340 résultats
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.
<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 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).
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 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).
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.
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.
Very Good Turkish Original fine photograph. 55x54 cm. Framed. Signed by Kortan Tümerdem and Emine Öztekin on verso, on a card.
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.
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 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
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.
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]
New English Original bdg. In publisher's special box. Folio. (33 x 29 cm). In English. 2 volumes set: (240 p., 5 unnumbered folded plates on pages; Second volume is a hard-case including two reprint panoramas and one reprint map: First panorama is a huge hand-coloured drawing shows Ottoman Palace across Sarayburnu; size 28x336 cm; Second panorama is a huge hand-coloured drawing shows Ottoman Palace across Sarayburnu again which is indicating Palace from a different angle; size 28x196 cm; and one map: 'Carta ufwer Orienten Med de Darom kring Grantzande Lander... (Turkey and its around map printed originally in early 18th century), descriptive text surrounding the map, size 65x85 cm. Cornelius Loos in the Ottoman world: Drawings for the King of Sweden, 1710-1711. [with] Panoramas & map [book]. Prep. by Lâle Uluç, David Jones, Klas Kronberg, Ersu Pekin. 2 volumes. [BOXED]. Cornelius Loos was one of the young military officers who followed Karl XII to the Ottoman Empire in 1709. From the royal headquarters in what is at present the republic of Moldova, Loos was sent to Istanbul on the King's orders in 1710. From there his journey was pursued by boat over the Mediterranean to Egypt and he returned by land through Jerusalem, Damascus, Aleppo, Konya and Izmir. Loos' mission was to make drawings of the "rarities and monuments" that he would encounter on his journey. Out of the drawings that have survived until today, one is from Palmyra, two from Rhodes and Bodrum and around forty aquarelle tush drawings from Istanbul. It is possible that part of the original drawings were destroyed in the "Skirmish at Bender" in 1713, while other works, due to various reasons, disappeared on their way to Sweden. The conserved drawings are kept at the Swedish National Museum and were exhibited there in 1985. (See catalogue titled "Cornelius Loos. Teckningar från en expedition till Främre Orienten 1719-1711", Stockholm, Nationalmuseum, 1985). The drawings represent a unique record of the urban landscape and the monuments in Istanbul in the early 18th century. The collection includes three great panoramas of the city seen from the Topkapi palace to the upper part of the Golden Horn. To the Loos paintings can be added the great Mecca painting brought to Sweden by Mikael Eneman and kept in the Uppsala University Library, and a small group of oil paintings brought back by Loos' travel companion Conrad Sparre, which are also kept in the art collection of Uppsala University. In addition there are travel accounts and correspondence from these journeys. (From the 'SRII's official site, Karin Adahl's project). "In January 1710 the Swedish king Charles XII, in exile in the Ottoman Empire, sent three of his officers on a journey from the royal camp near Bender in Moldova to travel to Constantinople and from there along the Eastern Mediterranean to Egypt. Their mission was 'to view the there existing rarities and monuments, to draw and to measure'. Cornelius Loos, one of the young officers, returned to his king in 1711 with more than 250 drawings. Only forty-nine, kept under the king's bed, survived a skirmish in the camp in 1713, the so called 'kalabalik' at Bender. King Charles had a vision to publish an encyclopaedic work about the Near East, a dream that was lost in the fire in the camp. The drawings were brought to Sweden when the king returned from the Ottoman Empire in 1714. He died in battle in Norway in 1718. Loos' drawings are unique documents of Constanttinople in the early 18th century, with large scale, detailed panoramas, important prospects of the interior of the Hagia Sophia and views from the Ottoman city. A big map is accompanied by minor drawings from the Black Sea, the Eastern Mediterranean and Egypt, as well as a spectacular set of water-colours of head dresses from the Ottoman world. The Loos collection of drawings is today kept in the National Museum in Stockholm.". Texts by Göran Baarnhielm, Ulla Ehrensvard, Nurhan Atasoy, Günsel Renda, Bo Lundstörm
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.
FIRST AND ONLY EDITION of this extremely rare collection of Middle Eastern and Orientalist poetry. 3, V, 200 pp. LENGTHY PRESENTATION INSCRIPTION TO A CLOSE FRIEND, SIGNED BY THE AUTHOR. Numerous Orientalist drawings by Auguste Sage. Printed on very good wove paper. 12mo. Bound in contemporary quarter calf and decorated boards. Slight traces of wear to edges of boards, else FINE AND BRIGHT.
In 8, cm 14 x 21,5, pp. (130). Frontespizio e 'avvertissement' redatti in francese, il resto del testo interamente in arabo. Cartonatura editoriale in mezza tela con iscrizioni al piatto anteriore. Antiche firme di proprieta'. Opera di Louis Cheikho, pubblicata per la prima volte nel 1885 e in seguito piu' volte ripubblicata, presenta diversi modelli di scrittura in arabo sia antica che moderna. L'autore fu un sacerdote cattolico caldeo e gesuita, orientalista e teologo apri' la strada alla ricerca letteraria cristiana e assira
2 volumi di cm. 25 x 19,5; pp. X - 140, XII - 224; 199 tavole fuori testo di cui 18 colorate a mano e 10 in rosso e nero; disegni nel testo; legatura coeva in mezza pelle con nervi e titolo oro al dorso e segnalibro; carta marmorizzata ai piatti; cucito.<BR>Dorso e bordi dei piatti con segni d'uso, fioriture alla carta; per il resto in buono stato.<BR>Prima edizione. In lingua francese.<BR>Rarissimo.
New English Original bdg. HC. / Original brown leather bound. In special huge box. Oblong folio. (30 x 50 cm). 2 books: (28 x 23 cm) / (29 x 37 cm). Youssouf: Types et charges, 1884 (reprint of Yusuf Franko Bey's original caricature album): 56 p., fully color ills.; Youssouf Bey: The charged portraits of fin-de-siecle Pera.: 119, [1] p., color ills. 500 copies were printed. All copies is numbered. Contents: It includes the following articles: Ömer M. Koc "Preface"; Bahattin Öztuncay "Editor's Foreword"; Sinan Kuneralp, "Yusuf Franko Kusa Pasa and His Kinsmen: A Melkite Family in The Service of The Ottoman Empire"; Guillaume Doizy, "Yusuf Bey: The Dificult Experience of Caricature"; K. Mehmet Kentel, "Drawing cosmopolitan Pera, Drawing on Yusuf Bey's Caricatures"; Sinan Kuneralp, "Appendix: Who is who in Yusuf Franko Pasa's Album an annotated list". The caricature album of Yusuf Franko Kusa Bey, the late 19th century Ottoman bureaucrat, Minister of Foreign Affairs, governor general, man of society who was also a playful caricaturist, is exhibited for the first time. "The Characters of Yusuf Franko: An Ottoman Bureaucrat's Caricatures" displays for the first time the caricatures that Yusuf Franko compiled in an album between 1884-1896, that interact with the European caricature tradition. Through the exhibited caricatures, the visitors meet satirically charged portraits of wealthy capitalists, members of high society, Ottoman soldiers, Levantines, artists and diplomats of the late 19th century. The caricatures offer the spectators the opportunity to observe the colorful social networks, especially those of the Beyoglu / Pera quarter, which Yusuf Franko himself belonged to, and the global locales of Istanbul. By following the characters in their caricatures and the places they belong, the exhibition emphasizes how the Galata¿Beyoglu axis became a financial and diplomatic center as well as a frequent destination of international culture and arts. The exhibition, which mainly tries to evaluate the works of Yusuf Franko from the perspective of space and social networks, also touches on the significant places of the period such as the Naum Theater and it also serves as a reminder of those locales, which no longer exist and hence which have not found their way onto the album. Focusing on Yusuf Franko, the innovative caricaturist of his time and on his works, the exhibition "The Characters of Yusuf Franko: An Ottoman Bureaucrat¿s Caricatures" deals with the prominence of the Franko Kusa family within the Ottoman Empire, and with the history of the caricature in Europe. The exhibition also narrates the long trek of the album through various countries and the tale of its return to Beyoglu. In addition to the album and caricatures of Yusuf Franko Kusa, relevant photographs, documents and publications from various collections and especially from Ömer M. Koç Collection are featured in the exhibition.
FIRST AND ONLY EDITION, ALL PUBLISHED of this extremely early and important anthology of Oriental poetry in French translation. 3, XI, 263, 8 pp. Includes poetry translated from Sanskrit, Malay, Javan, Chinese, Tibetan, and Arabic. The editor, 21-year-old Francisque Michel, had yet to graduate from high school when he published this volume, but would later go on to win undying fame as an editor of medieval French texts, including the first edition of the Chanson de Roland. 16mo. Original plain wraps. UNCUT. Light wear and tear to extremities of wraps, otherwise PRISTINE. Very rare, especially in such fine condition.
(Storia dell'India - Orientalismo - Libri illustrati dell'Ottocento sull'India) In 4°, bella legatura coeva in mezza pelle bordeaux con punte, dorso a 5 nervi con titoli e ricche impressioni in oro,, carta marmorizzata e filetti dorati ai piatti, guardie in carta marmorizzata, taglio di testa dorato, pp. (2),VII,743,(1), con 7 cromolitografie con veline fuori testo, 2 carte e 350 illustrazioni in b/n nel testo, anche a piena pagina. L'apparato iconografico è tratto da fotografie, acquerelli e documenti dell'Autore. Volume solido e ben conservato.
Paris, Geuthner, 1921-1926, cinque volumi in-8°, legature coeve in mezza pelle con titoli in oro al dorso, piatti marmorizzati, nastri segnalibro in seta azzurra, pp. VII-383 + 400 + 423 + 384 + 431 (così, opera completa). Si tratta del magnum opus, in edizione originale, dell’importante orientalista francese Bernard Carra de Vaux (1867-1952), noto anche per avere denunciato i Massacri Amidiani contro gli Armeni(1894-1897) e per essere stato fiero oppositore dell’antisemitismo negli anni in cui infuriava l’Affaire Dreyfus. Alcune fioriture dovute alla qualità della carta (soprattutto al primo volume), ma volumi ben conservati.
3 brochures in-8, couvertures imprimées. Recueil de trois pièces officielles : les réactions du jeune mouvement national égyptien à la suite de la décision prise lors de la "Conférence de la paix" de confirmer le protectorat de la Grande-Bretagne sur l’Égypte et des premiers mouvements insurrectionnels qui s'en suivirent. Présenté à la Conférence de la paix, le premier rapport concerne les événements de mars 1919 : après l'arrestation et l'exil de trois dirigeants du Wafd (parti nationaliste égyptien), de graves troubles secouèrent l'Égypte causant un millier de morts égyptiens et trente du côté anglais. Les 3 planches de photos représentent des sévices infligés par les Anglais à des citoyens égyptiens.
New New English Original bdg. Dust wrapper. 4to. (31 x 22 cm). In Turkish. 3 volumes set: (1543 p.), color and b/w ills. Yüzyillar boyunca Üsküdar. 3 volumes set. A very heavy set. Extra shipping cost will be requested. History of Scutari from Byzantium to modern times.