1982 — Very Good Armenian Paperback. Cr. 8vo. (19 x 13 cm). In Armenian. 5 volumes set: (1035 p.). Cr. 8vo. (19 x 13 cm). Signed and dedicated by the author Rober Haddeler to Armenian female painter Kristin Saleri. Rober Haddeciyan also known as Rober Haddeler, is an Armenian writer, playwright, and since 1967 editor-in-chief of Marmara, an Armenian-language daily newspaper. Marmara (also known as Nor Marmara) is published six times a week (daily except Sundays). Circulation is reported at 2,200 per issue. Rober Haddeciyan was born in 1926 in the district of Bakirköy in Istanbul, Turkey, to Avedis Haddeciyan and Siranush. He graduated from the Pangalti Armenian Mkhitarist High School in 1944 and is an Istanbul University Faculty of Letters Department of Philosophy graduate. Haddeciyan, who was already working for Marmara as a journalist, became the editor-in-chief of the newspaper in 1967. His columns in Nor Marmara are translated into Turkish by his daughter-in-law Karolin Haddeler and published in the weekly Turkish supplement. He has published 50 to 60 books so far. One of his most famous books is his novel Arasdagh (i.e. Ceiling), which has also been published in Turkish under the title "Tavan". In 2011, on the occasion of the 20th anniversary of the Republic of Armenia's Independence, President Serzh Sargsyan awarded Haddeciyan the Mesrob Mashdots Medal for his contributions to Armenian literature, theater, and journalism. Kristin Saleri, (1915-2006), was a prominent 20th century Turkish artist of Armenian descent, recognized as a child prodigy at an early age. She received her initial art training from Prof. DeMille and Feyhaman Duran Studio at the Istanbul Academy of Fine Arts and later under the tutelage of artist André Lhote in Paris. (In this rare archival footage from 1953, we get a glimpse of André Lhote's studio. A prolific artist, she has produced over 3,000 (the exact number being unknown) pieces of art during her long career in Istanbul. Oil paintings made up her predominant art medium while ceramics, glass, and charcoal providing alternative, albeit equally creative channels of artistic expression. She held 40 plus private shows (first in 1956, last in 1997 both in Istanbul) and contributed to 600 group exhibitions around the globe including Ankara, London, Paris, Brussels, Athens, Frankfurt and Washington D.C. Her works have been acquired by Istanbul Painting and Sculpture Museum, Ankara State Museum, Paris Centre Pompidou: Musée National d'Art Moderne, Calouste Gulbenkian Foundation Lisbon, and numerous private collectors worldwide. She was apolitical, yet, undeterred by the huge hurdles of being a female minority artist in a period of social and ethnic strain in post World War II Turkey. Saleri became a leading force in the Turkish art community- co-founder of International Turkish Female Artists Association (1965), co-chair of Turkish Painters Association and used her art to convey a message of modern feminism. Kristin Saleri's art represented an inexplicably harmonious blend of Eastern mysticism with Western impressionism fused through a variety of themes-music, whirling dervishes, folklore, trees of love, Anatolian women, children -- which in her words "...were nothing but metaphors for life in different shapes.". (Source: Kristin Saleri: Official website of painter, Biography).
