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The Nubian Story Teller in the Harem, 1875 by Frederick Arthur Bridgman
Canvas Print - 4182-BFA

Location: Private Collection
Original Size: 72 × 112 cm

The Nubian Story Teller in the Harem by Frederick Arthur Bridgman (1875) is reproduced as a museum-quality giclée canvas print. Printed with archival inks on 400 g/m² canvas and hand-varnished for UV protection, it can be made in any size up to 13.8 × 21.7 in, scaled proportionally, with optional framing. Free worldwide shipping available; unframed prints ship in 2 workdays, framed in 7 to 8. Guaranteed 100-year color durability.

The Nubian Story Teller in the Harem by Frederick Arthur Bridgman, 1875 - canvas print
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Giclée Canvas Print | $61.85 USD

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SKU:4182-BFA
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Rolled
Production: 2 Workdays
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Giclée Print Quality on 400 g/m² Canvas, Satin/Gloss

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Largest Available
13.8″ × 21.7″

Sizes scale proportionally to the original. Dimensions shown are for the printed area - we always add 1.2 in of blank canvas on every side for stretching.

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Also Available as Oil Painting Reproduction

Questions about this Print

The size you set is the printed image, the part you see once the canvas is stretched. Beyond that size we add 1.2 in of blank canvas on every side, at no extra cost, so the stretcher bars have something to grip. A 13.8 × 21.7 in print therefore arrives as 16.2 × 24 in. Both numbers are shown in Your Selection above and change with the slider.

Yes. The slider covers every size up to 13.8 × 21.7 in, always in the proportions of the original. If you need something larger, or a size that has to fit a frame you already own, write to us with the title and the dimensions and we will tell you what is possible. Every print is made to order, so there is usually a way.

Because the original is an oil painting on canvas. We match the print medium to the original: oil paintings go on canvas, works on paper go on fine art paper. Our canvas is natural cotton, 400 g/m² Canvas, acid-free and pH neutral, and its woven texture gives the most natural impression of Frederick Arthur Bridgman's original oil painting. The finish is satin/gloss, which keeps the depth of the dark tones the way varnish does on a painting in a museum; a matte canvas looks dull and pale next to it. More about our print media.

Start with the original, which measures 72 × 112 cm. A print at or near that size reads the way the artist judged it. Printing smaller is easy; enlarging a small original changes its character. For the wall, above a sofa or a sideboard aim for two thirds to three quarters of the furniture width, and hang the center at eye level. Cut paper to size and tape it to the wall before you order. The original is in a private collection. Full size guide.
30-day returns on unframed prints. Shipping, framing, care and returns are covered in our Help & FAQ.

About the Painting

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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