85 157 résultats
30p. Paperback Good condition, paper aged
Pt. In-4, 162p. Edition numérotée sur grand vélin d'Arches. Illustré de 110 lithographies de D.-A. Steinlen. En parfaite condition.
[In Mantova], [nella stamperia di S. Benedetto, per Alberto Pazzoni], [1723], in-4, sciolto e privo di brossura, pp. LVII, [6]. Esemplare privo delle prime 12 carte, segnatura: [pigreco]2, a4. Fra gli autori dei versi segnaliamo: Girolamo Baruffaldi, Carlo Bulgarini, ecc.
Very Good Turkish, Ottoman (1500-1928) Paperback. Foolscap 8vo. (18 x 12,5 cm). In Ottoman script. 1 b/w Selim's portrait engraving, 67 p. Selim I, nicknamed Yavuz, "the Stern" or "the Steadfast", but often rendered in English as "the Grim" (October 10, 1465/1466/1470 - September 22, 1520), was the Sultan of the Ottoman Empire from 1512 to 1520. His reign is notable for the enormous expansion of the Empire, particularly his conquest between 1516-1517 of the entire Mamluk Sultanate of Egypt, which included all of Sham, Hejaz, Tihamah, and Egypt itself. With the heart of the Arab World now under their control, the Ottomans became the dominant power in the region, and in the Islamic world. Upon conquering Egypt, Selim took the title of Caliph of Islam, being the first Ottoman sultan to do so. He was also granted the title of "Khâdim ül Haramain ish Sharifain" (Servant of the Holy Cities of Mecca and Medina), by the Sharif of Mecca in 1517. Selim was also a distinguished poet who wrote both Turkish and Persian verse under the pseudonym =[mahlas] Selimi; collections of his Persian poetry are extant today. In one of his poems, he wrote as 'A carpet is large enough to accommodate two Sufis, but the world is not large enough for two kings'. Sultan Selim, who spoke Arabic and Persian very fluently, wrote Persian poems cursively under the nickname Selimî. Those poems are extant today at the Imperial Archives at The Topkapi Palace Museum. He had Turkish poems as well and his Persian Divân (T.N. poetry book) was printed in 1306 in Istanbul and was published in 1904 by Paul Horn in Berlin by the order of Wilhelm II, the German Emperor. During his eight years of ruling, he didn't have any time to rest, he slept four hours a day and spent the rest of the day writing and reading. Sultan Selim has many powerful poems with deep meaning and artistic style. Translation from Persian by Seyh Vasfi. [Mikaeloglu] Antranik Efendi, (1850-?), was a Turco-Armenian painter who worked for the Ottoman court notably regarded for his sultan portraits during the reigns of Sultan Abdülhamid II (1876-1909), Sultan Mehmed Resad (1908-1918) and Sultan Vahdeddin (1918-1922). During the administration of the last two sultans, in particular, he received a number of orders from the palace and while Abdülhamid II was on the throne in the 1890s he sketched gravures for Servet-i Fûnun (Wealth of Sciences) journal. A vast body of these gravures depicts leading names of the age -Egypt's Khedive Tevfik Pasha, Abbas Pasha, Sultan Abdülaziz, etc. and portraits illustrating the photographs of preceding sultans as well as architectural drawings such as Süleymaniye Mosque and Ayasofya-Santa Sophia. Another record testifying to the fact that Antranik Efendi received commissions during the reign of Sultan Mehmed Resad and worked for the royal family is a 1916-dated document in Dolmabahçe Palace Museum Archive. Hegira: 1308 = Gregorian: 1891. Özege 1679. First and only edition. Extremely rare.
Very Good French Original wrappers. 4to. (27 x 19 cm). In French. 235 p. A fine copy. First and only edition of this protocol text of the 1878 Treaty of San Stefano (Peace treaty of San-Stefano) signed between the Russian and Ottoman empires at the conclusion of the Russo-Turkish War of 1877-1878. It was signed at San Stefano, then a village west of Constantinople (present-day Istanbul), on 3 March [O.S. 19 February] 1878 by Count Nicholas Pavlovich Ignatiev and Aleksandr Nelidov on behalf of the Russian Empire and by Foreign Minister Saffet Pasha and Ambassador to Germany Sadullah Bey on behalf of the Ottoman Empire. Starting with the documents "Bases d'Armistice, signees an Andrinople le 19/31 Janvier 1878, entre la Russia et la Turquie" [i.e. Armistice bases, signed in Adrianople on January 19/31, 1878, between Russia and Turkey] and "Preliminaires de Paix conclus a San-Stefano, le 19 Fevrier / 3 MArs 1878" [i.e. Preliminaries of Peace concluded at San-Stefano, February 19 / March 3, 1878], with the treaty protocol text containing 50 articles in its entirety, provided for the establishment of an autonomous Principality of Bulgaria following almost 500 years of Ottoman rule in the Bulgarian lands. Bulgarians celebrate the day the treaty was signed, 3 March [O.S. 19 February] 1878, as Liberation Day. OCLC: 320195160, 962446088.
Very Good Turkish, Ottoman (1500-1928) Contemporary cloth bdg. Marbled boards. Roy. 8vo. (24 x 17 cm). In Ottoman script (Old Turkish with Arabic letters). 84 p. Slight marginal stains, wear on extremities. Overall a good copy. Hegira 1286 = Gregorian 1869. Lithographed edition. Extremely rare first edition of this poetic eyewitness and first-hand account of the Siege of Sebastopol (1854-1855) during the Crimean War by the allies with the support of the Imperial Ottoman and the Kingdom of Sardinia against the Russian army. It's the first and only work written by Rizâ'î (1819-1893), containing 2,163 epic couplets, in the style of the Ottoman mathnawis, qasidas, ghazals, marsiyah of Hussain, munajats and munajat al-ilâhîs. In the work, which tells of the events and battles within the Siege of Sebastopol are described in a striking style in chronological order, such as the alliance for the war and the navies' setting sail into the Black Sea, the Battles of Sevketil, Arpaçay, Kars, Ardahan, Sinop, Çatana, Kalafat, Matschin, Sahcha, Harsova, Silistra, Yergök, Kerç, Uzreket, etc. respectively. The poet places special highlights on the personalities of the commanders while describing these battles. The heroism of Laz begs [i.e. the chiefs and princes of Lazistan] such as Hasan Bey, Ali Bey, and Dede Aga are praised in many couplets. The Siege of Sevastopol lasted from October 1854 until September 1855, within the campaign known as Crimean War (1853-1856). The allies (French, Sardinia, Ottoman, and British) landed at Eupatoria on 14 September 1854, intending to make a triumphal march to Sevastopol, the capital of the Crimea, with 50,000 men. However, the 56-kilometer (35 mi) traverse took a long year of fighting against the Russians. The city of Sevastopol was the home of the Tsar's Black Sea Fleet threatening the Mediterranean Sea. The Russian field army withdrew before the allies could encircle it. The siege was the culminating struggle for the strategic Russian port in 1854-55 and was the final episode in the Crimean War. Özege 12245.; Library of Congress. Karl Süssheim Collection, no. 2233.; OCLC 933386528, 1030751787, 66733639.
Fine Persian Paperback. Demy 8vo. (22 x 14 cm). In Persian. 40 p. Fourth Edition. Seyyed Ahmad Kasravi Tabrizi, (1890-1946), was a leading Iranian linguist, nationalist, religious reformer, historian, and former Shia cleric. Born in Hokmabad (Hohmavar), Tabriz, Iran, Kasravi was an Iranian Azeri. Initially, Kasravi enrolled in a seminary. Later, he joined the Iranian Constitutional Revolution. He experienced a sort of conversion to Western learning when he learned that the comet of 1910 had been identified as a reappearance of Halley's comet. He abandoned his clerical training after this event and enrolled in the American Memorial School of Tabriz. Thenceforward he became, in Roy Mottahedeh's words, "a true anti-cleric." Kasravi was associated with the Democrat Party in Iran. Kasravi was a professor of law at the University of Tehran and also a lawyer in Tehran, Iran. He was the founder of a political-social movement whose goal was to build an Iranian secular identity. The movement was formed during the Pahlavi dynasty. Kasravi authored more than 70 books, mostly in the Persian language. The most important ones are "History of the Iranian Constitutional Revolution" and "Eighteen Years History of Azerbaijan", which are among the most important literary works of the Persian Constitutional Revolution. Basically, he believed and wrote that "all the present-day representations of Islam have deviated from the essence and the true concept of its foundation". He was particularly critical of Shia (since its formation since the sixth emam, Emam Jafar Sadegh) and Sufism, to which he ascribed many ills, from its supposed promotion of stagnation, "irrationality" or even being a tool of the Orientalists. His main target in that field was the famous E. G. Browne, appreciated by Iranian intellectuals of all tendencies, whom he accused to have favored Sufi poetry in his history of Persian literature, and thus trying to characterize the Iranian spirit with the errors he thinks belong to Sufis (immorality, irrationality, ...), further promoting idleness and passivity in order to keep Iran subjugated to foreign imperialists. His criticism of Hafez Shirazi followed the same path, considering him "a source of disgrace", saying that his "immorality" was due to the fact that the Mongols were the new rulers in the region, not respectful of Islamic law, thus letting some Sufis (like Hafez) "free to indulge in drinking wine, whereas previously they had to be cautious not to offend the Islamic sentiments of the rulers and the religious authorities.". Kasravi was also critical about the Bahá'í Faith and considered it as another continuation of the same deviation that started from Shia (penetration and influence of Old Iranian and Judaism beliefs about " a supposed to come savior" into Islam) to Shaykhism (followers of Shaykh Ahmad Ahsaei) then Babism (followers of Ali Mohammad, the Bab), then into the Bahá'í Faith. Abbas Amanat, professor of history at Yale University, believes that Kasravi's work regarding the Bahá'í called Bahaigari is "a short polemic of little historical value". He further explains "in his criticism of the Bab, he hardly takes into account the historical circumstances under which the movement first appeared and his pontifical judgments no doubt are influenced by his own vision of pakdini". It should be noted, however, that Amanat considers himself a follower of the Bahâ'î Faith. - Khwâja Shams-ud-Dîn Mu?ammad Hâfe?-e Shîrâzî, (1315-1390), was a Persian poet, whose collected works are regarded by many Iranians as a pinnacle of Persian literature. His works are often found in the homes of people in the Persian-speaking world, who learn his poems by heart and still use them as proverbs and sayings. His life and poems have become the subjects of much analysis, commentary, and interpretation, influencing post-14th century Persian writing more than any other author. (Wikipedia).
Very Good Turkish, Ottoman (1500-1928) Paperback. Untrimmed and uncut pages. 12mo. (16 x 11 cm). In Ottoman script (Turkish with Arabic letters). 46, [1] p. Özege 17246.; Not in OCLC. Extremely rare. Early Turkish / Ottoman book printed in Shumen in Bulgaria.
Fine Turkish, Ottoman (1500-1928) Paperback. Almost mint condition. Untrimmed and unopened pages. Large roy. 8vo. (26 x 17 cm). In Ottoman script. [2], 112, [3] p., 1 portrait of Ihsan. The last page is in modern Turkish with Latin letters. Hamamizade Ihsan Bey was a Turkish divan poet, journalist, educator, and folk culture researcher. According to historian Bardakçi, he is the last classic poet of the Ottoman Empire. This stylish poetry book includes six "na'at"s in nine chapters, one qasida, two muhammes, eleven tahmîs, one tesdîs, ten 'sarki', a hundred and forty-five gazals, fifty-six qit'a, one manzûme of history, twenty-nine rubai, one dastan and a chapter titled 'Sâdinâme' which is a humorous part. It is also the last work printed in old letters before the acceptance of the Latin alphabet according to the Encyclopedia of Islam. Özege 4162.; TBTK 12361.; OCLC: 45663759. First Edition. Extremely rare.
Very Good Turkish, Ottoman (1500-1928) Contemporary green cloth bdg. Slight scratches on faded cloth, with slight foxing on pages. Overall a good copy. Cr. 8vo. (20 x 14 cm). In Ottoman script (Old Turkish with Arabic letters). 238, [2] p., 1 b/w portrait of Nezihe, ills. First and only edition of this exceedingly rare first book including a "May 1" poem, written by a Turkish female poet Yazar Nezihe. Nezihe was considered as one of the female poets in the Ottoman Period. She is known as a writer of the first Turkish poem for International Workers' Day on May 1. Yasar Nezihe differed from other female poets of the period in the sense of her life story and a contrary literary identity. Throughout her lifetime, she wrote poems about her penurious and challenging childhood as well as her love life and marriages. Being known as the first female poet whose works were published in Aydinlik Dergisi (i.e. Enlightenment Journal), Yasar Nezihe also became prominent for supporting labor unrests and her activist identity. She was recognized as a socialist poet who gave voice to poverty in her poems. She wrote the poem named "Gazete Sahiplerine" (i.e. To Newspaper Owners) addressing the executives with the intent of supporting laborers who were on strike because of the disagreement between newspaper owners and Mürettipler Cemiyeti (i.e. Typesetters Society). (Source: Wikipedia). This is her second poetry book. Being the first female poet wrote in Aydinlik Dergisi, Yasar Nezihe Bükülmez was accused of being a communist because of her writings, her membership of Osmanli Amele Cemiyeti [The Ottoman Workers' Society], and support for labor unrests and was arrested. Book has a biographical introductory text by Rifat Necdet Evrimer, (1898-1971) who was a Turkish/Ottoman poet, educator, and biographer in which is important being the earliest male gaze in its period. Özege 5645.; TBTK 6996.; Five copies in OCLC: 25346925 (Four copies) and 1030875484 (One copy).
NAPOLI, PIERRO, 1920. In 16°: pp. 94. Leg. t. tl. non edit. Bruniture per il tipo di carta. Dedica dell`Autore.
Very clean book with very light shelf wear to covers only, text/interior is clean, bright and unmarked in any way, solid binding. 826 pages.
Málaga, Cuadernos de María José, 1967, 16 x 10'5 cm., rústica editorial, 18 págs. + 1 hoja. (Tirada de 200 ejemplares numerados en papel de hilo).
Libro d'artista composto da una sequenza di fotografie in bianco e nero . cm 20x19. pp. 44. . Molto buono (Very Good). . Prima edizione (First Edition). .
Exemplaire de présent imprimé pour Madame Anna Babick pour sa fête, 1 vol. grand in-8 br. sous couv. rempliée, Edouard Pelletan, Paris, 1898, 1 f. blanc, 9 ff. n. ch. Exemplaire de présent nominatif, non numéroté. "Cette édition a été établie par Edouard Pelletan avec le concours de Georges Bellenger, Bellery-Desfontaines et Dunki pour les compositions, de Florian pour la gravure et les ornements décoratifs et de E. Huvé pour les caractères typographiques. Tirée à deux cents exemplaires numérotés, dont quarante pour l'Académie Française". Anna Babick était la soeur de Victoire Tinayre, qui quittèrent toutes deux la France au lendemain de la Commune. Bon état (petite pliure en bas de couv.) Français
Sergio Lima A alta licenciosidade. Sao Paulo - Brasil, Edicao do autor 1985 portuguese, 517 1985, testo in portoghese. Opera con copertina morbida in brossura.Numerose illustrazioni in b/n ft. N 100
Staple-bound paperback in excellent condition. Bridge Pamphlet No. 5. TS Used
br. La collana Scaccio si impreziosisce di un pezzo pregiato, egregiamente illustrato dalla giovanissima Agata La Rosa. Una traduzione in dialetto palermitano di una pietra miliare della letteratura europea. Una ballata che parla delle funeste vicende di un marinaio resosi colpevole dell'uccisione di un albatros e che conobbe una grandissima popolarità grazie alla quale divenne uno dei manifesti del Romanticismo. La traduzione di Giuseppe Tarantino ha l'intento di valorizzare il linguaggio aulico dell'autore britannico attraverso il dialetto palermitano che lo rende accessibile a tutti, grandi e piccini.
UNION DES INTELLECTUELS PACIFISTES.. 1933. In-8 Carré. Broché. Bon état. Couv. légèrement passée. Agraffes rouillées. Intérieur acceptable. 18 pages environ. Non paginé.
With a foreword by W. H. Auden . 8vo. pp. 88. . Molto buono (Very Good). . Prima edizione (First Edition). .
Martino Martinotti (Martin), A Belfior Trittico in dialetto mantovano Mè, Nò,no (1852) Al mè, Maè,star (1902) A Belfior (1952) Tipografia La Rapida, Mantova, 1953, 24,9x17 cm, pp. 16, br. ed. ill. Condizioni di conservazione Esemplare con leggeri segni d'uso e del tempo. Brossura con qualche traccia di sporco e di brunitura, angolo inf. della copertina ant. con minima mancanza, copertina post. con un prezzo a matita nell'angolo sup., metà, sup. del dorso con alcuni piccoli strappetti, metà, inf. del dorso mancante, cuffia sup. del dorso con piccola mancanza. Interni in buono stato, con qualche minima pieghetta agli angoli sup. Tre liriche del poeta dialettale mantovano Martino Martinotti, in arte Martin, offerte a esempio dello svolgersi della sua opera nell'arco di tutto un secolo. OPEB.2272 blu
Cm. 25; pp. (16). Brossura editoriale illustrata, titoli in rosso e nero. Alcuni disegni nel testo del pittore Rossi Ermes. Ottimo esemplare. 768
56 p.; 23 x 11,5 cm. Brossura editoriale illustrata. Ottimo