Glass Coaster : Kisler Aga, Chief of the Black Eunuchs and First Keeper of the Serraglio, Francis Smith
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Kisler Aga, Chief of the Black Eunuchs and First Keeper of the Serraglio, Francis Smith
Kisler Aga, Chief of the Black Eunuchs and First Keeper of the Serraglio, Francis Smith, active 1763-1780, British
Liszt Collection of nineteenth-century engravings and images to browse and enjoy
Media ID 12645895
© Quint Lox Limited
1763 1780 African Chief First Francis Gesture Harem Headpiece Keeper Octagon Oil On Canvas Robes Smith Tiles Turban Window Banyan Eunuchs Serraglio
Glass Coaster
Individual Glass Coaster. Stylish and elegant polished safety glass, toughened and heat resistant (10x10cm, 7mm thick). Price shown is per individual coaster.
Individual Glass Coaster. Elegant polished safety toughened glass and heat resistant, matching Place Mats are also available
Estimated Image Size (if not cropped) is 5.4cm x 7.6cm (2.1" x 3")
Estimated Product Size is 10cm x 10cm (3.9" x 3.9")
These are individually made so all sizes are approximate
Artwork printed orientated as per the preview above, with portrait (vertical) orientation to match the source image.
Kisler Aga, Chief of the Black Eunuchs - A Glimpse into the Enigmatic World of the Ottoman Harem
EDITORS COMMENTS
. This oil on canvas portrait by Francis Smith offers a rare glimpse into the opulent world of the Ottoman Empire's harem. The central figure, Kisler Aga, stands proudly as he assumes his role as Chief of the Black Eunuchs and First Keeper of the Serraglio. The artist skillfully captures Kisler Aga's commanding presence through his confident gesture and regal attire. Dressed in vibrant African robes adorned with intricate patterns and a majestic turban atop his headpiece, Kisler Aga exudes authority and power. The composition is enriched by an octagonal interior featuring exquisite tiles that reflect both Eastern influences and European aesthetics. Through a window in the background, we catch a glimpse of lush greenery outside, contrasting with the intimate setting within. Smith masterfully portrays not only Kisler Aga's physical appearance but also hints at his complex persona. Behind his composed expression lies a sense of mystery and intrigue that shrouds those who served within these secretive walls. This remarkable artwork serves as a testament to both cultural exchange between East and West during this period and sheds light on an often misunderstood aspect of history. It invites viewers to contemplate the lives led behind closed doors while celebrating Kisler Aga's significant position within Ottoman society
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