ANTALYA MÜZESI REHBERI.MareMagnum
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Very Good English Paperback. Pbo. Cr. 8vo. [2], 40, [2] p. In Turkish. B/w ills. Antalya Müzesi rehberi.
Very Good English Original 51 gelatin silver photographs. All photos: 9x14 cm. A very good photo collection. This scarce early photograph collection includes the visual documentation of the ruined cities, buildings, and remains of the Olba Kingdom and the Roman Empire around the Cilicia region, today are Mersin and Adana cities. The photographer is not indicated and no captions at all. The collection focuses on temples, inscriptions (including Greek and Armenian), castles, baths, rock tombs, decorations, reliefs, some geographical features of the region, general views of cities, aqueducts, and many archaeological inventories like Diokaisareia or Diocaesarea (today Uzuncaburç), a part of the Seleucid Empire; Corycus, or Corycos, Korykos (today Kiz Kalesi), an ancient city in Cilicia Trachaea; Mezgitkale, Elaiussa Sebaste, Canbazli ruins, Athena relief, Lamas Aqueduct, Mancinik, and Meydan Castles, etc. These archaeological remnants are located around Mersin and Adana cities in South Anatolia. The Olba Kingdom was an ancient kingdom in southern Anatolia. It was a vassal of the Seleucid and Roman Empires. The kingdom was a small state situated in Cilicia Trachea, present Mersin and Adana provinces. It was bounded by the Toros Mountains in the north, the Mediterranean Sea in the south, the Lamos River in the east, and the river Calycadnus (Göksu) in the west. The archaeologists today call this area Olba Territorium. Its capital was on a plateau named Uguralani, a settlement to the northeast of Uzuncaburç (Diokaisareia).
New New English Original bdg. HC. 4to. (29 x 25 cm). In Turkish. 255, [3] p., color ills. Eco awareness has had an enormous impact across all cultural and political spectrums, not least in the art world. This accessible and thought-provoking book is the first in-depth exploration of the ways in which contemporary artists are confronting nature, the environment, climate change and ecology. Organized into six chapters, the book moves through the various levels of artists engagement, from those who act as independent commentators, documenting and reflecting on nature, to those who use the physical environment as the raw material for their art, and those committed activists who set out to make art that transforms both our attitudes and our habits. More than 300 illustrations feature the work of 95 artists and art collectives from all over the world, including The Artist as Family, Nyaba Leon Ouedraogo, Yao Lu, Tue Greenfort, Eva Jospin, Ravi Agarwal, Nadav Kander, Naoya Hatakeyama, Tattfoo Tan, Berndnaut Smilde, Simon Starling, and Jennifer Allora and Guillermo Calzadilla.
Very Good Turkish In modern cloth made as saved original cover on cloth's face. Roy. 8vo. (24 x 17 cm). In Turkish. [ix], 107 p. Tarihte halk tiyatrosu, temasasi ve eglenceleri. Türk tiyatrosu tarihi hakkinda bir önsöz ekliyerek çevirin: Ali Süha Delilbasi. First Edition.
1913EEzz2019zStgt. Bln. Lpz., Union Deutsche Vlgsges. (1913). kl.-8°, Doppeltit., 6 Bl., 371 S., 1 nn. S. Vlgsanz., mit 184 Abb. u. 2 Plänen, hint. Vorsatzbll. mit Lageplänen; OLn. m. Rüvgldg. u. Titelvign. Rücken stark ausgebleicht, Vorderdeckel mit etlichen hellen Flecken. (= Moderner Cicerone).
1894EEzz6442Stuttgart, Union Dt. Verlagsges. [1894]. Folio, Schmutztit., VIII, 213(1) S. Mit 11 (dav. 1 doppelblattgr.) Illustr. auf Taf., 59 z. Tl. ein- od. zweifarb. getönten Illustr. auf Tafelseiten sowie 204 tlw. getönten textillustr. in Lichtdruck. Roter OLnBd. m. dreifarb. gedr. Deckelbild, goldgepr. Tit. auf Rü. u. Vorderdeckel, Vollgoldschnitt. Einband leicht berieben, unt. Kap. angeplatzt; Signatur auf Rü.; Titelbl. gestemp. u. m. hs. Sign. Thieme/Becker I, 314. Reizvoll illustriertes Album mit Texten von C. W. Allers, Walther Trede und Alexander Olinda. Die Illustrationen zeigen Porträts, Genreszenen und Landschaften. ". . .Hierauf folgte (1894) 'La bella Napoli', wiederum eine Schilderung des Lebens im Süden, wo sich Allers anfangs der 90er Jahre angesiedelt hatte. . ." (Th./Becker).
New New English Original bdg. Dust wrapper. Roy. 8vo. (24 x 17 cm). English Edition. 264 p., ills. The global art compass. New directions in 21st century art. See the art, listen to the artist, trust your responses. The Global Art Compass shows us how to navigate the complex maze of the contemporary art world and unravel the intricacies of art today. In the past, writers and critics such as Goethe, Ruskin and Clement Greenberg perpetuated particular ideas about art and even dictated these ideas to the artists themselves. Since then, however, artists have rebelled. They no longer have to follow one prevailing theory or head for any particular city. New York, London, Paris, Berlin and Beijing are all great places to make art, but none today has a stranglehold on creation. In The Global Art Compass, Alistair Hicks demonstrates his belief that no single curator, critic or dealer can or should monopolize our view of what is happening in the art world today. Instead, he shows us how exciting and rewarding it is to navigate our own way through the art world by listening to the artists themselves. Organized by continent and including extracts from interviews with artists as diverse as Laure Prouvost (France), Anri Sala (Albania), GabrielOrozco (Mexico), Sandra Gamarra (Peru), Cai Guo-Qiang (China) and Nandan Ghiya (India), among many others, The Global Art Compass is an account of the author's explorations in the contemporary art world and a manifesto for how we might all discover our own inner art compass to help steer us towards the art that we find most meaningful and engaging. Now with a new chapter titled "The Compass in Turkey" written specially for this edition, The Global Art Compass shows that the preoccupations of artists in the twenty-first century are largely universal: that ever-faster communications are balanced by a resistance to globalization; that while art is seen by many as a commodity, it also has the power to be a regenerative tool; and that, despite an increasing confidence in an ever-growing range of media, artists are often searching for simple stories that will reach out to bigger audiences and change their lives for the better.
New English Paperback. Demy 8vo. (21 x 14 cm). In Turkish. 158 p. 17. yüzyil Türk edebiyati. Klasik estetikte yeni yönelisler, (1600-1700). TURKISH LITERATURE Aesthetics 17th century Ottoman classical literature Literary history. 158 p.
Fine English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish. 124 p., color and b/w ills. Eski Cami in Edirne City with calligraphic inscriptions and decorations. TURKISH AND ISLAMIC ARTS History of art Ottoman culture Mosque Ottoman calligraphy Calligrapher Illumination Decoration Edirne - Adrianople.
Very Good Turkish, Ottoman (1500-1928) Original nineteen mostly large photographs by Ali Enis Oza. Eight photos: 18x13 cm, six photos: 23x16,5 cm, two photos: 25x18 cm, one photo: 15x10 cm, one photo: 28,5x18 cm, one photo: 25,5x20,5 cm. Some of them are mounted on cardboards and several ones have "Ali Eniss" as studio sign on photograph papers. Slightly chipped on extremities on two photos, otherwise a very good collection. A fine photograph collection by Turkish photographer Ali Enis Oza, shot his photographs in the early Republican period of Istanbul. His photos are extremely rare in the market and institutional holdings. This collection includes architectural buildings in very artistic style like Camondo Stairs, mosques of Istanbul, scenes from the shores of the Bosphorus, beaches, calligraphic plates, and scenes from the Galata Bridge with a pair of the earliest Republican arches in Ottoman script, snowy ground, and trees, etc. Social life and figures are in almost all photos of him. Ali Enis Oza started photography in 1900 and studied photography in Paris. He wouldn't use a small format machine. Whatever size he wanted to take the photos in, he would take it with the film in the same size. It did not enlarge or reduce in print. When he was going to shoot in a large format, he would take a few people with him to transport his equipment. He was interested in the natural and historical beauties of our country, Ottoman architecture, calligraphy, ornamentation, and handicrafts. (Source: Sanat Garaji Online).
Fine English Paperback. Pbo. Cr. 8vo. (20 x 14 cm). In Turkish. 284 p. Kivrimlar: 1990'larda plastik sanatlar. Plastic arts in 1900's.
New Turkish Paperback. Pbo. Cr. 8vo. (20 x 14 cm). In Turkish. 100, [4] p. Sanat tarihi: Siradisi bir disiplin. Sosyolog, küratör Ali Akay Istanbul'da ve Paris'te gerçeklestirdigi bu söylesilerde sanat tarihinin önde gelen isimleriyle konusuyor. Jean Baudrillard: "Bireyin kimligi, burjuva olsun, hümanist olsun, Aydinlanmadan gelen bir kimlik degil; sentez bir kimlik." Georges Didi-Huberman: "Sanat Tarihi, Su Tuhaf Disiplin." Stephen Wright: "Sanat üretilmis kendine özgülükler olarak degil, kendi özgülüklerin üretilme biçimi olarak algilanmalidir." Hubert Damisch: "Beni ilgilendiren sanat tarihi degil, sanat üstüne neyin sorgulanacagi." Edward Lucie-Smith: "Ingilizce yazilmis yayinlarda çagdas sanatin tarihi rehin alindi." Nicolas Bourriaud: "Bir taraftan gelenekselcilige, bir taraftan da globallesmenin getirdigi tektiplesmeye karsi direnis yeni bir modern ruh yaratiyor." Uwe Fleckner: "Warburg üzerine degil, Warburg ile birlikte çalismak istiyorum."
Principauté de Monaco, Les Documents d'Art 1941, In-4 broché, couverture illustrée à rabats, 112 pages. Nombreuses planches noir et blan et couleurs. Exemplaire numérotté. Trés bon état.
Editions Saint André des arts, 2002. In-4 carré broché, couverture à rabats de 141 pages illustrées. Très bon état
New New Turkish Original bdg. Dust wrapper. 4to. (29 x 24 cm). In Turkish. 302 p., color ills. 50. yilinda Akbank resim koleksiyonu. Collection of the Turkish paintings of Akbank.
197933619BBMadrid, Publishers: CSIC, 1979. Publishers: CSIC (1978). XV, 664 Pages. Private Halfcloth-Volume (gilt Lettering on the Spine). Ex-Library-Copy. Library-Sticker on the Spine. Library-Stamp [dropped out] verso Title. No Markings in the Text! No Underlinings! No private/handwritten Owner
Very Good English Paperback. Large roy. 8vo. (26 x 17 cm). In English and Russian. 62, [2] p., color and b/w ills. Fine arts of Uzbekistan. Arts literature, reproductions of pieces of fine art.= Iskusstvo Uzzbekistana. Izoprodukchiia, literatura po izkusstvi. 500 copies were printed.
Very Good English Paperback. Pbo. Mint. Cr. 8vo. (19 x 12 cm). In Turkish. Fourth Edition. 133 p. B/w ills. Dictionary of terms of art. Sanat terimleri sözlügü.
Very Good English Paperback. Pbo. Cr. 8vo. (20 x 14 cm). In Turkish. 278, [2] p. O günlerden bu günlere. Anilar / elestiriler. HISTORY OF ART Turkish art Painting Criticism.
New English Paperback. Pbo. Demy 8vo. (21 x 14 cm). In Turkish. 187 p. Turkish museology. Türk müzeciligi. (Yazilar).
Very Good English Original bdg. HC. 4to. (31 x 24 cm). In Turkish. [6], 70 p. Color ills. Van Gogh Alive the Experience. [Exhibition catalogue]. Abdi Ibrahim.
Very Good Turkish, Ottoman (1500-1928) Original gelatin silver photograph mounted on cardboard. Cardboard size: 30x36 cm, photo size: 17x23 cm. Descriptive text on the bottom of print in Ottoman script (Old Turkish with Arabic letters). Extremely rare souvenir photograph of 44 Turkish Presidency Orchestra members of the Mobile Exhibition [or Floating Exhibition, or Touring Exhibition] in 1926, with conductor Zeki Bey, Karadeniz ship [i.e. The Black Sea ship] and its route during the exhibition on the map in Ottoman showing 18 main ports of Europe. The orchestra gave concerts in the ports of Le Havre, Marseille, Genoa, Venice, Trieste, Barcelona, Liverpool, Antwerp, London, Hamburg, Stockholm, Helsinki, Leningrad, Danzig, Copenhagen, Amsterdam, Batumi, Odessa, Constanta, and Varna as part of the three-month tour. Seyyar Sergi [i.e. The Mobile Exhibition] was created in the Black Sea Ferry in 1926 as an international propaganda tool in the early Republican period. The ship containing Turkish products and artworks visited the major ports of Europe during its three-month journey and received accolades from the western countries. The Black Sea Ferry functioned not only as a merchant ship but also as a propaganda tool representing the new Turkish image during the floating exhibition. Onboard proms, elegance and refinement of staff were seen as a mirror of the Republic of Turkey by Western audiences. The Mobile Exhibition was a symbol of the strong will and determination that the Republic of Turkey, led by Mustafa Kemal Pasha, has put forward toward modernization. (Source: A Propaganda and Publicity Event of the Republic of Turkey: Mobile Exhibition and Europe Travel of 1926). Additionally, the book titled Seyyâr sergi ile seyahât intibâlari. [i.e. Description of and memories from Turkish Mobile Exhibition printed in 1928. First edition of this rare book by Arseven describing his experiences during this trip and his impressions of the places he saw. Arseven was a Turkish painter, writer, and politician. He made contributions to various fields, including photography, literary art history, theater, cinema, architecture, and urbanism. He was one of the first to introduce the scholastic disciplines of the history of art and architecture and urbanism to Turkey. He pioneered a unique "Turkish art" and pioneered the acceptance of the Turkish art concept. His 5-volume Art Encyclopedia is his most recognizable work. During World War I, he was at Kadiköy Municipality Branch Directorate and then organized exhibition arrangements for artists in Europe. Also during World War I, while in Germany he and his friends founded a company called Transorient Film. In 1917, a contemporary adaptation of Goethe's Faust was filmed in Munich in the name of "Die Tote Watch." Due to his experiences in art and exhibitions, Turkey, after the proclamation of the Republic, organized a traveling exhibition that will take three months to introduce itself to Europe along with the new Turkey export products. In addition to businessmen, many intellectuals and artists, including Celâl Esat Arseven, were assigned to the exhibition organized on the 'Black Sea' cruise. The Black Sea cruise has been on duty at sixteen important ports in twelve European countries. Those ports and cities: Batoum, Odessa, Constanza, Varna, Istanbul, Trieste, Venezia (Venice), Genova (Genoa), Marseille (Marseilles), Barcelona, Havres, Anvers (Antwerp), London, Liverpool, Hamburg, Amsterdam, Danzig, Kopenhag (Copenhagen), Stockholm, Helsingborg (Helsing), Leningrad. The ship traveled 10 thousand miles in 86 days and returned to Istanbul on 5 September 1926. Özege 17939.; TBTK 4759. Totaly nine copies in OCLC: 26232123 / 13081396 / 1030749227.
Very Good Turkish, Ottoman (1500-1928) Original brown leather photo album including 31 large gelatin silver photographs. Album size: 23x31 cm. Photo sizes: 16,5x22,5 cm. No captions. Each photo is mounted on album leaves and separated with tissue guards. Historically significant photo album including attractive photographs showing the process of the construction and launchings of the first two Turkish submarines at the Fijenoord Shipyard in Rotterdam, by German and Turkish engineers, under the secret project "NV Ingenieurskantoor voor Scheepsbouw (i.e. Engineer-office for Shipbuilding) which was a Dutch dummy company set up in The Hague and funded by the Reichsmarine after World War I in order to maintain and develop German submarine know-how and to circumvent the limitations set by the Treaty of Versailles in 1919. IvS first designed two submarines based on the World War I UB III of the Kaiserliche Marine. Both were built by the Fijenoord shipyard in Rotterdam in 1927 and sold to Turkey, which named them TCG Birinci Inönü and Ikinci Inönü. Photos show the Turkish and German commissions of engineers including Ata[ullah] Nutku who is the first Turkish shipbuilder and designer as well as the process of construction of these two Turkish submarines and launching at the Fijenoord Shipyard. The first two submarines built during the Republic era were U-Boats designed based on the UB-III class, one of the German submarine classes of the First World War era, ordered in 1925, received in 1928, and built at the Fijenoord shipyard in the Netherlands. NV Ingenieurskantoor voor Scheepsbouw (Dutch: engineer-office for shipbuilding) designed several submarine types for paying countries, including the Soviet S-class submarine, as well as the prototypes for the German Type II submarines and Type VII submarines. The company was a joint venture by the German shipyards AG Vulcan Stettin (located in Stettin and Hamburg), the Krupp-owned Germaniawerft in Kiel, and AG Weser in Bremen. Design work was carried out at the facilities of these companies in Germany. At the time of IvS, the Germans were bound by the Treaty of Versailles, signed in 1919. This treaty, among other terms, demanded that all German U-boats be destroyed or given to other nations. Thus the Reichsmarine was left without a submarine capability, and IvS was created to work around these restrictions. The work of the company was a major factor in the foundation of the Kriegsmarine of World War II. The first designed two U-Boats TCG Birinci Inönü and Ikinci Inönü were followed by the Submarino E-1 built-in 1930 by the Echevarrieta y Larrinaga shipyard in Cádiz, Spain, initially for the Spanish Navy, but mainly as a prototype of the German Type I submarine. However, the Spanish lost interest in the E-1, and it was also sold to Turkey in 1935 as the TCG Gür.
1954EEzz6902(Warschau), Pánstwowy Instytut Wydawniczy 1954. 4°, 37 S., mit 4 mont. Farbtaf. u. 117 ganzseit. Abb., OPp. m. ill. OU., an diesem Gebrauchsspuren, Vorsätze u. Spiegel gebr., innen frisch. In Englisch.
1987EEZZ6571aWien, Wiener Secession 1987. fast quadrat.gr.-8°, 117 S., mit zahlr., meist farb. Abb., OKart., am Umschlag geringe Gebrauchsspuren. Mit Texten u.a. von Arthur Roessler, Heimito von Doderer, Otto Breicha, Heribert Hutter, György Sebestyén, Irmgard Hutter.