Edited by AHMET UÇAR.MareMagnum
137 résultats
New New English Original bdg. Dust wrapper. Folio. (32 x 24 cm). In Turkish. 232 p., ills. Naks-i Istanbul: Ortaköy Büyük Mecidiye Camii. "He was only 17 when he ascended the throne. However, Sultan Abdülmecid I, who is recalled as the pioneer of modernization trends, father of education reforms, as a matter of fact one of the architects of the Imperial Edict of Reorganization, by his education and rearing, has gone down in history as the individual who has taken the first step to abolish slavery. Istanbul had acquired its most beautiful silhouette by the palaces, manors and mosques that were built during the reign of Sultan Abdülmecid. And among these building, there is one mosque that is the pearl of the Bosphorus, which is ascribed as Naks-i Istanbul (Imprint of Istanbul). The Ortaköy Büyük Mecidiye Mosque, built on an embankment towards the sea, is a waterfront mosque that is as beautiful as a princess, and poses as the most favorite Ottoman heritage of the past and the present. The "Naks-i Istanbul Ortaköy Büyük Mecidiye Camii", where the comprehensive repair and restoration works conducted by Gürsoy Restoration during 2011-2014 are told, has been published by Gürsoy Group Publications under the editorship of Dr. Ahmet Uçar. This work, where the detailed information is provided also on the life, personality and reign of Sultan Abdülmecid I by names who are specialized in their fields, has assumed a very important place in literature.".
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.
Fine Turkish Paperback. Oblong large 8vo. (14 x 20 cm). In Turkish. 31 p., b/w ills. Ortaköy. Tarih - sosyal ve mimari doku.
New New English Original bdg. Dust wrapper. 4to. (30 x 25 cm). In Turkish. 528 p., b/w ills. Osmanli belgelerinde Beykoz. Beykoz (Beicos) based on the Ottoman archival documents. A very heavy volume.
Fine English Paperback. Pbo. Roy. 8vo. (23 x 16 cm). In Turkish. [xiii], 354 p. With Ottoman documents. Osmanli döneminde Istanbul deniz ulasimi ve kayikçilar.
Very Good French Paperback. 4to. (28 x 20 cm). In French. 35, [1] p., color ills. Parc de Yildiz et Pavillion de Malta.
Fine English Paperback. Pbo. 4to. (30 x 21 cm). In English and Turkish. 155 p., b/w ills. Photographer Ali Sami, 1866-1936.= Fotografçi Ali Sami, 1866-1936. "Ali Sami (Aközer) is born in Rusçuk in 1866, and moves to Istanbul. Because his family is registered in the Beylerbeyi quarter of Üsküdar, Ali Sami is also called Üsküdarli Ali Sami. He graduates from the Mühendishane-i Berri-i Hümayun in 1866 and becomes a teacher of painting and photography at the school. He is employed in the Ottoman army, and he is also a teacher of phography at the palace and for many years gives lessons to Prince Burhaneddin Efendi. In 1889 he becomes an aide to Abdülhamid II. As a military photographer, he is assigned by Abdülhamid II to accompany German Emperor Wilhelm II during his visit to the Ottoman Empire when he travels from Istanbul to Jerusalem in 1898, and presents an album of this journey to the sultan. After the constitutional monarchy is proclaimed, he becomes a painting teacher at Trabzon High School, and passes away in 1936 in Istanbul". (Source: From Konstantiniyye to Istanbul: Photographs of the Anatolian shore of the Bosphorus from the mid XIXth century to XXth century). Contents: - The World Discovers Photography - Turkish Art and the Effect of the Industrial Revolution on the Ottoman Empire - Photography in the Ottoman Empire - The Imperial School of Engineers - Ali Sami Bey - Album - Captions to Photographs.
Very Good English Paperback. Pbo. Roy. 8vo. (23 x 16 cm). In Turkish. 12, [10] p. B/w plates and maps. [=The Yali (Sea side mansion) of Sadullah Pasha (An Eighteenth century house on the Bosphorus)]. Sa'dullah Pasa yalisi.
New English Paperback. Folio. (32 x 23 cm). In English and Turkish. 32 p., fully color photos. One of 500 copies. This book is published on the occasion of Sakir Eczacibasi Photography Exhibition held between May 29 - June 22, 1996 at Milli Reasürans Art Gallery. Sair Sakir = Sakirotype, Talat Halman.; Catalogue including 30 color photographs.; Özgeçmis = Biography.
Good English Sanat dünyamiz. No: 1 Year: 1 Mayis 1974. [First issue]., Yapi ve kredi bankasi yayinlari, Ist., 1974. Paperback. Pbo. Small 4to. (28 x 20 cm). [46] p. Good. Color and b/w pcs and ills. First issue. In Turkish and English. Articles: Bogazici yalilari =[The Bosphorus and its Yalis.], Sedad H[akki] Eldem. Türk kumaslari =[Turkish fabrics.], Fikret Altay. Türk kapilarinin manevi süsleri =[Metal door ornaments.], Semavi Eyice; photos by: Hüsnü Gürsel. Degisen Bogazici =[The changing Bosphorus.], Melih Cevdet Anday. Virtüöz kizlarimiz =[Eleven Turkish women virtuosi.], Faruk Yener.
Fine English Original bdg. HC. 4to. (28 x 20 cm). In English and Turkish. 394, [5] p., color and b/w ills., plans. Sariyer; with all its aspects heaven at the Bosphorus.= Bütün yönleriyle Bogaziçi'ndeki cennet Sariyer.
Very Good English Paperback. Pbo. Cr. 8vo. (19 x 11 cm). In Turkish. [4], 352 p., full page b/w plates. Sergüzest-i Nono Bey ve elmas Bogaziçi.
New New English Original bdg. Dust wrapper. 4to. (32 x 24 cm). 398 p. In Turkish. B/w and color ills. Constantinople in travelogues. Seyyahlarin aynasinda sehirlerin sultani Istanbul. ISTANBUL - Constantinople Ottoman culture Byzantium Travel Memoirs Voyager Traveler Western travellers.
New English Paperback. Pbo. Demy 8vo. (21 x 14 cm). Color and b/w ills. 466 p. "In 1492, the Spanish monarchs expelled tens of thousands of Sephardic Jews from the Iberian Peninsula and other territories. Most Sephardim headed eastward and settled in Ottoman lands, where their language, known as Judeo-Spanish, survived and thrived for centuries. This book is the result of fieldwork in the Jewish community of Istanbul. It provides a historical and modern sociolinguistic account of the survival of the Judeo-Spanish dialect after centuries of fragmentation, French bilingualism, "Turkish only" language policies, emigration, and globalization. This work analyzes social patterns on the acquisition and use of Judeo-Spanish in the community as well as linguistic change throughout different generations of Istanbulite Sephardim. Focusing on several grammatical features, these data demonstrate that bilingualism with Turkish and reduced linguistic spaces promote language change. In a world where linguistic diversity is rapidly shrinking, the survival and future of Judeo-Spanish is a testament to the close bond between language, culture, community, and identity".
New Turkish Original bdg. HC. In publisher special box. Atlas folio. In Turkish. 336 p., fully color ills. Tarihte Türkiye haritalari: 2000 yillik harita koleksiyonu. This work begins from the first ages, continues with maps from Islamic geographers, maps with religious motifs, maps from the age of explorations and from the Ottoman Empire, goes until the Arabic letter maps from the early years of the Turkish Republic and ends with the map of Hatay joining the Turkish Republic in 1939. It is an indispensible work that traces the evolution of cartography in these lands. The collection, enriched with maps compiled from the major museums and libraries of England, France, the Netherlands, Russia and the USA, is the largest exhibition of maps of the Turkish lands. THis book is a product of nearly 20 years of work with 265 select maps in large 50 x 70 cm pages. A very heavy volume.
Very Good Very Good English Paperback. Pbo. Dust wrapper. Roy. 8vo. (24 x 17 cm). In English and Turkish. 80 p., color ills. The 'Yali' (Sea-side mansion) of Sa'dullah Pasa (An eighteenth century house on the Bosphorus).= Sa'dullah Pasa Yalisi.
New English Original decorative blue cloth bdg. In special publisher's box. 4to. (29 x 23 cm). Edition in English. [xii], 178 p., 88 b/w plates. The beauties of the Bosphorus: Illustrated in a series of views of Constantinople and its environs, from original drawings by W. H. Bartlett. Reprint of the 1836 edition. 1000 copies were printed.
New New English Original bdg. Dust wrapper. Oblong folio. (23 x 33 cm). In English and Turkish. 207 p., B / w and color ills. The Bosphorus steamers of the Sirket-i Hayriye. = Sirket-i Hayriye'nin Bogaziçi vapurlari. The Bosphorus has always been a subject that occupied an extraordinary place both in the Turkish and in the World literatures. With its natural...
Fine English Paperback. Pbo. Cr. 8vo. (20 x 14 cm). In English. [xvi], 182 p., b/w plts. The Bosphorus. Photos by Anthony E. Baker.
Fine Fine English Original bdg. Dust wrapper. Oblong 4to. (20 x 28 cm). Edition in English. 228, [10] p., color and b/w ills. Contents. The caique and Istanbul.; Names and types.; Types of caiques: Imperial caiques.; The Piyade.; The Pereme Other types: Ambassadorial caiques.; Fishing caiques.; The Sandal: The end of the caique.; The boatmen.; Caique diversions.
Fine English Paperback. 4to. (25 x 23 cm). In English. 122 p., color and b/w ills. The conservation of the Dolmabahçe Palace Clock Tower from the study project to the work site school. 6 copies in OCLC. OCLC no.: 896872444.
Fine Fine English Original bdg. Dust wrapper. In slip-case. Oblong 4to. (26 x 31 cm). In English and Turkish. 161 p., color and b/w ills. The jewel on the Bosphorus: Dolmabahce Palace.= Bogaziçindeki mücevher: Dolmabahçe Sarayi. Dolmabahçe Sarayi'nin 150. yilina armagan olarak hazirlanan 'Bogaziçi'nde Mücevher; Dolmabahçe Sarayi' kitabi farkli anlatim üslubu ile sarayi dile getirmektedir. Öyküsel bir anlatimla dile getirilen saray koleksiyonu ve odalarin disinda, saray kronolojisine, sarayda yasanmis önemli olaylara ve ilginç hikayelere yer verilmistir.
As New English Original bdg. HC. 233, [1] p., 1 map and 1 folding huge family tree. B/w and color ills. Mint. The Khedives and the Çubuklu Summer Palace. Translated into English: Adair Mill.
New English Paperback. 4to. (28 x 24 cm). In English and Turkish. 360 p., color ills. The lure of the East: British orientalist painting.= Dogu'nun cazibesi: Britanya oryantalist resmi. [Exhibition catalogue]. This exhibition focused on the paintings made by British artists of the 'Orient', primarily during the nineteenth century. In this context the term 'Orient', to Western Europeans, meant those parts of the eastern Mediterranean world which could be accessed relatively easily such as Egypt, Palestine and Turkey, particularly after the development of steamboat and rail travel in the 1830s. In these places, predominantly Muslim and at least nominally under the control of the Ottoman Empire, British artists, such as David Roberts, David Wilkie, William Holman Hunt, John Frederick Lewis and Frederic Leighton, sought to develop imagery which captured what they believed to be characteristic of the people, cities and landscapes of the region. In the 1970s the Palestinian-American academic Edward Said published his treatise on Orientalism, initiating a global debate over Western representations of the Middle East. For many, such representations now appeared to be a sequence of fictions, serving the West's desire for superiority and control over the East. The argument for and against Said's Orientalism has continued for thirty years. Its resonance for an exhibition such as this one, however, is as strong as ever given that, by the 1920s (the end of the period covered by this exhibition), Britain was in direct control of much of the newly abolished Ottoman Empire, including Egypt, Palestine and Iraq. As Said argued, these images cannot be viewed in isolation from their wider political and cultural context. Keeping the debates around Orientalism in mind, "The Lure of the East" focuses on the range of pictorial options open to British artists, within five major themes: portraits, genre, religious and domestic subjects and landscape. British painters came to the Middle East from a culture steeped in technical and compositional artistic traditions. Such traditions were not easily unlearned, despite the apparent difference of the people and places the artists encountered on their travels. Given this, British Orientalist painters found many challenges in attempting to represent the Middle East, but they also found inspiration and, more importantly, the freedom to rework, reinvent and even discard those conventions that defined picture-making in Britain.
New English Original bdg. HC. 4to. In English. 304 p., 232 numerous plates. The Palace Lady's Summerhouse: And other inside stories from a vanishing Turkey. From Istanbul's palatial old embassies to its glorious Bosphorus summerhouses, from Ottoman Paris to Ankara's Art Deco, from rainforest mansions to a mad mosque in the mountains A diplomat's wife reveals surprising secret histories. This book brings together essays by Patricia Daunt written for Cornucopia Magazine over the past twenty-five years. It concludes with her latest article, on the magnificent ruins of Aphrodisias, newly listed as a World Heritage Site, but long one of her greatest loves."Foreword by John Julius Norwich. Includes 232 plates the author is the wife of Sir Timothy Daunt, a former British ambassador to Turkey".