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Bologna, Società Tipografica già Compositori, 1935, in-8, br., pp. 22. Estratto.
Napoli, Jovene, 1950, in-8, brossura editoriale. Estratto dagli “Annali del Seminario Giuridico dell'Università di Catania”, IV, pp. 1-31.
Bari, Laterza, 1924, in-16, brossura editoriale, pp. 151. Dalla collana "Piccola biblioteca filosofica".
Senza luogo né anno, in-8, privo di brossura, pp. 15. Estratto.
Ferrara, Tipografia artigiana, 1990, in-8, br. editoriale pp. 134, [6]. Con alcune illustrazioni.
Fra la 2a e la 3a opera è legato un manoscritto bifolio, scritto in chiara grafia a inchiostro nero (2 facciate) su carta vergellata, firmato e datato al verso: "Lod.° Ant.° Muratori" in cui l'erudito modenese, corrispondente degli arcadi Petracchi (Lettore di Filosofia Morale presso lo Studio cittadino), Formagliari (Cancelliere maggiore) e Bianconi (poligrafo ed insegnante di greco all'Archiginnasio), si pronuncia in merito alla controversia storiografica circa la legittimità del diploma teodosiano che avrebbe istituito come primario lo Studio di Bologna. Di grande interesse perché il manoscritto s'inserisce nella schermaglia erudita fra Petracchi e Formagliari. Le 5 opere e il manoscritto rilegati in un unico volume in bella legatura posteriore in mezza pelle ed angoli, dorso a 5 nervi con titolo e fregi oro negli scomparti, piatti marmorizzati. Mancanza ben reintegrata all'angolo inferiore esterno del frontespizio. Gora non deturpante che interessa la metà superiore di gran parte delle carte e in specie l'ultima opera, ma buone condizioni. La Congregazione dei Celestini di cui l'accademico Petracchi era membro, fondata da Pietro da Morrone divenuto papa col nome di Celestino V, aveva il controllo dell'Abbazia di S. Stefano dal sec. XV e la mantenne fino alle soppressioni del 1797.
Berlin und Leipzig, Deutsche Verlags-Anstalt Stuttgart, 1930, in-16, br. editoriale, pp. 175, (1). Blande tracce d'uso alla coperta, ma buon interno.
Bologna, Forni Editore, 1970, in-4, tela editoriale, pp. 172. Ristampa anastatica dell'edizione di Lucca, 1901. Dalla collana "Athenaeum - Biblioteca di storia della scuola e delle università a cura di Domenico Maffei ed Ennio Cortese". Un difetto alla cuffia superiore del dorso; l'interno in perfette condizioni.
Poorvo - Helsinki, Werner Söderström Osakeyhthiö, (1947), in-4, cartone editoriale figurato con sovraccoperta (questa con qualche mancanza marginale, ma reintegrata), pp.(180). Numerose illustrazioni fotografiche color seppia. Testo bilingue: finlandese-inglese. Ottime condizioni.
1868Interessante volantino del 1868, un orazione da recitare prima e dopo la studio di Julius Arrigonius. In buone condizioni con rare fioriture. In 16. Dim. cm 15x11,5. Pp. (2) Interesting leaf of 1868, an oration to be told before and after the study by Julius Arrigonius. In good conditions with occasional foxings. In 16. Dim. cm 15x11,5. Pp. (2).
1995Prima edizione italiana, novembre 1995, articoli recenzioni da Rolling Stone, progetto grafico di Fred Woodwart, rilegato, cartonato, sovracoperta, formato 23x28, pagine 144, illustrato con fotografie in nero e colori nel testo e fuori testo, ottime condizioni - 47698
In 4°, pp.25, legatura piena pelle marezzata, dorso a fregi e titolo, leggermente abrasi, in oro. grande e decorativa marca tipografica al frontespizio al recto di esso frase "Chartae usu maxime vitae utikitas constat, et memoria" Plin. Nat. Hist. lib. 13 c. 11. Dedica e stemma al Cav. Giorgio Perachino a Ciliano augustissimi Ducis Caballicensium Nobili... Approfondito studio ed elogio della carta da stampa su carta forte priva di difetti, L'autore oltre a un elogio iniziale descrive minuziosamente vari tipi di carta da stampa e cerca di tracciare le origini: Quando e da chi inventata, forse è un segreto ,che Polidoro Virgilio ( De invenzione rerumlib. 2 cap. 8) confessa di non aver mai potuto rintracciare. Scaligero vuole che sia stata trovata dagli Alemanni. Maffei afferma per certo che l'invenzione è dovuta ali italiani, altri ai Greci altri ancora agli Arabi, conclude che l'invenzione si debba attribuire ai Chinesi," Qesta carta è bianca, morbida,ed eguale, senza la menoma asprezza, che fermi il moto del pennello" Altri ti pi carta vengono descritti: L'Europea ,la Pedemontana etcc. etcc. Prezioso studio in ottimo stato di conservazione..
1989A clean, unmarked book with a tight binding. 10 3/8"w x 9 7/8"h. 144 pages.
Very Good Turkish, Ottoman (1500-1928) Original large-sized silver gelatin photograph. Mounted on cardboard. 35x30 cm; photo area: 24x18 cm. The calligraphic studio title is embossed on the lower of the cardboard. Scratching "4" on the upper right of the printed area, slight creasing on the upper right of the cardboard, and chipped extremities. Overall a good image. Fine gelatin silver mounted on the original photographer's cardboard showing four children (probably three girls and their brother) in an attractive and highly collectible photographer's mise-en-scene. A dark and shadowy print. Bahaettin Rahmi Bediz, one of the prominent Muslim photographers of nineteenth-century Crete, witnessed many political upheavals including the 1896 Cretan uprising, the Balkan and World wars, the dissolution of the Ottoman Empire, the foundation of the Republic of Turkey, the population exchange between Turkey and Greece. Bediz was born in Istanbul in 1875. He attended schools in Istanbul and Crete due to his father Ibrahim Rahmi Efendi's civil service appointments in both towns. Following his father's death, twenty-year-old Bediz dropped out of Mekteb-i Sultânî (Galatasaray High School) and moved to Crete. His interest in photography is believed to have begun by chance when he was once asked to take a photograph of a group who came to his stationery shop in Heraklion. Bediz's career is divided into four distinct periods. Between 1896 and 1909, he photographed Crete and published around 200 postcards. Fluent in French, he followed European publications related to his profession and acquired equipment from Paris, London, and Vienna. Bediz also contributed to the development of photography on the island by organizing contests. In 1909, due to ongoing severe conflicts on the island, he moved back to Istanbul and opened a studio called Resne across the Sublime Porte on the historical peninsula. In 1927, he moved to Izmir, where he was commissioned by various museums as a private photographer, and participated in a number of archeological excavations during the following nine years. From 1936 to 1948, he continued his career in Ankara, working for various institutions such as the Turkish Historical Society and the Ulus Publishing House. Bediz left many historical photographs behind, as well as an unpublished book on the theory and practice of photography when he died in Istanbul in 1951. These photographs in SALT Research collections not only provide clues on his personal journey but also constitute significant documents revealing the socio-political aspects of the time. (Literature: SALT).
1920Very Good French Original silver gelatin print. 9x14 cm. Descriptive text in French. A silver print image of an attractive street view of Vinaigre Street in the beautiful Islamic city of Aleppo. Edited by Armenian photographer and editor Vartan Derounian. Derounian was born in Arapkir of Turkey. After the Armenian Deportation in 1915, he immigrated to Aleppo and established his photography studio.
1930Very Good Persian Original b/w photograph. 18,5x27,5 cm. Slightly chipped on extremities, a small tear on the upper left corner. Otherwise a good photographic print. Fine large gelatin silver print showing Mohammed Nadir Shah the Afghan King leaving the palace with his military delegation in c. 1930s. A rare photographic image. Mohammed Nadir Khan or Shah (1883-1933), was King of Afghanistan from 15 October 1929 until his assassination in November 1933. Previously, he served as Minister of War, Afghan Ambassador to France, and as a general in the military of Afghanistan. He and his son Muhammad Zahir Shah, who succeeded him, are part of the Musahiban.
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."
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.
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.
In 16o, pp. 45, brossura. Dramma teatrale, ambientato a Laurino nel Cilento, dell'insegnante, studioso e scrittore campano (San Gennaro Ves. 1914- Portici 1987), ottimo (07340/TEATRO - MICHELE D'AVINO)
1987In-8 (cm 23,8x16,9), pp. 462, brossura edit. ill. Piatto posteriore leggermente sporco, ordinari segni del tempo, Buono.
1942In-8 (Cm 22 x 16,8), pp. 29, brossura editoriale. MOLTO BUONO
1940In-8 (Cm 22 x 16,8), pp. 32, brossura editoriale. Brossura anteriore un po' ingiallita. MOLTO BUONO
