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BEDIA AKARSU, (Turkish female philosopher and acaddemician), (1921-2016).
Autograph letter signed 'Bedia Akarsu' addressed to 'Arslan Kaynardag'.
Very Good Turkish Original autograph letter sent to Arslan Kaynardag, (1923-2008) who was a Turkish rare book dealer and philosopher. 21x15 cm. In Turkish (Modern). 1 p. Dated January, 15, 1970. Akarsu requests fifty books of Platon's 'Republic'. Typescript letter with autograph note and signature.
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SÜKRIYE SERAFEDDIN, (Ottoman princess, The daughter of Prince Yusuf Izzeddin Efendi), (1906-1972).
Autograph letter signed 'Sükriye Serafeddin' to an unnamed recipient.
Very Good Turkish, Ottoman (1500-1928) Original autograph letter signed (ALS) by Ottoman princess 'Sükriye Serafeddin'. 17,5x14,5 cm. In Ottoman script (Turkish with Arabic letters). 1 p. [in four]. Bifolium. The letter starts with 'Huve' and it has 12 lines. She mentions a letter that was sent by this unnamed recipient to 'Serafeddin' who is probably from the Ottoman dynasty. Sükriye Sultan was an Ottoman princess, the daughter of the heir to the throne Sehzade Yusuf Izzeddin, son of Sultan Abdulaziz, and Leman Hanim. Sükriye Sultan was born on 24 February 1906 in Çamlica Palace. Her mother was Leman Hanim. She was the second child, and eldest daughter born to her father and the eldest child of her mother. She had two younger siblings, a brother, Sehzade Mehmed Nizameddin, two years younger than her, and a sister, Mihrisah Sultan, ten years younger than her. She was the granddaughter of Abdulaziz and Dürrünev Kadin.
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LEYLÂ HANIM [HANOUM], (Turkish / Ottoman poetess), (?-1847).
[OTTOMAN POETESS IN LITOGRAPH] Divân-i Leylâ Hanim. [i.e. The poems of Leylâ Hanim].
Very Good Turkish, Ottoman (1500-1928) Original cloth bdg. with marbled boards and brown cloth spine. Fading on spine and foxing on boards and pages. Overall a good copy. Roy. 8vo. (24 x 17 cm). In Ottoman script (Old Turkish with Arabic letters). 118 p. Lithographed. Early edition of this rare poem collection by Leyla Hanim (?-1847), who was a few female poets in the Ottoman literature, known for her lyrical love poems. Divan literature is described as "a certain tradition literature with its rules and boundaries" in the most general form. These rules and boundaries have enabled the formation of common expressions in religion and in Sufi intellection in particular and in poetry by the influence of Persian literature, and they have made it traditional in time. In this context, in classical Turkish poetry, whose male poets are predominant in quality and quantity, patriarchal rhetoric presents an outlook that its frame has been established by common tropes, metaphors, poetic themes, and in short by similar imaginations and ideas. The divans of Lady Mihri (died after 1512), Lady Leyla (died in 1848), and Lady Seref (1809-1861) have different aesthetic understandings in that context. Leylâ Hanim was one of the few Turkish female poets who made a collection of her poems. Lived in Istanbul and died in 1848. Her family was close to the Ottoman Sultanate and Leylâ Hanim, witnessing the reign of Sultan Mahmud II (1808-1839) and Sultan Abdülmecid I (1839-1861). She is the daughter of Moralizâde Hâmid Efendi. Her mother Hadîce Hanim is the sister of Keçecizâde Izzet Molla, a notable bureaucrat, and poet of the times. She has three brothers, Atâullah Mehmed Efendi, Nurullah Mehmed Efendi and Hâlid Efendi, who died at a young age. She had financial problems after her father's death and she expressed those in her poems. Some of her poems in the divan mention that her father and brother Hâlid Efendi have lived in Bursa for a while. She is educated by Keçecizâde Izzet Molla, she is quick-witted. She experienced a short marriage, which lasted about a week; after the divorce, she devoted herself to poetry. Her grave is in Galata Mevlevîhanesi. Several books include information of her life, characteristics, and poetry such as Fatin Tezkiresi (363), Ahmet Rif'at's Lugat-i Târîhiyye ve Cogrâfiyye (154), Tuhfe-i Nâ'ilî (895), Sicill-i Osmânî (93), Bursali Mehmet Tahir's Osmanli Müellifleri (406), et alli. These resources indicate that Leylâ Hanim is from a noble family and the links of the family to the high cadres of Ottoman bureaucracy and their intellectual property have left traces in her poetry. AH 1299 = AD 1882. (Source: All poetry). OCLC 949496080.; Özege 4177 / 4. First two editions were printed in Cairo.
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MECDI SADREDDIN [SAYMAN].
[COVER DESIGN / AVANTGARDE NOVELS] Cennet Hanim. Calligraphed by Hattat Hâmid Aytaç (1891-1982).
Near Fine Turkish, Ottoman (1500-1928) Original pictorial wrappers. Cr. 8vo. (20 x 14 cm). In Ottoman script (Old Turkish with Arabic letters). 109 p. A fine copy. First edition of this very interesting avant-garde novel of the early modern Turkish literature, including a woman character who is a drug addict from the high society, published in the early period of Republican Turkey. The title and scripts on the front cover are written by early modern Turkish calligrapher Hâmid Aytaç (1891-1982). Mecdi Sadreddin Sayman was a Turkish journalist who served for "Ikdam" [i.e. Effort] newspaper, which is one of the most popular newspapers published during the Imperial Ottoman and Modern Turkey. He was the assistance of Ahmet Cevdet Oran (1862-1935) who has established the paper in 1894, and the first issue appeared on 23 September. It initially advocated for Turkism but held a critical attitude towards the Committee of Union and Progress after the Young Turk Revolution had occurred. Yakup Kadri Karaosmanoglu was a journalist with Ikdam during the Turkish War of Independence. Following the establishment of the Republic of Turkey the paper objected to the policies of the Turkish government, including making Ankara the capital city instead of Istanbul as well as the presidency of Mustafa Kemal Atatürk. Partly due to its dissident approach the owner of the paper was changed, and it became an asset of Ali Naci Karacan. The newspaper ran between the years 1894-1928, until the Letter Revolution. Only three copies in OCLC 25346455 (Bogaziçi University Library, Aga Khan Library of London, Princeton University Library).; Özege 2946.
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HACI MUHAMMED ES'AD.
[MARY OF ISLAM / PERSIAN MEVLID / SHIA] Mevlid-i Serîf-i Fatimatü'z-Zehrâ. Translated into Ottoman Turkish from Persian Ali b. Haci Esad.
Very Good Turkish, Ottoman (1500-1928) Original wrappers. Demy 8vo. (21 x 14 cm). In Ottoman script (Old Turkish with Arabic letters). 13 p. Lithographed. First Ottoman edition of this litho book describing the life of Hazrat Fatma in verse and poetically. It includes 74 couplets in 13 pages, written "fâilâtün fâilâtün fâilün" rhythm and translated by the son of the author named Ali b. Haci Esad. Fatimah al-Zahra bint Muhammad (605-632) was born to the Islamic prophet Muhammad and Khadijah. Sunni Muslims hold that Fatimah was the youngest of their daughters, whereas Shia Muslims maintain that Fatimah was the only biological daughter of the couple. Fatimah's husband was Ali, the fourth of the Rashidun Caliphs and the first Shia Imam. Fatimah's children include Hasan and Husayn, the second and third Shia Imams, respectively. Fatimah occupies a similar position in Islam that Mary, mother of Jesus, occupies in Christianity. She is often viewed as an ultimate archetype for Muslim women and an example of compassion, generosity, and enduring suffering. It is through Fatimah that Muhammad's family line has survived to this date. Controversy surrounds Fatimah's death, within six months of Muhammad's demise. Sunni Islam holds that Fatimah died from grief. In Shia Islam, however, Fatimah's (miscarriage and) death are viewed as the direct result of the injuries that she suffered during a raid on her house, ordered by the first caliph, Abu Bakr. Fatimah and her husband, Ali, had refused to acknowledge the authority of Abu Bakr. The couple and their supporters held that Ali was the rightful successor of Muhammad, appointed by him at the Event of Ghadir Khumm. Iranians celebrate Fatimah's birth anniversary on 20 Jumada al-Thani as Mother's Day. Not in OCLC.; Özege 13387.
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RESIMLI PERSENBE.
[EARLY TURKISH FEMINISM / RARE PERIODICALS] Resimli Persenbe [sic] Persembe: Kadinlar için siyasî, hukûkî ve siyâsî müsâvât isteyen Kadinlar Birligi azasi! [i.e. Illustrated Thursday: The members of the Women's Union who want political and legal equality for women!]. No: 99. April 14, 1927.
Very Good Turkish, Ottoman (1500-1928) Original illustrated wrappers. Chipped and slight tears on extremities, creasing on papers. Overall a good copy. Folio. (38 x 24 cm). In Ottoman script (Old Turkish with Arabic letters). 8 p., richly illustrated. Extremely rare issue of this early Turkish magazine in Ottoman Turkish, with the photographs of members of the union like Nezihe Muhiddin (1889-1958), and news in the headline on the front cover: "The members of the Women's Union who wants political, legal and political equality for women!", continuing as "Recently, the congress of the women's union came to an end. This congress attracted a lot of attention as it emphasized the need for men and women to be equal. The Women's Union is a strange society made up of men and women. Male members cannot enter the administration. The woman sitting in the middle with her head uncovered is Nezihe Muhittin Hanim. The head, member, and clerk of the society is Nezihe Hanim." This magazine, owned by Zekeriya Sertel and his wife Sabiha Sertel, ran between 1925 and 1929 with 199 issues. This rare issue has the headline of "Women's Union" in the Imperial Ottoman, and then the Turkish Republic. It's one of the rare periodicals which published early Turkish feminist Nezihe Muhiddin's images. Nezihe Muhiddin Tepedelengil (1889-1958) was a Turkish women's rights activist, the pioneer of Turkish feminism, suffragette, journalist, writer, and political leader. In the 20th century Ottoman Empire, Nezihe Muhiddin was a pioneer of the women's movement who fought to ensure the recognition of women's political rights after the declaration of the republican regime. She became one of the leading names of the First Wave Republican feminists. Even before the establishment of the Republican People's Party, Nezihe Muhiddin completed the formation of the Women's People's Party (KHF) in 1923 and became the founder of the first political party in Turkey. She also served as a president of the Women's Union between 1924-1927 and helped the founding process of the journal named "Türk Kadin Yolu" [i.e. Turkish Women's Path].
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ENDERÛNÎ FAZIL, (1757-1810)., KEÇECIZÂDE IZZET MOLLA, (1786-1829)., BAHAEDDIN ÂMILÎ, (?-1622)., BIRRÎ MEHMED DEDE, (1669-1716)., MUHAMMED B. OSMAN EL-KONEVÎ NÂLÎ, (?-1675)., SÜNBÜLZÂDE VEHBÎ, (1718-1809)., OSMAN NEVRES EFENDI, (1820-1876).
[EARLY EROTICA / HOMOSEXUALITY] Defter-i ask, Hubannâme, Zenânnâme and Sevkengîz., Manzumetü'l-müsemma be-mihnet-kesan., Tuhfe-i Dilkes Nâli., Bülbülnâme., Kitab-i Nân ü halvâ [and] Nân û Pir Seyh., Gülsen-i ask.
Very Good Turkish, Ottoman (1500-1928) Contemporary quarter leather binding with gilt decorations without title lettering. Demy 8vo. (22 x 14 cm). In Ottoman script (Old Turkish with Arabic letters). Seven different books and tractates (nine works) in one volume: (235, [1] p., 24 p., 143 p., 80 p., [6], 71 p., 84 p., 22 p.). Two leaves are torn from the hinge in the first book but not missing, one tractate is trimmed by margins, the board's extremities are worn, overall a good volume including multiple books. First editions (except for one) of these exceedingly rare poetic tractates collected together contemporarily in one handsome volume, reflecting early Ottoman poetic pleasure, including thematic mystic and erotic poetry mostly printed in the early 19th century. This volume includes the multiple works of Enderunlu Fazil and Sünbülzâde Vehbi, which are the earliest erotic and homosexual poems that seem to have been concealed by adding Keçecizâde's works to the beginning and the end of the volume. "Defter-i ask" [i.e. The book of love] by Fazil, in which he tells about his own romances, is a masnavi of 438 couplets. It begins with a description of divine love and tells the story of the poet's romances, which he fell into only to regret and repent afterward. "Hubannâme" [i.e. The book of beautiful young men] consists of 796 couplets with various titles and it has a mystical analysis of beauty in the first chapter. After an introduction that gives geographical information that may be considered novel for its period, it describes the beauties of male bodies of many countries from India to America. This style is unique and the first in Turkish / Ottoman literature. In the work titled "Zenannâme" [i.e. The book of women], which is a masnavi of 1101 couplets, women of various nations are described. The poet indicated in the introduction of his work that he does not want to talk about women, and that he has no orientation towards women. Enderunlu Fazil was an Ottoman poet who depicted the beauty of men from various lands of the Ottoman Empire. He achieved fame through his erotic works, which were published posthumously. Among his most famous works is The Book of Women, which was banned in the Ottoman Empire. The book describes the advantages and disadvantages of women from different nations. Fazil was born in Acre into an Arab family originally of Medina. He spent his early years in Safed in Ottoman Palestine. His grandfather Zahir al-Umar and father Ali Tâhir were both executed (in 1775 and 1776, respectively ) for participating in a rebellion. After his father's death, Fazil moved to Istanbul. There, he was admitted to the Enderun palace school (thus taking on the name Enderuni or Enderûnlu), but was expelled in 1783 as a result of his love affairs with other men there. In 1799, he was exiled to Rhodes because of his satirical writings and was only allowed to return to Istanbul after becoming blind. He spent the rest of his life there, ill and bedridden. Other books in the volume: Manzumetü'l-müsemma be-mihnet-kesan, Ceride-i Havadis Matbaasi, Ist., AH 1269 = AD 1853. 235 p., 1 portrait of Keçecizâde. Lithography. Özege 13354.; Two copies are located in OCLC 57242940 - 51281526. This work is a social satire type masnavi in which Izzet Molla was exiled to Kesan, telling of the troubles he suffered there, and his pardon and returns to Istanbul. Destar-i hayâl., Osman Nevres Efendi (1820-1876), Matbaa-i Âmire, Ist., AH 1289 = AD 1872. 24 p., Özege 3899. First and Only Edition. This rare work is a masnavi consisting of six stories. Defter-i ask, Hubannâme, Zenânnâme and Sevkengîz., Enderuni Fazil (1757-1810) and Sümbülzâde [or Sünbülzâde] Vehbi, (1718-1809)., Darü't-Tibaatü'l-Âmire, Ist., AH 1253 = AD 1837., 143 p. (pp. 1-20 Defter-i ask; pp. 22-55 Hubânnâme; pp. 56-111 Zenânnâme; pp. 112-143 Sevkengîz.). Özege 18902. First Edition. Tuhfe-i Dilkes Nâli, Yusuf Nabi [sic] [Nâlî, Muhammed b. Osman el-Konevî, (For more info please visit our website)
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KATIP ÇELEBI [HACI KHALFA], (1609-1657).
[ACCOUNT OF THE OTTOMAN-VENETIAN NAVAL WAR] Tuhfetu'l-kibâr fî esfâri'l-bihâr. [i.e. The gift to the great ones on naval campaigns].
Very Good Turkish, Ottoman (1500-1928) Full leather new bdg. Original illustrated cover saved inside. Roy. 8vo. (24 x 17 cm). In Ottoman script (Old Turkish with Arabic letters). [12], 166, [2] p., b/w and color plates of Ottoman warships and scenes from naval wars, seven maps of the earliest examples of Ottoman cartography. Very rare second edition of this book on the history of Ottoman naval wars against Venetians began with the Crete campaign (War of Candia) in 1645 and lasted for years until 1656. The book was published first in 1729 in Müteferrika Printing House which was the first printing house in the Islamic world as the third printed book. This is the second edition including five maps of almost the same size (two paged) titled world map, The Mediterranean, The Archipelago (Aegean), The Adriatic Sea, and the compass-like in its first edition as well as two maps and twenty-six plates (some of them are color) and small illustrations of Ottoman ships as head of some carriage returns. Additional maps depict the city of Venice (from Kitab-i Bahriye [i.e. Book of Navigation) and the travels of Ottoman Admiral Sidi Ali Reis through the Sea of Oman. The Cretan War or the Fifth Ottoman-Venetian War, was a conflict between the Republic of Venice and her allies (chief among them the Knights of Malta, the Papal States, and France) against the Ottoman Empire and the Barbary States because it was largely fought over the island of Crete, Venice's largest and richest overseas possession. This account of Ottoman maritime warfare in Turkish, written in Safer 1067/November 1656. This date places the book in a moment of utmost danger for the Ottoman capital following the defeat of the Ottoman navy at the hands of the Venetians at the Dardanelles (4 Ramadan 1066/26 June 1656) and the subsequent loss of the islands of Lemnos and Tenedos. It is also written shortly after the appointment of Köprülü Mehmed Pasha as grand vizier (25 Dhulqada 1066/14 September 1656). Thus it is suggested to read it as a program of reform of the navy intended for a person whom Hadji Khalfa might have seen as the "man of the sword" who might revert the fate of the Empire. Of the four ulemâ [i.e. scholars] who wrote endorsements for the book, two are closely related to the Köprülü family. The first part is a history of Ottoman maritime campaigns from the beginning to 1067/1656, while the second is a systematic description of naval affairs, from administration and offices to shipbuilding, culminating in a list of 40 suggestions for the organization and strategy of the Ottoman navy, including the use of recent scientific and technological innovations. Thus the juxtaposition with history provides an argument for reform. Suggestions are largely centered around the traditional qanun-i qadim; there is no reference to high-board ships. The final pages include an important discussion of historical causality, explaining how divine omnipotence creates the consequence of historical causes, in reward for the righteous rule, or punishment of injustice. (Source: Ottomanhistorians). Özege 21273.
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YUSUF NÂBÎ (URFALI), (1642-1712).
[A BRILLIANT TRAVEL ACCOUNT OF MECCA AND MEDINA AND VOYAGE TO HEJAZ] Tuhfetü'l-haramayn. [i.e. A gift to Haramayn; Mecca and Medina].
Very Good Turkish, Ottoman (1500-1928) In contemporary fine black 1/3 leather bdg. Decorated gilt to spine. Roy. 8vo. (23 x 16 cm). In Ottoman script (Old Turkish with Arabic letters). 112 p. Extremely rare first edition of this Nabi's first-hand account of Mecca, Medina and the Hejaz during his pilgrimage in the late 17th century. This is the most celebrated literary pilgrimage narrative written in Ottoman Turkish. Nabi (1642-1712) was one of the prominent Ottoman poets and is considered a foremost exponent of the didactic trend (hikem-i tarz) in Ottoman Turkish literature. Nabi, whose given name was Yusuf, was born in Urfa (then known as Ruha) in 1052/1642. In 1082/1671 he took part in the Ottoman military campaign in Poland, in the retinue of Müsahib Pasha, (1640-1686). Having spent thirteen years in Istanbul, Nabi desired to go on a pilgrimage to Mecca. He was personally ready to undertake a journey to the Hijaz and to set down an eloquent account of his journey, the experience of his lifetime. Accordingly, having achieved a position of good standing with his patrons, Müsahib Mustafa Pasha and Mehmed IV, Nabi revived his longstanding desire to perform the hajj. In 1089/1678, at around 37 years of age, he set out in a small private caravan from Istanbul, passing through Konya, Urfa, Damascus, Jerusalem and Cairo, where he joined the main Egyptian pilgrimage caravan. The work, which is one of the most successful examples of Ottoman insa (artistic prose), includes historical, sociological, geographical and autobiographical information. In his preliminary remarks, Nabi indicates that he had received governmental help for his journey. He relates that he first obtained leave for the hajj from his patron Musahib Mustafa Pasha, and then submitted a qasida to Mehmed IV, describing the sacred places. The sultan provided Nabi a letter of recommendation addressed to Abdurrahman Pasha (d. 1691), governor of Egypt, ordering him to enable Nabi to make a comfortable journey. Nabi traveled in a small private caravan, since the caravan extended its route to Nabi's homeland, Urfa, and spent about fifty days there. It appears that he generally followed the usual route of the pilgrimage caravan from Istanbul to Damascus, passing through Scutari, Kartal, Gebze, Hersek, Iznik, Eskisehir, Seyitgazi, Aksehir, Ilgin, Ladik, Konia, Eregli, Adana, Misis bridge, Payas, Antioche, Aleppo (with a long detour to Urfa (Edessa) and back to Aleppo via Aintab), Hama, Hims and the Kuteyfe strait. He was fascinated with the splendid architecture of the buildings, the bazaars and the mosques built side by side by Kurdish and Circassian rulers and the Nile when he arrived in Cairo. Nabi gives a general description of the city of Cairo, the Nile, the two reservoirs of the city, parklands, the Ahram hills and the immediate neighborhood of the city. In Mecca, Nabi visited the sacred sites enthusiastically and performed the hajj on 77 January 1679. He gives a moving account of his experience as a pious emotional pilgrim. It appears that Nabi stayed in Mecca for more than twenty days. Immediately after 1 Muharrem 1090/12 February 1679, he set out for Medina, presumably in the Damascus caravan. While in Medina, Nabi served at the tomb of the Prophet by lighting the candles since his name was on the honorary list of attendants who were determined by the central government to serve the sanctuaries in Mecca and Medina. Nabi regards these services as a testimony to the legitimacy of Ottoman rule. He summarizes his journey of return from Medina to Damascus and to Istanbul in a few general words. Özege 21267.; Not in OCLC.
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MUHAMMAD SADIQ SHERIF [BEY], (1832-1902).
[HEJAZ TOPOGRAPHY / TRAVEL ACCOUNT OF ARABIA] Mâder-i Duniâ: Ittihad ve Terakki Cemiyet-i Osmaniyesine takaddüme-i sükraniyye. [i.e. Mother of the Earth].
Very Good Turkish, Ottoman (1500-1928) Original wrappers. Foolscap 8vo. (17 x 12 cm). In Ottoman script (Old Turkish with Arabic letters). 152 p. Roumi: 1324 = Gregorian: 1906. Taken from a volume including multiple books. Spine is restored. A very good copy. First and only edition of this early and extensively rare book including a first-hand account of the topography and descriptions of Hejaz, Mecca, and other parts of Arabian Peninsula such as Taif and Yemen by Sadiq Sherif, who was the first person to take photographs of Mecca, Medina, and the Hajj in 1880 and 1881 as well. Sadiq Sherif was the grandson of Serif Abdulmuttalib, the Emîr of Mecca. This book written by Sherif was dedicated to 'the Progress and Union Society' [i.e. Ittihad ve Terakki Cemiyeti]. The book describes the way of administration and territorial division of Hejaz after giving some information of its geography, borders, tribes and natives, mountains, rivers, crops and products, and animals of this Ottoman 'vilâyat' [i.e. province]. Sherif gives detailed information on how and when the Ottoman Empire ruled Hejaz, the location of Mecca city, its borders, physical and social geography, crops in Mecca and around, its flora, fauna, demographic structure, 'nahiyes', Kâba's construction, and its history, sacred places around, Masjid-i Haram and other masjids, cemeteries, mountains, gifts by Ottoman caliphs to Kaba, 'Taif' area, people who were 'Emîr' of Mecca from the period of Mohammad, Wahhabism and its birth, etc. At the last, Sherif gives place to his personal letter (layihâ) including 49 articles. The letter was about the reforms that Hejaz needs and it was sent to the Ottoman 'sadâret' [i.e. prime ministry]. (Source: History of geographical literature during the Ottoman Empire, Edited by Ihsanoglu). Muhammad Sadiq Sherif Bey was the first person to take photographs of Mecca, Medina, and the Hajj in 1880 and 1881. Sadiq Bey trained as a military engineer after completing his studies in Cairo and at the École Polytechnique in Paris. It is not known when, or from whom, Sadiq Bey learned to take photographs but it was most probably through one of the resident photographers in Egypt. In 1861, prompted by the need to carry out more extensive military land surveys of the area between Wajh and Medina, Sadiq Bey made his first journey to Arabia. He took a camera along with his surveying equipment and took his very first photographs of Medina. In a series of articles published in the Egyptian Military Gazette in 1877, he refers to his early photography at Medina describing the use of a 'photographia'. Sadly, however, none of the photographs from this first journey has survived. In 1880 he was appointed as the treasurer of the Mahmal, the ornate cloth to cover the Ka'ba brought each year on a special litter to Mecca. He accompanied the Mahmal to Medina and Mecca from September 1880 until January 1881. Again equipped with his camera, he succeeded in producing the series of photographs that are now considered some of the earliest known photographs of the region, those of the Ka'ba, taken under great secrecy. Sadiq Bey published various accounts of his travels in Arabia in military journals, through the Emiry Grand Press in Cairo, but the 1880/81 series of photographs appear to have been issued separately for wider distribution through the Société Khédiviale de Géographie. The society's secretary, Dr. Frederic Bonola, advertised sets of photographs for sale. In January and April 1880 Sadiq Bey gave a talk and report to the society on his earlier 1861 expedition, and on 20 May 1881 he presented a report on his recent journey to Mecca; detailed accounts were published in the society's bulletins, numbers 9/10 and 12. (Source: Christie's). Özege 11888.; Karatay, TM II: 695.; MKAHTBK, II: 991.; OCLC 248374684 / 4082352.
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Ecrit et documente HARRY OJALVO.
Precis sur les Sultans Ottomans et leurs sujets Juifs.= Osmanli padisahlari ve Musevi tebaalarina iliskin kisa tarihçe.
New English Paperback. Mint. 4to. (30 x 21 cm). In French and Turkish. 204 p. Color and b/w ills. The Ottoman sultans and their Jewish subjects. Precis sur les Sultans Ottomans et leurs sujets Juifs.= Osmanli padisahlari ve Musevi tebaalarina iliskin kisa tarihçe. JUDAICA Ottoman history Turkish Jews Social history.
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SEDA KULA SAY.
Kubbeye dogru: Erken dönem Osmanli hamamlarinda egrisel örtüye geçis sistemleri.
Fine English Paperback. 4to. (28 x 23 cm). In Turkish. 390 p. Color ills. "Dome": Early period of 'curved cover' in the Ottoman architecture in Turkish baths. Kubbeye dogru: Erken dönem Osmanli hamamlarinda egrisel örtüye geçis sistemleri. ARCHITECTURE Dome Eraly period of architectural art Ottoman culture Turkish bath.
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AVNI LIFIJ, (1886-1927).
Avni Lifij: Photographs.= Fotograflar. Text by Necmi Sönmez. Edited by Erman Ata Uncu.
New English Original grey cloth bdg. Onlaid b/w photograph on board. Roy. 8vo. (24 x 16 cm). In English and Turkish. 128 p., color and b/w ills. Print run 300 copies, limited and numbered edition. This copy is: 274/300. In addition to the original photographs and negatives in the Ayten & I. Sazi Sirel Collection, this book includes a detailed review on the subject by art historian Dr. Necmi Sönmez.
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Prep. by MURAT SAV.
Davut Pasa Camii ve restorasyonuna ithaf, 2015-2019. Edited by Mehmet Kurtoglu.
New Turkish Original bdg. HC. Folio. (32 x 25 cm). In Turkish. 319 p., color ills. Davut Pasa Camii ve restorasyonuna ithaf, 2015-2019. Edited by Mehmet Kurtoglu. A study on the restoration of Davut Pasa Mosque. 1000 copies were printed.
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Prep. by MURAT SAV.
Nusretiye Külliyesi: Bir kültür mirasinin restorasyon, 2012-2017.
New Turkish Original bdg. HC. Folio. (32 x 25 cm). In Turkish. 388 p., color ills. Nusretiye Külliyesi: Bir kültür mirasinin restorasyon 2012-2017. A study on the restoration of the Nusretiye Complex. 1000 copies were printed.
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Prep. by MURAT SAV.
Fenari Isa Camii koruma ve restorasyon, 2013-2018.
New Turkish Original creme cloth bdg. HC. Folio. (32 x 25 cm). In Turkish. 324 p., color ills. Fenari Isa Camii koruma ve restorasyon, 2013-2018. A study on the restoration of Fenari Isa Mosque. 1000 copies were printed.
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Prep. by MURAT SAV.
Cihangir Camii ve restorasyon sürecine dair, 2015-2018.
New Turkish Original bdg. HC. Folio. (32 x 25 cm). In Turkish. 304 p., color ills. Cihangir Camii ve restorasyon sürecine dair, 2015-2018. A study on the restoration of Cihangir Mosque. 1000 copies were printed.
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IBRAHIM MUTEFERRIKA, (The founder of the first printing house in the Islamic world), (1674-1745).
["DECLARATION OF THE OTTOMAN EUROPEANIZATION": THE 9TH ISLAMIC INCUNABULA] Usûlü'l-hikem fî nizâmi'l-ümem. [i.e. The origins of thought and the order of the nations].
Very Good Turkish, Ottoman (1500-1928) Contemporary quarter dark burgundy leather bdg. Grey cloth boards. Four compartments at spine. Cr. 8vo. (20 x 14 cm). In Ottoman script (Old Turkish with Arabic letters). 96 p. [48 leaves]. 19 lines on each page. Printed on paper with European watermarks. A small tear up to the last page with no loss of text. Overall a fine copy. The 9th incunable of the Islamic world, written by Ibrahim Müteferrika and printed in his legendary Basmahane. Known as the most significant work by Müteferrika, this incunable is a political and state-theoretical treatise composed in order to improve the Ottoman government. In his book, Ibrahim Müteferrika used the sources written in Latin in the Europe of his period, and he presented it to Sultan Mahmud I right after the Patrona Halil Revolt (1730). Müteferrika divided the state forms of government in Europe into three groups with the titles "monarkiya" [i.e. monarchy], "aristokrasiya" [i.e. aristocracy], and "demokrasiya] [i.e. democracy]. In the work, the importance of the sciences (physics, astronomy, and geography) in the state administration was emphasized, and it was stated that a solid-state order could not be established in a country where these sciences were not developed. In addition to this, he used the term "Nizâm-i Cedîd" [i.e. The New Order] for the first time and stated that the Ottoman Empire should definitely adopt and implement the new military orders of the 18th century Europe. In addition, this work is one of the earliest in which the "democracy" term is used in the Islamic world. The book was published in French in Vienna and Paris in 1769 (Traite de la tactique ou méthode artificielle pour l'ordonnance des troupes, Vienne, 1769. Translated by Karl Emerich Alexander von Reviczky von Revisnye [Baron Reviczki]), and was translated from French into Russian in 1777. One of only 500 copies. The volume appeared in 1732, about one and a half years after the uprising of Patrona Halil Revolt which had overthrown the system of Sultan Ahmed III and Grand Vizier Damad Ibrahim. The writing, recalling the characteristics of Ottoman siyâsetnâme [i.e. the book of politics], calls the attention of the Ottoman leaders to the results of the state and military development and to the reasons for the strategic superiority of the rival European powers, while strongly condemning the several centuries long disinterest of the Ottomans to the external world. An important feature of the work is to break with the hitherto prevailing nostalgic attitude to bygone golden ages. Although observes the stylistic conventions in as much he speaks contemptuously about the Christian nations, in the content, already turns away from the indifference referring to the superiority of Islam. It announces in a list organized by items the reasons for the state's weakness and the conditions of rising. In harmony with the main aspects of contemporary Ottoman reforms, the work mainly focuses on the necessity of the reorganization of the army. It also offers a broader historical background by describing after the Greek philosophers the various types of states (6v-7v), or by treating the origins and reasons for the success of the foundations of European culture, the Roman Empire (19v-20v). The concept "Nizâm-I Cedîd" (i.e. the New Order), which would be used for the newly organized military formations of Sultan Selîm III (1789-1807), appears here for the first time referring to the modernized European army (17v-18r). "The utopistic optimism of Risâle-i Islâmîye may have had some rational basis, if one takes into account the Karlovci Treaty (1699) which was a rather positive correction in contrast to the previous series of Turkish failures in the Balkans, the European 'internal wars' of the first decade of the 18th century, and the experiences of the reform and peace years of the Tulip Period. However, the Usûl ül-hikem. was already inspired by the atmosphere after the Pozarevac Treaty (1718) which was a further stro
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COLMAR FREIHERR VON DER GOLTZ, (1843-1916).
[GOLTZ'S MEMORANDUM FOR THE OTTOMAN ARMY] Seferber zâbitâna mahsûs muhtira. [i.e. The memorandum for the mobilized officers]. Translated by Mahmud Sevket Pasa, (1856-1913).
Very Good Turkish, Ottoman (1500-1928) Original cloth bdg. with decorative borders of title gilt on the front board. Foolscap 8vo. (18 x 12 cm). In Ottoman script (Old Turkish with Arabic letters). [14], 287, [17] p., unnumbered nine tables (two folded interior and two folded in end pocket), 42 numerous b/w ills., military plans, etc., Hegira: 1305 = Gregorian: 1889. Ownership inscription on the first free paper. Slight foxing on boards, spine, and pages. One plan in the end pocket was repaired. Overall a good copy. Rare second edition of this "memorandum" translated into Ottoman Turkish by Mahmud Sevket Pasha, is one of the works of Baron von der Goltz (Pasha) who was invited by Sultan Abdulhamid II upon the request of Germany to modernize the Ottoman army after the defeat in the Russo-Turkish War (1877-1878). In the first years of modernization in the Ottoman army, the army was attempted to be compared to Napoleon's army, and its regulations were translated and organized accordingly. Many regulations, memoranda, and "layihas" were translated from French. However, when the Germans defeated the French in 1871, the German military system was regarded as superior, and from 1882 onwards, German advisers began to be recruited for the improvement of the army. Since the arrival of Major Goltz in 1883, German training guides and some German instructions were translated into Turkish for use in military schools. One of the most important instructions translated into Turkish was this book includes the basic military issues with many military plans. Goltz Pasha was a Prussian Field Marshal and military writer who had been in service of the Ottoman Empire two times soon after the Russo-Turkish War in 1877-78 and during the WW1 (1915-16) to reorganize the Ottoman Army. Özege 17664.; TBTK; 11573.; OCLC 929156417 (For late edition in 1315 Hegira).; Library of Congress. Karl Su?ssheim Collection, no. 1297.
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Prep. by MURAT SAV.
Yildiz Hamidiye Camii: Bir dönem yapisinin restorasyonu, 2013-2017.
New Turkish Original bdg. HC. Folio. (32 x 25 cm). In Turkish. 304 p., color ills. Yildiz Hamidiye Camii: Bir dönem yapisinin restorasyonu, 2013-2017. A study on the restoration of Yildiz Hamidiye Mosque. 1000 copies were printed.
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Edited by BAHA TANMAN, IDRIS BOSTAN.
Piyale Pasa Camii 2005-2007 restorasyonu.
New New Turkish Original bdg. Dust wrapper. Folio. (32 x 25 cm). In Turkish. 297 p., color and b/w ills. Piyale Pasa Camii 2005-2007 restorasyonu. Restoration of the Piyale Pasa Mosque in Istanbul. "Piyale Pasha Moque and its Social Complex were construction cluster constructed by Architect Sinan upon the request of Kaptan-i Derya Piyale Pasa in 1573. It was constructed as a social complex consisting of mosque, education center, lodge, mausoleum, special part, ottoman elementary-primary school, market and Ottoman bath; however, only the mosque and mausoleum reached to today. The mosque in the 30,5x19,5 sizes and with rectangular plan is located on two big granite columns and arches and covered with six domes each of which has a diameter for 9 meters. Even if it is considered within Pre-Ottoman Grand Mosque in Anatolia with its six domes, Piyale Pasha Mosque is thought to be an example which was developed and made thinner through the new method of Sinan. One of the very rare tile mihrabs of classical period takes place in the marble minbar mosque. The sole minaret of the mosque which does not comply with the architectural traditions of the period with its domes, arches, entrance portico takes place right on the entrance and it has a single balcony. The mosque was ruined because of the surrounding dense structuring activities, omissions, and natural disasters such as fires and earthquakes in time. All cement-based joints and plasters were rasped and therefore, original hand-drawn works were found out and protected within the scope of the restoration works. Upon the removal of the screed layers on the top cover, the original dome figures were revealed. The work was reached to its original identity and unlicensed constructions in the parcel were demolished and environmental planning was realized at the end of the restoration.".
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Edited by GÜÇLÜ KAYRAL, ELIF GÖKTEKE.
The odyssey of the paper money from the Empire to the Republic.= Imparatorluktan Cumhuriyete kagit paranin öyküsü. [Exhibition catalogue].
New English Paperback. 4to. (29 x 24 cm). In English and Turkish. 205, [2] p., color and b/w ills. The odyssey of the paper money from the Empire to the Republic.= Imparatorluktan Cumhuriyete kagit paranin öyküsü. [Exhibition catalogue].
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HILMI AYDIN.
The Sacred trusts: Pavilion of the Sacred Relics. Topkapi Palace Museum, Istanbul.
New English Original decorative bdg. with flap. In special box. Folio. (32 x 27 cm). In English. [16], 351, [1] p., color ills. The Sacred Trusts: Pavilion of the Sacred Relics. Topkapi Palace Museum, Istanbul. his gorgeous, full-color photographic guide reveals the marvelous collection of the sacred relics at the Topkapi Palace Museum in Istanbul, which houses more than 600 invaluable belongings from prophets such as Abraham, Moses, and Muhammad as well as a number of Muslim saints. Excavated from the most restricted rooms of the palace, the entire selection?including the pieces that are not on exhibit for daily visits?is compiled here for the first time in this fundamental handbook, making it perfect for students interested in Ottoman history, sacred relics of the Ottoman rule, or the broader Islamic heritage. This edition comes without the special box that accompanied previous edition. First Edition
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HADJI KHALIFA [HACI ABDULLAH HALIFE KÂTIP ÇELEBI], (Ottoman historian), (1609-1657).
[WORLD HISTORY BY HADJI KHALIFA] Fezleke-i Kâtib Chelebi. [i.e. The report of Hadji Khalifa]. 2 volumes set.
Very Good Turkish, Ottoman (1500-1928) Original handsome 1/3 leather bdgs. with attractive decorations at spines. A chipped on the second, and a period label on the first volume's spines. Spines are not homogeneous in their artistic style. Roy. 8vo. (24 x 17 cm). In Ottoman script (Old Turkish with Arabic letters). 2 volumes set: (412 p.; 398 p.). Extremely rare first printed Turkish edition of this first-hand account with a compilation of period sources of 150 dynasties from 1000 AH to c. 1655, self-translated from Arabic by the author, of his Arabic work titled "Fadhlakat al-Tawarîh" [i.e. The report of history] with an addendum for the Ottoman readers by adding what he had seen since 1653. In the book, the events starting from 1592 are told in accordance with the classical Islamic historiography tradition, and short biographies of the viziers, scholars, sheikhs, poets and famous people who died in that year are given at the end of each year. Hadji Khalifa influenced the Arab and Turkish historiographers, who succeeded him in terms of methodology. Hadji Khalifa was the celebrated Ottoman-Turkish polymath and leading literary author of the 17th-century Ottoman Empire. Franz Babinger hailed him "the greatest encyclopaedist among the Ottomans." OCLC lists only three sets: 1030930786, 1030930787 (One is complete in Orient-Institut in Istanbul); 634635343, 634635657 (Two are complete in Berlin and München).; Özege 5707.
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SIBTU'L-MARDINÎ [BADR AL-DÎN MUHAMMAD B. MUHAMMAD B. AHMAD AL-MARDÎNÎ], (Egyptian mathematics and astronomy scholar), (1423-1493).
[ASTRONOMY - MATHEMATICS - ARABIC MANUSCRIPT: JAYB & MUQANTARÂT; SINUS & ALMUCANTAR QUADRANT] Hadhâ risâle-i rüb'u mukantarât, Hadhâ risâle-i cenûb taraf, Hadha mukharrar latashich al-shaat fî taraf al-cayb min al-rub'u' mu'âl-ihtizâr.
Very Good Arabic Original manuscript without binding. 12mo. (16 x 11 cm). In Arabic. [40] p., drawings, and tables. Marginal texts additionally. A linear wormhole on the bottom from beginning to the end, the thread in the spine is broken hence two separate parts. Otherwise a good copy. Rare manuscript compiled from works related to astronomical instruments written by probably Sibtu'l-Mardînî, copied anonymously in the early 19th century on the paper with 'ahar' with four marginal drawings and tables. The copier of this manuscript is not described. An 'Ebced' notes on the last blank page. The manuscript starts with a calendar in the Islamic system which is prepared with red and black inks and annotated info around the table. The first part includes how to use an almucantar, directions on the sphere, location of the stars in the sky. On the last two pages, the author describes the preparation of an almucantar. The second part is titled "Hadhâ risâle-i cenûb tarafi" [i.e. Tractate on the South direction], and the third and last part titled " Hadhâ risâle-i cenûb taraf, Hadha mukharrar latashich al-shaat fî taraf al-cayb min al-rub'u' mu'âl-ihtizâr", includes some 'sinus mathematics' with two impressive tables on the opposite page. Sibt al-Maridini, the full name Muhammad ibn Muhammad ibn Ahmad ibn Muhammad ibn al-Ghazal (1423-1493), was an Egyptian-born astronomer and mathematician. His father came from Damascus. The word "Sibt al-Maridini" means "the son of Al-Mardini's daughter". His maternal grandfather, Abdullah al-Mardini, was a reputed astronomer of the eighth century AH. He was a disciple of the astronomer Ibn al-Majdi (d. 850/1506). Sibt al-Mardini taught mathematics and astronomy in the Great Mosque of al-Azhar, Cairo. He was also a timekeeper (muwaqqit) of the mosque. He wrote no fewer than fifty treatises in astronomy (sine quadrants, sundials, astronomical tables, and prayer times) and wrote at least twenty-three mathematics textbooks. Al-Sakhawy counted two hundred books that were written by Sibt al-Mardini, on Islamic law, astronomy, and mathematics. Libraries that specialize in ancient manuscripts, all over the world, have transcripts of his works. Sibt al-Mardini's declared that "the opinion of the muezzins (those who call people to prayer) is less correct than that of the legal scholars and it is the latter that should be used as the basis for the determination of prayer time". (Wikipedia). Sib? al-Maridini was a prolific author of astronomical texts, which were still being used and studied into the 19th century. Little is known with certainty about his life. It is thought that he grew up in Damascus, where his maternal grandfather, Abd Allâh ibn Khalîl ibn Yûsuf Jamâl al-Dîn al-Mâridînî (died: 1406), was the muwaqqit (timekeeper) in charge of regulating the daily rituals of the Islamic community) of the Umayyad Mosque. Later he traveled to Cairo, where tradition places him as a student of Ibn al-Majdî. Sib? al-Mâridînî wrote extensively on mathematics and mathematical astronomy. Like his grandfather, he was especially interested in astronomical instruments. The bio-bibliographical sources list some 25 treatises, many of which exist today in multiple copies. According to the historian al-Jabarti (died: 1822), Sib? al-Mâridînî's works on mîqât (ritual timekeeping) and astronomical instruments were still being studied in the curriculum of Cairo's al-Azhar, one of the preeminent educational institutions in the Islamic world, at about the beginning of the 19th century. (Biographical encyclopedia of astronomers, 2007).
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[ANONYMOUS].
[MIDDLE EAST / NECROLOGY / ISLAMIC SAINTS] Transfer of Pir Ahmed Besir (A saint of Halwatiyya order)'s tomb and his bones in Kütahya city.
Very Good Turkish, Ottoman (1500-1928) Original b/w photograph. 12x8 cm. Manuscript descriptive text in Ottoman Turkish on verso. Dated 1949. "Kütahya'da Gaybî Baba'nin dedesi Kalburcu Çiftligi'nde medfûn Pîr Ahmed Besir. Kabri nakl olunurken. 1949.". Original photograph shows the transfer of Pir Ahmed Besir (A saint of Halwatiyya order)'s tomb and his bones in Kütahya city. He was the father of Müftî Dervish, the grandfather of Gaybî Baba. He was born in Kütahya. He is a member of the Çavdarogullari family, who settled in the Kalburcu village of Kütahya during the Germiyanoghuls period. He served for a long time a sufi named Cem Seyyah in Karaman, and received an 'ijazat' from Sünbül Sinan Efendi, the master of the Sünbüliyye branch of Halvetiyye sect in Istanbul. An interesting photograph showing his bones in his open tomb.
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Photographed by HIKMET TURHAN DAGLIOGLU, (Turkish author, educator, and museum curator), (1900-1977).
[MIDDLE EAST / SOCIAL LIFE] Bazaar in Isparta city, Anatolia, Turkey.
Very Good Turkish Original gelatin silver photograph showing the marketplace (bazaar) with the crowd and the mosque in the background. 9x14 cm. Manuscript text on verso reads: i.e. "The Bazaar in Isparta, H. Z. Daglioglu". Very good print. H. Z. Daglioglu was a Turkish teacher, writer, museum curator, and Antalya deputy. He is known for his local history studies and compilations and collections of folklore. Daglioglu, who was appointed as the director of the Ankara Archeology Museum in 1934 after her duty in Istanbul, returned to teaching soon after.
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SEBAH & JOAILLIER [Pascal Sebah (1823-1886), Polycarpe Joaillier (1848-1904)].
[MIDDLE EAST / SYRIA] Syriens [i.e. Syrians].
Very Good French A small original albumen print photograph by Sebah & Joaillier mounted on paper. Size: 6,5x8 cm. Rare albumen print photograph mounted on a grey album paper taken by Sebah & Joaillier photograph studio of Constantinople, showing Syrian women and men in their traditional clothes. In 1857 photographer Pascal J. Sébah opened a studio in Constantinople, today Istanbul, Turkey. Photographing city views, daily activities, and ancient ruins in the surrounding area, Sébah sold many of his prints to visiting tourists, a prosperous and common market for other contemporary photographers, such as the well-known Abdullah Frères. Tourists would select a range of prints from professional photo studies in the countries they visited and compile a travel album of their journey. In 1888, two years after Pascal J. Sébah passed away, his 16-year-old son Jean (Johannes) became involved in the studio work. Jean started a partnership with another photographer from Istanbul, the Frenchman Policarpe Joaillier, which became a great success. Jean worked both on assignments for the studio and as an individual photographer, which can be determined from the signatures on the works: some prints were signed "Sébah & Joaillier," and others have the signature "J.P. Sébah" The studio flourished and Sébah & Joaillier were named as the official photographers of the Ottoman Empire by the Turkish sultan. In the early 1900s, Joaillier returned to Paris and Sébah continued his work in Constantinople. After different partnerships, the studio was taken over by Ismail Insel and renamed "Foto Sabah" [i.e. Photo Morning].
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OZAN SAGDIÇ, (Turkish photographer), (1934-).
[MIDDLE EAST] Original photograph showing little ballerinas bowing to the audience including Ismet and Mevhibe Inönü
Very Good Turkish Original photograph taken by Ozan Sagdiç. 18x24 cm. Stamped on verso by Ozan Sagdiç. A fine and artistic photo of little ballerinas bowing to the audience including Ismet and Mevhibe Inönü after a ballet show in Ankara city. Sagdiç made very important contributions to Turkey's visual memory, especially in his career, which he started in Hayat Magazine in the second half of the 20th century.
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NEUE PHOTOGRAPHISCHE GESELLSCHAFT A. G., STEGLITZ-BERLIN, (1894-1948).
[MIDDLE EAST / CONSTANTINOPLE] Original stereoscope and a gelatin silver photograph of Constantinople in 1905.
Very Good French Original two photos (stereoscope and gelatin silver prints). 9x18 cm, 19x25 cm. Rare two photographs of early 20th century Constantinople, "Cimetiere Turc" and "Une Rue a Stamboul" [i.e. Eyup Cemetery and a street (probably from Kandilli)], taken and printed by "Verlag der Neuen Photogr. Gesellschaft A. G., Steglitz-Berlin in 1905. The Neue Photographische Gesellschaft (NPG) was the first and for many years the biggest factory for real photographic bromide printing and the production of real photograph postcards. Arthur Schwarz (1862-1944) founded the company in 1894 in Berlin-Schöneberg, and there were later subsidiary companies in various cities including London, New York, Paris, Vienna, Brussels, and Milan. The company closed in 1921, although the NPG trademark and the postcard department were acquired by E. A. Schwerdtfeger, located first in Berlin and then in Dresden. That business closed with the outbreak of the Second World War. About 1906, the NPG was one of the postcard manufacturers that formed the Verein Photographischer Reproduktions-Anstalten GmbH (P.R.A.) (Association of Institutions of Photographic Reproductions) with headquarters in Berlin and directed by Arthur Schwartz. By 1907, the P.R.A. represented thirteen German and four Austrian publishing companies with the aim to have guaranteed minimum prices and fixed terms and conditions to avoid ruinous competition.
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VICTOR GLASSTONE, (English photographer).
[MIDDLE EAST / TREBIZOND] Two b/w photographs of Trebizond (Trabzon).
Very Good English Original two b/w photos of Trabzon. 16,5x12 cm. Stamp on verso by Copyright Photograph Victor Glasstone 62, Westbourne Terrace, London". Two rare photographs showing a neighborhood of Trabzon city with women and children in the street, and a Byzantine fortress behind the traditional Greek and Turkish houses of the city.
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TAKVÎM-I VEKÂYI [THE FIRST OFFICIAL NEWSPAPER OF THE IMPERIAL OTTOMAN].
["WEIRD ART OF A FRENCH NAMED DAGUERRE": DAGUERRE'S INVENTION IN THE FIRST OTTOMAN OFFICIAL NEWSPAPER] Takvim-i Vekâyi: Def'a 186, fî 19 S[aban] sene 1255 [i.e. Calendar of events: No 186, October 28, 1839].
Very Good Turkish, Ottoman (1500-1928) Original newspaper taken from a volume. Folio. (42,5 x 28 cm). In Ottoman script (Old Turkish with Arabic letters). [5] p. Extremely rare early issue of this first official newspaper of the Ottoman Empire after the proclamation of Reform (Tanzîmât) in 1839, informed Daguerre's new and weird invention ("photography" as it would be called in the 1850s) to the Ottoman peoples and readers. The article reads: "It is the talk of the town, steam engines have been able to run on rails in factories in recent years. Meanwhile, a man carefully focused on his thoughts so much and the craft turned into a strange art, and finally, a coquettish mirror (surface) appeared. This skillful Frenchman named Daguerre drew the lines of objects by reflecting the sunlight with the methods of the different science of art he learned, drew the contours of the objects, and gave 20 years secretly and openly to the formation of this strange art. Finally, he reached the goal and this event won the appreciation and admiration of everyone. This is to say, the image of the object, in the form of a large or small box free from light, is pictured inside by passing through the glass in front of it. In order for the reflected picture to be captured on a surface, some chemicals must be prepared. Daguerre has achieved this mix based on his experience. This substance applied on the plate is called iodine. After the plate is kept in the vapor of the iodine for a few minutes, it is immediately placed in the dark box, and the image passing through the window of the box is pictured for five minutes. Considering that some of the things that should be hidden are captured like this, it will be understood what a valuable invention this is...". In the continuation of the article, it is written that an Englishman named Talbot (Henry Fox Talbot) found the same thing with almost the same processes (!), but Daguerre had taken pictures before. Takvim-i Vekâyi was the first fully Turkish-language newspaper. It was launched in 1831 by Sultan Mahmud II, taking over from the Moniteur ottoman as the Official Gazette of the Ottoman Empire. With the beginning of the Tanzimat reform period, Takvim-i Vekayi produced versions in multiple language editions. It ceased publication in 1878, resuming in 1891-2, before being closed again. It resumed in 1908 until around 1922. In the 1831-1878 period it published a total of 2119 issues - an average of slightly less than one a week.
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FOTO BIRLIK.
[SOUVENIR ALBUM / MIDDLE EAST / EYEWITNESS FOR THE OPENING OF TURKISH RAILWAYS] Irmak - Filyos demiryolunun açilisindan anitlar, 12/11/35. [= Monuments from the opening of Irmak - Filyos railways].
Very Good Turkish Paperback. 32mo. (9 x 6 cm). In Turkish. 25 original b/w gelatin silver photographs in 12 joined page plates. This extremely rare miniature souvenir album shows the stations, bridges and their constructions, the first moving trains, railways, opening celebrations and visits of the Turkish ministers, opening speech, etc. during the opening of the Irmak-Filyos railways on 12 November 1935 Irmak-Filyos line which was opened by Ali Çetinkaya (1878-1949), who was an Ottoman-born Turkish army officer and politician, who served eight terms in the Grand National Assembly of Turkey. Çetinkaya also can be seen in some photos of the album. "The Republic of Turkey, which tried to overcome the destructive effects of the war, took an important step toward reaching economic independence and transporting natural resources to the different regions of the country. The Grand National Assembly of Turkey approved the Law on the Ankara-Eregli Railway Line under the name 'The Railway Leading to Coal'. This important railway line, which the young Republic of Turkey wished to establish to face the future and move forward, was going to run between the coal city Zonguldak and Irmak station, near the capital Ankara. The construction of the railway started on 7th February 1927 and the 102-kilometer line, running between Irmak and Çankiri, became operative on the 23rd of April 1931. The railway between Irmak-Filyos, which had a total length of 391 kilometers, went into operation on 12th November 1935 with a ceremony held in Filyos. It comprised 27 stations, 1368 culverts, and bridges and 37 tunnels, and had a total length of 8800 kilometers.". (Source: Irmak Karabük Zonguldak Railway Line - UDHB). "Foto Birlik" was the most important photography studio in Zonguldak city which was an eyewitness in the early period of Republican Turkey. No copy in OCLC.; No copy in the Turkish National Library.
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FRITZ HENKEL (German mineralogist and assistance), HELMUT BÖGEL (German mineralogist and collector), HORST VOIGT (German decorator).
[MIDDLE EAST / MINEALOGY / SCIENTIFIC VOYAGES] Original twenty-three gelatin silver photos documenting the voyage to East Anatolia for collecting minerals from August 25, 1953 to October 20, 1953, of three German mineralogists, collector and decorator with a Turkish scientist.
Very Good Turkish Original twenty-three gelatin silver detachable photos on eight "Leykam" blind-stamped papers. Papers' size: 32,5x25 cm, photos size mostly: 9x14 cm. Punch holes in the left margins. Otherwise a clean collection. A fine photograph collection of a scientific voyage to Central, East, and South Anatolia in 1953, by German and Turkish mineralogists, to collect and research natural materials, including shores of lakes and seas, soils of Anatolian land from Mt. Taurus, Lake Van, Hakkari and Mount Cilo.
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VALENTINE'S (SA) LTD. (Published by).
[AFRICA] Original 49 real photo postcards of South Africa and Natal.
Very Good English Original 49 real photo postcards (with an original photograph). 9x14 cm. A very good collection. A real photo postcard collection of a Turkish soldier named Mustafa Baspak, including gelatin silver prints (one is hand-colored) of South Africa; attractive views of Cape Town (23 photos), Durban (24 photos), and Natal (2 photos). Some cards are posted to Turkey by military post. Mostly, these real photo postcards are published by Valentine's (SA) Ltd., a photographic/printing company established by Mr. James Valentine (1814-1879) in 1851. In 1963, the company became a subsidiary of John Waddington Ltd.
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BEHAR & FILS.
[SOUVENIR ALBUM - MIDDLE EAST] Souvenir du Caire, aux petit profits Behar et Fils.
Very Good French Original wrappers. Oblong: 9x15 cm. In French. Very rare souvenir album of Cairo in French, consisting of 12 attractive lithograph postcards showing Cairo's streets, social life in the city, architectural buildings, the Caliph tombs, The Nile river, etc., edited by Middle Eastern photographer and postcard editors "Behar & Fils". No copy in OCLC.
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FAHREDDIN PASHA, (Nickname: "The Lion of the Desert" and "The Tiger of the Desert" - The commander of the Ottoman Army and governor of Medina from 1916 to 1919), (1868-1948).
[MIDDLE EAST / ARABIA] Original photograph of Fahreddin Pasha in Medina.
Very Good Turkish, Ottoman (1500-1928) Original photograph showing Fahreddin Pasha in Medina city with Ottoman soldiers and Arabian notables congratulating each other's bairam. His injured left leg is cast into plaster. 9x14 cm. Fakhri Pasha or Fahreddin Pasha, known as Ömer Fahrettin Türkkan after the Surname Law of 1934, was a Turkish career officer, who was the commander of the Ottoman Army and governor of Medina from 1916 to 1919. He was nicknamed "The Lion of the Desert" and "The Tiger of the Desert" by the British and Arabs for his patriotism in Medina and is known for defending Medina in the Siege of Medina during World War I. In 1914 before the Ottoman Army was mobilized, Staff Colonel Fahreddin Bey was appointed the commander of the XII Corps stationed in Mosul. He was promoted to the rank of Mirliva on 12 November 1914 and appointed as the Deputy Commander of the Fourth Army stationed in Aleppo. During World War I, after Hussein bin Ali, Sharif of Mecca, started preparing for a revolt against the Ottoman Empire, Fahreddin, upon the orders of Djemal Pasha on 23 May 1916 moved toward Medina in Hejaz to defend it; he was appointed the commander of the Hejaz Expeditionary Force on 17 July 1916. Medina was besieged by the Arab forces who revolted against the Ottoman Sultan and sided with the British against Fahreddin Pasha, but he stood his ground and defended the city. He also protected the single-track narrow-gauge Hejaz Railway from sabotage by the Hejazi army Turkish garrisons of the isolated small train stations withstood the continuous night attacks and secured the tracks against the increasing number of attacks (around 130 major attacks in 1917 and hundreds in 1918, including more than 300 bombs on April 30, 1918). With the withdrawal of the Ottoman Empire from the war with the Armistice of Mudros between the Ottoman Empire and the Allies of World War I on 30 October 1918, it was expected that Fahreddin would also surrender. But he refused to do so and rejected the armistice. During the siege of Medina, Fahreddin sent the sacred artifacts and manuscripts of Medina to Istanbul in order to protect them from seizure. Most of the manuscripts were returned to Medina by the Ottoman Empire and are now in libraries in the city, while the rest remain in the Topkapi Palace in Istanbul.
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YILDIZ MORAN, (The first female Turkish photographer), (1932-1995).
[FIRST FEMALE PHOTOGRAPHER OF TURKEY] Original unnamed photograph: Heap on the seashore.
Very Good Turkish Original silver gelatin photographic print mounted on cardboard. 53x42 cm (Photo size: 38x30 cm). Signed by Yildiz Moran. Yildiz (Vahid) Moran Arun was born on 24 July 1932, in Istanbul. She is the youngest of three children born to Nemide Moran and Ahmet Vahid Moran. Her father, Ahmet Vahid Moran, was a military officer who served in important positions both at home and abroad. He was the writer of Turkey's very first English-Turkish dictionary printed in Latin script in 1924. In 1950, Yildiz Moran quit her high school education during her final year at Robert College and, following the guidance of her uncle, the art historian Mazhar Sevket Ipsiroglu, went to Great Britain to study photography. After completing her education at Bloomsbury Technical College (1950-52) and Ealing Broadway Technical College, she began to work for John Vickers, the acclaimed photographer of The Old Vic. Moran combined her technical and theoretical knowledge with the practical experience she gained at the studio and stage shoots. She had the opportunity to meet famous artists of the time. The exhibitions and works she saw during her time in Great Britain helped her develop her photographic vision. Following her internship period, she began to make a living taking portrait and lobby photographs. She opened her first exhibition in 1953 in Cambridge. In 1954, she held four more exhibitions in London. All these shows attracted much attention. In her first exhibition, her entire collection was sold. She went traveling in Europe. After making a photo book on Spain and Portugal, she returned to Turkey in 1954. Between 1955 and 1962, she held five solo exhibitions. In 1963, she married Özdemir Asaf (Halit Özdemir Arun) and gave birth to three children in four years. She dedicated the rest of her life to her children. She opened her last exhibition in 1970, in Istanbul. After that, she only took part in retrospective exhibitions. She quit her professional photography career and began to work as a translator and dictionary writer. Between 1981 and 1987, she prepared the complete works of Özdemir Asaf for publication and translated some of his poetry and prose into English. In 1982, the Istanbul State Academy of Fine Arts Photography Institute awarded her honorary membership on account of her contributions to the art of photography. Lyrically conveying a universal language through her own perspective, Moran became a school in herself with her "timeless" photographs. Turkey's first academically-trained photographer, Yildiz Moran is renowned for the new vision and aesthetic she introduced into photography and is considered to be one of the best photographers of all time. Masterfully combining the tradition of the East with the aesthetic of the West, she left behind a legacy of black and white photographs beautifully composed to capture the world of light and shadow reflecting on people and lands. Considering the conditions in the world of photography in the 1950s and 1960s, it is a great achievement that she defined the age of 20 her passion for photography as the foundation of her life, became the first academically-trained woman photographer in her country, acquired in-depth knowledge of the discipline and combined this knowledge with her talent and hard work. "The camera must be like an extension of your being so that it doesn't create an obstruction between you and your subjects. Anything that has poetry in it is the subject of photography. My only intention has always been to photograph what was universal while staying true to the concept embodied by my subject." Besides her portraits, landscapes, and abstract details, she is also known for her photographs reflecting the lives of the Anatolian people. As a woman photographer traveling in Anatolia, she accessed otherwise inaccessible environments, moments, and perspectives; and, with profound respect, she conveyed the purity of the people she met there and allowed us... (Biography: Merih Akogul).
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YILDIZ MORAN, (The first female Turkish photographer), (1932-1995).
[FIRST FEMALE PHOTOGRAPHER OF TURKEY] Original unnamed photograph: Mihrab of the Mosque in the Alhambra.
Very Good Turkish Original silver gelatin photographic print mounted on cardboard. 53x42 cm (Photo size: 38x30 cm). Signed by Yildiz Moran. Yildiz (Vahid) Moran Arun was born on 24 July 1932, in Istanbul. She is the youngest of three children born to Nemide Moran and Ahmet Vahid Moran. Her father, Ahmet Vahid Moran, was a military officer who served in important positions both at home and abroad. He was the writer of Turkey's very first English-Turkish dictionary printed in Latin script in 1924. In 1950, Yildiz Moran quit her high school education during her final year at Robert College and, following the guidance of her uncle, the art historian Mazhar Sevket Ipsiroglu, went to Great Britain to study photography. After completing her education at Bloomsbury Technical College (1950-52) and Ealing Broadway Technical College, she began to work for John Vickers, the acclaimed photographer of The Old Vic. Moran combined her technical and theoretical knowledge with the practical experience she gained at the studio and stage shoots. She had the opportunity to meet famous artists of the time. The exhibitions and works she saw during her time in Great Britain helped her develop her photographic vision. Following her internship period, she began to make a living taking portrait and lobby photographs. She opened her first exhibition in 1953 in Cambridge. In 1954, she held four more exhibitions in London. All these shows attracted much attention. In her first exhibition, her entire collection was sold. She went traveling in Europe. After making a photo book on Spain and Portugal, she returned to Turkey in 1954. Between 1955 and 1962, she held five solo exhibitions. In 1963, she married Özdemir Asaf (Halit Özdemir Arun) and gave birth to three children in four years. She dedicated the rest of her life to her children. She opened her last exhibition in 1970, in Istanbul. After that, she only took part in retrospective exhibitions. She quit her professional photography career and began to work as a translator and dictionary writer. Between 1981 and 1987, she prepared the complete works of Özdemir Asaf for publication and translated some of his poetry and prose into English. In 1982, the Istanbul State Academy of Fine Arts Photography Institute awarded her honorary membership on account of her contributions to the art of photography. Lyrically conveying a universal language through her own perspective, Moran became a school in herself with her "timeless" photographs. Turkey's first academically-trained photographer, Yildiz Moran is renowned for the new vision and aesthetic she introduced into photography and is considered to be one of the best photographers of all time. Masterfully combining the tradition of the East with the aesthetic of the West, she left behind a legacy of black and white photographs beautifully composed to capture the world of light and shadow reflecting on people and lands. Considering the conditions in the world of photography in the 1950s and 1960s, it is a great achievement that she defined the age of 20 her passion for photography as the foundation of her life, became the first academically-trained woman photographer in her country, acquired in-depth knowledge of the discipline and combined this knowledge with her talent and hard work. "The camera must be like an extension of your being so that it doesn't create an obstruction between you and your subjects. Anything that has poetry in it is the subject of photography. My only intention has always been to photograph what was universal while staying true to the concept embodied by my subject." Besides her portraits, landscapes, and abstract details, she is also known for her photographs reflecting the lives of the Anatolian people. As a woman photographer traveling in Anatolia, she accessed otherwise inaccessible environments, moments, and perspectives; and, with profound respect, she conveyed the purity of the people she met there and allowed us... (Biography: Merih Akogul).
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KORTAN TÜMERDEM, (Turkish photographer and director).
[MIDDLE EAST / TURKEY / ANATOLIA] Original fine photograph: Somewhere in Anatolia.
Very Good Turkish Original fine photograph. 55x54 cm. Framed. Signed by Kortan Tümerdem and Emine Öztekin on verso, on a card.
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HALID ZIYAEDDIN, (Ottoman intellectual, author and traveler), (19th-20th century).
[DESCRIPTION OF THE MODERN EGYPT] Musavver Misir hâtirâti. [i.e. Illustrated memoirs from Egypt].
Very Good Turkish, Ottoman (1500-1928) In modern aesthetic full leather bdg. in Ottoman style. Roy. 8vo. (24 x 17 cm). In Ottoman script (Old Turkish with Arabic letters). 184 p., numerous b/w plates. First and only edition of this scarce travelogue which was planned for fifteen days on January 19, 1909, but took about forty days, containing a first-hand travel account of Egypt in 1909, an Islamic country that began to modernize at the beginning of the 20th century, written by an Ottoman intellectual, one year after the Second Constitutional Regime. This rare book contains early descriptions of the Egyptian municipality, the Red Crescent, gardens and parks, urbanism, zoo, and botanic gardens, tramps, bridges, social life, folkloric customs, Mahmil Alays, cemeteries, music and history of art, hotels, Nile and many historical heritages, architecture, etc. Agop [or Agob] Matyosyan was one of the first Armenian printers to apply during the inspections of printing houses that were done in accordance with the Nizam-name-i Cedid (Jareeda-i Mahakim, No. 429 (13 Jamazia al-awwal 1305) in the late Imperial Ottoman period. Hegira: 1327 = Gregorian: 1910. Özege: 14459. OCLC: 476243661 / 16347814.
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J. W. REDHOUSE, M.R.A.S. (Member of the Imperial Academy of Science of Constantiople, &c. &c. &c.)
Kitab-i lehcet ül-maâni.= A lexicon English and Turkish; shewing in Turkish, the literal, incidental, figurative, colloquial, and technical significations of the English terms, indicating their pronunciation in a new and systematic manner; and preceded by a sketch of English etymology, to facilitate to Turkish students the acquisition of the English language. Gift of William Wheelwright Esq., of Newburyport U.S.A., to the American mission at Constantinople.
Good English Original 1/4 leather bound with five compartments at spine, half-title on second. Four pages was damaged, so used support transparent and special papers to repair by a skillful binder. Roy. 8vo. (23 x 17 cm). In English and Turkish with Arabic letters. [ii], [13], [4], 827 p. Rare Second Edition. Özege: 10950. This second edition no in Özege. Kitab-i lehcet ül-maâni.= A lexicon English and Turkish; shewing in Turkish, the literal, incidental, figurative, colloquial, and technical significations of the English terms, indicating their pronunciation in a new and systematic manner; and preceded by a sketch of English etymology, to facilitate to Turkish students the acquisition of the English language. Gift of William Wheelwright Esq., of Newburyport U.S.A., to the American mission at Constantinople.
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[OSMAN] SAFVET [GEYLANGIL], (1887-1944).
[BEAUTIFUL CHROMOLITHOGRAPHED MAPS / OTTOMAN ATLAS] Yeni resimli ve haritali cografya-yi Osmanî. Mekâtîb-i Ibtidâiyye Devre-i Aliye birinci sinifa mahsus.
Very Good Turkish, Ottoman (1500-1928) Contemporary red cloth. Roy. 8vo. (24 x 16 cm). In Ottoman script (Old Turkish with Arabic letters). [1], 229, [1] p., many b/w and color ills., 30 chromo-lithographed maps. Wear and fading on spine, some ex-library stamps on the colophon and several blank pages, ownership ink inscription and signature on the first page-overall a good copy. First edition of this rare Ottoman atlas for the primary schools in the late Ottoman Empire, including beautiful 30 chromo-lithographed maps of the Ottoman land according to administrative regions (provinces) and richly illustrated with b/w plates of the cities and provinces in the Middle East. Map list: 1. World map 2. Complete Imperial Ottoman 3. Arabian Peninsula 4. Anatolia 5. Asia Minor 6. Marmara and Black Sea 7. Aegean (The Archipelago) 8. Demography of Anatolia and Syria, Libya, etc 9. Administrative map of Anatolia 10. Map of mines of Anatolia 11. Agricultural map of the Imperial Ottoman 12. Arabian Peninsula 13. Map of the Edirne Vilayat [Adrianople Province of the Ottoman Empire] 14. Map of the Bosphorus 15. Map of the Hüdavendigâr Vilayat [Brusa Province] 16. Maps of Izmit and Biga Sanjaks 17. Map of Aydin Vilayat and Mentese Sanjak 18. Map of the Konya Vilayat 19. Maps of the Adana Vilayat and the Mediterranean Sea 20. Maps of the Erzurum and Ankara Vilayats 21. MAps of Kastamonu Vilayat and Bolu Sanjak 22. Map of the Trebizond Vilayat 23. Maps of the Van and Bitlis Vilayats 24. Maps of the Sivas and Harput Vilayats 25. Maps of the Bagdad and Basrah Vilayats 26. Map of the Mosul Vilayat and Day al-Zor Sanjak 27. Map of the Aleppo Vilayat and Urfa Sanjak 28. Map of the Syria and Beirut Vilayats 29. Map of the Arabia 30. Maps of the Yemen vilayat and Asir Sanjak. This atlas was printed four times for the different classes of the early Turkish / Ottoman schools, during World War 1 (two times in 1916) and the National Struggle (two times in 1921). Geylangil was born in Istanbul in 1887 and studied in Aleppo and Baghdad. Geylangil, who also studied economic geography, taught geography at many schools, including Galatasaray High School. Until his death, he wrote 14 books on geography, most of which were geographical atlases. In 1941, he was among the founding members of the Turkish Geographical Society. Özege 23216.; TBTK 11481.; We couldn't find any copy of this edition worldwide.
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RAMIZPASAZÂDE MEHMED IZZET, (?-1853).
[BIOGRAPHY OF THE ADMIRALS] Harîta-i kapudânân-i deryâ. [i.e. The chart of the admirals].
Very Good Turkish, Ottoman (1500-1928) Contemporary quarter leather bdg. Rebacked boards. Foolscap 8vo. (18 x 12 cm). In Ottoman script (Old Turkish with Arabic letters). 220 p. Very rare early book of the concise biographies of 137 people who served as admirals in the Ottoman Empire between 1352 and 1853, written by Mehmed Izzet Pasha (d. 1853), son of Turkish admiral Abdullah Râmiz Pasha (d. 1813). Ceridehâne Printing House was founded for publishing Ceride-i Havâdîs [i.e. The Journal of News], which was the first semi-official newspaper in the Ottoman Empire. This journal was published from 1840 to 1877 and was founded by William Nosworthy Churchill (1796-1846), a British-born journalist who moved to Turkey aged 19. He was the cause of a diplomatic incident that resulted in the temporary severance of diplomatic relations between Britain and the Ottoman Empire. Babinger p. 323/2.; Özege 6951.; Library of Congress. Karl Süssheim Collection, no. 1336., OCLC: 11810438, 880485954.
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ÖMER YALÇINKAYA (in cooperation with The National Bank of Kazakhstan).
The banknotes of Kazakhstan.
New English Original bdg. HC. 4to. (31 x 23 cm). In English. 152 p., color ills. "This book focuses on the banknotes of Kazakhstan with respect to their cultural, historical and technical content. It also tells the little known history of how Kazakhstan became one of the best producers of banknotes in the world in less than 20 years time." "Kazakhstan has been an eager adopter of innovative anti-counterfeiting technologies, including many firsts in world banknotes. Collectors everywhere will appreciate adding this book to their numismatic libraries as the first specialized reference to the nation's beautiful and groundbreaking new notes." (Owen W. Linzmayer, Publisher of the Banknote Book). Contents: Introduction.; Acknowledgements.; H. E. Nursultan Nazarbayev the First President of the Republic of KAzakhstan, his bright vision on the news technologies and innoivation.; Mr. Grigoriy Marchenko, the governor...; Historical characters depicted on the banknotes of Kazakhstan.; Technical definitions of the Security Features used on the banknotes of Kazakhstan.; Regular issues: 1993 - Tenge, 1993 Tiyn, 1994, 1996, 1998, 1999, 2000, 2001, 2003, 2006, 2011-2012 issue: Commemorative banknotes of Kazakhstan...".
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Prep. by ÖNER KOCABEYOGLU (PAPKO-ÖNER KOCABEYOGLU COLLECTION).
1940-2000. 20 modern Turkish artists of the XXth Century. Papko-Öner Kocabeyoglu Collection. 3 volumes set in special slip-case.
New English Original bdg. In special slip-case. 4to. (29 x 26 cm). In English. 3 volumes set: (588 p.). Color and b/w ills. 18 Turkish painters and 2 sculptors born in 1901-1944 years: Vol. I: 2 GENERATIONS FIGURATIVES: Fikret Mualla, Abidin Dino, Avni arbas, Mehmet Güleryüz, Komet, Alaattin Aksoy, Ergin Inan, Yüksel Arslan Ömer Uluç.; Vol. II: PARIS SCHOOL ABSTRACT TURKIS PAINTERS: Fahrelnissa Zeid, Nejad Devrim, Albert Bitran, Hakki Anli, Selim Turan, Mübin Orhon.; Vol. III: GEOMETRY, MUSIC, LIGHT, AND WALLS: Ferruh Basaga, Adnan Çoker, Burhan Dogançay, Ilhan Koman, Koray Aris. Each of the twenty artists, eighteen painters and two sculptors, born between 1901 and 1941 has followed his own path (those still living continue to walk their paths); some of them were close to others and were influenced by one another; some of them turned their backs on the fashion of the day or the prevailing concept of art, and even chose paths contrary to it. In the exhibiton of 20 MODERN TURKISH ARTISTS OF THE XXth CENTURY to be held in santralistanbul between 10 March to 19 June, 433 works of these 20 artists are exhibited. Theree volumes presented in a box is the catalog of this exhibition.
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METIN AND, (1927-2008).
Turkish miniature painting. The Ottoman period. Sixty-eight miniatures in full color and one hundred and seven black and white ills. Art editor: Salim Sengil.
Fine English Paperback. Roy. 8vo. (23 x 16 cm). In English. 146, [5], [1] p., color plates, b/w ills. Turkish miniature painting. The Ottoman period. Sixty-eight miniatures in full color and one hundred and seven black and white ills. Art editor: Salim Sengil.
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FERRUH BASAGA, (Turkish painter), (1914-2010).
Ferruh Basaga: Sanatta 65 yil. [Exhibition catalogue]. 15 Subat - 31 Mart 2001. Preface by Ilknur Ersöz. Text by Ahmet Kamil Gören.
New Turkish Paperback. 4to. (27 x 22 cm). In Turkish. 94, [2] p., color and b/w ills. 1500 copies were printed. This exhibition catalogue prepared for the Ferruh Basga Exhibition held on February 15 - March 31, 2001 at Galeri Binyil in Istanbul, is one of the best references for Ferruh Basaga (1914-2010) and his paintings and art. Introduction; Text by Ahmet Kamil Gören (pp. 7-44); exhibition (fully color ills.) (pp. 45-84) and biography of the painter (pp. 85-94).
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CORINPHILA AUCTIONS.
The Cihangir Collection (Part III): Postal cancellations and seals of the Ottoman Empire. Stamp Auction 124. 25-26 October, 2000.
Near Fine English Original wrappers. 4to. (26,5 x 20,5 cm). In English. [10], xxi, [1], 125, [1], 74 p., color and b/w plates. This auction catalogue consisting of 1646 lots (between 5000-6646) of the whole Cihangir Collection's third and the last part including the postal cancellations and rare seals of the Imperial Ottoman; fine philatelic material like stamps, envelopes, seals. This is one of the best references of the subject. "The Cihangir Collection part III is the most comprehensive collection of its kind, ever formed and offered at a public auction. Represented are all the areas of the lost territories - Europe, Asia and Africa as well as Turkey - mostly on covers and cards, and including many unrecorded seals and cancels. The selection also includes an extensive showing of Quarantine Station selas which are of particular interest to specialists of disinfected mail."
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Text and curated by AHMET ALBAYRAK.
From red to blue: Contemporary Turkish painting. The Art Collection of the Central Bank of the Republic of Turkey.= Kirmizidan maviye: Çagdas Türk resim sanati. Türkiye Cumhuriyeti Merkez Bankasi Resim Koleksiyonu. [Exhibition catalogue]. Translated by Cem Akas.
New English Original bdg. HC. In its special box. 4to. (30 x 25 cm). In English and Turkish. 119 p., color ills. One of 1500 copies in March 2015 for the exhibition commemorating the 100th Anniversary of the Çanakkale (Gallipoli) Land Battles entitled "From red to blue: Contemporary Turkish Painting - The Art Collection of the Central Bank of the Republic of Turkey" held at the Çanakkale Ceramics Museum between the dates of March 18 - April 28, 2015. This exhibition consisting of impressionist, modern and contemporary paintings by 28 contemporary Turkish artists, shows special pieces from its collection with a conceptual and spatial reading and a presentation aware of each piece and its theme, from, medium and field. Instead of using a classic theme of concept and displaying a chronology of art history, it places 'experimentally' on the forefront. Introduction by Erdem Basçi.; Foreword by Ahmet Albayrak.; Text by Ahmet Albayrak.; Catalgue and Bibliography.
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