Constantinople

Constantinople — marelibri

Two original photographs of SS Üsküdar [Üsküdar Vapuru].

1935Fine Turkish Original two b/w photos of SS Üsküdar. 9x14 cm. SS Üsküdar was a small passenger ferry built in Germany for the Turkish company Sirket-i Hayriye and launched in 1927. She sank in lodos weather on March 1, 1958 in the Gulf of Izmit. The accident killed 272 people on board including seven crew, 39 survived the incident. SS Üsküdar was built by F. Schichau Shipyard in Elbing, Germany in 1927 with funnel number 72. She was the first of two identical vessels the Turkish urban transportation company Sirket-i Hayriye commissioned in the Republican era. She was 33 m (108 ft) long with a beam of 6.6 m (22 ft) and a draft of 2 m (6.6 ft). Three steam engines of 350 shp (260.99 kW) propelled her initially at 10 knots (19 km/h; 12 mph), which later dropped to 8 knots (15 km/h; 9.2 mph). SS Üsküdar was capable of carrying 344 passengers. 430 lifejackets, 35 lifebuoys and two lifeboats were on board the ferry. SS Üsküdar was on scheduled shuttle trips on the Sea of Marmara between Izmit and Degirmendere, a town on the southern coast of the Gulf of Izmit. On March 1, 1958, "lodos", a heavy SW storm was raising high seas. Mehmet Asçi, captain of SS Üsküdar, departed the ferry three minutes before the scheduled time of 12:30 local time from Izmit Pier, because the vessel was more vulnerable at the pier than at open sea. Shipmate Ali Kaya, who jumped onto the pier and untied the hawser, could not return to the ferry as the ship suddenly left the pier. The ferry had nine crew and 302 passengers aboard including 76 students from a local vocational high school. As the ferry headed to Degirmendere, high waves raised by the storm blowing at 130 km/h (81 mph) rocked the small vessel. The bridge broke off and fell into water, taking the captain and the boatswain with it. The rudder chain broke leaving the ferry uncontrollable. Water filled the engine room and the front passenger department after breaking the window glass. 26 minutes from her departure, SS Üsküdar careened over on the port side and sank at 12:53 local time. 272 people died including 38 students and seven crew. 37 passengers and two crew survived the disaster. Eight days after the incident, the Turkish Navy started a search and rescue operation. The muddy seabed hindered salvage efforts. On March 19, 1958, after eleven days of endeavors, the wreck was lifted with three slings off the 35 m (115 ft) deep seabed. Four corpses were recovered. It was observed that at some places, the steel sheets of the ship's hull were torn. (Wikipedia).

Bookshop Khalkedon Books, IOBA, ESA · Turquie41,72 €

RINALDO MARMARA.MareMagnum

La communauté Levantine de Constantinople. De l'Empire Byzantin a la République Turque.

2012New English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In French. 428 p. Note Liminaire INTRODUCTION PREMIÈRE PARTIE : LA FORMATION DE LA COMMUNAUTÉ LEVANTINE Chapitre 1 - DES ORIGINES À LA CONQUÊTE DE CONSTANTINOPLE PAR LES TURCS EN 1453 : LA COMMUNAUTÉ LEVANTINE Section I - LES COLONIES ITALIENNES I - Les Amalfitains II - Les Vénitiens A. Saint-Acyndinus B. Saint-Marc de Embulo C. Sainte-Marie de Embulo D. Saint-Nicolas III - Les Pisans A. Saint-Nicolas B. Saint-Pierre-et-Paul IV - Les Génois V - Ordres monastiques à Constantinople A. Franciscains B. Dominicains C. Templiers D. Hospitaliers de Saint-Jean Section II - L'EMPIRE LATIN D'ORIENT (1204-1261) I - Le Patriarcat latin de Constantinople et ses patriarches II - Eglises latines de l'Empire franco-vénitien III - Tentatives d'union et fin de l'Empire latin Section III - LA RESTAURATION BYZANTINE (1261-1453) I - Les Génois à Galata II - Sanctuaires latins à Galata A. Sainte-Anne B. Eglise et hospice Saint-Antoine C. Monastère Sainte-Catherine D. Couvent et église Sainte-Claire E. Couvent et église Saint- François F. Autres sanctuaires G. Saint-Benoît et Sainte-Marie de la Miséricorde de la Citerne H. Saint-Georges III - Autorité ecclésiastique latine Section IV - FAMILLES LEVANTINES I - Eglise Saint-Paul II - Cimetière des Grands-Champs III - Eglise Saint-François Chapitre 2 - DE 1453 AUX RÉFORMES DE 1839 : LA FORMATION DE LA COMMUNAUTÉ LEVANTINE Section I - FORMATION DE LA COMMUNAUTÉ LATINE OTTOMANE I - La conquête de Constantinople en 1453 II - Firman de Mehmet II à la colonie génoise de Galata III - Statut des Latins ottomans A. Droit de capitation B. Droits et devoirs des sujets tributaires IV - La Magnifica Comunità di Pera A. Caractère particulier de la Magnifica Comunità B. Attributions exercées par la Magnifica Comunità V - Protégés ou barataires A. Drogmans B. Abus dans l'attribution des patentes de franchise VI - Etat de la Communauté latine après la conquête de 1453 A. Registres paroissiaux a) Eglise Sainte-Marie Draperis b) Basilique Saint-Antoine c) Eglise Saint-Pierre et Saint-Paul B. Tableau comparatif des baptêmes de 1662 à 1839 Section II - FORMATION DE LA COMMUNAUTÉ LATINE ETRANGÈRE I - Les étrangers européens II - Les immigrés des îles de l'Archipel A. Archives des Latins de Chio B. Familles latines de Chio C. Tableaux des baptêmes annuels des Latins de Chio D. Archives de Tinos III - Les Capitulations IV - Le protectorat A. Loi du 9 décembre 1905 sur la séparation des Eglises et de l'Etat B. Etablissement des relations diplomatiques entre le Vatican et la Turquie V - La colonie française de Constantinople en 1764 Section III - LE REGISTRE DU BAGNE DE CONSTANTINOPLE I - Le registre et les registreurs A. Données historiques B. Indications fournies par le registre même II - Le Bagne et ses esclaves III - La nationalité des affranchis IV - Les affranchis A. En liberté des galères B. En liberté du bagne Section IV - FAMILLES LATINES DU XVIIe ET XVIIIe SIÈCLES I - Archives du Cimetière catholique-latin d'Istanbul II - Epitaphes de l'ancien cimetière des Grands-Champs A. Cimetière des Grands-Champs B. Monument commémoratif des Grands-Champs C. Epitaphes du cimetière des Grands-Champs DEUXIÈME PARTIE : L'APOGÉE DE LA COMMUNAUTÉ LEVANTINE Chapitre 3 - L'APOGÉE DE LA COMMUNAUTÉ LATINE DE CONSTANTINOPLE Section I - FACTEURS DE L'APOGÉE I - Les réformes de 1839 II - Le rescrit impérial de 1856 III - Droit de propriété immobilière accordé aux étrangers IV - Naturalisation Section II - SIGNES QUANTITATIFS DE L'APOGÉE I - Registres paroissiaux II - Cimetière catholique-latin de Feriköy à Istanbul A. Historique et description du Cimetière catholique-latin de Feriköy a) La Chapelle b) Ossuaires c) Vue générale du Cimetière et tombes civiles d) Monuments militaires français e) Monuments militaires italiens B. Concession à perpétuité du Cimetière par le gouvernement C. Statistiques mortuaires du Cimetière a) Espérance de vie b) Tableau par nationalités de la Communauté latine Sec

Bookshop Khalkedon Books, IOBA, ESA · Turquie43,58 €

Edited by NICHOLAS TROMANS, R. BARIS KIBRIS, GÖKÇE GÜNGÖR.MareMagnum

The lure of the East: British orientalist painting.= Dogu'nun cazibesi: Britanya oryantalist resmi. [Exhibition catalogue].

2008New English Paperback. 4to. (28 x 24 cm). In English and Turkish. 360 p., color ills. The lure of the East: British orientalist painting.= Dogu'nun cazibesi: Britanya oryantalist resmi. [Exhibition catalogue]. This exhibition focused on the paintings made by British artists of the 'Orient', primarily during the nineteenth century. In this context the term 'Orient', to Western Europeans, meant those parts of the eastern Mediterranean world which could be accessed relatively easily such as Egypt, Palestine and Turkey, particularly after the development of steamboat and rail travel in the 1830s. In these places, predominantly Muslim and at least nominally under the control of the Ottoman Empire, British artists, such as David Roberts, David Wilkie, William Holman Hunt, John Frederick Lewis and Frederic Leighton, sought to develop imagery which captured what they believed to be characteristic of the people, cities and landscapes of the region. In the 1970s the Palestinian-American academic Edward Said published his treatise on Orientalism, initiating a global debate over Western representations of the Middle East. For many, such representations now appeared to be a sequence of fictions, serving the West's desire for superiority and control over the East. The argument for and against Said's Orientalism has continued for thirty years. Its resonance for an exhibition such as this one, however, is as strong as ever given that, by the 1920s (the end of the period covered by this exhibition), Britain was in direct control of much of the newly abolished Ottoman Empire, including Egypt, Palestine and Iraq. As Said argued, these images cannot be viewed in isolation from their wider political and cultural context. Keeping the debates around Orientalism in mind, "The Lure of the East" focuses on the range of pictorial options open to British artists, within five major themes: portraits, genre, religious and domestic subjects and landscape. British painters came to the Middle East from a culture steeped in technical and compositional artistic traditions. Such traditions were not easily unlearned, despite the apparent difference of the people and places the artists encountered on their travels. Given this, British Orientalist painters found many challenges in attempting to represent the Middle East, but they also found inspiration and, more importantly, the freedom to rework, reinvent and even discard those conventions that defined picture-making in Britain.

Bookshop Khalkedon Books, IOBA, ESA · Turquie44,51 €

TAYFUN SERTTAS.MareMagnum

Foto Galatasaray: Studio practice by Maryam Sahinyan.

2016New English Paperback. Small 4to. (26 x 22 cm). In English and Turkish. 328 p., color and b/w photos. Foto Galatasaray: Studio practice by Maryam Sahinyan. Foto Galatasaray project is based on the re-visualization of the complete professional archive of Maryam Sahinyan (Sivas, 1911 ¿ Istanbul, 1996), who worked as a photographer at her modest studio in Galatasaray, Beyoglu uninterruptedly from 1935 until 1985. The archive is a unique inventory of the demographic transformations occurring on the socio-cultural map of Istanbul after the declaration of the Republic and the historical period it witnessed; it is also a chronological record of a female Istanbulite studio photographer¿s professional career. Armed with the wooden bellows camera her father originally took over from a family that immigrated from the Balkans in the aftermath of the First World War and the black-and-white sheet film she continued to use until 1985, Sahinyan, in a sense, arrested time ¿ both against the technological advancements photography was experiencing and contemporary trends. In the end, she created an unparalleled visual coherence without compromising her technical and aesthetic principles. Consisting entirely of black-and-white and glass negatives, the physical archive of Foto Galatasaray is a rare surviving example of the classical photography studios of Istanbul¿s recent past. Changing hands after Sahinyan left the studio in 1985, the archive was transferred to a storehouse belonging to Yetvart Tomasyan, owner of Aras Publishing. Twenty-five years later, approximately 200,000 negatives in the archive were, over the course of two years, sorted, cleaned, digitized, digitally restored, categorized and protected by a team under the direction of artist/researcher Tayfun Serttas. Foto Galatasaray was never as visible as some of the elite photography studios, famous since the 19th century, like Phebus, Andriomenos or Sabah. Nonetheless, it played an important role in representing the middle and lower classes that ensured the continuity of the studio. Sahinyan was a devout Armenian woman, and her identity created a closely-knit circle that.

Bookshop Khalkedon Books, IOBA, ESA · Turquie44,51 €

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