Ottoman Objects in Nineteenth Century British Interiors

The present thesis examines Ottoman objects incorporated into Victorian British interiors during the latter half of the nineteenth century. A primary objective is to elucidate the reasons behind the presence of these Ottoman objects in Victorian British interiors. Both Ottoman objects that were imported to Britain and reproductions created based on these items, in accordance with industrial production and the Arts and Crafts movement, fall within the scope of this research. The study concentrates on middle-class homes, as they offer a balanced perspective on trade and production trends and encompasses household items. This study assesses the artistic attributes that facilitated the integration of Ottoman craftwork into eclectic Victorian interiors, within the context of the design principles and aesthetic preferences of the period. It analyses the roles of buyers, sellers, designers and state actors in this process and reveals the economic model of a phenomenon that was initially believed to be economically driven. Each chapter features a main heading or subheading titled "Key Tastemakers in the Nineteenth Century Britain", exploring the roles of British Victorian collectors, government institutions, department stores, British designers, and decorative art periodicals. A substantial portion of the sources is derived from exhibition and sales catalogues, departmental reports, museum inventories and other archival materials obtained during research conducted in the United Kingdom. The influence of Eastern styles on interior design is frequently analysed through uniformly decorated rooms noted for their 'exotic' appeal. Rooms designed entirely with an Eastern theme; regardless of the specific style they represent, are products of Orientalist thought. This study examines the subject through the circulation of objects as instruments of consumption or simply commodities. The interaction between factors influencing the integration of Ottoman objects into British Victorian interiors was complex and multifaceted. Ottoman objects found their place in Victorian interiors due to their aesthetic attributes such as colours, patterns, and qualities—rather than their origin. Furthermore, they offered attractive alternatives within the diverse consumption environment of nineteenth-century Britain.