3 371 résultats
Very Good Turkish Original b/w portrait photograph signed and inscribed by Adnan Pekak as 'Sevgi ile'. 14x9 cm. Stamp of photograph studio on verso. Photo was taken Foto Stil located in Beyoglu, Istanbul in its period. Pekak was a Turkish singer who was seen as the biggest rival of Zeki Müren in the 1960s. He is a close relative of Hülya Darcan and Bergüzar Korel. He sang some popular songs in Turkey like "Bir dost bulamadim, Gün aksam oldu, Yesil ördek gibi, Kaz mezarci, Beklerim her gün bu sahilde, Bak yesil yesil" and played the leading roles in 'Sokak sarkicisi' [i.e. Street singer] in 1959, 'Ben masumum' [i.e. I am innocent] in 1960, and 'Umut / Ask dilencisi' [i.e. the Hope / Love Beggar] in 1982.
Very Good Turkish Original b/w portrait photograph signed by Yildirim Gürses. 14x9 cm. Stamp of photograph studio on verso. Photo was taken Foto Stil located in Beyoglu, Istanbul in its period. Yildirim Gürses was born on January 21, 1939 in Bursa, Turkey. He was a composer and actor, known for Gençlige veda (1965), Süreyya (1972) and Bizim mahalle (1982).
Very Good Turkish Original b/w photograph signed and inscribed by Rusen Esref Ünaydin. 13,5x8,5 cm. The inscription is in Turkish. The photo shows him with his fedora and tie, and very elegant. He graduated from Galatasaray Sultanisi and Darülfünûn Faculty of Letters. He taught Turkish and French in the Military Baytar School and Darülmuallimi Âlî. He started his writing career in 1914 as a translator. In 1918, he went to the Caucasus as Yeni Gün reporter and to Sivas as Tasviri Efkar reporter. His interviews published in Servet-i Fünun, Donanma, Tedrisat, Türk Yurdu, and Yeni Mecmua, and he was known for his prose poems and memoirs as well. His articles on interviews and travels were published in magazines and newspapers. His most famous interview is that he did with Atatürk. In addition, this interview is the first official one which was done with Atatürk.
Very Good Turkish Original color photograph signed and inscribed by Kadir Inanir as 'Nurten Hanima içtenlikle'. 14,5x9 cm. Inanir is a Turkish film actor and director. He was born on 15 April 1949 in Fatsa, a town in Ordu province of Turkey. He acted in 43 films since 1967 and appeared on television in Bütün Çocuklarim as Ali Yahya Kiroglu in 2004. In the Turkish movie industry (Yesilçam) he has often portrayed the tough, macho guy, fighting against injustice. Kadir Inanir and Türkan Soray are one of the most famous partners of Yesilçam Turkish cinema.
Very Good Turkish Original b/w portrait photograph signed by Ekrem Bora. 14x9 cm. Stamp of photo studio on verso. The photo was taken Foto Stil located in Beyoglu, Istanbul in its period. Ekrem Bora was born on March 4, 1932, in Ankara, Turkey as Ekrem Serif Uçak. He was an actor, known for Sürtük (1965), Kadin düsmani (1967), and Bir atesim yanarim (1966). He died on April 1, 2012 in Istanbul, Turkey.
Very Good French Original sepia-toned photograph printed in a period photograph paper. 19x25 cm. Descriptive text in French. Chipped and tear on margins. Iranian was born in 1890 in Constantinople, Istanbul. It is known that he established his studio in 1891 in Pera district of Constantinople - the center of Armenian cultural and political life. In 1895 he enters into partnership with another photographer by the name of Gugasyan. By 1900s the business seems to have wound down as the images marked with his studio signature don't exhibit any over elements of the new century. Of all the major Armenian studios from Istanbul, Iranian's photographs are the rarest, and less than 300 are known to have survived. Iranian's primary subject was the city of Constantinople, its picturesque landscape, architectural heritage, and the many types of artisans and workers that populated its streets. Using the latest photography techniques, which allowed for very rapid exposures, Iranian captured the bustle of the city streets with remarkable clarity. Teeming with life and movement these images have a remarkable immediacy and documentary veracity quite unlike similar views produced by other photographers of the period. The typical approach for many of Iranian's contemporaries such as Sebah & Joalier or Guillame Berggren was to achieve as clear a picture as possible with perfectly balanced compositions and highly visible details - the hallmark of a 'good' commercial photographer. In contrast, Iranian's street views are full of photographic 'ruptures' - blurred figures in movement, surprised glances of people caught unawares - which give his works the viscerality of snapshots. But above all, Iranian was a master at capturing the mood of a place. Catching the Ottoman capital on the brink of rapid transformation, the photographer aimed to record many of its ancient streets and quarters disappear or change the appearance. Thus, like the Parisian street photography of Atget, Iranian's images are 'nostalgic for the present' that is irrevocably slipping into the past. In his studio, the clientele had the choice of a large range of costumes and props through which the modern urbanite could slip into the role of some long-gone ethnic or street type and become a part of history. It is this sense of melancholy that gives Iranian's photographs their subtle emotional power. This is also perhaps the reason why he was ultimately not as successful as a commercial photographer. Modernity had captured the imagination of the people and the wistful romanticism of Iranian's markedly less spectacular images was fast going out of fashion. The small legacy he has left behind is nevertheless of significance in the history of Near-Easter photography. He was one of the rare Ottoman photographers with an individual and subjective approach, which deserves a proper evaluation.
Very Good Turkish Original color printed photograph signed by Edip Akbayram. 21x15 cm. Signed and inscribed by Akbayram.
Original Signed Letter by Lord Holland. 8vo. 4 pages on a double-leaf measuring approximately 11cm x 17cm. Very good condition. An interesting letter between English upper class aristocrats, pertaining to the natural history of fresh water fish, and the sport of angling, with reference to reports by respected angler and author on the subject, Sir Humphrey Davy, as well as Lord Kinnaird of Scotland. The recipient is unidentified, but could be MP Thomas Creevey, or Samuel Rogers the famous author and banker, both of whom the Baron was frequently communicating with at the time. Dated, Holland House, 17 July 1826, and signed Vassall Holland, the letter was originally sent with two reports from the Select Committee on the Salmon Fisheries of the United Kingdom, published for the Great Britain Parliament, House of Commons, in 1825. Sir Humphrey Davy (1778-1829), English Baron, was highly respected for his study and skill as an angler. In 1828, two years later than this letter which refers to his expertise, the baron published a book on the subject, titled "Salmonia or Days of Fly Fishing." Very well received, it was a few editions, and an American edition followed four years later. In it he compares the habits and physiological attributes of river and lake fish throughout Europe, including numerous rivers in England, the Danube, Glommen river in Norway, Lake Morat in Switzerland, the Rhine, and so forth. Naturally, the self-touted philosophical angler, also contemplates various fishing strategies.
VOLUME I ONLY. [CONTENTS]: S.Klein - Die Künstlerstrasse Palstinas / E.Täubler - Das Land Kde und das Volk Gojim / E.Mahler - Budapest / J. Scheftelowitz - Die Bewertung der Aramischen Urkunden von Assuan und Elephantine für die jüdische und iranische Geschichte / V.Aptowitzer - Jüdisches in syrischen Rechtsbüchern / J.Horovitz - Das koranische Paradies / I.Davidson - Liturgic Fragments from the Genizah / S.H.Margulies - Das Schwertlied Ezechiels / A.Schwarz - Die Hauptergebnisse der wissenschaftlich-hermeneutischen Forschung / S.Krauss - Glossae Sacrae / J.Klausner - The Origin of the Mishnaic language / E.Mittwoch - Hebräische Etymologien / L.Löw - Muscari und Ornithogalum / E.Rubinowitz - The Caper-Tree. Text in Hebrew, German and English. 25x19.5 cm. XIV+XIV pages. Hardcover. Gilt lettering on spine. Cover rubbed and slightly stained. Cover corners and spine edges bumped. Binding partly visible between inner cover and whitepages. Ex-libris sticker on inner cover. Stamp on title page - NO damage to text. Pages yellowing. Else in good condition.
First edition, 4to, [2],22pp., loosely inserted on a scrap of paper is Dr. Lee's presentation inscription, Sir Thomas has added in ink at the head of the title page "Sir Thomas Phillipps 1831, presented to him by Dr. John Lee, Professor of Arabic at Cambridge", caption title, imprint and date taken from colophon, orig. paper wrappers, upper wrapper having the title added in manuscript by Sir Thomas. A catalogue of 116 Oriental manuscripts from the collection of John Lee of Hartwell House, 1783-1866. "The principal part of the books described in this catalogue was purchased at Aleppo and Damascus, in the years 1811 and 1812, many of them by the assistance and recommendation of the late Mr. J. L. Burckhardt. The rest was procured at Cairo or Constantinople."?Introduction.
Second edition, 4to, 71[1, errata]pp., presentation inscription "Presented to Sir Thomas Phillipps, Bart. with Dr. Lee's respects, June 11, 1850", caption title, imprint and taken from colophon, Sir Thomas has added in pencil on inner front board "MSS Orientales of Dr Lee, 1850", orig. pink boards, faded, spine chipped. The catalogue has extended to 205 manuscripts for this second edition. "The collection has... enlarged by purchases in London, as will be seen from the references added at the foot of each title."?Introduction. Loosely inserted is a single sheet printed on one side only (265 x 215mm), n.p., c. 1850, lightly foxed, entitled "A Classified Table of the Contents of Dr. Lee's Catalogue of Oriental Manuscripts?", showing in graph form are the subjects of the manuscripts, each language, pages, etc.
- S.n., Paris 1935-1937, (2) 67pp. in-4, en feuilles. - Manuscrit autographe complet et inédit de 67 pages rédigées et foliotées à l'encre noire sur le recto. Chemise autographe portant le titre et les dates : Paris - 25 octobre 1935 et Paris - 21 avril 1937. Didascalies à l'encre rouge et quelques corrections autographes de l'auteur. Adaptation inédite en prose de la tragédie grecque d'Euripide. On y joint un petit dossier de notes et ébauches autographes au crayon, l'Histoire d'Oreste, daté Lapras - 22 juillet 1922. [ENGLISH DESCRIPTION ON DEMAND]
softcover illustree, 230 x 285mm., 256pp., b/w illustration. Exposition de 27.09.1996 - 14.12.1996. Bon etat.
Folio (27,5 x 18,5 cm). (1 blank), (1), 66 pp. With 5 full-page and 2 half-page hand-painted religious illustrations and 9 hand-painted initials on a blue background, heightened with gold and silver. 18th c. gold- and blind-tooled vellum, each board with a blind ornamental centrepiece in a blind-tooled frame, within a larger frame of gold fillets, with a gilt floral design in each of the 6 spine compartments. A manuscript service book for the divine offices of the confraternity of Santa Maria di Passione (Santa Maria della Passione), remarkably illustrated and penned on vellum in a very fine and legible hand, largely imitating roman printing types. It contains seven illustrations, the five full-page examples showing the Virgin Mary: the Pietà, the Annunciation, Mary as the Woman of the Apocalypse, a Madonna and child, and the Assumption of Mary. The two approximately half-page tailpieces serve a more decorative function, representing of six putti on a garland with grape vines and a tree or shrub (laurel?) growing out of a gold vase (the fragments of red and black text on the vase are in mirror image and must have stuck to the paint). All illustrations are hand-painted with gouaches in striking colours. - A divine office, or liturgy of the hours, contains the official set of prayers for the eight canonical hours of the day: matins, lauds, prime, terce, sext, nones, vespers and compline. The day began with the matins at approximately 2 a.m. and ended at 7 p.m. with compline. Each of the offices in this manuscript begins with a hand-painted initial in gold on blue ground with silver foliage; the text of the matins contains an extra initial, bringing the total to nine. Apart from a detailed description and instruction for the offices, the manuscript also contains other instructions and rules to be observed by members of the confraternity, such as the rites for welcoming novices and pilgrims. - The first known mention of the confraternity of Santa Maria di Passione was in 1455; a set of rules ("Ordini riformati della compagniadi santa maria della passione al campanile dei reverendi canonici") has survived from 1565. The confraternity was located in Milan, in a building right next to - or even attached to - the basilica of Sant'Ambrogio called the Oratorio di Santa Maria di Passione. The basilica was built by St Ambrose in the 4th century, and during its long history it has hosted multiple religious communities, some simultaneously. Even after the damage done during the bombing of Milan by Allied forces in 1943, the building still shows this history in the many different chapels and the existence of two towers, one built for the canons located on the north side and one built for the monks on the south side of the basilica. The confraternity was disbanded near the end of the 18th century and the oratory, until then an autonomous building, was bought by the management of the basilica. The oratory was decorated with several frescos, which were auctioned off at the end of the 19th century, including three bought by the South Kensington Museum (now the Victoria and Albert Museum) in London. - Binding slightly soiled. With an owner's label "Sub tutela matris" (under protection of the [holy] mother) and an inscription in Dutch on the front pastedown: "Handschrift met geschilderde prenten. Italiaansch werk op perkament" ("manuscript with painted illustrations. Italian work on vellum"). The vellum leaves vary in colour from white to slightly toned. Illustrations, initials and text leaves generally in good condition except for the initials on pp. 7 and 31; illustration on p. 33 shows some minor soiling. A tear in p. 9 repaired with tape (but text remains legible), lower corners of the leaves show minor signs of wear, otherwise in good condition. Illustrated manuscript written in a very fine, legible hand. An attractive Italian manuscript that provides an insight into the day-to-day religious life of the members of the confraternity of Santa Maria di Passione in Milan and is supplemented with eye-catching, hand-painted illustrations and initials. Cf. A. Rovetta, "Oratorio di Santa Maria della Passione - Cenni storici", in: Oratorio della Passione in Sant'Ambrogio a Milano: Risanamento degli intonaci e restauro degli affreschi (Milan, 2004), pp. 10-17.
8vo. Latin manuscript (brown ink) on paper. Title-page, (3), (1 blank), 115 (not 111), (1 blank) pp., (4 blank leaves), (6) pp. of index. With 8 hand-drawn pen-and-ink, grey wash plates (some folding). Contemporary full calf chipped at extremeties with remains of a giltstamped spine label "...me Pueper". All edges red. Unpublished obstetrics manual, handwritten and fully illustrated by a German physician of the 1740s. The meticulous calligraphy of the headlines, the justified margins and precise paragraph indentations imitate a book printed in a classical Roman typeface, while the text is written in an easily legible, educated and appealingly regular round Latin hand. - The book is arranged in two separate sections, or "treatises": the first, longer one includes all of the illustrations and is more overtly didactic, following a question-answer pattern, while the second one (entitled "De regimine gravidarum, puerperarum, nec non infantum, recens natorum; item, de morbis et affectibus illorum"), provides a more scholarly discussion of specific ailments and treatments of the mother and baby, including medical prescriptions. The various chapters are concerned with signs of pregnancy, how to turn breech babies, caesarean sections, stillbirth, teratology, but also morning sickness, piles, sciatica, and lactation; the fine illustrations include cross-sections of the womb showing the fetus in various positions, the placenta, and the female genital organs as well as a grown-up hermaphrodite displaying ambiguous genitalia, conjoined twins and other freaks of nature. - Franz Adam Wolfgang von Winter was born in Dingolfing, Southern Bavaria, likely some time before 1720. Already equipped with a degree in philosophy, he apparently practised as a physician at Landsberg, some 20 miles distant, before deciding to take the degree of Medical Doctor at the University of Altdorf near Nuremberg. Without previously having studied there, he matriculated on 10 December 1744 as a doctoral candidate and passed his viva five days later (cf. Die Matrikel der Universität Altdorf [Würzburg 1912], p. 582, no. 17465). His inaugural dissertation "De Cautione in Observationibus Physico-Medicis Adhibenda", an investigation of the caution that must apply in medical observations, was printed that same year by J. G. Meyer in Altdorf, with a congratulatory poem by professor Johann Jacob Kirsten. The examination would appear to have been little more than a formality; at least it does not seem to have overly preoccupied the medical student who almost simultaneously found the time to prepare the present manuscript: a long, lovingly illustrated manual abounding with a sort of practical detail quite absent from the same author's very generally worded 17-page dissertation. In the manuscript, Winter calls himself "Phil. & Med. Doct. Phys. t. t. & Practic. in Landsperg, Anno MDCCXLIV", which would date at least the completion of this text within the last two weeks of 1744 following his graduation from Altdorf. Winter's further career must remain the subject of further research: he is not recorded in the biographical dictionaries of noteworthy physicians such as Hirsch & Hübotter and may have died before the middle of the century. - Spine-ends chipped; corners bumped; hinges weak. First gathering loosened; insignificant brownstains to a few leaves, but very well preserved. A charming survival.
xxiii + 305pp., 26cm., in the series "Unione Accademica Nazionale. Corpus Philosophorum Medii Avi. Testi e studi" vol.6, copy from the library of the Belgian medievalist Raymond Macken with his signature, softcover, most pages uncut, very good condition,, ISBN 88-222-3541-X, F75104
xxv + 314pp., 26cm., in the series "Unione Accademica Nazionale. Corpus Philosophorum Medii Avi. Testi e studi" vol.8, copy from the library of the Belgian medievalist Raymond Macken with his signature, softcover, very good condition, ISBN 88-222-3680-7, F75103
xxiii + 305pp., 26cm., in the series "Unione Accademica Nazionale. Corpus Philosophorum Medii Avi. Testi e studi" vol.6, softcover, pages uncut, VG, ISBN 88-222-3541-X
xxxv + 278pp., 26cm., in the series "Unione Accademica Nazionale. Corpus Philosophorum Medii Avi. Testi e studi" vol.5, copy from the library of the Belgian medievalist Raymond Macken with his signature, softcover, very good condition, ISBN 88-222-3476-6, F75105
xxxv + 278pp., 26cm., in the series "Unione Accademica Nazionale. Corpus Philosophorum Medii Avi. Testi e studi" vol.5, softcover, pages uncut, VG, ISBN 88-222-3476-6
xlii + 350pp., 26cm., in the series "Unione Accademica Nazionale. Corpus Philosophorum Medii Avi. Testi e studi" vol.10, copy from the library of the Belgian medievalist Raymond Macken with his signature, softcover, most pages uncut, very good condition, ISBN 88-222-3666-1, F75102
133pp.+ 2 uitslaande platen, uitgave van de 'Koninklijke Vlaamsche Academie voor Taal- en Letterkunde', in-4, goede staat, R51893
133pp.+ 2 uitslaande platen, uitgave van de 'Koninklijke Vlaamsche Academie voor Taal- en Letterkunde', in-4, ingebonden in linnen band (oorspr.omslag bewaard), stempeltje, mooie staat, R33414
Very Good English Paperback. Roy. 8vo. (23 x 16 cm). In English. 68 p. Rare. On the miniatures in Istanbul libraries.