ANGIOLINI, ANGELO.MareMagnum
1.041 Ergebnisse
Firenze, 1808 circa. Incisione in rame all’acquatinta, cm 42,5 x 54 (alla lastra), 55 x 76,5 (il foglio). Disegnata e incisa da Angiolo Angiolini, con dedica alla Nobile Sig.ra Marchesa Giuseppa Fondatori nata Peruzzi. Il Monte Libano appartiene alla catena montuosa che si estende per l'intero Libano, parallelemanete alla costa mediterranea. Bella veduta, animata da personaggi e animali in primo piano. Non comune. Minimo foxing marginale, alcune lievi ondulazioni della carta, peraltro buon esemplare.
1890Best.-Nr. 24339Beyrouth Imprimerie des Belles-Lettres 1890 in-12 broché, couverture défraîchie, second plat détachée
1975Very Good Turkish Original fine photograph. 55x54 cm. Framed. Signed by Kortan Tümerdem and Emine Öztekin on verso, on a card.
1842Best.-Nr. j2p3c10xbvkHalle, Verlag der Buchhandlung des Waisenhauses, 1842. XIV S. (inkl. Titelblatt), bandübergreifend nummerierte Seiten (479)-1.116 (1); 5 (teils groß-)ausfaltbare geographische Tafeln. - Etwas späterer grüner Halbleineneinband mit schwarzen Buchdeckeln, dezenter Rückenvergoldung und goldgeprägtem Rückentitel; 8vo.(ca. 20,5 x 13 x 3,5 cm).
Best.-Nr. 10903Londres, Paris, et en Amérique, Fisher, n. d. (1836-41), in-4°, 80 p. (French text) + 37 plates / 100 p. (French text) + 45 plates + 2 maps, original green cloth bindings, spine and central piece on bookcovers gilt, gilt edges, fine. The fine steel engraved views, altogether 82 including frontispiece titles, and both maps, are taken from the English edition, showing legends in English. Volume 2 and 3 only,a fresh copy, in fine condition.
1787Best.-Nr. PHO-1794Paris, Desenne, Volland, 1787, 2 volumes in-8, XVI-383pp., VIII-458-2ff., relié pleine basane époque, dos lisse orné de fleurs entrelacées avec titre et pièces d’auteur et tomaison, tranches rouges, plats rhabillés, cachet au tome 1.
1884Best.-Nr. 16153Paris, Plon, Nourrit et Cie, 1884 ; 2 tomes in-folio ; demi-chagrin à coins vert foncé, dos à nerf, titre doré ; (4), 468 ; (4), 512 pp. et en tout 44 planches hors-texte gravées sur acier dont 2 frontispices et 3 cartes en couleurs (dont 2 à doubles pages) et le plan de Jérusalem et plusieurs centaines d'illustrations gravées sur bois.
Best.-Nr. 119104Paris, Librairie Hachette et Cie, 1884, 1 volume in-folio de 260x345 mm environ, 675 pages, complet de la carte dépliante de la Palestine in-fine et des 8 autres cartes. Reliure éditeur signée Ch. Magnier, cartonnage décoré par A. Souze. Demi chagrin rouge, dos à nerfs richement orné, plats décorés en rouge, noir et or, toutes tranches dorées, gardes marbrées. Coins émoussés, discrets frottements sur le cuir, des rousseurs (fortes par endroits), déchirures sur la carte de la Palestine, sinon très bel exemplaire. PRÉVOIR DES FRAIS D'EXPÉDITION POUR COLIS DE PLUS DE 5kg.
1884In-4 gr. (mm. 333 x 245), bellissima legatura in tela editoriale rossa, ricca cornice a secco e oro ai piatti e al dorso, tagli dorati, pp. 675, molto ben illustr. da 364 inc. su legno nel t., numer. a piena pag. e con 9 carte geograf. di cui 1 a colori della Palestina, più volte ripieg. Le affascinanti ill. di vedute di città, monumenti, ritratti e costumi, che ci accompagnano attraverso Alexandrette, Tripoli, Beyrouth, Sidone, Tiro, la Samaria, Gerusalemme, Betlemme, Jaffa, Mar-Saba, Ain Jedy, Massada, il Giordano, ecc., sono state eseguite da numerosi artisti, tra cui: De Bar, Barclay, Bida, Gobin, Sellier, Vuillier, etc., etc. Prima edizione. Firma di appartenenza al frontespio; timbro con segnatura, ex-libris. Esempl. con fiorit. interc. nel t., ma complessivamente ben conservato.
1861Best.-Nr. 25296Londres W. Jeffs 1861 in-8 percaline rouille de l'éditeur, dos lisse orné de filets et guirlandes dorés, encadrement et rosace à froid sur les plats
Best.-Nr. 243173Paris, Furne [Imprimerie de H. Fournier], 1846 in-12, [2] ff. n. ch., 290 pp., un f. n. ch. de table, veau violine, dos lisse orné en long, encadrement de triple filet doré avec volutes d'angle sur les plats, hachuré doré sur les coupes, tranches dorées (reliure de l'époque). Abondantes rousseurs.
1948Very Good Arabic Original chromo-lithograph map in brown tones. On a special paper with an ongoing blindstamped "Regestre Robur" during the borders. Folded. 70x100 cm. In Arabic. Scale: 1 /1.000.000. Chipped on margins, split on folded traces. Slight discoloration and one stain on lower margin. Otherwise a good copy. An attractive and detailed map of Syria shows the capital (as Aleppo n that map), other cities like Damascus, Raqqa, Homs, Latakia, Ayn al-Arab, Idlib, Hama, Deir Ez-Zor, Jarabulus, et alli. And it shows Turkey on the north (as Turkey containing Hatay and Alexandrette), The Mediterranean shores of the land as well as Lebanon and Palestine (and Jerusalem) on the west, Sharq al-Urdun (Jordan) and Iraq on the south and east. It's very detailed on showing the roads spread throughout the land like railways and ancient roads from the Roman period. Additionally this roads can be followed to the other Arabic countries and regions on the map. This map was calligraphed by Kamel Al-Baba, (1905-1991), who was a Lebanese contemporary / modern calligrapher. He is the son of famous calligrapher Mokhtar Al-Baba. Cannot be found in WorldCat.; Not in Library of Congress Map Collection. Very scarce.
1821Best.-Nr. PHO-919London: Printed for Longman, Hurst, Rees, Orme, and Borwn, 1821 ,première édition in-4 (280x220 mm), relié plein cuir , dos refait avec auteur et titre , plats frottés , tranches cailloutées ,xxvii-553pp , frontispice , carte dépliante , 7 planches HT (1 dépliante) , rousseurs .
1840Best.-Nr. LRB581Londres Fisher 1840 Londres et Paris Fisher, fils & Cie 1840 3 volumes in-4 percaline marron, dos et plats ornés de fers dorés et à froid, tranches dorées. 99, 76, 83 pp. . 120 planches hors texte gravées sur acier, dont en frontispice du tome I, le portrait du fondateur de l'Egypte moderne Méhémet Ali, et une carte de la Syrie, toutes protégées d'une serpente. Tome I. Alexandrie.Portrait de Méhémet Ali. Les côtes de Syrie. Bethléem. Jéricho Le Jourdain. Tibériade... Nazareth. St Jean d'Acre. Le Cap Blanc. L'hospitalité à Tyr. Scènes du Liban...Coiffe supérieure élimée Tome II. Départ de Beyrouth. Le Mont-Hermin. Arrivée en présence de Damas. Le Grand Khan. Tripoli. Eden. La Mecque. L'ile de Ruad. Tortose...Coiffes légèrement rognées Tome III. Environs d'Antioche. Mosquée d'Antioche. Scandéroon. Plaines d'Issus.Kalendria. Alaya. Rhodes... Dos en partie décollé avec un petit manque en queue .Ce 3e volume nécessitera une petite restauration .
1840Best.-Nr. LRB581Londres Fisher 1840 Londres et Paris Fisher, fils & Cie 1840 3 volumes in-4 percaline marron, dos et plats ornés de fers dorés et à froid, tranches dorées. 99, 76, 83 pp. . 120 planches hors texte gravées sur acier, dont en frontispice du tome I, le portrait du fondateur de l'Egypte moderne Méhémet Ali, et une carte de la Syrie, toutes protégées d'une serpente. Tome I. Alexandrie.Portrait de Méhémet Ali. Les côtes de Syrie. Bethléem. Jéricho Le Jourdain. Tibériade... Nazareth. St Jean d'Acre. Le Cap Blanc. L'hospitalité à Tyr. Scènes du Liban...Coiffe supérieure élimée Tome II. Départ de Beyrouth. Le Mont-Hermin. Arrivée en présence de Damas. Le Grand Khan. Tripoli. Eden. La Mecque. L'ile de Ruad. Tortose...Coiffes légèrement rognées Tome III. Environs d'Antioche. Mosquée d'Antioche. Scandéroon. Plaines d'Issus.Kalendria. Alaya. Rhodes... Dos en partie décollé avec un petit manque en queue .Ce 3e volume nécessitera une petite restauration .
1870Best.-Nr. 1091Paris, Furne, Jouvet et Cie, sans date (1870), fort in-8 ; demie-basane tête de nègre, dos à nerfs, couverture conservée (reliure moderne) ; VIII-666 pages, (1) feuillet de table, 16 gravures hors-texte, nombreuses figures.
1926Best.-Nr. 21231926 Imprimerie Massis, Paris, 1926. Grand in-folio (54,5 x 37,5 cm), couverture conservée, façon registre. 88 pages, 67 cartes hors-texte en couleurs. Khanzadian étudie la Géographie Historique et Physique, Richesses Naturelles, s'occupe de la Cartographie; et Bertalot du Commerce et Industrie
1865Best.-Nr. 25004Paris L'Ecureux 1865 in-8 demi-basane fauve à coins, dos à nerfs muet, couverture conservée [Rel. moderne]
1955Very Good Turkish Original silver gelatin photographic print mounted on cardboard. 53x42 cm (Photo size: 38x30 cm). Signed by Yildiz Moran. Yildiz (Vahid) Moran Arun was born on 24 July 1932, in Istanbul. She is the youngest of three children born to Nemide Moran and Ahmet Vahid Moran. Her father, Ahmet Vahid Moran, was a military officer who served in important positions both at home and abroad. He was the writer of Turkey's very first English-Turkish dictionary printed in Latin script in 1924. In 1950, Yildiz Moran quit her high school education during her final year at Robert College and, following the guidance of her uncle, the art historian Mazhar Sevket Ipsiroglu, went to Great Britain to study photography. After completing her education at Bloomsbury Technical College (1950-52) and Ealing Broadway Technical College, she began to work for John Vickers, the acclaimed photographer of The Old Vic. Moran combined her technical and theoretical knowledge with the practical experience she gained at the studio and stage shoots. She had the opportunity to meet famous artists of the time. The exhibitions and works she saw during her time in Great Britain helped her develop her photographic vision. Following her internship period, she began to make a living taking portrait and lobby photographs. She opened her first exhibition in 1953 in Cambridge. In 1954, she held four more exhibitions in London. All these shows attracted much attention. In her first exhibition, her entire collection was sold. She went traveling in Europe. After making a photo book on Spain and Portugal, she returned to Turkey in 1954. Between 1955 and 1962, she held five solo exhibitions. In 1963, she married Özdemir Asaf (Halit Özdemir Arun) and gave birth to three children in four years. She dedicated the rest of her life to her children. She opened her last exhibition in 1970, in Istanbul. After that, she only took part in retrospective exhibitions. She quit her professional photography career and began to work as a translator and dictionary writer. Between 1981 and 1987, she prepared the complete works of Özdemir Asaf for publication and translated some of his poetry and prose into English. In 1982, the Istanbul State Academy of Fine Arts Photography Institute awarded her honorary membership on account of her contributions to the art of photography. Lyrically conveying a universal language through her own perspective, Moran became a school in herself with her "timeless" photographs. Turkey's first academically-trained photographer, Yildiz Moran is renowned for the new vision and aesthetic she introduced into photography and is considered to be one of the best photographers of all time. Masterfully combining the tradition of the East with the aesthetic of the West, she left behind a legacy of black and white photographs beautifully composed to capture the world of light and shadow reflecting on people and lands. Considering the conditions in the world of photography in the 1950s and 1960s, it is a great achievement that she defined the age of 20 her passion for photography as the foundation of her life, became the first academically-trained woman photographer in her country, acquired in-depth knowledge of the discipline and combined this knowledge with her talent and hard work. "The camera must be like an extension of your being so that it doesn't create an obstruction between you and your subjects. Anything that has poetry in it is the subject of photography. My only intention has always been to photograph what was universal while staying true to the concept embodied by my subject." Besides her portraits, landscapes, and abstract details, she is also known for her photographs reflecting the lives of the Anatolian people. As a woman photographer traveling in Anatolia, she accessed otherwise inaccessible environments, moments, and perspectives; and, with profound respect, she conveyed the purity of the people she met there and allowed us... (Biography: Merih Akogul).
1840Best.-Nr. 31647Paris P. Dufart [Imprimerie de Crapelet] 1840 in-8 percaline verte, dos orné de filets dorés, tranches mouchetées [Rel. de l'époque], qq. rousseurs
1787Best.-Nr. 585531 vol. in-8 reliure début XIXe demi-basane verte, Chez Volland, Desenne, Paris, 1787, Tome I : 14 pp., 1 f. (errata et avis au relieur), 383 pp. avec 2 cartes dépliantes ; Tome II : 6 pp., 1 f. (errata), 458 pp. et 2 ff. n. ch. (approbation) avec 3 planches hors texte (dont deux dépliantes)
17871 vol. in-8 reliure début XIXe demi-basane verte, Chez Volland, Desenne, Paris, 1787, Tome I : 14 pp., 1 f. (errata et avis au relieur), 383 pp. avec 2 cartes dépliantes ; Tome II : 6 pp., 1 f. (errata), 458 pp. et 2 ff. n. ch. (approbation) avec 3 planches hors texte (dont deux dépliantes) Bon exemplaire de l'édition originale, rare, et ici bien complète des 2 cartes dépliantes et des 3 planches hors texte (anciennes étiquettes de cote au dos en queue, cartes interverties, petites piqûres en mors, très bon état par ailleurs). Ouvrage fondamental pour la connaissance de l'orient de la fin du XVIIIe siècle, le "Voyage en Syrie et en Egypte" rencontra un un très grand succès, et joua un grand rôle dans l'idée et la mise en place de l'Expédition d'Egypte menée par Napoléon Bonaparte. Volney's popular and highly-regarded work was the result of three year's travels, a good deal of which time was spent in Cairo. His account has never really been surpassed. Blackmer, 1748 ; Chadenat, 720 ; Gay, 2275 Français
1955Very Good Turkish Original silver gelatin photographic print mounted on cardboard. 53x42 cm (Photo size: 38x30 cm). Signed by Yildiz Moran. Yildiz (Vahid) Moran Arun was born on 24 July 1932, in Istanbul. She is the youngest of three children born to Nemide Moran and Ahmet Vahid Moran. Her father, Ahmet Vahid Moran, was a military officer who served in important positions both at home and abroad. He was the writer of Turkey's very first English-Turkish dictionary printed in Latin script in 1924. In 1950, Yildiz Moran quit her high school education during her final year at Robert College and, following the guidance of her uncle, the art historian Mazhar Sevket Ipsiroglu, went to Great Britain to study photography. After completing her education at Bloomsbury Technical College (1950-52) and Ealing Broadway Technical College, she began to work for John Vickers, the acclaimed photographer of The Old Vic. Moran combined her technical and theoretical knowledge with the practical experience she gained at the studio and stage shoots. She had the opportunity to meet famous artists of the time. The exhibitions and works she saw during her time in Great Britain helped her develop her photographic vision. Following her internship period, she began to make a living taking portrait and lobby photographs. She opened her first exhibition in 1953 in Cambridge. In 1954, she held four more exhibitions in London. All these shows attracted much attention. In her first exhibition, her entire collection was sold. She went traveling in Europe. After making a photo book on Spain and Portugal, she returned to Turkey in 1954. Between 1955 and 1962, she held five solo exhibitions. In 1963, she married Özdemir Asaf (Halit Özdemir Arun) and gave birth to three children in four years. She dedicated the rest of her life to her children. She opened her last exhibition in 1970, in Istanbul. After that, she only took part in retrospective exhibitions. She quit her professional photography career and began to work as a translator and dictionary writer. Between 1981 and 1987, she prepared the complete works of Özdemir Asaf for publication and translated some of his poetry and prose into English. In 1982, the Istanbul State Academy of Fine Arts Photography Institute awarded her with honorary membership on account of her contributions to the art of photography. Lyrically conveying a universal language through her own perspective, Moran became a school in herself with her "timeless" photographs. Turkey's first academically-trained photographer, Yildiz Moran is renowned for the new vision and aesthetic she introduced into photography and considered to be one of the best photographers of all time. Masterfully combining the tradition of the East with the aesthetic of the West, she left behind a legacy of black and white photographs beautifully composed to capture the world of light and shadow reflecting on people and lands. Considering the conditions in the world of photography in the 1950s and 1960s, it is a great achievement that she defined at the age of 20 her passion for photography as the foundation of her life, became the first academically-trained woman photographer in her country, acquired in-depth knowledge of the discipline and combined this knowledge with her talent and hard work. "The camera must be like an extension of your being so that it doesn't create an obstruction between you and your subjects. Anything that has poetry in it is the subject of photography. My only intention has always been to photograph what was universal while staying true to the concept embodied by my subject." Besides her portraits, landscapes, and abstract details, she is also known for her photographs reflecting the lives of the Anatolian people. As a woman photographer traveling in Anatolia, she accessed otherwise inaccessible environments, moments, and perspectives; and, with profound respect, she conveyed the purity of the people she met there and allowed us... (Biography: Merih Akogul).
1955Very Good Turkish Original silver gelatin photographic print mounted on cardboard. 53x42 cm (Photo size: 38x30 cm). Signed by Yildiz Moran. Yildiz (Vahid) Moran Arun was born on 24 July 1932, in Istanbul. She is the youngest of three children born to Nemide Moran and Ahmet Vahid Moran. Her father, Ahmet Vahid Moran, was a military officer who served in important positions both at home and abroad. He was the writer of Turkey's very first English-Turkish dictionary printed in Latin script in 1924. In 1950, Yildiz Moran quit her high school education during her final year at Robert College and, following the guidance of her uncle, the art historian Mazhar Sevket Ipsiroglu, went to Great Britain to study photography. After completing her education at Bloomsbury Technical College (1950-52) and Ealing Broadway Technical College, she began to work for John Vickers, the acclaimed photographer of The Old Vic. Moran combined her technical and theoretical knowledge with the practical experience she gained at the studio and stage shoots. She had the opportunity to meet famous artists of the time. The exhibitions and works she saw during her time in Great Britain helped her develop her photographic vision. Following her internship period, she began to make a living taking portrait and lobby photographs. She opened her first exhibition in 1953 in Cambridge. In 1954, she held four more exhibitions in London. All these shows attracted much attention. In her first exhibition, her entire collection was sold. She went traveling in Europe. After making a photo book on Spain and Portugal, she returned to Turkey in 1954. Between 1955 and 1962, she held five solo exhibitions. In 1963, she married Özdemir Asaf (Halit Özdemir Arun) and gave birth to three children in four years. She dedicated the rest of her life to her children. She opened her last exhibition in 1970, in Istanbul. After that, she only took part in retrospective exhibitions. She quit her professional photography career and began to work as a translator and dictionary writer. Between 1981 and 1987, she prepared the complete works of Özdemir Asaf for publication and translated some of his poetry and prose into English. In 1982, the Istanbul State Academy of Fine Arts Photography Institute awarded her honorary membership on account of her contributions to the art of photography. Lyrically conveying a universal language through her own perspective, Moran became a school in herself with her "timeless" photographs. Turkey's first academically-trained photographer, Yildiz Moran is renowned for the new vision and aesthetic she introduced into photography and is considered to be one of the best photographers of all time. Masterfully combining the tradition of the East with the aesthetic of the West, she left behind a legacy of black and white photographs beautifully composed to capture the world of light and shadow reflecting on people and lands. Considering the conditions in the world of photography in the 1950s and 1960s, it is a great achievement that she defined the age of 20 her passion for photography as the foundation of her life, became the first academically-trained woman photographer in her country, acquired in-depth knowledge of the discipline and combined this knowledge with her talent and hard work. "The camera must be like an extension of your being so that it doesn't create an obstruction between you and your subjects. Anything that has poetry in it is the subject of photography. My only intention has always been to photograph what was universal while staying true to the concept embodied by my subject." Besides her portraits, landscapes, and abstract details, she is also known for her photographs reflecting the lives of the Anatolian people. As a woman photographer traveling in Anatolia, she accessed otherwise inaccessible environments, moments, and perspectives; and, with profound respect, she conveyed the purity of the people she met there and allowed us... (Biography: Merih Akogul).
1926Best.-Nr. PHO-2298Paris, Commerce et industrie par L. de Bertalot, s.n., 1926. Grand in-folio (57x39cm) de [2] ff., 88 pp. (incomplet des pp. 81-88, Mouvement de la navigation maritime, Conclusion, Table des cartes) et 28 planches de cartes recto verso contenant 68 cartes numérotées 1-67 (complet) avec une carte numérotée 16 bis, dont 44 cartes historiques héliogravées ou en couleurs, certaines reproduisant des cartes anciennes, et 23 cartes politiques et économiques dessinées par l’auteur. Sans le frontispice. Cartonnage d’amateur moderne, dos et coins en toile bordeaux, plats recouverts de toile verte. Petites rousseurs éparses, quelques déchirures restaurées par endroits, légères traces de mouillures, perforations en marge inférieure de quelques planches.
