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Edited by OKTAY BELLI, FARUK KAYA, IBRAHIM ÖZGÜL, VEDAT EVREN BELLI, ABDULHALIK KARABULUT.
The Fifth International Symposium of Mount Ararat and Noah's Ark.= V. Uluslararasi Agri Dagi ve Nuh'un Gemisi Sempozyumu.
New New English Original bdg. Dust wrapper. Large roy. 8vo. (25 x 18 cm). Papers in English and Turkish. 560 p., color and b/w ills. The Fifth International Symposium of Mount Ararat and Noah's Ark.= V. Uluslararasi Agri Dagi ve Nuh'un Gemisi Sempozyumu.
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ANDRE GODARD, (Former Director-General of Antiquities of Iran).
The art of Iran. Translated from the French by Michael Heron. Edited by Michael Rogers.
New English Original bdg. HC. Roy. 8vo. (24 x 17 cm). Edition in English. 358, [2] p., ll., maps, plans, 6 col. plates. The art of Iran. Translated from the French by Michael Heron. Edited by Michael Rogers.
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Prep. by ENGIN AKYÜREK, KORAY DURAK.
Anatolia in the Byzantine Period = Bizans Dönemi'nde Anadolu. [HC EDITION]
New English Original bdg. HC. Folio. (34 x 24 cm). In English and Turkish. 496 p., color and b/w ills. After the death of Emperor Theodosius I in 395, the vast Roman lands stretching from the shores of the English Channel to the borders of Iran were divided into two realms, western and eastern. Although the western part of the empire faded away in the second half of the 5th century, the Roman Empire continued to exist in its eastern territories until 1453. The name "Byzantine" was used for the first time by the German humanist and philologist Hieronymus Wolf in the 16th century for this empire, whose capital was moved from Rome to the city of Byzantion (with its new name, Constantinople) and became Christian over time. This term became widespread in the 19th century and later. However, the people that this book is about have always called themselves "Roman" and their state the "Roman Empire", while their neighbors also knew them as "Romans". The Byzantine Empire that ruled for about 11 centuries is one of the states whose reign lasted the longest in Anatolia. Anatolia was the geographical, demographic, and economic cradle of this predominantly Greek-speaking Christian population and its culture. The loss of Anatolia as of the 14th century led to the end of the empire in a short time. The cry of Emperor Theodore II Laskaris - "Holy land, my mother, Anatolia!" - in one of his letters from the mid-13th century shows how vital these lands were for the empire. This book aims to present both Byzantine culture and, more specifically, Byzantine Anatolia, through 32 articles by Turkish and foreign Byzantologists, who are experts in their respective fields. While the articles on political, bureaucratic, military, economic and religious life focus on the state apparatus and social structure, articles on literature, health, art, and material culture remains provide valuable information about daily life. In the articles that constitute the last part of the book, the reader is invited to a historical journey through different geographical regions of Byzantine Anatolia.
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Prep. by ENGIN AKYÜREK, KORAY DURAK.
Anatolia in the Byzantine Period = Bizans Dönemi'nde Anadolu. [PB EDITION]
New English Paperback. Folio. (34 x 24 cm). In English and Turkish. 496 p., color and b/w ills. After the death of Emperor Theodosius I in 395, the vast Roman lands stretching from the shores of the English Channel to the borders of Iran were divided into two realms, western and eastern. Although the western part of the empire faded away in the second half of the 5th century, the Roman Empire continued to exist in its eastern territories until 1453. The name "Byzantine" was used for the first time by the German humanist and philologist Hieronymus Wolf in the 16th century for this empire, whose capital was moved from Rome to the city of Byzantion (with its new name, Constantinople) and became Christian over time. This term became widespread in the 19th century and later. However, the people that this book is about have always called themselves "Roman" and their state the "Roman Empire", while their neighbors also knew them as "Romans". The Byzantine Empire that ruled for about 11 centuries is one of the states whose reign lasted the longest in Anatolia. Anatolia was the geographical, demographic, and economic cradle of this predominantly Greek-speaking Christian population and its culture. The loss of Anatolia as of the 14th century led to the end of the empire in a short time. The cry of Emperor Theodore II Laskaris - "Holy land, my mother, Anatolia!" - in one of his letters from the mid-13th century shows how vital these lands were for the empire. This book aims to present both Byzantine culture and, more specifically, Byzantine Anatolia, through 32 articles by Turkish and foreign Byzantologists, who are experts in their respective fields. While the articles on political, bureaucratic, military, economic and religious life focus on the state apparatus and social structure, articles on literature, health, art, and material culture remains provide valuable information about daily life. In the articles that constitute the last part of the book, the reader is invited to a historical journey through different geographical regions of Byzantine Anatolia.
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HRANT PAPAZIAN.
Dicran Tchouhadjian. Vie et oeuvres. [i.e. Tigran Chukhajian: His life and works].
Very Good French Paperback. Cr. 8vo. (19 x 13 cm). In French. 27 p., fully visual material including musical scores, ills., posters, et alli. Dicran Tchouhadjian. Vie et oeuvres. Life and works of Tigran Gevorki Chukhajian (1837-1898). Chukhajian was an Ottoman Armenian composer and conductor, and the founder of the first opera institution in the Ottoman Empire. He is considered the first opera composer in Turkish history. He created the first Armenian opera, Arshak II (1868, partially staged in 1873), based on the historical figure King Arsaces II (Arshak II). The score was considered lost, but was discovered in 1942 and performed in 1945 in a revised version at the Armenian Opera Theater opera theater in Yerevan. Arshak II continued in the repertoire of the Yerevan Opera Theater. In 2001, it was staged at the San Francisco Opera. He is famous with his Leblebidji Hor-Hor Agha (1875).
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GUILLEMINOT (R. Guilleminot, Boespflug et Cie), (French photographic paper and plate manufacturer), (1858-1994).
[RARE PAMPHLET OF GUILLEMINOT PHOTOGRAPHIC EQUIPMENTS] Giyomino mamûlâti. [i.e. Products of Guilleminot].
Very Good Turkish, Ottoman (1500-1928) Original illustrated and decorative wrappers. Cr. 8vo. (20 x 14 cm). In Ottoman script (Old Turkish with Arabic letters). 14, [2] p., 9 unnumbered b/w ills. Early unusual and attractive pamphlet including French photographic papers and plates of famous French manufacturer Guilleminot's products printed for the Ottoman Empire, pre-Republic in 1923. Guilleminot (R. Guilleminot, Bospflug et Cie) based in Paris, France was a photographic paper, and plate manufacturer established by Gustave Guilleminot in 1858. The company closed in 1994, but employee Guy Gerard (a chemical engineer for 30 years) went on to start a new company, Bergger. The suburb of Chantilly in Paris was the headquarters for Guilleminot (also known as R. Guilleminot, Boespflug et Cie), which, founded in 1858, was one of the oldest photographic paper manufacturers in the world. Popular Guilleminot brands included Riviera, Étoile, and Dinox. This rare product brochure and advertisement pamphlet indicate that this photographer was very active in the Ottoman market. Not in Özege.; Not in OCLC. Extremely rare.
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THE LUMIERE BROTHERS, (Auguste Marie Louis Nicolas Lumiere & Louis Jean Lumiere), (1862-1954 / 1864-1948).
[ILLUSTRATED LUMIERE EQUIPMENTS AND GUIDE TO PHOTOGRAPHY IN TURKEY] Lümiyer fotograf rehberi. Translated by Süleyman Süreyya [Bükey], (1895-1974).
Very Good Turkish, Ottoman (1500-1928) Original pictorial wrappers. Cr. 8vo. (20 x 14 cm). In Ottoman script (Old Turkish with Arabic letters). 59 p., ills. First and only Ottoman edition of this richly illustrated and exceedingly rare pamphlet, translated and published by famous Turkish photographer Süleyman Sirri Bükey (1895-1974). Süleyman Süreyya [Bükey], (1895-1974), was an important person who opened a studio in the first years of Turkish Republic, signed beautiful portraits, and at the same time served photography for many years with magazines such as Foto, (1931-1934), Foto Magazin, (1938-1941), Halivud Dünyasi [i.e. Hollywood World], (1941-1946), Ufuk, (1943-1945) as well as the early guides and catalogs he published related cinema and photography. Bükey started photography as a commercial pursuit, first selling photographic material in Eminönü Flower Market in 1924. The catalog was printed depending on the agency of Gevart (Same year with Lumiere guide, in 1928 titled Gevart Fotograf Rehberi). In 1928, he founded Foto Süreyya in the Tünel district of Istanbul. He was the photographer of Mustafa Kemal Atatürk between 1936-1938. He received art medals and certificates in national and international exhibitions he participated in his photography life. The Lumière brothers were manufacturers of photography equipment, best known for their Cinématographe motion picture system and the short films they produced between 1895 and 1905. Their screening on 22 March 1895 for circa 200 members of the "Society for the Development of the National Industry" in Paris was probably the first presentation of films on a screen for a large audience. Their first commercial public screening on 28 December 1895 for circa 40 paying visitors and invited relations has traditionally been regarded as the birth of cinema. Either the techniques or the business models of earlier filmmakers proved to be less viable than the breakthrough presentations of the Lumières. Cameramen working for the Lumière Brothers, who had staged the world's first public screening of a moving picture at the Grand Café in Paris on December 28, 1895, filmed the Golden Horn and the Galata Bridge from the water in 1896, putting their signature on the first film shot in Turkey. The first public screening of a motion picture in Turkey also took place in 1896. From its inception in the Ottoman Empire, cinema gained instant popularity and soon became the cheapest and only form of public entertainment. After 32 years, the first book includes the Lumiere photographic pieces of equipment, and a guide to photography was published in 1928. Not in OCLC.; Özege 11810.
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ABDULLAH FRERES, (19th century).
Original albumen print photograph. 54. A. Assouan [Aswan].
Very Good French Original albumen print photograph of Aswan in Egypt. 21x26 cm. Description in French. Original gelatin silver print. Boats and native Egyptian types on the Nile river coast. Abdullah Brothers [Abdullah Biraderler) were a group of three Ottoman brothers of Armenian descent, Viçen Abdullahyan (1820-1902), Hovsep Abdullahyan (1830-1908), and Kevork Abdullahyan (1839-1918), who were photographers of international fame during the late Ottoman Empire. In 1886, at the request of the Khedive in Egypt, they opened a branch in Cairo, Egypt.
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FRANK MASON GOOD, (English photographer), (1893-1928).
[Original gold-toned albumen photograph] Nazareth, from the East, with the Well of the Virgin (From Holy Land pictures, London, 1870).
Very Good English Original gold-tones albumen photograph from 'Holy Land pictures', London, 1870. Oblong folio. (30,5 x 38 cm); photographic image size: 15x20 cm. Descriptive text in English. (Nazareth, from the East, with the Well of the Virgin. In this neighborhood, our Lord and Savior Jesus Christ spent nearly thirty years of his life: And over these "Sacred Acres" often roamed "Those blessed feet that once were nailed, for our advantage to the bitter cross.".). Frank Mason Good, born 1839 in Deal, Kent, began his photographic career as an assistant to photographer Francis Frith. Good is known to have been active during the 1860s and 1870s. He lived most of his life at Phoenix Green, Hartley Wintney, (and died there on 28th June 1928) but had studios in London and Brighton. In 1870 he married Margaretta Teape at St Mark, Goodman's Fields. Following Margaretta's death (on 29th December 1904) he married his second wife, Jessie Emily Waghorn, in 1906, at Hartley Wintney. He is best known for his stereographic photographs of the Near East, and it was Frith who sponsored Good's first trip there. Other geographic locations captured by Good include Spain, Greece, and the Isle of Wight. Frank Mason Good is best known for his series of views of the Middle East taken on four separate tours of the area in the 1860s and 1870s. He first traveled to Egypt as an assistant to Francis Frith in late 1857. He joined the Photographic Society in 1864, and in 1880 served as a judge of its annual exhibition. He lived at Hartley Wintney, Winchfield, Hampshire.
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FRANK MASON GOOD, (English photographer), (1893-1928).
[Original gold-toned albumen photograph] Shechem (Nablous), between Ebal and Cerizim (From Holy Land pictures, London, 1870).
Very Good English Original gold-tones albumen photograph from 'Holy Land pictures', London, 1870. Oblong folio. (30,5 x 38 cm); photographic image size: 15x20 cm. Descriptive text in English. (Shechem (Nablus), between Ebal and Gerizim Shechem (Nablus), between Ebal and Cerizim: This was Abraham's first halting-place, Gen. xii. 6; Here Jacob settled and bought a piece of land, Gen, xxxiii, 19; Here Joshua assembled the people just before his death, Josh, xxiv; And here the ten tribes rebelled against Rehoboam, 1 Kings xii.). Frank Mason Good, born 1839 in Deal, Kent, began his photographic career as an assistant to photographer Francis Frith. Good is known to have been active during the 1860s and 1870s. He lived most of his life at Phoenix Green, Hartley Wintney, (and died there on 28th June 1928) but had studios in London and Brighton. In 1870 he married Margaretta Teape at St Mark, Goodman's Fields. Following Margaretta's death (on 29th December 1904) he married his second wife, Jessie Emily Waghorn, in 1906, at Hartley Wintney. He is best known for his stereographic photographs of the Near East, and it was Frith who sponsored Good's first trip there. Other geographic locations captured by Good include Spain, Greece, and the Isle of Wight. Frank Mason Good is best known for his series of views of the Middle East taken on four separate tours of the area in the 1860s and 1870s. He first traveled to Egypt as an assistant to Francis Frith in late 1857. He joined the Photographic Society in 1864, and in 1880 served as a judge of its annual exhibition. He lived at Hartley Wintney, Winchfield, Hampshire.
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FRANK MASON GOOD, (English photographer), (1893-1928).
[Original gold-toned albumen photograph] Baalbec, and the Lebanon rance (From Holy Land pictures, London, 1870).
Very Good English Original gold-tones albumen photograph from 'Holy Land pictures', London, 1870. Oblong folio. (30,5 x 38 cm); photographic image size: 15x20 cm. Descriptive text in English ( Baalbec, and the Lebanon range. This city may possibly have been built by King Solomon. "And Solomon built Balalath (Baalbek) and Tadmor in the wilderness (Palmyra)", I Kings ix, 18.). Frank Mason Good, born 1839 in Deal, Kent, began his photographic career as an assistant to photographer Francis Frith. Good is known to have been active during the 1860s and 1870s. He lived most of his life at Phoenix Green, Hartley Wintney, (and died there on 28th June 1928) but had studios in London and Brighton. In 1870 he married Margaretta Teape at St Mark, Goodman's Fields. Following Margaretta's death (on 29th December 1904) he married his second wife, Jessie Emily Waghorn, in 1906, at Hartley Wintney. He is best known for his stereographic photographs of the Near East, and it was Frith who sponsored Good's first trip there. Other geographic locations captured by Good include Spain, Greece, and the Isle of Wight. Frank Mason Good is best known for his series of views of the Middle East taken on four separate tours of the area in the 1860s and 1870s. He first traveled to Egypt as an assistant to Francis Frith in late 1857. He joined the Photographic Society in 1864, and in 1880 served as a judge of its annual exhibition. He lived at Hartley Wintney, Winchfield, Hampshire.
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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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Photograph by PASCAL SEBAH, (Sebah & Joaillier Photograph Studio), (1823-1886).; Published by OSMAN HAMDI BEY, (Archeologist, Museologist, Painter), (1842-1910).
[PRINT - RHODES OTTOMAN WOMEN COSTUMES] Cezâyir-i Bahr-i Sefid Vilâyeti Rodos müslüman kaddini sokak elbisesi, Rodos ahalisi kiyafeti, Rodos Islâam kadini hâne kiyafeti [from 'Les costumes populaires de la Turquie en 1873, ouvrage publie sous le patronage de la Commission Imp. de l'Exposition Universelle de 1873 a Vienne'].
Very Good Turkish, Ottoman (1500-1928) Original b/w photograph by Pascal Sebah. (30x20 cm). In Ottoman script. Slightly chipped on corners and margins, a stain on the descriptive text area. Otherwise a good photo. Original print photograph from 'Les costumes populaires de la Turquie en 1873, ouvrage publie sous le patronage de la Commission Imp. de l'Exposition Universelle de 1873 a Vienne'. Photograph depicts three Ottoman civilians of Rhodes Island in their local costumes; one is an outdoor dress of Muslim women living in Rhodes, the second is a standard dress for Muslim men, and the last one is a home dress of Muslim women. Pascal Sébah (1823-1886) was a photographer in Constantinople (now Istanbul) and Cairo, who produced a prolific number of images of Egypt, Turkey, and Greece to serve the tourist trade, and the founder of Sebah & Joaillier Photograph Studio. He established a valuable working relationship with Turkish painter Osman Hamdi Bey, taking photographs as part of the artist's preparation, and in which he experimented with light and shade. In turn, Hamdi Bey selected Sébah to illustrate his text on the popular costumes worn by Turkish and other ethnic groups, entitled Les Costumes Populaires de la Turquie en 1873: ouvrage publié sous le patronage de la Commission impériale ottomane pour l'Exposition universelle de Vienne and published in 1873.
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SEBAH & JOAILLIER [Pascal Sebah (1823-1886), Polycarpe Joaillier (1848-1904)].
[PHOTOS OF THE BOSPHORUS] Vue du Bosphore. Côte d'Asie et d'Europe. & Vue de la Baie et du Quai de Therapia au Bosphore.
Very Good French Original albumen print photograph by Sebah & Joaillier mounted on cardboard. Size: 25,5x33 cm; photographic size: 21,5x26 cm. Rare albumen print photographs double-sided printed mounted on green cardboard taken by Sebah & Joaillier photograph studio of Constantinople, showing the Bosphorus, view of Therapia Bay and Pier with the Asian and European coasts of the strait. 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," 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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Edited by LEHNERT & LANDROCK OF CAIRO.
[SOUVENIR ALBUM - MIDDLE EAST] Cairo: 24 artistic pictures in heliogravures.
Very Good English Original bdg. HC. Oblong 4to. (21,5 x 28 cm). In English. [48] p., fully ills. First and only edition of this scarce and attractive souvenir album including 24 photogravures of general views, streets, architectural buildings, natives, and social life of Cairo, photographed, edited and published by German photograph studio of Cairo "Lehnert & Landrock". Lehnert & Landrock was a photographic studio run by Rudolf Franz Lehnert (1878-1948) and Ernst Heinrich Landrock (1878-1966) active in Tunisia and Egypt in the early 20th century, noted for producing Orientalist images. Rudolf Franz Lehnert and Ernst Heinrich Landrock produced images of North African people, landscapes, and architecture for a primarily European audience. These images were mainly distributed in monographs, though also as original prints, photogravures, and lithographic postcards. (Source: Wikipedia).
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GÜLMEZ FRERES, (Photographed by), (Active 1870-1900).
[PANORAMA OF CONSTANTINOPLE] Panorama du Bosphore, vue sur la côte d'Asie, pris de Robert College.
Very Good English Fine and attractive original panoramic photograph of Constantinople, Istanbul, printing-out paper, 4-part, buildings captioned and credits in negatives in French. 70x9 cm. A dark print. This panoramic photograph was taken by Gülmez Freres inside Robert College. Robert College was founded in Bebek by Christopher Robert, a wealthy American philanthropist, and Cyrus Hamlin, a missionary devoted to education in 1863. The Gülmez Frères were three brothers, of Armenian origin, who established a photography studio in Istanbul, Turkey in 1870. A short time later, they took photos for the Ottoman court and Sultan Abdulhamid II.
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YASAR NEZIHE [BÜKÜLMEZ], (1882-1971).
[TURKISH FEMALE POET OF THE FIRST TURKISH POEM FOR "MAY 1"] Feryadlarim [i.e. My screechs]. Biographical introduction by Rifat Necdet [Evrimer].
Very Good Turkish, Ottoman (1500-1928) Contemporary green cloth bdg. Slight scratches on faded cloth, with slight foxing on pages. Overall a good copy. Cr. 8vo. (20 x 14 cm). In Ottoman script (Old Turkish with Arabic letters). 238, [2] p., 1 b/w portrait of Nezihe, ills. First and only edition of this exceedingly rare first book including a "May 1" poem, written by a Turkish female poet Yazar Nezihe. Nezihe was considered as one of the female poets in the Ottoman Period. She is known as a writer of the first Turkish poem for International Workers' Day on May 1. Yasar Nezihe differed from other female poets of the period in the sense of her life story and a contrary literary identity. Throughout her lifetime, she wrote poems about her penurious and challenging childhood as well as her love life and marriages. Being known as the first female poet whose works were published in Aydinlik Dergisi (i.e. Enlightenment Journal), Yasar Nezihe also became prominent for supporting labor unrests and her activist identity. She was recognized as a socialist poet who gave voice to poverty in her poems. She wrote the poem named "Gazete Sahiplerine" (i.e. To Newspaper Owners) addressing the executives with the intent of supporting laborers who were on strike because of the disagreement between newspaper owners and Mürettipler Cemiyeti (i.e. Typesetters Society). (Source: Wikipedia). This is her second poetry book. Being the first female poet wrote in Aydinlik Dergisi, Yasar Nezihe Bükülmez was accused of being a communist because of her writings, her membership of Osmanli Amele Cemiyeti [The Ottoman Workers' Society], and support for labor unrests and was arrested. Book has a biographical introductory text by Rifat Necdet Evrimer, (1898-1971) who was a Turkish/Ottoman poet, educator, and biographer in which is important being the earliest male gaze in its period. Özege 5645.; TBTK 6996.; Five copies in OCLC: 25346925 (Four copies) and 1030875484 (One copy).
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MEHMED CELÂL, (1863-1912).
[WOMEN THROUGH THE EYES OF AN OTTOMAN POET] Nedâmet: Bir sairin sernüvisti. Kadinlara nasihât, erkeklere ibret! [i.e. Regret: The destiny of a poet. Advice to women, a lesson to men!].
Very Good English Original pictorial wrappers. Foolscap 8vo. (18 x 12 cm). In Ottoman script (Old Turkish with Arabic letters. 82 p. First edition of this original Ottoman novella written by Mehmed Celâl (1863-1912) in the early 20th century, consisting of six chapters and reflecting the ironic complaints of a poet husband about his wife, who is living in an unhappy marriage as the main subject of the book. On the cover image, there is a wit of a woman holding a flower in her hand reflecting the analogy between a woman and a flower made by the Turkish poet Ahmed Rasim (1864-1932). Mehmed Celâl is one of the well-known writers and poets of the last Ottoman period. He is known for his emotional and dreamy poems and stories. Özege 15307.; OCLC 45120692, 634949114, 67122665, 1030750506.
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CELÂL NURI [ILERI].
Kadinlarimiz.
Very Good Turkish, Ottoman (1500-1928) In contemporary hardcover in Ottoman title handwritten. Cr. 8vo. (19 x 13 cm). In Ottoman script. 224, [8] p. Hejra. 1331 = Gregorian. 1915. (AD). Özege: 9871.
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ABDALLAH-AL-YAFI, (1901-1986).
[FIRST ARAB TO RECEIVE A PHD ABOUT WOMEN'S RIGHTS IN SORBONNE] La condition privee de la femme dans le droit de l'Islam. [i.e. The legal status of women in the law of Islam].
Very Good French Original wrappers. Roy. 8vo. (24 x 16 cm). In French. [v], 163, [1] p. Chippings on extremities of cover, rubbed on spine, overall a good copy. First edition of this scarce book titled in English "The Legal Status of Women in the Law of Islam", written by Al-Yafi who was the Prime Minister of Lebanon serving twelve times between 1938 and 1969, and at the forefront of the struggle to give women the right to vote, which he was able to achieve with his cabinet in power in 1952. Abdallah Al-Yafi is the first Arab to receive a PhD from the Sorbonne University, where he wrote his thesis about women's rights in Islam. The thesis subject was "The Legal Status of Women in the Law of Islam" (French: La Condition Privée de la Femme dans le Droit de l'Islam). Drawing from Quranic decrees and Islamic principles, he made a case about how women are supposed to be allotted more rights in society. Al-Yafi believed that the empowerment of women was crucial for building a stronger society, equality providing a steadier base. These thoughts, when expressed in the 1920s, had quite an 'avant-garde' ring to conservative Muslim ears: they were not always welcome with wide open arms or minds. Later on in his political life, Abdallah Al-Yafi's political opponents brandished his thesis as a weapon of defamation to tarnish his reputation. According to them, he was not a "righteous Muslim" but a French minion who had given in to the French authorities-the colonial mandate authority in Lebanon at the time-in blaspheming the Islamic religion in reward of a "Doctorat d'État". These were aimed at ruining the honest image that he so carefully cultivated throughout his life.
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GÜZIDE SABRI [AYGÜN], (Ottoman / Turkish female author -muharrire-), (1886-1946).
[FORBIDDEN LOVE IN TURKISH SOCIETY] Ölmüs bir kadinin evrâk-i metrûkesi / Nedret. [i.e. Derelict Documents of a Dead For Woman / Nedret].
Very Good Turkish, Ottoman (1500-1928) Contemporary 1/3 leather bdg. made as original illustrated covers preserved inside. Foolscap 8vo. (18 x 12 cm). In Ottoman script (Old Turkish with Arabic letters). 221 p.; 291 p. Fourth Edition (both). Early editions of this bestseller novel(s) telling "the suffering of a woman who buried her forbidden love in her heart in a society where love is closed behind thick curtains, through the eyes of a woman", by Güzide Sabri (1886-1946). Güzide Sabri Aygün was a Turkish female writer known for her modern romances, which were published in multiple editions and several languages. She had two sisters, Fatma Aliye and Emine Semiye. She grew up in Çamlica neighborhood of Istanbul. In later years, she had to leave Istanbul and move to Anatolia with her family as her father was exiled, resulting from his opposition to the despotism of Ottoman Sultan Abdulhamid II (reigned 1876-1909). At a young age, she was married to Ahmet Sabri Aygün, the first notary of Beyoglu (Pera). She was educated at home by special tutors. She was interested in literature, inspired by her teacher Hodja Tahir Effendi, a dictionary writer. She started to write at a very young age. However, her teachers proposed she better deal with religious matters instead of poetry. Contrary to the pressures of her literature teacher, she wrote her first novel Münevver in her youth years in 1899. She wrote the novel in remembrance of her friend, who died from tuberculosis. It was serialized in the newspaper Hanimlara Mahsus ("For Ladies"), and won well recognition. In 1901, two years later, the novel was published as a book and was also translated into the Serbian language. Her husband felt discomfort by his wife's prominence. As her teachers' reaction was not enough, her husband also objected to her writing. However, her enthusiasm could not deter her from writing. It is understood that her husband tried to prevent her writing as he did not allow her to write already at the wedding. She was forced to continue writing at night or secretly. After a short time, her husband died. The unexpected death of her husband left deep traces in her. Güzide Sabri became a female writer, who remained lifelong unhappy having a sad life in literature history. During this time, the Servet-i Fünun ("Wealth of Knowledge") movement, formed by Recaizâde Mahmud Ekrem (1847-1914) and his students, left its mark on the literature. Güzide Sabri was one of the authors, who did not join the movement and remained on their own line. She is considered as one of the first female novelists among Turkish writers with widespread fame, even though she was not involved in the new literary movement. She published her works in the Servet-i Fünun and other journals of the "National Literature" without being a member of any literary community. Her novels, which were written in the early years of the Second Constitutional Era (1908-1918) and the Republican era (from 1922), and were subject of feeling, dream, blind love, and broken hearts, were very popular, and had multiple editions and were repeatedly filmed. Her second novel Ölmüs Bir Kadinin Evrak-i Metrûkesi ("Derelict Documents of a Dead For Woman") was a bestseller. It was first published in 1901, reprinted several times, and was filmed twice, in 1956 and then in 1969. The novel was translated into the Armenian language. She authored romance novels for simple readers. She is considered as the author writing the first examples of the so-called mass-market romance novels, and pioneer of the broken-hearts novels in her country. Her 1930-novel Hicran Gecesi ("Night of Sorrow") is about the forbidden love of a bad woman. This book takes the romance novel one step forward in a forbidden, impossible love story. Her novels, which take place in Istanbul, attracted the interest of readers outside of big cities like Istanbul and Izmir as well. First book: Özege 16077 (Özege has 4th edition, however page number: 221).; TBTK 5323.; Second one: Özege 15317.; TBTK 5
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AZRA ERHAT, (Turkish female author, philologist, archaeologist, translator), (1915-1982).
Autograph letter signed 'Azra Erhat' 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. 26x14 cm. In Turkish (Modern). 1 p. Erhat requests several books in behalf of Güzin Dino, (1910-2013) was in Paris. Typescript letter with autograph note and signature.
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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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