FATMA ÜREKLI.MareMagnum
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2017New New Turkish Original bdg. Dust wrapper. 4to. (29 x 20 cm). In Turkish. [xxvii], 335 p., color and b/w ills. Sarayin son basressami Fausto Zonaro: Ikbâlden idbâra.
1993Fine English Original bdg. HC. 4to. (28 x 20 cm). In English and Turkish. 394, [5] p., color and b/w ills., plans. Sariyer; with all its aspects heaven at the Bosphorus.= Bütün yönleriyle Bogaziçi'ndeki cennet Sariyer.
Fine English Sark mektuplari., Lady Montegü [Lady Montagu], translation and annotion: Ahmet Refik [Altinay], Hilmi kitabhanesi, Ist., 1933. Paperback. Pbo. Foolscap 8vo. (18 x 12 cm). Fine. First Turkish edition of 'Letters of Lady Montagu'. 144 p. Montagu's Turkish letters were to prove an inspiration to later generations of European women travellers to the Orient. In particular, Montagu staked a claim to the particular authority of women's writing, due to their ability to access private homes and female-only spaces where men were not permitted. The title of her published letters refers to "Sources that Have Been Inaccessible to Other Travellers". The letters themselves frequently draw attention to the fact that they present a different (and, Montagu asserts, more accurate) description than that provided by previous (male) travellers: "You will perhaps be surpriz'd at an Account so different from what you have been entertaind with by the common Voyage-writers who are very fond of speaking of what they don't know." Montagu provides an intimate description of the women's bathhouse, in which she derides male descriptions of the bathhouse as a site for unnatural sexual practices, instead insisting that it was ¿the Women¿s coffee house, where all the news of the Town is told, Scandal invented, etc¿. However, Montagu's detailed descriptions of nude Oriental beauties provided inspiration for male artists such as Ingres, who restored the explicitly erotic content that Montagu had denied. In general, Montagu consistently derides the quality of European travel literature of the 18th century as nothing more than "trite observations.superficial.[of] boys who only remember the best wine or the prettyest women." Montagu's Turkish letters were frequently cited by imperial women travellers, more than a century after her journey. Such writers cited Montagu's assertion that women travellers could gain an intimate view of Turkish life that was not available to their male counterparts. However, they also added corrections or elaborations to her observations. Julia Pardoe, in describing her own visit to a bathhouse, wrote "I should be unjust if I did not declare that I saw none of that unnecessary and wanton exposure described by Lady Mary Montagu. Either the fair Ambassadress was present at a peculiar ceremony, or the Turkish ladies have become more delicate and fastidious in the ideas of propriety." Emmeline Lott, who wrote a book about her experience working as a governess for the son of Ishamel Pasha, claimed that Montagu's aristocratic rank meant that she had seen only the most attractive elements of Oriental life: ".her handsome train, Lady Ambassadress as she was, swept but across the splendid carpeted floors of these noble Saloons of Audience, all of which had been, as is invariably the custom, well ¿swept and garnished¿ for her reception.
2001New English Paperback. Roy. 8vo. (23 x 16 cm). In Turkish. 96 p., b/w ills. Seyyadâne bir cevelân. Beykoz'dan Izmit körfezi'ne bir av gezisi. CONSTANTINOPLE Istanbul Turkish literature Hunt Hunter Izmit Memoirs Travel Ottoman culture.
2010As New English Paperback. Pbo. Mint. Oblong large 8vo. (22 x 22 cm). In Turkish and English. 149 p. color photos. Scenes of Istanbul.= Fotograflarla Istanbul. Photos by Ismail Küçük.
2001New English Original bdg. HC. In publisher's box. Folio. (41 x 34 cm). In English. 365 p., 187 color photographic plts. Sculptured for eternity. Treasures of Hellenistic, Roman and Byzantine art from Istanbul Archaeological Museum. Photos by Ahmet Ertug. "The Istanbul Archaeological Museum is home to some of the world's most important collections of archaeological artifacts. The text of this splendid book, whose subject is the museum's rich collections of Hellenistic, Roman, and Byzantine sculpture, was prepared by Dr. R. R. R. Smith, a professor of archaeology at Oxford University. All the works were photographed by Ahmet Ertug, whose images of such masterpieces as the Alexander, Sidamara, and Lycian sarcophagi are presented as stunning panoramic views. The photographs in this book together with facsimile reproductions of the original sculptures were exhibited in the Tuileries Gardens of the Louvre Museum in Paris in August and September 2002, an artistic event that was attended by about 50 thousand people in the course of just two months' time. 34 by 41 cms., hardbound covered with Japanese cloth, presented in a special case.". A very heavy volume. Extra shipping fee will be requested.
2012New Italian Paperback. Pbo. In Italian. Cr. 8vo. 175 p. Fully color ills. Se Beyoglu mi fosse narrato.
2016New English Original bdg. HC. Roy. 8vo. (24 x 17 cm). In English and Turkish. 2 volumes set: (1600 p.), b/w ills. Second International Symposium on Turkish-Armenian Relations and Great Powers. Papers.= II. Uluslararasi Türk-Ermeni Iliskileri ve Büyük Güçler Sempozyumu. Bildiriler. 6-8 May 2015, Erzurum / Turkey. 2 volumes set.
2015New English Paperback. Pbo. Demy 8vo. (21 x 14 cm). In English. 147 p. Secret connections in Constantinople. This book aims to demonstrate how the Italian nationalist ideas were a catalyst to the creation of national unity and freedom to the Turkish people, prompting a drive for freedom that originated from the élite and moved to the masses in a top-down manner. The conspiracy ideas particularly of Giuseppe Mazzini, one of the greatest figures in the Italian national struggle, gave strong impetus to the birth of the pre-republican Young Turks. Giuseppe Garibaldi permanence in Turkey, his contacts with the Italian Workers Society in Constantinople, his letters and deep connections with Europe disclosed the idea that, the birth of the Turkish Republic, was ideologically supported by Italian Carbonari kinds of associations. In order to illustrate this link, the book observes the role of some eminent delegates of the Italian Workers Association and the Italian Freemasonry in Istanbul/Constantinople and other provinces of the Ottoman Empire.
2008New English Paperback. Pbo. 4to. (30 x 24 cm). In Turkish. 210 p., color and b/w ills. Sedad Hakki Eldem 1: Gençlik yillari. He was born in Istanbul in 1908. He graduated from Academy of Fine Arts, department of Architecture. Between 1931 and 1932 he travelled France, England and Germany with scholarship of the academy. In 1932 he opened his own office, also started teaching at the Academy of Fine Arts and continued until retirement at 1978. In 1934 he worked for National Architecture Seminar in Turkey which was a complete disaster for him because of the discussions between modern architecture and traditional architecture. In 1938 he designed the Turkish Pavilion in New York Exhibition. Sedad Hakki Eldem represented Turkish Republic at International Union of Architects in Lozan (1948) after Second World War. Also in the same year Sedad Hakki worked with his colleague Emin Onat on the project of Istanbul Palace of Justice. He worked on proportions and architectural organizations of Ottoman domestic houses, 18th and 19th century palaces and mansions. He known as a role model and pioneer to reinterpret the Classical Ottoman Patterns in modern architecture. He was a part of Former Artifacts Maintain Council (Eski Eserleri Muhafaza Encümeni) between 1941 and 1945 and also a part of Supreme Council of Antiquities and Monument Real Estate. Between 1928 and 1934 defined as preparation years for Sedad Hakki Eldem. At these years the architect worked at Istanbul, Paris and Berlin but there is no built project or something. The only structure that has been built in that period is temporary Turkish pavilion in Budapest Exhibition in 1931. This structure give us so little clues about his searching in architecture. Whereas Sedad Hakki was tried almost every approach popular in these years, also tried to combine them even if they are all contradicted. He even give parts to different architectural elements in one design. For example, one of his trials in Paris, embassy project has Auguste Perret impressions in details, its planimetry has traditional middle "sofa" and "Eyvan" types of components that usually belong to Turkish Architecture. Also the architect inspired by a sheme that peculiar to Iran-Middle East, named "Cihar-bag". At the same time he examined the style of Art Deco, Le Corbusier, Hoffmann, Olbrich, Tessenow and Webb. Despite all of these and his instability of style, he never abandon his researches about traditional and domestic Ottoman civil architecture. He made use of all styles as much as they compromise with traditional architecture. The styles that do not overlap with domestic architecture, are disappeared. TURKISH ARCHITECTURE Biography Istanbul History art Turkish intelligentsia Memoirs.
2009New English Paperback. Pbo. 4to. (30 x 24 cm). In Turkish. 322, [2] p., color and b/w ills. Sedad Hakki Eldem 2: Retrospektif. Sedad Hakki Eldem's architecture has basically 4 main period. First of them is known by instability of his works, it was between 1928 and 1934. After that, second period is popular with modern trials on Ottoman architectural organization the time period of this part starts with 1934, until 1952. Third period of his architecture has lost its Ottoman influence, it looks like more modernized between 1952 and 1962. Last part of Eldem's Architecture known with his double approach on projects. Time period of that leading years started at 1962 until his death at 1988. TURKISH ARCHITECTURE Biography Istanbul History art Turkish intelligentsia Memoirs.
2013New English Paperback. Pbo. 4to. (28 x 24 cm). In Turkish. 115, [2] p. Color ills. Sefer-i Irakeyn. Nusret Çolpan Retrospektifi. [Exhibition catalogue of Çolpan's Istanbul miniatures]. TURKISH AND ISLAMIC ARTS Ottoman culture Miniature Traditional arts Painting Iraqi Campaign of Ottoman Empire Depiction Iraq War.
1996Fine Italian Paperback. 4to. (29 x 24 cm). In Italian and Turkish. 72 p., color and b/w ills. 750 copies were printed. Segni essenziali: Disegni architettonici della Chiesa di Sant' Antonio.= Yasayan çizgiler: Sant' Antonio Kilisesi mimari çizimler sergisi. [Exhibition catalogue]. Exhibition on Architectural Drawings of the Church of St. Anthony.
1997Fine English Paperback., Very good., 19 x 13 cm, 264 p. "Sehir fotograflari., BESIR AYVAZOGLU, Ötüken Nesriyat A. p.; Istanbul, 1997"
2014New English Original bdg. HC. 4to. (29 x 25 cm). In Turkish. 746 p., color and b/w ills. Sehir sokak hafiza: Kuyulu'dan Biçki Yurdu'na Osman Nuri Ergin ile Istanbul sokak adlari. ISTANBUL Constantinople Local history Osman Nuri Ergin Urban history Onomastics Street names Turkish language Etymology.
2012New English Paperback. Pbo. Roy. 8vo. (23 x 16 cm). In Turkish. 472 p., color and b/w ills. Contents: Istanbul kültürü ve estetigi, Besir Ayvazoglu. / Istanbul'da tarihi yasamak, Ilber Ortayli. / Tarih, mekan ve kültür: Istanbul, A. Haluk Dursun. / Istanbul: Dizelerin ve cümlelerin müstesna sehri, Iskender Pala. / Istanbul ve mimari, M. Sinan Genim. / Istanbul: Geçmis ve gelecek, Murat Belge. / Sehir ve kültür, essizligin doruk noktasi: Istanbul, Ahmet Emre Bilgili. / Istanbul'un sosyolojik dönüsümü, Korkut Tuna. / Geçmisten günümüze Istanbul'un lokantalari, Artun Ünsal. / Islâm sanatlarinin ve kagit süslemenin zirvesine taniklik eden bir sehir; Istanbul, Hikmet Barutçugil. /
2010Fine English Paperback. Pbo. Roy. 8vo. (23 x 16 cm). In Turkish. 451 p. Color and b/w ills. Contents: Istanbul kültürü ve estetigi, Besir Ayvazoglu. / Istanbul'da tarihi yasamak, Ilber Ortayli. / Tarih, mekan ve kültür: Istanbul, A. Haluk Dursun. / Istanbul: Dizelerin ve cümlelerin müstesna sehri, Iskender Pala. / Istanbul ve mimari, M. Sinan Genim. / Istanbul: Geçmis ve gelecek, Murat Belge. / Sehir ve kültür, essizligin doruk noktasi: Istanbul, Ahmet Emre Bilgili. / Istanbul'un sosyolojik dönüsümü, Korkut Tuna. / Geçmisten günümüze Istanbul'un lokantalari, Artun Ünsal. / Islâm sanatlarinin ve kagit süslemenin zirvesine taniklik eden bir sehir; Istanbul, Hikmet Barutçugil. /
2011New English Paperback. Pbo. Cr. 8vo. (20 x 14 cm). In Turkish. 191, [1] p. Sehir ve yemek. Istanbul Tanpinar Edebiyat Festivali. ITEF 2011.
2010New New Turkish Original bdg. Dust wrapper. Roy. 8vo. (24 x 17 cm). In Turkish. 216 p., color and b/w ills. Sehr-i Istanbul'un temizlik kültürü: Osmanli'dan günümüze temzlik çalismalari ve Küçükçekmece örnegi.
2013As New English Paperback. Pbo. Mint. 4to. (30 x 21 cm). In Turkish. 38, [1] p. Color ills. Sehr-i Istanbul. Suluboya resim sergisi. 25 Mayis - 3 Haziran 2013, Sirket-i Hayriye Sanat Galerisi. [Exhibition catalogue].
1982Very Good English Paperback. Pbo. Cr. 8vo. (19 x 11 cm). In Turkish. [4], 352 p., full page b/w plates. Sergüzest-i Nono Bey ve elmas Bogaziçi.
2006New English Original cloth bdg. Mint. 4to. (30 x 23 cm). In Turkish. [xxix], 282 p., b/w and color ills. With CD. Seriyye sicillerine göre Istanbul tarihi: Istanbul Mahkemesi 121 Numarali Seriyye Sicili, 1231-1232 / 1816-1817. With a CD. [Halil Inalcik Arastirma Projesi]. Photographs by Ersin Alok; Texts: Sevki Nezihi Aykut.
2008New English Paperback. Pbo. Large Roy. 8vo. (25 x 18 cm). In Turkish. 184 p. B/w and color ills. Sesler hazinesi. Dünden bugüne Istanbul'da opera ve koromuz.
1989Very Good English Paperback. Pbo. Cr. 8vo. (20 x 14 cm). In Turkish. 159 p. Sevgilim Istanbul.
2019New Turkish Paperback. Demy 8vo. (22 x 15 cm). In Turkish. 288 p., b/w and color ills. Seyahatnamelerde Kâgithane. Kagithane district according to the western travel memoirs.