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Formes et couleurs, 1945. n°2. In-4 broché, illustré. Poésie. Bon état
Formes et couleurs, 1945. n°3. In-4 broché, illustré. L'art et la guerre. Bon état
Formes et couleurs, 1945. n°5. In-4 broché, illustré. La Suisse. Bon état
Formes et couleurs, 1946. n°1. In-4 broché, illustré. La table. Bon état
Formes et couleurs, 1946. n°2. In-4 broché, illustré. Amour. Bon état
Formes et couleurs, 1946. n°6. In-4 broché, illustré. Cinéma. Bon état
Formes et couleurs, 1942. n°3. In-4 broché, illustré. Marine Suisse. Bon état
Formes et couleurs, 1943. n°1. In-4 broché, illustré. Bon état
New English Original bdg. HC. Roy. 8vo. (24 x 17 cm). In English. [x], 144 p. Forty poems from the Divan. Translated with introductions and notes by Peter Lamborn Wilson & Gholam Reza Aavani. Edited by Seyyed Hossein Nasr (Series on Ismaili Thought)."The Diwan, or Divan, is a collection of poems written and compiled by Nasir Khusraw (1004-1088 AD). Khusraw composed most of his poems in the Valley of Yumgan, a remote mountainous region in Badakhshan (in present-day Afghanistan). The Divan contains around 11,000 verses of Khusraw's own poetry, reflecting philosophical, religious, and personal themes. The majority of poems contained in the Diwan are odes composed in the traditional Persian qasida (a structured form of poetry with an elaborate metre). The qasida consists of a single rhyme carried throughout the entirety of the poem. In terms of rhythm, each line (bayt) of the qasida consists of two equal parts. The Divan also contains quatrains and shorter poems (as qasidas can be relatively long). Khusraw, in his Divan, employs sophisticated rhetorical and poetic devices characteristic of Persian poetry...". (Source: Wikipedia).
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.
New English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In English and Turkish. 86 p., color and b/w ills. Freud and contemporary art.= Freud ve çagdas sanat. [Exhibition catalogue]. Contemporary artists' tributes to Freud donated to his museum upon his death début in Istanbul in "Freud and Contemporary Art".
New English Original bdg. HC. Folio. (34 x 24 cm). In English and Turkish. 115 p., ills. From the friend's drawer: Mengü Ertel's Collection of Cihat Burak's works.= Dostun çekmecesinden: Mengü Ertel'in Koleksiyonundan Cihat Burak eserleri. The book focusing on over 80 drawings by Cihat Burak, one of the most important representatives of figurative painting in Turkey, from the Mengü Ertel Collection, has been named "From A Friend s Drawer" in reference to the duo s friendship. It cracks open a door onto the universe shared by these two friends from the 1960s, characterized by the dialogue between literature and painting, poster and design, architecture and theatre, all the way up to the early 1990s. The book written by Oguz Erten is particular in that it allows for a reading of Cihat Burak through his own stories. Everything about him that makes Cihat Burak who he is which may at times become crystallized in yearning for the mother, at times in the anxiety over losing Istanbul, at times in his love for animals and other times in his love for books to the extent of losing himself in a novel are brought alive to speak of him in his own words, while Mengü Ertel s collection serves to visualize this dream-world. The book provides us with the opportunity of placing Cihat Burak a figure who, while he lived, observed us from the outside as an insider and expressed these observations in his stories and paintings in the seat of the one being watched instead, allowing us to enjoy seeing him in all of his aspects.
New English Paperback. Small 4to. (25 x 21 cm). In Turkish. 57 p. Geçmisten gelecege izlerin plastizmi. TURKISH ART Plastic arts.
New English Paperback. Roy. 8vo. (24 x 16 cm). In English and Turkish. 289 p., color ills. Giotto in Assisi.= Assisi'deki Giotto. 500 copies were printed. Giotto's paintings in Assisi. "Giotto is a very important personality. This case is revealed in my evulation of paintings in Assisi. He has a close relation with modern and contemporary concepts of art. In any case that kind of a relation clearly indicates Giotto's greatness. The only person who has realized his greatness in our country is the deceased Bedrettin Cömert and the most significant step he has taken about this issue is a book named 'Giotto's art'. No I'm going to comment on the twenty-five paintings which largely associated with Giotto in Assisi...".
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).
New English Paperback. 4to. (28 x 24 cm). In English and Turkish. 389 p., color and b/w ills. Goya, witness of his time. Engravings and paintings.= Goya, zamaninin tanigi. Gravürler ve resimler. [Exhibition catalogue]. Edited by Begüm Akkoyunlu Ersöz, Tania Bahar. Francisco de Goya (1746-1828), known as one of the most unique artists of European painting and a pioneer of modern painting, was introduced to the Turkish audience for the first time with four series of engravings, along with a selection of oil paintings, at the Pera Museum in 2012. Curated by Marisa Oropesa, the exhibition consisted of works from Spain and Italy's leading museums and private collections. As one of the best narrators of darkness, the exhibition united Goya's various oil paintings and engraving series-Caprichos, Disasters of War, Tauromaquia, Proverbs or Follies- that bear witness to a turbulent period in Spain and Europe. The works in the catalogue, besides his career as a court painter and portraitist, explore Goya's extraordinary imagination, along with his reflections of the social circumstances of the era, from a critical perspective. The catalogue seeks to shed light upon Goya's extraordinary imagination with his realistic and at times frightening style that makes him one of the best narrators of darkness separating him from his contemporaries, as his art transcends time, influencing 20th century modernism.
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].
Very Good English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In French. 25, [3] p. Gravures sur bois Japonaises.
New English Paperback. Pbo. 4to. (29 x 25 cm). In English and Turkish. 91 p., color ills. The works of outstanding contemporary artist and 2003 Turner Prize winner Grayson Perry (b. 1960) will be exhibited at Pera Museum, including tapestries, ceramics and prints. Organised in collaboration with the British Council and curated by Linsey Young from the British Council's Visual Arts Team, the exhibition reflects the artist's unrelenting fascination with issues of the everyday, of religion, class, and identity. Well-known for his transvestite alter ego "Claire", Perry's largest single body of work to date, The Vanity of Small Differences, composed of six tapestries from the British Council Collection, will also be exhibited. Though working within the context of contemporary art, Perry remains a practitioner of artisanal crafts and a lover of beauty. He rejects conceptual art as the sole claimant of 'ideas' and champions the decorative and intimate qualities of handmade objects with stories to tell. The ceramic medium that first drew Grayson Perry to craft practice continues to be a critical, and is perhaps the most traditionally beautiful, element of his work. In this exhibition, alongside the series of "The Vanity of Small Differences" the artist's earliest work, a ceramic pot from 2002, the period during which Perry was nominated for the Turner Prize; culminating in a self-portrait, 'A Map of Days,' which was completed in 2014 for a major exhibition at the National Portrait Gallery are also included. Linsey Young, curator of the exhibition "Small Differences" states that visitors will be able to explore the magnificent interior world of Grayson Perry. Through the complex and physically detailed narratives, the audience can observe motifs, such as planes, shopping centres, churches and temples, mobile telephones and of course the artist's beloved teddy bear, Alan Measles, which appear again and again in many different guises.
Good English Paperback. Pbo. Cr. 8vo. 22 p. Ex-library copy. In Turkish and 6 p. English summary. B/w ills. Guide to the Yalvaç Museum. = Yalvaç Müzesi rehberi.
New English Paperback. Pbo. 4to. (30 x 21 cm). In Turkish. 203, [1] p., color ills. Gunther von Hagens'in orijinal vücut sergisi: Body Worlds.= [Body worlds: The original exhibition of real human bodies]. [Exhibition catalogue]. Edited by Angelina Whalley.
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).
New Turkish Paperback. Demy 8vo. (21 x 14 cm). In Turkish. 81, [3] p., color ills. Göz ve tin. [= L'oeil et l'espirit]. Translated by Ahmet Soysal. Goz ve Tin, Merleau-Pont'nin iki-uc ayligina Provence kirlarina, Tholonet'ye gittigi gunlerde yazdigi ve hayattayken bitirebildigi son metnidir. Tholonet, Cezanne'in da cok sevdigi ve bircok resmine konu olmus, insana yerlesip yasamak icin yaratilmis duygusunu veren cok guzel bir yerdir.Yazar buradaki gunlerinin keyfini cikararak, ama bir yandan da Cezanne'in gozlerinin izini sonsuza dek tasiyan Tholonet manzarasi karsisinda, resmi ve "gorme"yi yeni bastan sorgulayarak bu metni kaleme almistir. Yuyilimizin en guzel ve en zor metinlerinden biri olan Goz ve Tin'de filozof, baslangictaki, en bastaki kelimeleri aramaya koyulur: ornegin vucudun "gorme"sini, insan vucudunun mucizesini meydana getiren seyi, insan vucudunun aciklanamaz canliligini adlandirmaya muktedir kelimeleri...ve tabii ayni zamanda bu mucizenin kirilganligini dile getirebilecek kelimeleri...
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.
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.