JACOLLIOT LOUIS.MareMagnum
DINET E - Sliman BEN IBRAHIMMareMagnum
L'Orient vu de l'Occident. Essai critique
H Piazza - H Geuthner, sans date - 1921. In-12 carré broché de 104 pages. Frontispice. Avec envoi. Très Bon état
340 résultats
In 16°,mezza tela con angoli moderna, pp. (4), 357, (3), con illustrazioni f.t. b/n; buon esemplare, lievissime e sporadiche fioriture, conservato il piatto anteriore della brossura editoriale. (ZD6/A) (ZD6/A)
New New Turkish Original bdg. Dust wrapper. Roy. 8vo. (24 x 17 cm). In Turkish. 350 p., color and b/w ills., and 1 CD. History of the English Schools in Istanbul.
New English Paperback. 4to. (29 x 24 cm). Edition in English. 335 p., color ills. Ten thousand years of Iranian civilization, two thousand years of common heritage. [Exhibition catalogue]. Topkapi Palace Museum, Imperial Stables, December 2, 2009 - February 5, 2010. "The exhibition featured nearly 300 artifacts from Topkapi Palace Museum and National Museum of Iran as well as collections from Istanbul Archeology Museum, Sadberk Hanim Museum and the Military Museum of Istanbul. Within the scope of this exhibition, Turkey-Iran relations were assessed with references to political, economic and cultural contexts. This exhibition revealed collections pertaining to Iranian civilization which were not exhibited in Turkey ever before.".
New English Paperback. Pbo. 4to. (28 x 24 cm). In English. 181 p., color and b/w ills. Since its earlier periods, The Ottoman Empire has established intense relations with European states. Urged by curiosity and a certain degree of fear at times, the West's efforts, on the other hand, to be acquainted with and understand this government of immense military power and source of political authority, emerged as a political exigency. Undoubtedly, the encounter of markedly different cultures bore the most enduring fruit within the realm of arts. Wars, the increase of trade as a means for mutual prosperity, and conflicts of status were the most significant factors behind the intense traffic of diplomacy. Sprawled across a vast geography, the Ottoman Empire welcomed more ambassadors than it sent to other countries, and particularly until the 19th century; these ambassadors were embraced, per Ottoman tradition. In turn, western ambassadors were prompted by the need to document the cities, particularly Istanbul, social structure, customs, administrative and military organization of the Ottoman Empire; apart from the reports they drafted upon their return, they also took advantage of the gifts and paintings they carried along. Often presumed to be true-to-life visual documents, such paintings thus became the most evident expressions of respectability and social status, and attained a special place and meaning, partly due to their potential to address the masses. The works that ambassadors commissioned to artists they added to their retinue en route to the East or to their local counterparts they encountered during service, evolved into books with engravings or collections decorating the walls of European chateaus, and served as source material for works by other artists, thus generating a large visual repertoire on the Ottoman world. Ottoman ambassadors sent to European countries were subjects of monumental portraits painted by leading European artists of the period, immortalizing these historic visits. This selection from the Suna and Inan Kiraç Foundation Orientalist Painting Collection, not only allows us to travel across the meandering paths of diplomatic history under the guidance of art, but it also introduces us to intriguing personalities. Ambassadors and painters continue to communicate with us through a silent yet equally rich and colourful language of expression, presented in their reports and letters, and share with us their respective periods, worldviews, travels and experiences, as well as the ceremonies they joined. Listening to their extraordinary tales, it is impossible not to be enraptured by the splendor and elegance of a lost age. Often used as one of the clearest indications of status and identity in western art since Antiquity, portraits also served a similar purpose for ambassadors. Furthermore, documenting the physiognomy of ambassadors through portraiture was also regarded as a precautionary measure against espionage. Portraits were painted of European ambassadors sent to the Ottoman Empire as high-level officials that have attained great respectability; artists to which these portraits were commissioned strived to reflect not only the physiognomy of the ambassadors, but the power and authority of the state and the ruler they represented. The Ottoman State's political, military, commercial, and cultural relations with European states gained momentum from the 18th century onwards. In turn, the visits Ottoman ambassadors paid to western countries accelerated the spread of the Turquerie fashion of the period. While portraits of Ottoman ambassadors painted by renowned artists of the countries to which they were assigned served to honor the Ottoman Sultan and his representative, they also nurtured the West's penchant for exoticism. There is no doubt that the ever-changing trends, fashions, as well as the purpose of diplomatic visits and political relations were reflected in the portraits. For example, while Kozbekçi M
New English Paperback. Pbo. 4to. (29 x 21 cm). In English and Turkish. 208 p., color ills. "An Orientalist painter who lived almost half a century in Istanbul up to his death, Leonardo de Mango is described by the art commentator Thalasso as, a painter through whom the East spoke. De Mango was born on 19 February 1843, the eldest child of a large family in the town of Bisceglie near Bari in Italy, where he honed his native talent for drawing up to the age of nineteen. In 1862, under the patronage of an aristocratic family of Bari, he entered the Academy of Fine Arts of Naples and studied there for eight years under Filippo Palizzi and of Domenico Morelli. Morelli was also a painter who treated exotic orientalist themes. During this period de Mango also worked with Saverio Altamura, Bernardo Celentano, Raffaele d'Auria, Federico Maldarelli, Raffaele Postiglione and Giuseppe Mancinelli. In 1883 De Mango settled in Istanbul during the reign of Sultan Abdul Hamid II, where he is known to have set up, and taught for some time at, the oil painting department of the School of Fine Arts. Forced to leave Istanbul briefly in 1911 during the Tripolitanian War, the artist returned to the city following the Treaty of Ouchy on 15 October 1912. De Mango was among the artists who, at the initiative of Alexander Vallaury, a teacher in the architecture department of the School of Fine Arts, and Regis Delbeuf, manager of the Istanbul daily Le Stamboul, organized the first painting and sculpture exhibition at Beyoglu in 1901, dubbed the 'Pera Exhibitions in the Passage Oriental', an arcade owned by the French merchant Bourdon. With 27 works, De Mango was the most well represented artist in the exhibition, as he was again in the 1920 exhibition when he was one of 36 artists, participating with 33 of his own paintings. De Mango also had 16 paintings in the last of the Pera exhibitions, which was held in 1903. He painted in the open air and in his workshop at Beyoglu, reflecting the daily life of the different districts of Istanbul until his death in 1930.". Contents: Erol Makzume "The 75th anniversary of the death of an orientalist painter from Pera, Leonardo de Mango"; Roberta Ferrazza "Leonardo de Mango and the Italian community in Istanbul"; Bianca Consiglio "Portrait Painter Leonardo de Mango"; Piero Consiglio - Giacinto La Notte "Leonardo de Mango stages in a life divided between East and West"; Catalogue.
New New English Original bdg. Dust wrapper. 4to. (30 x 24 cm). In Turkish. [xv], [4], 342, [1] p., color and b/w ills. Istanbul karsilasmalari: Osmanlilar, oryantalistler ve 19. yüzyil görsel kültürü. [= Istanbul exchanges: Ottomans, orientalists, and Ninteenth-century visual culture]. Translated by Zeynep Rona.
As New Turkish Paperback. Mint. Cr. 8vo. (20 x 14 cm). In Turkish. 126 p., facsimile plates of original manuscript. Harem-i Hümayun (Inceleme - metin - tipki basim). Signed and inscribed by Zal. Transcription, facsimile and translation into modern Turkish of Harem-i Humayun manuscript written in 17th century preserved in Carolina Rediviva Library of Uppsala University in Sweden. This is one of 12 manuscripts gifted in 1891 to King Oscar [Frederik] II of Sweden by Turkish / Ottoman sultan Abdülhamid II. "Harem-i Humayun" contains mankibahs (legendary tales) of Selim I (Yavuz Sultan Selim), (1465-1520) in 16th century.
New New English Original bdg. Dust wrapper. 4to. (30 x 24 cm). In English. 343 p., color and b/w ills. The Sultan's procession: The Swedish embassy to Sultan Mehmed IV in 1657-1658 and the Rålamb paintings. In 1657, King Charles X Gustaf of Sweden sent Claes Ralamb as an envoy to Sultan Mehmed IV's court. While he was there, Ralamb commissioned 20 large paintings in oil on canvas, depicting an imperial procession through Istanbul in September 1657, providing a revealing insight into the court of Sultan Mehmed IV in Ottoman Turkey. For the first time, Ralamb's paintings are published here in "The Sultan's Procession". This beautifully illustrated book - containing over 150 colour illustrations - comprehensively covers the full history of the paintings, including a technical analysis from the conservation of one of the paintings. The book also provides a full history of Claes Ralamb and his mission, including the political background of the Swedish embassy, Ralamb's biography and English translations of primary sources in Swedish and Turkish archives. Among the illustrations are over 100 watercolours of people in the Ottoman society from the costume album acquired by Ralamb in Istanbul. These unique Ralamb paintings provide a rare window into life at the Ottoman court in the 17th century.
727pp., text in latin, 23cm., orig.softcover, VG, X58592
Fine English Paperback. Pbo. Small 4to. (27 x 19 cm). In French. 76, [3] p., ills. Reprint of 1909 Edition. L'art Ottoman. Les peintres de Turquie.
New French Original bdg. HC. Folio. (38 x 26 cm). In French and Turkish. Text 24 pp. Folded panorama. 1928 panorama de Smyrne.= 1928 Izmir panoramasi. Text by Siren Bora. Reprint of panoramic photograph of Izmir city (Smyrna) in 1928 which was taken by Hamza Rüstem who is famous Turkish photographer from Izmir.
New New Persian Original bdg. Dust wrapper. Roy. 8vo. (24 x 17 cm). Text in Persian wih bilingual title in German and Persian on the cover. 570 p., ills. and maps. [Partherreich und seine Zeugnisse].= Imparâtûri-yi Ashkânî va asnâd va manâbi'-i ân: Majû'ah-i maqâlât.
In 8°, tutta tela con sovraccoperta editoriale illustrata, pp. 285, (3); esemplare molto buono, lievi bruniture ai soli risguardi. (ZB3/A) (La spedizione standard è SEMPRE tracciata con raccomandata - piego di libri, eventuale FATTURA da richiedere all'ordine) (ZB3/A)
Very Good English In modern very aesthetic cloth bdg. Roy. 8vo. (23 x 16 cm). In German. [xii], 272 p. Das iranische Erlösungsmysterium. Vorwort., Berichtigungen und Nachtrage., Einletiung.; Manichaische Fragmente: Ein neues Zarathustra-Fragmnent., Die grosse Totenmess., Das grosse Erlönsungsmysterium., Der Bericht des Fihrist. Zum mandaischen Totenbuch und verwandten Texten.; Religionsgeschichtliche Folgerungen und Ausblicke., Aion und ewige Stadt.: Das Zwölf-Stunden-Mysterium., Der Ew,gkeitsgott im Orient., Der alexandrinische Aion., Die ewige Stadt., Religiongeschichtliche Folgerungen.; Liturgie and Marchen: Register. MIDDLE EAST Iran Persian culture Manichaeism History of the religions Mysticism.
Fine English Original bdg. HC. 4to. (28 x 20 cm). In English and Turkish. 315, [4] p., color and b/w ills. Portraits of Ottoman Empire's sultans.= Padisah portreleri.
This is a very good hardcover copy with just light wear. Completely clean inside and out. Text in French. Illustrated throughout in color with many color plates and a few black & white. Biographical sketches of each painter. White silk page-mark present. 11" high X 10" wide, 264 pages. Large heavy book, foreign shipping will be extra. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.
H Piazza - H Geuthner, sans date - 1921. In-12 carré broché de 104 pages. Frontispice. Avec envoi. Très Bon état
(Pittori veneziani ed Impero Ottomano - Oriente nella pittura veneziana - Gentile Bellini - Vittore Carpaccio - Turchia) In 8°, legatura coeva in mezza pelle con punte, dorso a 3 nervi con titolo in oro, carta marmorizzata policroma ai piatti, pp. (6),192,(2), con 14 disegni nel testo e XVI tavole in bianco e nero fuori testo. Bell'esemplare, ben conservato.
(Viaggi - Asia centrale - Tibet - Orientalisti italiani) In 8°, legatura editoriale in piena tela color amaranto con titoli in bianco impressi al piatto anteriore, sovraccoperta illustrata a colori, un ritratto dell'autore di Carlo Levi al risvolto posteriore, pp. XI,(5),278,(2), con una tavola in antiporta (cartine geografiche) e 60 tavole fuori testo con immagini fotografiche in bianco e nero ed a colori scattate da Fosco Maraini durante le spedizioni in Tibet nel 1937 e nel 1947 al seguito di Giuseppe Tucci. Presentazione di Bernard Berenson. Collana "All'Insegna dell'Orizzonte" (1). Seconda edizione, finita di stampare il 10 dicembre 1954 dalla Zincografica Fiorentina. Ottimo stato di conservazione.
In 8° grande, tutta tela con sovraccoperta editoriale illustrata, pp. XXIV, 296, (6), con illustrazioni n.t. b/n e 26 tavole illustrate f.t. b/n; esemplare molto buono, strappetti e lievi mancanze alla sola sovraccoperta, taglio superiore in turchese. (ZA04/A)
(Viaggi - Ottocento - Turchia - Istanbul ottocentesca - Illustratori orientalisti italiani) In 8° grande, legatura coeva in mezza pelle nera, al dorso titoli e fregi ornati impressi in oro, piatti in pecallina ocra scuro, pp. (6),612, ritratto di Edmondo De Amicis in antiporta, frontespizio figurato in cui una galleria di personaggi fa da contorno al Ponte di Galata affollato di gente, numerose illustrazioni a piena pagina e vignette xilografiche di Cesare Biseo nel testo. Seconda edizione illustrata. Nota di possesso al recto dell'occhiello. Volume solido e ben conservato.
(Viaggi - Cina - Orientalismo) In 8°, legatura novecentesca in mezza pelle color ocra, al dorso titoli ed impressioni in oro, carta marmorizzata policroma ai piatti, pp. (4),162,(2), frontespizio con titoli entro bordura a fregio, testatine, capolettera e finalini tipografici ornati, 31 illustrazioni di cui 11 intercalate nel testo e 20 a piena pagina. Ottimo stato di conservazione.
in-4 (25 x 32 cm), 181 pages, correspondance, index, reliure pleine toile Edit., jaquette illustree.— Tirage à 3000 exemplaires numerotes. Accrocs a la partie sup. de la jaquette sin. bel exemplaire. [VU-8] Toutes les œuvres référencées, dessins, peintures, gravures, sont reproduites en noir ou en couleurs.
Fine Fine English Original bdg. Dust wrapper 4to. (28 x 20 cm). In English and Turkish. [viii], 351, [9] p., b/w and color ills. The Ottoman palace women (Women in Turkey).= Osmanli saray kadinlari (Türkiye'de kadin). Ottoman palace women is the third volume of study entitled Women in Turkey, and is a detailed and documentational account of how women of many races, faiths and creeds entered palace service, and of their lifestyles from the humblest to those who attained the coveted position of favourite of wife to the sultan. It was impossible for anyone but the members of the sultan's own household to see and describe the harem of the Ottoman palace. That is why, with rare exceptions, the portrayals of palace officials, female slaves, odalisques, favourites, wives and sultan mothers by foreign artists who visited Istanbul at various times are mere figments of the imagination and as such are interesting testimony to the power of imagination and artistic ability of European painters...".
London, Bernard Quatrich 1897. Fort et grand in 8 relié toile verte éditeur. 662 pages. Illustrations et cartes dépliantes. Bon état.
