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Edit by: Veysel Ugurlu.
Özer Kabas. [Exhibition catalogue].
Very Good English "Ozer Kabas. [Exhibition catalogue], edit by: Veysel Ugurlu, translator: Fred Stark, Yapi kredi yayinlari, Ist., 1998. Paperback. Pbo. Good. 4to. (33 x 22 cm). 71 p. Color ills.
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Edit: PINAR ÇELIKEL.
Artist's sketchbooks: From Osman Hamdi Bey to the present.= Sanatçi defterleri: Osman Hamdi Bey'den günümüze. Translation: Priscilla Mary Isin.
Fine English Paperback. Pbo. 4to. (29 x 23 cm). In English and Turkish. Color and b/w ills. 175 p. Contents: Defter Müzesi için / Sketchbook Museum, Enis Batur.; Sanatçi Defterleri / Artists' Sketchbooks, Mehmet Ergüven.; Hoca Ali Riza ve Defterleri / Hoca Ali Riza and Sketcbooks, Canan Baykal.; Defterin çekimine kapilmak bu: Defter Hazzi / This is the crime of succumbing to the attraction of a sketchbook: Sketchbook Pleasure, Mehmet Güleryüz. Katalog / Catalogue.
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Edited and curated by ILKAY BALIÇ.
Envy - enmity - embarrassment.= Haset - husumet - rezalet. 2/2. [Exhibition catalogue]. Edited and curated by Ilkay Baliç.
New English Paperback. 4to. (29 x 25 cm). In English and Turkish. 128 p., color ills. Envy - enmity - embarrassment.= Haset - husumet - rezalet. [Exhibition catalogue]. Edited and curated by Ilkay Baliç. Envy, Enmity, Embarrassment 2/2 provides a visual documentation of the exhibition through installation photos, comprehensive details and video stills of each work in the exhibition. Resembling a photo album, the book is organised in line with the viewer's experience: it begins with the works on the ground floor and follows the viewer's probable route in the space both through installation views and floor plans. The book also includes a number of photos from the exhibition's opening, by Cem Turgay.
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Edited and curated by ILKAY BALIÇ.
Envy - enmity - embarrassment.= Haset - husumet - rezalet. 1/2. [Exhibition catalogue]. Edited and curated by Ilkay Baliç.
New English Paperback. 4to. (29 x 25 cm). In English and Turkish. 264 p., color ills. Envy - enmity - embarrassment.= Haset - husumet - rezalet. [Exhibition catalogue]. Edited and curated by Ilkay Baliç. The first book published to accompany ''Envy, Enmity, Embarrassment'' at Arter focuses on the processes and environments related to the production of the works in the exhibition. Entitled Envy, Enmity, Embarrassment 1, the book includes, along with Emre Baykal's conceptual framework text, new commissioned essays on each artist and their work(s) in the exhibition. Contributing authors: Murat Alat, Ilkay Baliç, Tanil Bora, Ibrahim Cansizoglu, Duygu Demir, Övül Durmusoglu, Özge Ersoy, Lara Fresko, Melek Özman, Basak Doga Temür, Merve Ünsal, Adnan Yildiz.
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Edited and curated by R. BARIS KIBRIS.
Intersecting worlds: Ambassadors and painters. Ambassadors portraits and art patronage of ambassadors from the 17th to the 19th century with works selected drom Suna and Inan Kiraç Foundation Collection. [Exhibition catalogue].
New English Paperback. Pbo. 4to. (28 x 24 cm). In English. 181 p., color and b/w ills. Since its earlier periods, The Ottoman Empire has established intense relations with European states. Urged by curiosity and a certain degree of fear at times, the West's efforts, on the other hand, to be acquainted with and understand this government of immense military power and source of political authority, emerged as a political exigency. Undoubtedly, the encounter of markedly different cultures bore the most enduring fruit within the realm of arts. Wars, the increase of trade as a means for mutual prosperity, and conflicts of status were the most significant factors behind the intense traffic of diplomacy. Sprawled across a vast geography, the Ottoman Empire welcomed more ambassadors than it sent to other countries, and particularly until the 19th century; these ambassadors were embraced, per Ottoman tradition. In turn, western ambassadors were prompted by the need to document the cities, particularly Istanbul, social structure, customs, administrative and military organization of the Ottoman Empire; apart from the reports they drafted upon their return, they also took advantage of the gifts and paintings they carried along. Often presumed to be true-to-life visual documents, such paintings thus became the most evident expressions of respectability and social status, and attained a special place and meaning, partly due to their potential to address the masses. The works that ambassadors commissioned to artists they added to their retinue en route to the East or to their local counterparts they encountered during service, evolved into books with engravings or collections decorating the walls of European chateaus, and served as source material for works by other artists, thus generating a large visual repertoire on the Ottoman world. Ottoman ambassadors sent to European countries were subjects of monumental portraits painted by leading European artists of the period, immortalizing these historic visits. This selection from the Suna and Inan Kiraç Foundation Orientalist Painting Collection, not only allows us to travel across the meandering paths of diplomatic history under the guidance of art, but it also introduces us to intriguing personalities. Ambassadors and painters continue to communicate with us through a silent yet equally rich and colourful language of expression, presented in their reports and letters, and share with us their respective periods, worldviews, travels and experiences, as well as the ceremonies they joined. Listening to their extraordinary tales, it is impossible not to be enraptured by the splendor and elegance of a lost age. Often used as one of the clearest indications of status and identity in western art since Antiquity, portraits also served a similar purpose for ambassadors. Furthermore, documenting the physiognomy of ambassadors through portraiture was also regarded as a precautionary measure against espionage. Portraits were painted of European ambassadors sent to the Ottoman Empire as high-level officials that have attained great respectability; artists to which these portraits were commissioned strived to reflect not only the physiognomy of the ambassadors, but the power and authority of the state and the ruler they represented. The Ottoman State's political, military, commercial, and cultural relations with European states gained momentum from the 18th century onwards. In turn, the visits Ottoman ambassadors paid to western countries accelerated the spread of the Turquerie fashion of the period. While portraits of Ottoman ambassadors painted by renowned artists of the countries to which they were assigned served to honor the Ottoman Sultan and his representative, they also nurtured the West's penchant for exoticism. There is no doubt that the ever-changing trends, fashions, as well as the purpose of diplomatic visits and political relations were reflected in the portraits. For example, while Kozbekçi M
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Edited by ADELIA RISPOLI.
Uno sguardo ad Oriente: Il mondo Islamico nella grafica Italiana dall'eta neoclassica al primo novecento.= Dogu'ya bakis: Neoklasikten yirminci yüzyilin baslarina Italyan grafik sanatinda Islam dünyasi. [In Special Box with Exhibition Invitation].
New New Italian Original bdg. Dust wrapper. 4to. (30 x 22,5 cm). In Italian and Turkish. 255 p., color ills. "Looking eastward: the world of Islam in Italian graphic arts from the Neoclassic period to the early twentieth century", exhibition catalogue of an exhibition held at the Italian Cultural Institute of Istanbul.
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Edited by ALI ARTUN, SELDA SOMUNCUOGLU.
1950-2000 The Central Bank of the Republic of Turkey Collection of Turkish modern art.= 1950-2000 Türkiye Cumhuriyeti Merkez Bankasi Çagdas Türk Sanati Koleksiyonu.
New English Paperback. Folio. (34 x 23 cm). In English and Turkish. 228, [27] p., biographies, color and b/w ills. 1950-2000 The Central Bank of the <republic of Turkey Collection of Turkish modern art.= 1950-2000 Türkiye Cumhuriyeti Merkez Bankasi Çagdas Türk Sanati Koleksiyonu.
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Edited by AYSE ORHUN GÜLTEKIN.
Peintres et expositions de Pera: 1845-1916.= Pera ressamlari-Pera sergileri: 1845-1916. [Exhibition catalogue]. Texts by Seza Sinanlar Uslu.
New English Paperback. Demy 8vo. (22 x 15 cm). In French and Turkish. Color and b/w ills. 84 p. Study of the painters and exhibitions of the Pera quarters. Peintres et expositions de Pera: 1845-1916.= Pera ressamlari-Pera sergileri. 1845-1916. [Exhibition catalogue]. Texts by Seza Sinanlar Uslu.
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Edited by AYSE TASKENT.
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].
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].
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Edited by AYSEN ANADOL.
Tanzimattan Cumhuriyete Türk resmi. Sakip Sabanci Müzesi Resim Koleksiyonu.
New New English Paperback. Pbo. 4to. (27 x 24 cm). In Turkish. 143 p., color ills. Tanzimattan Cumhuriyete Türk resmi. Sakip Sabanci Müzesi Resim Koleksiyonu.
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Edited by BEGÜM AKKOYUNLU.
Prints, drawings and watercolours by the masters of the 20th century. A selection from the Cathedral and Diocesan Museum, Vienna Otto Mauer Collection.= 20. yüzyil ustalarindan baski, desen ve suluboyalar. Viyana Katedral ve Baspiskoposluk Müzesi, Otto Mauer Koleksiyonu'ndan bir seçme. [Exhibition catalogue].
New English Paperback. 4to. (28 x 24 cm). In English and Turkish. 113 p., color and b/w ills. Prints, drawings and watercolours by the masters of the 20th century. A selection from the Cathedral and Diocesan Museum, Vienna Otto Mauer Collection.= 20. yüzyil ustalarindan baski, desen ve suluboyalar. Viyana Katedral ve Baspiskoposluk Müzesi, Otto Mauer Koleksiyonu'ndan bir seçme. [Exhibition catalogue]. Monsignore Otto Mauer was a Catholic priest. He was also a passionate, foresighted collector who, apart from his position as a clergyman, was enthusiastic about all domains of contemporary art and regardless of their beliefs or origins, approached all "avant-garde" artists with the same openness. As one of the most outstanding collections of Modern Austrian art, the names of the artists represented within the collection is almost a "who is who" of post-1945 Austrian art. By encompassing a wide spectrum from "classical" modern to postmodern, Mauer tried to create a "reference collection," analogous to an atlas of art history. By World War II, he had already begun collecting with great resolution, the lithographs of the leading representatives of Parisian modern art, as well as the original works of German and Austrian artists. Gallery St Stephan, which he founded in 1954, evolved into the leading avant-garde gallery of Vienna under his management in the 1950s and 60s; it also acquired a considerable and well-deserved fame on the international art scene. Otto Mauer's relationship with art was always defined by his personal and amicable connections with the artists. His collection, which he was able to expand uninterruptedly until 1973, by purchases and artists' gifts, must be perceived not only as an indication of his progressive interest in art, but also as a very subjective interpretation of modern Austrian painting.
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Edited by BEGÜM AKkOYUNLU.
Women, painting, stories. Transformation of the image of "woman" in Turkish painting in the modernization era.= Kadinlar, resimler, öyküler. Modernlesme sürecindeki Türk resminde "kadin" imgesinin dönüsümü. [Exhibition catalogue].
New English Paperback. Pbo. 4to. (29 x 25 cm). In English and Turkish. 203 p., color and b/w ills. Women, painting, stories. Transformation of the image of "woman" in Turkish painting in the modernization era.= Kadinlar, resimler, öyküler. Modernlesme sürecindeki Türk resminde "kadin" imgesinin dönüsümü. [Exhibition catalogue]. Art history, one of the liveliest and most exciting branches of knowledge of our times, emphasizes the need to continually re-examine, re-evaluate and re-interpret its primary ingredient - art works of the past. From fresh perspectives in the light of current information, thought and theory about these works, the discourse of knowledge that surrounds a work of art and is continually adapted. Women, Paintings, Stories / Transformation of the image of 'women' in Turkish painting in the modernization era is the product of just such an inclination and re-interpretation. In this exhibition of more than fifty works chosen from a variety of public institutions and private collections spanning the era from the Mesrutiyet / Second Constitution through the Republic, a voyage through the years was embarked upon, during which, the Turkish art of painting underwent a movement towards contemporaneity, within the framework of an exceptional and extremely meaningful theme, a reinterpretation of the transformation of the image of 'women'.
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Edited by BÜLENT ÖZÜKAN.
Ayvazovski'nin Istanbul'u. Texts by Sinan Genim, Sergei Levandowskii, Gül Irepoglu, Tatyana Gayduk.
New Turkish Original bdg. HC. Large 8vo. (23 x 23 cm). Edition in Turkish. 156 p., color and b/w ills. Ayvazovski'nin Istanbul'u. Texts by Sinan Genim, Sergei Levandowskii, Gül Irepoglu, Tatyana Gayduk.
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Edited by DENIZ ERBAS.
Art creators / art educators. A selection over the educator artists who have taught artist generations in the higher education institutions of the Republic.= Sanat üretenler / sanat ögretenler. Cumhuriyet'in yüksekögretim kurumlarinda sanatçi kusaklari yetistiren egitimci sanatçilar üzerine bir seçki. Vol. 1. [Exhibition catalogue].
New English Paperback. 4to. (30 x 24 cm). In English and Turkish. 158, [2] p., color ills. Art cretaors / art educators. A selection over the educator artists who have taught artist generations in the higher education institutions of the Republic.= Sanat üretenler / sanat ögretenler. Cumhuriyet'in yüksekögretim kurumlarinda sanatçi kusaklari yetistiren egitimci sanatçilar üzerine bir seçki. [Exhibition catalogue]. Vol. 1.
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Edited by DENIZ ERBAS.
Art creators / art educators. A selection over the educator artists who have taught artist generations in the higher education institutions of the Republic.= Sanat üretenler / sanat ögretenler. Cumhuriyet'in yüksekögretim kurumlarinda sanatçi kusaklari yetistiren egitimci sanatçilar üzerine bir seçki. Vol. 2. [Exhibition catalogue].
New English Paperback. 4to. (30 x 24 cm). In English and Turkish. 186, [2] p., color ills. Art cretaors / art educators. A selection over the educator artists who have taught artist generations in the higher education institutions of the Republic.= Sanat üretenler / sanat ögretenler. Cumhuriyet'in yüksekögretim kurumlarinda sanatçi kusaklari yetistiren egitimci sanatçilar üzerine bir seçki. [Exhibition catalogue]. Vol. 2.
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Edited by DENIZ ERBAS.
Art creators / art educators. A selection over the educator artists who have taught artist generations in the higher education institutions of the Republic.= Sanat üretenler / sanat ögretenler. Cumhuriyet'in yüksekögretim kurumlarinda sanatçi kusaklari yetistiren egitimci sanatçilar üzerine bir seçki. 2 volumes set. [Exhibition catalogue].
New English Paperback. 4to. (30 x 24 cm). In English and Turkish. 2 volumes set: (158, [2] p.; 186, [2] p.), color ills. Art cretaors / art educators. A selection over the educator artists who have taught artist generations in the higher education institutions of the Republic.= Sanat üretenler / sanat ögretenler. Cumhuriyet'in yüksekögretim kurumlarinda sanatçi kusaklari yetistiren egitimci sanatçilar üzerine bir seçki. 2 volumes set. [Exhibition catalogue].
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Edited by DENIZ ÜNSAL.
Art, city and politics in an expanding world. Writing from the 9th International Istanbul Biennial.= Genisleyen dünyada sanat, kent ve siyaset. 9. Uluslararasi Istanbul Bienalinden metinler. Curators: Charles Esche and Vasif Kortun.
New English Paperback. Pbo. Dust wrapper. Roy. 8vo. (23 x 16,5 cm). In English and Turkish. 344 p., b/w ills. Genisleyen dünyada sanat, kent ve siyaset. 9. Uluslararasi Istanbul Bienalinden metinler.= Art, city and politics in an expanding world. Writing from the 9th International Istanbul Biennial. Curators: Charles Esche and Vasif Kortun.
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Edited by ELIZABETH ZACHARIADOU.
L'art Ottoman. Les peintres de Turquie.
Fine English Paperback. Pbo. Small 4to. (27 x 19 cm). In French. 76, [3] p., ills. Reprint of 1909 Edition. L'art Ottoman. Les peintres de Turquie.
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Edited by ELVAN TEKCAN SAHINOGLU. ISTANBUL GRAFIK SANATLAR MÜZESI (IMOGA).
Anatolian impressions: Artists prints from the Studio of Master Tekcan. Süeyman Saim Tekcan - Avni Arbas - Semih Balcioglu - Filiz Basaran - Nurullah Berk - Nermin Bezmen - Cihat Burak - Adnan Coker et alli. Texts by Nancy Matthews, Bonnie Baxter. [Exhibition catalogue].
New English Paperback. Pbo. Large 8vo. (23 x 22 cm). In English. [4], 46 p., color ills. Anatolian impressions: Artists prints from the Studio of Master Tekcan. Süeyman Saim Tekcan - Avni Arbas - Semih Balcioglu - Filiz Basaran - Nurullah Berk - Nermin Bezmen - Cihat Burak - Adnan Coker et alli. Texts by Nancy Matthews, Bonnie Baxter. [Exhibition catalogue].
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Edited by GURUR ERDEM.
Solo? in contemporary dance.= Çagdas dansta solo?
Fine English Paperback. Demy 8vo. (21 x 15 cm). In English and Turkish. 68, 72, [1] p. Solo? in contemporary dance.= Çagdas dansta solo?
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Edited by GÜNES OKTAY.
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.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.
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Edited by HALDUN ODOSTTTOGLU, ZEYNEP ÖGEL.
The blue book: The sea and its artists in Turkish art.= Mavi kitap: Türk resminde deniz ve ressamlari.
New English Paperback. Pbo. Mint. 4to. (28 x 23 cm). In English and Turkish. 159 p. Color ills. The blue book: The sea and its artists in Turkish art.= Mavi kitap: Türk resminde deniz ve ressamlari.
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Edited by HUGHETTE EYUBOGLU - RÛKEN KIZILER.
Biz mektup yazardik! Bedri Rahmi Eyuboglu ve çagdaslarindan mektuplar.
New New English Original bdg. Dust wrapper. 4to. (31 x 24 cm). In Turkish. 488 p., color ills. Biz mektup yazardik! Bedri Rahmi Eyuboglu ve çagdaslarindan mektuplar. Correspondence of Turkish artist and poet Bedri Rahmi Eyüboglu (1911-1973) with the important figures of art, literature, politics and business. These letters shed light to the period he lived in. The letters mirror many sections of his life including his education that began at the Istanbul Academy of Fine Arts and continued to Paris as well as his travels throughout Anatolia and his passion for painting.
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Edited by IBRAHIM ÇIFTÇIOGLU, TURGAY KANTÜRK.
Turkish plastic arts. A present to the 75th anniversary.= Türk plastik sanatlari. 75. yila armagan.
Very Good English Original cloth bdg. No jacket. 4to. (31 x 22 cm). In English and Turkish. 477, [1] p., color and b/w ills. Turkish plastic arts. A present to the 75th anniversary.= Türk plastik sanatlari. 75. yila armagan.
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Edited by ILKAY BALIÇ.
The guide. What keeps mankind alive? 11th International Istanbul Biennial.= Rehber. Insan neyle yasar? 11. Uluslararasi Istanbul Bienali.
New English Paperback. Foolscap 8vo. (18 x 12 cm). In English and Turkish. 368, [16] p., color and b/w ills. The guide. What keeps mankind alive? 11th International Istanbul Biennial.= Rehber. Insan neyle yasar? 11. Uluslararasi Istanbul Bienali.
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Edited by KARIN ADAHL.
Cornelius Loos in the Ottoman world: Drawings for the King of Sweden, 1710-1711. [with] Panoramas & map [book]. Prep. by Lâle Uluç, David Jones, Klas Kronberg, Ersu Pekin. 2 volumes set. [BOXED].
New English Original bdg. In publisher's special box. Folio. (33 x 29 cm). In English. 2 volumes set: (240 p., 5 unnumbered folded plates on pages; Second volume is a hard-case including two reprint panoramas and one reprint map: First panorama is a huge hand-coloured drawing shows Ottoman Palace across Sarayburnu; size 28x336 cm; Second panorama is a huge hand-coloured drawing shows Ottoman Palace across Sarayburnu again which is indicating Palace from a different angle; size 28x196 cm; and one map: 'Carta ufwer Orienten Med de Darom kring Grantzande Lander... (Turkey and its around map printed originally in early 18th century), descriptive text surrounding the map, size 65x85 cm. Cornelius Loos in the Ottoman world: Drawings for the King of Sweden, 1710-1711. [with] Panoramas & map [book]. Prep. by Lâle Uluç, David Jones, Klas Kronberg, Ersu Pekin. 2 volumes. [BOXED]. Cornelius Loos was one of the young military officers who followed Karl XII to the Ottoman Empire in 1709. From the royal headquarters in what is at present the republic of Moldova, Loos was sent to Istanbul on the King's orders in 1710. From there his journey was pursued by boat over the Mediterranean to Egypt and he returned by land through Jerusalem, Damascus, Aleppo, Konya and Izmir. Loos' mission was to make drawings of the "rarities and monuments" that he would encounter on his journey. Out of the drawings that have survived until today, one is from Palmyra, two from Rhodes and Bodrum and around forty aquarelle tush drawings from Istanbul. It is possible that part of the original drawings were destroyed in the "Skirmish at Bender" in 1713, while other works, due to various reasons, disappeared on their way to Sweden. The conserved drawings are kept at the Swedish National Museum and were exhibited there in 1985. (See catalogue titled "Cornelius Loos. Teckningar från en expedition till Främre Orienten 1719-1711", Stockholm, Nationalmuseum, 1985). The drawings represent a unique record of the urban landscape and the monuments in Istanbul in the early 18th century. The collection includes three great panoramas of the city seen from the Topkapi palace to the upper part of the Golden Horn. To the Loos paintings can be added the great Mecca painting brought to Sweden by Mikael Eneman and kept in the Uppsala University Library, and a small group of oil paintings brought back by Loos' travel companion Conrad Sparre, which are also kept in the art collection of Uppsala University. In addition there are travel accounts and correspondence from these journeys. (From the 'SRII's official site, Karin Adahl's project). "In January 1710 the Swedish king Charles XII, in exile in the Ottoman Empire, sent three of his officers on a journey from the royal camp near Bender in Moldova to travel to Constantinople and from there along the Eastern Mediterranean to Egypt. Their mission was 'to view the there existing rarities and monuments, to draw and to measure'. Cornelius Loos, one of the young officers, returned to his king in 1711 with more than 250 drawings. Only forty-nine, kept under the king's bed, survived a skirmish in the camp in 1713, the so called 'kalabalik' at Bender. King Charles had a vision to publish an encyclopaedic work about the Near East, a dream that was lost in the fire in the camp. The drawings were brought to Sweden when the king returned from the Ottoman Empire in 1714. He died in battle in Norway in 1718. Loos' drawings are unique documents of Constanttinople in the early 18th century, with large scale, detailed panoramas, important prospects of the interior of the Hagia Sophia and views from the Ottoman city. A big map is accompanied by minor drawings from the Black Sea, the Eastern Mediterranean and Egypt, as well as a spectacular set of water-colours of head dresses from the Ottoman world. The Loos collection of drawings is today kept in the National Museum in Stockholm.". Texts by Göran Baarnhielm, Ulla Ehrensvard, Nurhan Atasoy, Günsel Renda, Bo Lundstörm
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Edited by KARIN ADAHL.
The Sultan's procession: The Swedish embassy to Sultan Mehmed IV in 1657-1658 and the Rålamb paintings.
New New English Original bdg. Dust wrapper. 4to. (30 x 24 cm). In English. 343 p., color and b/w ills. The Sultan's procession: The Swedish embassy to Sultan Mehmed IV in 1657-1658 and the Rålamb paintings. In 1657, King Charles X Gustaf of Sweden sent Claes Ralamb as an envoy to Sultan Mehmed IV's court. While he was there, Ralamb commissioned 20 large paintings in oil on canvas, depicting an imperial procession through Istanbul in September 1657, providing a revealing insight into the court of Sultan Mehmed IV in Ottoman Turkey. For the first time, Ralamb's paintings are published here in "The Sultan's Procession". This beautifully illustrated book - containing over 150 colour illustrations - comprehensively covers the full history of the paintings, including a technical analysis from the conservation of one of the paintings. The book also provides a full history of Claes Ralamb and his mission, including the political background of the Swedish embassy, Ralamb's biography and English translations of primary sources in Swedish and Turkish archives. Among the illustrations are over 100 watercolours of people in the Ottoman society from the costume album acquired by Ralamb in Istanbul. These unique Ralamb paintings provide a rare window into life at the Ottoman court in the 17th century.
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Edited by KIYMET GIRAY.
Interactions in art and aesthetics.= Sanatta ve estetikte etkilesimler.
New English Paperback. Pbo. 4to. (28 x 20 cm). In English and Turkish. [6] ,148 p., color ills. Interactions in art and aesthetics.= Sanatta ve estetikte etkilesimler. Contents: Özyigit, Halil / Çemberlitas Serbest Resim Atölyesi.; Orhan, A. Hande / On'lar Grubu'yla Gelenegin izinde.; Acar, Baris / Sanat Tarihinde Kuramsal Yaklasimlar.; Giray, Meltem / Sydney Opera Binasi.; Gökkaya, Evren Karayel / Modem Türk Resminin Olusumunu Etkileyen Faktörler.; Tetikçi, Ismail / Gelenekten Günümüze Aktarimlar.; Özgöçen, Pelin / Sürrealizm'de Figür-Mekân iliskisi.; Kavas, Kemal Reha / Bir Kuramsal Etkilesim Alani Olarak 'Ekolojik Mimarlik' Söylemi ile Sanat ve Mimarlik Tarihi Yaziciligi Arasindaki iliski.; Ülger, Emir / Schopenhauer ve Wagner Etkilesimi.; Simsek, Serap / Bedri Rahmi Eyüpoglu ve Fransa Yillari (1931-1933).; Çolak, Banu / Sanat - Mekan ve Çagdas Sanat Müzeleri Üzerine.
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Edited by M. APLETINE.
Les arts plastiques en URSS. Edition de la Societe des Relations Culturelles avec l'Etranger (Voks). Recueil 9-10 Fevrier 1935.
Very Good French Paperback. Roy. 8vo. (24 x 17 cm). In French. 162, [4] p., many b/w plates and color planches. Les arts plastiques en URSS. Edition de la Societe des Relations Culturelles avec l'Etranger (Voks). Recueil 9-10 Fevrier 1935. First and Only Edition. Rare. Sommaire: Preface, L'art et l'edification socialiste. M. Bouch, A. Zamochkine: L'art pictural sovietique.; N. Chtchekotov: Les jeunes artistes debutants.; A. Bakouchinski: La sculpture en URSS.; K. Tikhonova: La gravure et le dessin sovietiques.; R. Kaufman: L'affiche et la caricature.; Aç Sidorov: La presentation artistique du livre sovietique.; A. Bakouchinski: Les laques d'art en URSS.; E. Jouravliova: Les arts en Turkmenie.; K. Javarichvili: Les arts plastiques en Georgie.; S. Barseguian: Les arts en Armenie Sovietique.; K. Kravtchenko: Le travail et la vie des artistes en URSS.; Quelques portraits: K. Tkhonova: Pierre Kontchalovski. - A. Galouchkina: K. Petrov-Vodkine. - E. Jouravliova et V. Tchepeliev: Martiros Sarian...
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Edited by M. BAHA TANMAN.
Ekrem Hakki Ayverdi, 1899-1984: Architectural historian, restorator, collector.= Ekrem Hakki Ayverdi, 1899-1984: Mimarlik tarihçisi, restoratör, koleksiyoner. [Exhibiiton catalogue].
New English Paperback. Pbo. 4to. (29 x 24 cm). In English and Turkish. 395 p., color and b/w ills. "Ekrem Hakki Ayverdi was raised at a time in which Istanbul was undergoing its late Ottoman-early Republican period. Apart from his persona as an engineer-architect, restorer, and architectural historian, he was a collector passionately dedicated to Ottoman art. Undertaking the construction of different public buildings in Istanbul, Bursa and Edirne, as well as the restoration of many architectural works, Ayverdi not only brought together the most select and refined works of Ottoman art, which had begun to lose its prestige amidst the changing values of high culture in the time he lived, but he also paid particular attention to their conservation and preservation. Ayverdi's two seminal corpuses that study Ottoman architecture from its early days until the end of the Mehmed II era, as well as its examples in Roumelia, continue to maintain their place as the most important reference books for those working in this field. Istanbul Research Institute commemorates Ekrem Hakki Ayverdi, his professional work, and his priceless collection with an exhibition in the 30th anniversary of his passing and hopes to bring together wide audiences with this versatile and colorful man of culture, who, as one of the last representative of a lost world, holds a unique place in Ottoman art studies and Ottoman architectural history in particular.".
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Edited by M. SIRIN CENGIZ.
The East whispers: Stories and legends from the East.
New English Paperback. Demy 8vo. (22 x 14 cm). In English. [12], 136 p. A collection of Kurdish tales.
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Edited by MARGARITA LINDGREN.
C. G. Löwenhielm: Artist & diplomat in Istanbul, 1824-1827 (Uppsala University Library Exhibition Catalogue No. 33).
Fine English Paperback. Oblong large 8vo. (16,5 x 24,5 cm). Edition in English. 56, [1] p., color and b/w ills. C. G. Löwenhielm: Artist & diplomat in Istanbul, 1824-1827 (Uppsala University Library Exhibition Catalogue No. 33). Contents: Preface., Thomas Tottie - Introduction.; Karin Adahl - Carl Gustaf Löwenhielm: Life & art.; Mikael Borrman - Catalogue.; Lars Karlsson.
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Edited by MARGARITA LINDGREN.
C. G. Löwenhielm: Istanbul'da sanatçi bir diplomat, (1824-1827). [= C. G. Löwenhielm: Artist & diplomat in Istanbul, 1824-1827 (Uppsala University Library Exhibition Catalogue No. 33)].
Fine English Paperback. Oblong large 8vo. (16,5 x 24,5 cm). Edition in Turkish. 54, [1] p., color and b/w ills. C. G. Löwenhielm: Istanbul'da sanatçi bir diplomat, (1824-1827). [= C. G. Löwenhielm: Artist & diplomat in Istanbul, 1824-1827 (Uppsala University Library Exhibition Catalogue No. 33)]. Contents: Preface., Thomas Tottie - Introduction.; Karin Adahl - Carl Gustaf Löwenhielm: Life & art.; Mikael Borrman - Catalogue.; Lars Karlsson.
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Edited by MERIÇ RENKVER.
The man who collected the colors of life: The impassioned life of collector Nahit Kabakci.= Yasamin renklerini toplayan adam: Koleksiyoncu Nahit Kabakci'nin tutku dolu yasami.
New English Original bdg. HC. 4to. (30 x 24 cm). In English and Turkish. 271, [1] p., color ills. 750 copies were printed. The man who collected the colors of life: The impassioned life of collector Nahit Kabakci.= Yasamin renklerini toplayan adam: Koleksiyoncu Nahit Kabakci'nin tutku dolu yasami.
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Edited by MÜNEVVER EMINOGLU.
A journey over the Ottoman rainbow. The Ottoman art through the examples of form and style.= Osmanli gökkusaginda yolculuk. Biçim / biçem örnekleriyle Osmanli sanati. [Exhibition catalogue]. Texts by Samih Rifat. Translated by Mary Isin, Robert Bragner. Photographs by Ara Güler et all.
New English Paperback. Pbo. 4to. (29 x 23 cm). In English and Turkish. 198 p. Color and b/w ills. A journey over the Ottoman rainbow. The Ottoman art through the examples of form and style.= Osmanli gökkusaginda yolculuk. Biçim / biçem örnekleriyle Osmanli sanati. [Exhibition catalogue]. Texts by Samih Rifat. Translated by Mary Isin, Robert Bragner. Photographs by Ara Güler et all.
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Edited by NICHOLAS TROMANS, R. BARIS KIBRIS, GÖKÇE GÜNGÖR.
The lure of the East: British orientalist painting.= Dogu'nun cazibesi: Britanya oryantalist resmi. [Exhibition catalogue].
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.
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Edited by OGUZ CEYLAN.
Exhibition's Exhibition. Istanbul Painting and Sculpture Museum 1937 Opening Collection.= Serginin Sergisi. Istanbul Resim ve Heykel Müzesi 1937 Açilis Koleksiyonu.
New English Paperback. Pbo. 4to. (29 x 23 cm). B/w and color ills. 256 p. In Turkish and English. 1000 copies were printed. Exhibition's Exhibition. Istanbul Painting and Sculpture Museum 1937 Opening Collection.= Serginin Sergisi. Istanbul Resim ve Heykel Müzesi 1937 Açilis Koleksiyonu. TURKISH PAINTING History of arts Exhibition.
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Edited by OGUZ CEYLAN.
Exhibition's Exhibition. Istanbul Painting and Sculpture Museum 1937 Opening Collection.= Serginin Sergisi. Istanbul Resim ve Heykel Müzesi 1937 Açilis Koleksiyonu.
New English Paperback. Pbo. 4to. (29 x 23 cm). B/w and color ills. 256 p. In Turkish and English. 1000 copies were printed. Exhibition's Exhibition. Istanbul Painting and Sculpture Museum 1937 Opening Collection.= Serginin Sergisi. Istanbul Resim ve Heykel Müzesi 1937 Açilis Koleksiyonu. TURKISH PAINTING History of arts Exhibition.
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Edited by PROF. DR. CEVDET YILMAZ.
Samsun arastirmalari. 3 volumes set. Vol.I: Tarihsel geçmis. Vol.II: Iktisat tarihi, ekonomik yapi, turizm, nüfus ve cografi çevre. Vol.III: Mimari ve kültürel miras, efsane, dil, sanat, edebiyat, siyaset. [In special hardbox].
New English Paperback. Pbo. In original special publisher's box. Mint. 4to. (31 x 22 cm). In Turkish. 3 volumes set: ([vi], 484 p.; [xii], 512 p.; [xiv], 508 p). Color and b/w ills. Samsun arastirmalari. 3 volumes set. Vol.I: Tarihsel geçmis. Vol.II: Iktisat tarihi, ekonomik yapi, turizm, nüfus ve cografi çevre. Vol.III: Mimari ve kültürel miras, efsane, dil, sanat, edebiyat, siyaset. [In special hardbox].
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Edited by SAMIH RIFAT, BARIS KIBRIS, BEGÜM AKKOYUNLU.
Portraits from the Empire. The Ottoman world and the Ottomans from the 18th to 20th Century with selected works of art from the Suna and Inan Kirac Foundation Collection.
New English Paperback. Pbo. 4to. (33 x 24 cm). In English. Color ills. 155 p. Throughout the ages, the Orient has attracted the interest of the West. European intellectual and artists have been mesmerized since the earliest times by this presumably mysterious and relatively closed world. As a natural consequence, during various periods many artists, either by travelling themselves or by travelling in their imaginations, sought to discover the essence of the Orient, and depicted or expressed in their works either the real Orient or their own visions of it. The movement known as Orientalism in European art, which appeared in conjunction with the Romanticist movement of the 19th century, focused on the East, primarily in the lands of the Ottoman Empire. Even long before the rise of Orientalism in European art, many European artists, fascinated by their first glimpses of the mysterious East and by the Turquerie fashion which was the result of the new relations with the Ottoman world. For nearly two hundred years, starting from the 18th century, numbers of painters, some of whom became known as the Bosphorus Painters, worked intensively in the lands of the Empire and depicted the Ottoman world ib its various aspects, consequently engraving those images in mankind's visual memory. The exhibition Portraits from the Empire sheds light on a special part of this opulent world. Almost sixty paintings selected from the Suna and Inan Kiraç and Sevgi and Erdogan Gönül collections bring us face to face with the peoples of the Ottoman world, their portraits and portrayals, sometimes very familiar and sometimes remote, even nearly foreign, in their physiognomies. These paintings, most of them created before the eye of the camera replaced the human eye, in the times when observing, studying, interpreting and depicting the world was the priority of painters, present the lost faces of an era long past with amazing reality and vividness.
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Edited by SAMIH RIFAT, ECE PAZARBASI.
Young expansion in contemporary Turkish art.= Günümüz Türk sanatinda genç açilim. [Exhibition catalogue]. Exhibition concept and designed by Mehmet Güleryüz.
New English Paperback. Pbo. 4to. (28 x 24 cm). In English and Turkish. 163 p., color ills. The Young Expansion exhibition opened as one of the activities organised on the occasion of the International Art Association's Third European General Assembly that was held at Pera Museum between June 16-18, 2005. The exhibition presented works by 61 artists under the age of 35.
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Edited by TANIA BAHAR, BEGÜM AKKOYUNLU ERSÖZ.
Chagall. Life and love. Prints, drawings and paintings.= Chagall. Yasam ve ask. Baski, desen ve resimler. [Exhibition catalogue]. Curated by Meira Perry Lehmann - Michael Bromberg.
New English Paperback. 4to. (28 x 24 cm). In English and Turkish. 191 p., color and b/w ills. Contents: Suna, Inan ve Ipek Kirac; Foreword - James S Snyder; Foreword - Meira Perry-Lehmann; Introduction - Marc Chagall: A Photobiography - Ferit Edgu; The World of Chagali - Sivan Eran-Levian; Portraits - Efrat Aharon; Chagali and the Theme of Lovers - Efrat Aharon; My Life - Meira Perry-Lehmann; Books of Bella Chagall: Burning Lights, First Encounter - Meira Perry-Lehmann; Dead Souls - Efrat Aharon; The Fables of La Fontaine - Sivan Eran-Levian; lllustrations of the Bible. The works of outstanding 20th century artist Marc Chagall were exhibited in Turkey for the very first time at the Pera Museum. The 160 works by Chagall (b. 1887, Vitebsk, Russia, d. 1985, Saint-Paul-de-Vence, France) were comprised of prints, drawings and paintings selected from the rich collection of The Israel Museum, Jerusalem. The exhibition showcased a unique selection that revealed Chagall's multi-faceted personality and vivid world of imagination. Accompanying the drawings, which reflect Chagall's life and his love for his first wife Bella, the exhibition also showcased his illustrations for the Holy Book and for literary works such as The Fables of La Fontaine, and Gogol's Dead Souls. Representing his signature style, themes such as Russian folklore, Jewish traditions and lovers stand out in Chagall's works. A conference was held on 5th December 2009, in conjunction with the exhibition as a joint collaboration between Pera Museum and the French Cultural Center, Vice President of the Marc Chagall Committee and granddaughter of Marc Chagall, Meret Meyer spoke of the art and life of the artist.
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Edited by TAYFUN BILGIN.
The Huma Kabakci Turkish Art Collection, 1950-2008.= Huma Kabakci Türk Sanati Koleksiyonu.
New New English Original bdg. Dust wrapper. 4to. (29 x 24 cm). In English and Turkish. 201 p., color ills., folding plt. The Huma Kabakci Turkish Art Collection, 1950-2008.= Huma Kabakci Türk Sanati Koleksiyonu.
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Edited by VEYSEL UGURLU - AHU ANTMEN.
Artists' portraits.= Sanatçi portreleri. [Exhibition catalogue]. Text by Mehmet Ergüven.
Fine English Paperback. 4to. (29 x 24 cm). In English and Turkish. 100, [5] p., color and b/w ills. Artists' portraits.= Sanatçi portreleri. [Exhibition catalogue]. Text by Mehmet Ergüven. TURKISH ART OF PAINTING Portrait History of art Turkish - Ottoman painters.
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Edited by VEYSEL UGURLU - AHU ANTMEN.
Artists' portraits.= Sanatçi portreleri. [Exhibition catalogue]. Text by Mehmet Ergüven.
New English Paperback. 4to. (29 x 24 cm). In English and Turkish. 100, [5] p., color and b/w ills. Artists' portraits.= Sanatçi portreleri. [Exhibition catalogue]. Text by Mehmet Ergüven. TURKISH ART OF PAINTING Portrait History of art Turkish - Ottoman painters.
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Edited by VEYSEL UGURLU.
A journey over the Ottoman rainbow. Contemporary Turkish art with an Ottoman inspiration.= Osmanli gökkusaginda yolculuk. Osmanli esiniyle çagdas Türk sanati. [Exhibition catalogue]. Translated by Robert Bragner. Photographs by Ugur Ataç, Aydin Coskun.
New English Paperback. Pbo. 4to. (29 x 23 cm). In English and Turkish. 104 p. Color and b/w ills. A journey over the Ottoman rainbow. Contemporary Turkish art with an Ottoman inspiration.= Osmanli gökkusaginda yolculuk. Osmanli esiniyle çagdas Türk sanati. [Exhibition catalogue]. Translated by Robert Bragner. Photographs by Ugur Ataç, Aydin Coskun.
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Edited by ZEKI BIYIK, MEHMET MAZAK, FIRAT KARAHAN, HILMI TÜRKMEN.
Images of Üsküdar from the past. The five star book.= Geçmisten Üsküdar suretleri. Besibiryerde.
New English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In English and Turkish. 254 p., b/w and color ills. Images of Üsküdar from the past. The five star book.= Geçmisten Üsküdar suretleri. Besibiryerde. Compiling the visual odyssey of our beloved borough of Üsküdar, spanning 500 years from the 1420s up until the 1950s, "The golden city" album aims at presenting the pertinent documents of the historical heritage that Üsküdar possesses. The paintings, etchings, photographs, postcards, and maps incorporated into the book all function to adequately and efficiently reflect and convety a semblance of the likeness of the past times pertaining to the "Eternal city" Üsküdar (Scutari) the our present day, and carry them forward to to posterity. Each page of this book-album ensures the remembrance of an exalted glory and an enduring magnificence of the bygone epochs, and, in a sense, successfully attempts to recreate the memory of a living metropolis. Each visual element and image featuring in the album attests to a diverse and rich accumulation, amassed over hundreds of years, as this impressive and exhilarating pictoral feast defines the magical and enchanted atmosphere of Üsküdar, standing out prominently as a "Dreamland" or the "City of fairy-tales and fantasies. (From introduction).
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Edited by ZEKI VELIDI TOGAN, (1890-1970).
Proceedings of the Twenty Second Congress of Orientalists, Held in Istanbul, September 15th to 22nd, 1951. Vol. 1: General information on activities of the congress.
Very Good English Paperback. Large roy. 8vo. (25 x 18 cm). In English. [4], 233, [3] p., 24 numerous b/w plates. Proceedings of the Twenty Second Congress of Orientalists, Held in Istanbul, September 15th to 22nd, 1951. Vol. 1: General information on activities of the congress.
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Edited by ZEYNEP INANKUR, REINA LEWIS, MARY ROBERTS.
The poetics and politics of place: Ottoman Istanbul and British orientalism.
New English Paperback. 4to. (30 x 24 cm). In English. 285 p. Color and b/w ills. "This unique collection takes a fresh look at Orientalism by shifting its center from Europe to Ottoman Istanbul and thinking about art in terms of exchange, reciprocity, and comparative imperialisms. This new lens reveals the essential role of the Ottoman city and its patrons and artists in the dialogues that facilitated production, circulation, and consumption of British Orientalist cultures. In this volume, art works are conceptualized as traveling artifacts produced through localized interactions. World renowned scholars and curators analyze the diverse audiences for such art works and the range of differing contexts for their reception both in the 19th century and more recently. In this way, British art is put into a dynamic relationship with an historicized understanding of cultures of collecting and display during the formation of comparative modernities and also with the contemporary postcolonial creation of new national models of exhibition and education. Featuring stunning visuals, this book puts art history in the context of cultural, visual, and literary studies, challenging the orthodoxies of postcolonial theory with the materiality of multiple imperialisms and modernities to offer a new take on the collection, display, and consumption of Orientalist cultures.".
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Edited by ZEYNEP ÖGEL, ECE PAZARBASI.
Jean Dubuffet. Encounter with a major XXth century artist. Prints and painting, 1944-1984.= XX. yüzyilin büyük bir sanatçisiyla bulusma. Baskilar ve resimler, 1944-1984.= Rencontre avec un artiste majeur du XXe siecle. Oeuvre grave et peintures, 1944-1984. Translated by Esra Özdogan - Lewis Keir Johnson - Carol Lamotte. [Exhibition catalogue].
New English Paperback. Pbo. 4to. (28 x 24 cm). In English, French and Turkish. 282 p., color ills. Imprinting fascinated Jean Dubuffet for forty years and it is indissolubly a part of his creative oeuvre. Throughout his life, in certain intense and active phases, he would not cease to explore the range of the different techniques of printing and most of all that of lithography, interpreting and inventing new methods in order to better meet his needs. According to a set of associations and the logic distinctive of this artist, each discovery led him directly to a rich field of developments into which he was to rush with an unvarying sense of wonder, ignoring the limits of these new fields of investigations.
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