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YILDIZ MERIÇBOYU, SÜMER ATASOY.
Steelyard weights in the form of busts Archaeological Museum of Istanbul.= Istanbul Arkeoloji Müzesindeki büst seklinde kantar agirliklari. (In the memory of Gustave Mendel, 1873-1938).
Fine English Paperback. Pbo. Roy. 8vo. (24 x 16 cm). In English and Turkish. 28, [4] p., b/w and color ills. Steelyard weights in the form of busts Archaeological Museum of Istanbul.= Istanbul Arkeoloji Müzesindeki büst seklinde kantar agirliklari. (In the memory of Gustave Mendel, 1873-1938). ARCHEOLOGY Anatolian civilizations History of art Portrait art Sculpture Bust Weight Collection Istanbul Archaeological Museums Museology The Roman Empire Byzantium.
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YILDIZ MORAN, (The first female Turkish photographer), (1932-1995).
[FIRST FEMALE PHOTOGRAPHER OF TURKEY] [Original b/w unnamed photograph: Anatolian girl behind the sieves signed by Yildiz Moran].
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 with 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 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 at 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: 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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YILMAZ AKBULUT.
Bingöl tarihi.
Very Good English Paperback. Pbo. Cr. 8vo. (19 x 13 cm). In Turkish. [xvii], [1], 330 p., b/w plates. Bingöl city's history with Armenian and Kurdish ethnicity. Bingöl tarihi.
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YILMAZ CAN.
Samsun yöresinde bulunan ahsap camiler.
Fine English Paperback. Roy. 8vo. (24 x 17 cm). In Turkish. 81, 15 p. 66 numerous b/w plates. Samsun yöresinde bulunan ahsap camiler.
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YILMAZ DALKANAT.
Osmanli Imparatorlugu Garp ocaklari ile ABD arasindaki deniz antlasmalari.
New Turkish Paperback. Roy. 8vo. (24 x 17 cm). In Turkish. 376 p. Osmanli Imparatorlugu Garp ocaklari ile ABD arasindaki deniz antlasmalari. Marine Treaties between United States of America and the Ottoman Empire.
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YILMAZ KARACA et alli.
Eskisehir basin tarihi, 1908-1988.
Fine English Paperback. 4to. (28 x 20 cm). In Turkish. [88] p., b/w ills. First and Only Edition. Rare. Eskisehir basin tarihi, 1908-1988. Local periodicals and journals published in Eskisehir city of Turkey from the Ottomans to Turkish Republic. REFERENCE Turkish - Ottoman bibliography Local publishing History of press Eskisehir.
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YILMAZ KARAKOYUNLU.
Yahya Kemâl sarkilari.
Fine Fine Turkish Original bdg. Dust wrapper. 4to. (29 x 24 cm). In Turkish. 366 p., musical scores. Yahya Kemâl sarkilari. Signed and inscribed by Karakoyunlu to Tevfik Güngör Uras.
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YILMAZ ÇETINER.
Su bizim Rumeli.
Fine English Paperback. Roy. 8vo. (23 x 16 cm). In Turkish. 14, 410, [16] p., b/w ills. Su bizim Rumeli. BALKANS Rumelia Ottoman history Social history Ottoman history Turcology.
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YILMAZ ÖZCAN.
Türk kitap sanatinda semse motifi.
Fine English Paperback. Pbo. 4to. (28 x 20 cm). In Turkish. [4], 50 p., b/w ills. Mystical sun motif in the Turkish bookbinding art. Türk kitap sanatinda semse motifi. TURKISH & ISLAMIC ARTS Traditional bookbinding Ottoman culture Mystic sun.
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YILMAZ ÖZTUNA.
Abdülkaadir Meragi. (Türk büyükleri dizisi: 83).
Fine English Paperback. Pbo. Cr. 8vo. (20 x 14 cm). In Turkish. 91, [3] p. Abdülkaadir Meragi. (Türk büyükleri dizisi: 83). MUSIC Classical Turkish - Ottoman music Musiki Composer Biography History of art.
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YILMAZ ÖZTUNA.
Petite histoire de la Turquie.
Very Good English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In French. 78 p. A short history of Turkey. Petite histoire de la Turquie.
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YILMAZ ÖZTUNA.
Question d'Orient. Durant le dernier quart du XX. siecle.
Very Good English Paperback. Pbo. Cr. 8vo. (20 x 14 cm). In French. [viii], 70 p. Question d'Orient. Durant le dernier quart du XX. siecle.
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YILMAZ ÖZTUNA.
Sevki Bey.
Very Good English Paperback. Pbo. Cr. 8vo. (19 x 13 cm). In Turkish. 148 p. Biography of a musician and compositor Turkish Classical Music. Ex-library stamp. Sevki Bey.
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YIRMISEKIZ MEHMET CELEBI
Relation de l'ambassade de Mohammed Effendi (texte turk) à l'usage des élèves de l'Ecole royale et spéciale des langues orientales vivantes
Paris Typographie de Firmin Didot frères 1841 in-8 cartonnage Bradel de papier rose marbré, dos lisse, pièce de titre cerise en long, tête mouchetée [Rel. moderne]
書籍販売業者の参照番号
: 25139
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YIRMI SEKIZZÂDE MEHMED ÇELEBI, (1670-1732).
Paris sefaretnâmesi: Sultan Ahmed-i Sânî tarafindan 1132 senesinde Fransa krali onbesinci Lui nezdine gönderilen ricâl-i bâb-i âliyeden Yirmisekiz Mehmed efendinin takrîridir.
Very Good Turkish, Ottoman (1500-1928) Paperback. Pages are untrimmed and not opened. 12mo. (17 x 12 cm). In Ottoman script. 151 p. Hegira-Hijri: 1306 = Gregorian: 1889. Yirmisekiz Mehmed Çelebi Efendi (died 1732), also Mehmed Efendi (sometimes spelled Mehemet Effendi in France), was an Ottoman statesman who was delegated as ambassador by the Sultan Ahmed III to Louis XV's France in 1720. He is remembered for his account of his embassy mission (a sefâretnâme, 'book of embassy'). Yirmisekiz Mehmed Çelebi was born in Edirne to a family of Georgian descent. His date of birth is unknown. He is the son of an officer in the Janissary corps, Süleyman Aga, who died during a campaign to Pécs. Mehmed Çelebi himself was enrolled in the Janissary corps, and since he had served in the 28th battalion ("orta" in Janissary terminology) of the corps, he came to be known with the nickname Yirmisekiz ("twenty-eight" in Turkish) for his entire life. His descendants, including his son who became a grand vizier, also carried the name in the form of Yirmisekizzade ('son of twenty-eight'). He rose through the military hierarchy and then oriented his career to the service of the finances of the state, as superintendent for the Ottoman mint first, and as chief imperial accountant (defterdar) by the reign of Ahmed III. In 1720, while in that position, he was assigned as Ottoman ambassador to Louis XV's France and sent to Paris. His embassy of eleven months was notable for being the first ever foreign representation of a permanent nature for the Ottoman Empire. On his return to the Ottoman capital, Mehmed Çelebi presented his contacts, experiences and observations to the Sultan in the form of a book. His sefâretnâme is one of the most important examples of the homonymous genre, both for its literary merits and in terms of the insights it provides on his time and environment. He describes his journey to France, the 40-days quarantine in Toulon for fear of plague, his journey through Bordeaux towards Paris, his reception by Louis XV, the ceremonies and the social events to which he participated, notably a night at the theatre, places of interest in Paris, the curiosity with which he examines the Western culture and the curiosity he aroused among his Western interlocutors, for instance his days of fasting in Ramadan becoming a reason for public gathering for curious Parisian women. Aside from setting the pace and nature of the long-term trend of Westernization in the Ottoman Empire, his embassy also had immediate repercussions in the Ottoman Empire, notably in the form of the first printing house managed by Ibrahim Müteferrika, a Hungarian convert, which published books in Turkish, having been opened in the same year of 1720 as a direct consequence of Mehmed Çelebi's mission in Paris, and under the personal protection and auspices of his son Yirmisekizzade Mehmed Said Pasha, later grand vizier. Constantinople's renowned Sadabad Gardens, one of the symbols of the Tulip Era were also largely inspired by the gardening techniques used in Tuileries Palace, described in length by the author/ambassador. His book was translated into French in 1757 and also into other Western languages afterwards. (Source: Wikipedia). Özege 17660. Koray 1870. Second Edition. Rare.
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YIRMIBESINCI FIRKA KUMANDANI SUKRU ALI ? OGEL Ottoman colonel and Turkish politician 1886 1973.
MANUSCRIPT ON THE TURKISH / OTTOMAN AVIATION Avci tayyare faaliyetlerinin es�s�ti . i.e. Activities of a fighter aircraft and others with chapograph print and separate notes.
Istanbul: Onbesinci Firka Erk�n-i Harbihye Kumandanligi = 25th Division of the Ottoman Army. AH: 1333. 1915. Soft cover. Very Good. 8vo - over 7� - 9�" tall. Paperback. Demy 8vo. 215 x 175 cm. Manuscript book and 2 pp. separate notes on 'Mintikalarin piyade tayyare hizmetlerini teftisi hakkindaki raporlara mutala�t' i.e. Regarding the reports on the inspection of the areas for infantry aircraft services sized 33x215 cm; and 1 chapograph print including a fighter aircraft details and illustration sized oblong: 18x23 cm All texts in Ottoman Turkish with some German titles. It seems that education was in German and Turkish languages. 7 2 1 p. A fine collection. Manuscript including the titles: Activities of a fighter aircraft.; "Emr-i ahz"s of fighter aircrafts.; The order of fighter aircrafts.; Fleet commander of fighter aircrafts and a scheme titled 'Bir ordunun vahim bir safha-yi harbde telefon tesisati sebekesidir' i.e. Telephone network of an army in a difficult war situation bilingual with a German title as well as 'Beispiel der Fernsprechverbindungen inner halb der Jagdstaffeln einer Armee an einer Haupstadtkampffent'. Other German titles in the text: Koft. Kommandeur der Flieger Gruft.Gruppenf�hrer.; Jagdstaffel.; Der Einsatz des Jagdgeschfaders.; F�r den Einsatz seiner Staffeln.; Leftherschaft.; Abh�rdienst F.T.- Verkehr. S�kr� Ali �gel was born in 1886 and In 1909 he graduated from the Military Academy as a lieutenant. He was commandant of the 25th Division of the Ottoman Army in 1915. He served on the Western Front Staff Committee in the Turkish War of Independence. On December 25 1926 he was appointed as the National Police Service Director where he participated in the foundation studies. "The history of Turkish military aviation dates back to 1909 when French aviators were invited to Istanbul to perform demonstrations and the Ottoman High Command began with studies in this field. On December 2 the same year Turkish skies welcomed the first ever aircraft when upon the invitation of the Minister of War Mahmut Sevket Pasha a Belgian pilot named Baron de Catters came to Istanbul and performed an exhibition flight with his Voisin biplane. At the end of 1910 a decision was made by the Ottoman High Command to send officers to Europe to be trained as pilots; however due to the financial difficulties faced the Empire at that time this plan had to be postponed. Only a handful of Turkish students residing in Paris attended flight schools and obtained their certificates there. Mahmut Sevket Pasha could anticipate the importance of military aviation . When the Ottoman Empire entered the World War it had only seven planes and ten pilots available. As soon as the Empire found itself in war the Russians launched an offensive in the Caucasus front and the Third Army stationed there requested aircraft that would fly reconnaissance flights. Two Bleriot planes named Edremit and Tarik bin Ziyad to be flown by Fesa Bey and Salim Bey were loaded on a transport ship which was eventually sunk by Russians. The aircraft were lost and the pilots were taken prisoner ending up in prisoner camps in Siberia. Responding to a request from the Ottoman High Command a number of German pilots visited the Ottoman Air Force in 1915 and Turkish officers began to be sent to Germany for flight training. At the same time Cpt. Erich Serno from the German Air Force was given the task of reforming the Turkish military aviation. He came with 12 planes pilots technicians and he was appointed as the director of the Flight School. In those early years of the war there were serious problems with regard to the transportation of the planes from Germany to Turkey. Germany was in war with Serbia whereas Bulgaria and Romania remained neutral which meant that the land routes were blocked. For this reason aircraft were taken to Southern Hungary by train and then flown to Turkey. It was only after Serbia was defeated and Bulgaria entered the war on the side of the Central Powers that these logistics problems were solved. German contribution in terms of both aircraft and pilots pl <br/> <br/> Onbesinci Firka Erk�n-i Harbihye [Kumandanligi] [= 25th Division of the Ottoman Army]., [AH: 1333]. paperback
書籍販売業者の参照番号
: 052714
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YIRMIBESINCI FIRKA KUMANDANI SÜKRÜ ALI-?- [ÖGEL], (Ottoman colonel and Turkish politician), (1886-1973).
[MANUSCRIPT ON THE TURKISH / OTTOMAN AVIATION] Avci tayyare faaliyetlerinin esâsâti [.] [i.e. Activities of a fighter aircraft and other(s) with chapograph print and separate notes].
Very Good Turkish, Ottoman (1500-1928) Paperback. Demy 8vo. (21,5 x 17,5 cm). Manuscript book and 2 pp. separate notes on 'Mintikalarin piyade tayyare hizmetlerini teftisi hakkindaki raporlara mutalaât' [i.e. Regarding the reports on the inspection of the areas for infantry aircraft services] sized 33x21,5 cm; and 1 chapograph print including a fighter aircraft details and illustration (sized oblong: 18x23 cm) All texts in Ottoman Turkish with some German titles. It seems that education was in German and Turkish languages. [7], [2], [1] p. A fine collection. Manuscript including the titles: Activities of a fighter aircraft.; "Emr-i ahz"s of fighter aircrafts.; The order of fighter aircrafts.; Fleet commander of fighter aircrafts and a scheme titled 'Bir ordunun vahim bir safha-yi harbde telefon tesisati sebekesidir' [i.e. Telephone network of an army in a difficult war situation] bilingual with a German title as well as 'Beispiel der Fernsprechverbindungen inner halb der Jagdstaffeln einer Armee an einer Haupstadtkampffent'. Other German titles in the text: Koft. Kommandeur der Flieger, Gruft.Gruppenführer.; Jagdstaffel.; Der Einsatz des Jagdgeschfaders.; Für den Einsatz seiner Staffeln.; Leftherschaft.; Abhördienst F.T.- Verkehr. Sükrü Ali Ögel was born in 1886 and In 1909, he graduated from the Military Academy as a lieutenant. He was commandant of the 25th Division of the Ottoman Army in 1915. He served on the Western Front Staff Committee in the Turkish War of Independence. On December 25, 1926, he was appointed as the National Police Service Director, where he participated in the foundation studies. "The history of Turkish military aviation dates back to 1909 when French aviators were invited to Istanbul to perform demonstrations and the Ottoman High Command began with studies in this field. On December 2 the same year, Turkish skies welcomed the first ever aircraft, when, upon the invitation of the Minister of War, Mahmut Sevket Pasha, a Belgian pilot named Baron de Catters came to Istanbul and performed an exhibition flight with his Voisin biplane. At the end of 1910, a decision was made by the Ottoman High Command to send officers to Europe to be trained as pilots; however due to the financial difficulties faced the Empire at that time, this plan had to be postponed. Only a handful of Turkish students residing in Paris attended flight schools and obtained their certificates there. Mahmut Sevket Pasha could anticipate the importance of military aviation [.] When the Ottoman Empire entered the World War, it had only seven planes and ten pilots available. As soon as the Empire found itself in war, the Russians launched an offensive in the Caucasus front and the Third Army stationed there requested aircraft that would fly reconnaissance flights. Two Bleriot planes named Edremit and Tarik bin Ziyad to be flown by Fesa Bey and Salim Bey were loaded on a transport ship, which was eventually sunk by Russians. The aircraft were lost and the pilots were taken prisoner, ending up in prisoner camps in Siberia. Responding to a request from the Ottoman High Command, a number of German pilots visited the Ottoman Air Force in 1915 and Turkish officers began to be sent to Germany for flight training. At the same time, Cpt. Erich Serno from the German Air Force was given the task of reforming the Turkish military aviation. He came with 12 planes, pilots, technicians, and he was appointed as the director of the Flight School. In those early years of the war, there were serious problems with regard to the transportation of the planes from Germany to Turkey. Germany was in war with Serbia, whereas Bulgaria and Romania remained neutral, which meant that the land routes were blocked. For this reason, aircraft were taken to Southern Hungary by train and then flown to Turkey. It was only after Serbia was defeated and Bulgaria entered the war on the side of the Central Powers that these logistics problems were solved. German contribution in terms of both aircraft and pilots pl
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YIRMISEKIZ MEHMET ÇELEBI.
Yirmisekiz Mehmet Çelebi'nin Fransa seyahatnamesi (Sefaretnamei Mehmet Çelebi). Translator: Sevket Rado.
Very Good English Original bdg. Hardcover. Small 4to. 79 p. B/w ills. Yirmisekiz Mehmet Çelebi'nin Fransa seyahatnamesi (Sefaretnamei Mehmet Çelebi). Translator: Sevket Rado
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YKY.
Yapi Kredi Resim Koleksiyonu'ndan Türk bestekâr portreleri. 10 Eylül - 2 Ekim 1990. Yapi Kredi Kâzim Taskent Sanat Galerisi [Exhibition catalogue]
Fine English Paperback. Pbo. [28] p. Fully color ills. 2000 copies were printed. Yapi Kredi Resim Koleksiyonu'ndan Türk bestekâr portreleri. 10 Eylül - 2 Ekim 1990. Yapi Kredi Kâzim Taskent Sanat Galerisi [Exhibition catalogue]
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YONCA KÖKSAL, MEHMET POLATEL.
Avrupa arsivlerinde Osmanli Imparatorlugu.
New English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish. 183 p. Avrupa arsivlerinde Osmanli Imparatorlugu. Selected papers submitted to a conference in 2010 on the European (English, German, French, Spanish, Dutch, Hungarian, Romanian, Bulgarian, Polish, Macedonian, Albanian and Bosnian) archives where documents concerning Ottoman Empire exist.
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YOSEF EFTEKHARI, MANI ZIARI.
Zand kings: Numismatics.= Sikkah'shinasi-i shahan-i Zand.
New Persian Original bdg. HC. Roy. 8vo. (24 x 17 cm). Text in Persian; with bilingual title on cover in English and Persian. 106 P., color ills. Zand kings: Numismatics.= Sikkah'shinasi-i shahan-i Zand.
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YOSEF EFTEKHARI.
Achaemenid kings: Numismatics.= Sikkah'shinasi-i shahan-i Hakhamanishiyan.
New Persian Original bdg. HC. Roy. 8vo. (24 x 17 cm). Text in Persian; with bilingual title on cover in English and Persian. 71 p., color plates. Achaemenid kings: Numismatics.= Sikkah'shinasi-i shahan-i Hakhamanishiyan.
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YOSEF EFTEKHARI.
Baktrian coins of Eastern Iran.= Sikkah'ha-yi Bakhtar: Sikkah'ha-yi Sharq-i Irân'zamin-i Balkh (Padishahi-i Bakhtar).
New Persian Original bdg. HC. Roy. 8vo. (24 x 17 cm). Text in Persian; with bilingual title on cover in English and Persian. 100 p., color plates. Baktrian coins of Eastern Iran.= Sikkah'ha-yi Bakhtar: Sikkah'ha-yi Sharq-i Irân'zamin-i Balkh (Padishahi-i Bakhtar). This is a collection of Greco-Persian coins.
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YOSEF EFTEKHARI.
Charecene kings. Numismatics.= Sikka'shinasi shahan-i Kharasen.
New Persian Original bdg. HC. Roy. 8vo. (24 x 17 cm). Text in Persian; with bilingual title on cover in English and Persian. 118, [3] p., color plates. Charecene kings. Numismatics.= Sikka'shinasi shahan-i Kharasen. "Parthian kings used to give some of their royal privileges to local groups that had deep roots in that area. This was due to control of important areas and to ensure that production activities in the areas were carried out...".
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YOSEF EFTEKHARI.
Charecene kings. Numismatics.= Sikka'shinasi shahan-i Kharasen.
New Persian Original bdg. HC. Roy. 8vo. (24 x 17 cm). Text in Persian; with bilingual title on cover in English and Persian. 118, [3] p., color plates. Charecene kings. Numismatics.= Sikka'shinasi shahan-i Kharasen. "Parthian kings used to give some of their royal privileges to local groups that had deep roots in that area. This was due to control of important areas and to ensure that production activities in the areas were carried out...".
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YOSEF EFTEKHARI.
Sikkah'shinasa-i shahan-i Afshar.= Afshar kings: Numismatics.
New Persian Original bdg. HC. Roy. 8vo. (24 x 17 cm). In Persian; bilingual title on cover in English and Persian. 122 p., color plates. Sikkah'shinasa-i shahan-i Afshar.= Afshar kings: Numismatics.
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YOUNG Georges
CONSTANTINOPLE depuis les origines jusqu'à nos jours.L'empire romain - l'empire byzantin - l'empire osmanli - l'empire ottoman - la nation turque.
Broché - 14x22.5 - 391 pp - 1934 - éditions PAYOT, Paris. avec un plan de CONSTANTINOPLE.Traduit de l'anglais par M. DARD et M. TENINE.collection " bibliothèque historique".
書籍販売業者の参照番号
: 4104
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young ( georges )
constantinople des origines à nos jours l empire romain l empire byzantin l empire osmanli l empire ottoman
payot 1948 in 8 broché 323 pages 1 plan
書籍販売業者の参照番号
: 2406
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Youg Arthur
Constantinople, des origines à nos jours, l'empire romain-l'empire byzantin-l'empire osmanli-l'empire ottoman
Payot Bibliothèque Historique Broché 1948 In-8 broché, couverture illustrée, 323 pp., en partie non coupé, un plan, première édition française ; une trace de scotch en couverture, bon état. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.
書籍販売業者の参照番号
: gl129
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Young George
Constantinople
first edition. original red cloth.paper w. label on spine.thick 8vo. Illustrations and folding map.310 pages.very good copy.Scarce item.
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YOUSUF SHAWKI EFENDI [YUSUF SEVKI EFENDI], (1840-1903).
[BULAQ PRINTING] Hadiyyat al-zâqirîn wa hujjet al-saliqîn.
Very Good Turkish, Ottoman (1500-1928) In contemporary quarter cloth bdg. Cr. 8vo. (19 x 13,5 cm). In Arabic. 60 p. Yusuf Sevki Efendi is the caliph of Ahmed Ziyaeddin Gümüshanevi (d.1311 / 1893) from the Naqshibandiyya al-Khalidiyya sect. The only known work of Yusuf Sevki Efendi is "Hediyyetü'l Zakirin and huccetü's-salikin", which was printed in Egypt. The author states that at the end of the treatise, he finished the writing of the work on 12 Zilkade 1301/3 September 1884. Since it is known that he was sent to Egypt by Sultan Abdulhamid to suppress "Ramuzu'l-Ehadis, it is possible that he also published his own work in the same period (Bulaq, 1303/1885). It is a detailed book containing the provisions and manners related to the Naqshbandi order. Among the works benefited by the author who cites a wide range of sources, which are included "sahih" of Bukhari and Muslim, Tirmidhi, Abu Dawud, Ibn Majah and Nasai's "Sünen", "Kutub-i Tis'a", and Imam Maliq's "Muwatta". In addition, Suyuti's "Camiu's-sagir", Tabari's "Mucemü'l-evsat", Münavî's "Feyzü 'l-kadir", and Beyhaki's "Shuabü'l-iman" are among his hadith sources. Not in OCLC.
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YRD. DOÇ. DR. A. CIHAT KÜRKÇÜOGLU.
Sanliurfa ili camileri.
New English Original bdg. HC. In Turkish. 231 p. Many b/w and color photos and ills. The most comprehensive study on Sanliurfa mosques. Sanliurfa ili camileri. TURKISH AND ISLAMIC ARTS Architecture Ottoman - Seljuks Mosque Urfa - Edessa.
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YUNUS BAKI KOÇAK.
Bolu'da basin ve yayin hayati.
New English Paperback. Pbo. ROy. 8vo. (24 x 17 cm). In Turkish. [x], 212 p., color ills. Bolu'da basin ve yayin hayati.
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YUNUS BAKI KOÇAK.
Bolu'da basin ve yayin hayati.
New Turkish Paperback. Roy. 8vo. (24 x 17 cm). In Turkish. [x], 212 p., color and b/w ills. Bolu'da basin ve yayin hayati.
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YUNUS BERKLERI.
Türk sanatinda Avrasya üslubunun evreleri (Avrupa ve Islam sanatina etkileri).
New Turkish Paperback. Roy. 8vo. (24 x 17 cm). In Turkish. 197 p., ills. Türk sanatinda Avrasya üslubunun evreleri (Avrupa ve Islam sanatina etkileri). Binlerce yil önce temelleri Orta Asya'da atilmis Türk sanatinin, bölgesel bir sanat olmadigi, Orta Asya'dan Anadolu'ya ve Avrupa'ya; Çin'den Hindistan'a ve Islam dünyasina, bir bütün halinde ve her zaman milli kalarak varligini ortaya koydugu üslupla nasil devam ettirdigi, örnekleri ile ortaya konulmaya çalisilmistir. Effects of Eurasian style in the Turkish / Islamic art.
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YUNUS EMRE, (13th century).; ERZINCANÎ SEYH HAYYAT VEHBI (TERZI BABA), (1779-1848).
[DIWAN of YUNUS EMRE - RAIF YELKENCI EDITION] Isbu kitab-i mu?stetabin dirununda kutbu'l ârifîn mesayih-i azamdan Mevlana Âsik Yunus Emre hazretlerinin divân-i lâtiflerile halifesi Âsik Yunus hazretlerinin divân-i kemâllari ve kezalik mesayih-i azamdan Erzincanî Seyh-i Hayyat Vehbî hazretlerinin Kenzü'l-miftâh kitabi hâsiyede tâb ve temsîn kilinmisdir.
Very Good Turkish, Ottoman (1500-1928) Original cloth bdg. Demy 8vo. (22 x 14 cm). In Ottoman script. 188 p., ills. Lithograph. Divân-i Âsik Yunus Emre. [On 'derkenar'] Kenzü'l-miftah ve Serh-i Kaside-i Yunus Emre. Yunus Emre was a sufi poet in 13th century. The information on his life is fragmentary, based on what he writes in his Diwan and on stories told within the Bektashi tradition. He is the author of a Diwan. This Diwan contains 417 poems, all of which bar one are ghazals. He mostly used the Turkic system of versifying, based on the number of syllables and stress position rather than the elaborate rules of Arab-Persian prosody. He used the Old Anatolian Turkish language, which was understood by everyone in its period, with very few Arabic or Persian words, and he contributed greatly to the establishment of a Turkish mystical vocabulary based on classic Sufi terms. The most recurrent themes in Yunus Emre's Diwan are mystic love(âsk), the Friend (dost), and how to be a dervish. Yet he is no recluse and the conditions of everyday life are reflected in his poems. His easily understandable religious and moral advice is couched in a lyrical language that is heartfelt, sincere and often highly passionate. His poetry, set to music, was of central importance in the dissemination of Sufi teachings in Anatolia, and influenced the tekke poetry of the following centuries. The intense religious and humane feeling in his poetry has not lost its appeal today. (Source: A history of Seljuks, Ibrahim Kafesoglu). On derkenar text, there's 'Kenzü'l mifta hby Erzincanî Terzi Baba and annotation of 'qasidah' by Yunus Emre. Erzincanî's verse "Kenzil Fütuh" composed of his Sufi and mystic poems was compiled and transferred into verse by Haci Hafiz Mehmed Rüsdi Efendi and published as "Kenzü'l-miftah". It is very important poetry book on sufism and Islamic mysticism. This book is printed by Raif Yelkenci, (1894-1974) who was a Turkish early antiquarian bookseller and manuscript dealer in Antiquarian Bazaar, Beyazit. He was specialist on Yunus Emre and his poems. Özege 23525. OCLC: 1030936501. TBTK 5023.
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YUNUS EMRE, (13th century).; ERZINCANÎ SEYH HAYYAT VEHBI (TERZI BABA), (1779-1848).
[DIWAN of YUNUS EMRE] Isbu kitab-i mu?stetabin dirununda kutbu'l ârifîn mesayih-i azamdan Mevlana Âsik Yunus Emre hazretlerinin divân-i lâtiflerile halifesi Âsik Yunus hazretlerinin divân-i kemâllari ve kezalik mesayih-i azamdan Erzincanî Seyh-i Hayyat Vehbî hazretlerinin Kenzü'l-miftâh kitabi hâsiyede tâb ve temsîn kilinmisdir.
Very Good Turkish, Ottoman (1500-1928) Modern cloth bdg. Demy 8vo. (22 x 14 cm). In Ottoman script. 188 p., ills. Lithograph. Divân-i Âsik Yunus Emre. [On 'derkenar'] Kenzü'l-miftah ve Serh-i Kaside-i Yunus Emre. Yunus Emre was a sufi poet in 13th century. The information on his life is fragmentary, based on what he writes in his Diwan and on stories told within the Bektashi tradition. He is the author of a Diwan. This Diwan contains 417 poems, all of which bar one are ghazals. He mostly used the Turkic system of versifying, based on the number of syllables and stress position rather than the elaborate rules of Arab-Persian prosody. He used the Old Anatolian Turkish language, which was understood by everyone in its period, with very few Arabic or Persian words, and he contributed greatly to the establishment of a Turkish mystical vocabulary based on classic Sufi terms. The most recurrent themes in Yunus Emre's Diwan are mystic love(âsk), the Friend (dost), and how to be a dervish. Yet he is no recluse and the conditions of everyday life are reflected in his poems. His easily understandable religious and moral advice is couched in a lyrical language that is heartfelt, sincere and often highly passionate. His poetry, set to music, was of central importance in the dissemination of Sufi teachings in Anatolia, and influenced the tekke poetry of the following centuries. The intense religious and humane feeling in his poetry has not lost its appeal today. (Source: A history of Seljuks, Ibrahim Kafesoglu). On derkenar text, there's 'Kenzü'l mifta hby Erzincanî Terzi Baba and annotation of 'qasidah' by Yunus Emre. Erzincanî's verse "Kenzil Fütuh" composed of his Sufi and mystic poems was compiled and transferred into verse by Haci Hafiz Mehmed Rüsdi Efendi and published as "Kenzü'l-miftah". It is very important poetry book on sufism and Islamic mysticism. Rare. Two undated copies in Özege pre-1885 edition. Özege 23525. OCLC: 1030936501.
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YUNUS EMRE.
Güldeste. Prep. by Sevgi Gökdemir, Ayvaz Gökdemir.
Fine English Original imitation full leather bound. Cr. 8vo. (19 x 13 cm). In Turkish. 217, [21] p., gloss., modern illuminated page ends. Güldeste. Prep. by Sevgi Gökdemir, Ayvaz Gökdemir.
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YUNUS EMRE.
Poemes. Traduits par Tahsin Saraç. Choisis par Abdülbaki Gölpinarli.
Very Good English Paperback. Pbo. Oblong demy 8vo. (14 x 22 cm). In French. 68 p. Poemes. Traduits par Tahsin Saraç. Choisis par Abdülbaki Gölpinarli.
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YUNUS EMRE.
Risâletü'n nushiyye ve divân-i Yûnus Emre. Karaman nüshasi. Prep. by Yusuf Yildirim.
New New Turkish Original bdg. Dust wrapper. 4to. (24 x 17 cm). In Turkish and facsimile in Ottoman manuscript. 687, [1] p., 1-260 p. transcription in Turkish; 261-687 facsimile of manuscript of Karaman copy. A very heavy volume. 1000 copies were printed. Risâletü'n nushiyye ve divân-i Yûnus Emre. Karaman nüshasi. Prep. by Yusuf Yildirim.
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YUNUS KAPLAN.
Klasik Türk edebiyatinda hammâmiyyeler.
New English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish. 366 p. Klasik Türk edebiyatinda hammâmiyyeler.
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YURIY KULCHIK, ANDREY FADIN, VICTOR SERGEEV.
Central Asia after the Empire. Foreword by Fred Halliday.
Fine English Paperback. Pbo. Demy 8vo. (21 x 14 cm). In English. [ix], [6], 103 p., 6 maps. Central Asia after the Empire. Foreword by Fred Halliday.
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YUSUF [SITKI] MARDIN, (Turkish author, poet, politician), (1916-1995).
Typescript letter signed 'Yusuf Mardin'.
Very Good Turkish Original typed letter (TLS) with autograph signature by Yusuf Mardin. 13x21,5 cm. In Turkish. 1 p. Two puncher holes. He had written that politic condition and chaos of the youth and country in the late 70s, he prepared an article on Namik Kemal, and he requested to publish this in famous 'Hisar' (Turkish literary periodical) magazine, to an unnamed recipient. Yusuf Mardin was a graduate of Istanbul University Faculty of Law. In addition he was Istanbul Robert College Teacher, General Secretariat and Legal Advisor, Founding and Writing Yücel Magazine, Bogaziçi Magazine Editorial Directorate, Author, the Deputy of Mardin for the period of the TBMM VIII.
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YUSUF AKÇURA.
Piri Reis haritasi.= La carta marina di Piri Reis.= Die karte des Piri Reis.= Carte de Piri Reis.= Piri Reis map.
Fine English Paperback. Pbo. Very good. Cr. 8vo. (20 x 14 cm). In Turkish, Italian, German, French and English. 44 p. Piri Reis haritasi.= La carta marina di Piri Reis.= Die karte des Piri Reis.= Carte de Piri Reis.= Piri Reis map.
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YUSUF AKÇURA.
Üç tarz-i siyaset.
Very Good English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish. 1 b/w portrait, 55 p. Üç tarz-i siyaset. Second Edition.
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YUSUF ALBAYRAK.
Göbekli Tepe'den Edessa'ya Sanliurfa.
New Turkish Paperback. Roy. 8vo. (24 x 16 cm). In Turkish. 435 p., 4 color plates, b/w ills. Göbekli Tepe'den Edessa'ya Sanliurfa. Firat ve Dicle nehirlerinin hayat verdigi cografya olan Mezopotamya?da bulunan Urfa, Yontmatas devrinden gunumuze degin dikkat ceken bir merkez olmustur. Cografi konum olarak onemli askeri/ticari yollar uzerinde kurulmasi, su kaynaklarina ve verimli topraklara sahip olmasi nedeniyle kesintisiz yerlesime ugramistir. Stratejik konumu nedeniyle pek cok istilaya ve savasa maruz kalmistir, ancak ozel konumunun getirmis oldugu bu olumsuz duruma ragmen sit ve konumsal ozellikleri sayesinde gunumuze kadar ayakta kalabilmistir. Tarih boyunca yasanilan doneme damga vurmus caginin en ileri sanatsal ve dinsel calismalarin yasandigi yer olmustur. Urfa ve yakin cevresinde ele gecen gerek arkeolojik buluntular gerek heykeltiraslik eserleri, gerek mimari yapilar gerekse mozaikler cok guzel bir isciligin eseridir. Cografi konumunun yani sira dini anlamda da onemli bir yere sahip olan Urfa kenti, bugun UNESCO Dunya Mirasi listesine alinan dunyanin en eski tapinagi olan Gobekli Tepe?ye sahip olmasiyla on plana cikmistir. Urfa, uc buyuk dinin mensuplarinin gerek farkli zamanlarda gerekse beraber yasadigi ve bu dinlerin ogretileri geregince kutsal sayilan bir sehirdir. Urfa'da bulunan su kaynaklari bereket ve kutsallik sembolu gorulmustur. Urfa'da pek cok kultur, pek cok inanc gelip gectigi halde su kaynaklarinin ve Urfa'nin sembolu olan baliklarin yeri ve nesli hic degismemistir. Bugun su kaynaklarina ve baliklara gosterilen saygi insanlik tarihinde buyuk yeri olan Urfa?nin tarihine gosterilen sayginin bir sembolu olarak kabul edilmelidir.
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YUSUF ALPEREN AYDIN.
Sultanin kalyonlari: Osmanli donanmasinin yelkenli savas gemileri, 1701-1770.
New English Paperback. Roy. 8vo. (24 x 17 cm). In Turkish. 430 p. Galleons of Sultan. A study on Ottoman sailer warships. Sultanin kalyonlari: Osmanli donanmasinin yelkenli savas gemileri, 1701-1770.
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YUSUF AVCI.
Fitrat ve eserleri.
Fine English Paperback, Pbo. Cr. 8vo. (20 x 14 cm). 207 p. Abdulrauf Fitrat, (1886-1938) was a prominent modernist figure in Russian Central Asia. He was a jadid reformer and made major contributions to modern Uzbek literature. He wrote both in Persian and late Chagatay. Fitrat was born in Bukhara. In 1909, he went to Istanbul to study literature and history. He returned in 1914, and became involved in cultural activities. Fitrat was involved with the Yeni Bukharlylar or Young Bukharians, a revolutionary group modeled on the Young Turks movement which was active with the Bolsheviks during the Russian Revolution. In 1920, he became chief minister of economics and minister of education in the Bukharan People's Soviet Republic, but was ousted in 1923. He then worked as a scholar of Central Asian Turkic culture (a practice considered criminal in the Soviet Union), before being arrested in 1937 as part of the Great Purge. He was executed in 1938.
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