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Edited by ERKAL YAVI.
IMOGA: Istanbul Museum of Graphic Arts.= Istanbul Grafik Sanatlari Müzesi. Prep. by Ali Konyali.
New English Original bdg. HC. 4to. (30 x 24 cm). In English and Turkish. 319 p., color ills. IMOGA: Istanbul Museum of Graphic Arts.= Istanbul Grafik Sanatlari Müzesi. Prep. by Ali Konyali. "IMOGA, owns one of the world's rare collection of prints, with more than 5000 prints made by owner 100 Turkish and foreign artists and with another 200 prints which were either donated or bought and included in the collection. By means of its vast collection and its impressive system, IMOGA has proven to be one of Turkey's leading art foundations and has acquired an important place in the art world. Süleyman Saim Tekcan started off as a young and idealist educator, fascinated with the potentials of printmaking. From the 1960s on, printmaking played a major part throughout his expedition in art. Tekcan's innovative and inquisitive character reflected on to his prints. As he mastered in the technique, he spread his excitement and enthusiasm not only by forcing the limits of printmaking but also by continuing his mission as an educator throughout the country. Süleyman Saim Tekcan believed that in order for Turkey to reach a civilized and modern standard, education could not be limited to schools and had to be given socially in an extensive manner. The most important criterion for a civilized community is the level attained in arts and culture. In order for art to reach a wide spectrum of people, accessibility in every sense is a must. With this in mind, Tekcan generously shared his facilities and accorded priority to printmaking since it enabled reproduction of a more affordable artwork, allowing it to reach a wider span of people. Tekcan not only played a role in the establishment of printmaking studios in universities but also founded the first professional private printmaking studio in 1974. He provided an important example for printmaking in Turkey, by building his own print machines with the help of the drawings he brought back from Germany. The studio which he initially intended for his own use soon became a center for many other artists. This not only enabled varied ranges and sizes of artworks to open up to the demand of a broader audience, but also made possible for other artists to learn and execute printmaking. In 1984, the studio was relocated to Çamlica with increased facilities, gaining its internationally recognized name: Artess Printmaking Studio... The artists, instead of paying a fee in return for using the facilities of the studio, left a portion of their prints to the studio, a system common in print foundations in the U.S. Tekcan's devotion to printmaking was based not only on the joy he had from the process, but also on his commitment to help develop his country economically, politically and practically. His studio soon evolved into a center in which artists came to exchange and discuss ideas, as well as to produce. Since 2004, Artess Printmaking Studio now has a new home.". (Source: IMOGA, History).
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ALI AVNI ÇELEBI, (1904-1993).
Ali Avni Çelebi. [Exhibition catalogue]. 13 Ocak - 20 Mart 2008, Besiktas Çagdas Sanat Galerisi. Prep. by Kiymet Giray.
New Turkish Paperback. 4to. (30 x 24 cm). In Turkish. 196 p., color ills. Ali Avni Çelebi. [Exhibition catalogue]. 13 Ocak - 20 Mart 2008, Besiktas Çagdas Sanat Galerisi. Prep. by Kiymet Giray.
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EMRE ZEYTINOGLU.
Cybele's memory.= Kibele'nin hafizasi. [Exhibition catalogue]. October 7 - December 31, 2019, Is Sanat Kibele Gallery.
New English Paperback. 4to. (30 x 23 cm). In English nd Turkish. 160 p., color and b/w ills. Cybele's memory.= Kibele'nin hafizasi. [Exhibition catalogue]. October 7 - December 31, 2019, Is Sanat Kibele Gallery. This book has been prepared in coordination with "Cybele's Memory" Exhibition held at Is Sanat Kibele Gallery between October 7 - December 31, 2019.
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SÜLEYMAN SAIM TEKCAN, (1940-).
Süleyman Saim Tekcan. 50th year of arts retrospective.= 50. sanat yili retrospektifi. Text by Ekrem Kahraman.
New New English Original bdg. Dust wrapper. Folio. (33 x 24 cm). In English and Turkish. 336 p., color ills. Süleyman Saim Tekcan. 50th year of arts retrospective.= 50. sanat yili retrospektifi. Text by Ekrem Kahraman. This catalogue has [sic] published by Besiktas Municipality for the exhibition of Su?leyman Saim Tekcan's 50th Years of Arts Retrospective which takes place in Mustafa Kemal Centrum - Besiktas Contemporary Exhibition Hall between the dates October 13 and November 25, 2011. A very heavy volume.
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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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KATHERINE BEHAR.
Katherine Behar. Data's entry.= Veri girisi. [Exhibition catalogue]. Contributions by Alexander R. Galloway, Daniel Rosenberg, Fatma Çolakoglu, Katherine Behar, Patricia Ticineto Clough, Tung Hui Hu, Ulya Soley.
New English Paperback. Pbo. 4to. (28 x 24 cm). In English and Turkish. 118 p., color ills. Katherine Behar. Data's entry.= Veri girisi. [Exhibition catalogue]. Contributions by Alexander R. Galloway, Daniel Rosenberg, Fatma Çolakoglu, Katherine Behar, Patricia Ticineto Clough, Tung Hui Hu, Ulya Soley. Pera Museum presents Katherine Behar: Data's Entry, the first museum survey exhibition of this New York-based artist who moves fluidly between sculpture, performance, video, and writing. Curated by Fatma Çolako¿lu and Ulya Soley, the exhibition is accompanied by a comprehensive catalog. The catalog brings together Katherine Behar's works from the exhibition. It features an essay by the artist, which focuses on data visualization and how it expands to art and digital culture, as well as an essay by Fatma Çolakoglu and Ulya Soley about Behar's works in the exhibition and how they translate into contemporary culture. Daniel Rosenberg discusses the etymology of data in terms of measuring and draws parallels between the Pera Museum's Anatolian Weights and Measures Collection and Behar's work. Patricia Ticineto Clough coins the term "datalogical turn" to reflect her idea of the contemporary trajectory and talks about Behar's work in this context. Alexander Galloway discusses how the ideas of black box and black bloc came together in the late 20th century and reflects upon the possible outcomes. The catalog also features an interview by Tung-Hui Hu, in which he directs challenging questions to Katherine Behar.
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DJELAL ESAD [CELÂL ESAD ARSEVEN], (1875-1971).
Türkçe'den Fransizca'ya sanat kamusu.= Dictionnaire des termes d'art. Français - Turc / Turc - Français.= Sanat kamusu. Fransizcadan Türkçeye ve Türkçeden Fransizcaya. Sanayi-i Nefiseden resim, nakis, naht, mimarî, hat ve âsar-i atikaya aid istilahlari havidir.
New Turkish Paperback. Roy. 8vo. (24 x 17 cm). In Turkish and French. 254 p. First Edition in 1926 written in Ottoman Turkish. Türkçe'den Fransizca'ya sanat kamusu.= Dictionnaire des termes d'art. Français - Turc / Turc - Français.= Sanat kamusu. Fransizcadan Türkçeye ve Türkçeden Fransizcaya. Sanayi-i Nefiseden resim, nakis, naht, mimarî, hat ve âsar-i atikaya aid istilahlari havidir. Rare. Özege: 17507. HISTORY OF ART Reference Ottoman culture Architecture Painting Terms Dictionary Lexicon Turkish and Islamic arts.
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ALEXIS GRITCHENKO, (Ukrainian avangard painter and art theorist), (1883-1977).
The Constantinople years. February 07 - May 10 2020, Istanbul, Mesher. [Exhibition catalogue]. Prep. by Aysenur Güler, Vita Susak. Edited by Nilüfer Sasmazer.
New English Original bdg. HC. 4to. (30 x 24 cm). Edition in English. 325 p., b/w and color ills. The Constantinople years. February 07 - May 10 2020, Istanbul, Mesher. [Exhibition catalogue]. Prep. by Aysenur Güler, Vita Susak. Edited by Nilüfer Sasmazer. Alexis Gritchenko, (1883-1977) was part of the modern art scene and exhibited with avant-garde artists including Kazimir Malevich, Wassily Kandinsky, Vladimir Tatlin and many others. Gritchenko was also an art critic and published articles, books; delivered public lectures, and taught in an art school. He decided to escape the civil war which followed the Russian Revolution of 1917. Leaving Moscow, he arrived in Istanbul in November 1919. Although the two years Gritchenko spent in Istanbul coincided with the occupation of the city, the Ottoman capital provided the artist with a relatively safe refuge until he left in 1921. On his arrival, he was instantly attracted by the colors and dynamism of Istanbul. He recorded his impressions of the vibrant ports, markets, sacred spaces, and majestic monuments while wandering through the streets, notepad, pen and brush in hand. Looking at his vast corpus of Istanbul works, one can retrace the cultural and social imprint of those turbulent years through the eyes of a visitor. Now, 100 years after the visit of Gritchenko to Istanbul, a great part of the works the artist created in the city, a collection of watercolors, gouaches, sketches, and oil paintings have been compiled into the book Alexis Gritchenko - The Constantinople Years. More than 150 works have been included in the publication alongside articles by art historians Vita Susak and Aysenur Gu?ler, detailing the artist's life and technique, as well as the connections and friendships he formed during his stay in Istanbul, including those between him, Ibrahim Çalli, and Namik Ismail.
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ALEXIS GRITCHENKO, (Ukrainian avangard painter and art theorist), (1883-1977).
Istanbul yillari. 07 Subat - 10 Mayis 2020, Istanbul, Mesher. [Exhibition catalogue]. Prep. by Aysenur Güler, Vita Susak. Edited by Nilüfer Sasmazer.
New Turkish Original bdg. HC. 4to. (30 x 24 cm). Edition in Turkish. 328 p., b/w and color ills. Istanbul yillari. 07 Subat - 10 Mayis 2020, Istanbul, Mesher. [Exhibition catalogue]. Prep. by Aysenur Güler, Vita Susak. Edited by Nilüfer Sasmazer. The Constantinople years. February 07 - May 10 2020, Istanbul, Mesher. [Exhibition catalogue]. Prep. by Aysenur Güler, Vita Susak. Edited by Nilüfer Sasmazer. Alexis Gritchenko, (1883-1977) was part of the modern art scene and exhibited with avant-garde artists including Kazimir Malevich, Wassily Kandinsky, Vladimir Tatlin and many others. Gritchenko was also an art critic and published articles, books; delivered public lectures, and taught in an art school. He decided to escape the civil war which followed the Russian Revolution of 1917. Leaving Moscow, he arrived in Istanbul in November 1919. Although the two years Gritchenko spent in Istanbul coincided with the occupation of the city, the Ottoman capital provided the artist with a relatively safe refuge until he left in 1921. On his arrival, he was instantly attracted by the colors and dynamism of Istanbul. He recorded his impressions of the vibrant ports, markets, sacred spaces, and majestic monuments while wandering through the streets, notepad, pen and brush in hand. Looking at his vast corpus of Istanbul works, one can retrace the cultural and social imprint of those turbulent years through the eyes of a visitor. Now, 100 years after the visit of Gritchenko to Istanbul, a great part of the works the artist created in the city, a collection of watercolors, gouaches, sketches, and oil paintings have been compiled into the book Alexis Gritchenko - The Constantinople Years. More than 150 works have been included in the publication alongside articles by art historians Vita Susak and Aysenur Gu?ler, detailing the artist's life and technique, as well as the connections and friendships he formed during his stay in Istanbul, including those between him, Ibrahim Çalli, and Namik Ismail.
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TEZCAN SAGLAM.
Eski evler ve sokaklar: Tezcan Saglam Suluboya Resim Sergisi. 18 Subat - 20 Mart 2020. [Exhibition catalogue].
New Turkish Paperback. Small 4to. (26 x 19 cm) In Turkish. 72 p., ills. Eski evler ve sokaklar: Tezcan Saglam Suluboya Resim Sergisi. 18 Subat - 20 Mart 2020. [Exhibition catalogue].
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Owner: GIONNOPOULOS GEORGES.
Eneken. Epitheorisi politismou. Teukos 416. Ioulios Augoustos Septembrios 2016. [SPECIAL ISSUE: TUORKIA; Me ti gliossa tou allou = TURKEY]. Nazim Hikmet, Ragip Duran, Selim Ileri, Murat Yalçin, Enis Batur, Haydar Ergülen, Ayse Sarisayin, Yigit Bener, Birsen Ferahli, Ayfer Tunç, Elif Daldeniz, Nedim Gürsel, Hüsnü Arkan, Vüs'at O. Bener, Derya Kiliç et alli.
New Greek, Modern (post 1453) Paperback. Roy. 8vo. (23,5 x 14,5 cm). In Greek with one article in English. 160, [1] p., b/w and color ills. Eneken. Epitheorisi politismou. Teukos 416. Ioulios Augoustos Septembrios 2016. [SPECIAL ISSUE: TUORKIA; Me ti gliossa tou allou = TURKEY]. Nazim Hikmet, Ragip Duran, Selim Ileri, Murat Yalçin, Enis Batur, Haydar Ergülen, Ayse Sarisayin, Yigit Bener, Birsen Ferahli, Ayfer Tunç, Elif Daldeniz, Nedim Gürsel, Hüsnü Arkan, Vüs'at O. Bener, Derya Kiliç et alli.
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JULES LAURENS, (1825-1901).
Le voyage de Jules Laurens en Turquie.= Jules Laurens'in Türkiye yolculugu. Edited by Münevver Eminoglu. Text by Christine Peltre, Engin Yenal. [Exhibition catalogue].
New English Paperback. Pbo. 4to. (29 x 23 cm). In French and Turkish. 224 p., color and b/w ills. Le voyage de Jules Laurens en Turquie.= Jules Laurens'in Türkiye yolculugu. Edited by Münevver Eminoglu. Text by Christine Peltre, Engin Yenal. [Exhibition catalogue]. Jules Joseph Augustin Laurens, commonly known as Jules Laurens was a French artist in drawing, painting, and lithography who is remembered above all for his Oriental works. One of a family of five, at the age of 12 he went to live with his brother, Jean-Joseph (1801¿1890) in Montpellier where he attended the city's art college while benefitting from his brother's artistic contacts. He went on to Paris, studying under Paul Delaroche at the École des Beaux-Arts, first exhibiting in 1840 and completing his studies in 1846. Chosen by the geographer Xavier Hommaire de Hell to join him on an extended scientific journey to Turkey and Persia, Laurens made over a thousand drawings of the sites, costumes and people he encountered on his travels. They included many portraits of Persian personalities. His biography "Nazar-Andaz" gives an account of de Hell's death at Isfahan in August 1848. Thanks to the French ambassador, Laurens was able to reach Teheran from where he sent back de Hell's notes together with his own drawings. Hundreds of them were presented in the Atlas historique et scientifique, the fourth volume of the Voyage en Turquie et en Perse published by de Hell's wife. Some of Laurens' lithographs were published in L'Illustration and Tour du Monde, both popular periodicals, while the originals, together with his early watercolours were given to the library of the École des Beaux-Arts. Laurens also painted examples of qajar art while in Persia, including his Danseuse au tambourin.
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MEHMET ERGÜVEN.
Titresimlerin büyüsü: Bir Devrim Erbil kitabi. Edited by Eda Sezgin.
New New Turkish Original bdg. Dust wrapper. 4to. (29 x 23 cm). In Turkish. 208 p., color ills. Titresimlerin büyüsü: Bir Devrim Erbil kitabi. Edited by Eda Sezgin. This is a Devrim Erbil Retrospective.
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ERHAN ALTAN.
Sanatimizda bir dönemeç: 50'li yillar, Ankara. Üç sanatçi anlatiyor: Ahmet Oktay, Ilhan Usmanbas, Lütfü Günay.
New Turkish Paperback. Demy 8vo. (22 x 14 cm). In Turkish. 94 p., b/w ills. Sanatimizda bir dönemeç: 50'li yillar, Ankara. Üç sanatçi anlatiyor: Ahmet Oktay, Ilhan Usmanbas, Lütfü Günay.
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METEHAN ÖZCAN.
Vacuum.= Vakum. [Exhibition catalogue of photographs]. 28 April - 13 June 2010. Edited by Kader Ay, Gamze Nesipoglu.
New English Paperback. Large 8vo. (23,5 x 23,5 cm). In English and Turkish. 74 p., b/w and color photographs. Vacuum.= Vakum. [Exhibition catalogue of photographs]. 28 April - 13 June 2010. Edited by Kader Ay, Gamze Nesipoglu.
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BURCU GÖKNAR.
Vefa. [Exhibition catalogue]. Prep. by Hasan Senyüksel.
New Turkish Paperback. 4to. (28 x 24 cm). In English and Turkish. 127 p., b/w photos. Vefa. [Exhibition catalogue]. Prep. by Hasan Senyüksel.
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PETER HRISTOFF, (1958-).
Dua: Peter Hristoff. Rugs, 19.09.05 - 04.10.05. Paintings and drawings, 22.09.05 - 22.10.05.= Halilar. Resimler ve desenler. [Exhition catalogue]. Hagia Sophia Museum Exhibition Space.
New New English Paperback. Dust wrapper. 4to. (30 x 21 cm). In English and Turkish. 80, [2] p., 45 unnumbered color and b/w ills. Dua: Peter Hristoff. Rugs, 19.09.05 - 04.10.05. Paintings and drawings, 22.09.05 - 22.10.05.= Halilar. Resimler ve desenler. [Exhition catalogue]. Hagia Sophia Museum Exhibition Space.
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ALIYE BERGER [BORONAI], (1903-1974).
Aliye Berger [Boronai]: Yasami / sanati / yapitlari. Photos by Ara Güler.
Very Good Very Good Turkish Paperback. Roy. 8vo. (24 x 17 cm). In Turkish. 108, [1] p., b/w plates, 14 unnumbered folded color plates. Aliye Berger [Boronai]: Yasami / sanati / yapitlari. Photos by Ara Güler.
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SELÇUK DEMIREL.
Dans la boule d'Istanbul.
New French Paperback. Roy. 8vo. (25 x 17 cm). In French. 62 p., color ills. Dans la boule d'Istanbul. 1Istanbul couche, en imposent qu'on lui pardonne, lorsqu'elle accouche.".
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BEDRI BAYKAM.
Guerilla carries no umbrella: The writings of a political artist.
New English Paperback. Roy. 8vo. (24 x 16 cm). In English. 453, [18] p., b/w ills. Guerilla carries no umbrella: The writings of a political artist. Dünyaca ünlü ressam ve yazar Bedri Baykam'in 30. kitabi "Guerilla Carries No Umbrella" (Gerillanin Semsiyesi Olmaz) Piramid Yayincilik etiketiyle okuyucuyla bulusuyor. Ingilizce olarak piyasaya sunulan kitap, sanat ve siyaset olmak üzere iki bölümden olusuyor. Guerilla Carries No Umbrella, Baykam'in yayinlanmis makale ve röportajlarinin yani sira, sanatçinin Amerika'da yasadigi dönemden itibaren savundugu Batili olmayan sanatçi haklari üzerine yazdigi manifestolari da içeriyor. Türk modern ve çagdas sanati, Türk sanat ortamindaki sanatçi-küratör gerilimleri, sanatçinin büyük ses getiren "BosÇerçeve"sinin yarattigi polemikler ve yanitlari, Kemik romaninin 11 Eylül saldirilarini öngörmesi, sanatçinin Dünya Sanat Günü için verdigi mücadele ve bunu UNESCO'ya kabul ettirisi ve "Bedri Baykam'in Sanat Tarihi Haritasi", kitabin sanat bölümünde yer alan basliklardan bazilari. Siyaset ile ilgili bölümde ise, Baykam'in Türkiye'de köktendincilige, 2. Cumhuriyetçilige karsi verdigi mücadeleler, CHP Genel Baskan adayligi dönemi, Ergenekon davalarinda tutuklu yazar arkadaslarina verdigi destek, Fransiz ve Amerikan parlamentolarina yazdigi açik mektuplar, Gezi olaylari ile ilgili yazilari, CHP'nin Cumhurbaskanligi adaylari hakkinda getirdigi elestiri ve yorumlari, Erdogan ile Obama'ya yazdigi açik mektuplar gibi konular yer aliyor.
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TIRAJE DIKMEN, (1925-2014).
Les traces memoriales.= Zamanlarin hafizasi. Text by Patrick Waldberg.
New French Paperback. Cr. 8vo. (20 x 14 cm). In French and Turkish. [96] p., 42 unnumbered b/w ills. Les traces memoriales.= Zamanlarin hafizasi. Text by Patrick Waldberg. Le fait que Tirajé partage son existence entre Paris et sa Turquie natale n'a pu manquer de façonner son esprit, sa faculté de sentir et de voir, dans des directions souvent divergentes, sinon contradictoires. Paris c'est l'événement, le contact avec l'histoire au jour le jour, la confrontation des idées, la mise en lumière de nouveaux élans, le questionnement permanent concernant l'imaginaire et le réel. Istanbul, en revanche, c'est la proximité avec le monde antique, l'ouverture sur l'Orient, la primauté accordée à l'intemporel, l'illuminante présence de Byzance et la précédence de la pensée mythique sur l'exploration de l'Histoire. En examinant ces jours derniers un certain nombre de dessins exécutés au cours de récentes années, je pus me persuader que l'ouvre de Tirajé obéit au rythme de ce double frémissement. L'événementiel et le mémorial s'y côtoient, s'y superposent ou s'y interpénètrent de telle manière qu'à y regarder un peu longuement on hésite à y reconnaître la trace de quelque discours très ancien, ou bien l'écho bien perceptible de pas et démarches tout à fait actuels.
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NILÜFER RÜZGAR.
Leadership traits of the emperors of Ottoman ascension period: Great mantheory.
New English Paperback. Demy 8vo. (22 x 14 cm). In English. [vii], [1], 107 p., b/w ills. According to the "Great Man Theory", leaders are born with a set of specific skills and traits that makes an individual destined for a leadership position. Also known as a trait perspective to leadership, it suggests that certain individuals have special innate or inborn characteristics or qualities that differentiates them from non-leaders. Specifically, these characteristics were believed to include height, weight, appearance, intelligence, disposition and others. Furthermore, charismatic and inspirational leaders instil faith in a better future for the followers in terms of their self-expression, self-evaluation, and self-consistency. The history of Ottomans is complicated and complex in terms of its emperors from the beginning to the end, in addition to severe relations with Europe and Asia. In this sense, especially the ascension period constitutes great importance; because of the fact that the six emperors of the period turned the Ottoman State into an "Empire" with their individual traits and acts. Therefore, it is worth to consider them as "great men" and evaluate them in this frame in order to construe the claim. It is expected that this book sheds light to the future researches in terms of evaluating both the emperors of Ottoman Empire and the other World emperors in terms of great man theory.
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FÜREYA KORAL, (Important pioneering ceramics female artists in Turkey), (1910-1997).
Typescript letter signed 'Füreya Koral' sent to Turkish female painter 'Tiraje Dikmen' with original 'Amnesty International' letterheaded envelope.
Very Good Turkish Original typescript letter with autograph signature by Füreya Koral. Recipient is Turkish female painter 'Tiraje Dikmen'. 28x21,5 cm. In Turkish. 1 p. 22 lines. Including Koral's request the donation of a painting from painter Tiraje Dikmen for an exhibition which is organized by the Amnesty International Istanbul Section in the Bedri Rahmi Gallery between the dates of December 6-17, 1979. Füreya Koral is one of the pioneering ceramics artists in Turkey. Known for her wall panels, Koral worked in a variety of media such as tiles, statuettes, plates, and also created household items. She started working on ceramics after she was diagnosed with tuberculosis, while receiving treatment at a sanatorium in Switzerland. She was a self-taught artist and her works were mostly ignored during her lifetime. Seeking to push the limits of ceramics beyond its function, she was inspired by the art of ancient civilizations of Turkey, Mexico and East Asia-Japan in particular. Her work is commonly known to carry a mix of Western and Eastern artistic elements. Tiraje Dikmen was born in Istanbul in 1923. After finishing at Isik High School in 1940, she graduated from the Faculty of Economics at Istanbul University in 1946. She continued her study in the workshop of Leopold Levy at the State Academy of Fine Arts. In 1947, Dikmen went to Paris to pursue her doctoral degree in Economics at the Faculty of Law and Economics. She continued painting at Leopold Levy's studio, and studied History of Art and Museology at the Ecole du Louvre. In 1956, she had her first solo exhibition at Galerie Edouard Loeb. In 1964, she was invited to "The Origins, History and Relationships of Surrealism" exhibition, viewed today as one of the most important exhibitions of the history of Surrealism. Dikmen had her first solo exhibition in Turkey at the Gallery I in Istanbul in 1970. She has also participated in many group exhibitions in Paris and Ankara. In 2002, her book "Zamanlarin Hafizasi" (Les Traces memoriales) was published by Norgunk Publications in Istanbul.
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BEDRI RAHMI [EYUBOGLU], (Turkish painter and poet), (1911-1975).
[PAINTER'S PAINTER BIOGRAPHY] Nazmi Ziya.
Very Good Turkish Paperback. Cr. 8vo. (20 x 15 cm). In Turkish. 35 p., 32 b/w plates. Foxing on the cover. Otherwise a good copy. Nazmi Ziya Güran, (1881-1937), was a Turkish Impressionist painter and art teacher. He was born in Istanbul. He did manage to obtain some private tutoring from Hoca Ali Riza then, following his father's death in 1902, he quietly enrolled at the Academy. He studied with the Italian Orientalist painter, Salvatore Valeri and the sculptor Osgan Efendi, but had some difficulty adapting to the school's conservative teaching methods and came into conflict with Osman Hamdi Bey, the Director. A meeting with the French painter Paul Signac, who visited Istanbul while sailing around the Mediterranean, may have influenced his desired style. The conflicts continued and, in 1907, when he submitted his final exam pictures, he found his graduation delayed by a year. Bedri Rahmi Eyuboglu was a Turkish painter and poet. His first one-man show was in Bucarest at the Hasefer Gallery in 1935. The exhibition was organized by his future wife Ernestine. They were married in Istanbul in 1936. Bedri Rahmi was a very prolific artist; he painted frescoes at the "Lido restaurant" in Istanbul (1943), a large panel at the Ankara Opera House (1946). First and Only Edition. OCLC 909450866.
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OSMAN NIHAT AKIN, (Turkish composer), (1905-1959).
Kopuklar. Mizahî hasbihâl.
Very Good Turkish Paperback. Cr. 8vo. (19,5 x 13 cm). In Turkish. 62 p. Kopuklar. Mizahî hasbihâl. Osman Nihat Akin was a Turkish composer who composed about 40 famous songs in classic Turkish forms like "Bir ihtimal daha var", "Körfezdeki durgun suya bir bak", "Yine bu yil ada sensiz". He was grandson of famouspoet and writer Ahmed Rasim. This book has two important introductions and prefaces by Ercüment Ekrem Talu and Aka Gündüz. Signed and inscribed by Akin as 'Sevimli ve sevgili kardesim Necdete, 28.1.947, Ankara'. Not in OCLC. First and Only Edition.
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SADAN BEZEYIS, (President of the Turkish Contemporary Artists Society; Painter and Sculptor), (1926-2017).
Typed document signed 'Sadan Bezeyis'.
Very Good Turkish Original typescript document signed by Sadan Bezeyis. 30x22 cm. In Turkish. 1 p. Includes 20 lines. Dated Istanbul, November, 25, 1968. Bezeyis was a Turkish painter, sculptor and the president of the Turkish Contemporary Artists Society. His father is calligrapher Abdullah Bey. He graduated from Istanbul State Fine Arts Academy High Painting Department Nurullah Berk Workshop, which he started in 1945, in first place in 1951. He represented Turkey at the International Venice Biennale 1958. Paintings and sculptures of Bezeyis are included in many institutions and private collections in Turkey and worldwide.
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NURI ABAÇ, (Turkish surrealist painter), (1926-2008).
Autograph letter signed 'Nuri Abaç'.
Very Good Turkish Original autograph letter signed 'Nuri Abaç'. 22x16 cm. In Turkish. 1 p. Letter includes 8 lines. Recipient name is Mehmet. He could be 'Mehmet Güreli (?)'. Dated 21.3.1974. He mentions Turkish short story writer Bedii Demirseren and that he sent Demirseren's story to Mehmet. He added Bedii's address to the end of the letter. Abaç graduated from Istanbul Fine Arts Academy in 1944. He opened his first exhibition in Mersin, then in Venice and Monaco. He was among the founders of the United Painters and Sculptors Association of Turkey. He worked with Leopold Levy. In his paintings before 1970, he portrayed the legendary and mythological creatures of Anatolian culture in a fairy-tale and surrealistic-fantastic style.
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SABRI BERKEL, (Turkish painter), (1907-1993).
Typed letter signed 'Sabri Berkel'.
Very Good Turkish Typescript letter (document) signed (TLS) by Sabri Berkel sent to 'Türkiye Çagdas Ressamlar Cemiyeti Baskanligi' [i.e. The Society of Turkish Contemporary Painters Presidency]. 15x22,5 cm. In Turkish. 18 lines. Dated April 22, 1969, Istanbul. Letter requesting that each artist send their 6 works (sculpture, oil painting, and engraving) as well as their biographies to be selected for the 10th Sao Paolo Biennial in September 1969. Signed by Berkel under his title "Devlet Güzel Sanatlar Akademisi Y. Resim Bölüm Baskani" [i.e. President of Turkish Fine Arts Academy Painting Department]. Sabri Fetah Berkel was a Turkish-Albanian modernist painter; he was one of the most important painters and academic personalities of the last century in Turkey. Berkel was born in Skopje, where, in 1927, he completed high school at a French lyceum. From 1927 to 1928 he studied at an Art School in Belgrade. From 1929-1935 he finished his studies at the Academy of Fine Arts, Florence. Sabri Fetahu Berkel visited his country Albania in 1982 where he met with his family and parents. Berkel died in Istanbul. In the honor of Turkish talented painter Sabri Berkel from Turkey, NASA decided to name the Berkel, or the well-known printmaker, and it is a complex crater that sits inside of the larger Ellington basin that indicates the presence of dark material at depth of its surface.
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MEHMET GÜLERYÜZ, (Turkish painter and actor), (1938-).; ERCÜMENT KALMUK [KALMIK], (Turkish painter and art historian), (1909-1971).
Typed document signed 'Mehmet Güleryüz and E. Kalmik'.
Very Good Turkish Typescript document signed (TLS) by Mehmet Güleryü and Ercüment Kalmik. 30x21cm. In Turkish. Jury selection questionnaire for the "Artist of the Year and Young Artist" awards to be organized by the Society of Turkish Contemporary Painters. The questionnaire, which includes Metin Sözer as an art historian, Ferit Edgü as a critic, and Nuri Iyem, Yasar Yeniceli, Hamit Görele, Cihat Burak and Ferruh Basagaas painters, is signed by two contemporary Turkish painters (Güleryüz and Kalmik). Ercüment Kalmik was an artist and art historian, known for his work in studying the lyrical-abstract Turkish painters. In 1928, Academy of Fine Arts in the Department of Painting by entering the first Nazmi Ziya's, then Ibrahim Calli was a student. In 1937, after graduation time in various newspapers and magazines and worked. In 1939 Paris 'e went and André Lhote 's studied painting at the workshop. Sorbonne University also took courses in art history. After returning to Turkey in 1940 in Ankara and Istanbul, he was an art teacher at various high schools (1942-47). In 1947 Istanbul Technical University Faculty of Architecture 'in the colors and shapes began to teach composition. In 1967-68 Berlin Technical University's department of architecture as a guest lecturer in the basic design taught. Previously, impressionistic understanding Kalmik employees, located in Europe at the time of cubism was interested. Braque 'la Picasso 's, then Fernand Léger and Henri Matisse's figures were impacted by understanding. After returning to Turkey maintained a distinct outer line of figurative abstraction and had a strong sense of pattern. In the 1960s, fishermen, boats, and sailboats in front of abstract landscape imagery began funding. With a solid color stain, which highlights the contours of lyrical expression in the works of this period are seen. As well as the etching Kalmik also makes the picture in the 1960s in the figurative sense of the prints that are dominant. As well as objects and natural appearance of the figure given the place and occupancy of the space in this building has been used in a balanced manner. Domestically and abroad, participated in many group exhibitions, solo exhibitions opened. Picture, as well as many of the Republican era artists such as Turkish official's theoretical and philosophical concepts of articles on who wrote, conferences and radio talk, conducts the Kalmik, "The Color of Harmony Systems" and "Nature and Art Texture entitled" two books in the 1950s, Istanbul Technical was published by the University.
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Curated by MARISA OROPESA, MARIA TORAL.
Goya, witness of his time: Engravings and paintings.= Goya, zamaninin tanigi: Gravürler ve resimler. [Exhibition catalogue]. Edited by Begüm Akkoyunlu Ersöz, Tania Bahar.
New English Paperback. 4to. (28 x 24 cm). In English and Turkish. 389 p., color and b/w ills. Goya, witness of his time. Engravings and paintings.= Goya, zamaninin tanigi. Gravürler ve resimler. [Exhibition catalogue]. Edited by Begüm Akkoyunlu Ersöz, Tania Bahar. Francisco de Goya (1746-1828), known as one of the most unique artists of European painting and a pioneer of modern painting, was introduced to the Turkish audience for the first time with four series of engravings, along with a selection of oil paintings, at the Pera Museum in 2012. Curated by Marisa Oropesa, the exhibition consisted of works from Spain and Italy's leading museums and private collections. As one of the best narrators of darkness, the exhibition united Goya's various oil paintings and engraving series-Caprichos, Disasters of War, Tauromaquia, Proverbs or Follies- that bear witness to a turbulent period in Spain and Europe. The works in the catalogue, besides his career as a court painter and portraitist, explore Goya's extraordinary imagination, along with his reflections of the social circumstances of the era, from a critical perspective. The catalogue seeks to shed light upon Goya's extraordinary imagination with his realistic and at times frightening style that makes him one of the best narrators of darkness separating him from his contemporaries, as his art transcends time, influencing 20th century modernism.
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CANAN TOLON, (1955-).
Canan Tolon. You tell me.= Sen söyle. Curated by Levent Çalikoglu. Edited by N. Can Kantarci. September 2019 - February 2020. [Exhibition catalogue].
New English Paperback. 4to. (29 x 24 cm). In English and Turkish. 219, [5] p., color and b/w ills. Canan Tolon. You tell me.= Sen söyle. Curated by Levent Çalikoglu. Edited by N. Can Kantarci. September 2019 - February 2020. [Exhibition catalogue]. The exhibition "You Tell Me" organized by Istanbul Modern is a cross section of Canan Tolon s artistic practice which spans from the 1980s to today. "You Tell Me" aims to bring Tolon s unique expressive and technical pursuit into view through her works, which range from drawings to photographs and paintings to installations. While bringing together notable examples of the transformations and developments in Tolon s artistic practice, the exhibition also presents re-creations of some of her works that have already secured their place in the history of art. Canan Tolon s artistic practice centers on nature's continual renewal and on architecture as a cultural enterprise. Tolon designs an intellectual and visual world around the resistance between nature and architecture, and the contradiction and consequences borne out of their encounter. Her experimental works always remind one of the border between life and death, as she makes the viewers question whether these images are real or illusion, photographs or paintings. Incorporating natural materials such as grass seed and water in her paintings, Tolon lets nature come to life by setting metal pieces on her canvases and leaving these outside as a means to let weather transform them. For Tolon, traces of time become an important starting point for the development of her paintings. The architectural sections that show vast, endless and abandoned geographies in her compositions remind one of the struggle of humans against nature and the processes of destruction, construction and reconstruction. In these paintings where every little detail is constructed with paint, Tolon depicts the human processes of transforming and reforming nature, and the chaos, conflict and uncertainty caused by these processes in a distressful atmosphere. Without a doubt, Canan Tolon is one of the most original and creative artists of her generation in terms of the richness of the variety of her areas of research and her intellectual breadth. Tolon s works in this exhibition provide us with the opportunity to rethink nature and environment as well as architecture and culture, which impact both the artist and the rest of humanity today.
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Curated by ÖYKÜ ÖZSOY, ÜMIT ÖZMESTÇI.
Guests: Artists and craftspeople.= Misafirler: Sanatçilar ve zanaatkârlar. Edited by N. Can Kantarci. [Exhibition catalogue].
New English Paperback. 4to. (29 x 24 cm). In English and Turkish. 133 p., color ills. Guests: Artists and craftspeople.= Misafirler: Sanatçilar ve zanaatkârlar. Edited by N. Can Kantarci. Opening on February 26, the exhibition "Guests: Artists and Craftspeople" is the first exhibition to be organized within the scope of Istanbul Modern's International Artist Residency Program. The project will contribute greatly to the promotion of Turkey abroad and is supported by the Innovative and Creative Istanbul Financial Support Program of the Istanbul Development Agency (ISTKA). In a first for Turkey, the program is arranging for artists from all over the world to collaborate with craftspeople in Istanbul under the auspices of a museum. "Guests: Artists and Craftspeople", the first exhibition of Istanbul Modern's International Artist Residency Program, will be open to the art-loving public from 26 February onwards. The exhibition invites viewers to think about Istanbul's centuries-old craft heritage through contemporary lens. The exhibition's press conference was attended by Oya Eczacibasi, Chair of the Board of Istanbul Modern, Dr. Fatih Piskin, Deputy General Secretary of the Istanbul Development Agency (ISTKA), exhibition curators Öykü Özsoy and Ümit Mesci, and participating artists and craftspeople. With the aim of enhancing the global visibility of Istanbul, the program has invited artists to collaborate with masters in a variety of traditional crafts ranging from wood carving and carpet weaving to metal spinning and quilt making. "Guests: Artists and Craftspeople" features the works of 10 international artists who have been inspired by the crafts of Istanbul. From Baku to London, Mexico City to Copenhagen: Participating artists focus on the themes of craft and tradition in their production processes or work with different materials and techniques. They have also participated in international biennials and exhibitions and their works are featured in the collections of leading museums and art institutions worldwide. The participating artists are: Faig Ahmed (Baku), Rana Begum (London), Benji Boyadgian (Jerusalem), Rodrigo Hernández (Mexico City), Servet Koçyigit (Amsterdam), Outi Pieski (Utsjoki and Numminen), Randi & Katrine (Copenhagen), Wael Shawky (Alexandria and Philadelphia), and Jorinde Voigt (Berlin). In addition to the new works created by reinterpreting traditional production techniques from a contemporary perspective, the exhibition showcases the artists' research and production processes in Istanbul, the resources in the city that inspired them and with which they interacted, as well as information about the craftspeople they worked with. Inviting the viewer to think about Istanbul's long-established craft heritage, the exhibition also includes historical objects that shed light on the cultural richness of Istanbul. These were borrowed from the Harbiye Military Museum and the Istanbul Metropolitan Municipality's Libraries and Museums Directorate. Curated by Öykü Özsoy and Ümit Mesci of Istanbul Modern's Curatorial Staff, the exhibition "Guests: Artists and Craftspeople" will be on view until August 23. (Ist. Modern Museum).
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ALTAN GÜRMAN, (1935-).
Altan Gürman. Prep. by Basak Doga Temür, Süreyyya Evren. Texts by Baris Acar, Selen Ansen, Ahu Antmen, Duygu Demir, Bora Gürdas, Ali Kayaalp, Iz Öztat, Nermin Sabasili. [Catalogue of the artist].
New English Original cloth bdg. 4to. (29 x 24 cm). In English and Turkish. 217, [3] p., color and b/w ills. Altan Gürman. Prep. by Basak Doga Temür, Süreyyya Evren. Texts by Baris Acar, Selen Ansen, Ahu Antmen, Duygu Demir, Bora Gürdas, Ali Kayaalp, Iz Öztat, Nermin Sabasili. Every endeavour to review and write the history of contemporary art in Turkey calls upon the name of a pioneering, founding artist who marks a turning point, a moment of beginning: Altan Gürman (1935-1976). Altan Gürman s oeuvre is brought to viewers for the first time in such an exhaustive capacity through one of the inaugural exhibitions at Arter s new building in Dolapdere. The catalogue accompanying the exhibition, curated by Basak Doga Temür, not only features almost all of Altan Gürman s works included in the Arter Collection, but also presents to readers various documents, drawings, sketches, correspondences, photographs, class notes, slides, and meticulous arrangements from the artist s archives, as well as his theses permeated with a new concept of art that would leave its imprint on the 1960s and 1970s. The book includes essays by Baris Acar, Selen Ansen, Ahu Antmen, Duygu Demir, Bora Gu?rdas, Ali Kayaalp, Iz Öztat and Nermin Saybasili which carefully reread Altan Gürman from an art historical perspective, address the artist s impact and various stages of evolution, and open Gürman s works to new encounters by approaching each one individually. Both the exhibition and the accompanying book pay a collective homage to a mind-opening artist who passed away at a young age
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CANAN TOLON, (1955-).
Canan Tolon. You tell me.= Sen söyle. Curated by Levent Çalikoglu. Edited by N. Can Kantarci. September 2019 - February 2020. [Exhibition catalogue]. [LIMITED SIGNED EDITION].
New English Paperback. 4to. (29 x 24 cm). In English and Turkish. 219, [5] p., color and b/w ills. Canan Tolon. You tell me.= Sen söyle. Curated by Levent Çalikoglu. Edited by N. Can Kantarci. September 2019 - February 2020. [Exhibition catalogue]. The exhibition "You Tell Me" organized by Istanbul Modern is a cross section of Canan Tolon s artistic practice which spans from the 1980s to today. "You Tell Me" aims to bring Tolon s unique expressive and technical pursuit into view through her works, which range from drawings to photographs and paintings to installations. While bringing together notable examples of the transformations and developments in Tolon s artistic practice, the exhibition also presents re-creations of some of her works that have already secured their place in the history of art. Canan Tolon s artistic practice centers on nature's continual renewal and on architecture as a cultural enterprise. Tolon designs an intellectual and visual world around the resistance between nature and architecture, and the contradiction and consequences borne out of their encounter. Her experimental works always remind one of the border between life and death, as she makes the viewers question whether these images are real or illusion, photographs or paintings. Incorporating natural materials such as grass seed and water in her paintings, Tolon lets nature come to life by setting metal pieces on her canvases and leaving these outside as a means to let weather transform them. For Tolon, traces of time become an important starting point for the development of her paintings. The architectural sections that show vast, endless and abandoned geographies in her compositions remind one of the struggle of humans against nature and the processes of destruction, construction and reconstruction. In these paintings where every little detail is constructed with paint, Tolon depicts the human processes of transforming and reforming nature, and the chaos, conflict and uncertainty caused by these processes in a distressful atmosphere. Without a doubt, Canan Tolon is one of the most original and creative artists of her generation in terms of the richness of the variety of her areas of research and her intellectual breadth. Tolon s works in this exhibition provide us with the opportunity to rethink nature and environment as well as architecture and culture, which impact both the artist and the rest of humanity today. Signed by Tolon. Limited signed copy.
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ÖZER KABAS, (1938-1998).
Özer Kabas. Retrospektif. [Exhibition catalogue]. 22 Ocak - 2 Mart 2008, Kazim Taskent Sanat Galerisi. Edited by Mine Haydaroglu.
New Turkish Paperback. 4to. (29 x 24 cm). In Turkish. 160 p., color ills. Özer Kabas. Retrospektif. [Exhibition catalogue]. 22 Ocak - 2 Mart 2008, Kazim Taskent Sanat Galerisi. Edited by Mine Haydaroglu.
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HAYRUNNISA TURAN, ELIF ARSLANOGLU.
Islam resim sanatinda Hz. Zekeriyya ve Hz. Yahya tasvirleri.
New Turkish Paperback. Demy 8vo. (21 x14 cm). In Turkish. 222 p., ills. The deppictions of Zechariah and Yahya (St. John the Baptizer) in the Islamic art. 1. Bölüm Hz. Zekeriyyâ ve Hz. Yahyâ'nin Hayati 1.1. Yahudilik'te ve Tevrat'ta Hz. Zekeriyyâ ile Hz. Yahyâ 1.2. Hiristiyanlik'ta ve Incil'de Hz. Zekeriyyâ ile Hz. Yahyâ 1.3. Islamiyet'te Hz. Zekeriyyâ ile Hz. Yahyâ 1.3.1. Kur'an-i Kerim'de Hz. Zekeriyyâ ile Hz. Yahyâ 1.3.2. Hadislerde Hz. Zekeriyyâ ile Hz. Yahyâ 1.3.3. Islam Kaynaklarinda Hz. Zekeriyyâ ile Hz. Yahyâ 2. Bölüm Hz. Zekeriyyâ ve Hz. Yahyâ Tasvirlerinin Yer Aldigi Eserler 2.1. Kisasü'l-Enbiyâ Nüshalari 2.2. Silsilenâme Nüshalari 2.3. Hadîkatü's-Süedâ Nüshalari 2.4. Zübdetü't-Tevârih Nüshalari 2.5. Ahvâl-i Kiyâmet Nüshalari 2.6. Falnâme Nüshalari 2.7. Âsârü'l-Bâkiye Nüshalari 2.8. Mi'râcnâme Nüshasi 2.9. Siyer-i Nebî Nüshasi 3. Bölüm Konularina Göre Hz. Zekeriyyâ ve Hz. Yahyâ Tasvirleri 3.1. Hz. Zekeriyyâ'nin Sehâdeti 3.2. Soyagacina Göre Hz. Zekeriyyâ ve Hz. Yahyâ Portreleri 3.3. Kiyamet Sonrasi Hz. Muhammed'in Sag Yaninda Kurulmus Kürsülerden Birinde Oturan Hz. Zekeriyyâ .78 3.4. Hz. Yahyâ'nin Hz. Isa'yi Vaftiz Etmesi 3.5. Hz. Yahyâ'nin Dogduktan Sonra Melekler Tarafindan Gökyüzüne Tasinmasi 3.6. Hz. Yahyâ'nin Cübbesi Üzerindeki Kelime-i Tevhid'i Yahudilerin Görmesi 3.7. Mi'râc Esnasinda Hz. Muhammed'in Hz. Zekeriyyâ ve Hz. Yahyâ ile Karsilasmasi 3.8. Hz. Meryem'in Hz. Isa'yi Dogurmasinin Ardindan Hz. Zekeriyyâ'nin Kavmiyle Tartismasi 3.9. Dagda Inzivaya Çekilmis Hz. Yahyâ'yi Aglar Vaziyette Bulan Annesinin Teskin Etmesi %MCEPASTEBIN%
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FIRDAUSI / FERDOWSI - MASTER KEMALEDDIN BEHZAD.
The shahnameh of Shah Tahmasb [Tehran Museum of Contemporary Art (TMOCA)]. Preface by Ali-Reza Esmaeli, Ehsan Aqaee
New English In original decorative full leather bdg. In publisher's special box. Elephant folio. (48 x 33 cm). In Persian and English. 419, [3] p., color ills. "This magnificent edition is printed on 420 pages, of which 171 pages are pure full five color print illustration of the original Shahnameh. - 119 illustration from the TMOCA and other Iranian museums. - 33 illustration from Metropolitan Museum of Art in New York. - 9 illustration from Agha Khan Foundation. - 10 illustration from The Khalili Collections in London.".
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HÜSEYIN AVNI LIFIJ, (1886-1927).
Avni Lifij: The modern of his time.= Avni Lifij: Çaginin yenisi. Edited by Erman Ata Uncu. Texts by Ferit Edgü, Zafer Toprak, Ahmet Kamil Gören, Ömer Faruk Serifoglu. [Exhibition catalogue].
New English Paperback. 4to. (27 x 24 cm). In English and Turkish. 207 p., color and b/w ills. Avni Lifij: The modern of his time.= Avni Lifij: Çaginin yenisi. Edited by Erman Ata Uncu. Texts by Ferit Edgü, Zafer Toprak, Ahmet Kamil Gören, Ömer Faruk Serifoglu. [Exhibition catalogue]. Sabanci University Sakip Sabanci Museum (SSM), hosts the exhibition Avni Lifij. The Modern of His Time, providing a comprehensive insight into the versatile artistic production of Hüseyin Avni Lifij (1886-1927) who occupies a unique position in the history of Turkish painting. The Avni Lifij. The Modern of His Time exhibition consist of the artist s works covering a wide range of genres such as self-portraits, pochades, landscapes and compositions with figures as well as his articles on politics and culture, art criticism and photographs. Presenting Avni Lifij s artistic personality in a holistic manner to cover all his aspects for the first time in Turkey, the exhibition aims to shed light on the 1914 Generation, to which the artist belonged, and the pioneering role he played in Turkish art history.
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ZEHRA ARAL, (1945-).
Zehra Aral: Bir ressamin otoportresi. Texts by Mehmet Ergüven, Emre Zeytinoglu, Celal Binzet, Aydin Çubukçu.
New New Turkish Original bdg. Dust wrapper. 4to. (29 x 24 cm). In Turkish. 384 p., color and b/w ills. Zehra Aral: Bir ressamin otoportresi. Texts by Mehmet Ergüven, Emre Zeytinoglu, Celal Binzet, Aydin Çubukçu.
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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 FULYA ERDEMCI.
Artworks at work: The QNB Finansbank Art Collection at the Crystal Tower.= Yapitlar is basinda: QNB Finansbank Sanat Koleksiyonu Kristal Kule'de.
New English Original cloth bdg. shaped the 'Crystal Tower' building. Folio. (31 x 22 cm). In English and Turkish. 235, [1] p., color ills. Artworks at work: The QNB Finansbank Art Collection at the Crystal Tower.= Yapitlar is basinda: QNB Finansbank Sanat Koleksiyonu Kristal Kule'de.
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NURULLAH BERK, (Turkish painter who is pioneer of 'Group D'), (1906-1982).
Typed letter signed 'Berk'.
Very Good Turkish Typescript letter (document) signed (TLS) by Nurullah Berk. 29x21 cm. In Turkish. 1 p. Full. A letter of reply to his female student from the fine art faculty. 22 lines. Nurullah Berk is a Turkish painter. He's one of the first representatives of the geometric-figurative produced in Turkey (constructivism). There are also cubism influences in his works. He was born on March 22, 1906, in Istanbul. After finishing Galatasaray High School, he became a student of Ibrahim Çalli and Hikmet Onat in Sanayi-i Nefise Mektebi. e went to France in 1924 and worked with Ernest Laurent at the Paris College of Fine Arts. After completing his education in 1928, he returned to Turkey, and with a group of friends, they founded "Independent Painters and Sculptors Association". With Abidin Dino, Elif Naci, Zeki Faik Izer, and other artists, they founded the 'D Group' of Turkey. With the suggestion of Berk, this group got the name "Group D".
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SEREF AKDIK, (Turkish impressionist painter), (1899-1972).
Autograph letter signed 'Seref Akdik'.
Very Good Turkish Original autograph letter signed (ALS) by Turkish artist Seref Akdik sent to 'Nesidecigim ve Korkutcugum'. 30x23 cm. In Turkish. 2 p. He describes some of his travels in Turkey and started to paint some still-life paintings, especially of quince and black grapes. A long letter by Akdik. "Seref Akdik is a Postwar & Contemporary painter. Their work was featured in exhibitions at the Doku Art Gallery, Istanbul, and the Cer Modern. Seref Akdik's work has been offered at auction multiple times, with realized prices ranging from $11,756 USD to $28,091 USD, depending on the size and medium of the artwork. Since 1998 the record price for this artist at auction is $28,091 USD for Keman Kalesi ve Pazari, mountain village scene, sold at Bill Hood & Sons Art & Antique Auctions in 2016. In MutualArt's artist press archive, Seref Akdik is featured in Istanbul Modern Collection at Istanbul Airport, a piece from The Hürriyet in 2019.". (Source: Mutual Art). Seref Akdik was born in 1899 and was primarily inspired by the 1900s and 1910s. The first decades of the twentieth century were characterized by vibrant developments in pictorial art. It was the era of post-Impressionism and of experimentation, including the first forays into Expressionism and Abstraction. Many different groups of artists or loosely associated communities of the avant-garde in a number of major cities around the world evolved different modes of these key innovations. The first twenty years of the Twentieth Century can be seen to be among the most productive, and are noted as the time in art history when modern and modernist ideas began to take hold of cultural production. The new order and rationality, alongside mechanization in modes of production, saw art's parallel discipline of architecture develop extraordinarily in the work of designers such as Le Corbusier and Gerrit Rietveld. It was the era of the Bauhaus and the idea of a common discipline across all modes of creative arts. Most, if not all, of the significant art movements we associate with modern and contemporary art, can be viewed to source many of their key founding philosophies in the astounding diversity of work produced during this time. (Source: Untitled Art).
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ORHAN ASENA, (Turkish author), (1922-2001).
Autograph letter signed 'Dr. Orhan Asena', addressed to Ulvi Uraz, (1921-1974).
Very Good Turkish Original autograph letter signed (ALS) by Turkish playwright and author Orhan Asena, (1922-2001) sent to Turkish theater and cinema artist and director Ulvi Uraz, (1921-1974). 30x21 cm. In Turkish. 2 p. Two punching holes. Otherwise a very good copy. Letter from Kassel, Germany. Dated 10.23.1964. He describes Kassel, mentions 'Murtaza' play by Orhan Kemal. Asena was a Turkish playwright, poet, pediatrician. He is one of the most important writers of the Turkish theater after 1950. Orhan Asena, a very prolific playwright who produced mostly works that dealt with historical subjects, is known as the "Shakespeare of the Turkish theater".
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HALDUN DORMEN, (Turkish theater actor, author), (1928-).
Typescript letter signed 'Haldun Dormen' and autograph letter on a card signed 'Haldun' sent to Turkish architect Aygen Törüner.
Very Good Turkish Original typescript letter signed (TLS) and an autograph letter on the card with a letterhead of 'Haldun Dormen' signed (ALS) 'Haldun' sent to Turkish architect Aygen Törüner. 28x23,5 / 8x12,5 cm. In Turkish. 1 p.; 2 p. He mentions Valentin Kataiev's play and its copyright as well as 'The Killing of Sister George' play's translation. Haldun Dormen (born 5 April 1928) is a Turkish theater, movie, and TV series actor and film director. Dormen is of Turkish Cypriot descent.
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M. KEMAL ÇIG, (Turkish art historian, author and Topkkapi Palace manager, husband of Muazzez Ilmiye Çig), (1913-).
Typescript letter signed 'Kemal Çig'.
Very Good Turkish Original typescript letter signed (TLS) signed 'Kemal Çig' as Manager of Topkapi Palace Museum. 25x18 cm. In Turkish. 1 p. 10 lines. It's an acceptance of a job application for the library of the museum. Çig was a Turkish art historian, writer. He is the husband of the famous Turkish Sumerologist Muazzez Ilmiye Çig.
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[AHMET] MESRUR IZZET DURUM, (Turkish artist, sculptor, modeler of coins and paper moneys, and sculptor of 'Turkish medal of liberty' [i.e. Istiklal madalyasi]), (1873-1952).
Original hand drawing watercolor Turkish medal design on paper signed by Mesrur Izzet Durum.
Very Good Turkish Original watercolor Turkish medal design signed by Mesrur Izzet Durum. 15x12 cm (mounted on an exhibition cartoon, size: 20,5x17 cm). In Turkish. 1 p. Color ills. Ahmet Mesrur Izzet Durum was a Turkish artist, sculptor, modeler of coins and paper money, and sculptor of 'Turkish medal of liberty' [i.e. Istiklal madalyasi]), (1873-1952). He is one of the earliest Turkish sculptors. He was born in Bosnia. After a while, he left the School of Medicine, where he studied and went to the Department of "Sanayi-i Nefise" [i.e. Fine Arts] Sculpture department. He was one of the first students of the department.
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JALE YILMABASAR, (Turkish painter and ceramicist), (1939-).
Typescript document - letter signed 'Jale Yilmabasar', addressed to Gültekin [Sâmanoglu], (1927-2003).
Very Good Turkish Original typescript document - letter signed by Jale Yilmabasar. (30,5x21,5 cm). In Turkish. 10 lines. A pair of puncher holes on the left side of the paper. Letter sent to Gültekin Sâmanoglu, (1927-2003), who was a Turkish poet and one of the founders of a very important literary magazine titled 'Hisar' in the Turkish literature. 1 p. She wrote to him that she received the Hisar magazines that he sent. She thanks and she apologizes that she couldn't call him. Yilmabasar is a Turkish painter and ceramicist. She was born in 1939 in Samsun, Turkey. Yilmabaser's career as a ceramic artist began while studying in the United States at Albany Union High School under an AFS scholarship. In addition to ceramics and painting, Yilmabaser also studied ballet for a large portion of her life. After high school, Yilmabaser returned to Turkey, where she studied ceramics at the State Academy of Fine Arts and the Istanbul Graduate School of Practical Fine Arts. She also studied painting and graphic design at Munich Academy. She graduated from the Department of Ceramic, School of Practical Fine Arts in the year 1962. After graduation, she held an internship at the Arzberg Schonwald Ceramic Factory in Germany. Yilmabaser also lectured at the University of Miami for one year in 1964. She served as a professor at Marmara University for many years. Yilmabaser held art exhibitions all over the world. Her first personal exhibition, "Jale's Roosters" was held in 1963." After this, she went on to open and attend exhibitions in Paris, Munich, London, and Moscow, among other places. Because of her work, Yilmabaser was called upon to create many ceramic panels for hotels and institutes worldwide. In 1968, she was awarded a gold medal in the International Ceramic Competition in Italy, In 1969 she received a gold medal at the International Handicrafts Fair in Germany. She was also elected as one of the six best ceramic artists in the world in 1972. In 1998, she received the title "State Artist" from the Ministry of Culture of Turkey. One year later, she opened the most inclusive exhibition of her work, "15 years with Pictures," in which she showed fifteen years of her art and ceramic work This exhibition was held in the Istanbul Atatürk Culture Center.
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SANAT TANIMI TOPLULUGU [i.e. THE DEFINITION OF ART GROUP]: (SÜKRÜ AYSAN, SERHAT KIRA, AHMET ÖKTEM with ALPARSLAN BALOGLU AND ISMAIL SARAY).
[CONCEPTUAL ART IN TURKEY] Sanat olarak betik. Texts by Carl Andre, Sükrü Aysan, Robert Barry, Joseph Kosuth, Sol Lewitt, Robert Morris, Bernar Venet.
Very Good Turkish Paperback. 4to. (27,5 x 20 cm). In Turkish. 32, [30] p., color and b/w ills., serigraph and mimeograph printing on paper and fabric, 1 folded plate (Ismail Saray's photo). This very interesting and rare book includes the texts on the first 32 pages. Some texts were translated from English and French languages by Sükrü Aysan, Nazli Damlaci, and Faruk Ulay. Articles in the first 32 pages: Kavramsal sanat [i.e. Conceptual art] by Sükrü Aysan.; Felsefenin sonu sanatin baslangici [i.e. The end of philosophy and the beginning of art] by Joseph Kosuth.; Kavramsal sanat üzerine paragraflar [i.e. Paragraphs on Conceptual Art] by Sol Lewitt.; Kavramsal sanat üzerine tümceler [i.e. Sentences on Conceptual Art] by Sol Lewitt.; Not, by Bernar Venet.; Giris notu, by Joseph Kosuth, and Inekleri düzene sokmak için bir yöntem [i.e. A Method For Sorting Cows] by Robert Morris. They're the first and the earliest translations (and for some only) in Turkey on the Conceptual Art. The Definition of Art Group is an original Conceptual Art approach. Conceptual Art was founded to research the structure and nature of art. Conceptual artists question the structure of art through a progression of work that refers to the concept of art. What is being considered is a work or an idea directed towards the analysis of all the facets of and contradictions within the concept of art. Sol LeWitt said, "this type of art is related to all intellectual processes". Impressionism and Cubism gave the first formulas for questioning art. Later, as a result of Duchamp's systematic operations about art's boundaries, function, language, and its being, art again became an intellectual process. Today, the subject of art itself and its place in the universe has reached a stage where its effort is directed towards understanding existence. The stages of this change make twentieth-century art history. Only an art audience informed about the development of art can comprehend contemporary work. To be able to understand today's artistic endeavors, it is necessary to make a conceptual history of art. Pure Conceptual Art by taking this situation to its extreme point, accepts no other audience or observer than the ones actively participating in the making of the work. Thus, art transforms into a state as serious as a science that needs no audience. When using the term, Conceptual Art or its more characteristic name, Analytical Art, in referring to a specific period in the history of Conceptual Art as an approach to art, one is speaking of art that has completely eliminated the production of objects and all plastic art forms. But if one considers the broader understanding of conceptualism, within our twentieth-century art, in addition to the side that verifies by analyzing itself, there is also a logical and philosophical dimension directed towards the comprehension of its structure. In other words, a strongly intellectual art continues its hegemony today. In our time, art without an idea can not be effective. (Source: Official site of Sanat Tanimi Toplulugu). In 1961, philosopher and artist Henry Flynt coined the term "concept art" in an article bearing the same name which was appeared in a proto-Fluxus publication An Anthology of Chance Operations. Flynt's concept art, he maintained, devolved from his notion of "cognitive nihilism," in which paradoxes in logic are shown to evacuate concepts of substance. Drawing on the syntax of logic and mathematics, concept art was meant jointly to supersede mathematics and the formalistic music then current in serious art music circles. Therefore, Flynt maintained, to merit the label concept art, work had to be an object-critique of logic or mathematics via linguistic paradox, a quality which is absent from subs... The use of pure Turkish language in this book is pointed to and this book was printed for an exhibition held between 'March 22 - April 5, 1980'. Printed to only 200 copies and all copies were numbered. This is 49 no. (49/200). Extremely r
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SEREF AKDIK, (Turkish painter, nephew of Abidin Dino), (1957-).
Original watercolour painting on paper and autograph inscription signed 'M. Ileri'.
Very Good Turkish Original watercolor painting on paper with an autograph inscription and note on verso signed by Mehmet Ileri. 13,5x10,5 cm. In Turkish. Inscribed to Güngör Uraas and his wife as 'Sergime gösterdigi ilgiden dolayi Güngör Beye ve esine saygi ve sevgi ile, M. Ileri, Subat 1982.'. [i.e. With respect and love to Güngör Bey and his wife due to his interest in my solo exhibition, February 1982]. Mehmet Ileri was born in Istanbul in 1957. After graduating from the Academy of Fine Arts in Paris, he completed his master's degree with Frank Popper at Paris St. Denis University in 1983. Ileri has had solo exhibitions and has participated in many group exhibitions. He currently continues his work in Paris and Boston. He's nephew of Abidin Dino, (1913-1993), who was a famous Turkish painter as well.
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