340 résultats
Very Good German Original cloth bdg. Boards with European marbling. 4to. (26 x 22 cm). In German. 147, [3] p. Muhammed's Religion nach ihrer inneren Entwicklung und ihrem Einflusse auf das Leben der Völker. Eine historische Betrachtung. First Edition. Rare.
xxiv + 238pp.avec un frontispice en couleurs, dans la "Collection orientale tome XVI" 2e série tome II, 45cm., couv.cart. (dont le dos original manque - à restaurer, coins touchés), texte en français, intérieur en bel état, "imprimé pour l'exposition universelle de 1890", contient 2 ex-libris de Arthur Christian (Paris), [cet ouvrage est tome I contenant la traduction française, T.II.contenant le texte uigur en facsimile manque]
Very Good English Modern full dark red leather bound with traditional embossing. Roy. 8vo. (23 x 16 cm). In German. [viii], 351 p. First German Edition. This copy from Zeki Velidi Togan's library. Ármin Vámbéry, also known as Arminius Vámbéry was a Hungarian Turkolog and traveller. Vámbéry was especially attracted by the literature and culture of the Ottoman Empire including Turkey. After spending about a year in Constantinople, he published a German-Turkish dictionary in 1858. Later, he also published various other linguistic works. He also learned some twenty other Turkish languages and dialects. Returning to Budapest in 1861, he received a stipend of a thousand florins from the academy, and in the autumn of the same year, disguised as a Sunni dervish, and under the name of Reshit Efendi, he set out from Constantinople. His route lay from Trebizond on the Black Sea to Tehran in Persia, where he joined a band of pilgrims returning from Mecca, spending several months with them traveling across Central Iran (Tabriz, Zanjan, and Kazvin). He then went to Shiraz, through Ispahan, and in June, 1863, he reached Khiva (Central Asia). Throughout this time, he succeeded in maintaining his disguise as "Reshit Efendi," so that upon his arrival at Khiva he managed to keep up appearances during interviews with the local khan. Together with his band of travelers, he then crossed Bokhara and arrived at Samarkand. Initially, he aroused the suspicions of the local ruler, who kept him in an audience for a full half-hour. Vámbéry managed to maintain his pretences, and left the audience laden with gifts. Upon leaving Samarkand, Vámbéry began making his way back to Constantinople, traveling by way of Herat. There he took leave of the band of dervishes and joined a caravan to Tehran, and from there, via Trebizond and Erzurum, to Constantinople, arriving there in March 1864. This was the first successful journey of its kind undertaken by a European; and since it was necessary to avoid suspicion, Vámbéry could not take even fragmentary notes, except by stealth. After a long and perilous journey he arrived back at Pest in May 1864. He went to London to arrange the English language publication of his book about the travels. "Travels in Central Asia" and its Hungarian counterpart "Közép-ázsiai utazás" were published in 1865. Thanks to his travels Vámbéry became an internationally renowned writer and celebrity. He became acquainted with members of British social elite. The Ambassador of Austria in London gave him a letter of recommendation to the Emperor, who received him in an audience and rewarded Vámbéry's international success by granting him professorship in the Royal University of Pest.
Very Good English Original autograph letter signed by Vladimir Fedorovich Minorsky, sent to Turkish professor and historian Osman Turan, (1914-1978), was born in year when World War I started. He had some bad conditions in his childhood. Being in Ankara in years when DTCF established was a great chance for him. He was trained by Fuat Köprülü. His studies in the first period were about pre-Islamic Turkish history. But his studies after he became associate-professor were about Seljukians. There isn't a better studying in this field yet than his studies. (Source: Osman Turan's Life (1914/17 - 1978) and Historiography, Tufantoz). Letter has 12 lines in front, and 4 lines on verso, in English completely. It has a plan of a library, probably in the UK which shows Trinity and Sydney Colleges, etc. Letter says: "Dear Dr. Turan, Very good. We shall be waiting for your on Friday. If you are not engaged come andd have lunch with us at 12.45. If you cannot come at 2.30 and I shall show you the Library. Looking forward to meeting you. Yours sinccerely, V. Minorsky'. "When you come to No 9 push the door in front of you...". Repaired margins. Minorsky was a Russian Orientalist best known for his contributions to the study of Persian and Kurdish history, geography, literature, and culture. Minorsky was born in Korcheva, in the Konakovsky District of the Russian oblast of Tver, northwest of Moscow on the upper Volga River, a town now submerged beneath the Ivankovo Reservoir. There he was a gold medallist of the Fourth Grammar School. In 1896 he entered Moscow University to study law, graduating in 1900, then entered the Lazarev Institute of Oriental Languages where he spent 3 years preparing for a diplomatic career. He made his first trip to Iran in 1902, where he collected material on the Ahl-e Haqq. In 1903 he entered the Russian Ministry of Foreign Affairs, serving 1904-1908 in Persia (now Iran), first in the Tabriz Consulate-General and then the Tehran Legation, and 1908-1912 in Saint Petersburg and Tashkent. In 1911, jointly the Four-Power (British, Russian, Turkish, and Persian) Commission, he carried out a mission in North-Western Persia to delimit the Turko-Persian border, and also published a monograph on the Ahl-i ?aqq religion for which he was awarded the Gold Medal of the Ethnography Section of the Imperial Society of Natural Sciences in Moscow. One of the most important Kurdish manuscripts he obtained during this period was The Forqan ol-Akhbar, by Hajj Nematollah, which he later wrote about in "Etudes sur les Ahl-I Haqq, I.", Revue de L'Histoire des Religions, tome XCVII, No. 1, Janvier 1928, pp. 90-105. His surveys in Iran also provided invaluable material for his 1915 work, Materialï dlya izucheniya vostoka (Materials for the Study of the East), published by the Imperial Russian Ministry of Foreign Affairs, St. Petersburg. From 1915-17 he served as Chargé d'affaires in the Russian Legation at Tehran. As the Bolshevik Revolution of 1917 made problematic his return to Russia, in 1919 he moved to Paris where he worked at the Russian Embassy. There his expertise in Middle Eastern and Caucasian affairs was useful during the Versaille and Trianon peace settlements. In 1923 he began to lecture on Persian literature at the École nationale des langues orientales vivantes, where he subsequently taught Turkish and Islamic history. In 1930 he was named Oriental Secretary to the 1931 International Exhibition of Persian Art at Burlington House, London, and in 1932 was made a lecturer in Persian at London's School of Oriental Studies. In 1933 he became Reader in Persian Literature and History, University of London; Professor of Persian in 1937; and in 1944 retired. During World War II, SOAS had evacuated to Christ's College, University of Cambridge, and there the Minorskys retired apart from a year (1948-49) at Fuad University, Cairo. In 1934 Minorsky was one of the distinguished participants in the Ferdowsi Millenary Celebration in Tehran. Minorsky received n
In 8° (18,8x11,6 cm); due tomi: VIII, 319, (1) pp. e 2 grandi c. di tav. più volte ripiegate, 188 pp. Legature coeve in piena pergamena rigida con titolo e numero del volume al dorso. Tagli spruzzati. Qualche carta con leggere bruniture dovute alla qualità della carta utilizzata. Esemplare completo anche delle due carte spesso assenti ed in buone-ottime condizioni di conservazione. Prima edizione italiana di questa importante studio dedicato all’India ed al commercio con essa, scritta dal noto storico, storiografo, teologo scozzese William Robertson (Borthwick, 19 settembre 1721 – Edinburgo, 11 giugno 1793). Rettore dell’Università di Edimburgo per quasi trent’anni, ha dato contributi notevoli alla storia dell’sud America, della Spagna e della Scozia stessa. Cappellano del Castello di Stiriling, fu anche cappllano del re in Scozia. Fedele presbiteriano e un whig, si offrì volontario per difendere la città contro i giacobiti guidati dal principe Carlo Edoardo Stuart nel 1745. Nel 1754 fu un membro originale della Select Society, indicata anche come la Edinburgh Select Society. Le sue opere “Storia della Scozia fra il 1542 e 1603” (1759) e “Storia d’America” (1777), sono considerati alcune delle opere storiche più importanti del settecento. Figura preminente dell’illuminismo scozzese, fu tra i fondatori della Royal Society di Edimburgo. Nel 1791, il celebre storico scozzese, William Robertson, pubblicò il suo ultimo lavoro, “An Historical Disquisition concerning the Knowledge which the Ancients had of India”, nel quale esplorò i collegamenti commerciali e culturali dell'India e dell'Occidente dai tempi antichi fino alla fine del il XV secolo. Questo studio è considerato fra i primi esempi del movimento "orientalista" britannico e dello studio dell'espansione del dominio britannico in India. Per certi versi il suo lavoro che pur rifletteva i presupposti e gli approcci della scuola orientalista britannica, probabilmente anche in risposta alle critiche mosse a Robertson secondo le quali la sua precedente Storia dell'America era stata troppo sprezzante nei confronti delle culture amerindi, andò oltre rispetto a molti orientalisti nella sua interpretazione positiva della cultura indiana e della loro opposizione a una politica imperiale interventista e repressiva. In effetti, il lavoro era in gran parte diretto a preservare l'antica e sofisticata civiltà indiana dall'imperialismo culturale occidentale. La visione favorevole di Robertson su ciò che percepiva come credenze monoteiste alla base dell'induismo “classico”, rivela molto sui suoi atteggiamenti religiosi come sacerdote e leader del partito “moderato” nella Chiesa di Scozia. La sua storia dell'India verrà sottovalutata in Gran Bretagna (nonostante le sue grandi vendite), in gran parte, non per il valore dell’opera in sé, indubitabile, ma per la situazione politico, religiosa e sociale del Regno Unito dell’epoca. Le sue tesi sull'induismo e la sua critica delle missioni cristiane, non potevano che esser in contrasto con la crescente ondata di risveglio evangelico che stava vivendo in quegli anni il suo paese natale. Tuttavia, la sua opera, grazie anche alle numerose traduzioni, venne lentamente recuperata e valorizzata, con il passare degli anni, arrivando ad avere un ruolo di primaria importanza nel promuovere l'interesse per l'India, nel continente europeo e rappresentò uno dei risultati più significativi del tardo illuminismo scozzese. Prima edizione italiana, completa e non comune. Rif. Bibl.: ICCU IT\ICCU\NAPE\010474.
Very Good English Original cloth bdg. 4to. (28 x 21 cm). In Russian text and Chagatai Turkish (Arabic letters) facsimile of original manuscript. 2 volumes set: (74, [1], 400, [4] p.; [4], 401-1115, [7] pp.). Beda'î'-ul-veka'i' (Udivitelnie sobiti). 2 volumes set. Edited by A. S. Tveritinovoy. Dogu halklari edebî abideleri. Metinler, Büyük seri: 14. Özege: 24114. Extremely rare.
Very Good Turkish Original fine photograph. 55x54 cm. Framed. Signed by Kortan Tümerdem and Emine Öztekin on verso, on a card.
New English Original cloth bdg. by Legatoria Rigoldi SNC. Oblong folio. (36 x 47 cm). In English. 16, [1] p. text,1 full paged b/w map in text (Byzantivm nunc Constantinopolis), 8 folding color plts. of panoramic views made by Zacharias Wehme in 1582 from an album in the Sachsische Landesbibliothek Dresden (Mscr. J 2a). 1100 copies were printed in Italy. Numbered copy. 357/1100. Printed on handmade paper by Cartiere Enrico Magnani S.p.A. Preface.; Historical setting.; Images of Istanbul, I: A wedding procession. II: Entertainment in a Harem (women dancing and playing dance music). III: Ladies going to a bathhouse. IV: An imperial residence. V: Arrival of the Crimean Embassy. VI: Sultan embarking on a hunt. VII: Sultan going to Friday prayer. VIII: Procession of the Queen Mother. Images of imperial Istanbul. Facsimile Edition of eight panoramic views made by Zacharias Wehme in 1582 from an album in the Sachsische Landesbibliothek Dresden (Mscr. J 2a). Published by Ahmet Ertug. Photographic reproduction of originals by C. Hüttel. Translation of captions from German by Ali Özdamar.
Text in French. This is a very good copy of this portfolio in green paper-covered boards, containing 16 pages of text and notes and 30 photographic plates and 6 hand-colored watercolor plates. The text and plates generally very good, 2 plates with some foxing. The portfolio has some damp marks to the top corners, otherwise very good. This work appears to be a record of the author's collection of architectural elements and decorative art from his many excursions to the Orient. The photos appear to be of the author's own quarters at 30 Rue des Mathurins. A late work of undoubted "Orientalism", it sets out to create an atmosphere of The Thousand and One Nights. The 6 watercolor plates depict a man and a woman in Persian costume, inside the sumptuous dwelling, in romantic, but very chaste encounters. Absolutely charming work. Folio, 13" high X 10" wide. Quite rare among d'Allemagne's works. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.
Very Good Turkish Original silver gelatin photographic print mounted on cardboard. 53x42 cm (Photo size: 38x30 cm). Signed by Yildiz Moran. Yildiz (Vahid) Moran Arun was born on 24 July 1932, in Istanbul. She is the youngest of three children born to Nemide Moran and Ahmet Vahid Moran. Her father, Ahmet Vahid Moran, was a military officer who served in important positions both at home and abroad. He was the writer of Turkey's very first English-Turkish dictionary printed in Latin script in 1924. In 1950, Yildiz Moran quit her high school education during her final year at Robert College and, following the guidance of her uncle, the art historian Mazhar Sevket Ipsiroglu, went to Great Britain to study photography. After completing her education at Bloomsbury Technical College (1950-52) and Ealing Broadway Technical College, she began to work for John Vickers, the acclaimed photographer of The Old Vic. Moran combined her technical and theoretical knowledge with the practical experience she gained at the studio and stage shoots. She had the opportunity to meet famous artists of the time. The exhibitions and works she saw during her time in Great Britain helped her develop her photographic vision. Following her internship period, she began to make a living taking portrait and lobby photographs. She opened her first exhibition in 1953 in Cambridge. In 1954, she held four more exhibitions in London. All these shows attracted much attention. In her first exhibition, her entire collection was sold. She went traveling in Europe. After making a photo book on Spain and Portugal, she returned to Turkey in 1954. Between 1955 and 1962, she held five solo exhibitions. In 1963, she married Özdemir Asaf (Halit Özdemir Arun) and gave birth to three children in four years. She dedicated the rest of her life to her children. She opened her last exhibition in 1970, in Istanbul. After that, she only took part in retrospective exhibitions. She quit her professional photography career and began to work as a translator and dictionary writer. Between 1981 and 1987, she prepared the complete works of Özdemir Asaf for publication and translated some of his poetry and prose into English. In 1982, the Istanbul State Academy of Fine Arts Photography Institute awarded her honorary membership on account of her contributions to the art of photography. Lyrically conveying a universal language through her own perspective, Moran became a school in herself with her "timeless" photographs. Turkey's first academically-trained photographer, Yildiz Moran is renowned for the new vision and aesthetic she introduced into photography and is considered to be one of the best photographers of all time. Masterfully combining the tradition of the East with the aesthetic of the West, she left behind a legacy of black and white photographs beautifully composed to capture the world of light and shadow reflecting on people and lands. Considering the conditions in the world of photography in the 1950s and 1960s, it is a great achievement that she defined the age of 20 her passion for photography as the foundation of her life, became the first academically-trained woman photographer in her country, acquired in-depth knowledge of the discipline and combined this knowledge with her talent and hard work. "The camera must be like an extension of your being so that it doesn't create an obstruction between you and your subjects. Anything that has poetry in it is the subject of photography. My only intention has always been to photograph what was universal while staying true to the concept embodied by my subject." Besides her portraits, landscapes, and abstract details, she is also known for her photographs reflecting the lives of the Anatolian people. As a woman photographer traveling in Anatolia, she accessed otherwise inaccessible environments, moments, and perspectives; and, with profound respect, she conveyed the purity of the people she met there and allowed us... (Biography: Merih Akogul).
PART OF WORDS, IN THESE NINE LANGUAGES, VIZ. 1. ENGLISH. 2. LOW DUTCH. 3. HIGH DUTCH. 4. FRENCH. 5. ITALIAN. 6. SPANISH. 7. LATINE. 8. GREEKE. 9. HEBREW, &C. ... BY THE INDUSTRIE, STUDIE, LABOUR, AND AT THE CHARGES OF IOHN MINSHEU PUBLISHED AND PRINTED. 22o. IULY, ANNO 1625. SECOND EDITION. 2nd edition, revised. Later Cloth, folio (26 x 40 cm), [1], 760 double-columns [ie 380 pages]. Title page is within an ornamental border. Printed i Black, Roman, Italic and Greek and Hebrew letters with side notations (printed margin notations). Includes three ornate woodcut headpieces and initials. This is the 2nd and most thorough edition of Minsheu's polyglot dictionary with "The Reasons and Derivations of all or the most part of words" in English, Dutch, German, French, Italian, Spanish, Latin, Greek, and Hebrew, along with historical explanations and usage samples. This edition includes proper names "of the Bible...Countries, Cities, Townes, Hilles, Rivers, Flouds, Promontaries, Ports, Creekes, Islands, Seas, Men, Women, Gods, Peoples, and other things of note" as well as an "Exposition of the Termes of the Lawes of this Land...with the description of the Magistracies, Offices and Officers" which was evidently aiming for the growing market in legal texts. The work serves for scholars today as s a dictionary of day to day English at the start of the 17th Century, and is of immense help in understanding the speech in the works of Johnson and Shakespeare. We also learn here that the word 'nicotine' is from Jean Nicot who in 1560 brought tobacco to France. Lowndes IV 1570: "Minsheu's guide is a very important work and has furnished great assistance to subsequent lexicographers. Todd...This edition is by some prefered for its additions and corrections." Alden 627/76; "An etymological dictionary with definitions and sources for numerous words relating to the Americas (617/93). Alston II 107. c.v. F. B. Williams "Scholarly Publications in Shakespeare's Day." Name of previous owner [John Hammiher (?) Major] on title, beautiful clean paper with good margins and strong binding, Very Good Condition in modern binding, a very nice copy. (AC-23-1)
Very Good Turkish Original silver gelatin photographic print mounted on cardboard. 53x42 cm (Photo size: 38x30 cm). Signed by Yildiz Moran. Yildiz (Vahid) Moran Arun was born on 24 July 1932, in Istanbul. She is the youngest of three children born to Nemide Moran and Ahmet Vahid Moran. Her father, Ahmet Vahid Moran, was a military officer who served in important positions both at home and abroad. He was the writer of Turkey's very first English-Turkish dictionary printed in Latin script in 1924. In 1950, Yildiz Moran quit her high school education during her final year at Robert College and, following the guidance of her uncle, the art historian Mazhar Sevket Ipsiroglu, went to Great Britain to study photography. After completing her education at Bloomsbury Technical College (1950-52) and Ealing Broadway Technical College, she began to work for John Vickers, the acclaimed photographer of The Old Vic. Moran combined her technical and theoretical knowledge with the practical experience she gained at the studio and stage shoots. She had the opportunity to meet famous artists of the time. The exhibitions and works she saw during her time in Great Britain helped her develop her photographic vision. Following her internship period, she began to make a living taking portrait and lobby photographs. She opened her first exhibition in 1953 in Cambridge. In 1954, she held four more exhibitions in London. All these shows attracted much attention. In her first exhibition, her entire collection was sold. She went traveling in Europe. After making a photo book on Spain and Portugal, she returned to Turkey in 1954. Between 1955 and 1962, she held five solo exhibitions. In 1963, she married Özdemir Asaf (Halit Özdemir Arun) and gave birth to three children in four years. She dedicated the rest of her life to her children. She opened her last exhibition in 1970, in Istanbul. After that, she only took part in retrospective exhibitions. She quit her professional photography career and began to work as a translator and dictionary writer. Between 1981 and 1987, she prepared the complete works of Özdemir Asaf for publication and translated some of his poetry and prose into English. In 1982, the Istanbul State Academy of Fine Arts Photography Institute awarded her with honorary membership on account of her contributions to the art of photography. Lyrically conveying a universal language through her own perspective, Moran became a school in herself with her "timeless" photographs. Turkey's first academically-trained photographer, Yildiz Moran is renowned for the new vision and aesthetic she introduced into photography and considered to be one of the best photographers of all time. Masterfully combining the tradition of the East with the aesthetic of the West, she left behind a legacy of black and white photographs beautifully composed to capture the world of light and shadow reflecting on people and lands. Considering the conditions in the world of photography in the 1950s and 1960s, it is a great achievement that she defined at the age of 20 her passion for photography as the foundation of her life, became the first academically-trained woman photographer in her country, acquired in-depth knowledge of the discipline and combined this knowledge with her talent and hard work. "The camera must be like an extension of your being so that it doesn't create an obstruction between you and your subjects. Anything that has poetry in it is the subject of photography. My only intention has always been to photograph what was universal while staying true to the concept embodied by my subject." Besides her portraits, landscapes, and abstract details, she is also known for her photographs reflecting the lives of the Anatolian people. As a woman photographer traveling in Anatolia, she accessed otherwise inaccessible environments, moments, and perspectives; and, with profound respect, she conveyed the purity of the people she met there and allowed us... (Biography: Merih Akogul).
Very Good Turkish Original silver gelatin photographic print mounted on cardboard. 53x42 cm (Photo size: 38x30 cm). Signed by Yildiz Moran. Yildiz (Vahid) Moran Arun was born on 24 July 1932, in Istanbul. She is the youngest of three children born to Nemide Moran and Ahmet Vahid Moran. Her father, Ahmet Vahid Moran, was a military officer who served in important positions both at home and abroad. He was the writer of Turkey's very first English-Turkish dictionary printed in Latin script in 1924. In 1950, Yildiz Moran quit her high school education during her final year at Robert College and, following the guidance of her uncle, the art historian Mazhar Sevket Ipsiroglu, went to Great Britain to study photography. After completing her education at Bloomsbury Technical College (1950-52) and Ealing Broadway Technical College, she began to work for John Vickers, the acclaimed photographer of The Old Vic. Moran combined her technical and theoretical knowledge with the practical experience she gained at the studio and stage shoots. She had the opportunity to meet famous artists of the time. The exhibitions and works she saw during her time in Great Britain helped her develop her photographic vision. Following her internship period, she began to make a living taking portrait and lobby photographs. She opened her first exhibition in 1953 in Cambridge. In 1954, she held four more exhibitions in London. All these shows attracted much attention. In her first exhibition, her entire collection was sold. She went traveling in Europe. After making a photo book on Spain and Portugal, she returned to Turkey in 1954. Between 1955 and 1962, she held five solo exhibitions. In 1963, she married Özdemir Asaf (Halit Özdemir Arun) and gave birth to three children in four years. She dedicated the rest of her life to her children. She opened her last exhibition in 1970, in Istanbul. After that, she only took part in retrospective exhibitions. She quit her professional photography career and began to work as a translator and dictionary writer. Between 1981 and 1987, she prepared the complete works of Özdemir Asaf for publication and translated some of his poetry and prose into English. In 1982, the Istanbul State Academy of Fine Arts Photography Institute awarded her honorary membership on account of her contributions to the art of photography. Lyrically conveying a universal language through her own perspective, Moran became a school in herself with her "timeless" photographs. Turkey's first academically-trained photographer, Yildiz Moran is renowned for the new vision and aesthetic she introduced into photography and is considered to be one of the best photographers of all time. Masterfully combining the tradition of the East with the aesthetic of the West, she left behind a legacy of black and white photographs beautifully composed to capture the world of light and shadow reflecting on people and lands. Considering the conditions in the world of photography in the 1950s and 1960s, it is a great achievement that she defined the age of 20 her passion for photography as the foundation of her life, became the first academically-trained woman photographer in her country, acquired in-depth knowledge of the discipline and combined this knowledge with her talent and hard work. "The camera must be like an extension of your being so that it doesn't create an obstruction between you and your subjects. Anything that has poetry in it is the subject of photography. My only intention has always been to photograph what was universal while staying true to the concept embodied by my subject." Besides her portraits, landscapes, and abstract details, she is also known for her photographs reflecting the lives of the Anatolian people. As a woman photographer traveling in Anatolia, she accessed otherwise inaccessible environments, moments, and perspectives; and, with profound respect, she conveyed the purity of the people she met there and allowed us... (Biography: Merih Akogul).
<span style="font-style: normal;">In-4° (cm. 25), legatura coeva in piena bazzana con titolo in oro su tassello, dorso a cinque nervi con fregi floreali in oro ai comparti (lievissimi segni d'usura e integrazione alla cuffia di piede), tagli rossi e risguardi marmorizzati; pp. [4] CXLIV 474 [2] in ottimo stato con 4 tavole illustrative ripiegate fuori testo in fine; sporadiche e lievi fioriture. Un classico del confucianesimo basato sul manoscritto francese inviato da Pechino dal padre missionario gesuita Antoine Gaubil, ma curato dal De Guignes. Prima traduzione in lingua occidentale. Cfr. De Backer-Sommervogel III, 1259; Walravens</span> 136. Ottimo esemplare conservato in custodia marmorizzata con interno felpato. (SO3)
Very Good Turkish, Ottoman (1500-1928) In original 1/4 leather bdg. 4to. (29 x 20 cm). In Ottoman script. Text with 'derkenar'. [4], 396 p. Minor fading on papers. Hegira: 1258 = Gregorian: 1842. First Edition. Mîrkhwând also spelled Mirkhond, byname of Mu?ammad Ibn Khâvandshâh Ibn Mahmûd (Born, 1433, Balkh [now in Afghanistan] Afghanistan, died June 22, 1498, Herât), one of the most important Persian chroniclers of Iran under the Timurid dynasty, (15th century). He was a member of an old family of sayyids (those who claim descent from the Prophet Muhammad) established in Bukhara. Spending most of his life in Herât in the court of the last Timurid sultan, Husayn-Bayqara' (Husayn Bayqarah), (1469-1506), Mîrkhwând enjoyed the protection of ?usayn's renowned minister. 'Ali-Shir-Navai' (Alî Shîr Navâ'î), a celebrated patron of literature and himself a writer of great distinction. At the request of his patron, he began about 1474 his general history. Rowzat os-safâ' (Eng. trans. begun as History of the Early Kings of Persia, 1832 continued as The Rauzat-us-Safa; or, Garden of Purity, the work is composed of seven large volumes and a geographic appendix, sometimes considered the eighth volume. The history begins with the age of the pre-Islamic Persian kings and surveys the major Muslim rulers of Iran up to the events of 1523. The seventh volume may have been finished by Mîrkhwând's grandson, the historian Khwândamîr (Khondamir), and in the 19th century, Rezâ Qolî Khân Hedâyat wrote a supplement to the work. Mîrkhwând is often criticized for his highly embellished and bombastic style and for his uncritical approach to the sources, but his history preserves sections from earlier works that have since been lost. Volumes 5 and 6 are particularly reliable, for they utilize the abundant historiographic materials of the Mongol and Timurid periods and furnish independent information on the events that are contemporary or nearly contemporary with the author's lifetime. (Source: Encyclopædia Britannica). This is the first and early Ottoman Turkish Edition. Özege 20653.