573 résultats
As New English Paperback. Pbo. Mint. Large 8vo. (22,5 x 22,5 cm). In English and Turkish. 84 p. Color and b/w ills. 1. International Istanbul Triennale.= 1. Uluslararasi Istanbul Trienali.: The secret language of the city. He knew them but they knew him not.= Sehrin gizli dili. O onlari tanidi ama onlar onu taniya(ma)di. September, 2-19, Istanbul. [Exhibition catalogue].
Mazenod, 1967. In-folio pleine reliure toile éditeur sous jaquette illustrée et étui. 159 pages illustrées en nori et en couleurs, dans et horx-texte. Très bon état.
Les éditions Beaux Arts de Paris, 2008. In-4 broché, couverture à rabats de 380 pages. Tome 2, volume 2, 1682 - 1699. Sous la direction de Jacqueline Lichtenstein et Christian Michel. Très bon état.
NRF la Galerie de la Pléiade 1950.In-folio en feuillets sous couverture à rabats. 171 pages. Sous la direction d'André Malraux. Textes de Stendhal, Paul Valéry, Goethe, Chateaubriand, Hegel, Ruskin, Th. Gautier, Michelet, W. Pater, H. James, Nietzsche, Wilde, Barrés, A. Pousin, Prud'hon, Delacroix, Odilon Redon. reproduction d' oeuvres dans le texte et à pleines pages sous serpentes. Très bon état.
les Editions du Cerf, 1998. Grand In-4 relié toile éditeur sous jaquette illustrée de 60 pages. Nombreuses reproductions. Encore emballé. Très bon état.
Paris, Librairie de Firmin Didot frères, 1869. Grand et fort In-4 reliure éditeur demi-chagrin vert, plats de percaline verte, dos et plats très ornés de motifs dorés (reliure signée en queue Ch Magnier), toutes tranches dorées, gardes de papier décoré au monogramme de l'éditeur FD. IV + 530 pages. Illustré de 17 planches en chromolithographie éxécutées par F. Kellerhoven et de 400 gravures sur bois. Une mouillure angulaire en partie supérieure allant en s'estompant sur les 200 premières pages. Pour le reste, exemplaire sans rousseurs, frottement à la charnière du 1er plat en partie supérieure. Reste un bon exemplaire dont la richesse iconographique est une référence.
Mengès, 2000. Grand et fort In-4 relié pleine toile éditeur, titre doré en dos sous étui illustré de 705 pages. Très riche iconographie en noir et en couleurs, dans et hors-texte. Très bon état
Fine English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish. 2 volumes set: (46 p., 8 b/w plts.; 47-158 p., 47 b/w plts.). Signed by Çulpan). Cypress tree in history of arts, literature, medicine and theology from the ancient times to the present day. Serviler. Antik devirlerden zamanimiza kadar ilahiyat, edebiyat, tip ve sanat tarihlerinde. 2 volumes set.
New English Original bdg. HC. 4to. (32 x 25 cm). In English and Turkish. 315 p., color ills. 500 copies were printed. Halil Akdeniz: Cultural signs.= Kültür imleri. Text by Rifat Sahiner. The art of Akdeniz follows an evolutionary line that appears rather difficult to categorize, the plastic concerns and conceptual structuration principles of which are based on a certain principle. The evolution renders visible the concept of a unique art in which meaning and problems of form are triggered by one another, and symbols, images, and signs are in constant motion, revealing new possibilities. Akdeniz¿s use of sign from the Anatolian Civilization,with which he has long been preccupied, indicates that the artist is concerned with capturing the life reigning over these lands through the letters in the Hittite, Hattian, Phrygian, and Greek alphabets as cultural codes. The geometry of Thales, the playfulness of Heraclitus, the oracle of Nietzsche are all there. In analyzing the art of Akdeniz, it can be argued briefly that the main concern of the artist is to acquire information from cultures, discover their genetic equivalents, and to create a new design principle by unearthing this information through a kind of temporal archaeology. Particularly from the early 1990s onwards, Akdeniz attributes a new function to the canvas and the frame: extending beyond the pictorial space, he enters a new experimental phase with a plethora of new materials. While this experimentation compels the artist to relentlessly seek new associations and ways of expression, it also allows him to think of the forms and symbols he has been using from the onset within new possibilities. This book can be characterized as a journey into the roots and developmental dynamics of Halil Akdeniz¿s art and thus can be assessed as a multi-directional thought platform on how it be can interpreted within the art procedures of the past and present.
New English Paperback. Roy. 8vo. (24 x 17 cm). In English, Turkish, Uzbek, and German. 335 p. Kurtulus yolunda: A work on Central Asian literature in a Turkish-Uzbek mixed language. Edited, translated and linguistically revisited by A. Sumru Özsoy, Claus Schönig, Esra Karabacak with contribution from Ingeborg Baldauf. The basis of this book is a text from 1930s written in a mixture of the Uzbek and Turkish language, the first and so far only evidence of this phenomenon. The manuscript deals with a number of Central Asian Turkic poets of the early 20th century. In this book not only the content is analyzed, but the focus lies on the examination of the language it is written in. In addition to the manuscript and the textual analysis the book comprises notes on the historical events of the period of time covered in the manuscript and comments on several of the poets and their backgrounds.
Fine Fine English Original bdg. Dust wrapper. 287, [1] p. In Azerbaijani, English and Russian. Color ills. Ömer Eldarov. Heykelterasliq.= Sculpture. Text by G. A. Quacar.
Fine English Original pictorial cloth bdg. 4to. (33 x 25 cm). In German. 128 p. Color and b/w ills. Hinterglasmalerei aus alter zeit.
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.
New English Original bdg. HC. 4to. (27 x 20 cm). In Turkish. 208 p., color ills. Türk süsleme sanatlarinda barok ve rokoko. Baroque and rococo in the Turkish / Turkish art.
New Persian Original bdg. HC. Roy. 8vo. (24 x 17 cm). In Persian. [14], 184 p. Guzide-e asrâr-nâmâ. Attar was a twelfth-century Persian poet, theoretician of Sufism, and hagiographer from Nishapur who had an immense and lasting influence on Persian poetry and Sufism. Man?iq-u?-?ayr [The Conference of the Birds] and Ilahi-Nama [The Book of Divine] are among his most famous works. "Asrar-nama" is the earliest of Attar's mystical narrative poems ; it has attracted less scholarly attention than the other three. This may be partly due to its lack of a frame-story. The contents are arranged in 22 discourses (maqalas) in random order, without regard to sequence of ideas. Each maqala begins with an outline of an idea, which is then developed by means of short anecdotes. Frequently the anecdotes are accompanied by reflections which lead into thematically related fields or, in some cases, stray quite far from the basic idea. The work thus lacks a definite conceptual structure. Its concluding message is the hope of release of man's spiritual substance from the world's grasp. In no other work does ?A??ar propound the gnostic concept of the soul's fall and the duty to free it from worldly and material bonds so comprehensively and forcefully as in the Asrar-nama. The resultant belief that this work influenced the preamble of the Ma?nawi-e ma'nawi, probably gave rise to the legend that the aged ?A??ar donated it to the young Jalal-al-din Rumi as his testament. The concluding message naturally leads the author into moralizing reflections of the world's transience, vanity, and depravity, which fill whole chapters in the last third of the work (chap. 14 onward). After the three introductory chapters on taw?id, na't, and manaqeb, the fundamentals of the gnostic concept are expounded; certain aspects are elaborated in chapters 8 and 11, and in chapter 5 the favorite theme of reason and love (aql o esq) is introduced. Chapter 12 also seems worthy of special mention, because it is about the impenetrability of celestial and extramundane secrets (asrar) and is thus more pertinent to the book's title than the rest. (Source: Encyclopedia Iranica).
Very Good Very Good English Original bdg. Dust wrapper. 4to. (36 x 28 cm). In English and Turkish. 112 p., color photos. 1500 copies were printed. Uçarcasina: On the 70th anniversary of the Republic the Turkish ballet in photographs.= Uçarcasina: Cumhuriyetin 70. yilinda fotograflarla balemiz.
New English Merey Koleksiyonu'ndan portreler sergisi 31.10 - 07.11.2010 Tüyap sanat fuari (Exhibition catalogue)., Tüyap, Ist., 2010. Paperback. Pbo. 4to. (30 x 24 cm). 131, [5] p. Color ills. With Cd. 1000 copies were printed.
Fine English Paperback. Pbo. 4to. (27 x 22,5 cm). In Persian and English. 156 p. Ills. The 10th Tehran International Poster Biennial. 19 October - 11 November 2009 Tehran Museum of Contemporary Art. Cover Design: Biennial Poster, Ghobad Shiva. Executive Director: Amir Abdolhosseini. Publication Director: Mohammad Hassan Estabi.
Fine English Paperback. Pbo. 4to. (28 x 21 cm). In English and Persian. 120, [16] p., color ills. 5 chapters of catalogue: Typography. / Sign. / Packaging. / Layout. / Illustration. / Poster. Contemporary graphic of Iran. A selection of the works: 4th Iran Graphic Design Biennial.
New English In publisher's original special designed box, 20 b/w plates of portraits. Large 4to. (35 x 26 cm). Text in Turkish. 20 b/w plts. Afife Tiyatro Ödülleri 20 yil. Afife Jale'ye Saygi. [Exhibition catalogue]. A special exhibition catalogue includes 20 Turkish female theater actresses' portraits in disguise of Afife Jale who are winners of Afife Jale Theater Award since 1998 to 2016.
As New English Original bdg. HC. Mint. 4to. (33 x 22,5 cm). In English. 167 p. Color and b/w ills. The Turkish ballet in its 60th year.
Very Good English Rebound to black modern cloth with embossing in Ottoman style. Roy. 8vo. In Ottoman script. Some markings. B/w ills. 409 p. R. 1330 = Greg. (M.): 1914. Ozege: 872. First and only Ottoman Edition of 'Apollo. Histoire générale des arts plastiques professée à l'école du louvre', 'Apollo. an illustrated manual of the history of art throughout the ages'. Apollo. Tarih-i umûmi-i sinaat [sanat]. Translator: Vahid.
New English Paperback. Roy. 8vo. (24 x 17 cm). In English and Turkish.304 p., ills. Theory in the art and design: Add-Ist Art and Design Dialogues Symposium. February 2018 proceedings book and exhibition catalogue.= Sanat ve tasarimda kuram: Add-Ist Sanat ve Tasarim Diyaloglari Sempozyumu - Subat - 2018 bildiriler kitabi ve sergi katalogu.
New English Paperback. Roy. 8vo. (24 x 17 cm). In English and Turkish. 366 p., ills. Art, Art History and aesthetic are the definitions and the witnesses of time. At the same time, they are the definers of the place. That's the reason why, they are the indicators of the human evolution. Time is mostly explained by an evaluated process and, it is also identical with nonspatial dimensional continuum. Time, which is an abstract concept, is an continuing series of events. In Ancient philosophy, time was a space which included all living creatures was measured by specific methods. According to Kant, time is a design which undertake the feelings' primal function. Generally, it is impossible to exclude appearance from time. All of the appearances can destroyed but time cannot disappear by itself. Place is a fact that effects outer sense from Kant's point of view. Kant effected by Newton's idea of absolute time and space's metaphysical shape, he sustains the idea that time is different from place in terms of subjectivity. So, we can explain this definition as time is pure acumen. Bergson, categorizes time as real and psychological and mathematical. Mathematical time's transformation can be achieved in space / place, and real and psychological time's transformation can be achieved in the conscious. Place is space designed in order to compensate human needs and is separated naturally from the environment, for the human's indispensable necessities. Place is the most relevant property of architecture and is identified with the concept of architecture. Time is the most important evidence of Human evolution. Explanations and examples of this evolution are the structures, which we can describe as architectural pieces. Periods, which have constructed the Art History, can all be explained by time and place. Art History, which explains civilizations, states and Empires with properties of their art, examines art works, which are created by the continuity of time and space. The Symposium aims to highlight the progress of art through time and in this sense, it will shed aesthetic theorems which have shaped Art History. Your attendance will be very important for being a witness to the process of Art History in the light of these subjects.
CR Editions 1984, In-4 reliure éditeur pleine toile bordeaux sous jaquette illustrée. 264 pages. Belles reproductions d'oeuvres. Bon état.
