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Bucharest, Romania - October 5, 2026: Stained glass depicting Mircea cel Bătrân, medieval ruler of Wallachia who reigned from 1386 to 1418.-stock-foto
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Black and white theater playbill program created by Alphonse Mucha for a special matinée performance (Matinée Extraordinaire) of Phèdre, a famous 17th-century French tragedy written by Jean Racine. It starred Sarah Bernhardt, the most celebrated international stage actress of the era. The performance took place on Thursday, March 11, 1897, as a charity benefit to aid Christian victims of the Cretan revolt against the Ottoman Empire.-stock-foto
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A woodcut titled 'Byzantium Sive Constantinopolis' depicting Constantinople (Istanbul) by Giovanni Andrea Vavassore (a. c.1510–1572). This bird's-eye view panorama illustrates the city during the early Ottoman period, featuring prominent landmarks such as the Topkapı Palace, known as the New Palace of the Grand Turk, the Hagia Sophia, and the dense fortifications along the Golden Horn and the Sea of Marmara. Ships in the foreground fly both the Ottoman crescent and the Habsburg double-headed eagle flags, reflecting the maritime activity and geopolitical tensions of the Mediterranean world. The-stock-foto
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A woodcut depicting Ottoman Sultan Selim I (c.1470–1520) attacking the Persian forces of Shah Ismail I (1487–1524), founder of the Safavid Dynasty (1501–1736), during the Battle of Chaldiran near Khoi in Azerbaijan. The illustration shows a packed battlefield with cavalry and infantry clashing with spears, swords, and bows, representing a pivotal moment in the Ottoman–Safavid War for regional hegemony. Accompanied by contemporary German text, this broadsheet served to inform the European public of the Ottoman victory that consolidated their control over eastern Anatolia. 1514.-stock-foto
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A woodcut on the title page of 'Travels' depicting the journey of the Bavarian nobleman Johannes Schiltberger (c.1380–c.1440). Captured by the Ottoman Turks under Sultan Bayezid I at the Battle of Nicopolis in 1396, Schiltberger spent twenty-five years in captivity across the Middle East and Central Asia before escaping and returning to Munich in 1421. His memoirs provided Europeans with rare contemporary accounts of the Timurid and Ottoman Empires during the late Middle Ages and were frequently republished in the 16th century with decorative woodcuts and bicolour red and black printing. c.155-stock-foto
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An engraving depicting Vlad III (1431–1476), also known as Vlad the Impaler, who served as the Voivode of Wallachia on three separate occasions. A member of the House of Drăculești (c.1386–1601), he belonged to the Order of the Dragon, from which his patronymic Dracula was derived. He is historically significant for his military campaigns against the Ottoman Empire and his reputation for severe punishments, later providing the primary inspiration for Bram Stoker's Dracula. c.1850.-stock-foto
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An aquatint titled "First and Second Pyramid of Gizah Ancient Memphis" depicting the Great Pyramid of Khufu and the Pyramid of Khafre. These structures, built during the 4th Dynasty of the Old Kingdom (c.2494 BCE), are shown amidst the desert sands with several local figures and travellers on horseback in the foreground. The plate was created after drawings by Luigi Mayer (c.1755–1803), an Italian-German artist who travelled extensively through the Ottoman Empire. This specific view was published in London by Robert Bowyer. 1801.-stock-foto
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A woodcut portrait depicting the French naturalist Pierre Belon (1517–1564). Renowned for his pioneering work in comparative anatomy and his extensive travels across the Levant, Belon was one of the first scholars to systematically compare the skeletal structures of humans and birds. This likeness shows the scientist at the age of thirty-six, wearing a scholar's cap and robes within an arched frame. 1553.-stock-foto
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A wood engraving depicting Sultan Bayezid I (1347–1403), the fourth ruler of the Ottoman Empire (1299–1922). Bayezid, known as Yıldırım (The Thunderbolt), ruled from 1389 until his capture by Timur at the Battle of Ankara in 1402. His reign saw significant expansion into the Balkans and Anatolia, though his capture led to a period of internal chaos known as the Ottoman Interregnum. The portrait shows the Sultan in traditional courtly dress, featuring a high, folded turban and a richly patterned outer garment. c.1890.-stock-foto
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A photograph depicting Mustafa Kemal Atatürk (1881–1938), the Turkish field marshal, revolutionary statesman, and founding father of the Republic of Turkey. Having led the Turkish National Movement during the War of Independence, he served as the country’s first president from 1923 and oversaw a series of radical reforms that transformed the former Ottoman Empire into a modern, secular nation-state. These reforms included the secularisation of the legal system, the adoption of the Latin alphabet, and the promotion of Western-style dress. c.1928.-stock-foto
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A photograph depicting Mustafa Kemal Atatürk (1881–1938), the Turkish statesman and military leader who served as the first President of Turkey and founded the modern republic. Having led the Turkish nationalist movement since 1909, he spearheaded the radical modernisation of the country following the fall of the Ottoman Empire, implementing social and political reforms that established Turkey as a secular nation-state. c.1928.-stock-foto
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A painting depicting Empress Catherine II (1729–1796) of the Romanov Dynasty (1613–1917) meeting with Holy Roman Emperor Joseph II (1741–1790) of the Habsburg-Lorraine Dynasty (1736–1918) during her journey to the Crimea. This diplomatic encounter took place during Catherine's celebrated progress through her newly acquired southern territories, where the two monarchs met to discuss a joint alliance against the Ottoman Empire. 1787.-stock-foto
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An oleograph depicting various scenes from the Crimean War and the Anglo-Egyptian War. The top panel illustrates the Battle of Inkerman in 1854 with infantry and cavalry in close combat, while the central panel shows the naval bombardment of Sevastopol by the British fleet during the Siege of Sevastopol. The bottom panel portrays the Battle of Tel-el-Kebir in 1882, a decisive victory for the British army in Egypt. The central scenes are enclosed within an ornate decorative border containing portrait medallions of prominent military and political figures, including Field Marshal Garnet Wolseley-stock-foto
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A lithograph after William Simpson depicting Florence Nightingale (1820–1910) inspecting the wards of the military hospital at Scutari (Üsküdar) during the Crimean War (1853–1856). Having arrived in the Ottoman Empire in 1854, Nightingale implemented revolutionary sanitary reforms and organised care for wounded British soldiers, significantly reducing the mortality rate through improved hygiene. The scene illustrates the hospital interior with convalescent soldiers gathered around a central box stove while Nightingale consults with a military official. 1856.-stock-foto
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An engraving depicting General Napoleon Bonaparte (1769–1821) during the French campaign in Egypt and Syria. Standing against a desert backdrop featuring the pyramids of Giza and palm trees, the future Emperor is shown in his younger years with shoulder-length hair, wearing a military uniform and holding a bicorne hat. This military expedition was launched with the intent of protecting French trade interests and undermining Britain's access to India, seeing the French forces confront Ottoman and Mamluk power. Despite initial victories such as the Battle of the Pyramids, the campaign concluded-stock-foto
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A woodcut depicting Shabbetai Zevi (1626–1676) blessing a Jewish congregation at Smyrna (İzmir) c.1665. Born in the Ottoman Empire, Zevi was a Sephardic rabbi and kabbalist who claimed to be the Jewish Messiah, sparking a mass movement known as Sabbateanism that gained significant traction throughout Europe and the Middle East. The scene captures the height of his influence in Smyrna before his 1666 imprisonment and subsequent conversion to Islam under threat of death from the Sultan’s court. This illustration appeared in 'The Counterfeit Messiah, or False Christ of the Jews', a tract authored-stock-foto
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A wood engraving depicting the Mahdi, Muhammad Ahmad (1844–1885), the charismatic Sudanese religious leader who led a successful revolt against Ottoman-Egyptian rule. Proclaiming himself the messianic redeemer of Islam in 1881, he established a state that challenged foreign influence and famously defeated the British-led garrison under General Charles George Gordon at the Siege of Khartoum. This portrait, executed by the artist Georges Montbard, reflects the prominence of the Mahdist War in European media. c.1885.-stock-foto
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A lithograph depicting Emperor Alexander II (1818–1881), who ruled the Russian Empire from 1855 until his assassination. Known as "The Liberator" for the emancipation of the serfs in 1861, he is satirically presented here as a holy figure wearing the Great Imperial Crown and a halo, yet he holds a knout and a sword in place of the traditional orb and sceptre. The composition highlights the contradictions of his reign, showing the Tsar trampling small figures representing a Polish insurgent and an Ottoman Turk, referencing his military interventions and the suppression of nationalist movements.-stock-foto
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A tinted lithograph depicting Sultan Abdul Hamid II (1842–1918), who reigned as the 34th Sultan of the Ottoman Empire from 1876 until his deposition in 1909. Widely regarded as the last Ottoman monarch to exercise effective autocratic control from Constantinople (Istanbul), his reign was characterised by attempts to modernise the empire through the Tanzimat reforms while maintaining Pan-Islamist ideals. Often referred to by Western contemporaries as the Red Sultan or the Great Assassin due to the massacres of minorities, he was eventually overthrown during the Young Turk Revolution and sent in-stock-foto
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A coloured lithograph depicting Sultan Abdulaziz (1830–1876) of the Ottoman Empire (House of Osman, 1299–1922) on the cover of sheet music titled "The Sultan Abdul's March", composed by Stephen Glover. Abdulaziz was the first Ottoman Sultan to travel to Western Europe in 1867, visiting London and Paris as part of a diplomatic tour to foster alliances during the Tanzimat era of modernisation. The portrait shows the Sultan in a red fez and military uniform with decorations, flanked by laurel and oak wreaths and the Ottoman national flag. c.1871.-stock-foto
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A political cartoon titled "A Question of Detail" depicting Sir Edward Grey, 1st Viscount Grey of Fallodon (1862–1933), the British Foreign Secretary, addressing a personification of the Ottoman Empire over the fortification of Adrianople (Edirne). Published during the Second Balkan War, the illustration satirises the diplomatic impasse following the Ottoman reoccupation of the city in defiance of the Treaty of London. Grey warns that the "Concert of Europe" feels strongly about the Turkish presence, while the Ottoman figure challenges the Great Powers' resolve to enforce their demands. 1913.-stock-foto
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A cartoon titled 'Peace Comes to Town' showing Sir Edward Grey (1862–1933) as a medieval knight escorting the winged personification of Peace, labelled Pax, on horseback towards London. Created by the illustrator Leonard Raven-Hill (1867–1942), the scene comments on Grey's leadership as British Foreign Secretary during the London Conference, which sought a diplomatic resolution to the First Balkan War. The knight's warning to his passenger to sit close alludes to the precarious nature of the peace, which had previously been interrupted by the resumption of conflict before a final treaty could-stock-foto
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A cartoon depicting Sir Edward Grey (1862–1933) as Prince Charming waking the allegorical figure of Peace, portrayed as Sleeping Beauty, following the London Peace Conference. As the British Foreign Secretary from 1905 to 1916, Grey chaired the conference intended to resolve the First Balkan War between the Balkan League and the Ottoman Empire. Illustrated by Leonard Raven-Hill, the scene shows Grey in medieval costume addressing Peace in French, the traditional language of diplomacy, while a dove of peace flies in the background. 1912.-stock-foto
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A cartoon titled "Subject to Correction" by Leonard Raven-Hill (1867–1942) depicting the personification of Europa standing at the entrance to the Balkan Peace Conference. Published during the First Balkan War (1912–1913), the illustration shows Europa addressing delegates inside the London Conference room who are huddled over maps. The scene reflects the geopolitical reality of the era, where the Great Powers asserted their authority to review and amend the territorial settlements reached by the Balkan League and the Ottoman Empire. This intervention aimed to maintain a delicate balance of po-stock-foto
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A woodcut depicting Tamerlane (1336–1405), also known as Timur-i-Lang, the Turco-Mongol conqueror and founder of the Timurid Empire (1370–1507). Serving as an Islamic leader of the Turks and Mongols, he established a vast empire through the conquest of Persia and northern India, famously defeating the Ottoman Sultan Bayezid I at the Battle of Ankara in 1402. This illustration from Hartmann Schedel's 'Liber Chronicarum', commonly known as the Nuremberg Chronicle, presents a late-medieval European artistic interpretation of the Central Asian ruler in contemporary plate armour and a plumed headpi-stock-foto
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An engraving depicting the interior of the Hagia Sophia in Constantinople during its period as an imperial mosque. Originally completed as a Christian cathedral in 537 during the Justinian dynasty (518–602) of the Byzantine Empire, the structure was converted into a mosque following the Fall of Constantinople in 1453. This view, produced for The Gallery of Nature and Art, illustrates the cavernous central nave and intricate vaulted ceilings populated by figures in Ottoman dress. 1815.-stock-foto
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A colour lithograph depicting the Russian battleship 'Pobeda' and other warships of the Imperial Russian Navy traversing the Suez Canal. The fleet was being deployed to the Far East at the outbreak of the Russo-Japanese War (1904–1905). On the banks of the canal, local Egyptians, camels, and a photographer observed the passage, while a bucket dredger operated in the foreground to maintain the waterway's depth. 1904.-stock-foto
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A photograph depicting George Curzon, 1st Marquess Curzon of Kedleston (1859–1925), Benito Mussolini (1883–1945), and Raymond Poincaré (1860–1934) during the opening of the Lausanne Conference. Convened in Switzerland, the international assembly sought to settle the territorial disputes and diplomatic tensions resulting from the collapse of the Ottoman Empire and the subsequent Turkish War of Independence. The negotiations led to the signing of the Treaty of Lausanne in 1923, which established the borders of the modern Republic of Turkey and replaced the earlier Treaty of Sèvres. 1922.-stock-foto
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A satirical illustration by Georges d'Ostoya (1878–1937) titled "Les deux anges gardiens de l'Arménie" ("The Two Guardian Angels of Armenia") depicting Sultan Abdul Hamid II (1842–1918) and Peter I of Serbia (1844–1921) as winged figures with blood-stained robes hovering over a massacre of Armenians in a snowy landscape. Published in a French satirical magazine, the work bitingly critiques the complicity and indifference of regional leaders regarding the systematic violence against Armenians within the Ottoman Empire. 11 November 1905.-stock-foto
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A colour lithograph depicting King Nicholas I of Montenegro (1841–1921) observing a traditional local custom by kissing the dead and wounded soldiers during the First Balkan War. The monarch is shown bending over a stretcher to offer a paternal gesture of respect to a casualty. This symbolic act, known as the king's kiss or 'le baiser du roi', was intended to emphasise national solidarity and the shared sacrifice of the people during the military campaign against the Ottoman Empire. 3 November 1912.-stock-foto
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A colour illustration depicting Turkish peasants fleeing towards Constantinople (Istanbul) during the First Balkan War. As the Balkan League armies advanced into the territory of the Ottoman Empire (c.1299–1922), massive displacements occurred, forcing Muslim civilians, known as Muhajirs, to abandon their ancestral lands and seek safety in the imperial capital. 1912.-stock-foto
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An illustration depicting King Peter I of Serbia (1844-1921) performing the traditional ceremony of breaking bread offered by the mayor of a town captured by Serbian forces during the First Balkan War. The scene takes place in a town square with a mosque and minaret visible in the background, signifying the shift in control from the Ottoman Empire to the Kingdom of Serbia as the Balkan League advanced through the region. 24 November 1912.-stock-foto
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A color lithograph depicting Emperor Franz Joseph I of Austria (1830–1916), Prince Ferdinand I of Bulgaria (1861–1948), and Sultan Abdul Hamid II of the Ottoman Empire (1842–1918) during the Bosnian Crisis. The illustration satirises the territorial fragmentation of the Ottoman Empire following the Young Turk Revolution, showing the Austrian Emperor annexing Bosnia and Herzegovina while the Bulgarian ruler declares independence. The distressed Sultan is portrayed as unable to prevent the partitioning of his lands, as the map of Turkey is literally torn apart. 18 October 1908.-stock-foto
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A colour lithograph depicting Tsar Ferdinand I of Bulgaria (1861–1948) performing a national custom of treading upon the captured weapons and flags of defeated enemies during the First Balkan War. Following significant victories against the Ottoman Empire, the monarch is shown stepping from his carriage onto a pile of Turkish flags and rifles, surrounded by cheering Bulgarian troops and the national tricolour. 10 November 1912.-stock-foto
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An engraving titled 'The Crisis in Egypt, a Krupp Field-Gun in the Earthworks, Alexandria' depicting Egyptian soldiers in position during the defence of the city. During the period of political unrest in 1881 and 1882, the Egyptian Army established numerous coastal batteries to safeguard the city from potential maritime threats. Fearing for the security of the Suez Canal, the British fleet delivered a series of warnings before initiating the bombardment of the harbour on 11 July 1882. 1882.-stock-foto
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A cartoon by Leonard Raven-Hill titled 'The New Haroun al Raschid' depicting Wilhelm II, German Emperor (1859–1941), as a figure from the Arabian Nights reclining upon a locomotive. The illustration satirises German imperial ambitions and the construction of the Berlin–Baghdad Railway, which aimed to provide a direct rail link from Berlin to the Persian Gulf. By portraying the Kaiser as a modern-day Harun al-Rashid, the work highlights British concerns over German influence within the Ottoman Empire and the potential threat to British interests in the Middle East. 25 January 1911.-stock-foto
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An engraving of Nicholas I (1796–1855), Emperor of Russia from the Romanov Dynasty (1613–1917), depicted on his deathbed as Orthodox priests recite prayers and hold lit candles. Ascending the throne in 1825, his reign was characterised by militarism and the expansion of the Russian Empire, which eventually led to the Crimean War (1853–1856) against the Ottoman Empire, Britain, and France. The Emperor died at the Winter Palace in Saint Petersburg during the conflict, leaving his son Alexander II to negotiate the subsequent peace. 1855.-stock-foto
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A caricature titled "Bursting of the Russian Bubble" depicting Emperor Nicholas I (1796–1855) disintegrating under the impact of an Allied shell following the Battle of Alma. Created during the Crimean War (1853–1856), the illustration satirises the collapse of Russian military prestige after the decisive engagement on 20 September 1854, where the combined forces of Britain, France, and the Ottoman Empire defeated the Russian Imperial Army. 1854.-stock-foto
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An engraving depicting Tsar Alexander II (1818–1881) distributing cigarettes to Turkish prisoners of war at Simnitza (Zimnicea) during the Russo-Turkish War (1877–1878). The scene illustrates a publicised act of imperial benevolence following the Russian army's successful crossing of the Danube into Ottoman territory. The Tsar is shown in military attire, accompanied by his officers, as he interacts with the captive soldiers within a camp setting. 28 July 1877.-stock-foto
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An engraving depicting a dense crowd gathered on Nevsky Prospect in St Petersburg to read telegrams and newspapers containing news from the front during the Russo-Turkish War (1877–1878). The scene illustrates the intense public interest in the conflict, featuring a diverse assembly of soldiers, labourers, and bourgeois citizens, including a newsboy and a man carrying a copy of the journal Russkiy Mir (Russian World). 1877.-stock-foto
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