1472 risultati
2000Fine Fine Turkish Original bdg. Dust wrapper. 4to. (31 x 23 cm). In Turkish. 319 p., color and b/w ills. Oryantalizmden çagdas Türk resmine. A comprehensive study on history of Turkish painting and its orientalist origin.
1882rif. 72215Partitions sur l'Afrique du nord Choudens 1882 approx.
rif. 32445P., Larousse, 1915, 2 volumes in 8° reliés pleine percaline bordeaux de l'éditeur, têtes dorées, 397 et 405 pages ; 35 portraits hors-texte, dont les 2 frontispices ; qq. rares rousseurs ; on trouve, à la fin de chque "chapitre", une bibliographie.
1878In 16°,mezza tela con angoli moderna, pp. (4), 357, (3), con illustrazioni f.t. b/n; buon esemplare, lievissime e sporadiche fioriture, conservato il piatto anteriore della brossura editoriale. (ZD6/A) (ZD6/A)
1957rif. 19563Paris, Société d'Édition "Les Belles Lettres", 1957. XXXII, 282 (20) p., In-8°, simili-cuir éditeur bleue avec titre dorée.
1937rif. 19553Paris, Leroux bzw. Geuthner, 1937. 177 p. avec beaucoup des illustrations. In-8°, demi-toile privée.
2018New New Turkish Original bdg. Dust wrapper. Roy. 8vo. (24 x 17 cm). In Turkish. 350 p., color and b/w ills., and 1 CD. History of the English Schools in Istanbul.
2009New English Paperback. 4to. (29 x 24 cm). Edition in English. 335 p., color ills. Ten thousand years of Iranian civilization, two thousand years of common heritage. [Exhibition catalogue]. Topkapi Palace Museum, Imperial Stables, December 2, 2009 - February 5, 2010. "The exhibition featured nearly 300 artifacts from Topkapi Palace Museum and National Museum of Iran as well as collections from Istanbul Archeology Museum, Sadberk Hanim Museum and the Military Museum of Istanbul. Within the scope of this exhibition, Turkey-Iran relations were assessed with references to political, economic and cultural contexts. This exhibition revealed collections pertaining to Iranian civilization which were not exhibited in Turkey ever before.".
2014New English Paperback. Pbo. 4to. (28 x 24 cm). In English. 181 p., color and b/w ills. Since its earlier periods, The Ottoman Empire has established intense relations with European states. Urged by curiosity and a certain degree of fear at times, the West's efforts, on the other hand, to be acquainted with and understand this government of immense military power and source of political authority, emerged as a political exigency. Undoubtedly, the encounter of markedly different cultures bore the most enduring fruit within the realm of arts. Wars, the increase of trade as a means for mutual prosperity, and conflicts of status were the most significant factors behind the intense traffic of diplomacy. Sprawled across a vast geography, the Ottoman Empire welcomed more ambassadors than it sent to other countries, and particularly until the 19th century; these ambassadors were embraced, per Ottoman tradition. In turn, western ambassadors were prompted by the need to document the cities, particularly Istanbul, social structure, customs, administrative and military organization of the Ottoman Empire; apart from the reports they drafted upon their return, they also took advantage of the gifts and paintings they carried along. Often presumed to be true-to-life visual documents, such paintings thus became the most evident expressions of respectability and social status, and attained a special place and meaning, partly due to their potential to address the masses. The works that ambassadors commissioned to artists they added to their retinue en route to the East or to their local counterparts they encountered during service, evolved into books with engravings or collections decorating the walls of European chateaus, and served as source material for works by other artists, thus generating a large visual repertoire on the Ottoman world. Ottoman ambassadors sent to European countries were subjects of monumental portraits painted by leading European artists of the period, immortalizing these historic visits. This selection from the Suna and Inan Kiraç Foundation Orientalist Painting Collection, not only allows us to travel across the meandering paths of diplomatic history under the guidance of art, but it also introduces us to intriguing personalities. Ambassadors and painters continue to communicate with us through a silent yet equally rich and colourful language of expression, presented in their reports and letters, and share with us their respective periods, worldviews, travels and experiences, as well as the ceremonies they joined. Listening to their extraordinary tales, it is impossible not to be enraptured by the splendor and elegance of a lost age. Often used as one of the clearest indications of status and identity in western art since Antiquity, portraits also served a similar purpose for ambassadors. Furthermore, documenting the physiognomy of ambassadors through portraiture was also regarded as a precautionary measure against espionage. Portraits were painted of European ambassadors sent to the Ottoman Empire as high-level officials that have attained great respectability; artists to which these portraits were commissioned strived to reflect not only the physiognomy of the ambassadors, but the power and authority of the state and the ruler they represented. The Ottoman State's political, military, commercial, and cultural relations with European states gained momentum from the 18th century onwards. In turn, the visits Ottoman ambassadors paid to western countries accelerated the spread of the Turquerie fashion of the period. While portraits of Ottoman ambassadors painted by renowned artists of the countries to which they were assigned served to honor the Ottoman Sultan and his representative, they also nurtured the West's penchant for exoticism. There is no doubt that the ever-changing trends, fashions, as well as the purpose of diplomatic visits and political relations were reflected in the portraits. For example, while Kozbekçi M
2005New English Paperback. Pbo. 4to. (29 x 21 cm). In English and Turkish. 208 p., color ills. "An Orientalist painter who lived almost half a century in Istanbul up to his death, Leonardo de Mango is described by the art commentator Thalasso as, a painter through whom the East spoke. De Mango was born on 19 February 1843, the eldest child of a large family in the town of Bisceglie near Bari in Italy, where he honed his native talent for drawing up to the age of nineteen. In 1862, under the patronage of an aristocratic family of Bari, he entered the Academy of Fine Arts of Naples and studied there for eight years under Filippo Palizzi and of Domenico Morelli. Morelli was also a painter who treated exotic orientalist themes. During this period de Mango also worked with Saverio Altamura, Bernardo Celentano, Raffaele d'Auria, Federico Maldarelli, Raffaele Postiglione and Giuseppe Mancinelli. In 1883 De Mango settled in Istanbul during the reign of Sultan Abdul Hamid II, where he is known to have set up, and taught for some time at, the oil painting department of the School of Fine Arts. Forced to leave Istanbul briefly in 1911 during the Tripolitanian War, the artist returned to the city following the Treaty of Ouchy on 15 October 1912. De Mango was among the artists who, at the initiative of Alexander Vallaury, a teacher in the architecture department of the School of Fine Arts, and Regis Delbeuf, manager of the Istanbul daily Le Stamboul, organized the first painting and sculpture exhibition at Beyoglu in 1901, dubbed the 'Pera Exhibitions in the Passage Oriental', an arcade owned by the French merchant Bourdon. With 27 works, De Mango was the most well represented artist in the exhibition, as he was again in the 1920 exhibition when he was one of 36 artists, participating with 33 of his own paintings. De Mango also had 16 paintings in the last of the Pera exhibitions, which was held in 1903. He painted in the open air and in his workshop at Beyoglu, reflecting the daily life of the different districts of Istanbul until his death in 1930.". Contents: Erol Makzume "The 75th anniversary of the death of an orientalist painter from Pera, Leonardo de Mango"; Roberta Ferrazza "Leonardo de Mango and the Italian community in Istanbul"; Bianca Consiglio "Portrait Painter Leonardo de Mango"; Piero Consiglio - Giacinto La Notte "Leonardo de Mango stages in a life divided between East and West"; Catalogue.
2016New New English Original bdg. Dust wrapper. 4to. (30 x 24 cm). In Turkish. [xv], [4], 342, [1] p., color and b/w ills. Istanbul karsilasmalari: Osmanlilar, oryantalistler ve 19. yüzyil görsel kültürü. [= Istanbul exchanges: Ottomans, orientalists, and Ninteenth-century visual culture]. Translated by Zeynep Rona.
2017As New Turkish Paperback. Mint. Cr. 8vo. (20 x 14 cm). In Turkish. 126 p., facsimile plates of original manuscript. Harem-i Hümayun (Inceleme - metin - tipki basim). Signed and inscribed by Zal. Transcription, facsimile and translation into modern Turkish of Harem-i Humayun manuscript written in 17th century preserved in Carolina Rediviva Library of Uppsala University in Sweden. This is one of 12 manuscripts gifted in 1891 to King Oscar [Frederik] II of Sweden by Turkish / Ottoman sultan Abdülhamid II. "Harem-i Humayun" contains mankibahs (legendary tales) of Selim I (Yavuz Sultan Selim), (1465-1520) in 16th century.
rif. CZC-12481Envoi autographe de l'auteur " à Monsieur le professeur Delphin " Israël, origines du peuple Hébreu, l’exode en Égypte, les premiers conflits, les sacrifices - Islam; les confréries religieuses de l'Islam Marocain, le culte des Saints, les villes saintes... Très belle édition de 1917 des Études Orientales et Religieuses, mélanges publiés à l'occasion de la troisième année de professorat d'Edouard Montet. Préface de M. le Professeur Fulliquet. ouvrage académique qui rassemble les recherches et réflexions de l'auteur sur des thèmes liés aux cultures, religions et civilisations orientales. fort volume grand in8, 23x14cm, un peu sali en bordure de couverture, très bon état intérieur, 355pp. Paris ; Fischbacher, 1917 ref/14
rif. CZC-12481Envoi autographe de l'auteur " à Monsieur le professeur Delphin " Israël, origines du peuple Hébreu, l’exode en Égypte, les premiers conflits, les sacrifices - Islam; les confréries religieuses de l'Islam Marocain, le culte des Saints, les villes saintes... Très belle édition de 1917 des Études Orientales et Religieuses, mélanges publiés à l'occasion de la troisième année de professorat d'Edouard Montet. Préface de M. le Professeur Fulliquet. ouvrage académique qui rassemble les recherches et réflexions de l'auteur sur des thèmes liés aux cultures, religions et civilisations orientales. fort volume grand in8, 23x14cm, un peu sali en bordure de couverture, très bon état intérieur, 355pp. Paris ; Fischbacher, 1917 ref/14
1997rif. nc1338Ides et Calendes Broché 1997 In-4 (25 x 32 cm), broché, 177 pages, photographies en noir et blanc ; quelques petits chocs et marques d'usage sur les plats, traces aux tranche, coin inférieur un peu recourbé, par ailleurs assez bon état. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.
2003rif. 50828Hazan 2003 Nouvelle édition corrigée. In-4 Cartonnage éditeur sous jaquette et étui, 293 pp. Nombreuses illustrations en couleurs.
2014rif. 62186Hazan 2014 In-4 reliure éd. sous jaquette 31,6 cm sur 29,6. 440 pages. Occasion comme neuf. Poids sans emballage : 3538 grammes.
1923rif. 91225Paris, G. et A. Mornay, impr. Jacoub et Aulard, à Paris, coll. « La Collection Originale, 7e » 1923 In-8. Broché, couverture rempliée ornée d’un décor polychrome, 223 pp., texte encadré d’un riche décor, têtes de chapitre ornées d’un décor oriental or et noir, 4 miniatures en couleur hors texte de A.H. Thomas. Bon exemplaire.
2006New New English Original bdg. Dust wrapper. 4to. (30 x 24 cm). In English. 343 p., color and b/w ills. The Sultan's procession: The Swedish embassy to Sultan Mehmed IV in 1657-1658 and the Rålamb paintings. In 1657, King Charles X Gustaf of Sweden sent Claes Ralamb as an envoy to Sultan Mehmed IV's court. While he was there, Ralamb commissioned 20 large paintings in oil on canvas, depicting an imperial procession through Istanbul in September 1657, providing a revealing insight into the court of Sultan Mehmed IV in Ottoman Turkey. For the first time, Ralamb's paintings are published here in "The Sultan's Procession". This beautifully illustrated book - containing over 150 colour illustrations - comprehensively covers the full history of the paintings, including a technical analysis from the conservation of one of the paintings. The book also provides a full history of Claes Ralamb and his mission, including the political background of the Swedish embassy, Ralamb's biography and English translations of primary sources in Swedish and Turkish archives. Among the illustrations are over 100 watercolours of people in the Ottoman society from the costume album acquired by Ralamb in Istanbul. These unique Ralamb paintings provide a rare window into life at the Ottoman court in the 17th century.
1873rif. 65781Charpentier et Cie, Libraires-éditeurs 1873 In-12, demi-basane fauve, dos à nerfs, caissons ornés de fleurons dorés, pièce de titre maroquin cerise, 430 pp.
1983rif. 85933ACR éditions 1983 In-4. Reliure éditeur pleine toile rouge, 272 pp., entièrement illustré de reproductions en couleurs. Bon exemplaire sans jaquette.
1993rif. 127060ACR Édition Internationale, Courbevoie (Paris), 1993. 264 S. ; 28,5 x 26 cm , Leinen.
1897rif. 29624Partitions sur l'Afrique du nord Le Signe Alphonse 1897 approx.
1908rif. 29650Partitions sur la Turquie Bosc 1908
