340 résultats
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'.
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.
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.
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.
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)
London, Bernard Quatrich 1897. Fort et grand in 8 relié toile verte éditeur. 662 pages. Illustrations et cartes dépliantes. Bon état.
In 8°, brossura editoriale, pp. 31, (1); ottimo esemplare, con autografo alla prima bianca. (ZC4/A) (ZC4/A)
(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.
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.
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]
In 8°, cartonato con sovraccoperta editoriale illustrata, pp. 526, (2); ottimo esemplare. (XB4/B) (XB4/B)
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.
New English Paperback. Pbo. 4to. (29 x 24 cm). In English and Turkish. 64 p., color ills. [Painter's Istanbul].= Ressamlarin Istanbul'u. 18 Mart - 11 Nisan 2009. [Exhibition catalogue]. 1000 copies were printed.
64pp., dans la série "Questions d'écriture sainte" nr.209, br.
Very Good French In modern cloth bdg. Large roy. 8vo. (24 x 19 cm). In French. [vii], 244, [2] p. Les castes dans l'Inde. Les faits et le system. First Edition.
New English Paperback. Pbo. Roy. 8vo. (24 x 16 cm). In Turkish. 191 p. Istanbul (Constantinople) at 19th century: Impressions of an English voyager. XIX. yüzyil Istanbulu. Bir Ingiliz seyyahin izlenimleri.
In-16° pp. 189 con ill. n.t. Bross. edit. con tracce d'uso.
New English Paperback. Roy. 8vo. (24 x 17 cm). In English. 401 p., b/w ills. The Port-city in the Ottoman Middle East at the age of Imperialism. Acknowledgments Abbreviations Introduction SECTION I Economy: Trends & Developments 1. "ReImagining the World Economy: Market Connectivity and the Ottoman City in the Early Modern and Modern Era". Initially published as "Congruence of Economic Trends and Practices in the Creation of Izmir's Social Space: the City, the Market and the Individual during Mercantile Capitalism", in Alp Yücel Kaya, Ayse Sabuktay & Dilek Akyalçin Kaya, eds., Culture and Politics in the Mediterranean (Izmir Mediterranean Academy: Izmir, 2016), pp. 53-73. 2. "Market Networks and Ottoman-European Commerce, c. 1700-1825", in Ebru Boyar & Kate Fleet, eds., The Ottomans and Trade, special issue of Oriente Moderno, Vol. LXXXVI/1 (Rome, 2006), pp. 109-128. 3. "Commerce in the eastern Mediterranean from the Eighteenth to the Early Twentieth Centuries: the City-Port of Izmir and its Hinterland", International Journal of Maritime History, Vol. X, No. 2 (December 1998), pp. 125-154. 4. "Le développement d'un port méditerranéen d'importance interna-tionale: Smyrne (1700-1914)" Marie-Carmen Smyrnelis, ed., Smyrne, la ville oubliée? Mémoires d'un grand port ottoman (Éditions Autre-ment: Paris, 2006), pp. 21-49. 5. "The Port of Smyrna in the Nine-teenth Century," in Apostolos Vakalopoulos, Constantine Svolopoulos & Bela Kiraly, eds., War and Society in East Central Europe, Vol. XXIII (Institute for Balkan Studies: Thessaloniki, 1988), pp. 261 272. 6. "The Making of a Nineteenth-Century Ottoman Port: the Quay of Izmir", The Journal of Transport History, 3rd Series, Vol. 22/1 (March 2001), pp. 23-46. SECTION II Western Anatolia & The Aegean Islands 7. "The Western Anatolian Coast and the Aegean Islands in the Late Nineteenth and Early Twentieth Centuries: An Economic Survey," Proceedings of the First International Con-gress on the Hellenic Diaspora from Antiquity to Modern Times (Amsterdam, 1991), Vol. II, pp. 251-266. 8. "L'économie de l'Anatolie occidentale, 1908-1914", in Marcel Bazin, Salgur Kan-çal, Roland Perez & Jacques Thobie, eds., La Turquie entre trois mondes (Institut Français d'Études Anatoliennes: Istanbul & Paris, 1998), pp. 239-248. 9. "The Dynamics of Economic Development: Izmir and Western Anatolia, Late 19th/Early 20th Centuries", Kolokyum 19. Yüzyilda Mersin ve Akdeniz Dünaysi (T.C. Mersin Universitesi Yayinlari: Mersin, Turkey, 2002), pp. 65-72. SECTION III The Wider Region 10. "The Mediterranean Commercial World of the Eighteenth Century: Ottoman and Italian Ports", in Michela D'Angelo, Gelina Harlaftis & Carmel Vassalo, eds., Making Waves in the Mediterranean, (Instituto di Studi Storici: Messina, 2010), pp. 467-482. 11. "Greek Commercial practices and long-distance trade: Russia and the Ottoman Mediterranean in the 18th and early 19th cen-turies", in Olga Katsiardi-Hering, Athina Kolia-Demirtzaki & Kater-ina Gardica, eds., Russia and the Mediterranean (Herodotos Press: Athens, 2011), Vol. I, pp. 439-456. 12. "Patras", Review, Vol. XVI (Fall 1993), pp. 387-410. 13. "Monoculture in Nineteenth-Century Greece and the Port-City of Patras", Journal of the Hellenic Diaspora, Vol. 20/2 (1994), pp. 9-34. SECTION IV The Economic Actors 14. "The Greek Mercantile Community of Izmir in the First Half of the Nineteenth Century" in Daniel Panzac, ed., Les Villes dans l' Empire ottoman: Activités et Sociétés, Vol. I (CNRS: Paris, 1991), pp. 391-416. 15. "Ottoman-European Trade, Tax-Farming and the Implemen-tation of the 1838 Anglo-Turkish Convention". Initially published as "The Implementation of the 1838 Anglo-Turkish Convention on Iz-mir's Trade: European and Minority Merchants", New Perspectives on Turkey, Vol. 7 (Spring, 1992), pp. 91-112. 16. "Concurrence commer-ciale et financière entre les pays occidentaux à Izmir pendant le XIXe et début XXe siècles," in Jacques Thobie, Roland Perez & Salgur Kan-çal, eds., Enjeux et Ra
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.
Edward W.Said Orientalismo. , La biblioteca di Repubblica -L'Espresso 1999, Libro usato in buone condizioni. Pagine ingiallite lievemente. Tagli regolari impolverati leggermente. Copertina rigida e sovraccoperta con alette informative, sporca lievemente. Buono (Good) . <br> <br> <br> 441<br>
New English Original bdg. HC. Roy. 8vo. (24 x17 cm). In English. [xLiv], 223 p., ills., in English; [+] 144 p. facsimile of the BEO 350 Protocol Register in Ottoman script. The BEO 350 protocol register edited here is part of the Sublime Porte Archives series of the Prime Ministry Ottoman State Archives in Istanbul. The register covers a number of ceremonies held on various occasions from 1736 to 1808 and primarily concerned with accession ceremonies, funerals and, most of all, the reception of envoys. This edition of the BEO 350 is accompanied by an introduction, a synoptic list of ceremonies, appendices, and indexes. The introduction examines various aspects of Ottoman ceremonies, particularly those of a diplomatic nature, and includes a section on the gifts and offerings exchanged by the Ottoman administration and foreign envoys. As briefly discussed in the introduction, ceremonies contribute, albeit modestly, to the validation of a regime's political legitimacy and to its smooth functioning. When trying to determine the relationship between ceremonial rites and political power, the lofty symbolism of ceremonies needs to be interpreted with great care. Thus, detailed descriptions such as those found in protocol registers are extremely valuable, indeed indispensable, for a solid interpretation.
New English Paperback. Pbo. 4to. (30 x 23 cm). In English and Turkish. 149 p., color ills. Contents: Orientalism in the 19th century and Turkey; Günsel Renda.; The Ottoman Court and sultanic portraiture; Erol Makzume.; Orientalist painters in the 19th century Ottoman Empire; Gulsen Sevinç Kaya. The painting purchased from Goupil's Art Gallery for the Dolmabahce Palace; Catalogue. Orientalists at the Ottoman Palace. = Osmanli Sarayi'nda oryantalistler. [Exhibition catalogue]. Dolmabahçe Palace Art Gallery; July 7 - September 10, 2006.
