1964P., Le Cercle d'art, 1964. In folio relié toile avec jaquette illustrée, 15 pp- 2pp. -142 pp. d'illustrations en héliogravure et 22 illustrations contre collées en couleurs. Excellent état.
1937xii + 144pp.+ 16 platen buiten tekst + los bijgevoegd 2pp.stellingen, gesigneerd met opdracht door auteur, Academisch Proefschrift (Rijks-Universiteit te Utrecht, 1937), goede staat, S85103
rif. 701Galerie Claude Bernard, Paris, 1987. Petit in-4, broché sous couverture illustrée en noir, s.p. [90 pp. env.]. Entretien avec Roel D'Haese, par Chris Yperman - version néerlandaise de l'entretien - Planches - Oeuvres exposées.
1972rif. 179884Musée d'Art Moderne Musée d'Art Moderne de la Ville de Paris, 1972. In-8 broché, 182 pages, avec photos. Catalogie d'exposition. Bon état
1983rif. 88619Genève Musée Barbier-Mueller 1983 1 vol. relié in-4, cartonnage éditeur, jaquette illustrée, 179 pp., nombreuses reproductions en couleurs, bibliographie. Très bon état.
1983rif. 88619Genève Musée Barbier-Mueller 1983 1 vol. relié in-4, cartonnage éditeur, jaquette illustrée, 179 pp., nombreuses reproductions en couleurs, bibliographie. Très bon état.
2001rif. 55661BBEssen., Zollverein-Ausstellungen., 2001. 30 x 21 cm. 95 S. OPappband., 55661BB Erste Auflage. Sehr gutes Exemplar.
2002rif. 79141Daniel Katz Ltd, New York 2002. 157 S., 31x25cm Gewebe 0
1877rif. 61738Frédéric Henry & J. Lepin | Paris 1877 | 11 x 17 cm | broché
2021rif. YQV-9
Gr. In-8, 148p. Bel ouvrage illustré d'une centaine de photographies et reproductions en noir.
Gr. In-8 carré, 239p. Catalogue d'exposition. Importante iconographie en noir et en couleurs. A l'état de neuf.
In-4, 125p. Première édition limitée et numérotée 1/1200 exemplaires. Illustré de 111 photographies en noir et blanc. Couverture piquée, inscription en page de garde.
Gr. In-8, 278p. Avec de nombreuses illustrations en noir. exemplaire en parfaite condition.
2004As New As New English Paperback. Pbo. Dust wrapper. Mint. 4to. (30 x 24 cm). In English and Italian. 45, [1] p. Color ills. For Ali Hassoun, born in Saïda (Lebanon) in 1964, but living in Italy, art is inevitably a borderland, a fertile ridge where two different cultures meet: the traditional, spiritual culture of Islam and the dynamic, evolutionary culture of the West. In this meeting, East and West, North and South are only apparently geographical coordinates. They are rather topical places in the mind, spiritual directions which pass the baton to one another, like the perfect laps in a trip touching in turn upon the extreme opposites of ascension: the zenith and the nadir, Alpha and Omega, vile lead and alchemic gold, the terrestrial world and the imagination, the spirit and the body, and all the possible variants on a polarity which is always merely symbolic. In the artist's works the East and the West continually change sides, alluding to ambiguous meanings, now clear and now hidden. Ali Hassoun's iconography is constructed by stealing from contemporary visual culture images of a variegated humanity intent on the humble occupations of a daily life that has not yet been brutalised by the signs of the technological era. Like a computer hacker, but employing techniques which are entirely manual, Ali metaphorically "copies and pastes" onto his canvas photographs of people taken from the pages of a book or a magazine. He paints portraits of men and women, changing them using an ancient tool which contains within itself the balsamic germ of transfiguration. And yet, in his painting, precise and detailed to the point of verging on hyper-realism, there is nothing of the documentary. Like Emilio Salgari, Hassoun does not need to plough the waves or travel the caravan routes to come up with his visions. His travels are immobile, typical of a multimedia age such as our own, when information abounds but knowledge is rare. An age in which painting has come back into fashion - if it had ever gone out of fashion - but feeling the influence of the clarity of liquid crystal, of the pervasive vocabulary of the big plasma screen, of the hi-tech aesthetic born out of cyber imagery and the virtual settings of videogames. Painting containing gelid icons, the heroines of a new cybernetic sensuality, portraits of aidoru and computer alter egos, replicants and cyborgs, singing the fictitious myth of a trans-human future. In Italy, Ali Hassoun's painting is a return to Vasari's Bella Maniera, the full perfection of the great lesson of the Renaissance: painting with no mediation, no alibis and no tricks. In his works, Arab shepherds, students of the Koranic schools, cabalists, old wise men and African women dressed in fabrics of gaudy colours move about in a scenario in which landscape notation is abolished, swept away by an artificial background, a citation of great masterpieces of Art History, from the Michelangelo of the Sistine Chapel to Picasso's Guernica, from the fourteenth-century Sienese painters - Simone Martini and the Lorenzettis - to Capogrossi. The Levantine faces and statuesque bodies of his African women, the elegance and grace of his Indian maids are surrounded not by a desert, by a marketplace, by the interior of a mosque or a zawiyya nor by a minaret or a medina, but by a world of spirits, of platonic psychopomps floating suspended between Earth and Sky. In his most recent works Ali Hassoun has moved eastward. His women are now wearing the colours of India. They are wheat grinders, water bearers, even cabalists, intent on drawing a five-pointed star in the earth, hiding the secret of the golden section. The birth of a primitive femininity is everywhere, blended with the mystics of the elements - Air, Water, Earth and Fire - transfused in the grammar of light as in the use of clayey colours, in the transparency of ethereal figures and in the symbolism of water. Once again there are images of the "well of science" from which to draw the water of wisdom
As New English Paperback. Pbo. Mint. 4to. (27 x 27 cm). In English and Turkish. 66, [5] p. Color ills. Ismail Tetikçi. Waiting.= Bekleyis. Texts by Aydin Ayan, Bünyamin Aydemir, Güveli Kaya. [Artist catalogue].
2013New English Paperback. Pbo. In English and Turkish. [44] p. B/w and color ills. Mint. 'The story behind 'The Unmentioned' series is the story of my life, the story of Syria, simply, the story of all Middle East. 17 artworks of 'The Unmentioned' has been exhibited in Aleppo and lately in London. Now, with all the violence and horror i witnessed in Syria, i discovered that my concerns were unfortunately right. So i can say, 'Legend of Death' is naturally the normal and inevitable result of 'The Unmentioned'. Khaleed Akil. Khaled Akil is a fine art photographer who focuses primarily on the social, political and sexuality issues in the Middle East. As a Syrian citizen, he lives all the contradictions of the Arab and Middle East region on a daily basis. From his point of view, the role of art is to demonstrate in the greatest detail the contradictions of his society and to present in a way that is acceptable to the general public. His work is a unique hybrid of photography and painting, with a digital final product. It is made up of layers of ancient religious Arabic scripts and symbols that have a direct relation with the photographic work and the societal problem he is trying to describe. Khaled Akil holds a Bachelor Degree in Law & Political Sciences. His interest in political law and human rights has helped him significantly in developing new perspectives in presenting social, political and religious issues in society, especially through photography. These perspectives have played major role in the success of his photographic exhibitions.
2014New English Paperback. Pbo. 4to. (27 x 24 cm). In English and Turkish. Color and b/w ills. 87 p. 1000 copies were printed. Tekcan's biography: 1940 Born in Trabzon 1963 Graduated from the Painting Department of Ankara Gazi Education Institute. Studied at the Painting Department of Istanbul State Academy of Fine Arts (Miamr Sinan Univeristy) and completed his competense in arts education at the faculty of the same university. 1968-1975 Work as a member of the academic staff at Atatürk Education Faculty 1970-1971 Carried out research in Germany on printmaking education 1975 Joined the staff of Mimar Sinan University Fine Arts Faculty 1985 Professorship. Was appointed to the Chair of the Graphic Art Department the same year 1987 Two-month Original Prints Seminar in Sarajevo Arts Academy 1991 Original Print Seminar at Ankara Bilkent University 1991 Two conferences in Bonn, Germany, named ¿12 Artist in Turkish Graphic Art¿ and ¿ A cross-section of Contemporary Turkish Painting¿ 1994-1995 Dean of the Fine Arts Faculty of Mimar Sinan University as well as the Head of Graphic Arts Department. 1996 Established the Fine Arts Faculty of Yeditepe University which began its educational activities in Büyükada and was the Dean during its first year. 2006 IMOGA-Istanbul Museum of Graphic Arts, Founder and Chairman. 2007 Established the Fine Arts Faculty of I¿¿k University and is the Dean of the Faculty. 2008 Chairman of 1.st International Printmaking Biennial Organization Committee."
2014New English Paperback. Pbo. 4to. (27 x 24 cm). In English and Turkish. Color and b/w ills. 119, [1] p. 1000 copies were printed. Tekcan's biography: 1940 Born in Trabzon 1963 Graduated from the Painting Department of Ankara Gazi Education Institute. Studied at the Painting Department of Istanbul State Academy of Fine Arts (Miamr Sinan Univeristy) and completed his competense in arts education at the faculty of the same university. 1968-1975 Work as a member of the academic staff at Atatürk Education Faculty 1970-1971 Carried out research in Germany on printmaking education 1975 Joined the staff of Mimar Sinan University Fine Arts Faculty 1985 Professorship. Was appointed to the Chair of the Graphic Art Department the same year 1987 Two-month Original Prints Seminar in Sarajevo Arts Academy 1991 Original Print Seminar at Ankara Bilkent University 1991 Two conferences in Bonn, Germany, named ¿12 Artist in Turkish Graphic Art¿ and ¿ A cross-section of Contemporary Turkish Painting¿ 1994-1995 Dean of the Fine Arts Faculty of Mimar Sinan University as well as the Head of Graphic Arts Department. 1996 Established the Fine Arts Faculty of Yeditepe University which began its educational activities in Büyükada and was the Dean during its first year. 2006 IMOGA-Istanbul Museum of Graphic Arts, Founder and Chairman. 2007 Established the Fine Arts Faculty of I¿¿k University and is the Dean of the Faculty. 2008 Chairman of 1.st International Printmaking Biennial Organization Committee."
2006Fine English Paperback. Pbo. 4to. (33 x 24 cm). 51 p. Color ills. In Turkish and Arabic. Very good. Türk resminde soyut egilimler. Sam'da Istanbul kültür günleri, 11-16 Mayis 2006 [Exhibition catalogue].
2006Fine English Paperback. Pbo. 4to. (33 x 24 cm). 51 p. Color ills. In Turkish and Arabic. Very good. Türk resminde soyut egilimler. Sam'da Istanbul kültür günleri, 11-16 Mayis 2006 [Exhibition catalogue].
1913rif. 246069Collection d'art du 19e siècle 1913 in12. 1913. Broché. Soixante reproductions photographiques es peintures à l'huile originales
1996rif. 127299Réunion des Musées Nationaux 1996 In-4 broché 29,7 cm sur 28. 279 pages. Bon état d’occasion.
1996rif. 110046Édit 30 1996 In-4 broché 29,8 cm sur 23,9. 71 pages. Très bon état d’occasion.
1987rif. 136424Anne Kohs and Associates 1987 Livre en anglais. In-4 broché 29 cm sur 22. 251 pages. Bon état d’occasion.
