‎Engravings‎

‎Texts by LALE GÜRSEL.‎

‎Fatih Mika. Dönüs. CKSM. [Engraving exhibition catalogue].‎

‎As New English Paperback. Pbo. Mint. Oblong 4to. (21 x 27 cm). 100 p. Color ills. In Turkish. Fatih Mika. Dönüs. CKSM. [Engraving exhibition catalogue].‎

‎Texts by ADELIA RISPOLI, LEONARDO SCIASCIA.‎

‎Pippo Gambino. Gravürler.= Opera Incisoria, 1954-1994: 15-31 Ekim 1996 [Engraving Exhibition Catalogue].‎

‎As New English Pippo Gambino. Gravürler = Opera Incisoria 1954 - 1994. 15 - 31 Ekim 1996 (Engraving exhibition catalogue)., texts by: Adelia Rispoli, Leonardo Sciascia; Italyan kültür merkezi, Ist., 1994. Paperback. Pbo. Mint. 4to. (30 x 21 cm). B/w and color ills. In Turkish and Italian.‎

‎IBRAHIM OF MURSIYE.‎

‎The chart of Ibrahim of Mursiye 1461.= Mürsiyeli Ibrahim haritasi 1461.‎

‎Fine English Paperback. Pbo. Cr. 8vo. (20 x 14 cm). In English and Turkish. 31 p., b/w ills. The chart of Ibrahim of Mursiye 1461.= Mürsiyeli Ibrahim haritasi.‎

‎Engraved by WILLIAM POOLE, (1803-1807).‎

‎[HANDCOLOURED COLOR ENGRAVING] A Turk in his chall, or shawl. Plate IX.= Un Turc dans son chale. Planche neuvieme. [An Ottoman Turk in his shal]. Drawn by Octavien Dalvimart.‎

‎Very Good English Original hand-coloured engraved plate. Edges gilt. Large 4to. (37 x 27 cm). With its separate sheet of descriptive bilingual text in English and French. An attractive, richly colored and detailed engraved image. Very good, bright. An original plate from Dalvimart's famous and extremely rare work 'The costume of Turkey', first edition in 1802. Little is known about Octavien Dalvimart, besides the facts that he worked in Britain as painter and engraver, and that he was living in Paris in 1803. According to the prologue to this edition, he travelled during four years (starting in 1796), always drew from nature, and was in Athens in 1797. This elegant work was first published in 1802, and again in 1818 and 1820. It includes 60 drawings of human types from the Ottoman Empire. (Abbey Travel 370; Colas 782; Lipperheide 1422). The explanatory texts, in English and French, are based on extracts from works by Baron de Tott, J. Dallaway, G.A. Olivier, M. Montague, J. Pitton de Tournefort, ?ouradgea d'Ohsson and others. Dalvimart's drawings have been used in similar albums and illustrated other travel accounts. Human types are precisely drawn and handsomely depicted in very real colors. "This is the dress of a Turk, whenever he ventures abroad on foot: but this, among the higher ranks, is never done in the streets of Constantinople. The clokes are generally ornamented with rich and valuable furs, and the châlls [sic. shals] or shawls, are also very richly worked. The male dress of the Turks is regulated by sumptuary laws, and is distinctive of the different classes, but the females are permitted to wear any sort of ornament they choose. The TUrks of any considerable rank in life consider it as a degradation to be seen walking; and they constantly go about the city on horseback, accompanied by a numerous train of servants on foot. Some very pompous and rich individuals have been known to have above an hundred in their train. These are always as richly dressed, and as numerous as possible at any of their feasts, particularly that of the Beyram (sic. Bayram)". = "Tel est l'habillement d'un Turc toutes les fois qu'il lui rrive de sortir a pied. Mais c'est ce que les gens de distinction ne font jamais dans les rues de Constantinople. Les mantaux sont generalement ornes de fourrures de tres grand prix, et les châles aussi sont tres richement brodees..." etc.‎

‎Engraved by J[OHN] DADLEY, (1767-1807).‎

‎[HANDCOLOURED COLOR ENGRAVING] An inhabitant of the Isle of Simia. Plate XLI.= Une femme de 'lIsle de Simie. Plache quarante-unieme. Drawn by Octavien Dalvimart.‎

‎Very Good English Original hand-coloured engraved plate. Slightly chipped on paper. Edges gilt. Large 4to. (37 x 27 cm). With its separate sheet of descriptive bilingual text in English and French. An attractive, richly colored and detailed engraved image. Very good, bright. An original plate from Dalvimart's famous and extremely rare work 'The costume of Turkey', first edition in 1802. Little is known about Octavien Dalvimart, besides the facts that he worked in Britain as painter and engraver, and that he was living in Paris in 1803. According to the prologue to this edition, he travelled during four years (starting in 1796), always drew from nature, and was in Athens in 1797. This elegant work was first published in 1802, and again in 1818 and 1820. It includes 60 drawings of human types from the Ottoman Empire. (Abbey Travel 370; Colas 782; Lipperheide 1422). The explanatory texts, in English and French, are based on extracts from works by Baron de Tott, J. Dallaway, G.A. Olivier, M. Montague, J. Pitton de Tournefort, ?ouradgea d'Ohsson and others. Dalvimart's drawings have been used in similar albums and illustrated other travel accounts. Human types are precisely drawn and handsomely depicted in very real colors. "Simia is one of the numerous islands scattered all over the Archipelago. It is at a very small distance from the Asiatic coast, and a little to the north of the island of Rhodes. Most of these islands were formerly the cause of frequent wars, and were sometimes subject to one power, sometimes to another, and many of them were often also independent of all. They have now, however, for a great length of time, been subject to the Turkish government, which derives an annual tribute from each of them. It has been remarked before, that the dress of the women in many of these islands was extremely picturesque and becoming. The present, perhaps, is only partially so, on account of the concealment of the lower part of the face; as well as on account of the form of the body, which is too undeterminate, and therefore appears ill-formed". = "Simie est une de ces isles qui sont repandues en grand nombre dans l'Archipel. Elle est fort pres de la côte d'Asie, et en peu au nord de l'isle de Rhodes. Ces isles ont ete jadis la cause de guerres frequente, et ont apartenues, tantôt a un pouvoir, tantôt a un autre; quelques une ont souvent aussi ete independentes. Il y a deja longtems cependant qu'elles sont sous la domination de l'empire Ottoman, qui tire un tribut chaqu'une d'elles...".‎

‎Engraved by WILLIAM POOLE, (1803-1807).‎

‎[HANDCOLOURED COLOR ENGRAVING] An Egyptian Arab. Plate XXII.= Une Arabe Egyptienne. Planche vingt-deuxiemme. [Egyptian women]. Drawn by Octavien Dalvimart.‎

‎Very Good English Original hand-coloured engraved plate. Edges gilt. Large 4to. (37 x 27 cm). With its separate sheet of descriptive bilingual text in English and French. An attractive, richly colored and detailed engraved image. Very good, bright. An original plate from Dalvimart's famous and extremely rare work 'The costume of Turkey', first edition in 1802. Little is known about Octavien Dalvimart, besides the facts that he worked in Britain as painter and engraver, and that he was living in Paris in 1803. According to the prologue to this edition, he travelled during four years (starting in 1796), always drew from nature, and was in Athens in 1797. This elegant work was first published in 1802, and again in 1818 and 1820. It includes 60 drawings of human types from the Ottoman Empire. (Abbey Travel 370; Colas 782; Lipperheide 1422). The explanatory texts, in English and French, are based on extracts from works by Baron de Tott, J. Dallaway, G.A. Olivier, M. Montague, J. Pitton de Tournefort, ?ouradgea d'Ohsson and others. Dalvimart's drawings have been used in similar albums and illustrated other travel accounts. Human types are precisely drawn and handsomely depicted in very real colors. "The varieties of female dress in most of the eastern nations can never be distinguished when they are in the streets, both form their veils and the long cloaks in which they are concealed. At Cairo they conceal the head and part of the body by a large black veil; and those who can afford rich habits, are always covered with a large wrapper. The veil, which is always the first concern with the women, for it is the very last part of their dress they would part with, is formed of a long triangular piece of linen cloth fitted to the head, and falling down before, so as to cover all the face except the eyes. At Cairo this is always black, and very large. All the oriental women wear drawers, and the poorer sort in Egypt wear little ese but these drawers, and a long blue shirt.". etc.‎

‎MAHIR (The illusionist and the ventriloquist).‎

‎Beynelmilel illizyonist ve vantrolog Mahir. [International illusionist and ventriloquist Mahir].‎

‎Very Good Turkish, Ottoman (1500-1928) Original b/w printed poster. Size: (100 x 70 cm). In Turkish. It shows Mahir in front of devil. Beynelmilel illizyonist ve vantrolog Mahir. [International illusionist and ventriloquist Mahir]. Scarce.‎

‎NICOLAS DE NICOLAY D'ARFEUILLE & DE BELAIR, (1517-1583).‎

‎[FINE COPPER ENGRAVING 17th CENTURY] Les yurongnes [The wrestlers]: Azamoglan, Levent, Azappi. Engraved by Louis Danet.‎

‎Very Good English Original copper engraved plate. 35x23,5 cm. French text on verso on 'Cuisinier Turc'. This is palte numbered 18. From "Plusieurs descriptions des accoutremens tant des magistrats et officiers de la Porte de l'Empereur des Turcs que des peuples assujettis à son Empire. Avec les figures représentant le tout au naturel, tirées des Medailles antiques & descriptions de eux qui ont frequenté parmy ces nations, ou des bons Autheurs qui en ont écrit.". Published in 1598, Quatre premiers livres des navigations (Travels in Turkey) recorded Nicolay's observations about the Ottoman court and peoples from his 1551 mission to Istanbul on behalf of the French government. The book served as the first comprehensive survey of customs and costumes in the Ottoman world, and is hailed as one of the earliest and most accurate depictions of the Islamic world to appear in Europe. Travels in Turkey achieved a high level of commercial success upon its release. It was later reissued and translated for a number of different countries, including Italy, the Netherlands, England, and Germany. The widespread popularity of the book contributed to the proliferation of costume books throughout Europe at the end of the 16th century, and continued to influence Orientalist artists well into the 19th century such as Eugene Delacroix and Jean-Auguste-Dominique Ingres. Travels in Turkey is divided in four books, following Nicolay's voyage to Istanbul, accounts of ethnic groups and Ottoman court life, and the religious and military administration in Istanbul. Louis Danet made 60 engravings based on Nicolay's original drawings, which serve as the core of the books, and each print is followed by a caption, describing Islamic ritual, religion and monuments. The images cover all aspects of Ottoman daily life, and depict figures ranging from sultans and sultanas to wrestlers, cooks and Janissary generals.‎

‎Prep. by BASAK ÇAKA, VASIF KORTUN et alli.‎

‎Bir Salt kitabi.‎

‎New Turkish Paperback. 4to. (30 x 23 cm). In Turkish. 236, [12] p., color ills. Bir Salt kitabi.‎

‎THEODORE GUDIN, (1802-1880), (Painter); JOSEPH JOHN SKELTON, (1783-1871), (Engraver).‎

‎[ENGRAVING] Incendie du quartier de Pera a Constantinople, 9 Aôut 1839. Painted by Theodore Gudin, (1802-1880); Engraved by Joseph John Skelton, (1783-1871).‎

‎Very Good French Original color copper engraving. Oblong folio. (26 x 36 cm). Description in French. Incendie du quartier de Pera a Constantinople, 9 Aôut 1839. Painted by Theodore Gudin, (1802-1880); Engraved by Joseph John Skelton, (1783-1871). Rare color engraved print. Shows 1839 fire in Pera area in Istanbul (probably that district is Kasimpasa which mostly mariners live in), and its chaos: hectic people have appeared on the roofs of the burning houses, law enforcement agencies are working, and the muezzin has been seen on balcony for 'selâ'. Jean Antoine Théodore Gudin was a French painter of the 19th century, born in Paris. He especially painted navy scenes, and was a pupil of Girodet-Trioson. Gudin was one of the first Peintres de la Marine, at the court of Louis-Philippe and Napoleon III. Gudin died at Boulogne-sur-Seine in 1880. His daughter Henriette Gudin also became a marine painter. Skelton was an English engraver. He was brother of William Skelton, and became an engraver specialising in topographical and antiquarian subjects. Before 1819 he went to live at Oxford. Later Skelton settled in France. He was elected a Fellow of the Society of Antiquaries of London in 1825; his name disappears from its lists in 1844. At Oxford he published Oxonia Antiqua Illustrata (1823); Antiquities of Oxfordshire, from drawings by F. Mackenzie (1823); Pietas Oxoniensis, or Records of Oxford Founders (1828); and Engraved Illustrations of Antient Arms and Armour from the Collection at Goodrich Court from the Drawings, and with the Descriptions of Dr. Meyrick, (2 volumes, 1830). He also engraved the heading to the Oxford almanacks for the years 1815 to 1831, from drawings by F. Mackenzie and C. Wild; and executed a set of fifty-six etchings of the antiquities of Bristol after H. O'Neill. (Source: Wikipedia).‎

‎ILHAN PINAR‎

‎Izmir city plans and maps from the Ottoman Era.= Osmanli dönemi Izmir planlari ve haritalari.‎

‎New English Original decorative cloth bdg. Folio. (33 x 33 cm). In English and Turkish.155 p., color and b/w ills., maps (some folded). Some of plans - maps and their makers from the contents of book: "The earliest city planning sketches displaying the then status of the city are the plans drawn by Livio Amedeo Missir located at the Santa Maria Church.", The well-known geographer Jean Denis barbie de Bocage's plan, In 1830s, British Navy Officer's plans, Luigi Storari's plan, Lamec Saad's plan, Charles Goad's plans, Karl Baedeker's plans, and very important maps of Izmir (Smyrna - Smyrne) city. 500 copies were printed.‎

‎ARA GÜLER, (Armenian - Turkish photographer), (1928-2018).‎

‎[ORIGINAL PRINT - PHOTOGRAPH] 196/400.‎

‎New Turkish Original color photograph on positive paper. In original cover with its cartoon frame. Size: (all 50x60 cm - photograph 30x20 cm). Positive paper is a light-sensitive paper on which the image taken on the negative film was created in accordance with the original image. A short biography on verso. Signed by the photographer. 400 copies were printed. All copies were numbered. This is no. 196. Ara Güler was an Armenian-Turkish photojournalist, nicknamed "the Eye of Istanbul" or "the Photographer of Istanbul". He was "one of Turkey's few internationally known photographers". In 1958, the American magazine company Time-Life opened a branch in Turkey, and Güler became its first correspondent for the Near East. Soon he received commissions from Paris Match, Stern, and The Sunday Times in London. After completing his military service in 1961, Güler was employed by the Turkish magazine Hayat as head of its photographic department. About this time, he met Henri Cartier-Bresson and Marc Riboud, who recruited him for the Magnum Photos agency, which he joined (though later withdrew from). He was presented in the British 1961 Photography Yearbook. Also in that year, he was accepted as the only Turkish member of the American Society of Magazine Photographers (ASMP) (today called the American Society of Media Photographers). The Swiss magazine Camera honored him with a special issue. In the 1960s, Güler's photographs were used to illustrate books by notable authors and were displayed at various exhibitions throughout the world. His works were exhibited in 1968 in 10 Masters of Color Photography at the New York Museum of Modern Art and at Photokina Fair in Cologne, Germany. His book Türkei was published in Germany in 1970. His photos on art and art history were used in Time, Life, Horizon, and Newsweek and publications of Skira of Switzerland. Güler traveled on assignment to Iran, Kazakhstan, Afghanistan, Pakistan, India, Kenya, New Guinea, Borneo, as well as all parts of Turkey. In the 1970s he photographed politicians and artists such as Indira Gandhi, Maria Callas, John Berger, Bertrand Russell, Willy Brandt, Alfred Hitchcock, Ansel Adams, Imogen Cunningham, Marc Chagall, Salvador Dalí, and Pablo Picasso. Some critics consider his most renowned photographs to be his melancholic black and white pictures taken mostly with a Leica camera in Istanbul, mainly in the 1950s and 1960s. He has exhibited frequently since then, and also had his work published in special supplements. International publishers have featured his photographs.‎

‎FOTO CEBE (SABRI CEBECIOGLU), (1900-1985), (Photographed by).‎

‎[PHOTOS OF INEBOLU - BLACK SEA] Ten original photographs of Inebolu [Ionopolis].‎

‎Very Good Turkish Ten original gelatin silver photographs of different views and places of Inebolu district which is a seaside town of Kastamonu city of Turkey, located at the southern coast of the Black Sea. The photos taken by Foto Cebe, established by Sabri Cebecioglu (1900-1985) in Inebolu. Sabri Cebecioglu was a local Turkish photographer immortalizing Atatürk's travels to Kastamonu during the Hat Revolution. This was the world's first hat revolution took place in Turkey in 1925. On November 25 of that year, the parliament passed a law that made it mandatory for all men to wear Western-style hats in public places; all civil servants had to wear them, and no other type of hat would be allowed. All photos sizes' are 9x14 cm, versos of some have small notes in Ottoman script (Old Turkish with Arabic letters). A very good collection of photographs. This photograph collection includes Inebolu's different views: An overhead view of the town center (1939), a view of the town center from the sea (1929), houses and a garden on the Black Sea coast, another view of the town center from the sea (same with 1929 one), buildings and houses of Inebolu (1929), houses and a mosque by the river (1937), houses and buildings (no date), Black Sea coast of the town (1936?), the coast of town with ships and view of the town center from the sea with fishermen's boats (no date). Inebolu is a town and district of the Kastamonu Province in the Black Sea region of Turkey. It is a typical Black Sea port town with many fine examples of traditional domestic architecture. Inebolu was initially called Aboniteichos. The name was changed to Ionopolis in the middle of the 2nd century CE. Over time, the name "Ionopolis" metamorphosed to "Inepolis", and then to "Inebolu", though sometimes spelled "Ineboli" by foreign travelers. By 1834, Inebolu was considered a sub-district of today's city of Kure (approx. 30 km (19 mi) inland), but it became a district in its own right in 1867. In the late 19th and early 20th century, Inebolu was part of the Kastamonu Vilayet of the Ottoman Empire. During the Turkish War of Independence, arms and ammunition were transferred to Anatolia through Inebolu. The town was attacked and defended itself with determination, for which it was honored with the Independence Medal by the Turkish Grand National Assembly. Atatürk initiated a campaign in Inebolu to reform personal appearance and "civilize" garments; Atatürk made a well-known speech about hats there. In accordance with the population exchange between Greece and Turkey in 1923, the town's Greek inhabitants were exiled to Greece. Many of these emigrants settled in a neighborhood called Inepolis in the Athenian suburb of Nea Ionia. (Source: Wikipedia).‎

‎Johnson, Martin‎

‎Art and Scientific Thought: historical studies towards a modern revision of their antagonism‎

‎Foreword by Walter de la Mare. Index. 16 illustrations and a diagram. viii, 192 pages. Bookplate of Marie Sargant by John Piper on front pastedown. Library stamp on front pastedown. Library label on front free endpaper. Front pastedown gutter cracked but binding sound.‎

‎Harter, Jim‎

‎Images of World Architecture‎

‎A Definitive Volume of more than 2000 copywright free engravings. x, 616 pages. Wear to dust jacket at top of spine with some small loss. Foxing on page edges. Inscription on top left corner of front free endpaper.‎

‎VAQUER Enrique.‎

‎EL GRABADO EN TALLA DULCE, COMO EXPRESION ARTISTICA APLICADA A DOCUMENTOS DE GARANTIA.‎

‎Discurso recepción académica, contestación de Marceliano Santa María.‎

‎SAINT-PIERRE Bernardin de.‎

‎PAUL ET VIRGINIE.‎

‎Lleva cerca de 170 grabados de La Charlerie. Texto orlado, una pena que diversas motas de oxido desluzcan el aspecto general de la obra.‎

‎EXPOSICION INTERNACIONAL DE LA XILOGRAFIA CONTEMPORANEA (AMERICA-EUROPA-ORIENTE).‎

‎BRINTON Selwyn.‎

‎BARTOLOZZI Y SUS DISCIPULOS EN INGLATERRA (CON UNA BREVE ENUMERACION DE SUS PRINCIPALES GRABADOS EN DULCE Y A PUNTOS).‎

‎Monografias de Arte IV.‎

‎VV.AA.‎

‎TESTS. BINET-SIMON.‎

‎ESTAMPA XIII ed SALON INTERNACIONAL DEL GRABADO Y EDICIONES DE ARTE CONTEMPORANEO (9 A 13 DE NOVIEMBRE MADRID, 2005).‎

‎Kircher Athanasius‎

‎MAGNES SIVE DE ARTE MAGNETICA OPUS TRIPARTITUM‎

‎Folio (320 x 215mm). (16) ll, including frontispiece, 618 pp, (14) ll. Engraved frontispiece, title in red and black with large engraved vignette, numerous engraved illustrations including large-format ones, and numerous woodcut illustrations, headpieces and initials, with final blank. Contemporary vellum, manuscript title on spine. Somewhat browned and with a small defect in the engraved title-page, but still in good condition, binding slightly bowed.‎

‎GOYA LUCIENTES, Francisco de.‎

‎Los Disparates. Con una colección de veintidós estampas grabadas directamente sobre la plancha al aguafuerte y al aguatinta por Francsico de Goya Lucientes. Edición facsímil. Estudio preliminar por Rafael Casariego.‎

‎Madrid, Ediciones Velázquez, 1974, 28 x 39,5 cm., tela editorial grabada, 48 págs. Incluso facsímiles de portadas de obras de Goya + 1 hoja + 22 láminas + 1 hoja. (Tirada de 3.000 ejemplares numerados).‎

‎ROYAUMONT, Sieur de.‎

‎L’Histoire du Vieux et du Nouveau Testament, representée avec des figures & des Explications édificantes, tirées des saints Peres, pour regler les moeurs dans toute sorte de conditions...‎

‎Paris, Alexis de la Roche, 1735, 28 x 22 cm., p.e., 8 h. – 552 págs. incluso 275 láminas a media página grabadas en madera. (Ejemplar con la portada remarginada, falto de una hoja, pág. 221-222, y con restauración en varias hojas afectando al texto‎

‎WINKLES, B.‎

‎French Cathedrals. From drawings taken on the spot by R. Garland. With an historical and descriptive account.‎

‎London, Charles Tilt, 1837, 27,5 x 19,5 cm., tela original con adornos repujados en planos, VIII págs. + 1 hoja ? 169 págs. ? 7 hojas + 50 bellas láminas grabadas al acero.‎