NEBAHAT AVCIOGLU.MareMagnum
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2014New English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish. 368 p., b/w and color ills. A precious study on 'Turquerie' style as cultural and architectural axis (not limited to exotism) in specialty of especially kiosks, mosques and hamams. Turquerie ve temsil politikasi, 1728-1876.
2017New French Paperback. Roy. 8vo. (24 x 17 cm). In French. 238 p., ills. Les Turqueries ou autrement dit le thème turc a joué un grand rôle dans la littérature et les arts (la peinture, la musique, le ballet, les objets décoratifs etc...) en France. Si les croisades ont mis en contact l'Orient musulman et l'Occident chrétien, la prise de Constantinople et la montée en puissance de l'Empire ottoman ont fait des Turcs ottomans le principal représentant de l'Orient en Occident. Pour les écrivains français le thème turc représentait l'altérité par excellence. Peu importait la véracité de l'image, la fiction française s'était emparée du Turc. Georges de Scudéry relate l'histoire du célèbre Ibrahim, vizir du sultan Soliman le magnifique dans Ibrahim ou l'illustre Bassa. Le grand Racine, si respectueux des règles classiques, ose contourner la tradition des sujets antiques en prétendant que "l'éloignement des pays répare en quelque sorte la trop grande proximité des temps" et crée sa tragédie intitulée Bajazet d'après le prince ottoman du même nom. A ne pas confondre avec le héros de l'opéra de Vivaldi, un autre Bajazet, le sultan vaincu par Tamerlan. Bien avant Molière, Rotrou fait parler ses personnages en turc dans sa pièce intitulée La Sour. Molière reprendra ce procédé avec le succès que l'on connaît dans Le Bourgeois gentilhomme qui est la turquerie par excellence du 17ème siècle et qui combine non seulement des personnages turcs mais aussi la musique de Lully directement inspirée des sonorités turques, sans parler des costumes et des pas de danse à la turque. Ainsi, la mode est lancée par Molière pour se moquer des Turcs. D'autre part, grâce à la Bibliothèque orientale d'Herbelot l'érudition passe également par les Turqueries. Au 18ème siècle le thème turc se mêle de critique et de philosophie. Voltaire rapporte les paroles du vieux Turc d'Istanbul, il faut cultiver son jardin, sans cesser de condamner le fanatisme musulman. Les Turqueries se mêlent également de littérature licencieuse voire érotique. Au 19ème siècle les Turqueries se fondent dans l'Orientalisme et prennent des accents politiques. Peut-on dire que de nos jours la tradition des Turqueries continue, après avoir subi certes une certaine transformation ? Peut-on considérer La Pasión turca d'Antonio Gala ou Le Turquetto de Metin Arditi comme des turqueries contemporaines ?
1999New English Paperback. Pbo. 4to. (30 x 24 cm). In English and Turkish. 67, [2] p., color and b/w ills. The Artist, The Sultan and his portrait: Mehmed the Conqueror according to Gentile Bellini.= Ressam, Sultan ve portresi: Gentile Bellini'ye göre Fatih Sultan Mehmet. [Exhition catalogue]. Edited by Münevver Eminoglu. Consultant: Günsel Renda. This exhibition consists of a single painting: the famous portrait that the Ottoman Sultan Mehmed the Conqueror had painted by the Italian artist Gentile Bellini about five hundred years ago and is now in the collection of the National Gallery of London. The painting is a magnificent souvenir of a brief 'golden age' in a reminder that, as early as the Renaissance and under the leadership of a strong and foresighted ruler, Ottoman society, which always looked wetward, hd the chance to grasp universal civilization.
1985Fine English Paperback. Small 4to. (27 x 20 cm). In English. 54, [2] p., 53 numerous b/w plts., 46 numerous color plates. The people & places of Constantinople. Watercolours by Amadeo Count Preziosi, (1816-1882). It's prepared for the first exhibition on Count Amadeo Preziosi, (1816-1882) in Great Britain. "This is the first exhibition of the work of Amadeo Preziosi to be held in this ccountry. It does not cclaim to be definitive, but it centered on the Museum's substantial holdings and augmented by loans from collections in Great Britain. Preziosi's name is now little known except to specialists, but in the period 1840-70 he was by far the most reknowned artist in Constantinople. He was only retrieved from the critical neglect into which he had fallen in the 20th century by Rodney Searight who began to appreciate his importance while building up his unsurpassed collection of views of the Near and Middle East. Indeed, it is fitting that the exhibition honours not only Preziosi himself but also Rodney Searight, pioneer of the study of this field, whose collection the Museum is raising funds to acquire. It is hoped that the enthusiasm Preziosi's contemporaries felt foe his lively and colourful studies of a now vanished way of life will be appreciated by visitors to the exhibition". (From the Kaufmann's preface).
2003Fine Turkish Paperback. Small 4to. (26 x 20 cm). In Turkish. 47, [1] p., color ills. Vanmour ve Levnî: Lale Devri Istanbuluna iki özgün bakis. Rijksmuseum ve Topkapi Sarayi Müzesi'ndeki yapitlariyla. [Exhibition catalogue]. Topkapi Sarayi Müzesi, 19 Aralik 2003 - 15 Nisan 2004. Prep. by Melis H. Seyhun, Arzu Karamani Pekin.
1985Fine English Paperback. Roy. 8vo. (24 x 17 cm). In English and Japanese. 787, 144, 91 p. (Toyo Bunko) Bibliography Islamic and Middle Eastern studies in Japan, 1868-1988, 1992. [With] Index & Directory of Asian historical studies in Japan.
1838Very Good German Original cloth bdg. Boards with European marbling. 4to. (26 x 22 cm). In German. 147, [3] p. Muhammed's Religion nach ihrer inneren Entwicklung und ihrem Einflusse auf das Leben der Völker. Eine historische Betrachtung. First Edition. Rare.
1962Very Good German Paperback. Roy. 8vo. (24 x 17 cm). In German. 20 p., iv numerous b/w plates (Tafeln). Ein Weiteres Sultansbild von Gentile Bellini aus russischem Besitz. A study on Gentile Bellini, (1430-1507), was an Italian painter of the school of Venice. He came from Venice's leading family of painters, and at least in the early part of his career was more highly regarded than his younger brother Giovanni Bellini, the reverse of the case today. From 1474 he was the official portrait artist for the Doges of Venice, and as well as his portraits he painted a number of very large subjects with multitudes of figures, especially for the Scuole Grandi of Venice, wealthy confraternities that were very important in Venetian patrician social life. In 1479 he was sent to Constantinople by the Venetian government when the Ottoman Sultan Mehmed II requested an artist; he returned the next year. Thereafter a number of his subjects were set in the East, and he is one of the founders of the Orientalist tradition in Western painting. His portrait of the Sultan was also copied in paintings and prints and became known all over Europe.
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
1996Very Good Italian Paperback. Demy 8vo. (22 x 14 cm). In Italian. 281, [2] p. La bibbia vista dall'Islâm. [= Rawzat-us-safâ = Il giarrino della purezza].
1988Fine French Paperback. 4to. (29 x 21 cm). In French. 76, [3] p., b/w plates. Reprint of 1909 Edition. L'art Ottoman. Les peintres de Turquie.
2017New English Paperback. 4to. (28 x 23 cm). In English, French, and Turkish. 201 p., color ills. Landscapes of water from the Arkas Collection.= Paysages d'eaux de la Collection Arkas.= Arkas Kolekksiyonu'ndan su manzalari. [Exhibition catalogue]. 20 September - 29 December 2017. The paintings chosen for this exhibition emphasize the importance of landscape painting in the art of the Western world. This selection, dating from the first half of the 19th century to the second half of the 20th century, features some of the most prominent artists of European landscape painting. The 90 works from the Arkas Collection, most of which are being shown for the first time, illustrate the flourishing artistic scene that prevailed when Paris was the capital of art. The 19th century was one of innovations and revolutions, both historically and artistically. Landscape painting had begun to be recognized as an independent artistic genre in the first half of the 19th century. Until that period, artists preferred to paint in studios. Then, breaking with the strictures of academicism, they began to experiment with plein air (outdoor) painting. During this period, when art itself was being redefined, artistic movements were evolving according to the pictorial tradition. Nature was represented through diverse modes of expression and new artistic movements came into being, such as the Barbizon School, Impressionism, Symbolism, Post-Impressionism, Fauvism and Expressionism. Landscapes of Water "reflects" the historical evolution of the pictorial medium over the course of the 19th and 20th centuries. Here you will find the remarkable works of Eugéne Boudin, Jean-Baptiste Camille Corot, Maurice de Vlaminck, Francis Picabia, Henry Lebasque, and Hippolyte Camille Delpy, among others. They invite the viewer on a fabulous odyssey through diverse geographic areas, from the banks of the Seine and the Scottish lakes to the summits of the Alps, by way of the warm light of the Mediterranean, the North Sea and the rivers of Europe. 1000 copies were printed.
1868Very Good English Original bdg. with new spine. Roy. 8vo. (23 x 15 cm). In English. [xxviii], 507 p., 1 folded engraved color plate of Sebastopol from the sea, 12 numerous folded plans and maps. First Edition. Third volume. The invasion of the Crimea: Its origin, and an account of its progress down to the death of Lord Raglan. Vol. III. Kinglake was an English travel writer and historian. He was born near Taunton, Somerset, and educated at Eton College and Trinity College, Cambridge. He was called to the Bar in 1837, and built up a thriving legal practice, which, in 1856, he abandoned to devote himself to literature and public life. His first literary venture was Eothen; or Traces of travel brought home from the East (London: J. Ollivier, 1844), a very popular work of Eastern travel, apparently first published anonymously, in which he described a journey he made about ten years earlier in Syria, Palestine and Egypt, together with his Eton contemporary Lord Pollington. Elliot Warburton said it evoked "the East itself in vital actual reality" and it was instantly successful. However, his magnum opus was THE INVASION OF THE CRIMEA: Its Origin, and an Account of its Progress down to the Death of Lord Raglan, in 8 volumes, published from 1863 to 1887 by Blackwood, Edinburgh, one of the most effective works of its class. The History, which Geoff Bocca describes as a book "by which no intelligent man can fail immediately to be fascinated, no matter to what page he might open it" has been accused of being too favourable to Lord Raglan and unduly hostile to Napoleon III for whom the author had an extreme aversion. The town of Kinglake in Victoria, Australia, and the adjacent national park are named after him. A Whig, Kinglake was elected at the 1857 general election as one of the two Members of Parliament (MP) for Bridgwater, having unsuccessfully contested the seat in 1852. He was returned at next two general elections, but the result of the 1868 general election in Bridgwater was voided on petition on 26 February 1869. No by-election was held, and after a Royal Commission found that there had been extensive corruption, the town was disenfranchised in 1870.
1880Very Good English Original bdg. with new spine. Roy. 8vo. (23 x 15 cm). In English. [xviii], 482, [24] p., 1 folded sketch map frontispiece. First Edition. Sixth volume. The invasion of the Crimea: Its origin, and an account of its progress down to the death of Lord Raglan. Vol. VI. Kinglake was an English travel writer and historian. He was born near Taunton, Somerset, and educated at Eton College and Trinity College, Cambridge. He was called to the Bar in 1837, and built up a thriving legal practice, which, in 1856, he abandoned to devote himself to literature and public life. His first literary venture was Eothen; or Traces of travel brought home from the East (London: J. Ollivier, 1844), a very popular work of Eastern travel, apparently first published anonymously, in which he described a journey he made about ten years earlier in Syria, Palestine and Egypt, together with his Eton contemporary Lord Pollington. Elliot Warburton said it evoked "the East itself in vital actual reality" and it was instantly successful. However, his magnum opus was THE INVASION OF THE CRIMEA: Its Origin, and an Account of its Progress down to the Death of Lord Raglan, in 8 volumes, published from 1863 to 1887 by Blackwood, Edinburgh, one of the most effective works of its class. The History, which Geoff Bocca describes as a book "by which no intelligent man can fail immediately to be fascinated, no matter to what page he might open it" has been accused of being too favourable to Lord Raglan and unduly hostile to Napoleon III for whom the author had an extreme aversion. The town of Kinglake in Victoria, Australia, and the adjacent national park are named after him. A Whig, Kinglake was elected at the 1857 general election as one of the two Members of Parliament (MP) for Bridgwater, having unsuccessfully contested the seat in 1852. He was returned at next two general elections, but the result of the 1868 general election in Bridgwater was voided on petition on 26 February 1869. No by-election was held, and after a Royal Commission found that there had been extensive corruption, the town was disenfranchised in 1870.
2016As New German Paperback. Pbo. 4to. (29 x 24 cm). In German and Turkish. 144 p., color ills. Kunstausstellung von der Skizze zum Gemalde.= Eskizlerden tablolara Sultan Abdülaziz Resim Sergisi. [Exhibition catalogue]. Curated by Mehmet Lütfi Sen.
2003Very Good Very Good English Original cloth bdg. Dusst wrapper. Folio. (32 x 24 cm). Edition in English. 251 p., b/w and color ills. An eyewitness of the Tulip Era: Jean-Baptiste Vanmour. Edited by Melis H. Seyhun, Arzu Karamani Pekin. An eyewitness of one the most interesting periods in Ottoman history is a Western artist: Jean-Baptiste Vanmour. Today, as part of the collection of Rijksmuseum Amsterdam, nearly sixty paintings of the artist depict the Ottoman world in a realistic style: Sultans, grand viziers, prominent imperial officials, daily life scenes from Istanbul, an ambassador´s audience with the Sultan and other significant events such as the Patrona Halil Rebellion. An eyewitness of Tulip Era: Jean Baptiste Vanmour, sheds light to the works of this unique painter and documents one of the most significant periods in Ottoman civilization and culture through the perspectives of four renowned art histroians.
1988Fine English Paperback. Pbo. Small 4to. (27 x 19 cm). In French. 76, [3] p., ills. Reprint of 1909 Edition. L'art Ottoman. Les peintres de Turquie.
1990New English Paperback. Pbo. Oblong Roy. 8vo. (24 x 17 cm). In French. [viii], 51 p., 25 b/w photos. Constantinople en 1890. Texte présenté et annoté par Jacques Huré et illustré de photographies d'époque.
2000New English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In French. 160 p. La politique orientale de la Russie. The eastern policy of Russia. DIPLOMACY International relations Tsarist Russia Soviets.
2014New Turkish Paperback. Large 8vo. (21 x 21 cm). In Turkish. 24 p., b/w and color ills. Macaristan'dan olgular Dogu kâsifi Macarlar.
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.
2010New English Paperback. Demy 8vo. (22 x 15 cm). In French and Turkish. Color and b/w ills. 84 p. Study of the painters and exhibitions of the Pera quarters. Peintres et expositions de Pera: 1845-1916.= Pera ressamlari-Pera sergileri. 1845-1916. [Exhibition catalogue]. Texts by Seza Sinanlar Uslu.
1995Fine English Paperback. Cr. 8vo. (20 x 13 cm). In Turkish. 216 p. Islâm maneviyati ve bati. [= L'Islam et la fonction de René Guénon.]. Translated by Isik Ergüden.
2017Fine French Original bdg. HC. 4to. In French and Turkish. 168 p., ills. Pierre Loti et les silhouettes de Hassan: Portraits avant La II. Constitution.= Pierre Loti ve Hasan silüetleri: II. Mesrutiyet öncesi portreler. The novelist Julien Viaud, famous for his nickname Pierre Loti, is a traveling maritime officer. At the end of the 19th century and the beginning of the 20th century, he makes seven trips to Istanbul. In 1903, at the age of 53, Pierre Loti takes over Le Vautour, the first station ship to the French Embassy in Istanbul, during his fifth trip to Turkey. In the same period, Hasan signed cartoons start to circulate in Istanbul.The person who is hiding under Hasan is actually Robert de Guiroye, a naval officer. This person was then assigned to the auxiliary ship "La Mouette" (Seagull) under the command of Pierre Loti. It is thought that this officer made drawings on this ship in the evening after having spent a long time in important social clubs such as Cercle d'Orient, Pera Palas Ballroom, Tepebasi Theater. Who is actually Hasan / Who is the real Hasan? The answer to this problem is in the exhibition and detailed catalog. Let's see if they can help bring Hasan's identity to light. The "Pierre Loti and Hasan Silhouettes" exhibition is made up of documents obtained as a result of years of research by numerous collections and valuable collector Sayen Erol Makzume, who has vast knowledge of Hasan's lithographs in the early 20th century. The exhibition contains texts, cartoons and in-depth information, and sheds light on the transition period of Turkey after the Second Constitutional Monarchy.
1972Very Good English Paperback. 4to. (28 x 20 cm). In English, French, and Turkish. [6], 530, [2] p., color and b/w plates, 1 folded map. Studies on pre-Islamic Turkish art.= Islamiyetten önceki Türk sanati hakkinda arastirmalar. Türk kültürü el kitabi. Vol. II, Ch. I a. Edited by Emel Esin, Halil Inalcik, Oktay Aslanapa. First and Only Edition.