‎Make-up‎

‎JALE ÇELIK.‎

‎Dynamics of canvas and Jale Çelik. Text by Hasan Bülent Kahraman. [Artist catalogue].‎

‎New English Original bdg. HC. 4to. (27 x 24 cm). In English. 171 p., fully color ills. Dynamics of canvas and Jale Çelik. Text by Hasan Bülent Kahraman. [Artist catalogue].‎

‎ALFRED HRDLICKA.‎

‎Alfred Hrdlicka. Texts by Klaus Klemp. Edited by Dogan Paksoy. [Artist catalogue].‎

‎New German Paperback. Pbo. 4to. (29 x 24,5 cm). In German and Turkish. 48 p., color and b/w ills. Alfred Hrdlicka. Texts by Klaus Klemp. Edited by Dogan Paksoy. [Artist catalogue]. 1000 copies were printed.‎

‎MUZAFFER AKYOL.‎

‎Muzaffer Akyol. [Artist catalogue]. Texts by Türkkaya Ataöv, Arslan Mengüç, Aykut Kazancigil, Talat Sait Halman, Ismail Tunali.‎

‎Fine Fine English Original bdg. Dust wrapper. 4to. (30 x 23 cm). In English and Turkish. 431 p., color and b/w ills. Signed and inscribed by Akyol to Turkish artist Güzhan Müstecaplioglu. 2000 copies were printed.‎

‎Edited by TAYFUN BILGIN.‎

‎The Huma Kabakci Turkish Art Collection, 1950-2008.= Huma Kabakci Türk Sanati Koleksiyonu.‎

‎New New English Original bdg. Dust wrapper. 4to. (29 x 24 cm). In English and Turkish. 201 p., color ills., folding plt. The Huma Kabakci Turkish Art Collection, 1950-2008.= Huma Kabakci Türk Sanati Koleksiyonu.‎

‎KÂINAT BARKAN P.‎

‎Kâinat'in gözleri. Bir resim sairi. Reporter: Servet Somuncuoglu.‎

‎Fine Turkish Original bdg. HC. 4to. (27 x 21 cm). In Turkish. 326, [1] p., color and b/w ills. Kâinat'in gözleri. Reporter: Servet Somuncuoglu.‎

‎BURHAN DOGANÇAY, (1929-2013).‎

‎Burhan Dogançay. A retrospektif. Texts by Emel Budak, Eleanor Flomenhaft, Phillip Lopate, Thomas M. Messer, Jean-Francois Picaud, Jacques Rigaud, Zeynep Rona, Necmi Sönmez.‎

‎New New English Original bdg. Dust wrapper. 4to. (29 x 25 cm). In Turkish. 390 p., color ills. Burhan Dogançay. Retrospektif. Texts by Emel Budak, Eleanor Flomenhaft, Phillip Lopate, Thomas M. Messer, Jean-Francois Picaud, Jacques Rigaud, Zeynep Rona, Necmi Sönmez. "Burhan Dogancay: A Retrospective" is the most comprehensive book to date about Turkey's leading contemporary artist. Consisting of 392 pages and over 200 full color illustrations, this retrospective catalog contains articles by noted art authorites as Thomas M. Messer, former director of the Guggenheim Museum, New York, and Jacques Rigaud, former president of the Musee d'Orsay, Paris, amongst others.‎

‎Edited by M. APLETINE.‎

‎Les arts plastiques en URSS. Edition de la Societe des Relations Culturelles avec l'Etranger (Voks). Recueil 9-10 Fevrier 1935.‎

‎Very Good French Paperback. Roy. 8vo. (24 x 17 cm). In French. 162, [4] p., many b/w plates and color planches. Les arts plastiques en URSS. Edition de la Societe des Relations Culturelles avec l'Etranger (Voks). Recueil 9-10 Fevrier 1935. First and Only Edition. Rare. Sommaire: Preface, L'art et l'edification socialiste. M. Bouch, A. Zamochkine: L'art pictural sovietique.; N. Chtchekotov: Les jeunes artistes debutants.; A. Bakouchinski: La sculpture en URSS.; K. Tikhonova: La gravure et le dessin sovietiques.; R. Kaufman: L'affiche et la caricature.; Aç Sidorov: La presentation artistique du livre sovietique.; A. Bakouchinski: Les laques d'art en URSS.; E. Jouravliova: Les arts en Turkmenie.; K. Javarichvili: Les arts plastiques en Georgie.; S. Barseguian: Les arts en Armenie Sovietique.; K. Kravtchenko: Le travail et la vie des artistes en URSS.; Quelques portraits: K. Tkhonova: Pierre Kontchalovski. - A. Galouchkina: K. Petrov-Vodkine. - E. Jouravliova et V. Tchepeliev: Martiros Sarian...‎

‎Edited by HUGHETTE EYUBOGLU - RÛKEN KIZILER.‎

‎Biz mektup yazardik! Bedri Rahmi Eyuboglu ve çagdaslarindan mektuplar.‎

‎New New English Original bdg. Dust wrapper. 4to. (31 x 24 cm). In Turkish. 488 p., color ills. Biz mektup yazardik! Bedri Rahmi Eyuboglu ve çagdaslarindan mektuplar. Correspondence of Turkish artist and poet Bedri Rahmi Eyüboglu (1911-1973) with the important figures of art, literature, politics and business. These letters shed light to the period he lived in. The letters mirror many sections of his life including his education that began at the Istanbul Academy of Fine Arts and continued to Paris as well as his travels throughout Anatolia and his passion for painting.‎

‎UGURCAN ATAOGLU.‎

‎Dedem Mehmet Rifat. [With 1 CD].‎

‎New Turkish Paperback. Roy. 8vo. (24 x 17 cm). In Turkish. 200 p., color and b/w ills., and 1 Erkan Ogur's 'Nefes' CD. 2233 copies were printed. All edges gilt. A biography of a Turkish painter and poet, Mehmet Rifatoglu, (1885-1937). Dedem Mehmet Rifat. [With 1 CD].‎

‎Edited by ÖMER ALBAYRAK, ANITA IANNACHIONE, SOFIE KROGH KRISTENSEN.‎

‎15th Istanbul Biennial: A good neighbour. Exhibition book.= 15. Istanbul Bienali: Iyi bir komsu. Sergi kitabi.‎

‎New English Original bdg. HC. Demy 8vo. (21 x 14 cm). In English and Turkish. 499 p., color and b/w ills. 15th Istanbul Biennial: A good neighbour. Exhibition book.= 15. Istanbul Bienali: Iyi bir komsu. Sergi kitabi. The 15th Istanbul Biennial, entitleda good neighbourand curated by artist duo Elmgreen & Dragset, opens to the public onSeptember 16, 2017. Organised by theIstanbul Foundation for Culture and Arts (IKSV) since 1987, the 15th Istanbul Biennial brings togethermore than 150artworks by 56 artists from 32 countries, all addressing different notions of home, belonging and neighbourhood. Two publications accompany a good neighbour. A book titled a good neighbour - Exhibition about the exhibition with a foreword by the Istanbul Biennial Director Bige Örer, an introduction by curators Elmgreen & Dragset, an essay by Kaelen Wilson-Goldie and descriptions of every artist's work by Pablo Larios is supplemented by a story book titled a good neighbour - Stories gathering together a wide variety of personal stories and memories about homes, neighbours and neighbourhoods. Contributors include artists, writers, academics and many others. Their accounts take on a myriad of forms, including short stories, confessional texts, creative essays, letters, dialogues and poems.‎

‎DEVRIM ERBIL.‎

‎Istanbul: Siirsel bir yorum. [Exhibition catalogue]. Text by Abdülkadir Günyaz.‎

‎New Turkish Original bdg. HC. 4to. (30 x 25 cm). In Turkish. 24 p., color ills. Istanbul: Siirsel bir yorum. Text by Abdülkadir Günyaz.‎

‎CHRISTIE'S.‎

‎Christie's. Islamic art and manuscripts Tuesday, 11 October 2005. [Auction catalogue].‎

‎New English Paperback. 4to. (27 x 21 cm). In English. 117, [3] p., color ills. Christie's. Islamic art and manuscripts Tuesday, 11 October 2005. [Auction catalogue].‎

‎ÖYKÜ ERAS.‎

‎Bedri Baykam as seen by the critics.‎

‎New English Paperback. Roy. 8vo. (24 x 17 cm). In English. 556 p., color ills. Bedri Baykam as seen by the critics.‎

‎Edited by ÖMER ALBAYRAK, ANITA IANNACHIONE, SOFIE KROGH KRISTENSEN.‎

‎15th Istanbul Biennial: A good neighbour. Stories.= 15. Istanbul Bienali: Iyi bir komsu. Hikayeler.‎

‎New English Original bdg. HC. Demy 8vo. (21 x 14 cm). In English and Turkish. 572, [40] p., ills. 15th Istanbul Biennial: A good neighbour. Stories.= 15. Istanbul Bienali: Iyi bir komsu. Hikayeler.‎

‎SIMON HOUPT.‎

‎Kayip Eserler Müzesi: Sanat suçlarinin doruklari. [= Museum of the missing: The high stakes of art crimes]. Translated by Mine Haydaroglu. Preface by Julian Radcliffe.‎

‎Fine Turkish Original bdg. HC. 4to. (26 x 21 cm). Edition in Turkish. 192 p., color ills. Kayip Eserler Müzesi: Sanat suçlarinin doruklari. [= Museum of the missing: The high stakes of art crimes]. Translated by Mine Haydaroglu. Preface by Julian Radcliffe. The past few years have been tough on Edvard Munch. First the Norwegian Expressionist's iconic painting The Scream was stolen in 1994. Then it was recovered, and a different version was stolen in 2004. It seems that Munch is getting more than his fair share of attention from thieves, but he's not alone. These days, no artist?s work is safe. The international police agency, Interpol, currently lists as stolen more than twenty-five thousand works of art. This figure includes sculptures, furniture, clocks, and antiquities, as well as paintings. The number of paintings alone is staggering. Rembrandts, Renoirs, Van Goghs, Picassos. You could fill a museum. In Museum of the Missing, journalist Simon Houpt investigates the fascinating story of modern art theft. What started as looting of art treasures by invading armies, including the Nazis during World War II, has exploded into a sophisticated international operation. But grand art thefts are only part of this fascinating story. Houpt takes the reader into the backrooms of Scotland Yard, the FBI, and Interpol as crack art-recovery squads mount surveillance operations and elaborate stings. He also leads readers into a tangled underworld of money laundering, drugs, illegal arms trading, and terrorism?where the stakes for both sides are very high. The stakes for lovers of art are just as high. Many of the world's stolen masterpieces will probably not be recovered in the foreseeable future. Some may never be seen by the public again. Museum of the Missing offers an extraordinary glimpse of these lost treasures.‎

‎DAVID HOCKNEY, MARTIN GAYFORD.‎

‎Magaradan bilgisayar ekranina resmin tarihi. [= A history of pictures. From the cave to the computer screen]. Translated by Mine Haydaroglu.‎

‎New New Turkish Original bdg. Dust wrapper. 4to. (28 x 24 cm). Edition in Turkish. 360 p., color and b/w ills. Magaradan bilgisayar ekranina resmin tarihi. [= A history of pictures. From the cave to the computer screen]. Translated by Mine Haydaroglu.‎

‎4TH JAMEEL PRIZE.‎

‎Jameel Prize 4.= 4. Jameel Ödülü. [Exhibition catalogue]. Edited by Begüm Akkoyunlu Ersöz, Salma Tuqan, Tania Bahar, Tim Stanley.‎

‎New English Original bdg. 4to. (28 x 24 cm). In English and Turkish. 151 p., ills. Jameel Prize 4.= 4. Jameel Ödülü. [Exhibition catalogue]. Edited by Begüm Akkoyunlu Ersöz, Salma Tuqan, Tania Bahar, Tim Stanley. Jameel Prize 4 exhibition in Istanbul organised by the Victoria and Albert Museum, London in partnership with Art Jameel, and in collaboration with the Pera Museum is between 8 June 2016 and 14 August 2016. Over 280 nominations for the Jameel Prize 4 were received from countries as far ranging as Afghanistan, Mali, Puerto Rico and Thailand. A panel of judges, chaired by V&A Director, Martin Roth, selected the shortlist. Works on show will range from delicate paper collages to an animated video installation with marionettes and from ceramics, calligraphy and sculpture to artist's books. The winner will be announced in June. The eleven shortlisted artists and designers are David Chalmers Alesworth, Rasheed Araeen, Lara Assouad, CANAN, Cevdet Erek, Sahand Hesamiyan, Lucia Koch, Ghulam Mohammad, Shahpour Pouyan, Wael Shawky ve Bahia Shehab. The Jameel Prize 4 exhibition in Istanbul is organised by the Victoria and Albert Museum, London, in partnership with Art Jameel, and in collaboration with the Pera Museum.‎

‎Texts by SAMIH RIFAT.‎

‎The artist, the Sultan and his portrait: Mehmed the Conqueror according to Gentile Bellini.= Ressam, Sultan ve portresi: Gentile Bellini'ye göre Fatih Sultan Mehmet. [Exhition catalogue]. Edited by Münevver Eminoglu. Consultant: Günsel Renda.‎

‎New English Paperback. Pbo. 4to. (30 x 24 cm). In English and Turkish. 67, [2] p., color and b/w ills. The Artist, The Sultan and his portrait: Mehmed the Conqueror according to Gentile Bellini.= Ressam, Sultan ve portresi: Gentile Bellini'ye göre Fatih Sultan Mehmet. [Exhition catalogue]. Edited by Münevver Eminoglu. Consultant: Günsel Renda. This exhibition consists of a single painting: the famous portrait that the Ottoman Sultan Mehmed the Conqueror had painted by the Italian artist Gentile Bellini about five hundred years ago and is now in the collection of the National Gallery of London. The painting is a magnificent souvenir of a brief 'golden age' in a reminder that, as early as the Renaissance and under the leadership of a strong and foresighted ruler, Ottoman society, which always looked wetward, hd the chance to grasp universal civilization.‎

‎BRIONY LLEWELLYN, CHARLES NEWTON.‎

‎The people & places of Constantinople. Watercolours by Amadeo Count Preziosi, 1816-1882.‎

‎Fine English Paperback. Small 4to. (27 x 20 cm). In English. 54, [2] p., 53 numerous b/w plts., 46 numerous color plates. The people & places of Constantinople. Watercolours by Amadeo Count Preziosi, (1816-1882). It's prepared for the first exhibition on Count Amadeo Preziosi, (1816-1882) in Great Britain. "This is the first exhibition of the work of Amadeo Preziosi to be held in this ccountry. It does not cclaim to be definitive, but it centered on the Museum's substantial holdings and augmented by loans from collections in Great Britain. Preziosi's name is now little known except to specialists, but in the period 1840-70 he was by far the most reknowned artist in Constantinople. He was only retrieved from the critical neglect into which he had fallen in the 20th century by Rodney Searight who began to appreciate his importance while building up his unsurpassed collection of views of the Near and Middle East. Indeed, it is fitting that the exhibition honours not only Preziosi himself but also Rodney Searight, pioneer of the study of this field, whose collection the Museum is raising funds to acquire. It is hoped that the enthusiasm Preziosi's contemporaries felt foe his lively and colourful studies of a now vanished way of life will be appreciated by visitors to the exhibition". (From the Kaufmann's preface).‎

‎MÜMTAZ SAGLAM, HALIL AKDENIZ.‎

‎Art Collection of the Central Bank of the Republic of Turkey. Vol. 1: A collection of art works showing the development of Torkish painting in the Western sense. Vol. 2: A collection of art works exhibiting modern approaches in post-1950 Turkish art.= Türkiye Cumhuriyeti Merkez Bankasi Sanat Koleksiyonu. Cilt 1: Batili anlamda Türk resim sanatinin gelisme asamalari ve koleksiyondan örnekler. Cilt 2: Türk sanatinda 1950 sonrasi çagdas yaklasimlar ve koleksiyondan örnekler.‎

‎New New English Original bdg. Dust wrapper. In publisher's special box. 4to. (301 p.; 290 p.), color ills. Art Collection of the Central Bank of the Republic of Turkey. Vol. 1: A collection of art works showing the development of Torkish painting in the Western sense. Vol. 2: A collection of art works exhibiting modern approaches in post-1950 Turkish art.= Türkiye Cumhuriyeti Merkez Bankasi Sanat Koleksiyonu. Cilt 1: Batili anlamda Türk resim sanatinin gelisme asamalari ve koleksiyondan örnekler. Cilt 2: Türk sanatinda 1950 sonrasi çagdas yaklasimlar ve koleksiyondan örnekler.‎

‎Edited by DENIZ ERBAS.‎

‎Art creators / art educators. A selection over the educator artists who have taught artist generations in the higher education institutions of the Republic.= Sanat üretenler / sanat ögretenler. Cumhuriyet'in yüksekögretim kurumlarinda sanatçi kusaklari yetistiren egitimci sanatçilar üzerine bir seçki. Vol. 2. [Exhibition catalogue].‎

‎New English Paperback. 4to. (30 x 24 cm). In English and Turkish. 186, [2] p., color ills. Art cretaors / art educators. A selection over the educator artists who have taught artist generations in the higher education institutions of the Republic.= Sanat üretenler / sanat ögretenler. Cumhuriyet'in yüksekögretim kurumlarinda sanatçi kusaklari yetistiren egitimci sanatçilar üzerine bir seçki. [Exhibition catalogue]. Vol. 2.‎

‎FRANZ BABINGER, (1891-1967).‎

‎Ein Weiteres Sultansbild von Gentile Bellini aus russischem Besitz.‎

‎Very Good German Paperback. Roy. 8vo. (24 x 17 cm). In German. 20 p., iv numerous b/w plates (Tafeln). Ein Weiteres Sultansbild von Gentile Bellini aus russischem Besitz. A study on Gentile Bellini, (1430-1507), was an Italian painter of the school of Venice. He came from Venice's leading family of painters, and at least in the early part of his career was more highly regarded than his younger brother Giovanni Bellini, the reverse of the case today. From 1474 he was the official portrait artist for the Doges of Venice, and as well as his portraits he painted a number of very large subjects with multitudes of figures, especially for the Scuole Grandi of Venice, wealthy confraternities that were very important in Venetian patrician social life. In 1479 he was sent to Constantinople by the Venetian government when the Ottoman Sultan Mehmed II requested an artist; he returned the next year. Thereafter a number of his subjects were set in the East, and he is one of the founders of the Orientalist tradition in Western painting. His portrait of the Sultan was also copied in paintings and prints and became known all over Europe.‎

‎KOMET [COSKUN GÜRKAN].‎

‎Komet kitabi. Idi idim idik. Text by Hasan Bülent Kahraman, Ali Akay.‎

‎New English Paperback. 4to. (34 x 24 cm). In Turkish. 260 p., color ills. Komet kitabi. Idi idim idik. Text by Hasan Bülent Kahraman, Ali Akay. 2000 copies were printed. A very heavy volume.‎

‎Edited and curated by R. BARIS KIBRIS.‎

‎Intersecting worlds: Ambassadors and painters. Ambassadors portraits and art patronage of ambassadors from the 17th to the 19th century with works selected drom Suna and Inan Kiraç Foundation Collection. [Exhibition catalogue].‎

‎New English Paperback. Pbo. 4to. (28 x 24 cm). In English. 181 p., color and b/w ills. Since its earlier periods, The Ottoman Empire has established intense relations with European states. Urged by curiosity and a certain degree of fear at times, the West's efforts, on the other hand, to be acquainted with and understand this government of immense military power and source of political authority, emerged as a political exigency. Undoubtedly, the encounter of markedly different cultures bore the most enduring fruit within the realm of arts. Wars, the increase of trade as a means for mutual prosperity, and conflicts of status were the most significant factors behind the intense traffic of diplomacy. Sprawled across a vast geography, the Ottoman Empire welcomed more ambassadors than it sent to other countries, and particularly until the 19th century; these ambassadors were embraced, per Ottoman tradition. In turn, western ambassadors were prompted by the need to document the cities, particularly Istanbul, social structure, customs, administrative and military organization of the Ottoman Empire; apart from the reports they drafted upon their return, they also took advantage of the gifts and paintings they carried along. Often presumed to be true-to-life visual documents, such paintings thus became the most evident expressions of respectability and social status, and attained a special place and meaning, partly due to their potential to address the masses. The works that ambassadors commissioned to artists they added to their retinue en route to the East or to their local counterparts they encountered during service, evolved into books with engravings or collections decorating the walls of European chateaus, and served as source material for works by other artists, thus generating a large visual repertoire on the Ottoman world. Ottoman ambassadors sent to European countries were subjects of monumental portraits painted by leading European artists of the period, immortalizing these historic visits. This selection from the Suna and Inan Kiraç Foundation Orientalist Painting Collection, not only allows us to travel across the meandering paths of diplomatic history under the guidance of art, but it also introduces us to intriguing personalities. Ambassadors and painters continue to communicate with us through a silent yet equally rich and colourful language of expression, presented in their reports and letters, and share with us their respective periods, worldviews, travels and experiences, as well as the ceremonies they joined. Listening to their extraordinary tales, it is impossible not to be enraptured by the splendor and elegance of a lost age. Often used as one of the clearest indications of status and identity in western art since Antiquity, portraits also served a similar purpose for ambassadors. Furthermore, documenting the physiognomy of ambassadors through portraiture was also regarded as a precautionary measure against espionage. Portraits were painted of European ambassadors sent to the Ottoman Empire as high-level officials that have attained great respectability; artists to which these portraits were commissioned strived to reflect not only the physiognomy of the ambassadors, but the power and authority of the state and the ruler they represented. The Ottoman State's political, military, commercial, and cultural relations with European states gained momentum from the 18th century onwards. In turn, the visits Ottoman ambassadors paid to western countries accelerated the spread of the Turquerie fashion of the period. While portraits of Ottoman ambassadors painted by renowned artists of the countries to which they were assigned served to honor the Ottoman Sultan and his representative, they also nurtured the West's penchant for exoticism. There is no doubt that the ever-changing trends, fashions, as well as the purpose of diplomatic visits and political relations were reflected in the portraits. For example, while Kozbekçi M‎

‎YÜKSEL ARSLAN.‎

‎Arslan. Texts by Ferit Edgü.‎

‎Fine Turkish Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish. [80] p., 8 folding pages and many b/w ills. First and Only Edition. Critics of painting of Arslan by Edgü. Includes many Arslan's beatiful contemporary illustrations. Arslan. Texts by Ferit Edgü.‎