The exterior decoration consists of Ottoman rococo motifs of fruit, flowers and female figures. On the inside of the lid is a depiction of an idyllic landscape dominated by two Ottoman horsemen and a group of people on foot, all of whom are dressed in European clothes. The piece was made on the Greek island of Mytilini.

The marriage casket was produced in Algeria in a style inspired by Italian prototypes.

A canopy bed of European influence (pseudo-baroque) made for a Muslim clientele in workshops in the Lower Kasbah. The craftsmen who made beds like these, who were both coppersmiths and blacksmiths, were organised into a separate guild.

This European-style shelf, decorated with arches and floral motifs, was made in Algeria by a craftsman who has signed his name “Becghtache”.

A lamp made in Istanbul with neoclassical motifs. The neck is decorated with large acanthus leaves; hanging from the base is a tassel from which Ottoman coins hang. The chains are suspended from cast caryatids holding plinths on their heads, an element that follows Venetian prototypes. The lip is stamped with a semi-obliterated tuğra.

In the 19th century, Ottoman glass was developed in order to compete with imported glass from Venice and Bohemia. The technique is European, but the decoration is Ottoman.

An architectural decorative element typical of the 19th-century aesthetic of blending styles. The characteristic mashrabiyya is seen frequently in Arab domestic architecture, but here it is used in a design that is not of Arab origin.

Once the rituals of tea-drinking had been established in Morocco, craftsmen began to create relevant ware inspired by Chinese and European prototypes. The local name for a tea tray such as this one is Siniyya, meaning “the Chinese”. The decorative scheme of this plate, a central star motif surrounded by multi-petalled flowers, is influenced by European designs.

A ceramic tile panel decorated with a central vase surrounded by floral motifs. The inspiration for the design looks back to the arts of al-Andalus (Andalusia) and also makes use of Ottoman design.

A mirror, in the Italian style, carved and gilded with gold leaf. Italian work was highly sought after for palatial furniture and noble residences in the 19th century.

During the 19th century, the fine and applied arts of the Muslim and Ottoman world were significantly influenced by Europe. Local artists, who were influenced both in terms of subject matter and technique, began to paint oil on canvas in a Western style. The Western influence can even be seen in the uniforms of the beylical army, known as the Mahalla, which collected taxes in Tunisia.

Shelves, such as this one from a traditional house in the town of Ksar Hilal in Tunisia, are seen typically in the 19th century with painted stylised decoration with fish and floral motifs, reminiscent of the Italian style.

A further example of wooden furniture with painted decoration from Tunisia. Here the decorative scheme includes flowers, birds, fish and baskets of fruit.

The 19th-century workshops around Beykoz produced glass in the European style. The first workshop was founded by the Mevlevi dervish Mehmet Dede during the reign of Salim III. European craftsmen also worked in the workshops, producing cups, bottles and jugs made from colourless or opaque glass, as well as the filigree motif seen here.

Starting from the end of the 18th century, Ottoman motifs were replaced or combined with baroque and rococo designs, such as flowers and fruit in relief, and architectural compositions. This 19th-century cup is a typical form, with a floral design that is also found on glass and porcelain.

Osman Hamdi Bey often depicted architecture (e.g. mosques), carpets, tile panels, calligraphy and decorative arts in order to reflect the colourful scenes of Turkish culture in his paintings.

Osman Hamdi Bey painted scenes of cultural interest in which he was keen to express the beauty of Eastern culture. He was the first to paint the human figure in the Western style.

In his paintings, the artist combined Impressionist colour techniques with a totality of composition with great dexterity.

Halil Pasha – as an example of an artist from the East dealing with Impressionist techniques – provides a distinctly unique analysis of Impressionist light and colour.

Known as one of the first soldier-painters in Turkish art history, Halil Pasha won a medal at an international exhibition for this portrait.