2 100 résultats
New English Paperback. Pbo. Demy 8vo. 216 p., 1 folding map. Turkish Edition. Medieval Constantinople: Studies on the history and topography of Byzantine Constantinople. Ortaçagda Istanbul. Altinci ve On Üçüncü yüzyillar arasinda Konstantinpolis'in kentsel degisimi. Translation by: Baris Cezar.
Fine Turkish Paperback. Oblong large 8vo. (14 x 20 cm). In Turkish. 31 p., b/w ills. Ortaköy. Tarih - sosyal ve mimari doku.
Fine English Paperback. Pbo. In Turkish. Small 4to. (26 x 18.5 cm). B/w ills. 275 p. Ortak bellek: 1948 yili Galatasaray Lisesi mezunlarina 50. yil hatirasi.
Very Good English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish. 85 p. Orta Asyada Arap fütuhati. Translated from English M. Hakki. First Edition of "The Arab conquests in Central Asia".
The beginnings of modern Greek history from the Frankish conquest of Constantinople in the Fourth Crusade of 1204 to the final Turkish conquest. Comprehensive, well documented account by a distinguished Greek historian. 414p.plates. maps. bibliography. index. maps on end papers Book
Very Good French Original sepia-toned photograph printed in a period photograph paper. 19x25 cm. Descriptive text in French. Chipped and tear on margins. Iranian was born in 1890 in Constantinople, Istanbul. It is known that he established his studio in 1891 in Pera district of Constantinople - the center of Armenian cultural and political life. In 1895 he enters into partnership with another photographer by the name of Gugasyan. By 1900s the business seems to have wound down as the images marked with his studio signature don't exhibit any over elements of the new century. Of all the major Armenian studios from Istanbul, Iranian's photographs are the rarest, and less than 300 are known to have survived. Iranian's primary subject was the city of Constantinople, its picturesque landscape, architectural heritage, and the many types of artisans and workers that populated its streets. Using the latest photography techniques, which allowed for very rapid exposures, Iranian captured the bustle of the city streets with remarkable clarity. Teeming with life and movement these images have a remarkable immediacy and documentary veracity quite unlike similar views produced by other photographers of the period. The typical approach for many of Iranian's contemporaries such as Sebah & Joalier or Guillame Berggren was to achieve as clear a picture as possible with perfectly balanced compositions and highly visible details - the hallmark of a 'good' commercial photographer. In contrast, Iranian's street views are full of photographic 'ruptures' - blurred figures in movement, surprised glances of people caught unawares - which give his works the viscerality of snapshots. But above all, Iranian was a master at capturing the mood of a place. Catching the Ottoman capital on the brink of rapid transformation, the photographer aimed to record many of its ancient streets and quarters disappear or change the appearance. Thus, like the Parisian street photography of Atget, Iranian's images are 'nostalgic for the present' that is irrevocably slipping into the past. In his studio, the clientele had the choice of a large range of costumes and props through which the modern urbanite could slip into the role of some long-gone ethnic or street type and become a part of history. It is this sense of melancholy that gives Iranian's photographs their subtle emotional power. This is also perhaps the reason why he was ultimately not as successful as a commercial photographer. Modernity had captured the imagination of the people and the wistful romanticism of Iranian's markedly less spectacular images was fast going out of fashion. The small legacy he has left behind is nevertheless of significance in the history of Near-Easter photography. He was one of the rare Ottoman photographers with an individual and subjective approach, which deserves a proper evaluation.
1910053167Istanbul: Mihran Iranian. c. 1910 1910. No Binding. Very Good. 8vo - over 7¾ - 9¾" tall. Original sepia-toned photograph printed in a period photograph paper. 19x25 cm. Descriptive text in French. Chipped and tear on margins. Iranian was born in 1890 in Constantinople Istanbul. It is known that he established his studio in 1891 in Pera district of Constantinople - the center of Armenian cultural and political life. In 1895 he enters into partnership with another photographer by the name of Gugasyan. By 1900s the business seems to have wound down as the images marked with his studio signature don't exhibit any over elements of the new century. Of all the major Armenian studios from Istanbul Iranian's photographs are the rarest and less than 300 are known to have survived. Iranian's primary subject was the city of Constantinople its picturesque landscape architectural heritage and the many types of artisans and workers that populated its streets. Using the latest photography techniques which allowed for very rapid exposures Iranian captured the bustle of the city streets with remarkable clarity. Teeming with life and movement these images have a remarkable immediacy and documentary veracity quite unlike similar views produced by other photographers of the period. The typical approach for many of Iranian's contemporaries such as Sebah & Joalier or Guillame Berggren was to achieve as clear a picture as possible with perfectly balanced compositions and highly visible details - the hallmark of a 'good' commercial photographer. In contrast Iranian's street views are full of photographic 'ruptures' - blurred figures in movement surprised glances of people caught unawares - which give his works the viscerality of snapshots. But above all Iranian was a master at capturing the mood of a place. Catching the Ottoman capital on the brink of rapid transformation the photographer aimed to record many of its ancient streets and quarters disappear or change the appearance. Thus like the Parisian street photography of Atget Iranian's images are 'nostalgic for the present' that is irrevocably slipping into the past. In his studio the clientele had the choice of a large range of costumes and props through which the modern urbanite could slip into the role of some long-gone ethnic or street type and become a part of history. It is this sense of melancholy that gives Iranian's photographs their subtle emotional power. This is also perhaps the reason why he was ultimately not as successful as a commercial photographer. Modernity had captured the imagination of the people and the wistful romanticism of Iranian's markedly less spectacular images was fast going out of fashion. The small legacy he has left behind is nevertheless of significance in the history of Near-Easter photography. He was one of the rare Ottoman photographers with an individual and subjective approach which deserves a proper evaluation. <br/> <br/> Mihran Iranian., [c. 1910] unknown
6076Recherches sur les influences byzantines et orientales en France avant les croisades. Bruxelles, Van Oest. 1928-1929. Deux volumes in-4 (30x22). 118-112 pages. Brochés, premières couvertures grises imprimées.
84736Paris, Edition du Seuil, 1988. 25 x 31, 232 pp., très nombreuses illustrations en couleurs et plans, reliure d'édition pleine toile + jaquette légèrement défraîchie, bon état (1 cachet et 1 signature d'ex-particulier sur la page de faux-titre).
Fine English Paperback. Pbo. Oblong roy. 8vo. (17 x 24 cm). In English and Turkish. 109, [2] p., b/w photos. Only yesterday at Yildiz Sarayi.= Geçmiste Yildiz Sarayi.
Fine English Paperback. Pbo. Oblong roy. 8vo. (17 x 24 cm). In English and Turkish. 109, [2] p., b/w photos. Only yesterday at Yildiz Sarayi.= Geçmiste Yildiz Sarayi.
New English Paperback. Pbo. 4to. (30 x 21 cm). In English and Turkish. [136] p. B/w and color ills. Once upon a time Beykoz.= Bir zamanlar Beykoz.
1983260207014Studion Publishers 1983. hardcover. Good. 9x6x1. Cover has light wear. Text unmarked small smudge on a few pages. Good solid binding. Ships Next Business Day. Studion Publishers hardcover
198440340Crestwood: St. Vladimir's Seminary Press 1984. Paperback. Very good. 107pp. Spine sunned else very good in publisher's wraps. Ink name on front free endpaper else internally fine. <br/><br/> St. Vladimir's Seminary Press paperback books
AM-R3K1-42IZNew. unknown
First edition, 8vo, viii, 268pp., half-title, photographic illustrations on endpapers, orig. cloth, uncut, d.w. The author sets out from Genoa; visits Capri and Paestum; enjoys a leisurely tour of Sicily; sees Tunis, Egypt, and then crosses to Constantinople and tours Greece before returning to Italy.
New English Original bdg. HC. 4to. (30 x 21 cm). In Turkish. 192 p., ills. Okçuluk sicil defteri. Inventory of Ottoman archers between the years 1682 and 1904.
Very Good Turkish Modern cloth bdg. 4to. (28 x 20 cm). In Turkish. 164, [4] p., ills. History of Ottoman archery. Okmeydani ve okçuluk tarihi. Rare.
New English Paperback. Pbo. Cr. 8vo. (20 x 14 cm). In Turkish. [iv], 294 p. Okla yükselen millet. Türklerde ok ve okçuluk. A study on history of Turkish / Ottoman / Mamluk archery.
New English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish. 143 p. Oguz'dan Selçuklu'ya: (Boy, konat ve devlet). 'Tribe and state' from Oghuzs to Seljuks in the Turks with Central Asian origin.
135894556X.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1866HALL068301Hardback. 1866. among the Saints John Chrysostom Archbishop of Constantinople Done into English by John Covel John Glen King John Mason Neale and by The Anonymous Translator of 1866. Ed. & notes Stephen G.Hatherly. 128pp 1895. The 4 translations in parallel. VG . hardcover
Very Good English Modern cloth bdg. Cr. 8vo. (20 x 14 cm). In English. [10], 180 p., photos and maps. Offbeat in Asia. An excursion. Travel memories from Istanbul, The Hilton Hotel, Ankara and Samsun to Kabul and Julfa.
041231770 Neuchatel Au dépends de la Société Typographique. 17 x 10 cm - 204187 pgs - plein veau marbré avec titre estampé en or sur de dos dos lisse avec fleuron dans la caissons estampée en or - coiffe usée autrement bel exemplaire l'intérieur est très bien petite fente en bas du mors suppérieur en bas <br/> <br/> 1770 Neuchatel Au dépends de la Société Typographique unknown
Very Good German Original color map on cloth. Chipped on folded places. Oblong atlas folio. (46 x 52 cm). Toponyms in German. A sheet of the collection of 'The general map of Central Europe'. appeared in the years between 1873-1876 with the work of Joseph Ritter von Scheda, (1815-1888) who was a general, geographer and cartographer.
