3,495 results
1997Fine Fine English Original bdg. Dust wrapper. 4to. (32 x 24 cm). In Turkish. 351 p. Color and b/w ills. Biography of Turkish painter Ibrahim Çalli (1882-1960). Çalli ve atölyesi.
Madrid, Espasa-Calpe, 1958, 28 x 21,5 cm., tela original con sobrecubiertas algo rasgadas por el plano posterior, 371 págs. + 1 hoja + XIV láminas en color + 14 + 300 láminas en negro en papel couché.
Santander, Sociedad de Artes Gráficas J. Martínez, 2000, 27,5 x 22,5 cm., tela original con sobrecubiertas en colores, 317 págs. con numerosas ilustraciones, la mayoría en colores + 1 h.
2012New English Paperback. Pbo. 4to. (28 x 24 cm). In English and Turkish. 225 p., ills. Beyond experience. Dokuz Eylül University Faculty of Fine Arts student projects.= Deneyimin ötesi. Dokuz Eylül Üniversitesi Güzel Sanatlar Fakültesi ögrenci projeleri. Dokuz Eylül University's Faculty of Fine Arts from Izmir, which comprises of a wide range of departments, carries the additional distinction of being the first university faculty of fine arts in Turkey. The faculty, with 40 academic years behind it, aims to create a model of education whereby theory and practice, the traditional and the contemporary, the pioneering and the conceptual coincide in harmony. The exhibition catalogue Beyond Experience consists of selected works by young artists and designers from the Faculty of Fine Arts, aiming to establish itself as a groundwork for aesthetic experience through a plethora of modes of self-expression, including painting, sculpture, ceramics, installation, stage design, graphic design, photography, and film.
1931In 16, pp. 166 + (2) con ill. n.t. Danni al dorso. Br. edit. Catalogo con i prodotti dell'Istituto Hermes di Milano: cosmetici, maquillage, creme viso, prodotti per capelli, tinte, parrucche, reggiseni, corsetteria, profumeria, prodotti per le mani, prodotti per il dimagrimento.
1937ref. 123185Paris, Editions de la Coiffure Française. 1937. 152, (7) Seiten. Mit 12 farbig mont. Bildern u. Abbildungen im Text. Broschur. (Ohne Einband. Bindung gelockert. Papier teils etwas fleckig). 24x15 cm
2009ref. ART6014MRelié, 694 pages, paru en 2009, livre quasi neuf.
ref. 21015Double Feuille, 28,5 X 30 cm.
1931In 16 (cm 13 x 19,5), pp. 433. Brossura editoriale con sovraccoperta. Interessante manuale con nozioni di cura della pelle e cosmesi. In fine compaiono ricette e formulazioni di vari prodotti (dalle pomate labbra al latte detergente viso, dalle ciprie alle acque profumate da toeletta ecc...).
ref. 19096Madrid, Banco de Espana, 1985. 29 x 34, 377 pp., 265 figures N/B + 179 planches en couleurs (265 pictures in B/W + 179 tables in colour), cartonnage d'édition + jaquette (original hardcover + dustwrapper) très bon état (very fine condition).
2014ref. 1170492014 Editions Rankin Publishing - 2014 - In-4, cartonnage illustré - 166 pages - Très nombreuses reproductions photographiques en couleurs et en N&B hors-texte et pleine page
194328x21. XIII+104p. Lám. Trad. J. E. Payró. Enc. Tela ed. La sobrecubierta algo deteriorada.
2012New New English Paperback. Pbo. 4to. (27 x 24 cm). In Turkish. 143 p., color ills. Tanzimattan Cumhuriyete Türk resmi. Sakip Sabanci Müzesi Resim Koleksiyonu.
1994New New English Original bdg. Dust wrapper. Oblong large 8vo. (23 x 25 cm). In English and Turkish. 129, [2] p., color and b/w ills. Eren Eyüboglu. Presentation by Ferit Edgü. Artist catalogue. TURKISH PAINTING Modern - Contemporary art Painter Artist.
2000Small blue quarto; 500 p, b&w illus Rare; only 1 holding & 1 record on WorldCat. || In Persian. || Cosmetics; Iran. || Title in French on rear cover.
2013Fine English Paperback. Pbo. 4to. (29 x 22 cm). In Turkish. 117, [1] p., color and b/w ills. Auction catalogue of contemporary, modern and classical Turkish paints from the Collection of Munif Pasha Family. Çagdas ve modern Türk resim sanati. Münif Pasa Aile Koleksiyonu. Maçka Mezat Müzayede 04 / 2013. [Auction catalogue].
2007New English Ahmet Günestekin. Antik modern = Antique Moderne., text by: Gülseli Inal; translator: Ayperi Okur, Ist., 2007. Paperback. Pbo. 4to. (29 x 23 cm). 212 p. Color ills. In Turkish and English. 1250 copies were printed. "Ahmet Günestekin (born December 22, 1966 in Batman, Turkey) is a Turkish painter. He was born in the workers' camp at Garzan oil field in Batman, where his father was employed. He was the second youngest child of a seven children family. His passion for painting has been with him ever since his childhood. He was awarded his first prize in third grade when he was nine years old. His acquaintanceship with oil colors occurred at the same time, and in addition to this, his interest in literature appeared at this young age. Since that time, the artist has kept on working permanently. When he reached his high school years, he staged his first personal exhibition in the gallery at his school. Shortly after his graduation, he went on to study in the Faculty of Fine Arts at Mimar Sinan University in Istanbul. After a while he dropped out of this programme, but later went on to complete his graduate studies at the Anadolu University's Department of Management. For a period, he went into business, but soon returned to painting. In 1997, Günestekin established his first studio in Beyoglu and from there staged numerous personal and cooperative exhibitions. In the wake of his exhibition ¿Colors After Darkness¿, which he opened in 2003 iat Atatürk Cultural Center (AKM), he gradually began to release his name into the world of art. Through a great number of personal exhibitions, Günestekin¿s works of art now take their place in prestigious domestic and foreign collections. Ahmet Günestekin, whose signature of his great achievements is his distinctive language, has also attained great success in the design field. His art: Antique Modern While it exists as a definite and specific feature in modern art expression, form in post-modern times is observed and experienced as fragmented and imperceptible through a detached yet consecutive visual experience. Modern means: integrity, continuity, order, nature, form and, most importantly, simplicity. Post modern, on the other hand, is about pieces, disarray, detachedness, context, complexity and, most importantly, essence and ethnic culture. While modernism offers a unifying closed-circuit form mechanism, what is dominant in the art expression of the post-modern era is anti-form and a fragmented structure. (We designate the post-modern era as gaining clarity by 1990). The principles in a modern work of art can be listed as goal, distance, sovereignty, depiction of existence, metaphor, depth, interpretation, the designated, main code, narration, paranoia, the origin, metaphysics, and transcendence. What comes to the fore in the post-modern era, conversely, are characteristics like game, anarchy, process, puzzle, anti-thesis, nonexistence, disintegration, personal language (idiolect), irony, ambiguity, and immanence. From this perspective, Ahmet Günestekin's art expression bridges both the modern and post-modern approaches; whilst it harbors the modern characteristics and displays some features of the modern, and displays some features of the modern in terms of the space he reflects, it also offers a refuge for antique characteristics in terms of its themes. In actuality, Ahmet Günestekin, as an artist fascinated by the antique worlds, stands contrary to Modernism. However, the integrity and unity he reflects on the canvass are the principles of the modern work of art and they greet us as the most important principles that the artist gives the utmost importance to in composing his work. On the other hand, Ahmet Günestekin, who displays a completely post-modern attitude, also crosshatches the archetypes of the antique worlds, and transforms the ruptures of time - anachronisms - by greeting time perception, thereby transforming."
Málaga, Sala de Exposiciones del Palacio Episcopal, 1999, 28 x 24'5 cm., 300 págs. incluso numerosas láminas a color.
M., Museo Nacional Reina Sofía, 1992, 27'5 x 22 cm., numerosas ilustraciones a color, 293 págs.
Madrid, Blass y Cía., (1911), 24 x 16,5 cm., 16 págs. en papel de hilo y 31 láminas en papel couché.
Sin lugar ni año (¿1956?), 38,5 x 28,5 cm., tela original, una hoja con dedicatoria manuscrita del pintor Fernando Delapuente al crítico de arte francés Paul Guinard + 12 láminas en colores.
Bilbao, Museo de Bellas Artes, 2002, 24'5 x 27 cm., 284 págs. con numerosas ilustraciones y láminas, la mayoría en color, algunas plegadas - 2 hojas.
La Coruña, 2002, 28 x 22 cm., 389 págs. con numerosas ilustraciones en negro y color, muchas de ellas a toda página - 1 h.
New York, Harry N. Abrams, 1950, 33 x 25 cm., tela original, 126 págs. - 50 láminas a todo color.
New York, Harry N. Abrams, 1977, 28 x 30 cm., tela original con sobrecubiertas, 231 págs., incluso ilustraciones y láminas a toda página en negro y color.
