The Nubian Story Teller in the Harem, 1875 by Frederick Arthur Bridgman
Canvas Print - 4182-BFA
Location: Private CollectionOriginal Size: 72 x 112 cm
Giclée Canvas Print | $50.00 USD
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*Max printing size: 13.8 x 21.7 in
*Max framing size: Long side up to 28"
"The Nubian Story Teller in the Harem" will be custom-printed for your order using the latest giclée printing technology. This technique ensures that the Canvas Print captures an exceptional level of detail, showcasing vibrant and vivid colors with remarkable clarity.
Our use of the finest quality, fine-textured canvas lends art reproductions a painting-like appearance. Combined with a satin-gloss coating, it delivers exceptional print outcomes, showcasing vivid colors, intricate details, deep blacks, and impeccable contrasts. The canvas structure is also highly compatible with canvas stretching frames, further enhancing its versatility.
To ensure proper stretching of the artwork on the stretcher-bar, we add additional blank borders around the printed area on all sides.
Our printing process utilizes cutting-edge technology and employs the Giclée printmaking method, ensuring exceptional quality. The colors undergo independent verification, guaranteeing a lifespan of over 100 years.
Please note that there are postal restrictions limiting the size of framed prints to a maximum of 28 inches along the longest side of the painting. If you desire a larger art print, we recommend utilizing the services of your local framing studio.
*It is important to mention that the framing option is unavailable for certain paintings, such as those with oval or round shapes.
If you select a frameless art print of "The Nubian Story Teller in the Harem" by Frederick Arthur Bridgman, it will be prepared for shipment within 48 hours. However, if you prefer a framed artwork, the printing and framing process will typically require approximately 7-8 days before it is ready to be shipped.
We provide complimentary delivery for up to two unframed (rolled-up) art prints in a single order. Our standard delivery is free and typically takes 10-14 working days to arrive.
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All unframed art prints are delivered rolled up in secure postal tubes, ensuring their protection during transportation. Framed art prints, on the other hand, are shipped in cardboard packaging with additional corner protectors for added safety.
Painting Information
Ah, "The Nubian Story Teller in the Harem" by Frederick Arthur Bridgman. It's 1875, and we’re smack in the middle of the Western obsession with all things “Oriental.” Bridgman, like so many artists of his time, couldn't resist the allure of this imagined, exotic world. But let’s not kid ourselves - this isn't reality. This is pure, unapologetic fantasy. A seductive concoction that’s more about Western fascination than any actual depiction of life in a harem.
Look at it. The scene is drenched in detail, almost overbearingly so. Every corner, every niche is crammed with something - lavish rugs, patterned tiles, carved woodwork, trinkets on shelves. You get the sense Bridgman was showing off here. "Look at me! I’ve traveled to far-flung lands, and here’s the proof!" It’s like the Victorian version of Instagram - a visual brag.
The Nubian storyteller sits there, center stage, like a magician holding court. His skin is painted in a way that contrasts heavily against the lighter, porcelain-like complexions of the women lounging around him. It’s a deliberate move. Bridgman’s not subtle - he wants your eye to go straight to this cultural divide. You can almost feel him leaning into the stereotypes of the time. And those women? Draped in their opulent fabrics, they’re reclining like they don’t have a care in the world. The whole scene reeks of leisure, of a life so luxurious it borders on boredom.
Then there’s the light. It’s diffused, creeping in from some hidden window, bathing everything in this soft, golden glow. But there’s something almost clinical about it. Bridgman is a slave to the details - every fold of fabric, every shadow, every bit of architecture is meticulously rendered. You can’t fault his technique, but it leaves you feeling detached, like you’re observing this world from behind a glass wall.
Ultimately, this painting is less about the harem and more about what the West wanted the harem to be - a place of sensuality, idleness, and the “exotic other.” It’s beautiful, yes, but it’s also a construct, a product of its time, and in that sense, it’s fascinating - not just for what’s in the frame, but for what it reveals about the gaze behind it.
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