EMIN NEDRET ISLI.MareMagnum
2 133 résultats
2012New Turkish Paperback. Dust wrapper. Roy. 8vo. (24 x 17 cm). In Turkish. 205, [1] p., color ills. Istanbul'un 100 kitabi. 100 selected important books on Istanbul.
Fine English Paperback., Fine., 22 x 11 cm., 21 p., color ills., "Osman Nuri Ergin hayati ve eserleri.", Emin Nedret Isli, Istanbul Büyüksehir Belediyesi, Istanbul.
2012New English Paperback. Pbo. 4to. (30 x 22 cm). In English and Turkish. 129 p., color ills. Büyükçekmece Menzil Coplex and Great Sinan.= Büyükçekmece Menzil Külliyesi ve Mimar Sinan.
2007New Turkish Original cloth bdg. In special slip-case. 4to. (29 x 25 cm). In Turkish. 369, [1] p., color and b/w ills. Treasury land from Akintiburnu to Bebek Garden that was bestowed upon Janissary Hasan Halife by Sultan Murad IV (1623-1640), was transferred to national treasury following a rebellion in 1631-1632 in the reign of Sultan Mehmed IV (1648-1687). In the reign of Sultan Ahmed III (1703-1730), treasury land from Hasan Halife Garden to Kayalar Village, was sold by Grand Vizier Damad Ibrahim Pasha in 1724/25. Grand Vizier Izzet Mehmed Pasha, who has a share in the said lands, built a pavilion just for the Sultan. Sultan Selim III (1789-1807) set foot on Izzetabad Pavilion for the first time upon the invitation of GRAND Vizier Izzet Mehmed Pasha, but later he frequently came to the Pavilion for pleasure and entertaining activities. After a fire on May 15th, 1798; Izzetabad Pavilion was burnt down. And Grand Vizier Izzet Mehmed Pasha died in Manisa on September 18th, 1812. Treasury land from Akintiburnu to Bebek Garden that was bestowed upon Janissary Hasan Halife by Sultan Murad IV (1623-1640), was transferred to national treasury following a rebellion in 1631-1632 in the reign of Sultan Mehmed IV (1648-1687). The pavilion was rebuilt and redecorated by Chief Architect Mustafa and Hayrullah Efendi from Sehremini, between the years 1800-1804, and the palace was used by Sultan Selim III and Mahmud II (1808-1839). When the Bayraktar Group bought Izzetâbâd Pavilion, there was nothing more than relics of the basement. Its construction and renovation was completed in 1999. Thanks to the Bayraktar Group, Istanbul and Turkey have regained a precious heritage from the period of Selim III. After four years, in 2003, we started out to initiate the research which would unearth the mysterious history of Izzetâbâd Pavilion and Akintiburnu, together with Dear Emine Çigdem Tugay and Dear Mehmet Selim Tugay. In the corridors of the history of Akintiburnu, tracing back to nearly 2 thousand years ago, we started to discover the sophisticated and colorful history of Izzetâbâd Pavilion which witnessed great joys as well as torments and conspiracies to date. As a result, the book of Izzetâbâd Pavilion, Time Flies Away from Akintiburnu was published to reveal the history of Izzetâbâd Pavilion and Akintiburnu in light of historical documents. Today, we have this precious work of art written by Dear Emine Çigdem Tugay and Dear Mehmet Selim Tugay, and which gained further value thanks to the highly professional design by Dear Joelle Imamoglu.
1944Very Good English Paperback. Pbo. Demy 8vo. (22 x 15 cm). In Turkish. 69 p., b/w plts. Architectural works of Edirne City Exhibition catalogue. Halkevinin tarihi ve mimarî anidlara ait Ikinci Resim Sergisi brosürü.
2016New Turkish Original bdg. HC. 4to. (28 x 20 cm). Edition in Turkish. 228 p., color and b/w ills. Islâm medeniyetinde bahçe sanati. [= The art of the Islamic garden]. Translated by Elif Dolanbay, Adem Yerinde. The Islamic garden is regarded as one of the highest forms of visual art in the civilization of Islam, and this guide explains these gardens' history and symbolism, and their connections to the Quran. The principal elements are water and shade; they are also characterized by the chahar-bagh: a four-fold pattern, constructed around a central pool or fountain, with four streams flowing toward the four corners of the earth. This design is aesthetically striking; however, a true appreciation of an Islamic garden is only complete with an understanding of the spiritual symbolism manifested in its design and planting. The significance of the gardens' layout and design are explored, as well as the geometry, hard landscaping, and architectural elements, allowing a deeper understanding of the gardens' beauty. Practical instructions include recommendations for suitable trees, shrubs, and flowers, and advice on creating an Islamic garden in cooler climates.
2014New English Paperback. Pbo. 8vo. (16 x 14,5 cm). In Turkish. 106 p., ills. "Glorious sunrise, at the minarets of Stamboul began to come thro the mist-wonderful! wonderful! wrote Sir Edward Elgar in his diary on the day he arrived in Istanbul on 25 September 1905. Over a century later, music historian Dr. Emre Araci traces this unique journey to Istanbul and Izmir with the aid of Elgar's diary, where he finds Elgar at a recital in Therapia and rediscovers the composer in a solo piano piece aptly entitled in Smyrna.".
2003Fine English Paperback., Fine., 25 x 21 cm., 156 p., b/w and color ills., "Darülfünun'dan günümüze üniversite yayinciligi ve yasami.", Emre Dölen, Nuran Yildirim, Istanbul Bilgi Üniversitesi Yayinlari, Ist., 2003.
2000Fine English Paperback., Very good., 21 x 15 cm, [viii], 228 p. "Heybeliada Ruhban Okulu., EMRE ÖZYILMAZ, Tamga Yayincilik, Ankara, 2000"
2002Fine Turkish Paperback. Roy. 8vo. (24 x 17 cm). In Turkish. [vii], 104 p., b/w and color plts. St. Euphemia Chalcedonian, and St. Euphemia Church in Sultanahmet, Istanbul. Khalkedon'lu (Kadiköy) Azize Euphemia ve Sultanahmet'teki kilisesi.
1989Fine English Paperback. Pbo. 4to. (30 x 21 cm). In English and Turkish. 155 p., b/w ills. Photographer Ali Sami, 1866-1936.= Fotografçi Ali Sami, 1866-1936. "Ali Sami (Aközer) is born in Rusçuk in 1866, and moves to Istanbul. Because his family is registered in the Beylerbeyi quarter of Üsküdar, Ali Sami is also called Üsküdarli Ali Sami. He graduates from the Mühendishane-i Berri-i Hümayun in 1866 and becomes a teacher of painting and photography at the school. He is employed in the Ottoman army, and he is also a teacher of phography at the palace and for many years gives lessons to Prince Burhaneddin Efendi. In 1889 he becomes an aide to Abdülhamid II. As a military photographer, he is assigned by Abdülhamid II to accompany German Emperor Wilhelm II during his visit to the Ottoman Empire when he travels from Istanbul to Jerusalem in 1898, and presents an album of this journey to the sultan. After the constitutional monarchy is proclaimed, he becomes a painting teacher at Trabzon High School, and passes away in 1936 in Istanbul". (Source: From Konstantiniyye to Istanbul: Photographs of the Anatolian shore of the Bosphorus from the mid XIXth century to XXth century). Contents: - The World Discovers Photography - Turkish Art and the Effect of the Industrial Revolution on the Ottoman Empire - Photography in the Ottoman Empire - The Imperial School of Engineers - Ali Sami Bey - Album - Captions to Photographs.
1995Very Good English Original bdg. Dust wrapper. 4to. (33 x 24 cm). In Turkish. [xviii], 514 p. Kaptan-i derya fountains and sebils in Istanbul. Color and b/w ills. Istanbul'daki kaptan-i derya çesmeleri ve sebilleri.
2000Fine Fine English Original bdg. Dust wrapper. 4to. (28 x 24 cm) In English, Greek, and Turkish. 227 p., color and b/w photos. Merhaba Atina - Here Istanbul. An experimental encounter of photography between two cities: Athens and Istanbul.= Merhaba Atina Here Istanbul. Atina Istanbul arasinda fotografik deneysel bir bulusma. Photos by Nikos Desyllas, Nikos Economopoulos, Stathis Efstathiadis, Niki Typaldou, Alkis X. Xanthakis - Arif Asçi, Ara Güler, Izzet Keribar, Sinan Koçarslan, Cem Turgay.
2000New New English Original bdg. Dust wrapper. 4to. (28 x 24 cm) In English, Greek, and Turkish. 227 p., color and b/w photos. Merhaba Atina - Here Istanbul. An experimental encounter of photography between two cities: Athens and Istanbul.= Merhaba Atina Here Istanbul. Atina Istanbul arasinda fotografik deneysel bir bulusma. Photos by Nikos Desyllas, Nikos Economopoulos, Stathis Efstathiadis, Niki Typaldou, Alkis X. Xanthakis - Arif Asçi, Ara Güler, Izzet Keribar, Sinan Koçarslan, Cem Turgay.
2016New English Paperback. 4to. (32 x 24 cm). In English and Turkish. 305, [3] p., b/w and color ills. Modern and contemporary approaches to photography in Turkey.= Türkiye'de fotografa modern ve çagdas yaklasimlar. Özellikle fotograf konusunda gerçeklestirdigi önemli arastirma ve belgeleme çalismalarinin yani sira yine bu alandaki kitaplariyla taninan Engin Özendes, Cumhuriyet'in ilk yillarindan günümüze kadar çagdas ve modern çalismalar yapmis sanatçilari ilk kez bir kitapta bir araya getirirken onlarin eserleri üzerinden Türkiye'deki fotografin gelisimini onar yillik periyotlarla anlatiyor. Magara duvari resimlerinden bir örnek verilerek, insanligin resmetme tutkusunun anlatilmasiyla baslayan kitapta, sanat akimlari, fotografin bulunusunun hemen ardindan, 1840'lardan baslatilarak ele aliniyor. Fotografa yön veren bu sanat akimlarinin okuyucu tarafindan daha iyi anlasilmasi amaciyla, dünya fotografçilarindan çok genis bir yelpazede seçim yapilarak, 17 sanatçinin 17 fotografi önemli arsivlerden alinarak sunuluyor. Ardindan, kitabin ana konusunu olusturan, Türkiye'deki çagdas ve modern fotograf alaninda isler üretmis sanatçilar tanitiliyor; onlarin bu kapsamdaki eserlerinden örnekler veriliyor. Türkçe-Ingilizce bir arada yayimlanan kitapta, aralarinda Othmar Pferschy, Baha Gelenbevi, Ara Güler, Gültekin Çizgen, Sakir Eczacibasi, Teoman Madra, Ersin Alok, Kamil Sükûn, Çerkes Karadag, Ahmet Ertug, Cengiz Karliova, Sitki Kösemen, Nuri Bilge Ceylan, Orhan Cem Çetin, Kamil Firat, Mehmet Günyeli, Ali Borovali, Aramis Kalay, Laleper Aytek, Ani Çelik Arevyan, Merih Akogul, Cemal Emden, Murat Germen, Silva Bingaz, Ali Taptik, Ahmet Polat, Burcu Aksoy, Serkan Taycan, Jak Baruh, Lale Tara, Seza Bali, Can Mocan gibi sanatçilarin yer aldigi 86 yerli fotografçinin 230 adet "modern ve çagdas" nitelikteki fotografi yer aliyor. Bugüne Kadar Kitaplastirilmamis Bir Konunun Kesiti". Engin Özendes, geçtigimiz yil yine YEM Yayin tarafindan yayimlanan Osmanli Imparatorlugu'nda Fotografçilik 1839-1923 adli kitabinin devami niteligi tasiyan Türkiye'de Fotografa Modern ve Çagdas Yaklasimlar'i söyle özetliyor: "Bu kitap, ne bir ansiklopedi ne de bir özgeçmisler listesidir. Baslibasina fotografin tarihiyle ilgili degildir. Çagdas ya da modern fotografla ilgili herkesin yer aldigi iddiasini da tasimaz. Bu kitap; simdiye kadar kitaplastirilmamis bir konunun bir kesit halinde sunulmasidir. Bugün yaraticiliklarini modern ve çagdas anlayisla ortaya koyan genç sanatçilarin, geçmiste bu yolda ugras veren, yadsinamayacak isimleri tanimalari için konunun baslangici eski yillara dayandirilmistir. Cumhuriyet dönemi fotografçiligi baslangiçtan günümüze kadar degerlendirilerek, çagdas ve modern çalismalar yapmis sanatçilara yer verilmektedir. Kitapta yer almayan sanatçilar yalnizca bu tür çalismalar yapmadiklari için örneklenmemektedir.". -- Fotograf Çagdas fotografçilik Türk fotografi.
2001As New English Paperback. Pbo. Mint. Oblong large 8vo. (22 x 24 cm). In Turkish. B/w and color ills. 192 p. The last capital of the Ottoman Empire: Istanbul. Osmanli'nin son baskenti: Istanbul.
1995Very Good Very Good English Original bdg. Dust wrapper. 4to. (34 x 24 cm). In English and Turkish. 271 p., b/w ills. Photography in the Ottoman Empire (1839-1919).= Osmanli Imparatorlugu'nda fotografçilik (1839-1919). Photography in the Ottoman Empire provides an account of the history of photography in the Ottoman Empire between the years 1839-1919, an important though neclected field in the history of an early photography. The sultans of the Ottoman Empire traditionally shaped the arts of their day. Their enthusiastic reaction to the discovery of photography was to be crucial to the development of photography in the Empire. First Edition.
2013New English Paperback. Pbo. 4to. (28 x 20 cm). In English. 356 p. B/w and color ills. "Photography in the Ottoman Empire 1839-1923 provides an account of the history of photography in the Ottoman Empire between the years 1839-1923, an important though neglected field in the history of an early photography. The sultans of the Ottoman Empire traditionally shaped the arts of their day, and their enthusiastic reaction to the discovery of photography was to be crucial in the development of photography in the Empire. This third edition of the book published by YEM Publications has been updated and enlarged to incorporate new information gathered over the years and many new photographs that have been added to my archive. I have made sure that the revised text comprises the latest information available on the subject. Many nation states were created in the former Ottoman territories in Europe, Asia and Africa. I have not included the individual photographic histories of these countries but endeavoured to focus primarily on photography within the present boundaries of the Republic of Turkey. A list of photographers who worked in the Ottoman Empire has been provided to assist all those who are interested in the history of photography in Turkey and the Middle East. The names of photographers that I have come across in documents written in Ottoman Turkish script have been given as spelt. The first two editions treated the story of photography in the Ottoman Empire from the announcement of its discovery in 1839 up to 1919, but this new edition has been extended up to the year 1923 when the Turkish Republic was founded. Researching the history of photography is an unending task requiring a lifetime's dedication."
1923Very Good English Original b/w portolan chart. Folded. A little foxing and some pencil markings and notes in Ottoman script in its period. Oblong double elephant folio. (70 x 102 cm). In English. Bosphorus to Kerempeh from the Russian survey of 1834 with additions and corrections by Commander W. J. L. Wharton., R. N. 1872-80. It's written 'London published according to Act of Parliament at the Hydrographic Office of the Admiralty Jare. 16th 1854. Also shows Killa Bay (Shile Bay) from a survey by Lieut. Comm. W. R. Pristen and the midshipmen of H. M. S. Royal Sovereign, 1920. Topography partly from a Turkish map. Up side of map, engraved a view from sea of entrance of the Bosphorus, Rumili (sic. Rumeli) Lighthouse and environment with several hills. And also shows Amastra (Ancient Amastris) from Russian surveys, 1834-41; Kosku Bay from a surbey by Capt. Spratt R. N. 1854; and Sungul Bay (Zonguldak) from the Heraclee Companys plans to 1915. A rare navigation chart.
1978Fine Spanish Paperback. Demy 8vo. (21 x 14 cm). In Spanish. [6], [xii], [2], 203 p. Refranes de los Judíos Sefardíes y otras locuciones típicas de los Judíos Sefarcíes de Salónica y otros sitios de Oriente (Biblioteca Nueva Sefarad Volumen V). Sayings of Sephardic Jews and other locutions typical of Sephardic Jews from Thessaloniki and other sites in the East. First and Only Edition.
2009New English Paperback. Pbo. Mint. Roy. 8vo. (24 x 16 cm). 500 p. Study on Assyrian chroniclers. Süryani vakanüvisler.
1860réf. EYL-63Paris, E. Thunot, 1860. Gr. in 8 (160 x 240) de XVI-431 p. Demi chagrin noir de l'époque, dos à nerfs orné de caissons à froid et titre doré, plats de percaline noire, coiffe sup.arasée, bon état intérieur, signature de l'époque sur la page de titre. Bon exemplaire.
1986Very Good English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In French. Color ills. 64 p. Saint-Sauveur-in Chora. Les Mosaiques et les fresques.
Very Good English Paperback. Pbo. 12mo. (18 x 11 cm). In English, French, Turkish. 57 p., 19 color and b/w plts., 2 fold. b/w plts. Yeni Cami and its Sultan's Gallery.= Yeni Cami et son Pavillon Imperial.= Yeni Cami Hünkar Kasri.
2007New New English Original bdg. Dust wrapper. 4to. (32 x 24 cm). In Turkish, summary in English. 369, [11] p., many color ills. Tophane: Creativity of the Ottomans in design and joy of life.= Tophane lüleciligi: Osmanli'nin tasarimdaki yaraticiligi ve yasam keyfi. You can find answers to all questions about the pipe-making industry in Tphane district in Istanbul city which is an important place in Turkish art with detailed information about the development of pipe-making in history and its place in Turkish Culture. Supported by rich illustrations and photographs.