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René Baudouin, 1978. In-4 broché non paginé, + 24 planches hors texte. Bon état
Paris et Bruxelles, Van Ouest 1928. In-4 relié demi chagrin vert à coins, dos à nerfs, titre doré. 47 pages + 64 planches hors texte. Collection "Bibliothèque d'histoire de l'art".Dos légèrement insolé sinon bon état
Venezia Alfieri Edizioni d'Arte, 1967. fort In-8 carré, reliure éditeur pleine toile bleue, LXIV + 400 pages. Nombreuses photos. Très bon état.
As New English Paperback. Pbo. 4to. (27 x 24 cm). Color and b/w ills. and photos. 47 p. Hâtira-i uhuvvet: Portre fotograflarin cazibesi, 1846-1950. Sadberk Hanim Müzesi 1 - 31 Mart 2005 [Exhibition catalogue].
New English Paperback. Pbo. 4to. (32 x 22 cm). Color ills. 66 p. How numerous and how exquisitely beautiful are the many pieces of writing on the subject of the tulip and its place in the life of our society during the eighteenth century; this graceful blossom became the symbol of an entire epoch, and gave its name to an era. The Occidental, Turks loved all flowers with unrestrained exuberance. Within the fellowship of Islamic civilization, it was solely the Turks who adopted the flower as an independent element, creating a distinctive and personal universe of ornamentitaion in architecture and in tiles. But the passion for tulips so far surpassed the affecrion for other flowers that it became a wolrd in its on right.
New Turkish Paperback. Large 8vo. (22 x 22 cm). In Turkish. [iv], 136 p., color ills. Kadiköy heykelleri. Sculptures in Kadiköy district of Istanbul.
New English Paperback. Pbo. Mint. 4to. (30 x 21 cm). In English. 146 p., color ills. Chinese ceramics in the Sadberk Hanim Museum.
Very Good Turkish Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish. 465, [11] p., b/w ills. Tanzimat ve Istibdat döneminde Türk tiyatrosu, 1839-1908.
Fine Fine English Original bdg. Dust wrapper. 4to. (29 x 22 cm). In English and Turkish. 239, [4] p. Color ills. The art of glass and traditional Turkish glassware.= Cam sanati ve geleneksel Türk camciligindan örnekler. With a preface by C. J. Riedel.
Very Good English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). [xv], 243 p., iv color, 106 b/w plates. Development of the Turkish ceramic art in Anatolia. Anadolu'da Türk çini sanatinin gelismesi.
Very Good English Paperback. Pbo. Roy. 8vo. (23 x 16 cm). In Turkish and German. 32 p. German expressionist graphic art exhibition. Grafik des Deutschen Expressionismus.= Alman Disavurumculugunda grafik sanati. [Exhibition catalogue].
New Turkish Paperback. Roy. 8vo. (23 x 16 cm). In Turkish. 359 p., b/w ills. Yasakli sanat olarak minyatür, resim ve grafik tarihi. History of miniature, painting and graphic as a forbidden art.
New Turkish Paperback. 4to. (26 x 22 cm). In Turkish. 107 p., ills. Ressam Hüseyin Zekâî Pasa ve mübeccel hazineler. Biography of Hüseyin Zekâî Pasa (1860-1919) who was a painter in the Ottoman Empire. Includes a reprint of his work entitled "Mübeccel hazineler".
New English Paperback. Pbo. Demy 8vo. (21 x 14 cm). In Turkish. 31, [1] p., b/w ills. 500 copies were printed. Marcel Duchamp'in makinesi. Translated by Kerim Atay.
New English Paperback. Pbo. 4to. In English and Turkish. [iv], 160 p., color ills. "The "Afterimage" exhibition book features new essays commissioned exclusively for this publication. The book opens with curator Basak Doga temür's introductory text and continues with "Mat Collishaw in Istanbul", an essay by the Istanbul-based artist, lecturer and translator Nazim H.R. Dikbas. Dikbas's essay offers a comprehensive reading of Collishaw's works in the exhibition with reference to art and politics in Turkey. The art critic on The Guardian newspaper, Jonathan Jones also contributed to the book with a new text where he invites the reader onto journey in Collishaw's world. The exhibition book includes images and stills from all the works in the exhibition "Afterimage".
New English Paperback. Pbo. 4to. (29 x 24 cm). In English and Turkish. 192 p., color ills. 'Scenes from Tsarist Russia: 19th Century Russian Classics from the State Russian Museum Collection, not only presented art lovers with a selection of masterpieces being displayed for the first time in Turkey, but also offered scenes of Russian history through Russian Realist paintings. The masterpieces from the rich collection from the State Russian Museum in St. Petersburg reflected every aspect of life including labour and poverty, the world of children, public festivals, war and death, scenes from bourgeois life, and revolution. In literature, music, and fine arts, the "Russian spirit" is depicted as a world of emotions in which love, sorrow, and death run rampant. After the 1860s, Realist conventions came to dominate the genre scenes. Progressive artists of Russia began portraying the fundamental problems of the period such as social injustice, serfdom (until 1861, peasants were considered as property of landowners in Russia), child labor, subjugation of women, and poverty. Daily life hence became a point of interest in art. In the 1870s and particularly after the 1880s, a more positive attitude came into view; the artists gradually diverged from depicting painful worlds. The public was no longer the victim, but a powerful subject. A tendency to poeticize folklore, as well as the public perception of nature and the universe began to emerge. Social problems were addressed in their entirety; analysis replaced condemnation. The exhibition, which included artists from Repin to Makovsky, Yaroshenko to Shishkin along with many others, presented not only Russia of the period with all its different aspects, but with its themes and characters the exhibition offered audiences a unique experience, one similar to reading the works of the great Russian writers such as Nikolai Gogol and Fyodor Dostoevsky.'.
New New English Original bdg. Original dust jacket. Mint. In Turkish and French. 4to. (31 x 23 cm). 288 p. Color ills. 1500 copies were printed. Ömer Kalesi. Yörüngeler.= Trajectoires. Texts by Jacques Lacarriere. TURKISH ART OF PAINTING & SCULPTURE Sculptor.
Bruxelles, La part de l'oeil, 1988. In-4 broché de 207 pages illustrées. N° 4. Publié avec le concours du Ministère de la Communauté Française. Presses de l'Académie Royale des Beaux Arts de Bruxelles. Nombreuses illustrations. Texte de Georges Didi-Huberman, Daniel Giovannangeli, Serge André. Bon état
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. Pbo. 4to. In English and Turkish. 216 p., color ills. "The publication that accompanies Asli Cavusoglu's exhibition "The Stones Talk" features drawings of the 71 study pieces reconstructed by the artist, 3D sketch renderings of the objects in the exhibition and photos of selected objects. The books includes new essays commissioned exclusively for this publication. Özge Ersoy's curatorial essay is followed by sociologis Asli Gür's text titled "The Fragment That Resists the Story" and based on her research at the Museum of Anatolian Civilisations in Ankara. Revolving around symptoms and dreams as "foreign languages that speak with us", the essay by psychologist and editor Gülin Ekinci proposes a reading of "The Stones Talk" through Freud's work, while curator and writer Adam Kleinman focuses on the role of imagination in our relationship with objects.".
Very Good Russian Paperback. Pbo. Cr. 8vo. (18 x 13 cm). In Russian. [20] p., b/w ills. B[ehruz] Kengerli, 1892-1922. Vistavka Risunkov i atyudov. Text by Mursal Nadjafov. 500 copies were printed.
Fine English Paperback. Pbo. 4to. (29 x 22 cm). In German and Turkish. 192 p. Color and b/w ills. Dieses Ausstellungsbuch wurde anlässlich der von 18. Februar bis 31. März 2005 in Yapi Kredi Kâzim Taskent Gallerie verwirklichten Ausstellung "Joseph Beuys - Zeichnung als Fundus" vorbereitet. Nebenseits dem Ausstellungskatalog, das Buch enthält Textbeiträge von Peer Steinbrück, Bettina Paust, Franz Joseph van der Grinten, Ali Akay, Barbara Streider und Canan Beykal. ART OF PAINTING GErman painting History of art. Joseph Beuys. Zeichnung als fundus. Arbeiten aus dem Museum Schloss Moyland.= Joseph Beuys. Aslolan çizgidir. Schloss Moyland Müzesi Koleksiyonundan bir seçki. 18 Februar.= Subat / 31 Marz . Mart 2005. Kazim Taskent Sanat Galerisi. [Exhibition catalogue]. Prep. by Veysel Ugurlu. Edited by Mine Haydaroglu.
New Turkish Paperback. Roy. 8vo. (24 x 17 cm). In Turkish and French. 254 p. First Edition in 1926 written in Ottoman Turkish. Türkçe'den Fransizca'ya sanat kamusu.= Dictionnaire des termes d'art. Français - Turc / Turc - Français.= Sanat kamusu. Fransizcadan Türkçeye ve Türkçeden Fransizcaya. Sanayi-i Nefiseden resim, nakis, naht, mimarî, hat ve âsar-i atikaya aid istilahlari havidir. Rare. Özege: 17507. HISTORY OF ART Reference Ottoman culture Architecture Painting Terms Dictionary Lexicon Turkish and Islamic arts.
New English Paperback. 16mo. (15 x 11 cm). In English and Turkish. 42 p. An essay about the concept of the canon in the art field in Turkey.= Türkiye'deki sanat alaninda kanon kavramina dair bir deneme. (Current Issues = Güncel Durum 03). [Supplement of the 144st issue of Sanat Dünyamiz magazine]. "Current Issues is a series that aims to shed light on the Istanbul focused contemporary arts production of Turkey. Within this realm, it hosts writings of various academicians, researchers and practitioners.".
New English Paperback. 4to. (29 x 24 cm). In English and Turkish. 208 p., color ills. Golden grace: Tombac.= Tombak: Altindan süzülen zarafet. [Exhibition catalogue]. "A magic world unfolded before us during our preparations for the exhibition Tombac: Golden Grace. With Yapi Kredi's tombac collection as our starting point we discovered that behind the graceful and magnificent culture created with gold was in fact thousands of years of know-how and experience. The power and prestige conferred on gold down the ages gave rise to the notion of covering items made from less valuable metals with gold and inspired the development of gold plating methods. Beginning in Central Asia, Turks played a vital role in the production of metal goods and created a valuable culture in this field, crowned during the Ottoman period with the tombac gilding technique. However, the discovery of the electrolysis technique in the 19th century, led in due course to the discontinuation of the tombac gilding method. This book was produced to introduce the still insufficiently researched art of tombac that is about to sink into oblivion. While exploring the subject of gold plating from the early period, the focus is on tombac items which formed the pinnacle of Ottoman metal craft. Nihat Tekdemir examined the gold plating methods used in different periods of the cultural history. He covered the Ottoman tombac gilding technique comprehensively, described the differences between this and other gilding techniques and named the areas in which tombac was used. Prof. Dr. Sümer Atasoy explained that copper always was the most favoured metal in Anatolia, and while relating the story of coppersmithing, he also touched upon production techniques and the decoration of copper before the tombac gilding. Ömür Tufan, expert at Topkapi Palace Museum's Copper and Chandelier Department, described the Ottoman sultan's tombac effects at Topkapi Palace, the characteristic features of the tombacs in the collection and where they were used.". (From preface).