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3 372 résultats
Firenze, 1924, 17 x 12 cm., 2 h. + 1 lámina en color + 35 págs. + 64 láminas en papel couché + 8 h.
London, Phaidon Press, 1953, 31 x 23 cm., tela original con sobrecubiertas, numerosas ilustraciones intercaladas, X - 199 págs. - 8 láminas en colores.
Fine Fine English Original bdg. Dust wrapper 4to. (28 x 20 cm). In English and Turkish. [viii], 351, [9] p., b/w and color ills. The Ottoman palace women (Women in Turkey).= Osmanli saray kadinlari (Türkiye'de kadin). Ottoman palace women is the third volume of study entitled Women in Turkey, and is a detailed and documentational account of how women of many races, faiths and creeds entered palace service, and of their lifestyles from the humblest to those who attained the coveted position of favourite of wife to the sultan. It was impossible for anyone but the members of the sultan's own household to see and describe the harem of the Ottoman palace. That is why, with rare exceptions, the portrayals of palace officials, female slaves, odalisques, favourites, wives and sultan mothers by foreign artists who visited Istanbul at various times are mere figments of the imagination and as such are interesting testimony to the power of imagination and artistic ability of European painters...".
Reproducciones pictóricas a color (99) y blanco-negro (320).
New York, Edit. Museum of Moderns Art, 1983. Numerosas ilustraciones en color. 63 p. 4º. Rústica editorial ilustrada. Muy buen ejemplar. Book in english.
Glasgow, Edit. R. Maclehouse, 1913. Numerosas ilustraciones en b/n. 68 p. 8º. Holandesa editorial algo deslucida con dorados en el lomo. Ex libris. Buen ejemplar. Book in english.
London, Gowans & Gray, 1910, 15 x 10 cm., 4 h. + 66 págs., incluso 60 láminas en papel couché + 2 h.
New English Original bdg. HC. 4to. (30 x 24 cm). In English and Turkish. 271, [1] p., color ills. 750 copies were printed. The man who collected the colors of life: The impassioned life of collector Nahit Kabakci.= Yasamin renklerini toplayan adam: Koleksiyoncu Nahit Kabakci'nin tutku dolu yasami.
Budepest. Edit. Corvina, 1989. Numerosas ilustraciones en color y b/n. 91 p. 4º. Tela editorial con sobrecubierta ilustrada. Muy buen ejemplar. Book in english
New English Paperback. 4to. (28 x 24 cm). In English and Turkish. 360 p., color ills. The lure of the East: British orientalist painting.= Dogu'nun cazibesi: Britanya oryantalist resmi. [Exhibition catalogue]. This exhibition focused on the paintings made by British artists of the 'Orient', primarily during the nineteenth century. In this context the term 'Orient', to Western Europeans, meant those parts of the eastern Mediterranean world which could be accessed relatively easily such as Egypt, Palestine and Turkey, particularly after the development of steamboat and rail travel in the 1830s. In these places, predominantly Muslim and at least nominally under the control of the Ottoman Empire, British artists, such as David Roberts, David Wilkie, William Holman Hunt, John Frederick Lewis and Frederic Leighton, sought to develop imagery which captured what they believed to be characteristic of the people, cities and landscapes of the region. In the 1970s the Palestinian-American academic Edward Said published his treatise on Orientalism, initiating a global debate over Western representations of the Middle East. For many, such representations now appeared to be a sequence of fictions, serving the West's desire for superiority and control over the East. The argument for and against Said's Orientalism has continued for thirty years. Its resonance for an exhibition such as this one, however, is as strong as ever given that, by the 1920s (the end of the period covered by this exhibition), Britain was in direct control of much of the newly abolished Ottoman Empire, including Egypt, Palestine and Iraq. As Said argued, these images cannot be viewed in isolation from their wider political and cultural context. Keeping the debates around Orientalism in mind, "The Lure of the East" focuses on the range of pictorial options open to British artists, within five major themes: portraits, genre, religious and domestic subjects and landscape. British painters came to the Middle East from a culture steeped in technical and compositional artistic traditions. Such traditions were not easily unlearned, despite the apparent difference of the people and places the artists encountered on their travels. Given this, British Orientalist painters found many challenges in attempting to represent the Middle East, but they also found inspiration and, more importantly, the freedom to rework, reinvent and even discard those conventions that defined picture-making in Britain.
New New English Original bdg. Dust wrapper. 4to. (29 x 24 cm). In English and Turkish. 201 p., color ills., folding plt. The Huma Kabakci Turkish Art Collection, 1950-2008.= Huma Kabakci Türk Sanati Koleksiyonu.
New English Paperback. Foolscap 8vo. (18 x 12 cm). In English and Turkish. 368, [16] p., color and b/w ills. The guide. What keeps mankind alive? 11th International Istanbul Biennial.= Rehber. Insan neyle yasar? 11. Uluslararasi Istanbul Bienali.
Fine English Paperback. Pbo. Large 8vo. (24 x 24 cm). In English and Turkish. 85, [1] p., color ills. The ghost line.= Hayalet çizgi. [Exhibition catalogue]. TURKISH ART OF PAINTING History of art Contemporary art Modern painting.
New York, Thomas Yoseloff, Inc, 1957. 102 p. 3 h. 4º. Tela editorial algo deslucida. Buen ejemplar.
As New As New English Paperback. Dust wrapper. 4to. (29 x 24 cm). In English and Turkish. 86, [1] p., color and b/w ills. The first lady artists of Turkey.= Ilk kadin ressamlarimiz. Translated into English by Adair Mill. This work, which includes interesting biographical information and good examples of the work of the first Turkish female artists is intended to be a reference book on this subject. Contents: The first female artists of Turkey.; Mihri Hanim.; Müfide KAdri Hanim.; Celile Hanim.; Vildan Gizer.; Emine Fuat Tugay.; Naciye Tevfik and Meliha Zâfir Yenerden.;Fine Arts School for Girls.; Müzdan Arel.; First students of "Inas Sanayi-i Nefise Mektebi".; Nazli Ecevit.; Güzein Duran.; Melek Celal Sofu.; Fahrünnisa Zeyd.; Belkis Hanim.; Sabiha Bozcali.; Hâle Asaf...
New English Paperback. Demy 8vo. (22 x 14 cm). In English. [12], 136 p. A collection of Kurdish tales.
Sin lugar, John Childs and Son, 1866, 28'5 x 19'5 cm., tela original, separata, 30 págs.
Fine Fine English Original bdg. Dust wrapper. 4to. (32 x 27 cm). In English and Turkish. 2 volumes set: (359 p.; 473 p.), color and b/w ills. The centennial tale of Turkish painting.= Türk resim sanatinin bir asirlik öyküsü. 2 volumes set. Texts by Kiymet Giray, Kaya Özsezgin, Zeynep Inankur et alli. 1500 copies were printed. A comprehensive set on history of the Turkish art of painting. A very heavy set.
Paris, Edit. Unesco, 1951. Numerosas ilustracionnes en b/n. 159 p. Folio. Rústica editorial, algo deslucida. Livre en français. Book in English. Buen ejemplar.
Dresden, Edit. Der Kunst, 1961. Numerosas láminas en color y negro fuera texto. Página desplegable. 93 p. Folio. Tela editorial. Página de respeto amarillenta. Book in English. Muy buen ejemplar.
New English Paperback. Pbo. Mint. 4to. (28 x 23 cm). In English and Turkish. 159 p. Color ills. The blue book: The sea and its artists in Turkish art.= Mavi kitap: Türk resminde deniz ve ressamlari.
New York, Mallard Press, 1991, 23 x 24,5 cm., tela original, 191 págs. con profusión de ilustraciones en colores, muchas de ellas a toda página.
Fine English Paperback. Pbo. 4to. (30 x 24 cm). In English and Turkish. 67, [2] p., color and b/w ills. The Artist, The Sultan and his portrait: Mehmed the Conqueror according to Gentile Bellini.= Ressam, Sultan ve portresi: Gentile Bellini'ye göre Fatih Sultan Mehmet. [Exhition catalogue]. Edited by Münevver Eminoglu. Consultant: Günsel Renda. This exhibition consists of a single painting: the famous portrait that the Ottoman Sultan Mehmed the Conqueror had painted by the Italian artist Gentile Bellini about five hundred years ago and is now in the collection of the National Gallery of London. The painting is a magnificent souvenir of a brief 'golden age' in a reminder that, as early as the Renaissance and under the leadership of a strong and foresighted ruler, Ottoman society, which always looked wetward, hd the chance to grasp universal civilization.