‎Maquillage‎

‎ABIDIN DINO.‎

‎La main.‎

‎New English Paperback. Pbo. Cr. 8vo. (20 x 14 cm). In French. 140 p. B/w ills. "Des paumes, des éventails en os, des mains, des empreintes de main n'ont-elles pas été inscrites dans les parois des cavernes, les drapeaux de noces des tribus Turkmènes et à l'intérieur même des maisons en pisé des steppes? Laissons tout cela, je me souviens d'un événement; comment le raconter? Quelle année était-ce, peut-être entre 1925-1928. L'hiver battait son plein, tempête de neige, blizzard. Je ne cessais de tracer des mains dans la villa de Yeniköy. Je ne savais pas l'heure. L'une après l'autre, des créatures apparurent, aux mains gigantesques, sur les feuilles de papier. A mesure que je dessinais et que les heures passaient, j'étais saisi par une sorte d'ivresse. Elle dura longtemps. Cependant - je ne sais pas quand ni comment - une inquiétude, un étouffement, au départ imperceptibles, ensuite s'accroissant au fur et à mesure et devenant irrésistibles, s'emparèrent de moi. Mes dessins étaient des choses étranges, échappées à tout contrôle; et soudain je remarquai que ces hommes aux mains gigantesques que je croyais tracer, désormais se traçaient EUX-MÊMES, sans moi. Ma main - qui ne m'appartenait plus - était prisonnière de ces formes bizarres. Je regardai du dehors ce qui se passait; je m'étais dédoublé, la main traçait, s'étant rendue autonome, je ne pouvais l'arrêter. On m'a dit que j'avais crié plusieurs fois, mon oncle Suphi m'ayant entendu de l'étage supérieur était descendu et m'avait ramené à moi-même tant bien que mal. Pourquoi je raconte cet événement? Pour expliquer que l'acte de dessiner n'est pas si exempt de danger."‎

‎ABIDIN DINO. Abidin Dino‎

‎Pera Palas. [100 copies were printed / One of first 100 hors-commerce copies].‎

‎Fine English Paperback. Pbo. Large roy. 8vo. (25 x 17 cm). In Turkish. 61, [2] p., b/w ills. First Edition. Limited Edition. Rare. 100 copies were printed / One of first 100 hors-commerce copy.‎

‎Academia Real das Bellas artes de Lisboa Galeria Nacional de Pintura‎

‎Catalogo provisorio da Galeria Nacional de Pintura existente na Academia Real das Bellas Artes de Lisboa 1868 Leather Bound‎

‎2019. Leather Bound. New. Leather Binding on Spine and Corners with Golden Leaf Printing on round Spine. Reprinted in 2019 with the help of original edition published long back 1868. This book is printed in black & white sewing binding for longer life Printed on high quality Paper re-sized as per Current standards professionally processed without changing its contents. As these are old books we processed each page manually and make them readable but in some cases some pages which are blur or missing or black spots. If it is multi volume set then it is only single volume if you wish to order a specific or all the volumes you may contact us. We expect that you will understand our compulsion in these books. We found this book important for the readers who want to know more about our old treasure so we brought it back to the shelves. Hope you will like it and give your comments and suggestions. Lang: - por Pages 86. EXTRA 10 DAYS APART FROM THE NORMAL SHIPPING PERIOD WILL BE REQUIRED FOR LEATHER BOUND BOOKS. FOLIO EDITION IS ALSO AVAILABLE. hardcover‎

書籍販売業者の参照番号 : LB1111006044748

‎Academia Real das Bellas artes de Lisboa Galeria Nacional de Pintura‎

‎Catalogo provisorio da Galeria Nacional de Pintura existente na Academia Real das Bellas Artes de Lisboa 1868‎

‎2020. Paperback. New. Lang: - por Pages 86. Reprinted in 2020 with the help of original edition published long back 1868. This book is Printed in black & white sewing binding for longer life with Matt laminated multi-Colour Soft Cover HARDCOVER EDITION IS ALSO AVAILABLE Printed on high quality Paper re-sized as per Current standards professionally processed without changing its contents. As these are old books we processed each page manually and make them readable but in some cases some pages which are blur or missing or black spots. If it is multi volume set then it is only single volume if you wish to order a specific or all the volumes you may contact us. We expect that you will understand our compulsion in these books. We found this book important for the readers who want to know more about our old treasure so we brought it back to the shelves. Any type of Customisation is possible with extra charges. Hope you will like it and give your comments and suggestions. paperback‎

書籍販売業者の参照番号 : PB1111006044748

‎ADEM GENÇ.‎

‎Adem Genç. The new abstract approaches during Post Dada and Pop period.= Post Dada ve pop sürecinde yeni-soyut yaklasimlar. [Catalogue of the artist]. Text by Ahmet Oktay.‎

‎Fine Fine English Original bdg. Dust wrapper. 4to. (31 x 24 cm). In English and Turkish. 296 p., color ills. Adem Genç. The new abstract approaches during Post Dada and Pop period.= Post Dada ve pop sürecinde yeni-soyut yaklasimlar. [Catalogue of the artist]. Text by Ahmet Oktay. TURKISH ART OF PAINTING Dadaism.‎

‎ADIL DOGANÇAY, (1900-1990).‎

‎Manzara ve natürmort.‎

‎New Turkish Original bdg. 4to. (28 x 24 cm). In Turkish. 151 p., color ills. Manzara ve natürmort. Exhibition catalogue of Turkish painter Adil Dogancay, (1900-1990).‎

‎ADOLPHE THALASSO.‎

‎Ottoman art. The painters of Turkey.= Osmanli sanati. Türkiye'nin ressamlari. Edited by Ömer Faruk Serifoglu. Translated by Orçun Türkay, Öykü Terzioglu.‎

‎New New English Original binding with original dust wrapper. 4to. (30 x 25 cm). 113 p. color and b/w ills. In Turkish and English. Contents: Ömer Faruk Serifoglu, The first author of Turkish painting Adolphe Thalasso / Adolphe Thalasso, Ottoman art / Adolphe Thalasso, The first painting salons of Istanbul.‎

‎AGOSTINI, Max‎

‎MAX AGOSTINI (GALERIE MARTIN-CAILLE).‎

‎AGUILERA CERNI Vicente.‎

‎ALFAGEME.‎

‎Láminas con reproducciones a color intercaladas en el texto. ARTISTAS ESPAÑOLES CONTEMPORANEOS.‎

‎AGUILERA CERNÍ, Vicente. BLASCO CARRASCOSA, Joan Àngel. CALLE, Romà de la.‎

‎Esguards d'Antoni Miró.‎

‎Valencia, Galería Punto, 1990, 29,5 x 24 cm., cartoné original, 176 págs. con numerosas láminas en colora toda página. (Obra realizada con notivo de la muestra Antonio Miró de la Galería Punto de Valencia).‎

‎AGUILERA Emiliano M.‎

‎EDUARO ROSALES SU VIDA SU OBRA Y SU ARTE.‎

‎AGUILERA, Emiliano M.‎

‎Eduardo Rosales. Su vida, su obra y su arte.‎

‎B., Iberia, 28 x 22 cm., 30 págs. - 40 láminas.‎

‎AGUILERA, Emiliano M.‎

‎Julio Romero de Torres.‎

‎(Al fin:) Barcelona, Iberia, 1932, 29 x 22 cm., 48 págs. con numerosas ilustraciones, varias a toda página + 1 hoja plegada con 3 láminas.‎

‎AGUILERA, Emiliano M.‎

‎PANORAMA DE LA PINTURA ESPAÑOLA - Barcelona c. 1950. - Ilustrado‎

‎Barcelona, Edit. Hymnsa, S.A. Numerosas ilustraciones en b/n. 413 p. 4º. Holandesa algo rozada con dorados en el lomo. Ex libris. Conserva cubierta anterior original en el interior. Buen ejemplar.‎

‎AGUILERA, Emiliano M.‎

‎Tintoretto. Su vida, su obra, su arte.‎

‎B., Iberia, 1954, 28'5 x 22 cm., 29 págs. - 48 láminas.‎

‎AGUILERA, Emiliano M.‎

‎Tiziano. Su vida, su obra, su arte.‎

‎B., Iberia, 1952, 28'5 x 22 cm., 31 págs. - 48 láminas.‎

‎Aguiló, Rosa‎

‎ROSA AGUILÓ. PINTURES - Girona 1994‎

‎Girona, Edit. Sales Municipals d'Exposició, 1994. Nombroses il·lustracions en color fora text. 15 p. 4t major. Rústica editorial il·lustrada. Molt bon exemplar. Primera edició. 1a edició. First edition. 1st edition.‎

‎AHMET GÜNESTEKIN.‎

‎Ahmet Günestekin. Encounter.= Yüzlesme. Edited by Masum Elmas. Text by Johannes Odenthal.‎

‎As New English Paperback. Pbo. Mint. 4to. (31 x 24 cm). In English and Turkish. 207, [1] p. Color ills. 2000 copies were printed. Ahmet Günestekin. Encounter.= Yüzlesme. Edited by Masum Elmas. Text by Johannes Odenthal.‎

‎AHMET GÜNESTEKIN.‎

‎Günestekin' 2010. Following the traces of sun a myth.= Günesin izinde bir mit. Texts by Yalçin Sadak.‎

‎New English Original bdg. HC. 4to. (27.5 x 25.5 cm). 288, [2] p. Color ills. In Turkish and English. 2000 copies were printed. With Dvd. "Ahmet Günestekin (born December 22, 1966 in Batman, Turkey) is a Turkish painter. He was born in the workers' camp at Garzan oil field in Batman, where his father was employed. He was the second youngest child of a seven children family. His passion for painting has been with him ever since his childhood. He was awarded his first prize in third grade when he was nine years old. His acquaintanceship with oil colors occurred at the same time, and in addition to this, his interest in literature appeared at this young age. Since that time, the artist has kept on working permanently. When he reached his high school years, he staged his first personal exhibition in the gallery at his school. Shortly after his graduation, he went on to study in the Faculty of Fine Arts at Mimar Sinan University in Istanbul. After a while he dropped out of this programme, but later went on to complete his graduate studies at the Anadolu University's Department of Management. For a period, he went into business, but soon returned to painting. In 1997, Günestekin established his first studio in Beyoglu and from there staged numerous personal and cooperative exhibitions. In the wake of his exhibition ¿Colors After Darkness¿, which he opened in 2003 iat Atatürk Cultural Center (AKM), he gradually began to release his name into the world of art. Through a great number of personal exhibitions, Günestekin¿s works of art now take their place in prestigious domestic and foreign collections. Ahmet Günestekin, whose signature of his great achievements is his distinctive language, has also attained great success in the design field. His art: Antique Modern While it exists as a definite and specific feature in modern art expression, form in post-modern times is observed and experienced as fragmented and imperceptible through a detached yet consecutive visual experience. Modern means: integrity, continuity, order, nature, form and, most importantly, simplicity. Post modern, on the other hand, is about pieces, disarray, detachedness, context, complexity and, most importantly, essence and ethnic culture. While modernism offers a unifying closed-circuit form mechanism, what is dominant in the art expression of the post-modern era is anti-form and a fragmented structure. (We designate the post-modern era as gaining clarity by 1990). The principles in a modern work of art can be listed as goal, distance, sovereignty, depiction of existence, metaphor, depth, interpretation, the designated, main code, narration, paranoia, the origin, metaphysics, and transcendence. What comes to the fore in the post-modern era, conversely, are characteristics like game, anarchy, process, puzzle, anti-thesis, nonexistence, disintegration, personal language (idiolect), irony, ambiguity, and immanence. From this perspective, Ahmet Günestekin's art expression bridges both the modern and post-modern approaches; whilst it harbors the modern characteristics and displays some features of the modern, and displays some features of the modern in terms of the space he reflects, it also offers a refuge for antique characteristics in terms of its themes. In actuality, Ahmet Günestekin, as an artist fascinated by the antique worlds, stands contrary to Modernism. However, the integrity and unity he reflects on the canvass are the principles of the modern work of art and they greet us as the most important principles that the artist gives the utmost importance to in composing his work. On the other hand, Ahmet Günestekin, who displays a completely post-modern attitude, also crosshatches the archetypes of the antique worlds, and transforms the ruptures of time - anachronisms - by greeting time perception, thereby transforming."‎

‎AHMET KAMIL GÖREN, (1956-).‎

‎Türk resim sanatinda Sisli Atölyesi ve Viyana Sergisi. [i.e. Atelier Sisli and Vienna Exhibition in the history of Turkish painting art]. Project by Yalçin Sadak, Sema Sener.‎

‎New Turkish Paperback. 4to. (28 x 23 cm). In Turkish. 208 p., color and b/w ills. This book has been prepared due to the exhibition held in the Military Museum and Culture Site between May 6 and May 15, 1997 in cooperation with the Municipality of Sisli and the Painting and Sculpture Museums Association. One of 1000 copies. "... The old "La Societa Operaia" and the new "Galatasaraylilar Yurdu" [i.e. Dormitory of Galatasaray Lycee] in Beyoglu, Pera started to host three art exhibitions; the first two would be held in the spring of 1916 and 1917, and the last one, which hosted paintings about the war - what would later become known as the Sisli Studio - was held in late 1917 before being brought to Vienna. The Vienna exhibition hosted 20 artists; Zekai Pasha, who had exhibited only one work in the late 1917 exhibition, "Bir Konak Dahili" [i.e. Interior of a Mansion] did not take part in the Vienna show, while the Prince Abdülmecid Efendi, the honorary president of the Society, who had not attended the 1917 exhibition, sent four paintings to Vienna. The opening of the Vienna exhibition was conducted by the Archduke himself. The exhibition, as Celal Esad pointed out, was well received by both Austrian visitors and the press. A poster was designed and the exhibition was accompanied with a German catalogue, Ausstellung Türkischer Maler [i.e. Exhibition of Turkish Painters]. Turkish artists who attended Vienna Exhibition are: Prince Abdulmejid, Ömer Adil Bey, Ali Cemal Ben'im, Ali Sami Boyar, Cevat Bey, Feyhaman Duran, Harika (Sirel Lifij) Hanim, Halil Pasha, Hikmet Onat, Hüseyin Avni Lifij, Ismail Hakki Bey, Mehmed Ali Laga, Mahmud Bey, Namik Ismail, Rusen Zamir Hanim, Mehmed Ruhi Bey, Mehmed Sami Bey (Yetik), Sevket Dag, Diyarbakirli Tahsin, and Ibrahim Çalli; with their 142 pieces of paintings totally, in different techniques.‎

‎AHMET OGRAS.‎

‎Ahmet Ogras. Eskihisar'dan Beyoglu'na Dört Mevsim Resim Sergisi. 25 Kasim - 13 Aralik 2013, Tünel Sanat Galerisi, Istanbul. [Exhibition catalogue].‎

‎As New English Paperback. Pbo. Mint. Large 8vo. (24 x 25 cm). In Turkish. 32 p. Color ills. Ahmet Ogras. Eskihisar'dan Beyoglu'na Dört Mevsim Resim Sergisi. 25 Kasim - 13 Aralik 2013, Tünel Sanat Galerisi, Istanbul. [Exhibition catalogue].‎

‎AINAUD DE LASARTE / SUBIRANA, J. / Rosa Mª.‎

‎MUSEO PICASSO. CATALOGO I.‎

‎AINAUD I ESCUDERO, J.F.‎

‎INTRODUCCIÓ A L'ESTÈTICA D'ANTONI TÀPIES - Barcelona 1986‎

‎Barcelona, Edit. 62, 1986. 134 p. 8è. Rústica editorial il·lustrada. Molt bon exemplar.‎

‎ALAIN QUELLA-VILLEGER, BRUNO VERCIER / ENIS BATUR.‎

‎Dessinateur Pierre Loti: Une oeuvre au long cours. Loti, de Turquie.= Ressam Pierre Loti: Uzun bir yolculuk. Loti'yi Türkiye'den görmek.‎

‎New New English Original bdg. Dust wrapper. Large 4to. (31 x 31 cm). In French and Turkish. 301, [3] p., color and b/w ills. Dessinateur Pierre Loti: Une oeuvre au long cours. Loti, de Turquie.= Ressam Pierre Loti: Uzun bir yolculuk. Loti'yi Türkiye'den görmek. Le romancier à succès Pierre Loti (1850-1923) a occulté le dessinateur. Sous son véritable nom de Julien Viaud, comme reporter et pour le plaisir, il avait pourtant composé, au fil de ses campagnes de jeune officier de marine, une remarquable ¿uvre graphique, ethnographique aussi. La voici pour la première fois réunie. Plus de cinq cents dessins, accompagnés des gravures qui en furent tirées et de textes de l¿écrivain, forment un singulier carnet de voyages autour du monde, vers les lointains de cet artiste polymorphe et raffiné : Terre de Feu, île de Pâques, Tahiti, Brésil, Amérique du Nord, Sénégal, Maghreb, Adriatique, Indochine, Japon, mais aussi Bretagne et Saintonge natale, sans oublier son cher « Stamboul ». Du simple croquis à l¿aquarelle aboutie, le trait, sûr et inspiré, fait surgir un foisonnement de portraits et d¿événements, d¿étonnements et de fantaisies, de visions. Le monde de l¿un des derniers romantiques. Alain Quella-Villéger et Bruno Vercier sont les deux spécialistes de Pierre Loti et de son oeuvre, auxquels ils ont consacré de nombreux ouvrages, ensemble ou séparément (voir la bibliographie, p. 291). Ils ont notamment entrepris de conserve la publication au long cours du Journal de Loti (t. 1, 2006 ; t. 2, 2008, Paris, Les Indes savantes). Alain Quella-Villéger, natif de Rochefort, comme Pierre Loti, agrégé d¿histoire et docteur ès-lettres en histoire contemporaine, est le biographe de Pierre Loti, de Claude Farrère et de René Caillié. Il est, en outre, co-auteur d¿une dizaine d¿anthologies aux éditions Omnibus (dont Istanbul, Rêves de Bosphore, 2001), directeur et fondateur de la revue Les Carnets de l¿exotisme (1990-2006), à la suite de la Revue Pierre Loti (1980-1988), et auteur de plusieurs autres ouvrages, dont deux romans. Aux éditions Bleu autour, il a préfacé la réédition de Suprêmes visions d¿Orient (2006, 2010), le dernier ouvrage de Pierre Loti. Bruno Vercier, docteur ès-lettres et universitaire, spécialiste de l¿autobiographie et du journal intime, est co-auteur de plusieurs ouvrages sur la littérature française contemporaine (aux éditions Bordas). Il a signé l¿appareil critique de nombreuses rééditions de textes de Pierre Loti, ainsi que de Raymond Radiguet et Charles-Louis Philippe (aux éditions Flammarion et Gallimard). Il préside l¿Association pour laMaison de Pierre Loti. Enis Batur, qui vit à Istanbul et séjourne régulièrement à Paris, est l¿une des figures centrales de la littérature turque depuis vingt-cinq ans. Romancier, essayiste et poète, il est l¿auteur d¿une centaine d¿ouvrages, souvent traduits dans de nombreuses langues étrangères. En France, ses ouvrages paraissent chez Actes Sud (La Pomme, roman, 2004 ; Amer savoir, récit, 2002 ; D¿autres chemins, récit, 2008) et chez Bleu autour (D¿une bibliothèque l¿autre, 2008 ; Ottomanes, Autochromes de Jules Gervais-Courtellemont, en collaboration, 2006), où il a également préfacé trois recueils, deux de poèmes (Va jusqu¿où tu pourras, OrhanVeli, 2009 ; J¿ai vu la mer, anthologie, 2010), l¿autre de nouvelles (Le Samovar, Sait Faik Abasiyanik, 2010).‎

‎Alberti, R.‎

‎HOMENATGE DELS PINTORS A RAFAEL ALBERTI autor del llibre A LA PINTURA - Girona 2000 - Molt il·lustrat‎

‎Girona, Edit. Caixa Girona, 2000. Nombroses il·lustracions en color. Textos de Vázquez Montalbán, E. mendoza, G. Viladot, R. Alberti, M.M. Roca, etc.67 p. 4t major. Rústica editorial il·lustrada. Molt bon exemplar.‎