Special Collections Auction 001 - 278

Prof. Dr. Orhan Koprulu Collection

A/ RA Davenport, The Life of Ali Pasha, of Tepedeleni, Vizier of Epirus: surnamed Aslan, or the Lion. London, Thomas Tegg and Son, MDCCCXXXVII [1837], xii, 418 p.; plates. In a tired, marbled binding of the period.

B/ The Life of Ali Pacha o Janina, Vizier of Epirus, surnamed Aslan, or the Lion: rom various authentic documents, London, Lupton Relfe, 1822, viii, 320 p.; 1 plate. In the tired skin of its period.

C/ Charles Yriarte, Bosnie et Herzégovine. Souvenirs de voyage pendant l'insurrection, Paris, E. Plon et Cie, 1876, 329 p.; 1 plate. In a marbled cover of the period.

D/ Edward Money, Twelve months with the Bashi-bazouks. London, Chapman and Hall Limited, 1857. iv, 220, 4 pp., 1 plate. In publisher's original cloth binding.

E/ Charles Pertusier, La Bosnie considéréée dans ses rapports avec l'Emripe Ottoman. Paris, Librairie de Charles Gosselin, MDCCCXII [1822], 379 p.; 1 plate. In the marbled cover of its period.

F/ J. De Asbboth, An Official tour through Bosnia and Herzegovina with an account of the history, antiquities, agrarian conditions, religion, ethnology, folklore, and social life of the people. London, Swan Sonnenschein & Co., 1890, xx, 496 pp.; 1 map; illustrated. In the publisher's original cloth binding.

Prof. Dr. Orhan Koprulu Collection

A/ Don Juan of Persia. A Shi'ah Catholic 1560- 1604. Translated and edited with an introduction by G. Le Stange, London, George Routledge & Sons, Ltd., 1926, xvi, 335, [5] p. In the publisher's original volume.

B/ James Baillie Fraser, A Winter's Journey (Tatar) from Constantinople to Tehran; with travels through various parts of Persia, &c. In two volumes. London, Richard Bentley, 1838, 2 volumes: c. 1 - viii, 420 p.1 planch; c. 2 - viii, 512 p., 1 plank. In the tired skin of its period.

C/ Firdawsi, The Millennium of Firdawsi, the great national poet of Iran. Preface by Issa Sadiq, Tehran, [1944], [2], [2],98 p.; 1 plansh [English, German, French]; 200 p. [Persian], in Cloth volume.

Prof. Dr. Orhan Koprulu Collection

A/ John Tweddell, Remains of the late John Tweddell fellow of Trinity - College Cambridge being a selection of his letters written from various parts of the continent together with a republication of his prolusiones juveniles to which is adjoined an appendix containing some account of the author's Journals MSS. collections drawings &c. and of their extraordinary disappearance prefixed is a brief biographical memoir by the editor The Rev. Robert Tweddell AM, London, J. Mawman, 1815, [4], 480, 180 pp., [10] plate. In the volume of its period.

B/ Lady Mary Wortley Montague, The Works of the right honorable Lady Mary Worthley Montagu, including her correspondence, poems, and essays. In five volumes. London, Longman, Hurst, Rees, Orme, and Brown, 1817, 5 volumes: c. 1 - 308 pp., [8] plates; v.2 - 339 p.; c. 3 - 298 p.; c. 4 - 331 p.; c. 5 - 355 p. In the marbled cover of its period.

C/ Adolphe Joanne, Voyage en Orient, Bruxelles, Delevingne et Callewaert, 1850. 2 volumes together: 204, 214 p.; [2] plates, in a leather-marbled cover.

Prof. Dr. Orhan Koprulu Collection

A/ Journal of a steam voyage down the Danube to Constantinople, and then by way of Malta and Marseilles to England. London, Printed by Moyes and Barclay, 1842. 162 p. In the volume of its period.

B/ Mrs. Brassey, Voyage of a family traversing the Méditerranée aboard the son yacht Le Sunbram., Traduite de l'Angalise by J. Butler, Paris, Maurice Dreyfous, [1881], [10], 318, [2] p.; 30 extra-textual illustrations, 2 maps. In a binding with marbled inner covers and gilded edges.

C/ John Earl of Sandwich, A Voyage performed by the Late Earl of Sandwich around the Mediterranean in the years 1738 and 1739. Written by himself. To which are prefixed, memories of the noble author's life by John Cooke. London, T. Cadell Ju. And W. Davies, MDCCXCIX [1799], xl, 40 pp.; 19, iv plate; 1 folding map. In the tired skin of its period.

Prof. Dr. Orhan Koprulu Collection

A/ Luigi Villari, The Republic of Ragusa. An episode of the Turkish conquest. Illustrations by William Hulton, London, JM Dent & Co., MCMIV [1904], xii, 424 pp.; 41 planks. In the publisher's original volume.

B/ William Coxe, Histoire de la maison d'Autriche, depuis Rodolphe de Habsbourg, jusqu'a la mort de Léopold II (1218 - 1792). Traduite de l'Angalise par P.F. Henry, Paris, Chez H. Nicolle, MDCCCIX - MDCCCX [1809 - 1810], 6 vols.: vol.1 - xviii, 495.; 2 folding sheets; c. 2 - 511 p.; c. 3 - 578 p.; c. 4 - 544 p.; c. 5 - 636, [2] p.; Volume 6 has not been seen. In the volume of its period.

Prof. Dr. Orhan Koprulu Collection

A/ Lady Brassey, Sunshine and storm in the east, or cruises to Cyprus and Constantinople. With upwards of 100 illustrations chiefly from drawings by the hon. A. V. Bingham, London, Longmans, Green, and Co., 1881, xxi, [3], 488 pp.; 2 fold-out maps; 9 extratextual plates; 104 illustrations for text. In a contemporary gilt-edged binding.

B/ Georges Dorys, Abdul-Hamid Intime. Preface de Pierre Quilland, Paris, P.-V. Stock, 1907. xviii, 274, [2] p.; 31 planchette; septeme edition. In a period marbled cover and cloth spine.

C/ HC Woods, Washed by four seas. An English officer's travels in the Near East. Introduction by Martin Conway, London & Leipsic, T. Fisher Unwin, 1908, xvi, 316 pp.; 1 foldout map; 67 photographs. In publisher's original binding.

D/ Phillipson Coleman & Noel Buxton, The Question of the Bosphorus and Dardanelles, London, Stevens and Haynes, 1917, xvi, 264 pp. In the publisher's original binding.

Prof. Dr. Orhan Koprulu Collection

A/ Count [COMTE Claudius Alexander] Bonneval, Memoirs of the Bashaw Count Bonneval, from his birth to his death: sewing, the motives which induced him to quit the Service and Dominions of France; his Entrance into and sudden Rise in the Imperial Armies…, London, E. Withers, MDCCL [1750], 326 pp.; 1 plank. In the volume of its period.

B/ Hester [Lady] Stanhope, Memoirs of the Lady Hester Stanhope, as related by herself in conversations with her physician [Charles Lewis]; comprising her opinions and anecdotes of some of the most remarkable persons of all time. London, Henry Colburn, 1845, 3 vols.: vol.1 - xvii, [1], 394 p.; 1 color planch; v.2 - vi, 384 p.; 1 plank; v.3 - vii, [1], 361 p.; 1 plate. In the marbled cover of its period.

C/ John Morley, The Life of Richard Cobden, London, Chapman and Hall Limited, 1881, 2 vols.: v.1 - xvi, 468 p.; 1 plan; v.2 - xii, 485 p. In the tired volume of its time.

Prof. Dr. Orhan Koprulu Collection

A/ Leicester Stanhope, Greece, in 1823 and 1824; being a series of letters, and other documents, on the Greek revolution, written during a visit to that country. Illustrated with several curious fac similes. To which is added, the life of Mustapha Ali. London, Sherwood, Jones, and Co., 1824, xiii, [3], 368, [4] pp.; 5 folding facsimile; 1 color plate. In the marbled cover of its period.

B/ Adolphus Slade, Turkey Greece and Malta, London, Saunders and Otley, 1837, 2 volumes: v.1 - XVI, 504 p; v.2 - VII, [1], 538 p. In the patterned cloth binding of the period.

Prof. Dr. Orhan Koprulu Collection

A/ Lefebvre, Tableaue historique, politique et moderne de l'Empire Ottoman, Paris, Chez Tavernier, 1799; 1801, 2 vols.: vol.1 - xxiv, 352 p.; c.2 - 320 p. In the tired volumes of the period.

B/ Salmon, Modern History or, the Present State of all Nations. Describing their respective situations, persons, habits, buildings, manners, laws and customs, religion and politics, arts and sciences, trades, manufactures and husbandry, plants, animals and minerals. Vol. V., London, James Crokatt, 1878, [8], 465, [13] p.; 3 planks; 2nd ed., p. There is something missing in the upper right corner of the planchette at 230. In the tired skin of its period.

C/ Elias Habesci, The Present state of the Ottoman Empire containing a more accurate and interesting account of the religion, government, military establishment, manners, customs, and amusements of the Turks than any yet extant. Including a particular description of the Court and Seraglio of The Grand Signor. And interspersed with many singular and entertaining anecdotes. London, R. Baldwin, MDCCLXXXIV [1784], xvi, [8], 443 p. In the volume of its period.

D/ Un Français, Etudes pratiques sur la question d'orient. Reformes et capitulations. Paris & Strabourg, Veuve Berger - Levrault et Fils; Amyot, Librairie éditeur, 1869, iv, 318 p. In the volume of its period.

Prof. Dr. Orhan Koprulu Collection

A/ Fabricius, The Genuine letters of Baron Fabricius, envoy from his Serene Highness the Duke Administrator of Holstein to Charles XII of Sweden. London, T. Becket and PA Dehondt, MDCCLXI [1761], xxviii, 316 pp. In the volume of its period.

B/ John Galt, Letters from the Levant; containing views of the state of society, manners, opinions and commerce, in Greece, and several of the principal islands of the Archipelago. Inscribed to the Prince Koslovsky. London, T. Cadell and W. Davies, 1813, xvi, 366 p. In the volume of its period.

C/ John Laing, An Account of a voyage to Spitzbergen; containing a full description of that country, of zoology of the north, and of the Shetland Isles; account of the whale fishery. With an appendix, containing some impoartant observations on the variations of the compass, &c. by a gentleman of the Navy. London, J. Mawman, 1815. [6], 171, [3] p. In the volume of its period.

D/ Letters Concerning the Present State of Poland. Together with the manifesto of the Courts of Vienna, Petersburg, and Berlin and the Letters Patent of the King of Prussia. London, T. Payne, 1773. xvi, 36, 64, 96, 140 p. In the volume of its period.

E/ Henry James Ross, Letters from the east 1837 - 1857. Edited by his wife Janet Ross, London, J. M. Dent & Co., 1902, xiv, 332 pp.; 11 pp. In the publisher's original binding.

Prof. Dr. Orhan Koprulu Collection

A/ Francis Beaufort, Carmania, or a brief description of the south coast of Asia - Minor and of the remais of antiquity. With plans, views, &c. Collected during a survey of that coast, under the orders of the lords commissioners of admiralty, in the years 1811 & 1812. London, R. Hunter, 1817, x, [2], 299 p.; 5 plates; 1 folding map. In the tired skin of its period.

B/ Two months in Palestine: or, a guide to a rapid journey to the chief places of interest in the Holy Land. London, Nisbet and Co., 1870, 236 pp.; [15] plate. In the publisher's original volume.

C/ Hen. Maundrell, A Journey from Aleppo to Jerusalem at Easter, AD 1697. The fourth edition, to which is now added an account of the author's journey to the banks of Euphrates at Beer, and to the country of Mesopotamia. Oxford, Printed at the Theatre, MDCCXXI [1721], [12], 145, [7], 10 pp., [12] plans. In the tired skin of its period.

Prof. Dr. Orhan Koprulu Collection

A/ Edward Fitzgerald, Rubaiyat of Omar Khayyam, Portland, 1909, xvii,[1], 55,[1] p.

B/ Discours Preliminaire du Voyage Pittoresque de la Grece, Paris, 1783, 60 p.

C/ Thomas Okey, The Story of Venice. Illustrated Nelly Erichsen, London, JM Dent & Co., 1907, xix, 445,[3] p., illustrated.

D/ WH Salmon, An Account of the Ottoman Conquest of Egypt in the year AH 922 (AD 1516), London, The Royal Asiatic Society, 1921, xiii, 117 p.

E/ Ottokar Maria von Schlechta-Wssehrd, Ottoman Sprichwörter, Durub-ı Emsâl-i Osmaniyye, Proverbes Ottomans. Publies Par L'Academie I. Et R. Des Orientales A Vienne, Wien, 1865, xii, [2],180 p. Book of Proverbs published by the Vienna Academy of Oriental Studies.

F/ Rene Maunier, Introduction Au Folklore Juridique Definition – Questionnaire Bibliographie, Paris, 1938, 38 p.

G/ W. Davis Haskoll, Railway Construction, Second Series also Railways in The East, London, Atchley And Co., 1864, iv, 201 p..

Prof. Dr. Orhan Koprulu Collection

A/ Mustafa b. Şemseddin Karahisari Ahterî, Ahter-i Kebir, Istanbul, Matbaa-i Amire, 1293[1879], 1198 p. In a leather binding with a patterned spine of the period.

B/ Hasan Şuurî, Ferheng-i Şuurî. An excellent dictionary from Persian to Turkish. Istanbul, Cemal Efendi Printing House, 1314 [1897], 480 pp. In a tired cloth binding.

C/ Şemseddin Sami, Kâmus-ı Türkî, İstanbul, İkdam Press, 1317 - 1318 [1900 - 1901], 1574 p.; [8] pages are missing from the beginning. In a repaired leather spine.

D/ Ahmed Vahid Moran, English - Turkish Condensed Dictionary = A Condensed Dictionary English – Turkish, Istanbul, Papermaking and Printing Corporation, 1924, xxviii, 720 p. In Ottoman leather-backed binding.

Prof. Dr. Orhan Koprulu Collection

A/ Cenab Şahabeddin, On the Way to the Pilgrimage, Istanbul, Matbaa-i Ahmed İhsan, 1325 [1909], 236 p. In leather binding

B/ Kemal Ragıb, The Story of a Marriage, Istanbul, Cumhuriyet Press, 1341 [1925], 252 p. Paperback.

C/ Ahmed Midhat , Esrar-i Cinayât, Istanbul, Tercüman-ı Hakikat Printing House, 1301 [1884], 225 p. In cloth binding.

D/ Muallim Nâci, Ateşpâre, Istanbul, Matbaa-i Ebüziya, 1303 [1886], 114 p.; 2nd ed. In a worn cloth binding with a coat of arms.

E/ Burhan Cahid [Morkaya], The Heart's Nest, Istanbul, Burhan Cahid and His Companions, 1926, 303, 1 p. In tired, original cloth binding.

F/ Burhan Cahid [Morkaya], The Garden of Love, Istanbul, Burhan Cahid and His Companions, 1925, 221, 3 p. In cloth binding.

G/ Safveti Ziya , In the Corners of the Living Room, Istanbul, Ahmed Ihsan and His Companions, 1328 [1912], 228 p. As it stands.

H/ Ahmed Şuayb, Life and Books, Istanbul, Âlem Press, 1317 [1900], 393 p. Paperback.

I/ Peyami Safa, Fireflies, Istanbul, Orhaniye Printing House, 1341 [1925], 159, 1 p. In the original paperback.

J/ Muslihiddin Sadi-i Shirazi, Translation of the Book of Gulistan, Translator: Şevket Beyzâde Safvet, Istanbul, 4, 500, 4 p. In a paperback with a leather spine.

K/ Jean de la Hire, The Circumnavigation of the World of Two Children, Translator: İsmail Hikmet [Ertaylan], Istanbul, İkbal Library; Evkaf Press, 1342 [1914], 2272 p.; 71 fascicles in total, collected in 3 volumes.

Prof. Dr. Orhan Koprulu Collection

A/ Ahmed Refik Altınay, Sultan Cem (864 - 900), Istanbul, Library of Hilmi, 1924, 232 p. Paperback.

B/ Abdurrahman Sami Pasha, Rümüzü'l-hikem, Istanbul, Şeyh Yahya Efendi Printing House, 1287 [1871], 8, 128 p. Leather spine, paperback.

C/ Mustafa Vahyi Efendi, Ed-Dürreti'l-Aziziyye fî'l-Fevâidi'l-kaviyye, Istanbul, Matbaa-i Âmire, 1281 [1865], 96 p. Marbling inside, unbound.

D/ Ebüzziya Tevfik, Nümune-i Edebiyat-ı Osmaniye, İstanbul, Matbaa-i Ebüziya, 1329 [1913], 544 p.; 2 plates. 6th ed. In a worn binding with a preserved cardboard cover.

E/ Kilisli Rifat Bilge, Kitâb-ı Dede Korkud Alâ Lisan-ı Taife-i Oğuzân, Istanbul, Imperial Printing House; Islamic Works and National Research Council Publications, 1332 [1916], 181, 1 p. On a leather-backed spine.

Prof. Dr. Orhan Koprulu Collection

A/ Colonel Atwell Lake, Kars And Our Captivity in Russia: With Letters From Gen. Sir WF Williams Bart, Of Kars, KCB; Major Teesdale, CB; And The Late Captain Thompson, CB, London, Richard Bentley, 1856, xv, 367, [4] p. illustrated.

B/ Baron De Manstein, Memoirs Of Russia, From the year 1727, to the year 1744. Translated from the Original Manuscript of the Baron Manstein, London, 1773, xxvi, 416, [8] p., 9 folding maps.

C/ Caussin De Perceval, Precis Historique De La Guerre Des Turcs Contre Les Russes, Depuis L'Annee 1769 Jusqua L'Annee 1774 Tire des annales De L'Historien Turc Vassıf-Efendi, Paris, 1822, xvi, 284 p.

D/ Pictorial History of the Russian War 1854-5-6 with maps, plans and wood Engravings, Edinburgh and London, W. & Chambers, 1856, x, 584 pp., with folding map and engravings.

Prof. Dr. Orhan Koprulu Collection

A/ Albert Richard Smith, A Month at Constantinople, London, David Bogue, 1851, xi, [1], 236 p., [1] woodcut plate, many woodcut engravings in text.

B/ Valérie Boissier de Gasparin (L'Auteur des Horizons Prochains), A Constantinople, Paris, Calmann Levy, 1877, 487 p.

C/ Charles White, Three Years in Constantinople or Domestic Manners of The Turks in 1844. London Henry Colburn, 1846, 3 vols. (xx, 338, 1 Map; vii, 372 pp.; vii, 367 pp., 1 plan. 3 engravings.)

D/ Georgina Max Müller, Letters From Constantinople, London, Longmans, Green, and Co., 1897, vi, [2], 196 p., 32 p. publisher's notice, item 12 plate illustrations.

The letters of Georgina Max Müller, who also devotes a section to Bursa and Turkish women, are both rare and enjoyable to read.

E/ Geoffroi De Ville-Hardouin, Conquête Constantinople. Avec la Continuation de Henri de Valenciennes. Texte original, accompagné d'une traduction par M. Natalis de Wailly, Paris, Librairie de Firmin-Didot et Cie., 1882, xxiv, 616 p., md 1 folding map, 3rd ed.

The work, which also covers the history of the Latin Empire established after the conquest and the French emperors who came to power, is a first-hand and valuable source for the history of Istanbul.

Prof. Dr. Orhan Koprulu Collection

A/ Richard Knolles; Paul Ricaut; Roger Manley, The Turkish history from the original of that nation, to the growth of the Ottoman Empire: with the lives and conquests of their princes and emperors by Richard Knolles, sometime fellow of Lincoln-College in Oxford. With a continuation of this present year. MDCLXXXVII. Whereunto is added the present state of the Ottoman Empire. By Sir Paul Rycaut, late Consul of Smyrna. The First Volume.The Turkish history. The second volume, beginning from Mahomet III. And continued to this present year 1687.The history of the Turkish Empire continued, from the year of our lord, 1676, to the year 1686.By Sir Roger Manley. London, Tho. Basset, MDCLXXXVII [1687], vol.1 - 836 pp.; 1 plate.; v.2 - pages 837 - 990; [26], [2] p.; pages 262, [6], 104, [12], 267 - 338. In his tired volume.

B/ Charles Perry, A View of the levant: particularly of Constantinople, Syria, Egypt and Greece. In which their antiuites, government, politics, maxims, manners, and customs, (with many other circumstances and contingencies) are attempted to be described and Treated on. In four parts. London, T. Woodward; C. Davis; J. Shuckburgh, MDCCXLIII [1743], xviii, [8], 524, [4] p.; 34 planks; illustrated. On your tired skin.

C/ Paul Ricaut, The History of Turks. Beginning with the year 1679. Being a full relation of the last troubles in Hungary, with the Sieges of Vienna, and Buda, and all the several Battles both by sea and land, between the Christians, and the Turks, until the end of year 1698, and 1699. which the prace between the Turks and confederate Christian Princes and States, was happily concluded at Carlowitz in Hungary. London, Robert Clavell; Abel Roper, MDCC [1700], [6], 607, [9] pp.; [7] planch. On your tired skin.

This work by Richard Knolles, a schoolmaster in Sandwich, was published during a period considered to be the renaissance of relations between England and the Ottoman Empire, and for many years it remained the fundamental reference book for the Ottoman Empire in England. Written over a period of 20 years and first published in 1603, each edition of the work was prepared with additions, with the aim of preserving the book’s current status. While preparing this work, Knolles particularly benefited from the works of important previous writers such as Busbecq, Giovio, Georgievitz, and Barletius. His most important source is Boissard’s book “Vitae et Icones Sultanorum” published in 1596. The first section of the work describes the history of the Turks before the Ottomans. In the following sections, the formation of the Ottoman state and the conquests of each sultan are explained in detail according to the order in which the sultans ascended to the throne. At the end of the book, in the section again written by Knolles, the central and provincial organization of the Ottoman Empire and the position of the Anatolian and Rumelian Beylerbeys are examined and the reasons for Ottoman superiority are discussed. This work of Knolles is a classic of the English literature on the Turks and is the starting point of Rycaut's famous books on Ottoman history. Rycaut wrote his works from where Knolles left off (from Murat IV), and he also emphasized that he was a continuation of Knolles.

Prof. Dr. Orhan Koprulu Collection

Picturesque Representations of the Dress of a Manners of the Turks. Illustrated in sixty Colored Engravings. With descriptions. London, Howlett and Brimmer, [1825], iv, [2], [120] folios; 60 color planks. On its tired skin with marbling cover.

The most popular and most beautiful of rare clothing books.

Prof. Dr. Orhan Koprulu Collection

A/ Mohamet, The Eight Volumes of Letters written by a Turkish spy, who liv'd five and fourty years undiscover'd at Paris: Giving an account to the Divan at Constantinople of the most remarkable transactions of Europe: And discovering several intrigues and secrets of the Christian courts, (especially of that of France) continued from the year 1642, to the year 1682. Written originally in Arabic. Translated into Italian and from then into English. London, G. Strahan, W. Mears, S. Ballard, F. Clay, J. Hooke, B. Motte, R. Williamson, H. Rhodes. MDCCXXX [1730], 8 vols.: vol.1 - [46], 312 p.; v.2 - [10], 276 p.; v.3 - [10], 280 p.; v.4 - [14], 248 p.; v.5 - [22], 276 p.; v.6 - [24], 264 p.; v.7 - [14], 248 p.; v.8 - [10], 280 p.; 9th ed.- In the volumes of the period.

B/ Mohamet, A Continuation of letters written by a Turkish spy at Paris. Giving an impartial account to Divan at Constantinople of the most remarkable transactions of Europe, and discovering several intrigues and secrets of the Christian courts, especially of that France; cuntinued from the year 1687, to the year 1693. London, W. Taylor, 1718, viii, [12], 304 p. In the volume of its period.

C/ Mohamet, The Four volume of letters written by a Turkish spy, who liv'd five and fourty years undiscover'd at Paris: Giving an impartial account to the Divan at Constantinople of the most remarkable transactions of Europe: And discovering several intrigues and secrets of the Christian courts (especially of that of France) continued frm the year 1649, to the year 1862. Written originally in Arabic. First translated into Italian, then wards into French and now into English. London, G. Strahan, S. Ballard, etc., MDCCXLI [1741], vol. 4 - [22], 288 p.; 11th bs.- In the volume of his period.

Prof. Dr. Orhan Koprulu Collection

A/ Ali Reşad, History of the Ready Century. Exclusive to the second term senior classes of high schools. Istanbul, National Printing House, 1926, 484 p., in a leather-backed Ottoman binding of the period.

It is dedicated and signed with the phrase “Ali Reşad” presented to the honorable teacher Tevfik Bey on May 3, 1927.

B/ Ernest Lavisse; Alfred Rambo, General History. From the fourth century to our time. Translator: Necip Asım Yazıksız , Istanbul, Matbaa-i Âmire, 1926, 842 p. In a cloth binding with the cover preserved.

C/ Ahmed Refik Altınay , General History. The civil, social, political and intellectual evolution of humanity. Istanbul, Library of Islam and the Military İbrahim Hilmi, 1328 [1912], 6 volumes: v.1 - 484, 4 p.; 11 plates; v.2 - 476, 4 p., 12 plates; v.3 - 480, 4 p.; 15 plates; v.4 - 474, 4 p., 11 plates; v.5 - 474, 4 p.; 7 plates; v.6 - 476, 4 p., 6 plates; illustrated. In a binding made in the Ottoman period.

Prof. Dr. Orhan Koprulu Collection

A/ Hâşim Nâhid Erbil, The Roads of Necat and ‹tilâ for Turkey. Istanbul, Hüseyin, the owner of İkbal Library; Şems Printing House, ty, 8, 375, 1 p. In the Ottoman binding with patterns on the period

B/ Mustafa Reşid, Bedâyi ü'l-İnşâ. Istanbul, Matbaa-i AK Tozluyan, 1302 [1885], 288 p. In a leather-backed Ottoman binding of the period.

C/ Mehmed Zihni, El-Muktadab. Grammar Section. Istanbul, A. Maviyan Şirket-i Mürettibiye Printing House, 1303 [1887], 8, 378, 4 p. In the patterned Ottoman binding of the period. In the same volume as 40d.

D/ Mehmed Zihni, El-Muntahab fi Tâlim-i lûgati'l-Arab. Consumables section. Istanbul, Şirket-i Mürettibiye Printing House, 1303 [1887], 14, 624 p. In the same volume as 40c.

E/ Arif Hikmet Müftüoğlu, Hâristan and Gülistan, Istanbul, Âlem Printing House, 1317 [1900], 2, 328, 4 p. In Ottoman leather-backed binding.

F/ Osman Senâî Erdemgil, Plevne Hero Gazi Osman Pasha, Istanbul, Feridiye Printing House, 1317 [1900], 99 p. In the same volume as 40g. In the patterned Ottoman binding.

G/ Ahmed Cemal, From Our Nationalist Ottoman Honors: The Defense of Plevne, Istanbul, A. Asaduryan Şirket-i Mürettibiye Printing House, 1316 [1899], 160, [16] p. In the same volume as 40f.

H/ Bahaeddin Efendi (edited), Risale-i Erbaa, Istanbul, Karabet Printing House, 1314 [1897], 24 p. In the same volume as 40i, 40j and 40k. In the Ottoman volume of the period.

I/ Ahmed Asım Bey, Numune-i İnşa, İstanbul, Mahmud Bey Printing House, 1307 [1890], 127 p. In the same volume as 40h, 40j and 40k.

J/ Applied Arabic Language for the Application of the Arabic Language, Istanbul, Matbaa-i Ebüzziya, 1314 [1897], 32 p.; 4th ed.- In the same volume with 40h, 40i and 40k.

K/ Ahmed Cevdet, Tertib-i Cedid Kavaid-i Osmaniye, Istanbul, Kasbar Printing House, 1311 [1894], 160 p.; 7th ed.- In the same volume with 40h, 40i and 40j.

L/ Celal Nuri İleri, History of Ottoman Modernity, Istanbul, Printing House of Ictihad, 1330 [1913], 269, 3 p.

Prof. Dr. Orhan Koprulu Collection

A/ Mehmed Ali Hilmi, The Divan of the Late Mehmed Ali Hilmi Dede Baba, the Sheikh and Protector of the Said Lodge, which is buried in the Şahkulu Lodge in Merdivenköy, Istanbul, Uhuvvet Printing House, 1327 [1911], 128 p. Original cardboard cover with cloth spine.

B/ Ahmed Nedim, Nedim Divan, Mosque and proofreading: Halil Nihad [Boztepe], Istanbul, İkdâm Press, 1922, 374 p. In cloth binding with leather spine.

C/ İmam Seyyid Nesimi, Divan-i Nesimi, Istanbul, Darü't-Tıbaatü'l-âmire, 1260 [1844], 28, 133 p. In a later cloth binding.

D/ Yusuf Nâbi, Divân-ı Nâbi, Istanbul, Şeyh Yahya Efendi Printing House, 1292 [1875], 117, 38, 243, 41, 22, 35, 64 p. (The last 64 pages are Hayriye-i Nâbi.) In a worn-out binding with a leather spine and a cover.

E/ Osman Ruhi Baghdadî, Külliyât-ı Eş'ar-ı Ruhi-i Baghdadî, Istanbul, 1287 [1871] 365 pp. In a cloth binding with a miklebli.

F/ Sümbülzade Vehbi, Divan-ı Vehbi, Cairo, Bulak Printing House, 1253 [1837], 20, 17, 43, 131, 16, 97, 61 p. In a leather-backed cardboard cover.

G/ Divan-ı Tarzî-i Afşar , Kitabhâne-i Temeddin, 24, 208, [6] p.; 1 plate. In a leather binding with a cloth spine of the period.

Prof. Dr. Orhan Koprulu Collection

A/ Richard Chandler, Travels in Asia Minor: or an account of a tour made at the expense of Dilettanti. Oxford, Claredon Press, MDCCLXXV [1775], xiv, xiii, [3], 283, [1] p.; 1 folding map.

B/ Richard Chandler, Travels in Greece: or an account of a tour made at the expense of the society of Dilettanti. Oxford, Claredon Press, MDCCLXXVI [1776], xiv, [2], viii, 304 pp.; 7 planks. Two books in one volume. They are in the same volume.

Dr. Richard Chandler's famous travelogue based on his travels in Ottoman lands

Prof. Dr. Orhan Koprulu Collection

The State of the Ottoman Empire. Containing the maxims of the Turkish politie, the most material points of the Mahomet Religion, their secrets and heresies, their convents and religious votaries. Their Military discipline, with an exact computation of their forces both by land and sea. Illustrated by divers pieces of sculpture, representing the variety of habits among the Turks. London, John Starkey and Henry Brome, 1668. [12], 218 pp.; 4 planks; [4] images for text. On your tired skin.

It is known that the first edition of the book was published in 1667. However, since most of the first edition of the work was burned in the Great Fire of London, the second edition of the book is considered definite among book enthusiasts.

Prof. Dr. Orhan Koprulu Collection

Travels in Turkey, Asia - Minor, Syria, and across the desert into Egypt during the years 1799, 1800, and 1801, in company with Turkish Army, and British Military Mission. To which are annexed, observations on the plague, and on the diseases prevalent in Turkey and a meteorological journal. London, Richard Phillips, 1803, xvi, 595, [1] p.;21 plans; with map, illustrated. In the volume of its period.

Prof. Dr. Orhan Koprulu Collection

A/ Charles Mac Farlane, Turkey and Its Destiny: the results of journeys made in 1847 and 1848 to examine into the state of that country. In two volumes. London, John Murray, 1850, 2 vols.: vol.1 - xii, 543, [1], 16 p.; c.2 – x, 681 p. In the publisher's original cloth binding.

B/ Peter Edmund Laurent, Recollections of a classical tour through various parts of Greece, Turkey, and Italy, made in the years 1818 & 1819. London, G. And WB Whittaker, 1821, xii, 317, [7] p.; [4] color background. On your tired skin.

Prof. Dr. Orhan Koprulu Collection

A/ FC Pouqueville, Travels in the Morea, Albania, and other parts of the Ottoman Empire, comprehending a general description of those countries; their productions; the manners, customs, and commerce of the inhabitants: a comparison between the ancient and present state of Greece: and an historical and geographical description of the ancient Episur. London, Henry Colburn, 1813. xii, 428, [2] p.; 7 plates; The map is missing. On your tired skin.

B/ Lady Elizabeth Craven, A Journey through the Crimea to Constntinople in a series of letters from the right honorable Elizabeth Lady Craven, to his serene highness the Margrave of Brandebourg, Anspach, and Bareith. Written in the year MDCCLXXXVI [1786], London, GGJ And J. Robinson, MDCCLXXXIX [1789], [8], 327, [1] p.; 6 planks; 1 folding map. On your tired skin.

Prof. Dr. Orhan Koprulu Collection

Sandy's Travels, Containing a History of the original and present state of the Turkish Empire: their laws, government, policy, military force, courts of justice, and commerce. Th Mahometan religion and Ceremonies: a description of Constantinople, the Grand Signior's Seraglio, and his manner of living: also, of Greece, with the religion and customs of the Grecians. Of Aegytp; the antiquity, hieroglyphicks, rites, customs, discipline, and religion of the Aegyptians. A voyage on the River Nilus: Of Amrnenia, Grand Cairo, Rhodes, the Pyramides, Colossus; the former flourishing and present state of Alexandria. A Description of the Holy-land; of the Jews, and several sects of Christians living there; of Jerusalem, Sepulchre, of Christ, Temple of Solomon; and what else either of antiquity, or worth observation. Lastly Italy described, and the Island adjoining; as Cyprus, Crete, Malta, Sicilia, th Aeolian Islands; o Rome, Venice, Naples, Syrccusa, Mesena, Athena, and Charybdis; and other places of Note. Illustrated with fifty graven maps an figures. London, John Williams Junior, 1673, [4], 240 pp.; 50 engravings and maps. On your tired skin.

Prof. Dr. Orhan Koprulu Collection

Constantinople and the scenery of the seven churches of Asia Minor illustrated. In a series of drawings from nature by Thomas Allom. With an historical account of Constantinople, and descriptions of the plates, by the Rev. Robert Walsh. London & Paris, Fisher, Son, & Co., 2 vols.: vol.1 - xxxvi, 84 p., [47] planş; v.2 - 100 p., [49] planch; 1 map. In the volume of its period.

The famous Istanbul travelogue with engravings by Thomas Allom.

Prof. Dr. Orhan Koprulu Collection

A/ Mehmed Hulûsî, 1877 - 78 Ottoman-Russian Campaign. Operations in Europe. Istanbul, Sancakciyan Printing House, 1326 [1910], 126 p.; maps and sketches that should be in the book are missing. In the publisher's original binding.

B/ Mehmed Eşref Albatı, Atlas of the General Ottoman History, containing 138 maps on 32 sheets. Istanbul, Harbiye Printing House, 1329 [1911], 12, 4 p.; 32 sheets. In the publisher's original binding.

C/ Akdes Nimet Kurat, Prut Expedition and Peace 1123 (1711). Ankara, Ankara University, Faculty of Language and History - Geography, Institute of History, 1951; 1953. 2 volumes: v. 1 - viii, 492 p.; 5 maps; v. 2 - iv, pages 493 - 888, 2 maps, 4 plates. Bound in leather spine.

Prof. Dr. Orhan Koprulu Collection

Travels in Europe, Asia Minor and Arabia. London & Edinburgh, T. Cadell and W. Davies; and Peter Hill, 1805, xx, 396 pp.; 1 folding map; 3 planchets. In contemporary binding.

A famous and infamous travelogue.

Prof. Dr. Orhan Koprulu Collection

The Six Voyages of John Baptisa Tavernier, a noble man of France now living, through Turkey into Persia, and the East - Idies, finished in the year 167. Giving an account of the State of those countries. Illustrated with divers sculptures. Together with a new relation of the present Grand Seignor's Seraglio, by the same author. Made in English. by JP to which is added a description of all the Kingdoms which encompass the Euxine and Caspian Seas. By an English traveller, never before printed. London, RL and MP , 1678, 2 vols.: vol.1 - [22], 264 p., [9] plansch; vol.2 - 214, 119, [3] p. [14] planch. Its back is in leather.

Tavernier presents the imperial life and the Ottoman palace order from a western perspective during the 17th century, the period of stagnation of the Ottoman state. The details given about Topkapi Palace in particular give the book a documentary value.

Prof. Dr. Orhan Koprulu Collection

A/ William Mac Michael, Journey from Moscow to Constantinople, in the years 1817, 1818. London, John Murray, 1819. vi, 272 p.; [5] plan. In the marbled binding of the inner covers of the period.

B/ Thomas Walsh, Journal of the late Campaign in Egypt: including descriptions of that country, and of Gibraltar, Minorca, Malta, Marmorice, and Macri; with an appendix; containing official papers and documents. Illustrated by numerous engravings of antiquities, views, costumes, plans, positions, &c. London, T. Cadell, Jun. And W. Davies, 1803. viii, [20], 261,[1], 145, [7] p.; 49 planks. The inner covers of the period are on its tired, marbled skin.

Prof. Dr. Orhan Koprulu Collection

A/ Mevlana Celaleddin-i Rumi, Commentary on the Spiritual Mesnevi. 6 volumes: v.1 - 341 p.; v.2 - 296 p.; v.3 - 416 p.; v.4 - 459 p.; v.5 - 458 p.; v.6 - 544 p. In newly made cloth bindings.

B/ Aziz b. Muhammed el-Nefesî, Translation of Zubdet ul-Hakayık. Gayetu'd-Dekaik, Translator: Hafiz Mehmed Ayintabî, Istanbul, 1291 [1874], 112 p. Cloth spine, original cardboard cover.

C/ Yazıcızâde Ahmed Bican, Envârü'l-âşıkîn, Istanbul, Elhac Muharrem Efendi's stone dastgah, 1283 [1886], 4, 409 p. In the leather cover of the period.

D/ Mehmed Şerafeddin [Yaltkaya], History of Kalam, Istanbul, Darülfünûn Faculty of Theology Student Society Publications, 1340 [1924], Book 1: 302 p.; chapbook. In the same volume as 46d. In a leather-bound spine of the period.

E/ Köprülüzade Mehmed Fuad, Turkish Religious History, Istanbul, Darülfünûn Faculty of Theology Student Society Publications, 1341 [1925], 688 p.; acrograph. In the same volume as 46c.

F/ Taşköprüzade Ahmed, Mevzuatü'l-Ulûm, Translator: Taşköprü-zâde Mehmed Kemaleddin, Istanbul, İkdâm Press, 1313 [1896], 2 volumes: v.1 - 844, [12] p.; v.2 - 712, [16] p. At the end of the second volume there is Kitab-ı Riyazu'l-gufran. In a cloth binding with a gilded and leather spine.

G/ Ali Şehyi [Şehsuvaroğlu], Kitab-ı riyazül gufran haza tafsir-i yasin-i sherif-i manzum der praise-i melikü'l-kiram, Istanbul, Süleyman Efendi Printing House, 1313 [1897], 86 p.; At the end of the 2nd volume of Mevzuatü'l-Ulûm (46e).

Prof. Dr. Orhan Koprulu Collection

A/ Köprülüzade Mehmed Fuad [Introduction], El-Kavanînü'l-killiyye li-Zabti'l-Lûgatü't-Türkîyye, Istanbul, Evkaf Printing House, 1928, 94 p. In cloth binding.

B/ Köprülüzade Mehmed Fuad, History of Turkish Literature. Second Book: Bade'l-Islam Turkish Literature, Istanbul, Matbaa-i Âmire, 1921. Pages 97 - 215. In its original form with a cardboard cover.

C/ Köprülüzade Mehmed Fuad, History of Turkish Literature, Istanbul, National Printing House, 1926, 386 p.; 7 maps. In the tired Ottoman volume

D/ Köprülüzade Mehmed Fuad, The First Sufis in Turkish Literature, Istanbul, Matbaa-i Âmire, 1918 – 1919, 446, [2] p.; [2] plates; [12] notes. In Ottoman leather-backed binding.

E/ Köprülü Mehmed. Fuad, Local Sources of Anatolian Seljuk History I, Ankara, Turkish Historical Society, 1943, pages 379 - 522; [5] plates; offprint from Belleten Issue 27. In its original paperback form

Prof. Dr. Orhan Koprulu Collection

A/ Şeyh Müşir Hüseyin Keydvay, The Future of the Muslim Empire, London, Central Islamic Society, ty, 4, 67, 1 p. In its original paperback form.

B/ Reşid İbrahim, The first link in the chain to be published one after the other with the names of the pages whose dates have been forgotten and written from the memories of the Great Esâtiz-i Venerable Reşid Efendi İbrahim: What was the real reason for the martyrdom of Sultan Aziz? Berlin, Finland, Imad Efendi Celal, 1933, 18 p. In its original paperback form.

C/ Fevzi [Kurtoğlu], Naval Battles in the World War: What Did the Turkish Navy Do? Part Two. Istanbul, Ahmed Kamil Press, 1928. Pages 115 - 243: [23] plates. In its original paperback form.

D/ Mehmed Ali Aynî, History of Darülfünûn, İstanbul, Yeni Matbaa, 1927, 82 p.; [7] plates. In its original paperback form. E/ Halil Edhem [Eldem], City of Kayseri: Mebâni-i İslamiye and its inscriptions. A section from Seljuk history. İstanbul, Matbaa-i Orhaniye, 1334 [1918], 148, [4] p.; 16 plates. In its worn paperback form.

Prof. Dr. Orhan Koprulu Collection

The Beauties of the Bosphorus; by Miss Pardoe, Illustrated in a series of views of Constantinople and its environments, from original drawings by WH Bartlett, London, Goerge Virtue, 1838, [4], 164 p.; 79 planks. The inner covers of the period are on its tired, marbled skin.

The most famous Istanbul travel book with engravings, the pearl of Istanbul books, the most beautiful

Prof. Dr. Orhan Koprulu Collection

Voyages and Travels, in the years 1809, 1810, and 1811; containing statistical, commercial, and miscellaneous observations on Gilbraltar, Sardinia, Sicily, Malta, Serigo, and Turkey. London, T. Cadell and W. Davies, 1812, “xvi, 435 p.; 1 planch. In a leather spine and coat of arms of the period.

A rare travelogue in a coat of arms binding.

Prof. Dr. Orhan Koprulu Collection

A/ Ali b. Hüseyin, Reşâhat-i Aynü'l Hayat, Translator: Mehmed ibn-i Mehmed Şerif el-Abbasî, Istanbul, Tabhane-i Âmire, 1279 [1874], 3, 388 p. In a paperback with a cloth spine.

Life stories of Sufi elders...

B/ Sakıb Mustafa Dede, Sefine-i Nefise-i Mevleviyan, Cairo, Matbaa-i Vehbiye, 1283 [1867], 3 parts together: 268, 233, 144 pp. In a cloth binding with a leather spine and a coat of arms.

Biographies of poets who became Mevlevis....

C/ Nev'izâde Ataullah Ata'î, Zeyl-i Şakayik-i Ata'î, Istanbul, Matbaa-i Âmire, 1268 [1852], 2 volumes together: [10], 771 p.; the beginning of the index section is missing. In the Ottoman binding of the period.

Prof. Dr. Orhan Koprulu Collection

Publication of the Women's Branch of the Central Committee of the Azerbaijan Communist Party. Literary, Social and Political Representative Journal. Baku, Women's Branch of the Central Committee of the Azerbaijan Communist Party, 1923, Issue 1: Teşrinsani 1923 - Issue 12: Oktober 1924. Bound in leather spine.

A very rare periodical published by women about Eastern women. A treasure trove of documents not even found in the large, general libraries in Türkiye.

Prof. Dr. Orhan Koprulu Collection

Catalogue of the bibliotheque Feu Ahmed Vefik Pacha. The first edition of the book was published on 15 July 1893. It is the notebook of the Ahmed Vefik Pasha Library. [Istanbul], 314 pages; there is a partially coloured photograph of Ahmed Vefik Pasha on the inside of the front cover and of the library on the inside of the back cover. It has a leather spine.

Catalogue of the legendary library of the famous Ottoman Grand Vizier, which was later dispersed, and was signed and presented to Fuad Köprülü by the painter Teke-zade Said

Prof. Dr. Orhan Koprulu Collection

A/ Captain James Edward Alexander, Travels to the Seat of War In The East Through Russia and The Crimea In 1829 with Sketches of the Imperial Fleet and Army, Personal Adventures and Characteristic Anecdotes. London, Henry Colburn and Richard Bentley, 1830, 2 vols: vol.1 - xxxi, 308 p. ; v.2 - xii, 327 pp., 1 foldout map, 2 color engravings.

B/ Edmund Spencer, Travels in Circassia, Crimean Tartary &c. including A Steam Voyage Down the Danube, from Vienna to Constantinople, and round the Black Sea in 1836, London, Henry Colburn, 1838, 2 vols. xxxvi, [1], 355 pp., with engraving, (1 map missing), xiii, [1], 425, [3] p.

C/ Pe[d]ro Tafur, Travels and Adventures 1435 – 1439, Translated and Edited with an Introduction by Malcolm Letss, London, George Routledge & Sons,Ltd. 1926, xv, 260, [8] p., illustrated.

D/ Jonas Hanway, An Historical Account of the British Trade over the Caspian Sea, with a Journal of Travels from London through Russia into Persia; and again through Russia, Germany, and Holland. Dublin, William Smith and Richard James, 1754, 2 vols.: vol.1 c- xxiii,[4], 588, [18] p.; v.2 - xvi, 599, [32] p., with map and engraving.)

Prof. Dr. Orhan Koprulu Collection

Marifetname, Egypt[Bulak], Bulak Printing House, 1257 [1841]. 23, 564 p. In the Ottoman volume of the period.

A book of basic religious information including encyclopedic information written by the famous mystic Erzurumlu İbrahim Hakkı who said, "Let's see what God does / Whatever he does, he does it beautifully." One of the special books printed in the famous Bulak Printing House in Egypt.

Prof. Dr. Orhan Koprulu Collection

A/ Mahdum Kulu, Mahdum Kulu Divan. The scribe and copying date are not specified. The outer dimension is 22 cm, the inner dimension is 17 cm. The work is 101 leaves, each page has 13 lines and double columns. Some pages have stuck together due to humidity. In a well-preserved, marbled binding.

B/ Baki, Divançe-i Baki Efendi. The scribe is not specified, it was copied in the 18th century. The outer dimension is 21 cm, the inner dimension is 15.5 cm. The work has 95 leaves, each page has 15 lines and double columns. Some pages are damp; it is in a worn binding.

Selections from the poems of the famous poet Baki.

C/ Şahidi İbrahim Efendi b. Salih, Hazâ Kitab-ı Şahidi, Copyist and copying date are not specified. External dimensions are 22 cm, internal dimensions are 15.5 cm. The work is 20 leaves, each page is framed, has 13 lines and double columns.

The famous verse dictionary of Şahidi İbrahim Efendi.

D/ Mecmua: An unknown authored treatise (in prose and verse); Revnakü'l-İslâm; Poems in verse by a man named Abdullah; Sebatü'l-'acizin. Molla Mehemmed Salih ibn-i Murad. The manuscript was copied in 1282. Its outer dimension is 26 cm., its inner dimension is 18 cm. The work consists of 137 leaves, the number of rows and columns on each page varies. It is in a tired binding with a cloth spine and a şemseli. There are various scribbles and water stains on the pages, and the last two pages are torn.

E/ Mecmua-i Eş'ar. The outer dimension is 17.5 cm, the inner dimension is 17 cm. The work has 88 leaves, the number of lines varies, but each page is a double column. Some pages are blank. The spine is in cloth.

F/ Mecmua: Mesnevi; Hazâ Duâ-yı Heykel This is it. The scribe is not specified. The date AH 1199 is written at the end of the Mesnevi in ​​the work. Its outer dimension is 21.5 cm, its inner dimension is 15 cm. Some of its pages are damp, some of its pages are off the headband. The work is 20, 6 pages. Each page has 15 lines. It is in a leather binding.

G/ Acizi, Divan-ı Aciz, Copyist and date of reference are not specified. External dimensions are 23 cm, internal dimensions are 15.5 cm. The work is 80 folios, each page has a gilded frame, 10 lines and double columns. It is in a well-preserved leather binding. There is a 3.5 cm diameter hole on the back of the binding.

At the beginning of the book it is written that a copy of the pencil manuscript is in Paris.

H/ Baki, Divan-ı Baki, The copyist and copying date are not specified. The outer dimension is 21.5 cm, the inner dimension is 17.5 cm. The work has 203 leaves, each page has 3 lines and double columns. Some pages are framed. In a well-preserved binding.

Prof. Dr. Orhan Koprulu Collection

Tezkire-i Salim was copied in the 19th century, the scribe is unknown. The outer dimension is 26.5 cm, the inner dimension is 19 cm. The work has 488 folios. The pages are framed, each page has 21 lines. It is in a well-preserved binding with a period border.

A work telling the life stories of Ottoman poets.

Prof. Dr. Orhan Koprulu Collection

A/ Rıfat Paşa, Mecmua. Consists of 4 parts. Copyist: Meclis-i Vâlâs Reis-i Esbakı Rıfat Paşa, copying date unknown. External dimension 21 cm, internal dimension 14.5 cm. Spine slightly worn, pages in good condition, framed. The work has 88, 11 pages; pages are framed. Each page has 11 lines and a single column. (4 pages are blank after page 14, 5 pages are blank after page 57, 1 page is blank after page 69. The 11 pages after page 88 of the work are blank.

B/ Sofyevi Rashid Rushdi, Hayru'r-Reshad, The copyist and the date of istihsan are not specified. The outer dimension is 23.5 cm, the inner dimension is 18 cm. The work has 12 leaves, each page has 25 lines and a single column. It is in a well-preserved binding of the period.

C/ Journal, Copyist and copying date is not specified. External dimension is 21.5 cm, internal dimension is 18.5 cm. The work has 44, 9 pages, some pages are blank. The number of lines varies. In its tired binding.

The note in the book reads: “This book came out of my father’s notes. I brought it from Ankara on 20.6.73. It was probably among the books Celal Bey gave me.” The book records the correspondence and complaints of state officials. There are official correspondence and petition examples of statesmen such as Halet Efendi and Vahid Pasha.

D/ Mahmud Nedim Pasha, Sadr-i Esbak Mahmud Nedim Pasha's Defense of the Revolution, Copyist and copying date are not specified. External dimensions are 20.5 cm, internal dimensions are 16 cm. The work is 42, 2 pages. Although written in a single column, the number of lines varies from page to page. In a well-preserved, marbled binding.

On the first page: “On the 103rd page of the original copy, the above couplet is written in pencil and handwriting by Mahmud Nedim Pasha; “The words of truth, the essence of the scales of truth / This collection became a secret for the Talib-i Garik” is written on the note.

E/ Münşeat Magazine. The scribe and copying date are not specified. The outer dimension is 20 cm, the inner dimension is 17.5 cm. It is 78, 2 pages. Although it is written in an additional column, the number of lines varies. It is in a well-preserved binding.

At the end of the book, a section from the Ottoman History Encümeni Magazine has been placed in a folded form. It contains examples of official correspondence. The correspondence of Hasan Fehmi Pasha, the Minutes of the Council of Ministers, the Egyptian Question, Cevdet Pasha, Said Pasha, Tevfik Pasha, Mahmud Celaleddin Pasha, the Sudan Question, Mahmud Nedim Pasha, Şekip Efendi, Reşid Pasha, Akif Pasha.

Prof. Dr. Orhan Koprulu Collection

A/ Ismail Hakki [Uzunçarşılıoğlu], (Copywriter) Containing the anecdotes and observations of Sultanü'l mülûkü'l-eşref Kayıtbay and Ebu Nasr Kansu el-Gavrî, verse pieces copied from a copy registered in the number 2047 of the Hagia Sophia Library. The date of copying is not stated. The outer dimension is 23.5 cm, the inner dimension is 19.5 cm. The work consists of 52, 2 pages. It was written on lined notebook paper, the number of rows and columns varies.

B/ Emir Hüseyin Enisi and Seyyid Mehmed Ebu'l-Vefa Menâkıbı İsâ-zade Hafidi Emin Mehmed, Tacü'l-Arifin. / Menâkıb-ı Akşemseddin. The scribe is not specified. The outer dimension is 20.5 cm, the inner dimension is 16 cm. The work is 150 leaves. Each page has 21 lines and a single column. It is in a well-preserved, marbled binding. Menâkıb-ı Akşemseddin begins after page 150. There is a page of notes written by Osman Efendi at the end of the manuscript.

C/ Velâyet-i Sultan Şücaaddin Baba (Velâyetname-i Sultan Şücaaddin) Copyist not specified. Copied in 1240 [1824]. External dimension 20.5 cm, internal dimension 18 cm. 28 pages. There are non-textual poems on the first two pages. Each page has 17 lines and a single column. After the end of the text, there is a ghazal by Fayiz on one page. The next two pages are blank. Then the other text begins.

Prof. Dr. Orhan Koprulu Collection

A/ Kitabü's-Selif. Copyist not specified, copied in 1267 AH. External dimensions are 22.5 cm, internal dimensions are 15 cm. The work has 189 leaves, each page has 17 lines and a single column. In a worn binding.

At the beginning of the book there are two pages of index and a paste formula.

B/ Haza Kitabü'l Kasım Haşiye-i Hayali. It is an Arabic manuscript. It was copied by its copyist Mustafa in 1171. Its outer dimension is 21 cm, its inner dimension is 17 cm. It has 201 leaves, 22 lines and a single column. It has been watered at the corners, some pages are torn and stuck.

C/ Haza Kitab-ı Üstuvâni. The work is 101 leaves, each page has 13 lines and a single column. The pages have been damp. It is in a worn, sealed binding.

Prof. Dr. Orhan Koprulu Collection

A/ Muhyiddin İbn-i Arabi, Füsusu'l-Hikem Translation, Copyist not specified, copied in 1218 AH. External dimensions are 23.5 cm, internal dimensions are 18.5 cm. The work consists of 86 leaves, each page has 15 lines and a single column. There is a record of appropriation belonging to Mehmed Nuri on the first page. In a well-preserved, marbled binding.

B/ Mevlana Zekeriya bin Mahmud Gaznevi, Mufidu'l-ulum and Mubidu'l-Umum. External dimensions are 22 cm, internal dimensions are 17 cm. Each page has 25 lines and a single column.

There is the following note at the beginning of the book: “It was written by Mevlana Zekeriya bin Mahmud Gaznevi in ​​545, translated by Kazasker Hacı Mustafa Efendi in 1024 with the order of Sultan Ahmed Khan and arranged into thirty-two books and three hundred and twenty-five chapters. It is indicated on the 14th and 15th pages that this book contains the rules of sharia, the law of nations, the right of sects, the rule of law, the path of repelling the enemy and other noble rules, and it is a work that also mentions various sciences.

C/ Sudi, Kitab-ı Sudi Şerh-i Gülistan. Ahmed b. Mehmed Çavuşzade be-Kütüphane-i Ahmediye. Copied in 1178 AH. External dimensions are 23 cm., internal dimensions are 17 cm. The work has 599 leaves, each page has 23 lines and a single column. The outer cover is torn, some pages have moisture stains.

Prof. Dr. Orhan Koprulu Collection

A/ Evrâd, The copyist and copying date are not specified. The outer dimension is 14.5 cm, the inner dimension is 11 cm. The work is 19 leaves, each page has 15 lines and a single column.

There is a “Yusuf Ziyaeddin” seal on the last page.

B/ Haza Salavat-name, Copyist is Ahmed (Bende-i Turabi Dede). Copy date is AH 27 Shaban 1284. External dimension is 21 cm, internal dimension is 15.5 cm. The work is 40 leaves, the pages are framed, each page has 5 lines and a single column. Some writings are effaced. There is a foundation record on the first page. It is in a good condition.

C/ Hadith Magazine. The scribe and copying date are not specified. The outer dimension is 21.5 cm, the inner dimension is 15 cm. The work is 9 leaves, each page is framed, has 7 lines and a single column. It was removed from its own binding and placed in an award binding. Another frame was drawn with a green pencil just inside the frames. There is a flower drawing at the end.

At the end of the book there is a note saying "İsmail, number 247, from the Mekteb-i Sultani students" and the date '17 July 1322 [30 July 1906]'.

D/ Süleyman Çelebi, Mevlid-i Süleyman Çelebi. The scribe and copying date are not specified. The outer dimension is 22 cm, the inner dimension is 17 cm. The work is 104 leaves, each page is framed, has 12 lines and double columns. It is in its worn binding with Şemseli

Prof. Dr. Orhan Koprulu Collection

A/ Arabic Commentary on theology. Copied by Bekir bin Ali el-Kayseri in 1117 [1705]. The outer dimension is 18.5 cm, the inner dimension is 11 cm. The work has 106 leaves, each page has 15 lines and a single column. In a miklep binding.

B/ Ragıp Paşa, Tahkik-i Tevfik, copied by Tesman bin Hüseyin in 1149 [1736]. The outer dimension is 21.5 cm, the inner dimension is 15.5 cm. The work has 155 leaves, each page is unframed, has 17 lines and a single column. Some pages are torn. There are moisture stains that do not harm the text. The binding is a little worn.

On the first page, it says, "This is a historical work named Tahkik-i Tevfik, written by Ragıb Pasha, who was the official recorder of the peace and relations between the Ottoman Empire and the Shah of Iran (Nadir Shah) during the reign of Sultan Mahmud-ı Evvel, 1149."

C/ Mecmua, No scribe specified, copied in the late 19th century. External dimensions are 21.5 cm, internal dimensions are 19 cm. 39 pages. There is 1 blank page after page 10, 11 blank pages after page 12, the following 8 pages contain various notes and poems written in reverse and forward. The number of lines and columns varies. Although the spine of the binding is worn, the pages are in good condition.

It contains a letter written by Alexander to Aristotle, titled "Prayer to the Noble; Remembrance of the Exalted God; Mabude-i İsmet Hanım Efendi Hazretleri" and dated 30 July 1314 [11 August 1898].

D/ Arabic Vakfiye. Copyist not specified. Copied in 1301 h (1883). External dimensions are 23.5 cm, internal dimensions are 17.5 cm. It consists of 30 leaves, each page is framed, has 13 lines and is single-columned. There is Mehmed Salim's seal on the last page. It is in the Şemseli binding. 74 Mualimü›l-Yakin. Copied by Mehmed b. Ömer el-Yanyavi (Arabic section) in 1207 h [1792]. External dimensions are 25.5 cm, internal dimensions are 20 cm. The work has 19 pages; 7 pages are in Arabic and 12 pages are in Turkish. Although the number of lines varies, it is single-columned.

According to the note on the first page of the book, the translator is (Poet) Baki Efendi.

Prof. Dr. Orhan Koprulu Collection

A/ Mustafa Safayi İstanbuli, Safayi Tezkiresi. The scribe and copying date are not specified. The outer dimension is 26 cm, the inner dimension is 21 cm. The work has 541 folios, each page has 20 lines, the number of columns varies. It was written on squared paper. The spine is in leather.

B/ Şeyh Bedreddin Simavi, Kitab-ı Varidat (Tercüme-i Varidat). Copied by İsmail Faiz Bey on 18 May 1330 [26 May 1914]. The outer dimension is 24.5 cm, the inner dimension is 21.5 cm. The work has 33 leaves, each page has 26 lines and a single column.

At the beginning of the book, there is a note by Fuad Köprülü, dated 22.11.1962, "This copy was copied by my late father in our house in Akbıyık." Also on the same page, it says "It was copied from the only copy in the library of Tahir Bey from Bursa."

Prof. Dr. Orhan Koprulu Collection

A/ Ahmed Resmi Efendi, Hülasatü'l-İtibar, The copyist and copying date are not specified. The outer dimension is 34.5 cm, the inner dimension is 27 cm. The work is 248 leaves, each page has 31 lines and a single column. It is in a clean cloth binding.

B/ Hâzâ Kitabü't-Tevârîh, Copyist not specified. It was copied in 899 [1494]. The outer dimension is 21 cm, the inner dimension is 16.5 cm. The work consists of 165 leaves, each page has 15 lines and a single column. Its headband is in a worn binding. Some pages are damp.

C/ Mecmua: In addition to Divan-ı Yahya and Gazeliyat-ı the late Nâbi, there are poems, ghazals and quatrains by various poets. There are also sections on Arabic stories in Hibrî, Örfî and Cevrî. The outer dimension is 22 cm, the inner dimension is 8.5 cm. The work is 133 leaves. The number of rows and columns varies.

Prof. Dr. Orhan Koprulu Collection

Şehadetname-i Veysi, Riyazu'r Rahmanu'l Hüseyin Ali; Takrizat-ı ber-nüshay-ı bülbüliye; Risale-i Bülbüliyye; Ale'l akvalü'l müslimin fi gazavatü'l müslimin. Copyist and copying date not specified. External dimension is 22 cm, internal dimension is 16.5 cm. The work is 322 leaves, each page has a gilded frame and 19 lines. The number of columns varies. Some pages are left blank to be filled later. It is in a gilded, patterned, leather binding.

A very rare, unique journal, with unstudied texts.

Prof. Dr. Orhan Koprulu Collection

The scribe and the date of the copy are not specified. The outer dimension is 27 cm, the inner dimension is 18 cm. The work is 84 leaves, each page has 23 lines and a single column. It is in a well-preserved binding with a şems.

One of the unknowns of the anonymous history books describing Ottoman history.

Prof. Dr. Orhan Koprulu Collection

Cihannüma's Unprinted section, Copyist and copying date not specified. External dimension is 29.5 cm, internal dimension is 19.5 cm. The work is 160 leaves, each page has 29 lines and a single column. It contains 8 printed plates and 32 hand-drawn maps. Some pages have water stains. It is in a well-preserved leather binding.

The unpublished section of Katip Çelebi's Cihannüma, which is considered the first geography atlas printed by the Ottomans.

Prof. Dr. Orhan Koprulu Collection

Hasa Tarih-i Mimar Sinan Rahmetullah Declares That Sultan Selim-i Sani Mosque-i Şerif Was Built in Edirne. Copied by Süleyman bin Habib in 1297 (1879). External dimensions are 25 cm, internal dimensions are 19 cm. The work has 41 leaves, each page has 15 lines, single column. It is in a well-preserved, marbled binding.

A rare manuscript of the Edirne Selimiye Mosque, built by our famous architect, Ser-mimar Sinan.

THIS WORK IS EXCLUDED FROM THE COLLECTION.

Recueil De Cent Estampes représentant différentes Nations Du Levant tirées sur les Tableaux peints d'après Nature en 1707. et 1708. Par Les Ordres De M. De Ferriol Ambassadeur du Roi A La Porte. Et gravées en 1712. et 1713. par les soins de Mr. Le Hay. - Explication Des Cent Estampes Qui Représentent Différentes Nations Du Levant. Avec De Nouvelles Estampes De Cérémonies Turques Qui Ont Aussi Leurs Explications. Paris, Chez { led. Sr. Le Hay, le Sr. Duchange; Paris, Jacques Collombat, M.DCC.XV. 1714 - 1715. 2 volumes in one. 100 numbered, [2] unnumbered copperplate engravings [8 of them in color]. (100 No. plate and 2 unnumbered plates, double page), ([4], 26 p. explanatory text; [1] copperplate music sheet, 50.5 x 35.5 cm.

Marquis Charles de Ferriol was a French nobleman who served as the French Ambassador in Istanbul between 1699 and 1710. During this time, he studied the customs and traditions of the Ottoman people with whom he had close relations. The texts were written by himself or by Le Hay, whom he commissioned. The engravings were made based on drawings by the famous Dutch painter Jean Baptiste Van Mour. Van Mour (1671-1737) probably came to Istanbul with Ferriol in 1699 and lived in the city for many years. It is known that he did most of his work for Cornelius Calkoen, the Dutch Ambassador in Istanbul. Some of these drawings are in the Rijksmuseum in Amsterdam.

The above work was very popular when it was published and three editions were printed in a short time. Since it was not easy for foreign ambassadors to visit the grand vizier and the sultan, these foreign officials who were going to return to their country wanted to have a painting that would remind them of the ceremonies they had attended. Some ambassadors would bring with them painters they had assigned to this task. However, during Van Mour's stay in Istanbul, there was not much work for other painters.

This huge work, which includes engravings and descriptions representing people of various races, religions and ethnic origins that constituted the different nations of the Mediterranean countries and especially the Ottoman people, was used as a reference book for a long time and widely. It has a special value in that it includes the most popular and well-known Turkish costumes of the time.

Signed in Old Turkish, dated h.1340 (1921). Charcoal on paper.

Size: 18x13cm.

Price: 4,000.-TL

It is located on p. 20 of the book “Hoca Ali Rıza” prepared by Kemal Erhan and published by T. İş Bankası Publications in Istanbul.

Hoca Ali Riza

Hoca Ali Rıza, who loved to observe and expressed the objects he saw quickly and skillfully, became identified with the charcoal drawing technique. Hoca Ali Rıza, who generally preferred a realistic form in his charcoal drawings, used fluent, comfortable and strong lines. The artist, who kept the pattern in the foreground in his works and often applied the charcoal drawing technique, took landscapes, interiors, figures and portraits as subjects in these works.

As in his oil paintings, he mostly worked on coastal themed landscapes in his charcoal works. In the coastal theme, a group of figures looking out to sea stands out next to buildings and trees. The figures watching the beach usually sit in the shade of a tree. While Hoca Ali Rıza showed his figures in traditional Ottoman clothing, he also depicted the people of the period. He also made moonlight depictions in coastal landscapes, although not many. These works exhibit a romantic approach with the silence of the night and the reflection of the moonlight on the sea.

The environment and architectural structures have an important place in the artist's works. In his numerous works in which he has taken houses and neighborhoods as subjects, he has depicted the traditional lifestyle of the neighborhood and its people, sometimes in rows, sometimes standing alone, in a sincere manner. Hoca Ali Rıza preferred interiors as well as exteriors. He chose the subjects of his interior works from coffeehouses, houses where he visited guests, or his own house, and richly depicted objects belonging to the domestic life of the period.

It is located on page 57 of the book “Hoca Ali Rıza” prepared by Kemal Erhan and published by T. İş Bankası Publications in Istanbul.

It is located on page 16 of the book “Hoca Ali Rıza” prepared by Kemal Erhan and published by T. İş Bankası Publications in Istanbul.

4 watercolor and pencil drawings on paper. Unsigned.

Size: a. Landscape, 5x9 cm. b. Landscape, 6x7 cm. c. 6x7cm. d. 9x6cm.

Price: 6,000.-TL

It is on page 207 of the book "Hoca Ali Rıza" prepared by Ömer Faruk Şerifoğlu and published by Yapı Kredi Publications in Istanbul in 2005.

Signed in Old Turkish. Pencil drawing on paper.

Size: 26x18cm.

Price: 6,000.-TL

It is on page 187 of the book "Hoca Ali Rıza" prepared by Ömer Faruk Şerifoğlu and published by Yapı Kredi Publications in Istanbul in 2005.

Sabahattin Ergi Family Collection*

*SABAHATTIN ERGI (1917 - 2001)

He was born on June 17, 1917 in Tekirdağ. The close interest he showed in the poems of well-known and valuable literature teachers such as Namık Kemal's son Ali Ekrem Bolayır and Tevfik Ararat in high school influenced his development of his work in this field. In later years, he also worked in the field of "aphorisms", a special genre in literature. He published some of his poems and aphorisms that appeared in various magazines in his book "Ellere Verdiği" in 1954.

Apart from literature, due to his close interest in Turkish classical music and fine arts, many of his articles on these subjects were published in important places. In the last fifty years, he made valuable contributions to Turkish culture and art, became friends with many famous poets, writers and painters who were authorities in the fields of literature, art and music, and he especially owned special works from the painters he had relations with.

Esref Uren

Born in Istanbul. He studied at Galatasaray High School. He was a student of Hikmet Onat and İbrahim Çallı at the Sanayî-i Nefîse. Later, he took lessons from Feyhaman Duran. Eşref Üren went to Paris in 1928 and worked in the workshops of André Lhôte and Othon Friesz.

Due to the National Tours, he went to Yozgat in 1940 and Ağrı in 1943 and exhibited the works he made during these trips in various exhibitions. Üren, who was a member of Group D, also participated in the exhibitions at the State Academy of Fine Arts with the group and wrote articles about the group. The artist settled in Ankara in the 1940s and used the city as the subject of his paintings. The artist, who received the “State Painting Award” three times, opened many exhibitions in Turkey and his paintings were exhibited in international exhibitions abroad in Venice, San Francisco and Athens. The artist, who draws attention with the soft and harmonious lines and colors in his works, is considered to be among the masters of poetic landscape painting.

Sabahattin Ergi Family Collection

Refik Epicman

Refik Epikman, who graduated from the Fine Arts School in 1925, went to Paris and continued his education at the Julian Academy until 1928. After returning home, he contributed to the establishment of the Gazi Education Institute and worked there until his retirement. He went to Hatay during his domestic tours. Refik Epikman, who was among the founding members of the Independent Painters and Sculptors Association, participated in the group exhibitions of this group. Epikman, who took part in the State Painting and Sculpture Exhibitions starting from his early years, was also exhibited in many exhibitions abroad. The artist, who also wrote articles on art, published two monographic studies, The Art of Titian Vecellio (1947) and The Art of Rubens (1951). He served on the Turkish committee of the International Association of Art Critics (AICA). He won third place at the 6th State Exhibition in 1944 and second place at the 19th Exhibition in 1958. Epikman's art, which included large-scale paintings about the proclamation of the Republic in the rooms opening onto the meeting hall of the first Turkish Grand National Assembly building, was influenced by constructivism, cubism and abstract art movements.

Sabahattin Ergi Family Collection

Turan Erol

Turan Erol graduated from the Bedri Rahmi Eyüboğlu Studio of the Painting Department of the Istanbul State Academy of Fine Arts in 1951. He was among the founders of the Ten'lar group, which consisted of students at the Eyüboğlu Studio. In 1960, he went to Paris with a scholarship from the French Government and received painting education. He worked on the painting "La Marquise de La Solana" (1794) by the famous Spanish painter Francisco Goya at the Louvre Museum. Returning from Paris in 1964, Turan Erol worked as a lecturer at the Ankara Gazi Education Institute until 1973. Turan Erol, who also served as the Chairman of the Plastic Arts Board of the Ministry of Culture between 1978 and 1979, was appointed professor at the Hacettepe University Faculty of Fine Arts after working as a lecturer at the Painting Department of the Gazi Education Faculty of Gazi University from 1983 to 1987. The artist, who has won many awards, has also written articles and critiques on art. Turan Erol, who also received the title of State Artist in 1991, has participated in many exhibitions. He is currently in Ankara and

Sabahattin Ergi Family Collection

Hamit Gorele

Hamit Görele studied at the State Academy of Fine Arts. After graduating in 1928, he worked with Hikmet Onat and İbrahim Çallı, and also taught art at the American Girls’ College and Galatasaray High School. When he won the European Painting Competition in 1928 as second, he was sent to France by the Ministry of Education to study and worked in the studio of André Lhote. He received a certificate of appreciation from the Ministry of Education in 1929 for his success in Paris. In 1930, he took his place alongside the great painters of our time such as Cezanne, Matisse, Picasso, Bonnard and Lhote in a mixed exhibition held at the “Grand Galerie Moderne” on Boulevard Montparnasse with his paintings “The Pharaoh’s Wife” and “The Odalisque”. Returning home in 1933, Görele participated in the exhibitions of the “Independent Painters and Sculptors Association” and also served as the president of this association. Görele, who taught art in Istanbul, Ankara and various provinces of Anatolia between 1934 and 1940, produced the first examples of contemporary Turkish painting with the personal exhibitions he opened. Participating in exhibitions at home and abroad, Görele won the Artist of the Year Award of the Contemporary Turkish Painters Association in 1968 and the State Honor Award in 1979. He also received an achievement award at the 41st State Painting and Sculpture Exhibition in 1980. He received a State Honor Certificate in 1975 and an achievement award at the State Painting and Sculpture Exhibition in 1980. Initially making paintings close to cubism under the influence of André Lhote, Hamit Görele later turned to impressionism and combined non-figurative with geometric forms, producing constructivist works.

Sabahattin Ergi Family Collection

The colorful plans that start from the front right of the painting and extend towards the back are interrupted by touches created by small brush strokes, turning into a dynamic composition.

Hasan Vecihi Bereketoğlu

Hasan Vecihi Bereketoğlu is a painter who, although not very often, moves away from the Kurbağlıdere compositions that have become the main image of his paintings. The main subject of the composition, where shanty houses grow like a poplar on top, a clock tower symbolizing time appears like a ghost in the distance and a castle blessed with light is set as the background, is a village market. All the jokes of impressionist painting are present in the composition where a historical and cultural value symbolizes the past and the present time is reduced to a market place with all its excitement. Volatile brush strokes, small gestures, colors that emerge from each other and complement each other... Bereketoğlu not only sees, but also once again expresses the integrity of brush, color and impression in the art of painting.

Signed. "Saip Mualla Tuna Portrait of a French Lady in Paris" written on the back. Oil on cardboard.

Size: 42x32cm.

Price: 1,000.-TL

Sabahattin Ergi Family Collection

Saip Mualla Tuna

After studying at Sanayi-Nefise for about two years, he went to Paris, Italy and Germany with his own means to continue his education. He worked in Hans Hoffman's workshop in 1924. He continued with Julian in Paris.

After returning to Türkiye, she took a break from painting for a while. She mostly painted portraits and compositions of Atatürk. After working as an art teacher at the İsmet Pasha Girls' Institute (Ankara) and the Girls' Technical Higher Teachers' School for a while, she retired from this profession.

As part of his domestic tours, he was sent to Kırklareli in 1940 and to Maraş in 1943. He participated in state exhibitions and community center exhibitions. He became a member of the Ankara Professional Painters Group in 1942. His Atatürk portraits were featured on PTT stamps.

His realistic landscapes and portraits in terms of nature document that he was among the successful artists of his time.

Signed. Oil on wood.

Size: 25x20cm.

Price: 90,000.-TL

Sabahattin Ergi Family Collection

Roses are a subject that Mahmut Cûda worked on fondly between 1941 and 1980 and processed in twelve different ways. Two pink roses in a green vase stand out as a strong contrast against the dark background. The simple composition also strengthens this focus. The light reflected on the rose and the vase shines against the brown background and gives the painting a mysterious air. This painting of delicate flowers, depicted on a small-format canvas and with cleverly applied tiny light effects, resembles a small jewel.

A tiny, admirable composition dedicated to the pleasure of seeing. As if to emphasize the transience of time, Mahmut Cûda symbolizes the worldly pleasure that a few rose clovers can offer. In this masterpiece, where color values ​​close to each other are skillfully integrated and the background is designed as an organizing element in itself, the artist proves once again his endless devotion to the art of painting.

Mahmut Cuda

In 1918, he entered the preparatory department of the Fine Arts Academy and continued his education at the İbrahim Çallı Studio. Starting in 1919, he participated in Galatasaray exhibitions. In 1923, he went to Munich and studied at the Hans Hoffmann Studio with Ali Çelebi and Zeki Kocamemi. In 1924, after passing the state exam, he went to Paris and studied at the Julian Academy in Lucien Simon's Studio for four years.

Returning to Istanbul, Mahmut Cuda began his career as an assistant teacher at the Academy of Fine Arts, but after a while he left this position because he could not get along with the Academy community. Cuda joined the Independent Painters and Sculptors Association and contributed to the establishment of the Turkish Painters and Sculptors Association in 1942. As part of his domestic tours, he first went to Trabzon and then to Bitlis in 1943. The artist founded the Turkish Painters Association in 1950 and organized the association's exhibitions outside of Istanbul. Also interested in the world of writing, the artist wrote articles on art and published the magazine Fine Arts in 1952.

Mahmut Cûda, who chose a unique path in his art, interpreted the cubist and constructivist art movements in his works by blending the influences of the classical art tradition.

Nazmi Ziya took his first private lesson from Hoca Ali Rıza. Ziya, who entered the School of Fine Arts in 1902, took lessons from Valery, Warnia and Oskan Efendi. After graduating, he went to France in 1908. He continued his studies at the studio of Marcel Bachet and Royer at the Julian Art Academy in Paris for a while. He worked at the Fernand Cormon Studio in Paris between 1908 and 1918. He visited Germany and Austria outside of France. He returned home in 1918 and became the director of the School of Fine Arts.

Nazmi Ziya, who was a member of the Ottoman Painters Society, participated in the exhibitions held by the society every year. Nazmi Ziya's most comprehensive exhibition was held in 1937 at the Academy of Fine Arts.

Unlike the Parisian art scene that experienced turmoil with new pursuits in the early 20th century, Ziya remained loyal to the previous movement of the period, impressionism, and became one of the most important representatives of this school in Türkiye with his works. In addition to the Painting and Sculpture Museum and private collections, the most comprehensive Nazmi Ziya collection is in the Sakıp Sabancı Museum in Emirgan.

This painting blends the sacred voice within integrity and the creativity in the art of architecture with the image-making power of painting.

A masterpiece that gives a lesson in perspective and composition from Şekvet Dağ, a regular of Hagia Sophia, which Byzantium gifted to the history of architecture and the Ottomans paid their respects to as a mystical place. The artist, who monumentalizes the geometry of a sacred place, the spiritual atmosphere permeating its walls and mosaics with his own unique style, has a delicate understanding of art that can be looked at again and again. Şevket Dağ re-imagines this sacred place, which he thinks will be a permanent symbol of the past he is aware of and the future he does not know, with every square centimeter. This great master records the entire beauty of this historical place as a whole with crystal chandeliers, carpets brought from different regions of Anatolia, and wall paintings that appear in the depth of the painting.

Sevket Dag

Şevket Dağ, who graduated from the School of Fine Arts in 1897 as a student of Osman Hamdi Bey and Alexandre Vallaury, taught painting at the Mekteb-i Sultani between 1908 and 1925, and became the teacher of painter Fikret Mualla at Galatasaray High School. He also participated in the establishment of the Ottoman Painters' Society. In 1919, he founded the Turkish Painters' Society with his friends İbrahim Çallı and Hikmet Onat.

Şevket Dağ, the first artist to deal extensively with the genre of interior painting, exhibited his works in the Istanbul Salons in 1902 and 1903. He participated in the "Galatasaray Exhibitions" held annually from 1916 onwards and in the first "State Painting and Sculpture Exhibition" held in 1939.

Unsigned. "Mars, Leyla 1891" written on the back. Oil on wood.

Size: 9.5x8.5cm.

Price: 70,000 TL

Osman Hamdi Bey Family Collection

It is on page 221 of the book "Opening to the West in Art and Osman Hamdi", prepared by Mustafa Cezar and published by T. İş Bankası Culture Publications in Istanbul in 1971.

It is included in the book “Opening to the West in Art and Osman Hamdi”, prepared by Mustafa Cezar and published in Istanbul by Erol Kerim Aksoy Foundation Publications in 1995, p.694.

Provenance: Osman Hamdi Bey Family collection. Offered for sale as Lot 171 at Portakal Art and Culture House Private Collections Auction 'Leyla', 13 December 2009.

This oil miniature portrait made on plywood, measuring 9.5 x 8.5 cm, bears all the characteristics of Osman Hamdi Bey. Leyla, the daughter of Osman Hamdi Bey, is depicted as a monument of innocence by the artist's brush. Her white headscarf contrasts with the background and helps us perceive the portrait better. Leyla's dreamy gaze in the painting directs us to the mysterious world of Osman Hamdi Bey.

Osman Hamdi

Osman Hamdi Bey, one of the founders of Turkish painting, was originally the son of a Greek father from Chios. Born in Istanbul, the artist began his primary education in Beşiktaş, then transferred to the Maarif-i Adliye. Despite his interest in painting, Osman Hamdi went to Paris in 1857 to study law upon his father's request. He stayed in this city for 12 years, where he continued his law studies as well as attending the Paris School of Fine Arts (Ecole des Beaux Arts). Here, he worked in the studios of the famous orientalist painters Jean-Léon Gérome and Gustave Boulanger.

He returned to Istanbul in 1869. In the same year, he was appointed as the Director of Foreign Affairs of the Province in Baghdad. In 1873, he was assigned to take the treasure to the Vienna Universal Exhibition.

Osman Hamdi, who is considered the first Turkish archaeologist, took part in many excavations and founded the Archaeology Museum. He brought the Alexander Sarcophagus he found in the palace excavations to the museum. Osman Hamdi, who served as the director of the Archaeology Museum for many years, is also one of the founders of Sanayî-i Nefîse together with Oskan Efendi. The artist, who designed the school building together with Architect Vallaury and took part in the formation of the academic staff, became the first director of the school.

Osman Hamdi, who made significant contributions to the formation of Turkish museums, never stopped painting while continuing his museum and archaeological studies. Osman Hamdi, who was one of the first Turkish painters and who went down in history as the first painter to use figurative composition in Turkish painting, was known for his orientalist works both in Europe and Türkiye. The most important feature that distinguishes Osman Hamdi Bey from Western orientalists is that he does not have an Eastern nostalgia like them, but rather directly depicts his own cultural world, the places he lives in, the people and objects around him in his paintings. In these figures, who are dressed in Eastern clothes and reflect a craftsmanship specific to academic painting, the magnificent life and mystical philosophy of the Eastern world prevail. The basic characteristic of Osman Hamdi's painting is to grasp the detail within a holistic order. Many of Osman Hamdi's paintings are exhibited in the Istanbul Painting and Sculpture Museum, London, Liverpool and Boston museums.

Signed. Oil on canvas.

Size: 56x45cm.

Price: 18,000 TL

The flowers bear traces of the classical academic art approach and stand out with their meticulous art work. A simple and calm composition is displayed with soft color transitions and no room for motifs other than the flowers in the vase. Basing his works on long observations, Sümer attaches importance to reflecting objects with their natural appearance in his works.

Ayatollah Sumer

Sümer, who went to France in 1925 to study painting, adopted a traditional academic naturalist art approach, contrary to the new Dadaist and Surrealist trends of the period, and worked on still lifes and portraits. Preferring to act independently, Sümer used contemporary photo-realism in his works alongside classical foundations.

It is included in the "Felix Ziem" "catalogue raiosenné" volume II p.236, no. 1538, prepared by Anne Burdin-Hellebranth and published in Brussels by the publishing house "Futura SA" in 1998.

Provenance: Sold to the collection of Daniel Catlin of St. Louis as Lot 53 at the Paris "Drouot" Auction on May 30, 1883. Passed to the collection of Justina K. Catlin in 1916.

It passed from a prominent American collector to its current owner on November 25, 2009, as Lot 15 at Christie's Orientalist Masterpieces Including an Important Private Collection in London.

Felix Ziem

Seascape painter Félix-François Georges Philibert Ziem was born in 1821 in the Burgundy region of France. His mother was of Burgundian origin and his father was of Croatian origin. Ziem studied architecture at the Dijon School of Architecture and worked as an architect for a while. Ziem, who took part in the construction of the Marseille Canal, left Marseille in 1839. In November 1839, Duke Ferdinand Philippe of Orléans purchased two watercolors by Félix Ziem and commissioned six more. He visited Venice in Italy in 1841, where he was fascinated and used the city as the subject of many large paintings throughout his artistic career. He met Prince Griori Gagarin in Italy and went to Russia with him in 1843. During his two-year stay there, he taught the Tsar's family in St. Petersburg.

Ziem came to Türkiye in 1848. During his time in Istanbul, he made landscape works in places such as Hagia Sophia, the Golden Horn, the Bosphorus, and Üsküdar, and produced more than 160 works. For Ziem, who was interested in the East, Venice was also a part of the Eastern world. For this reason, he traveled to Italy frequently. He participated in the traditional Salon exhibition held at the Académie des Beaux-Arts in Paris in 1849 with two paintings, “View of the Bosphorus” and “The Grand Canal in Venice”, and took part in this exhibition for the next three years. Ziem, a follower of the Barbizon school, traveled in Europe, Istanbul, and North Africa.

Ziem moved to the Montmartre district of Paris in 1860, where he established close relations with the Parisian artist circle. Ziem, who also contributed to the training of young artists, was awarded the Légion d'honneur by the French government in 1857.

Ziem's ​​most famous works are his views of Venice and Istanbul. His works are in museums and private collections around the world, including the Sao Paolo Museum of Art, the Art Institute of Chicago, the Los Angeles County Museum of Art, the Louvre Museum Paris, the Metropolitan Museum New York, the Rijksmuseum Amsterdam, the Musée des Beaux-Arts de Bordeaux, and the Martigues Ziem Museum (Southern France).

It is no coincidence that the artist, who lives in a mansion on the Beylerbeyi shore of the Bosphorus, is particularly fond of the sea in his paintings. In addition to the shores of the Bosphorus, he has also painted the Moda, Fenerbahçe and Bostancı shores of the Kadıköy side. Perhaps as if to avoid the historical chaos of the period in which he lived, the artist never gave place to pessimism or restlessness in his paintings, and now we are looking at a bright painting that calms the viewer and fills him with beautiful emotions. A rowboat gliding along a secluded bay in Istanbul stands out in the center of the painting. Halil Pasha developed an incredible sensitivity to the changing sunlight of the coasts where he spent most of his long life of over 80 years and the effects of the rays on nature. Just as in this work, sailboats, cutters and any object close to the sea can be the subject of Halil Pasha's painting. Chaos and bad weather are rarely seen in Pasha's works, and in this painting, he has adorned a view of his city with a light borrowed from heaven. We are faced with one of the most beautiful examples of Istanbul in the artist's imagination.

Halil Pasha

Halil Pasha attended the Paris Academy of Fine Arts between 1880 and 1888, where he worked in the Gérôme and Courois Studios. In 1888, he received the "Fine Arts Medal" with one of his works at the Paris International Painting Exhibition, and also received a bronze medal for his "Portrait of Madame X" at the Salon des Artistes Français.

After returning home, he became the director of the School of Fine Arts in 1906. In the last years of his life, he was a guest of Abbas Halim Pasha in Egypt and held exhibitions there. In his works in Egypt, he worked on landscapes in which he reflected the "dead brightness" of the region's nature on his canvases.

Halil Pasha, who was influenced by different artistic movements in the late 19th and early 20th centuries, reflected the approaches of post-impressionism and the Barbizon school in his paintings. Halil Pasha, who skillfully used the relationship between light and shadow, reveals the figures he draws in his works with anatomical features unique to the artist. Halil Pasha, one of the leading painters of the Soldier Painters generation of Turkish painting, is known for his portraits and landscapes of Istanbul and Cairo.

Halil Pasha, who transferred different artistic approaches to his art, had a great impact on his work when he was in Paris between 1880 and 1888. The influence of the art movement Impressionism, which flourished in Paris during this period, can also be seen in the artist's painting Sailboats on the Bosphorus. In addition to the shadows of the sailboats being reflected on the sea with colors of similar tones, the dotted markings in the landscape in the background of the painting bear traces of the Impressionist movement.

Halil Pasha also worked on this seascape in a smaller format. The other example, an oil painting measuring 40.5x56 cm and dated 1905, is currently in the Yapı Kredi Painting Collection. The artist constructed both of his works in the same way, with minor differences.

Signed in Old Turkish. Dated h.1322 (1904). Oil on canvas.

Size: 96.5x36.5cm.

Price: 175,000 TL

After the emergence of steam engines, which represented the beginning of the industrial revolution, steamships that crossed long distances in a short time without submitting to the whims of the wind fascinated painters for a long time. The years that passed since this period have not taken much away from the excitement that these giant machines, which rapidly cut through endless blues like a predator, created in people. This majestic mass, which Sami Yetik positioned on a vertical canvas as if connecting the sea and the sky, where dozens of colors are violet, takes a breather in a harbor where it takes shelter after the open seas it has crossed. A boatman, who walks around the ship, gives a clue about the geography it is in with his fez on his head. The masts of the sails extending to the sky in balance with the dimensions of the canvas and all the other elements in the painting create a geometric harmony, proving that Yetik has an inner mathematics as well as a mastery of color.

Landscape is one of the early examples of Sami Yetik's artistic life. Yetik's early youth and adulthood coincided with a dynamic period of transition from the Second Constitutional Monarchy to the Republic, from the Empire to the establishment of the new Turkish State. The political changes of this period also affected intellectual and artistic life, and with the intensification of Westernization efforts that had been ongoing since the reign of Mahmud II, it had a great impact on Turkish painting.

In his work Landscape, Sami Yetik frequently used vertical compositions compared to other painters. Boats, ships, and a city and harbor image with impressionist traces in the background that add a different light to the painting stand out next to and behind the large ship that forms the main motif. While the clouds in the sky and the light reflections on the sea bear impressionist traces, we see that the young Sami Yetik intensively applied the classical academic art approach in this period.

In the following years, with the influence of his painting education in Paris, he became a member of the group of artists who would move away from the academic approach and bring a new internal dynamism to Turkish art.

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Value Giray

Nazmi Ziya's interest in impressionism began in the years when his ties with painting were established. His family, whose roots go back to Molla Gürani, the famous tutor of the Fatih period, ensured that he was raised in a distinguished, elite and enlightened environment. Nazmi Ziya, who read and wrote in French and was closely interested in art, accompanied Signac during his visit to Istanbul. He introduced the culture of the Ottoman Empire and Istanbul to the famous artist. He observed his paintings. During his Paris years, he discovered that these observations were post-impressionist approaches and that his theory was the theory of light and color. He chose to be an Ottoman painter following in the footsteps of the representatives of the movement. He placed Paul Signac's rural paintings, especially the views of the waterfront, among the subjects he chose as themes. He especially brought the attractive values ​​of the color pink to his canvas. He perceived Monet's rural paintings and his analysis of the naturalness of nature by drawing on works such as Weeping Willow (1918–1919). He transformed these painters' perceptions of nature into the original Nazmi Ziya style. Like Jean-Baptiste Armand Guillaumin, Ziya also tends to depict the spiritual excitement of nature. The section of nature, cut like a photographic frame, is depicted as a reflection of the visual effect animated by the stream. The freshness of the painting, which gives the impression that it was made in an instant, is the meeting of the rapid strokes of Ziya's brush with the magic of pastel colors. This painting is the reflection on the canvas of the relaxed and deep talent achieved on the basis of long observations, the theory of reflection and the inwardness of nature.

Hoca Ali Riza

Born in Istanbul, Hoca Ali Rıza graduated from the Military Academy in 1884. He took art lessons from Osman Nuri Pasha, Süleyman Seyyid and M. Kess and especially advanced his knowledge of drawing. He was the president of the Ottoman Painters Society established after the Second Constitutional Era. In addition to working as an art teacher at Kuleli Military High School, Mekteb-i Harbiye and Çamlıca Girls High School, he also trained many painters, which led to his being known as “Hoca”.

Hoca Ali Rıza is considered the first landscape painter of Turkish painting. Landscape paintings had been done in the Palace before, but Hoca Ali Rıza first left the Palace gardens and worked by observing the countryside and coasts. Hoca Ali Rıza, who painted numerous Istanbul landscapes, interpreted neighborhood life, streets, coffeehouses and seasides from Üsküdar to Bebek, Arnavutköy to Burgaz Island in his works. Hoca Ali Rıza, who used light and shadow to create volume, is especially famous for his cliffs. The artist, who masterfully used charcoal in addition to oil and watercolor, produced numerous works.

Huseyin Rifat Ceteci

After graduating from Tophane Feyziye School, he was trained in literature by taking private lessons. He became interested in painting under the influence of Ayvazovsky and Valeri exhibitions held in Istanbul. He entered the School of Fine Arts and became Valeri's student. He was a realist painter with a deep-rooted art culture.

As we follow the traces of the brush dancing on the surface of the painting with passion and a mastery that satisfies it, we become guests in the atmosphere that the artist has filled with light.

Nazim Zia

Nazmi Ziya, who graduated from the Fine Arts School in 1908, had the chance to go to Paris on his own as a child of a wealthy family. Making the most of this chance, Nazmi Ziya developed his talent, which gave life to these three impressive works that we are watching in this auction, in Cormon's workshop and created his own painting language. He accepted nature as his greatest teacher with the attitude he borrowed from Impressionism. As we follow the traces of the brush dancing on the surface of the painting with passion and a mastery that satisfies it, we become guests in the atmosphere that the artist has filled with light.

Signed. Dated 1929. Oil on hardboard.

Size: 95x68.5cm.

Price: 900,000 TL

Sami Yetik's painting "Chrysanthemums in a Blue Vase" stands out as an important example of the stylistic connections established with still life painting in our art of painting.

Sami Yetik

Sami Yetik learned and loved painting from Hoca Ali Rıza, whom he met at the Military Academy. He graduated first in his class at the Fine Arts School, which he entered in 1906. Sent to France with the special permission of Mahmud Şevket Pasha, Sami Yetik worked in the Jean-Paul Laurens Studio at the Julian Academy between 1910 and 1912. Here, he escaped the influence of the classical school of painting and turned to impressionism. When he returned home, he wrote articles requesting that the innovations he saw in Europe be included in the Fine Arts program and published them in the Ottoman Painters' Society magazine. He took part in the group of artists established in 1917 with the initiative of Enver Pasha and known in our contemporary art as the "Şişli Studio".

Sami Yetik, one of the founding members of the Turkish Painters Association, included the war scenes he had the opportunity to observe closely while serving at the Bosphorus fortified positions during World War I in his paintings. He published articles on art in newspapers and wrote the book “Our Painters”, one of the source books of our art, the first volume of which was only published in 1940. Sami Yetik, who played an active role in the training of military painters, played a major role in his art. One of his favorite subjects was the War of Independence, which he usually depicted on large-scale canvases. Apart from this, he also worked in landscapes, still lifes and portraits.

Ayatollah Sumer

Ayetullah Sümer went to France in 1925 and took painting lessons from Theophile Brengier. He worked on frescoes in Paris for ten years. Returning to Türkiye in 1938, Sümer became a faculty member at the Academy of Fine Arts and managed the fresco workshop he founded for 38 years.

Sümer's first personal exhibition was held in Paris. The artist, who was sympathetic to the academic approach to painting, included Anatolian lines and still lifes in his works. He also made many paintings of Atatürk and İnönü. Adopting a simple style of expression, Sümer depicted objects with a realistic line, while at times he also sought a formal idealism. The dark tones and misty atmospheres in his paintings are a reflection of his melancholic and introverted world. Sümer's works are in many museums and private collections, especially the Istanbul and Ankara Painting and Sculpture museums.

Signed. Oil on wood.

Size: 36x26.5cm.

Price: 5,000 TL

Sabahattin Ergi Family Collection

In this painting, Ali Çelebi seems to be trying to hold and capture the fleeting spirit of time with great speed. Long brush strokes create not only the body of the flower but also the dynamism of the composition.

A surprising still life focusing on a single image from the modern master of cubic constructivist art. What must have been the motivation that led the owner of figurative compositions such as “Masked Ball” and “Vitrin”, which symbolize the birth of modern Turkish painting, to this lonely flower? In this painting, where long and thin leaves are constructed like figures referencing geometric forms, and the depth of the painting is detached from the foreground-background relations as intertwined layers, Ali Çelebi seems to be trying to hold and capture the fleeting spirit of time with great speed. Long brush strokes form not only the body of the flower but also the dynamism of the composition. After a while, you feel that the still life is an image that feeds the imagination of the painter and tests his pictorial knowledge. Çelebi constructs a world that is not mortal, but on the contrary, a living one. The leaf bodies, writhing like tongues of flame, giving the impression that they will overflow and not fit within the boundaries of the painting, create a modern still life with the color values ​​emerging from within each other.

Ali Celebi

Ali Çelebi entered the Fine Arts Academy in 1918 and became a student of Hikmet Onat in the preparatory class. He then transferred to the Çallı studio. In 1922, he was sent to Munich with his friends on a state scholarship and attended Hans Hofmann's painting courses there. He passed the entrance exams for the Munich Academy of Fine Arts and worked for a while with Prof. Gröbei. After studying for a short time in Prof. Kleine's studio at the Berlin Academy, which he entered in 1923, he returned to Munich to Hofmann.

Çelebi returned to his country in 1927 and began teaching art. He founded the Independent Painters and Sculptors Association with his close friends, especially Zeki Kocamemi. The artist, who went to Germany again, returned to his country in 1932 and directed evening courses at the Academy. In 1938, he worked as a lecturer at the Academy of Fine Arts and the Faculty of Letters at Istanbul University. In 1938, he became Leopold Levy's assistant and continued his duty as a studio instructor until his retirement in 1967.

Within the framework of the program of domestic tours, he was sent to Malatya in 1938 and to Bilecik in 1943. He won the first prize in the 6th DRHS in 1944. He won the first prize in the Tehran Biennial in 1966. In 1980, he organized his exhibition of his latest works in Istanbul (Tiglat). Çelebi is among the pioneers of the new understanding instilled in contemporary Turkish painting with the Independents Group. Volumetric design and mass effect are the main pictorial values ​​that determine this understanding. In his paintings, where the form is determined by color; the impression of nature is directed with the contribution of the aesthetics of deformation, based on an abstract understanding.

The master painter repeats his characteristic compositional approach in this painting, where colorful masses emerging from one another transform into figures with small touches.

Avni Arbaş, who developed a large part of his artistic career in the Parisian art environment, is known for his interest in social and daily phenomena. Avni Arbaş, who observed the game of Boule (Petanque), which originated from the ball games of the Romans and almost became a national entertainment of the French, creates a composition that may be interesting for literature. The master painter repeats his characteristic composition approach in this painting, where colorful masses emerging from each other turn into figures with small touches. The artist, who portrays the energy of the street, the excitement in the actions of the figures, and the crowd watching the game with curiosity and interest with all his enthusiasm, uses the color blue in particular as a conjunction that forms the internal structure of the composition. So much so that we begin to think that the moving, shifting mass is not a tiny steel ball but the dynamism of the blue color. The painter connects an everyday action with an artistic experience and suggests that we see life with new eyes.

Avni Arbas

He was born in Istanbul in 1919. Arbaş attended Galatasaray High School and found an environment in which the seed of painting within him could flourish. He worked with important future Turkish painters such as Cihat Burak and Selim Turan in the painting studio run by his art teacher, Mehmet Ali Bey, a military painter.

Avni Arbaş entered the bohemian artist circles of Istanbul during his student years. He met İbrahim Safi and Naci Kalmukoğlu and worked in their studios. In 1937, he left Galatasaray and enrolled in the Painting Department of the Fine Arts Academy in the middle section. He first worked in the studio of İbrahim Çallı and then in the studio of Leopold Levy. During his years at the Academy, where he stayed until 1946, he participated in the State Painting and Sculpture exhibitions. Arbaş, who was selected for the country tours organized by the efforts of the Minister of National Education at the time, Hasan Ali Yücel, went to Siirt. Later, he was sent to Paris with a scholarship provided by the French Government.

The paintings Arbaş sent from Paris were exhibited in 1951 at Adalet Cimcoz's newly opened Maya Gallery in Istanbul. This exhibition was his first solo exhibition, and his first exhibition in Paris was held in 1953 at Galerie La Roue. Arbaş gained a circle of friends in Paris, Antibes and Vallauris, including Pablo Picasso, Tristan Tzara, Aragon and the Prevert brothers, and took his place among the painters of the Ecole de Paris.

In 1966 he illustrated the third volume of Henry Montherlant's collected plays. This deluxe edition includes fifteen original lithographs made by the artist at the Fernand Mourlot Workshop (Editions Lidis/Imprimerie Nationale, Paris 1966). After returning to Türkiye, he depicted the Bosphorus and the Marmara in Istanbul.

Sabahattin Ergi Family Collection

Cevat Dereli

He became a student of Hikmet Onat and İbrahim Çallı at the Fine Arts School. He founded the New Painting Society with his friends in 1922-1923. After graduating in 1924, he passed the exam held by the Ministry of Education and went to Paris with a scholarship and worked in the Paul-Albert Laurens Studio at the Julian Academy until 1928.

He worked as a faculty member at the Academy of Fine Arts since 1929. He went to Sinop in 1939 and Gümüşhane in 1942 as part of the organized country tours.

He was among the founders of the Independent Painters and Sculptors Association and later joined Group D. Cevat Dereli, whose works are in private collections both at home and abroad as well as in the Ankara State Painting and Sculpture Museums, participated in many exhibitions abroad. These include the Venice Biennale in 1956 and the modern art exhibition held in Brussels in 1958. Dereli, who won the State Painting Award in 1981, became known for his paintings of Istanbul's nature and produced many still lifes and landscapes.

Edip Hakkı Koseoglu

Edip Hakkı Köseoğlu was born in Istanbul in 1904. The artist, who studied painting at the Fine Arts Academy, graduated from the İbrahim Çallı Studio in 1927. He went to Paris the same year with a scholarship and studied painting at the André Lhote Studio. Returning to his country in 1932, Edip Hakkı Köseoğlu became a lecturer at the Academy of Fine Arts. The artist, who was a member of the Independent Painters and Sculptors Association, participated in country tours in 1940.

Following the Impressionist movement, the painter has taken the city where he was born, city life and scenes from daily life as subjects in his paintings. Köseoğlu, who had a comprehensive exhibition opened in his name in 1976 with the initiative of the Istanbul Fine Arts Academy and took part in a mixed exhibition in Chicago in 1978, has participated in many exhibitions. His works are in Painting and Sculpture museums and private collections.

Sabahattin Ergi Family Collection

Cemal Tollu

He was born in Istanbul. He studied at the Fine Arts Institute. He worked in the studios of André Lhote, Fernand Leger, M. Grommaire in France and Hans Hoffmann in Germany. He was appointed to the staff of the Fine Arts Academy by Leopold Levy. He also taught at the Gazi Education Institute. He was among the founding members of Group D. While working as a director at the Museum of Anatolian Civilizations (formerly Ankara Archaeological Museum) in 1935, he was impressed by the blunt forms of Hittite reliefs.

Cemal Tollu worked in the Antalya and Burdur regions during the organized country tours and focused on landscape paintings there. He went to Paris for the second time in 1939 and during this time he used Paris views as the subject of his works. Tollu participated in the State Painting and Sculpture exhibitions and received second prize in the 2nd State Painting and Sculpture Exhibition and first prize in the 21st State Painting and Sculpture Exhibition.

Tollu, who is also a sculptor, did not produce many works in this field, but sculpture deeply influenced his style of painting. Nudes were an indispensable subject in Tollu's works, who transferred his subjects to the canvas with a cubist approach. The artist's works are included in the Istanbul Painting and Sculpture Museum, the National Library Collection and many other official and private collections.

Sabahattin Ergi Family Collection

Seref Bigali

Şeref Bigalı was born in İzmir in 1925. He entered the İstanbul State Academy of Fine Arts in 1944 and worked in Cemal Tollu's studio for six years. He worked with Abidin Elderoğlu, whom he met in İzmir in 1945, for 25 years and acquired technical knowledge from him. He went to Paris in 1962-1963 and became a student of the surrealist painter Henri Goetz and continued his studies at the Fontainebleau painting school.

Returning to Türkiye, the artist worked as an art teacher in Afyon and İzmir Karşıyaka high schools, and then worked at the Painting Department of İzmir Education Institute (now the Faculty of Education) until 1978. He made important contributions to the establishment and development of this department.

Bigalı, one of the doyens of figure painting, has a two-piece wooden door to the house where he was born, a courtyard with a few fruit trees and vines, a street covered with stones in front of the house, a fountain at the end of the street and passing animal herds reflected on his canvases. In addition to these images from Bigalı's childhood, village coffee houses, wild flowers and people hiding from the rain with their umbrellas became the main themes of his mastery period. The artist, who opened exhibitions in Istanbul, Ankara and Izmir, participated in many mixed exhibitions.

Signed, dated 1958. Oil on cardboard.

Size: 69x46cm.

Price: 5,000 TL

Melahat Uren

She educated herself by being a part of her husband Eşref Üren's art circle. She increased her knowledge and experience by being in Paris. She reached a soulful and poetic style like her husband. She was especially successful in her still lifes and interiors.

Sabahattin Ergi Family Collection

Signed. Oil on canvas.

Size: 46x33.5cm.

Price: 3,000 TL

Sabahattin Ergi Family Collection

Seyfi Toray

Born in Istanbul in 1900, Seyfi Toray entered the Fine Arts School in 1921. He studied painting in the studios of İbrahim Çallı and Hikmet Onat. Graduating in 1925, Toray went to Paris and worked at the Julian Art Academy. After staying in Paris for ten years, Toray returned to Türkiye.

He was sent to Diyarbakır in 1939, within the framework of the government-supported country tours program between 1937 and 1944.

Toray is known for his nature paintings dominated by dark tones and spots. In these paintings, it is noteworthy that the objects of food and breakfast on a table are handled with a certain level of understanding. This understanding is close to the free tendencies of the period following Impressionism in Europe.

Made with the forging technique. The candle holder on the long body on a round base is in the form of a flower. Its base and base border are segmented. Its body is engraved, and its base is embossed with grape cluster and vine leaf motifs using the repoussé technique. Its tombag is in very good condition. End of the 18th century.

Size: Height: 63cm.

Price: 250,000 TL

Sevket Rado Collection.

It is included in the book “Turkish Calligraphers” prepared by Şevket Rado, p. 255.

"Neyzen" Emin Yazici

He is the brother of the famous calligrapher Ömer Vasfi Efendi. He learned thuluth and naskh script from Kadri Efendi of Çukurcumalı. In addition to being a calligrapher, he was also a very good ney player. He was the Chief Ney Player of the Galata Mevlevi Lodge. In 1914, he was appointed as a calligrapher at the General Staff Office and adopted the profession of "scribe", which he would later choose as his surname.

Sevket Rado Collection.

Dervish Mehmed

He is from Istanbul. He is the grandson of Sheikh Hamdullah. He learned the Sheikh style of writing from his father Mustafa Dede. He was considered the Sheikh's heir because he was a master of the Naskh and Thuluth scripts. One of the many Qurans he wrote (dated 1557) is in the Suleymaniye Library (inv. nr. Fatih 13), and another one (dated 1560) is in the TSMK (inv. nr. EH 70).

Sevket Rado Collection.

This very beautiful stanza, which was put on the ketebe by Ahmed Kamil (Akdik) Efendi, one of the great calligraphers of the twentieth century and the last chief calligrapher, with the phrase “mukalliden bi-Hafız Osman Efendi”, has both thuluth and naskhi styles that are particularly beautiful. ICS

Kamil Akdik

He was from Istanbul. He started his calligraphy lessons at the Saliha Sultan Primary School in Zeyrek. After graduating from Fatih Rüşdiyesi, he became a civil servant. He practiced thuluth, nesih, divani, celi divani scripts with Sami Efendi and received his diploma by learning to draw a tughra. In 1909, he was appointed as the Nishan-i Humayun Kalemi distinguisher and Hutut-i Mutenevvia teacher. Kamil Efendi, who was appointed as a teacher for thuluth and nesih scripts at the Medresetü'l-Hattâtîn, which was opened in 1915, also became the reed teacher of the Galatasaray Sultani after 1918. After the alphabet reform in 1936, he was appointed to the Academy of Fine Arts. In 1915, he was chosen as Reîsü'l-hattatîn (Chief of Calligraphers) and was the last calligrapher to hold this title.

Sevket Rado Collection.

It is included in the book “Turkish Calligraphers” prepared by Şevket Rado, p. 159.

Mustafa Ketanizade

He is from Istanbul. He learned the thuluth and naskh scripts from Hüseyin Habli and received his diploma in a short time.

Sevket Rado Collection.

Mehmet Imamzade

He was called "Imamzade" because his father was an Imam in Beşiktaş. He learned the thuluth and naskh scripts from the Aralık Imam in Tophane and received his ijazah in the month of Aralık.

Sevket Rado Collection.

It is located on p.153 of the book “Turkish Calligraphers” prepared by Şevket Rado.

Ibrahim Rhodes

He was from Rhodes. He was one of the leading figures of the Rumelian judges. He learned the thuluth and naskh scripts from Ismail Zuhdî (old Zuhdî) and Katibzade Mustafa Efendi, and the ta'lik script from Asım Seyid Mustafa Efendi. He was one of the most famous calligraphers of the reign of Sultan Mahmud I.

Sevket Rado Collection.

Ketebeli, dated h.1258 (1842). Permission granted by: Yağlıkçızâde Abdülkâdir Efendi. A Persian verse written in Ta'lik script. Illuminated with gold and various colored flower motifs.

Size: 27.5x18cm.

Price: 7,000 TL

Sevket Rado Collection.

Ketebeli, dated 1258 (1842). Permission granted by: Arapzade Mehmet Sadullah. A Persian verse written in Ta'lik script. Illuminated with gold and various colored flower motifs.

Size: 29x20cm.

Price: 7,000 TL

Sevket Rado Collection.

Ketebeli, dated h.1211 (1796). Permission given by: Yesarizade Mustafa İzzet. A Persian verse written in Ta'lik script.

Size: 34x21cm.

Price: 10,000 TL

Sevket Rado Collection.

Ketebeli, dated h.1210 (1795). Permission given by: Mehmed Esad Yesari. A Persian verse written in Ta'lik script.

Size: 34x21cm.

Price: 8,000 TL

Sevket Rado Collection.

Ketebeli. A Persian verse written in Ta'lik script.

Size: 32.5x20cm.

Price: 8,000 TL

Old Hasan Fehmi Enata Collection.

Sevket Rado Collection.

It is included in the book “Turkish Calligraphers” prepared by Şevket Rado, p. 141.

Ketebeli, dated h.1356 (1937). Inscribed in Ta'lik script, "Hey Kanber, you were mine until yesterday, today you have become like me. I am giving you back to the one who gave you to me, Ali wrote this."

Size: 37.5x25cm.

Price: 4,000 TL

Sevket Rado Collection.

Sevket Rado Collection.

It is included in the book “Turkish Calligraphers” prepared by Şevket Rado, p.121.

Abdulbaki Arif Bin Mehmed Bin Mustafa

He was born in the Kasımpaşa district of Istanbul. He learned the Ta'liq script from Mehmet Tebrizi. He was then appointed as the Kazasker of Anatolia and Rumelia. He was one of the distinguished intellectuals of his time. He wrote many scientific books and Persian and Turkish divans.

A Persian verse is written in Ta'lik script. It is illuminated with gold floral motifs.

Size: 16.5x11cm.

Price: 3,000 TL

Old Fuat Şemsi İnan Collection.

Sevket Rado Collection.

It is not known who wrote this exquisite stanza, whose illumination is as striking as its writing; but there is no doubt that it is an Ottoman ta'lik in the style of Mehmed Es'ad Yesari. It is wonderful. ICS

Without a colophon. On the border is Kamil Akdik's commentary stating that the plate belongs to Hafız Osman. In Naskh script, prayers for the safety of faith, abundance of sustenance, and forgiveness and mercy are written.

Size: 27x20cm.

Price: 7,000 TL

Sevket Rado Collection.

Hafiz Osman

He is from Istanbul. Hafız Osman is the second genius of Turkish calligraphy after Şeyh Hamdullah. He memorized the Quran at a young age and was raised under the patronage of Köprülüzade Fazıl Mustafa Pasha. Due to his interest in calligraphy, he first took lessons from Derviş Ali and then from Suyolcuzade Mustafa Eyyubi.

He received his diploma in 1660, at the age of eighteen. Then, he studied the works of Sheikh Hamdullah and learned all the features of his calligraphy. Hafiz Osman, who was looking for innovations in the art of calligraphy, started to produce works in his own style by adding his own creativity and taste to the letters of Sheikh from 1679 onwards. One of the innovations in Hafiz Osman's calligraphy is the Hilya-i Sharifs in the form of plates.

He taught calligraphy to Sultan Ahmed III during his princedom and to Sultan Mustafa II during his reign. Hafız Osman left behind a new school of calligraphy, students who sought to attain his art, and works that are masterpieces in museums.

Various wise sayings and advice are written in Thuluth and Naskh calligraphy.

Size: 16.5x23.5 cm.

Price: 8,000 TL

Sevket Rado Collection.

Sheikh Hamdullah

He is from Amasya. He learned Aklâm-ı sitte from Hayreddin Mar'aşî. He studied the writings of Abdullah Sayrafî. Before Sultan Bayezid II ascended to the throne, he was the governor of Amasya and met Şeyh Hamdullah there. Sultan Bayezid II's interest in calligraphy opened a new horizon in Şeyh Hamdullah's life. He became the sultan's calligraphy teacher and gave him his permission. When Sultan Bayezid II ascended to the throne, he invited his teacher to Istanbul and allocated him a practice room in the Harem-i Hümayun in Topkapı Palace. In addition to his calligraphy, he was also the sheikh of the Okmeydanı Okçular Lodge. For this reason, he bears the title of "Şeyh". With the accession of Yavuz Sultan Selim to the throne, he retired to the Sarıgâzi village of Alemdağı. The inscriptions on the mihrab of Bayezid Mosque, Davut Pasha, Firuz Agha and the Bayezid Mosque in Edirne belong to him. Some of his works are in the Topkapi Palace Museum, the Turkish Islamic Arts Museum and private museums and collections.

Ketebeli, dated h.1286 (1869). The Intercession Hadith is written in Naskh script.

Size: 26.5x13.5 cm.

Price: 4,000 TL

Sevket Rado Collection.

Without ketebe. Some verses from the Ahzab Surah are written in Naskh script. At the bottom of the Quran page, there is a phrase in ketebe format written by another calligrapher, attributing it to Kadıasker Mustafa İzzet Efendi.

Size: 28x21cm.

Price: 8,000 TL

Şevket Rado Collection. The book “Turkish Calligraphers” prepared by Şevket Rado is on p.217.

Muhrec page; is the name given to the pages removed from the Quran by the calligraphers for any reason while they were writing the Holy Quran. These pages, which generally do not have ketebes, include phrases in ketebe format written by a student or another calligrapher in order to indicate the calligrapher.

Sevket Rado Collection.

It is included in the book “Turkish Calligraphers” prepared by Şevket Rado, p. 208.

Mehmed Tahir Efendi, a student of Mahmud Celaleddin Efendi, who was a school of his own in the nineteenth century and who could not be easily distinguished from him, was the calligraphy teacher of Sultan Abdülmecid. On the colophon he wrote in the lower left corner in the rika script, he stated that he wrote this scribble “translated from the Sheikh’s calligraphy” and did not refrain from mentioning his teacher’s name. Therefore, it can be said that three great calligraphers contributed to this exquisite work. ICS

Mehmet Tahir

Mehmet Tahir was one of the leading students of the famous calligrapher Mahmud Celaleddin, who had a unique style of writing. He was one of the most important representatives of the Mahmud Celaleddin school and was known as "Celâleddin-i Sani: The Second Celâleddin". He was a master of celi writing. He was the writing teacher of Sultan Abdülmecid.

Sevket Rado Collection.

Sevket Rado Collection.

Sevket Rado Collection.

Sevket Rado Collection.

Sevket Rado Collection.

Sevket Rado Collection.

It is included in the book “Turkish Calligraphers” prepared by Şevket Rado, p. 234.

Yahya Hilmi

He is from Istanbul. He took lessons in Thuluth and Naskh from the Chief Coin Painter Haşim Efendi and the proofreader of the Printing House Halil Zühdi Efendi. He wrote Qurans, En'ams, Delail-i Hayrats, Tablets and Murakkas. He wrote 25 Mushafs (up to the 21st section of the last one), countless en›ams and ecza-yi sherifes, delâilü›l-hayrats, evrâd, murakkaat and hilye-i sherifes. He completed the large-sized Quran that Sheikh Hamdullah had started but left unfinished. This work was presented to the Turkish Islamic Arts Museum by his heirs (TİEM-3907).

Sevket Rado Collection.

Abu Bakr Rashid

He is from Konya. He took calligraphy lessons from Kazzazzâde Seyid Ahmet Efendi. He learned thuluth and naskh script from Hüseyin Habil and received his diploma. He trained many students.

Sevket Rado Collection.

It is included in the book “Turkish Calligraphers” prepared by Şevket Rado, p. 242.

Sevket Rado Collection.

Sevket Rado Collection.

Sevket Rado Collection.

It is included in the book “Turkish Calligraphers” prepared by Şevket Rado, p. 150.

Mehmed "Giridi"

He is from Crete. He came to Istanbul to learn the art of calligraphy, learned the aklam-ı sitte from Hafız Osman and had discussions on calligraphy with Ağakapılı İsmail Efendi.

Sevket Rado Collection.

Sevket Rado Collection.

It is located on p.201 of the book “Turkish Calligraphers” prepared by Şevket Rado.

Whenever I give a conference on calligraphy abroad, one of the questions that always comes up is: “You always talked about male calligraphers; were there no female calligraphers?” And my answer is always: “How could it not be? Esma İbret Hanım is at the head of everything.” This beautiful nesih stanza was written in 1209 (1794-95) when she was “approximately fifteen years old.” Moreover, she also stated that she was a student of Mahmud Celaleddin Efendi, which is another nice detail. Because they later got married, and as İbnülemin notes in his colorful style, “Mahmud became a husband while he was a teacher.” ICS

Esma İbret

She was the wife and student of the famous calligrapher Mahmud Celâleddin Efendi. She adopted her teacher's style in her writings. With her talent and diligence, she became successful at the level of male calligraphers of her time. The perfection of her writing earned her the nickname "İbret". The Hilye-i Şerif she wrote when she was 15 years old was presented to Sultan Selim III and was awarded by the Sultan.

Sevket Rado Collection.

“Hocazade” Seyyid Ahmed

He was from Uşak. He was known as "Hocazade". He learned the thuluth and naskh script from Seyyid Abdullah of "Yedikule" and received his permission.

Sevket Rado Collection.

Sevket Rado Collection.

It is included in the book “Turkish Calligraphers” prepared by Şevket Rado, p.219.

Seyyid Abdullah Zuhdi Efendi, one of the well-known calligraphers of the nineteenth century, became famous especially for being sent to Medina and for renewing the calligraphy works in the Masjid an-Nabawi. Ibnul-Alim says of him that he is “a perfect master who exhibits perfect skill in the order and consistency of calligraphy and in composition.” In addition to this, his success in writing Turkish phrases, his skill in photography, painting and lithography, and the printing of one of his En'am-i Sharifs in the Ottoman Printing House are also noteworthy. Isn’t the simplicity of this stanza, where the letters of the alphabet are arranged, so heartwarming? ICS

Seyyed Abdullah Zuhdi

He was the son of Abdülkadir Efendi, a descendant of Temîmü'd-dârî. For this reason, he wrote his inscription as Abdullah Zühdi et-Temimi. He came from Damascus to Kütahya in 1835, and then to Istanbul. He first learned the thuluth and naskh scripts from Eyüp tombkeeper Raşit Efendi, and then from Kazasker Mustafa İzzet. He taught calligraphy and painting at the writing workshop in the Nuruosmaniye Mosque and at the Mühendishane-i Berrî-i Hümayun. He was assigned to write the inscriptions for the Holy Haram in Medina. He then settled in Cairo and was given the title of "Egyptian Calligrapher".

Sevket Rado Collection.

It is located on p.120 of the book “Turkish Calligraphers” prepared by Şevket Rado.

Yusuf-u Rumi

He learned thuluth and naskh script from the famous calligrapher Hafiz Osman and received his ijazah. He was one of the clerks of the Istanbul Mukataası Kalemi.

Sevket Rado Collection.

It is located on p.211 in the book “Turkish Calligraphers” prepared by Şevket Rado.

“The Truthful” Mustafa Hilmi

He learned thuluth and naskh script from “Laz” Ömer Vasfi Efendi. In 1819, he taught at the Nakşidil Valide Sultan school in Fatih, and then at the Bezmialem Valide Sultan school.