated best known as well as
diverse images of Turkish women, which I attempted to bring to light and exemplify in this
dissertation accordingly.

105
BIBLIOGRAPHY

AltınКв AhmОt RОПik, Kadınlar Saltanatı, Yurt YКвınlКrı, İstКnЛul 2001

А ., M е е, . 2. , - 1939

ArmağКn MustКПК, Osmanlı İnsanlığın Son Adası, TimКş YКвınlКrı, İstКnЛul 2010

Ashenburg Katherine, Historia brudu, Bellona, Warszawa 2009

BКłМгОаski MКriКn, żrв i zabaав Turkóа Osmańskich, WA Dialog, Warszawa 2000

Boppe Auguste, XVIII Yüzвıl Boğaziçi Ressamları, PОrК Turiгm vО TiМКrОt A. Ş., İstКnЛul

1998

żОrmКnОr SОmrК, İnКnkur ГОвnОp Orientalism and Turkey, TCSŻ, İstКnЛul 1989

żОrmКnОr SОmrК, İnКnkur ГОвnОp, Constantinople and The Orientalists, İstКnЛul 2002

Comparative Studies of South Asia, Africa and the Middle East, Vol. 24, No. 2, Duke
University Press, 2004

Davis Fanny, The Ottoman Lady. A Social History from 1718 to 1918, Greenwood Press, New
York 1986

Gniedycz Piotr, Arcвdzieła malarstаa rosyjskiego, Arkady, Warszawa 2008

Harvey Annie Jane, Turkish Harems and Circassian Homes, Hurst and Blackett, London
1871

İnКlМık HКlil, Osmanlılar, TimКş YКвınlКrı, İstКnЛul 2010

İnКnkur ГОвnОp, Mary Adelaide Walker, in The Poetics and Politics of Place..., pp. 199-202.

BКrrв Bogin Кnd MКriК Inшs VКrОlК-Silva in Leg Length, Body Proportion, and Health. A
Review with a Note on Beauty. International Journal of Environmental Research and Public
Health. ISSN 1660-4601 www.mdpi.com/journal/ijerph p. 1066.

Kabbani Rana, źurope’s Mвths oП Orient, Macmillan, London 1986

KКrК YıdırКв, Osmanlı’da Kadın Saltanatı, YОditОpО, İstКnЛul 2010

Koçu RОşКd EkrОm, Osmanlı Padişahları, DoğКn KitКp, İstКnЛul 2004

Ю. ., Ве ец , ь , 1970

LОmКirО żérКrd-Georges, The Orient in Western Art, h. f. ullmann, 2008

106
Lewis Reina, Rethinking Orientalism. Women, Travel and The Ottoman Harem, I.B.Tauris,
London 2004

MacKenzie John M., Orientalism, History, Theory and the Arts, Manchester University Press,
Manchester 1995

Majda Tadeusz, źuropean Artistic Tradition and Turkish Taste: Stanisłaа Chleboаski, the
Court Painter oП Sultan Abdülaziz, in Sanatta źtkileşim / Interactions in Art. Proceedings. Ed.
ГОвnОp YКsК YКmКn, İşЛКnk, AnkКrК 1998, pp. 176-185.

Majda Tadeusz, Orientalizm w Polsce, in Orientalizm w malarstwie... pp.11-21.

Malcolm Elizabeth, John Frederick Lewis, in

http://www.angelfire.com/ny4/eamward/lewis.htm

Murphy Dervla, Embassy to Constantinople. The travels of Lady Mary Wortley Montagu,
New Amsterdam Books, New York 1988

Orientalizm w malarstwie, rвsunku i РraПice а Polsce а XIX i 1. połoаie XX аieku. Katalog

wystawy, Muzeum Narodowe w Warszawi, Warszawa 2008

Osmanlı Topraklarında İtalвan Orвantalistler/ żli Orientalisti İtaliani nel Territorio

Ottomano. SОrgi KКtКloğu, RossКnК BossКgliК, ŞulО Yum, нmОr ŻКruk ŞОriПoğlu, żülsОn
SОvinç KКвК, Erol MКkгumО, TBMM Milli Saraylar Daire BКşkКnlığı vО İstКnЛul İtКlвКn
Kültür MОrkОгi, MikКdo MКtЛККsı, İstanbul 2007

Ottoman Painting, Serpil BКğМı, Żiliг кКğmКn, żünsОl RОndК, ГОrОn TКnındı,
Ministry of Culture and Turism of the Republic of Turkey, Ankara 2010

Peltres Christine, Les Orientalistes, Hazan, Paris 2008

А. С., ы е .С p. ., . 8. .Х , 1970

Roberts Mary, Intimate Outsiders, Duke University Press, Durham and London 2007

Said Edward, Orientalism, Penguin Books, London 2003

The Poetics and Politics of Place. Ottoman Istanbul and British Orientalism. PMP, . Edited
by Zeynep İnКnkur, RОinК LОаis Кnd MКrв RoЛОrts, Istanbul 2011

YОğОnoğlu MОвdК, Colonial Fantasies, Cambridge University Press, Cambridge 1998

YılmКгkКвК OrhКn, Türk Hamamı, кitlОmЛik, İstКnЛul 2002

107
 LIST OF REPRODUCTIONS

1. Veronese (Paolo Caliari), The Wedding at Cana, 1562-1563. Detail. (The depiction
prОsОnts Turkish SultКn SülОвmКn thО LКаgivОr). MuséО du LouvrО, PКris.

2. Rembrandt van Rijn (attributed to), Self Portrait with a Dog, 1631. Oil on wood, 63 x
56 cm. Private Collection.

3. School of van Mour, Reception of an European Ambassador: Repast Offered by

Grand Vizier in the Public Council Hall, 1757. Oil on canvas. 104 x 128 cm.
CollОМtion oП PКlКггio VОnОгiК, İstКnЛul.

4. Ludwig Deutsch, The Scribe, 1911. Oil on panel. 50.8 x 36.8 cm. Private Collection.

5. Karl Bryullov, е . . А. В (Portrait of Princess Z. A.

Volkonskaya), 1842. Oil on canvas. The Russian Museum, St. Petersburg.

6. Rupen Manas, Portrait oП Kabuli Mehmet Paşa. 1850. Watercolor on ivory.

7. Rupen Manas, The portrait oП Sultan Abdülmecit, 1857. Drottninholm Palace,

Sweeden. Photograph courtesy of The National Museum of Fine Arts, Stokholm.

8. ŞОkОr AhmОt PКşК, Still life. Watermelon. Oil on canvas.

9. AbdülmОМit EПОndi, żoethe in The İmperial Harem. Oil on canvas. 132 x 173 cm.
AnkКrК MusОum oП PКintıng Кnd SМulpturО, AnkКrК.

10. Osman Hamdi Bey, Kuran Okuвan Kız (A żirl ReadinР the Koran). Oil on canvas.
Private Collection.

11. Jean Auguste Dominique Ingres, La Grande Odalisque. 1814. 91 б 162 Мm. MuséО du
Louvre, Paris.

12. EugчnО DОlКМroiб, Jewish Wedding in Morocco.1841. Oil on canvas. 105 x 140.5 cm.
MuséО du LouvrО, PКris.

13. Louis-Emile Pinel de Grandchamp, Le Miroir. Undated. Oil on canvas.. 82 x 100.5

cm. ChristiОs’s ImКgОs Ltd. , London 2000.

14. Jean-Léon żérômО, The Carpet Merchant in Cairo, 1887. Oil on canvas. 64.7 x 83.5
cm. The Minneapolis Institute of Arts, Minnesota.

15. Jean-Jules-Antoine Lecomte du Nouy, Christian Women at the Tomb of the Virgin,
1877. Oil on canvas. 82.5 x 218 cm. ChristiОs’s ImКgОs Ltd., London.

16. Edouard Debat Ponsan, Truth Leaving the Well, 1898. Oil on canvas. ChristiОs’s
Images Ltd., London.

108
17. Albert Aublet, Une beauté orientale, 1888. Oil on canvas. Private Collection.

18. PiОrrО DОsiré żuillОmОt, The Harem Beauty. Oil on canvas. 1875. Oil on canvas. 98 x
79 cm. Private Collection.

19. Henriette Browne, A Visit. Harem Interior, Constantinople, 1860. Oil on canvas. 89 x
114 cm. Private Collection. Courtesy of Marco Frignaty Art Advisory, London.

20. Henriette Browne, Une beauté orientale, 1861. Oil on canvas. Private Collection.
ChristiОs’s ImКgОs Ltd., London.

21. Margaret Murray Cookesley, The Drinking Fountain.

22. Frank Dicksee, Leila, 1892. Oil on canvas. 100 x 126 cm. Private Collection.

23. Frederick Leighton, Gulnihal. Oil on canvas. 43.8 x 36.5 cm. Private collection.

24. John Frederick Lewis, Study for the Courtyard of the Coptic Patriarch House in Cairo,
1864. Oil on wood. 36.8 x 35.6 cm. Private Collection.

25. Mary A. Walker, Untitled illustration for Emilia Hornby. Constantinople During the
Crimean War (London: Richard Bentley, 1863), plate opposite page 244. Photograph by
Jenni Carter.

26. Luigi Acquarone, The Farewell , 1889. (Veda ). Oil on МКnvКs. 81.5 б 65 Мm. İRHM
Collection.

27. Amadeo Preziosi, Mevlevî Dervishes. Undated. Stamboul Souvenir d’Orient.

28. Salvatore Valeri, An Eastern Woman with a Jug (Su TКşıвКn Doğulu KКdın ).
WКtОrМolor on pКpОr. 56 б 41 Мm. ArmКn ArıkКn CollОМtion.

29. Salvatore Valeri, A Peasant Girl with a Basket (SОpОt TКşıвКn Köвlü Kıгı).
WКtОrМolor on pКpОr. 56 б 41 Мm. ArmКn ArıkКn CollОМtion.

30. Fausto Zonaro, Navigando (Boating Кt żöksu). Oil on canvas. 65 x 94.5 cm.
CollОМtion oП SunК Кnd İnКn KırКç, IstКnЛul.

31. Fausto Zonaro, La Dama del Bosforo (Woman of the Bosphorus). Oil on canvas. 22 x
16 cm. Sevgi-DoğКn żönül CollОМtion, IstКnЛul.

32. Jan Matejko, Utopiona w Bosforze (Drawned in the Bosphorus), 1880. Oil on
mКМhogКnв ЛoКrd. 88 б 134 Мm. NКtionКl MusОum in WroМłКа.

33. Tadeusz Ajdukiewicz, Przy studni (By the well), 1888. Oil on canvas, 64 x 55 cm.
National Museum in Cracow.

34. StКnisłКа ChlОЛoаski, Sułtan Bajazвt аięzionв przez Tamerlana. (Sultan Bayezid
Imprisoned by Tamerlan), 1864-1876. Oil on canvas. Lvov Painting Gallery.

109
35. Feliks Wygrzywalski, Perski bazar (Persian Bazaar). Oil on canvas. 64 x 85 cm.
Private collection.

36. WКМłКа PКаlisгКk, IlustrКtion Пor thО ОpiМ poОm “ThО ŻКthОr oП PlКguО-strikОnОd” Лв
Juliusг SłoаКМki. PКpОr, ink, pОnМil, lОКd pОnМils. 27.2 б 46 Мm. NКtionКl MusОum in
Warsaw.

37. Piotr Stachiewicz, Odaliska (An Odalisque), 1858. Paper, pastel crayons. 44 x 60 cm.
Private collection.

38. Piotr Stachiewicz, Dziewczyna w szalu (A girl in a shawl), 1920. Paper, watercolor,
crayons. Private collection.

39. Panteleon Szyndler, Dzieаczвna а kąpieli (A Girl in a Bath). Oil on canvas and
cardboard. 86 x 45 cm. Private Collection.

40. ŻrКnМisгОk murko, Z rozkazu padyszacha (Upon the Order of the Padishah), 1888.
Oil on canvas. 135.5 x 240. National Museum in Warsaw.

41. PiОrrО Désiré żuillОmОt, Portrait of a Lady of the Court Playing the Tambourine,
1875. Oil on canvas. 98 x 79 cm. Collection oП SunК Кnd İnКn KırКç, IstКnЛul.

42. PiОrrО Désiré żuillОmОt, Portrait of a Palace Slave, 1875. Oil on canvas. 98 x 79 cm.
DolmКЛКhçО PКlКМО MusОum, IstКnЛul.

43. PiОrrО Désiré żuillОmОt, Portrait of Young Lady of the Court, 1875. Oil on canvas. 98
x 79 cm. DolmКЛКhçО PКlКМО MusОum, IstКnЛul.

44. Frederick Goodall, A New Light in the Harem. R. A. 1884. Oil on canvas. 122 x 81
cm. National Museums Liverpool (Walker Art Gallery).

45. Salvatore Valeri,The Harem ( Harem). Oil on canvas. 102 x 76 cm. Collection of
YuksОl PОkiş BОhlili, İstКnЛul.

46. Alexandre Bida, Circassian Slave Market. EtМhing. “L’IllustrКtion” 1849.

47. Fabio Fabbi, The Masters Choice. Undated. Oil on canvas. 39 x 27 cm. Mutual Art
Com Catalogue.

48. Edward Nicz, Odaliska (Odalisque), 1888. Deck paper woodcut, 51.4 x 28.8 cm.
National Museum in Warsaw.

49. Jean-Léon żéromО, Le Harem dans le kiosque, c. 1875-1880. Oil on canvas. 76.2 x
115 cm. Najd Collection. Photograph courtesy of the Mathaf Gallery, London.

50. Edward Armitage, Souvenir at Scutari, 1857. Oil on canvas. 183 x 122 cm. Langing
Art Galery (Tyne and Wear Museums).

51. Stanislaw Chlebowski, Kağıthane. Undated. Oil on canvas. 62 x 102 cm. Military
Museum, Istanbul.

110
52. Fabius Brest, Shopping at Divanyolu. 1855-9. Oil on canvas. 49 x 34 cm. Topkapi
Palace Museum.

53. Fabius Brest, At the Mosque. Oil on canvas. 33 x 49 cm. Private Collection, Istanbul.

54. John Frederick Lewis, In the Beв’s żarden, 1865. Oil on panel. 106.6 x 68.6. Harris
Museum and Art Gallery, Preston, Lancashire. Photograph courtesy of The
Bridgeman Art Library.

55. Martinus Rorbye, Petition Writer in front of Kilidj Ali Pasha Mosque in Tophane,
1837. Oil on МКnvКs. 95 б 130 Мm. ChristiОs’s ImКgОs Ltd., London.

56. John Frederick Lewis, Indoor Gossip, Cairo, 1873. Oil on panel. 30.5 x 20.3 cm. The
Whitworth Art Gallery, The University of Manchester.

57. Amadeo Preziosi, Confectioner. First part of 19th century. Watercolour. 43 x 58 cm,
MuséО du Louvre, Paris.

58. Edouard Debat Ponsan, The Massage, Scene from a Turkish Bath, 1883. Oil on
МКnvКs. 127 б 210 Мm. MuséО dОs Augustins, ToulousО.

59. Jean-Jacques-Francois Lebarbier, A Turkish Bath. Copperplate etching.

60. Jean-Jules-Antoine Lecomte du Nouy, l’źsclave blanche, 1888. Oil on canvas. 146 x
118 Мm. MuséО dОs BОКuб-Arts, Nantes.

61. Jean-Léon żérômО, Turkish or Mauritanian Bath, 1870. Oil on canvas. 50.8 x 40.6
cm. Museum of Fine Arts, Boston.

111