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Light tanning to pages. Minor shelfwear. ; Islam D'Hier Et D'Aujourd'hui; Vol. 1; 281 pages
A clean, unmarked book with a tight binding. Full dark blue cloth boards. Previous owner's name has been whited out on front endpaper. Edge wear to dust jacket. 350 pages.
New Turkish Original aesthetics full leather bdg. in traditional Ottoman style. With flap (miklep). In publisher's special luxury box. Large 4to. (30 x 25 cm). In Arabic. All edges gilt. Fully illuminated as traditional: Serlevha, hecde hizb, cüz roses, zahriye semses, müsenna besmele, with 'tevafuk' and color secavends, and med-kasirs. 605, 11, [4] p. The glorious Quran. Kur'an-i Kerim. was an Islamic calligrapher born during Ottoman times. His real name is Sheikh Musa Azmi, which is why his works may be found to be signed as Azmi. He is known by the pseudonym Hamid. He is also known as Hamid Al Amidi in international circles. Hamid learned the jali-thuluth (Turkish: celi-sülüs) style from Mehmed Nazif (1846-1913), the naskh and thuluth styles from Kamil Akdiç (1862-1941) and the ta'liq style from Mehmed Hulusi (1869-1940). His works are on display in many countries including Egypt and Iraq. His works are also on display in many newly built mosques of Istanbul. Some of his popular students include Hasan Çelebi and Fuat Basar. He was buried in the Karacaahmet Cemetery of Üsküdar district, Istanbul.
New Turkish Original aesthetics full leather bdg. in traditional Ottoman style. In publisher's special box. 4to. (30 x 20 cm). In Arabic. All edges gilt. Fully illuminated as traditional: Serlevha, hecde hizb, cüz roses, zahriye semses, müsenna besmele, with 'tevafuk' and color secavends, and med-kasirs. 605, 11, [4] p. The glorious Quran. Kur'an-i Kerim. was an Islamic calligrapher born during Ottoman times. His real name is Sheikh Musa Azmi, which is why his works may be found to be signed as Azmi. He is known by the pseudonym Hamid. He is also known as Hamid Al Amidi in international circles. Hamid learned the jali-thuluth (Turkish: celi-sülüs) style from Mehmed Nazif (1846-1913), the naskh and thuluth styles from Kamil Akdiç (1862-1941) and the ta'liq style from Mehmed Hulusi (1869-1940). His works are on display in many countries including Egypt and Iraq. His works are also on display in many newly built mosques of Istanbul. Some of his popular students include Hasan Çelebi and Fuat Basar. He was buried in the Karacaahmet Cemetery of Üsküdar district, Istanbul.
New Arabic Original cloth bdg. 592 p. In Arabic. Elephant folio. (49 x 35 cm). First Edition. Illuminated. Reprinted from the original manuscript of Topkapi Palace Museum dated 1584-87. The Koran known as Ahmed Karahisarî's Mushaf-i Serif is leading among the most important works created by artists, who are experts of letters of the Ottoman Palace dealing with the art of books. The work is registered at number 5 among the Hirka-i Saadet books of the Library of Topkapi Palace Museum. Its binding with golden gilded ornament, angle and border has miklep and is made of black leather and was repaired in time. Being the Koran with the largest size written in the Ottoman world, is sized 61.5x42.5 cm and consists of 300 sheets. The place of the work where the name of the calligrapher and the date of transcription would have been written, i.e. the colophon is left empty. The reason for attributing it to Ahmed Karahisarî, the famous calligrapher of the period of Kanunî Sultan Suleyman, is based on a foundation record at its beginning: in this foundation record on page 1b, it is briefly stated that the work is the Mushaf-i Serîf of Karahisarî, was kept in the sultan's treasure until then and was devoted to the Hirka-i Serîf Chamber (Private Chamber) for being recited in 1107 (1696) by Sultan Mustafa II. The beginnings of Fâtiha and Bakara chapters of the Koran, every page of which is gilded carefully, are written with celî muhakkak (large cursive style) and reyhanî calligraphy. Two opposed pages following the epigraph demonstrate a different arrangement. Here, one line each of celî calligraphy at the bottom and top and reyhanî calligraphy in a round medallion at the middle are used. In the opposed pages following this, the same arrangement is used without the medallion. Following this diversity at the beginning, the Koran is written according to a classical arrangement known as Yakut style, consisting of one line of celi muhakkak, five lines of nesih (roundish writing), one line of celî sulus (large style), again five lines of nesih and celî muhakkak calligraphy at the bottom. Ahmed Karahisarî is the most famous artist writing in this style among 16th century Ottoman calligraphers. However, it is quite surprising that the signature of Ahmed Karahisarî, who had great reputation in his time, is not seen at the end of the work. This can be explained by the failure to complete the Koran of the artist due to his death or his old age. It is possible to determine the period in which the work, accepted to be written by Ahmed Karahisarî, famous calligrapher of the time of Kanunî Sultan Suleyman, and incorporating the richest examples of Ottoman palace gilding art was completed with its main lines in the light of some documents.It is understood that 220 pages of the Koran known as Ahmed Karahisarî Mushaf-i Serif and which is one of the most valuable works of Topkapi Palace Museum were written by Karahisarî at the time of Kanunî Sultan Suleyman between 1545-55 and was left unfinished upon the death of the artist. It is also understood that the remaining 80 pages completing the Koran were possibly written by Hasan Celebi, his adoptive son, under the patronage of Sultan Murad III between 1584-87. Conjunction, drawing of rulers, gilding of every page and binding and final completion of the work was performed between 1584-1596. Murad III, who died in 1595, could not see the result of this study that he assumed the patronage of for long years.
Présentation du Yémen en 2 parties: "Ouverture au Yémen" par l'écrivain et cinéaste Michel BULTEAU (utilisant également le pseudonyme Baron Bulto) et "Partir au Yémen" par l'écrivain Alain JOUFFROY (1928-2015); carte et nombreuses photos couleurs de Lyu (Ryu) HANABUSA; Exemplaire bien complet de ses jaquette et étui. Français
xviii + 134pp.with 33 figures in-text + 19 plates out-of-text, cloth, 31cm., VG
Milano, 1959, stralcio con copertina posticcia muta, pp. 257/270 con numerose fotografie ed una cartina. - !! ATTENZIONE !!: Con il termine estratto (o stralcio) intendiamo riferirci ad un fascicolo contenente un articolo di rivista, sia che esso sia stato stampato a parte utilizzando la stessa composizione sia che provenga direttamente da una rivista. Le pagine sono indicate come "da/a", ad esempio: 229/231 significa che il testo è composto da tre pagine. Quando la rivista di provenienza non viene indicata é perchè ci è sconosciuta. - !! ATTENTION !!: : NOT A BOOK : “estratto” or “stralcio” means simply a few pages, original nonetheless, printed in a magazine. Pages are indicated as in "from” “to", for example: 229/231 means the text comprises three pages (229, 230 and 231). If the magazine that contained the pages is not mentioned, it is because it is unknown to us.
Firenze, 1940, stralcio con copertina posticcia muta, pp. 411/416 - !! ATTENZIONE !!: Con il termine estratto (o stralcio) intendiamo riferirci ad un fascicolo contenente un articolo di rivista, sia che esso sia stato stampato a parte utilizzando la stessa composizione sia che provenga direttamente da una rivista. Le pagine sono indicate come "da/a", ad esempio: 229/231 significa che il testo è composto da tre pagine. Quando la rivista di provenienza non viene indicata é perchè ci è sconosciuta. - !! ATTENTION !!: : NOT A BOOK : “estratto” or “stralcio” means simply a few pages, original nonetheless, printed in a magazine. Pages are indicated as in "from” “to", for example: 229/231 means the text comprises three pages (229, 230 and 231). If the magazine that contained the pages is not mentioned, it is because it is unknown to us.
Stampa antica ed originale con testo al retro
in-8, 223 pages, illustrations couleurs et n/b, broche, couv. ill. Tres bel exemplaire, tres frais. [LA-2]
xxii + 400pp., in the series "Jemen-Studies" Band 3, 28cm., softcover, VG
224pp., 24cm., in the series "Osterreichische Akademie der Wissenschaften. Philosophisch-historische Klasse. Sitzungsberichte" vol.594 & "Veröffentlichungen der arabischen Kommission" nr.6, softcover, very good condition, [bilingual: Arabic-German], X75379
in-8°, 234 pages, ill. hors texte N&B, 1 carte, broche, couverture illustree Qq. men. def. Bon etat [GE-1]
144pp., 21cm., softcover, text in German, Doctoral dissertation (Inaugural-Dissertation der Philosophischen Fakultät I der Friedrich-Alexander-Universität Erlangen-Nürnberg), stamp at verso of title page, text is clean and bright, good condition, X110854
arabe In-8 de XI-514-7 pp.; broché de l'éditeur. Introduction en français. Rares annotations au crayon de papier.
In-8° pp. 157 con molte foto a col. Bross. edit. ill. Dedica autografa all'interno.
Tre vedute da fotografie dell’esploratore Luigi Robecchi Bricchetti (Pavia 1855 - Pavia 1926). Testo al retro
Very Good English Paperback. Pbo. Roy. 8vo. (23 x 16 cm). In English. 177, [7] p. In English and Arabic abstract. Democratic developments in Yemen.
Collana “Reports and Memories”, XXI. Un volume di XVII-59(-105)-77 pagine, brossura editoriale. Dimensioni: 24x34 cm. Tracce d'uso alla brossura (in particolare al piatto inferiore), ottime condizioni interne. 36 figure (alcune su foglio ripiegato) e 56 tavole in b/n fuori testo. Le ultime 77 pagine seguono la numerazione araba e contengono la traduzione dei testi in lingua araba.
Due volumi (il secondo – Portfolio - di sole tavole) di 229(+227) pagine, tela editoriale con titolo al piatto anteriore e al dorso, custodia muta in cartoncino. Dimensioni: 25x35 cm. Ottime condizioni. Numerosissime figure e tavole in b/n fuori testo (volume I); 21 tavole su fogli più volte ripiegati in b/n (Portfolio). Il volume I contiene anche un frontespizio e il testo tradotto in lingua araba. (Per peso e dimensioni il libro sarà spedito in Italia con Paccocelere3 al prezzo di 15,00 euro) (Additional postage charges are requested for international shipping of this book. You will be notified by email, or you may email us before you order for a shipping quote)
anglais In-8 de XXV-358 pp. + texte en arabe ; cartonné toile de l'éditeur. The original texts, with translation and notes by Henry Cassels Kay. Reprint of 1892 first edition. Avec tableau et carte dépliante hors texte. Tâches sur une tranche.
Roma, 1911, 29 giugno-2 luglio, copertina illustrata a colori in fascicolo completo di 16 pp. de 'La Tribuna Illustrata'.
Un volume, 210x144 mm, leg. in brossura editoriale illustrata; pp. VIII, 219, [8] c. di tav.; numerose illustrazioni a colori e in b/n. Rif.: IT\ICCU\CFI\0124699. Cond.: Lievi segni d'uso. Parte inferiore dell'ultima pagina strappata, senza perdita di testo, ma solo di una pubblicità editoriale. Nel complesso, copia in condizioni decisamente buone.
Mm 170x240 "LIMES - Rivista Italiana di Geopolitica, maggio/2015" diretta da Lucio Caracciolo - Brossura originale, 240 pagine con tavole a colori non comprese nel testo. Copia pari al nuovo; spedizione in 24 ore dalla conferma dell'ordine.
