340 résultats
Very Good Very Good English Original cloth bdg. Dusst wrapper. Folio. (32 x 24 cm). Edition in English. 251 p., b/w and color ills. An eyewitness of the Tulip Era: Jean-Baptiste Vanmour. Edited by Melis H. Seyhun, Arzu Karamani Pekin. An eyewitness of one the most interesting periods in Ottoman history is a Western artist: Jean-Baptiste Vanmour. Today, as part of the collection of Rijksmuseum Amsterdam, nearly sixty paintings of the artist depict the Ottoman world in a realistic style: Sultans, grand viziers, prominent imperial officials, daily life scenes from Istanbul, an ambassador´s audience with the Sultan and other significant events such as the Patrona Halil Rebellion. An eyewitness of Tulip Era: Jean Baptiste Vanmour, sheds light to the works of this unique painter and documents one of the most significant periods in Ottoman civilization and culture through the perspectives of four renowned art histroians.
New New English Original cloth bdg. Dust wrapper. Folio. (32 x 24 cm). Edition in English. 251 p., b/w and color ills. An eyewitness of the Tulip Era: Jean-Baptiste Vanmour. Edited by Melis H. Seyhun, Arzu Karamani Pekin. An eyewitness of one the most interesting periods in Ottoman history is a Western artist: Jean-Baptiste Vanmour. Today, as part of the collection of Rijksmuseum Amsterdam, nearly sixty paintings of the artist depict the Ottoman world in a realistic style: Sultans, grand viziers, prominent imperial officials, daily life scenes from Istanbul, an ambassador´s audience with the Sultan and other significant events such as the Patrona Halil Rebellion. An eyewitness of Tulip Era: Jean Baptiste Vanmour, sheds light to the works of this unique painter and documents one of the most significant periods in Ottoman civilization and culture through the perspectives of four renowned art histroians.
In 8°, cartonato con sovraccoperta editoriale illustrata, pp. 526, (2); ottimo esemplare. (XB4/B) (XB4/B)
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 New English Original bdg. Dust wrapper. 4to. (30 x 24 cm). In English. 320 p., color and b/w ills. Twenty years under the reign of Abdulhamid. The memoirs and works of Fausto Zonaro. Edited by Erol Makzume, Cesare Mario Trevigne. Memoirs of Fausto Zonaro (1854-1929) an Italian Orientalist painter, who stayed in Constantinople between 1891 and 1914 and became a court painter. The memoirs were written originally in Italian and never published before.
(Filosofie islamiche esoteriche - Islam sciita - Ismailismo - Nizariti - Dinastia dei Fatimidi - Il Vecchio della Montagna - Storia delle religioni - Orientalismo) In 8°, brossura editoriale verde oliva con titoli in nero al dorso ed al piatto anteriore, pp. (10),352,(4), con due cartine nel testo. Volume stampato nella Tipografia Poggi di Milano. Prima edizione. Ottimo stato di conservazione.
In 8°, brossura editoriale, pp. 31, (1); ottimo esemplare, con autografo alla prima bianca. (ZC4/A) (ZC4/A)
London, Bernard Quatrich 1897. Fort et grand in 8 relié toile verte éditeur. 662 pages. Illustrations et cartes dépliantes. Bon état.
In 16°, brossura editoriale illustrata, pp. 127, (5), con tavole fotografiche f.t. virate in seppia; buon esemplare, lieve mancanza al piede del dorso e strappetto alla testa del dorso. (ZC1/A) (ZC1/A)
New English Paperback. Pbo. 4to. (30 x 24 cm). In English and Turkish. 360 p., color and b/w ills. The exhibition highlights the orientalist trend in Polish painting, as well as drawings and graphic arts. The works in the exhibition cover a wide period from the 17th to the early 19th centuries. Among others, the exhibition includes drawings by Christian Kamsetzer of his Turkish travels, as well as oriental scenes by artists like Zmurko and Brandt. The artworks exemplify topics related to the Ottoman world, and to a lesser extent, the Near East and North African regions. One section of the exhibition is dedicated to Stanislaw Chlebowski, the court artist of Sultan Abdülaziz. Works by other artists who had visited Turkey, among them Jan Matejko, Waclaw Pawliszak, Jan Ciaglinski, and Jacek Malczewski, are also included. Selected from the collections of Polish institutions ranging from the National Museums in Warsaw, Kraków, Poznan, and Wroclaw, the University Library in Warsaw, to Lazienki Palace Museum, the exhibition brings together approximately 190 works. The apogee of Orientalism, which refers to a cultural current in Europe centred on an interest in the cultures of the East manifesting itself in art, architecture, music, literature, and the theatre, arrived in the 19th century, when a distinct Orientalist current sprang forth from academic painting, inspired first and foremost by the cultures of the Islamic countries of the Middle East and North Africa, as well as of Moorish Spain. In the specific case of Poland, interest in the Orient goes back to medieval times; a natural result of her geographic location, which rendered Poland particularly susceptible to influences from the East. To a large extent, this period in Polish history was defined by successive wars with the Ottomans, and it left an indelible trace in culture. A variety of equestrian types, generic skirmishes and great historic battles were depicted many times by various skilled artists, as well as Oriental characters, landscapes, and genre scenes -first and foremost of the harem. The latter subject matter, popular among audiences, was often taken up by painters who had never been to the East themselves. Exhibition catalogue presents works by the artists among them Jan Matejko, Waclaw Pawliszak, Jan Ciaglinski, Jacek Malczewski, and especially Stanislaw Chlebowski, the court artist of Sultan Abdülaziz, are included, and also sheds light on the artistic influences of Poland's cultural interaction with the East, different from the Western Orientalist approach, through history, diplomacy, battles and travellers.
Very Good English Original gold-tones albumen photograph from 'Holy Land pictures', London, 1870. Oblong folio. (30,5 x 38 cm); photographic image size: 15x20 cm. Descriptive text in English ( Baalbec, and the Lebanon range. This city may possibly have been built by King Solomon. "And Solomon built Balalath (Baalbek) and Tadmor in the wilderness (Palmyra)", I Kings ix, 18.). Frank Mason Good, born 1839 in Deal, Kent, began his photographic career as an assistant to photographer Francis Frith. Good is known to have been active during the 1860s and 1870s. He lived most of his life at Phoenix Green, Hartley Wintney, (and died there on 28th June 1928) but had studios in London and Brighton. In 1870 he married Margaretta Teape at St Mark, Goodman's Fields. Following Margaretta's death (on 29th December 1904) he married his second wife, Jessie Emily Waghorn, in 1906, at Hartley Wintney. He is best known for his stereographic photographs of the Near East, and it was Frith who sponsored Good's first trip there. Other geographic locations captured by Good include Spain, Greece, and the Isle of Wight. Frank Mason Good is best known for his series of views of the Middle East taken on four separate tours of the area in the 1860s and 1870s. He first traveled to Egypt as an assistant to Francis Frith in late 1857. He joined the Photographic Society in 1864, and in 1880 served as a judge of its annual exhibition. He lived at Hartley Wintney, Winchfield, Hampshire.
Very Good English Original gold-tones albumen photograph from 'Holy Land pictures', London, 1870. Oblong folio. (30,5 x 38 cm); photographic image size: 15x20 cm. Descriptive text in English. (Nazareth, from the East, with the Well of the Virgin. In this neighborhood, our Lord and Savior Jesus Christ spent nearly thirty years of his life: And over these "Sacred Acres" often roamed "Those blessed feet that once were nailed, for our advantage to the bitter cross.".). Frank Mason Good, born 1839 in Deal, Kent, began his photographic career as an assistant to photographer Francis Frith. Good is known to have been active during the 1860s and 1870s. He lived most of his life at Phoenix Green, Hartley Wintney, (and died there on 28th June 1928) but had studios in London and Brighton. In 1870 he married Margaretta Teape at St Mark, Goodman's Fields. Following Margaretta's death (on 29th December 1904) he married his second wife, Jessie Emily Waghorn, in 1906, at Hartley Wintney. He is best known for his stereographic photographs of the Near East, and it was Frith who sponsored Good's first trip there. Other geographic locations captured by Good include Spain, Greece, and the Isle of Wight. Frank Mason Good is best known for his series of views of the Middle East taken on four separate tours of the area in the 1860s and 1870s. He first traveled to Egypt as an assistant to Francis Frith in late 1857. He joined the Photographic Society in 1864, and in 1880 served as a judge of its annual exhibition. He lived at Hartley Wintney, Winchfield, Hampshire.
Very Good English Original gold-tones albumen photograph from 'Holy Land pictures', London, 1870. Oblong folio. (30,5 x 38 cm); photographic image size: 15x20 cm. Descriptive text in English. (Shechem (Nablus), between Ebal and Gerizim Shechem (Nablus), between Ebal and Cerizim: This was Abraham's first halting-place, Gen. xii. 6; Here Jacob settled and bought a piece of land, Gen, xxxiii, 19; Here Joshua assembled the people just before his death, Josh, xxiv; And here the ten tribes rebelled against Rehoboam, 1 Kings xii.). Frank Mason Good, born 1839 in Deal, Kent, began his photographic career as an assistant to photographer Francis Frith. Good is known to have been active during the 1860s and 1870s. He lived most of his life at Phoenix Green, Hartley Wintney, (and died there on 28th June 1928) but had studios in London and Brighton. In 1870 he married Margaretta Teape at St Mark, Goodman's Fields. Following Margaretta's death (on 29th December 1904) he married his second wife, Jessie Emily Waghorn, in 1906, at Hartley Wintney. He is best known for his stereographic photographs of the Near East, and it was Frith who sponsored Good's first trip there. Other geographic locations captured by Good include Spain, Greece, and the Isle of Wight. Frank Mason Good is best known for his series of views of the Middle East taken on four separate tours of the area in the 1860s and 1870s. He first traveled to Egypt as an assistant to Francis Frith in late 1857. He joined the Photographic Society in 1864, and in 1880 served as a judge of its annual exhibition. He lived at Hartley Wintney, Winchfield, Hampshire.
Very Good German Paperback. Roy. 8vo. (24 x 17 cm). In German. 20 p., iv numerous b/w plates (Tafeln). Ein Weiteres Sultansbild von Gentile Bellini aus russischem Besitz. A study on Gentile Bellini, (1430-1507), was an Italian painter of the school of Venice. He came from Venice's leading family of painters, and at least in the early part of his career was more highly regarded than his younger brother Giovanni Bellini, the reverse of the case today. From 1474 he was the official portrait artist for the Doges of Venice, and as well as his portraits he painted a number of very large subjects with multitudes of figures, especially for the Scuole Grandi of Venice, wealthy confraternities that were very important in Venetian patrician social life. In 1479 he was sent to Constantinople by the Venetian government when the Ottoman Sultan Mehmed II requested an artist; he returned the next year. Thereafter a number of his subjects were set in the East, and he is one of the founders of the Orientalist tradition in Western painting. His portrait of the Sultan was also copied in paintings and prints and became known all over Europe.
Fine English Paperback. Pbo. Demy 8vo. (21 x 14 cm). In Turkish. 151 p. Oryantalistik hadis arastirmalari. Makaleler. Translated by Mustafa Ertürk. Turkish Edition of Juynboll's 'Studies on the origins and uses of Islamic hadith'.
Original boards. 8vo, 240 pages, 19cm. SUBJECTS: Chronology. Egyptian language -- Writing, Hieroglyphic.. Some wear to outer boards, otherwise Good Condition. (AC-2-8)
(Fiabe orientali - Medioevo islamico - Orientalismo) Due volumi in 8°, legature in piena tela editoriale con sovraccoperte e custodia rigida illustrate a colori, tagli di testa colorati, nastrini segnalibro, pp. XXXI,(1),1324 ; 1275, con complessive 16 tavole a colori fuori testo. Collana ''I Millenni''. Ottimo stato di conservazione.
in-8, 331 pages, broché. Pli au 1er plat sinon bel exemplaire. [LAFF]
(Mille e una notte - Novelle orientali - Orientalismo - Oriente) Due volumi riuniti in unico tomo in 8°, legatura coeva in mezza pelle color testa di moro, dorso a 4 piccoli nervi con titolo e fregi ornati impressi in oro, carta decorata ai piatti, pp. 647,(1) ; 453,(1), con doppio frontespizio figurato ed a stampa in entrambi i volumi, numerose le illustrazioni nel testo. Esemplare solido e ben conservato.
(Storia - Orientalismo - Islam - Islamismo - Orientalisti ungheresi) Due volumi in 8°, legatura posteriore in piena tela gialla, al dorso tassello in pelle color indaco con titoli e filetti in oro, conservati i piatti anteriori delle brossure originali, pp. 408,(2) con 16 illustrazioni in bianco e nero su tavole fuori testo ; 378,(2) con 20 illustrazioni in bianco e nero su tavole fuori testo.Traduzione di Filippo Faber dall'edizione originale ungherese "Allah Akbar. Im banne des Islams" , Budapest, 1936. Ristampa della prima edizione italiana del 1938. In entrambi i volumi timbretto di legatoria al foglio di guardia anteriore e due ex libris xilografici al verso della copertina in brossura. Ottimo stato di conservazione.
New New Turkish Original bdg. Dust wrapper. 4to. (33 x 24 cm). In Turkish. 320 p., color ills. Denizler, sehirler ve düsler: Ivan Aivazovsky'nin resimleri.
DISPONIBILITÀ GARANTITA AL 99%; SPEDIZIONE ENTRO 12 ORE DALL'ORDINE. FONDO DI MAGAZZINO PARI AL NUOVO. LIEVISSIMI SEGNI DEL TEMPO. LIEVE USURA DELLA SOVRACCOPERTA. Raccolta di testi composti in varie lingue che hanno in comune il canone poetico stabilito intorno al I secolo dopo Cristo e continuamente ampliato, definito Kavya, raffinatissima forma di letteratura, con note interpretative che spiegano la teoria poetica indiana ed ill. con bellissime riprod. a colori di antiche miniature. Descrizione bibliografica Titolo: Tesori della lirica classica indiana Curatore: Giuliano Boccali, Siegfried Lienhard Editore: Torino: Unione Tipografico-Editrice Torinese, 1994 Lunghezza: 110 pagine; 24 cm; illustrato Collana: Strenna UTET Soggetti: Poesia lirica indiana, Critica letteraria, Letteratura, India, Orientalismo, Sec. 1.-17, Antologie, Poesia sanscrita, Antologia, Poesie indiane, Poetica, Raccolte, Sanscrito, Libri vintage, Indic poetry, History and criticism, Miniature painting, Pittura, Gioielli, Monili, Collezioni private, Scuole, Cultura, Bibliografia, Induismo, Buddhismo, Componimenti religiosi, Umoristici, Vita quotidiana, Paesaggi naturali, Amore, Erotismo, Friedrick Ruckert, Peter von Bohlen, Mistica, Upanisad, Ortodossia Hindu, Jainismo, Ramayana, Mahabharata, Amaruka, Bhartrhari, Magha, Siva, Elefante, Dharmakirti, Anonimo, Bihari Lal, Miniature, Scene, Caste, Indian lyric poetry, Literary Criticism, Literature, Orientalism, Anthologies, Sanskrit Poetry, Anthology, Indian Poems, Poetics, Collections, Sanskrit, Vintage Books, Painting, Jewelry, Private collections, Schools, Culture, Bibliography, Hinduism, Buddhism, Religious works, Humorous, Daily life, Natural landscapes, Love, Eroticism, Mysticism, Orthodoxy, Jainism, Elephant, Anonymous, Miniatures, Scenes
Fine English Paperback. Pbo. Fine. Roy. 8vo. (24 x 17 cm). In Turkish. [xvi], 1015 p. Very heavy volume. Effects of oral culture in printed literature in 19th century. XIX. yüzyil yazili anlatimlarinda sözlü kültür etkileri.
Vaduz, De Bhaktivedanta Book Trust 1986, xlviii + 464pp. + 16pp.buitentekstill., gecart.band met stofwikkel, X19605
Foto di dimensioni 20x30 incollata su cartoncino
