Rudolf Ernst

Sale: Sotheby's London, 6 March 1974, lot 155
Vaughan Murray (purchased at the above sale)
Sale: Sotheby's London, 16 November 2005, lot 224
Purchased by the present owner at the above sale

The panel is in good condition, flat and even. There are a few flecks of retouching visible under ultraviolet light, partially obscured by a varnish, notably to the headpiece of the guard and to the extreme lower left edge. This work is in very good condition overall, with bright, rich colours. Held in a decorative, gold-painted moulded plaster and wood frame with a name plate.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The word harem comes from the Arabic for 'forbidden'. The most famous harem, the 'Grand Seraglio' in the Topkapi Palace in Constantinople, was the residence of the Sultan's wives, concubines, and children, who were guarded by black slave eunuchs under the command of the Master of the Harem. The women of the harem, known as cariyes, were gathered from the furthest corners of the Ottoman Empire and beyond, and groomed for the purpose. The girls would be meticulously prepared for their office, being taught etiquette, religion, morality, and music.

Since the Sultan and his sons were the only men allowed access to the harem, westerners could only imagine what went on behind its walls. Like many of Ernst's works, The Guard of the Harem is the product of assiduous research but also of poetic licence. While Ernst did travel to Turkey and the Middle East, it was to observe, make sketches, and collect the many props, including tiles, carpets, swords, and costumes, he used for his finished paintings.