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SELIM SIRRI TARCAN, (1874-1957).MareMagnum

[SWEDISH GYMNASTICS AND PHYSICAL EDUCATION SYSTEM IN TURKEY / FINE OTTOMAN BINDING] Bize meçhûl hayatlar: Isveç'te gördüklerim. [i.e. What I saw in Sweden].

Very Good Turkish, Ottoman (1500-1928) Fine red leather reward binding with art-nouveau decorations and Sultan Mehmed Resad tughra. 'Mükâfât' [i.e. Reward] written on board in very calligraphic Turkish with Arabic letters. Title gilt on spine. Light chipped on extremities of binding. Marbled endpapers. Blindstamped colophon. A finely printed book, a special paper. Cr. 8vo. (20 x 14 cm). In Ottoman script. (Old Turkish with Arabic letters). 181, [3] p., 1 errata, richly illustrated. The reverse side of the first pages including the portrait of Gustav V has a letter by Selim Sirri Tarcan bilingual in Swedish and Ottoman Turkish sent to Gustaf V, The King of Sweden, written in Pangalti, Constantinople. The book has a brilliant travel account to Sweden from a Turkish perspective. Only three institutional copies in Turkey (2) and Netherlands (1, Leiden) libraries in OCLC: 949541692.; Özege 2474. First and Only Edition. Swedish gymnastics gained institutional structure by the courtesy of Ling in the early 19th century and forced the dominance areas of German, French, and British systems, which were used in school physical education in Europe from the middle of the century, due to their fully defined and justified pedagogical, psychological, military and medical functions, and increased its impact in a short time. Civil or military personnel sent by European governments received education in Stockholm's Royal Central Institute of Gymnastics, which provided Swedish gymnastics education from 1813, and proved to be the most important, leading, and exemplary institution of its genre. On their return to their homelands, they pioneered and tried to introduce Swedish gymnastics in/into their own countries. Military and political conditions in his country would turn a soldier-engineer into a physical educator and pave the way for Selim Sirri Tarcan's travel to Sweden in 1909. German Gymnastics (Turnen) based French Amoros Gymnastics is one of the physical education movements which Turkey met after political reforms of 1839 (Tanzimat) and it was incorporated into first military school then civil school curricula as from mid-19th century. Selim Sirri Tarcan encountered this apparatus gymnastics course at Mekteb-i Sultani (today Galatasaray High School), whose curriculum was created according to the French system and came to the forefront with his skills. After his graduation from Military Engineering School, he put effort into teaching and promotion via media of this gymnastics, rather than dealing with his military duties. However, the posture caused by his muscular body he developed by strength exercises and liked to show on every occasion, and his general health problems would make him question the gymnastics system he was governed by. The problem was also in Europe's agenda, and physical education entered the area of interest of public health policies, and the opinion that it is the most convenient and economical means to improve individual and public health became widespread, which popularized Swedish gymnastics appealing to this field. As of the late-19th century, Swedish-style gymnastics began to be promoted by medical-gymnastics institutes founded in the Ottoman capital as well as by published articles on this system by physicians and intellectuals knowledgeable on a sport-health relationship. Selim Sirri Bey, who was also attracted by Swedish gymnastics, turned his penalty of being sent abroad due to his active participation as a soldier in the constitutional movement of 1908 to opportunity and asked authorities to send him to Stockholm's Royal Central Institute of Gymnastics. During his higher education on gymnastics, he was also impressed by Sweden's healthy social structure into which physical education was integrated, heard of Zander, whose therapeutic gymnastics exercises were being applied in clinics opened on his behalf in European cities, and took medical gymnastics and massage classes at Zander's clinic in Stockholm. Selim Sirri Bey recognized pedagogical and scie

GANDOLFI Gaetano (Bologna 1734 – 1802)MareMagnum

Testa di donna di profilo volta a destra

Acquaforte, 1770-1780 circa. In basso a destra, nel margine, nota manoscritta “G. Gandolfi f.”. Magnifico esemplare, impresso su carta vergata coeva, sottili margini, in ottimo stato di conservazione. L'acquaforte appare anche insieme ad altre sei stampe di Gandolfi, due delle quali firmate, in un unico grande foglio; esemplari si trovano alla Pinacoteca Nazionale di Bologna e in una collezione privata. Gaetano Gandolfi è un’importante ed eclettica figura del ‘700 bolognese. Pittore e abilissimo disegnatore, si dedicò con successo anche all’attività incisoria. Come concordemente ricordano i biografi, nel disegno, sin dalla giovinezza, era solito definire progressivamente la giustezza dell'intuizione. Sono decine e decine gli schizzi, i disegni del Gandolfi nei musei o nelle collezioni private di tutto il mondo; oggetto di collezionismo sin dal Settecento sono il mezzo sicuro per conoscere lo sviluppo del suo pensiero, l'evoluzione dello stile che influenzerà, sino a metà del secolo successivo, la scuola bolognese. Etching, 1770-178 circa. Beneath the image, on the right, hadwritten note “G. Gandolfi f.” Excellent example, printed on contemporary laid paper, thin margin, in perfect condition. The etching also appears along with six other prints by Gandolfi, two of them signed, in a single large sheet; examples are in the Pinacoteca Nazionale in Bologna and in a private collection. Gaetano Gandolfi was an important and eclectic figure of 18th-century Bologna. He was a painter and a very skilful draughtsman, but also devoted himself successfully to engraving. As his biographers agree, from an early age he used to progressively define the rightness of his intuition in drawing. Dozens and dozens of Gandolfi's sketches and drawings are to be found in museums and private collections all over the world. Since the 18th century, they have been collectors' items and are a sure way of learning about the development of his thought and the evolution of the style that was to influence the Bolognese school until the middle of the following century. Donatella Biagi Maino et al, “Idea Prima”: Disegni e modelli preparatori, pittura di tocco dal ‘500 al ‘700, exhibition catalogue, Bologna, 1996, pp.112-115; De Vesme, 19. Gozzi, 10.

Libreria Antiquarius · Roma, IT725,00 €

Reagan, OliverMareMagnum

American Architecture Of The Twentieth Century: a series of photographs and measured drawings of modern civic, Commercial and Industrial Buildings

The full title is :American Architecture of the Twentieth Century. A series of photographs and measured drawingsof modern civic, commercial and industrial buildings". New York: Architectural Book Publishing Company, 1927-1929. There are 139 plates in 3 Volumes of 7 Parts. Plates loose as issued in 3 portfolios:Vols.1 & 2 cloth Vol.3 (Part 7) paper covered boards with cloth spine. Seven parts, each containing 20 full page plates with title page and table of contents in Vols. 1 and 2. Virtually complete except for one plate (#10 in Vol.2 Part 6 illus. floor plan of Bellevue Psychiatric Hospital. This is one of five plates illustrating the building). Missing too is the preface by Lewis Mumford in Vol.3 (part 7). Portfolios 1 and 2 cloth spines split and frayed but complete, plates are generally very good although there is some minimal edge darkening and soil. A half a dozen plates in Volume 2 have small moisture stain on edge, not affecting image.Vol.3 (Part 7) Very Good overall condition. Spines of Vols.1 & 2 titled in gilt and Vol.3 (Part 7) reproduces title page on the cover. Contents of Volume 1 include Raymond Hood's American Radiator Building; McKenzie, Voorhees & Gmelin, New York Telephone Building; U.S. Army Supply Base in Brooklyn by Cass Gilbert & Grauman's Metropolitan Theatre by Wm. Lee Woollett. Volume 2, Part 4 entirely devoted to 4 buildings designed by Bertram Grosvenor Goodhue;& Holabird and Root, 333 North Michigan Avenue apartment building. 3 add'l.buildings in Volume 3 Part 7 including the Masters Apartments/Roerich Museum Building by Corbett, Harrison & MacMurray and the R.J. Reynolds Building in Salem, N.C. by Shreve & Lamb and the Stewart Building in New York by Warren & Wetmore. All buildings illustrated by photos, plans and details. Rarely seen this complete. These books will be securely wrapped and packed in a sturdy box and shipped with tracking.

Design Books · New York, US695,41 €

Descourtis Charles-Melchior (Parigi 1753 – 1820)MareMagnum

Les Espiegles

Acquaforte e acquatinta stampata con inchiostri blu, rosso, giallo e nero. Nel margine inferiore, sotto l'immagine, a sinistra: Schall px. a destra: Descourtis st. Due donne nude sedute in riva a un fiume, impegnate a leggere una lettera, mentre due giovani uomini nascosti nelle rocce dietro cercano di rubare i loro vestiti con una canna da pesca. Questa stampa a colori meticolosamente realizzata riproduce un dipinto a olio di Jean-Frédéric Schall, un artista meglio conosciuto per le sue scene pastorali e vagamente erotiche. Durante la Rivoluzione francese (1789-99), il mercato delle stampe a colori di lusso declinò, poiché i soggetti stuzzicanti e i segni del lusso erano considerati immorali. Quando gli atteggiamenti si rilassarono intorno al 1800, stampatori come Descourtis realizzarono alcune stampe a colori usando piastre multiple per stratificare inchiostri colorati come avevano fatto prima della Rivoluzione. Descurtis era allievo di Jean-Francois Janinet, che è considerato dalla critica artistica uno dei più importanti incisori a colori francesi e si mise in evidenza per le sue innovazioni tecniche, quali l'acquatinta in quadricromia, oltreché per lo stile caratterizzato dall'intensità dei colori Tuttavia, questo processo lungo e costoso fu presto sostituito dalla colorazione a mano che i lavoratori potevano realizzare più facilmente ed economicamente. Esemplare in ottimo stato di conservazione. Wash manner etching and engraving printed in blue, red, yellow, and black inks. In lower margin, beneath the image, at left: Schall p.x at right: Descourtis s.t Two naked woman sitting by a river and busy reading a letter, while two young men hidden in the rocks behind are trying to steal their clothes with a fishing rod. This meticulously crafted color print reproduces an oil painting by Jean-Frédéric Schall, an artist best known for his pastoral and mildly erotic scenes.During the French Revolution (1789–99), the market for deluxe color prints declined, as titillating subjects and signs of luxury were considered immoral. When attitudes relaxed around 1800, printmakers like Descourtis made a few color prints using multiple plates to layer tinted inks as they had before the Revolution. Descourtis learned his method of multiple-plate color printing from Jean Frarnçois Janinet and like him used toolwork on the plate rather than aquatint, an acid immersion process used to create general areas of shading. However, this time-consuming and expensive process was soon replaced by hand coloring that workers could more cheaply and easily accomplish. Very good example. Portalis & Béraldi 3; Model/Springer p. 50, plate 20.

Libreria Antiquarius · Roma, IT625,00 €

Descourtis Charles-Melchior (Parigi 1753 – 1820)MareMagnum

L’Amant Surpris

Acquaforte e acquatinta stampata con inchiostri blu, rosso, giallo e nero. Nel margine inferiore, sotto l'immagine, a sinistra: Schall pinx. a destra: Descourtis sculp. Questa stampa a colori meticolosamente realizzata riproduce un dipinto a olio di Jean-Frédéric Schall, un artista meglio conosciuto per le sue scene pastorali e vagamente erotiche. Durante la Rivoluzione francese (1789-99), il mercato delle stampe a colori di lusso declinò, poiché i soggetti stuzzicanti e i segni del lusso erano considerati immorali. Quando gli atteggiamenti si rilassarono intorno al 1800, stampatori come Descourtis realizzarono alcune stampe a colori usando matrici multiple per stratificare inchiostri colorati come avevano fatto prima della Rivoluzione. Descurtis era allievo di Jean-Francois Janinet, che è considerato dalla critica artistica uno dei più importanti incisori a colori francesi e si mise in evidenza per le sue innovazioni tecniche, quali l'acquatinta in quadricromia, oltreché per lo stile caratterizzato dall'intensità dei colori Tuttavia, questo processo lungo e costoso fu presto sostituito dalla colorazione a mano che i lavoratori potevano realizzare più facilmente ed economicamente. Esemplare in ottimo stato di conservazione. Wash manner etching and engraving printed in blue, red, yellow, and black inks. In lower margin, beneath the image, at left: Schall pinx. at right: Descourtis sculp. A young woman surprises her sweetheart, whom she has found reading love letters in a wooded park. The love-struck fellow carries a miniature portrait of her as a keepsake. Verdant foliage, a nearby brook, and a blooming rosebush signal fertility and the bounty of life. The nude female statue sitting on a pedestal seems to watch the playful lovers. This meticulously crafted color print reproduces an oil painting by Jean-Frédéric Schall, an artist best known for his pastoral and mildly erotic scenes. During the French Revolution (1789–99), the market for deluxe color prints declined, as titillating subjects and signs of luxury were considered immoral. When attitudes relaxed around 1800, printmakers like Descourtis made a few color prints using multiple plates to layer tinted inks as they had before the Revolution. Descourtis learned his method of multiple-plate color printing from Jean Frarnçois Janinet and like him used toolwork on the plate rather than aquatint, an acid immersion process used to create general areas of shading. However, this time-consuming and expensive process was soon replaced by hand coloring that workers could more cheaply and easily accomplish. Very good example. Portalis/Béraldi 3; Model/Springer p. 50, plate 20.

Libreria Antiquarius · Roma, IT625,00 €

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