Special Collections Auction 001 - 140

Auction: Special Collections Auction
Category : Miscellaneous

a. “Hirsch 8 Kaiser San Francisco” The body is decorated with a gold gilded medallion motif on a cobalt blue background using the enamel technique. There are female figures inside the medallions.

b. The body is decorated with medallion and leaf motifs using a transparent enamel technique. The insides of the medallions are decorated with flowers.

c. Tortoiseshell body.

d. Its gilded body is decorated with geometric patterns.

Hoca Ali Rıza, an Istanbul lover. Hoca Ali Rıza, who devoted his entire life to the natural beauties of Istanbul, which he wandered around every inch of, could not get enough of, and discovered anew each time, skillfully and almost lovingly placed two houses on a small cape hidden by trees and a small sailboat docked at the shore in a small composition. The painting does not want to show or point, but rather wants us to sense the mystery behind a furtive glance. (*) The artist's biography is 198 pages long.

Watercolor on paper. The letter on the back reads in old Turkish “Nezahat, my barber girl, I received this second greeting card before I could respond to your compliment indicating the respect you have for the teachers of your pure and destined heart. My heart is incapable of describing the specialization that has formed in your heart and the love of your heart. My daughter, my sacred daughter, this conscience and this upbringing will make you a very respected lady and a very affectionate mother. And it will make you a place as sacred as your name. My daughter, be blessed and happy with this. My child, I send many greetings and prayers and congratulate you on your holy night. May God grant you a lot of health and well-being and make you happy and may He grant you His blessings and support in every work. The unfailing hardworking and remembering It says “My daughter, born in 1338, art teacher. Ali Riza” .

One of the rare compositions of Hoca Ali Rıza, who envelops Istanbul in a thousand shades of blue and green, turning the Maiden's Tower and the waters of the Bosphorus into a red color at sunset. When the clouds hanging in the air like a shadow in the background come together with the silhouette of the Maiden's Tower resembling a miniature castle, a dream city emerges. The painter celebrates the natural and architectural beauties of Istanbul as a feature that cannot be compared to any other city.

HUSEYIN AVNI LIFE

His interest in painting began in childhood. Shortly after his birth, his family came to Istanbul. He made his first paintings during his years at the Nümune-i Terakki Mektebi (Istanbul High School). Shortly after, he studied at the Sanayi-i Nefise Mektebi, and then upon the suggestion of Osman Hamdi Bey, he was sent to Paris by Şehzade Abdülmecid. Between 1909 and 1912, he studied at the studio of Fernand Cormon, who painted with an academic approach. However, he did not adopt the strict and formal attitude of this studio and took the symbolist French painter Puvis de Chavannes as his model. He returned to Istanbul in 1912 and worked as an art teacher at various high schools until 1923. Between 1914 and 1918, he worked for a while with Nazmi Ziya, Namık İsmail, Hikmet Onat and İbrahim Callı in a studio set up by the government in Şişli, and made war paintings. In 1924, he became a teacher at the School of Fine Arts. He stayed in Paris for a month in 1926 and made researches on teaching decorative arts. After returning to Istanbul, he gave lessons in decoration at the same institution. Lifij developed a style different from the artists of the 1910 generation with his romantic and symbolist approach. Although the landscapes he painted mostly in the evening light remind us of an impressionist approach, the nature in them is a time slice captured with a momentary change in light, different from the nature that the Impressionists viewed with their scientific color analysis. Lifij created a poetic atmosphere with the mysterious effect of light by using colors masterfully. He had an impressionist attitude with his separation of light into colors, and a symbolist attitude with his approach to academic subjects, especially with the plots and patterns in his large-figured compositions. However, his painting, which is a combination of all these features,

The book “Avni Lifij Poşadlar”, published in Istanbul in 1984 and prepared by Adnan Coker, is on p.63. Hüseyin Avni Lifij, one of the artists of the 1914 Generation, is one of the names that has stood out with his different personality and art in the history of Turkish painting. The artist, whose paintings were shown to Abdülmecid Efendi by Osman Hamdi Bey and who was sent to the Fernand Cormon studio in Paris in 1909 with the support of Abdülmecid, has a unique approach to painting and technique that sets him apart from all the painters of his generation. While his works bear traces of the French Impressionists in terms of the use of light and shadow, the content, allegory and poetry of his paintings make him closer to the Symbolists. Hüseyin Avni Lifij, who gave importance to emotion and expression rather than impression, records his momentary sensations in his poşads, just like in this painting. A mosque in the greenery as a small architectural unit, really makes one feel like it appears after a momentary impression among layers of colors that disappear into each other. The ability to hide an image of this depth on a surface almost the size of the palm of your hand reminds one once again of the illusory power of painting.

The book “Avni Lifij Poşadlar”, published in Istanbul in 1984 and prepared by Adnan Coker, is included on page 71. An Ottoman neighborhood under the snow, an independent, detached house standing without leaning its back to another building. How many other images can be so similar to Avni Lifij’s symbolist world? Like many painters of his time, Lifij is an urban explorer. However, his curiosity does not turn towards the waters of the Bosphorus but rather towards the densely packed street texture and the neighborhoods. Sometimes a figure walking under the snow, sometimes a small square appearing where the street texture ends… Lifij wanders not in the touristic beauties of Istanbul but in the secluded streets where life reveals itself. This tiny poşad perhaps makes visible the mass of a box-like independent house that the artist identifies with himself and a group of large and small houses where he can display geometric games one after another. With his usual mastery, the artist delicately slides his brush over the surface, spreading the paint and colors throughout the painting as if they had come out of a single tube.

IBRAHIM SAFİ

He came to Türkiye in 1918 with the soldiers fighting in the Caucasus. He completed his art education, which was left unfinished at the Moscow Academy of Fine Arts, at the Sanayi-i Nefise in Istanbul. He worked in Namık İsmail's studio. He was sent to Vienna and Rome by the government. His art is based on the landscape tradition. The natural and historical richness of Istanbul is reflected in his paintings with vibrant and bright colors.

Signed. Oil on canvas.

Size: 41 x 29.5 cm.

Price: 8,000 TL / $540,500.00

ELIF NACI

In 1914, she entered the School of Fine Arts and became a student of İbrahim Callı in the painting department. She started journalism in the İfham newspaper during her student years. She worked in the newspapers İleri Son Posta, Tan, and Milliyet. She managed the archives department of the Cumhuriyet newspaper, which she started in 1937, for 40 years without interruption. After graduating from Sanayi-i Nefise, she joined the Independent Painters and Sculptors Association. She opened her first personal exhibition in 1930. She was among the painters who founded the D Group in 1933. Elif Naci, who was influenced by the impressionist approach during her student years, turned to abstract understanding within the D Group. During this period, she was influenced by masters of contemporary painting such as Paul Klee and George Braque, as well as calligraphy masters such as Hafız Osman and Mehmet Esad. From the 1940s to the 1970s, the abstract features of calligraphy dominated her paintings. In the last years of her life, she turned to “geometric-abstract” . He was known for his humor and outgoing personality, as well as for his various pursuits such as painting, museum management and writing.

SEREF AKDIK

He was born in Fatih. While he received his primary and secondary education in Fatih, Istanbul, he began to develop himself in this field with his interest and curiosity in art during the same years. Of course, the source of this tendency was his father Kamil Akdik, known as “Reis-ül Hattatin” . Through his father’s work, Şeref Akdik met Teacher Hoca Ali Rıza. He studied under Callı at the Sanay-i NeŞse, which he entered in 1915. He graduated from school in 1925 and passed the European exam held at that time and went to Paris. He worked with Paul Albert Laurens at the Julian Academy in Paris.

Among the impressionist painters of the 1930s generation, Akdik combined his academic knowledge and experience with his local observations. While he remained loyal to the classical narrative in his oil paintings and portraits, he approached the impressionist understanding without compromising his classical understanding in his watercolor and charcoal landscapes and patterns. He is one of our painters who worked realistically within the impressionist understanding based on solid drawing. There is no clear and impressionist tendency in his paintings, which take their subjects from the realities of the country and depict villages and villagers. Although he seems to have adopted the artistic understanding of the 1930s generation, he can be defined as an artist of an intermediary period with his paintings that sometimes go beyond impressionism, courageously address formal problems and are close to the artistic view of the Independents, of which he was a member. He became a strong representative of Degas' impressionist understanding based on solid drawing in our country. He transferred vivid and bright colors to his canvases in his portraits and landscapes. His works are in the National Gallery in Washington, Nice Museum, Istanbul State Painting and Sculpture Museum and private collections.

PERTEV BOYAR

He graduated from Kuleli Military High School. He took lessons from Sami Yetik. He continued his education at the academy externally and developed his knowledge of art in the workshop of İbrahim Callı. He participated in community center exhibitions and state exhibitions. He was also interested in music as well as painting. His paintings, which focus on the landscape genre, are in the classical-impressionist line within the scope of the artistic understanding of the generation of military painters.

Signed. Oil on cardboard.

Size: 20 x 14cm.

Price: 3,000 TL / $202,700.00

AYETULLAH SUMER

He went to France in 1925 for art education. He took lessons from Brengier in accordance with the principles of classical teaching. He was among the representatives of the art approach that became widespread at the level of academic naturalism with the traditional exhibitions of the Fine Arts Union in Türkiye.

He created a new alternative to this understanding with his tendency to bring the forms of nature closer to a photo-realist line and sometimes to seek a formal idealism.

NURI KORMAN (HACI NURI EFENDI FROM BEŞİKTAŞ)

He was born in Ortaköy, Istanbul. He became known as a “Beşiktaşlı” because he was brought to Beşiktaş when he was forty days old and lived there until the end of his life. After the primary school in Beşiktaş, he graduated from the Rüştiye school there. He continued to work as a clerk at the Court of Cassation. He learned thuluth and nesih from Taliki Zeki Dede and from Alaeddin Bey. When Alaeddin Bey passed away, he continued to take lessons from Muhsinzade Abdullah Bey. After attending twice a week for 18 years, he received his diploma. He admired Muhsinzade Nuri Efendi very much as a calligrapher. He used to say , “He is the one who will keep my name alive . ” Hacı Nuri Efendi was the thuluth and nesih teacher of Mektebi Hamidi in Beşiktaş. Then he became the head calligrapher of Matbaa-i Amire. He stayed in Egypt for a year and a half and gave calligraphy lessons there. When he returned to Istanbul, he was appointed as a teacher of Thuluth and Naskh at the Medrese-tül Hattatin. After the alphabet reform, he also taught calligraphy at the Academy of Fine Arts. He was also interested in religious music.

Majid Ayral (1308 - 1381 / 1891 - 1961)

In this plate from the works of Mihriban Sözer (Keredin), the phrase “Allah veliyyü't-tevfik” (i.e. success is from Allah) is written in the special arrangement that has been customary since the time of Yâkût el-Musta'sımî. In the words “Veli el-”, the letter lâm is directly joined to the letter eliş, and the letter ye is expressed with a two-dotted kâşîde below it, thus creating a wonderful balance element.

Irvin Cemil Schick Sabancı University Lecturer. MACİT AYRAL was born in Istanbul. While studying at the Hamidiye School in Beylerbeyi, he learned Thuluth and Naskh from his teachers Ali and Enderunlu Ahmet Rakım Efendi. He admired the calligrapher Fiefik Bey and worked hard on his writing.

He attended the Medresetü'l-Hattatin. He improved his celi thuluth script from İsmail Hakkı Bey and his talik script from Hulusi Efendi. He went to Iraq to teach calligraphy in 1955. His celi scripts can be found in the Şişli, Levent, Şile, Seyid Ahmet, Bebek, Yeşilköy Kemer Hatun and Davut Paşa mosques.

HALİM OZYAZICI

He was born in the Haseki district of Istanbul. After graduating from Rüştiye, he went to the School of Fine Arts. He took calligraphy lessons at the Medresetü'l-Hattatin. He started writing with Rık'a and Hamid Aytaç and later took Divanî from Ferid Bey, Thuluth and Nesih from Hasan Rıza and Kamil Akdik, and Talik from Hulusi Efendi. He worked freelance for a long time. Between 1948 and 1962, he studied at the Fine Arts Faculty.

He taught calligraphy at the Academy.

Ketebeli. "This too shall pass" is written in celî sülüs calligraphy.

Size: 20.5 x 19 cm.

Price: 1,000 TL / $67,500.00

Ketebeli, dated 1376 (1956). "Allah is capable of all things" is written in celi sülüs calligraphy.

Size: 34 x 37.5 cm.

Price: 2,000 TL / $135,100.00

Ketebeli, dated 1371 h (1951). The Kalima-i Tawhid is written in celi sülüs calligraphy.

Size: 12.5 x 8.5 cm.

Price: 1,500 TL / $101,300.00

Majid Ayral (1308 - 1381 / 1891 - 1961)

In this beautiful Kalima-i Tawhid from the works of Mihriban Sözer (Keredin) collection, the elif and lam of the words “lâ ilâhe illâ” are like arrows pointing to the name “Allah”. “Muhammedün resûlullâh” completes the stack vertically on the left, like a retaining wall. A very attractive panel written by Macid Bey in 1951. ICS

Ketebeli, dated 1344 h (1925). "Allah hu Rabbi" is written in celi sülüs calligraphy.

Size: 20 x 16cm.

Price: 500 TL / $33,700.00

Ketebeli, dated 1371 h (1951). "Muhammad Aleyhisselam" is written in Thuluth calligraphy.

Price: 1,000 TL / $67,500.00

Diameter: Diameter: 13 cm.

Ketebeli. "Heaven is under the feet of mothers" written in Thuluth calligraphy.

Size: 19 x 17 cm.

Price: 1,000 TL / $67,500.0

Majid Ayral (1308 - 1381 / 1891 - 1961)

Among the many works in the Mihriban Sözer (Keredin) collection, this plaque written in tokça sülüs, which I like the most in terms of its content, reads: “In the sharia, this is yours, that is mine / In the tariqah, it is both yours and mine / In reality, it is neither yours nor mine.” It is my sincere wish that the lucky collector who will own this exquisite plaque will not fail to keep its meaning in mind.

Majid Ayral (1308 - 1381 / 1891 - 1961)

Another Turkish plate from the works in the Mihriban Sözer (Keredin) collection. Written in celî ta'lik script, this Sufi plate reads: "There is neither you nor me in us / The particles of the ocean are in a single sea" (Vâridât-ı Süleyman)

Ketebeli, dated h.1356 (1937). Illuminated by Mihriban Sözer and dated 1940. In thuluth and naskh calligraphy, the Basmala, the recitation of the Prophet Muhammad and the names of the 4 Caliphs are written.

Size: 55 x 39 cm.

Price: 20,000 TL / $1,351,300.00

Chief calligrapher Hacı Ahmed Kamil Akdik (1278 - 1360 / 1861 - 1941),

one of the most important calligraphers of the recent period. This hilye by Kamil Efendi, who said, “In order to enjoy writing, I must sleep with it,” dated 1937, is truly a work worth sleeping with! Aside from the beauty of its thuluth and nesih scripts, it could be right to say that the illumination made by Mihriban Sözer (Keredin) (d. 1332 / 1914), one of the leading illuminators of the recent period, in 1940 is one of the artist’s most beautiful works. Mihriban Hanım, who was a student of Süheyl Ünver, first worked at the Academy of Fine Arts, and from 1949 until her retirement, she worked as an illuminating and manuscript restorer at the Topkapı Palace Museum. Of the illuminations that Mihriban Hanım prepared with great care, since they were made for her own private collection, the classical-style seat illumination is particularly noteworthy. With its illuminated crescent, rumi background, various stop signs, and classical illumination on the arrowed basmalah, it is a small jewel, a perfect work of calligraphy. ICS

KAMİL AKDİK

He was born in Istanbul. He learned thuluth and nesih calligraphy from Sami Efendi and received his diploma. In 1909, he became the Imperial Pen Marker and calligraphy teacher. In 1914, he became the thuluth and nesih teacher of the Medrese-tül Hattatiyn, and the rik'a teacher of the Galatasaray Sultani in 1918. He was awarded the title of "Reis-ül Hattatiyn" by Sultan Mehmed V. Reşad. In 1940, he wrote the dome and band inscriptions of the mosque built by Prince Tevfik Pasha in Cairo.

Ketebeli, dated 1367 h (1947). The Basmala, the Vashisar of the Prophet Muhammad and the names of the 4 Caliphs are written in Thuluth and Naskh script. The illumination was done by Mihriban Sözer.

Size: 64 x 40 cm.

Price: 12,500 TL / $844,500.00

Macid Ayral (1308 - 1381 / 1891 - 1961), one of the distinguished calligraphers of the last period,

He was an exceptional gentleman who did not abandon his art after the acceptance of Latin letters, and went to Iraq in 1955, where he taught calligraphy for many years. Mihriban Sözer (Keredin), one of the last period illuminators, illuminated this hilye of Macid Bey, who continued in the Şefik Bey style in his works, the following year, but she apparently could not bear to sell it and added it to her collection. With this identity, the work is one of the distinguished examples of the years of collaboration between Macid Bey and Mihriban Hanım. Among the hilyes illuminated by Mihriban Hanım are those of Hulusi Efendi in the Sadberk Hanım Museum, Kazasker Mustafa İzzet Efendi and Mehmed Şevki Efendi in the Ekrem Hakkı Ayverdi collection, and Hamid Aytaç in a private collection. ICS

With the signature of Sultan II. Abdulhamid (1876 - 1909). Aznavur work. High body with round feet in fez form. Stylized large curved branch and leaf motifs embroidered with engraving technique.

Size: Height: 24 cm.

Price: 35,000 TL / $2,364,800.00

Egypt. With the signature of Sultan Abdulaziz (1861 - 1876). Stamped in Old Turkish "Matat Ghazarosyan". Flat-bottomed, swollen body, narrow neck and domed lid. Handle in the form of a branch, lid handle in the form of a bird.

Dimensions: Weight: 424 gr. Height: 21.5 cm

Price: 3,000 TL / $202,700.00

With the signature of Sultan II. Abdulhamid (1876 - 1909). Flat-bottomed, swollen body, narrow neck and domed lid. Handle is in the form of a branch, lid handle is in the form of a pear. Stylized curved branch and geometric patterns are embroidered with engraving technique.

Size: Weight: 322 g. Height: 20.5 cm.

Price: 3,750 TL / $253,300.00

Signed. Watercolour on cardboard.

Size: 40 x 30.5 cm.

Price: 5,000 TL / $337,800.00

VICEN ARSLANYAN

He was born in Istanbul. Painter and educator Arslanyan graduated from the School of Fine Arts in 1887, which he entered in 1883 and was awarded in 1884 for his successful work. He first participated in an exhibition held in May 1903 at the Istanbul Hall in the Passage Oriental in Beyoğlu with four works. He participated in the first exhibition of the Galatasaraylılar Yurdu in June 1916 with the paintings Sultan's Gathering in the Hagia Sophia Mosque at number 112, Cube in the Hagia Sophia Mosque at number 113, Doorway in the Mosque at number 114 and A Corner in the Hagia Sophia Mosque at number 115. In the second exhibition of Galatasaray students in 1917, he took part in the paintings opposite the Rüstem Paşa Mosque at number 43, the Rüstem Paşa Mosque Maksure at number 44, and 14 oil paintings at number 45. He participated in the Turkish Painters Exhibition in 1920 with 10 works. The exhibition catalogue states that Arslanyan graduated from the School of Fine Arts 58 47 59 and was a teacher at the Galatasaray Sultanisi. The artist, who participated in the 4th Galatasaray Students Exhibition in 1922 with 4 works, later exhibited his painting called Rüstem Paşa Mosque in the exhibition in 1928.

He participated in the exhibitions of the Fine Arts Union Painting Branch in 1929, 1930, 1931, 1933 and finally in 1938 with various works. Between 1915 and 1939, he taught art at Galatasaray High School, Aramyan, Bezazyan, Bezciyan, Esayan, Getronagan, Mıkhitaryan and Nor Tıbrotz Armenian (see p. 163) schools. In 1936, he illustrated Bedros Adruni's mathematics book (1936) taught in Armenian schools together with Sarkis Cilingiryan (Tchilinguirian). He trained many students, including miniaturist and researcher Berc Erziyan and designer Filip Elmok.

Signed, dated 1928. Oil on canvas. Hardboard coated.

Size: 46.5 x 34 cm.

Price: 6,000 TL / $405,405.00

Signed, dated 1884. Watercolour on paper.

Size: 29 x 22 cm.

Price: 4,000 TL / $27,027.00

Signed. Watercolour on cardboard.

Size: 46.5 x 31.5 cm.

Price: 7,500 TL / $506,757.00

Stamped. 19th century.

Size: 14.5 x 11 cm.

Price: 3,000 TL / $202,703.00

Signed. "Cairo" written above the signature. Watercolour on paper.

Size: 38 x 27 cm.

Price: 25,000 TL / $168,919.00

Signed. Watercolour on paper.

Size: 27.5 x 21 cm.

Price: 15,000 TL / $101,351.00

OSCAR CHIMCHIDIAN

He was born in Sivas. He immigrated to Egypt with his family in 1903 and settled in Cairo. Chimchidian went to Paris in 1918 and developed his art at the Academie Julien, worked for a while at the Louvre Museum and studied Western painting. After returning to Egypt, the artist made paintings for King Faruk.

He gave painting lessons to princes and princesses. Chimchidian, who made many commissioned works, lived in Cairo.

Provenance:

- J. Staats Forbes collection, London.

- Mrs. Hamilton collection, London.

- Private collection.

NARCİSSE - VIRGİL DIAZ DE LA PENA

The artist, a landscape and figure painter, was born in Bordeaux, France, as a child of a Spanish family. Like other emerging artists in those years, he learned to paint with Narcisse in the Louvre, influenced by the paintings of artists who used colors masterfully. He was influenced by Corregio and Prudhon.

He called Eugeol Delacroix, whose work had Orientalist influences, and TheÅLodore Rousscau, with whom he became friends in Barbizon in 1836, his spiritual fathers. Narcisse's first exhibition took place between 1831 and 1837. With the Salon of 1848, the Barbizon school painters were both indispensable and had a recognized presence in French landscape painting until the late 1860s.

In Barbizon, Narcisse and his friends rediscovered nature with Corot and Daubigny. Although the Barbizon painters had different methods and ideas, what they all had in common was their fondness for nature and their loyalty to their observations. Narcisse supported Renoir and the young Monet, believing that they would go further. The artist's movements were limited to the Barbizon area.

He generally used the forests of Barbizon, which he preferred as the main theme of his subjects, as a background and worked on the places he could not go in his imagination. Although art historians tried to make Narcisse belong to a school, despite having come from Barbizon, Narcisse had a free spirit and followed his own instincts. Impressionism spread until the middle of the century.

The painting style of Diaz, Corot, Daubigny, Theodore Rousseau and Millet was very popular in Western culture until Impressionism became dominant. The works of Narcisse - Virgil Diaz De La Pena are located in the world's leading museums such as the Louvre Museum, the Reims Museum and the New York Metropolitan Museum.

Unsigned. "Paris 1851" written on the back. Label on the back of the canvas written in Armenian. Oil on canvas.

Size: 76 x 61 cm.

Price: 1,000 TL / $675,676.00

Monogrammed. "Constantinople" written at the bottom. Oil on canvas. Restored. 19th century.

Size: 38 x 24 cm.

Price: 5,000 TL / $337,838.00

ARSENE CHABANIAN

He was an important marine painter who grew up during the Ottoman period. He completed his education at the Murad Rafaelian School in Venice. Chabanian, who attended the workshop of the painter Balotti, surprised even his teachers with his talent and earned the appreciation of the famous painter of the period, Ivan Konstantinovic Ayvazovski.

Aivazovsky, who hosted Chabanian in his studio when he went to Russia, suggested that he go to France and continue his work in Paris.

The artist, who worked in the studios of Gustave Moreau, Jean Paul Laurens and Benjamin Constant in Paris and at the AcadeÅLmie Julien, created countless seascapes with his fascinating brush. Chabanian is a founding member of the Marine Painters Association and has held exhibitions in Italy, Belgium and Japan.

Apart from private collections and museums in France, the artist's works are currently in famous city museums such as Philadelphia, Washington, New York, Buenos Aires, Berlin and Munich.

With the signature of Sultan II. Abdulhamid (1876 - 1909). Inscribed in Old Turkish as "Melik", initialed as "M" and bearing the "Egyptian Khedive" emblem. Its body is cylindrical and consists of four chambers. On both sides, there are rods connecting the chambers with screw technique. Its handle is in the form of a branch.

Size: Weight: 2384 g. Height: 34 cm.

Price: 60,000 TL / $405,405.00

Price: 2,500 TL / $168,919.00

Signed “hE”. Moscow. Between 1899 - 1908. The bulbous body, which is placed on a 4-legged round base in the form of a lion's foot, has a domed lid and double handles. There is a tap on its body. The handle is in the form of a branch, the tap handle is in the form of a leaf. The body is made of flowers and large branches and leaves using the casting technique.

Dimensions: Weight: 3955 g. Height: 46.5 cm.

Price: 25,000 TL / $168,919.00

The swollen body, which stands on a four-legged base in the form of a leaf, has a narrow neck and a wide mouth. The lid is domed. The handle and knobs of the tap mounted on the lower part of the body are in the form of a curved branch. The body is decorated with geometric patterns and large leaf motifs using the engraving technique. 19th - 20th century.

Size: Height: 50cm.

Price: 4,500 TL / $304,054.00

– It is included in the book “Nedim Günsür” prepared by Turgay Gönenç and published by Ada Publications in Istanbul in 1993, p.127.

Nets strung out like a string of pearls, small boats swaying happily, local tourists snacking and sunbathing under the midday sun...

Nedim Günsür, who transfers all the rhythm and energy of a coastal town to his paintings with all its beauty, constructs his compositions with a fine mathematical order. Figures that shrink proportionally from the front to the back, the horizon line that emphasizes the entire linear arrangement, a few islands in the background placed as an amorphous response to linearity. Günsür gives his audience a lesson in geometry with the elements he places on the hot sand.

– It is on page 103 of the book “Nedim Günsür” prepared by Turgay Gönenç and published by Ada Publications in Istanbul in 1993.

– Participated in the “Nedim Günsür Retrospective Exhibition” organized by Türkiye İş Bankası between November 16 and December 30, 2006. (Exhibition catalogue, p.147.)

There is probably no other painter who has observed the naive lifestyle in coastal towns and the strange symmetry of the houses running parallel to the shore as well as Nedim Günsür. There is no other painter who responds to the delicate sensitivity and simple and plain lifestyle around him with the same freshness. Günsür, who simplifies the subject he handles with an almost miniature-like arrangement with delicate lines and elegant colors, extracts compositions that contain narrative flavors from this narrow subject. His love of nature and humanity also makes all the subjects he touches similar to himself.

– Participated in the “Nedim Günsür Retrospective Exhibition” organized by Türkiye İş Bankası between November 16 and December 30, 2006. (Exhibition catalogue, p.132.)

What would be the result if the colorful, peaceful and joyful life in a coastal town were tried to be made visible like a horizontally flowing film strip? This painting, which reflects Günsür's understanding of life and art with its typical features, progresses like a film strip flowing from right to left.

All the movements that enter the painting from one end of the composition and are placed transversely to make the flow visible progress with Günsür's masterful drawing power.

The actions thought out down to the smallest detail, the calculated placement of the figures and even the fish, reveal this great master's skill in combining the beauties of nature with the beauties of painting.

– Participated in the “Nedim Günsür Retrospective Exhibition” organized by Türkiye İş Bankası between November 16 and December 30, 2006. (Exhibition catalogue, p.110.)

This symbolic composition, in which violence and savagery are identified with predatory dogs, is one of Nedim Günsür’s harsh paintings in which he attempts to make visible the self-interested showdown between individuals. The recklessness of the group of dogs tearing a torn male body from right and left conceals the reasons for the incident.

Günsür stylizes the dogs and places them in the composition with such skill that all the tension and drama of the event gives the viewer the feeling of watching an event that really happened.

Signed, dated 1983. Oil on canvas.

Size: 50 x 36 cm.

Price: 40,000 TL / $27,027.00

– It is on page 105 of the book “Nedim Günsür” prepared by Turgay Gönenç and published by Ada Publications in Istanbul in 1993.

What could be the traces of May 1st celebrations spent at the desk for a painter who dedicated his paintings to the honorable lives of the oppressed? Cigarette butts that turned into a big black stain on the ashtray as a residue of boredom, the pale face of the clocked education calendar emphasizing time, colorful flowers heralding hope and the future, an alarm clock that is not fully understood whether it works or not... As he often does, Nedim Günsür celebrates the unity, togetherness and solidarity-filled meaning of May 1st in the studio he set up in his room instead of the chaos on the streets.

A social realist painter, Nedim Günsür settled in Istanbul in 1959 after his teaching job in Zonguldak Ereğli. His paintings, in which he developed a critical approach to social and political issues such as migration, shantytown demolitions and conflicts, soon turned to the daily lives of fishermen.

Nedim Günsür is one of the most effective observers of this difficult but colorful life intertwined with the sea. This group of fishermen, who pull their nets at dawn and illuminate their sustenance with their lanterns, turn into series that comfort Günsür after his dark period. Perhaps the most typical feature of these paintings is that they instill a great enthusiasm for life in the viewer, who is inspired by the salt and smell of the sea.

– Participated in the “Nedim Günsür Retrospective Exhibition” organized by Türkiye İş Bankası between November 16 and December 30, 2006. (Exhibition catalogue, p.133.) 89

AHMET PIRISTINA COLLECTION

(*) The artist's biography is on page 94.

NURI İYEM

His passion for painting, which had developed since his childhood, resulted in his enrollment in the Academy. He showed his work to Nazmi Ziya, whose paintings he had watched with admiration at the Galatasaray exhibitions, the most important art event of those years, and after receiving his encouragement, he registered and started lessons.

The young painter, who was a student of Nazmi Ziya, Hikmet Onat, Calli and Levy, also benefited from the ideas of other academy teachers such as Feyhaman Duran and Namık İsmail. After graduating from the middle school of the Academy at the top of his class, İyem completed his military service and entered the newly opened higher education department in 1940, of which he would be the first graduate four years later.

The paintings he produced in the 1950s, in line with the abstract approach he turned to, prove that his art cannot be defined by style. When we see his abstract paintings today, we understand that he concentrated on producing art at the highest level, regardless of the approach he worked in. In the 1960s,

He concentrated on producing figurative paintings depicting the Anatolian people, their lives, their inner worlds, those migrating from villages to cities, and shantytown life.

With its fertile lands and its characteristic of giving birth to civilizations; he perceived Anatolia as a woman and in the portraits of women he produced, in the light of eyes that are the mirror of his inner world, he reflected the society we are a part of with all its reality. In the depths of the light in women's eyes, there are not only the pains, troubles, joys, excitements and traditions of the Anatolian people from past times to the present and unchanged for generations. Nuri İyem is one of the key names in the history of Turkish painting with his art and artistic personality. With his efforts that have reached the present day, he managed to open wide horizons for contemporary Turkish art as a real 'veteran' and finally as the 'master of masters'.

These paintings, which Nuri İyem, who transformed the physiognomy of Anatolian women into images that rival ancient Greek busts in beauty, produced with the longing for his sister whom he lost at a young age, truly place him in a privileged place in Turkish painting. İyem, who confronted his personal memory and past through each face, painted women's faces that were sometimes honorable with great admiration and sometimes beautiful enough to be loved. This painting hides the sorrow of a woman with piercing eyes who looks at an uncertain void behind our eyes with a melancholic facial expression. A round moon that appears just to the right of her head increases the drama in the painting and also deeply emphasizes the mystery spread by melancholy.

ADNAN COKER

He worked in the Zeki Kocamemi studio at İDGSA between 1944 and 1951. He also received composition information from Halil Dikmen. He passed the European exam in 1955 and went there with a state scholarship. He continued in Paris at A. Lhote's studio in 1956-57 and H. Goetz's studio in 1957-60. He conducted research in museums in Spain, Belgium and the Netherlands. He conducted studies on art education in Italy and Switzerland.

In 1960, he entered the Painting Department of IDGSA as an assistant. In 1963, he founded the “Blue” group with four artist friends. In 1964, he went to Paris for the second time with a state scholarship, where he studied engraving in the Hayter studio and painting in Goetz. In 1965, he attended the Salzburg Summer Academy and continued his work in this field in the E. Vedova studio.

He was appointed as a faculty member in 1966. He opened his first personal exhibition in Ankara (DTCF) in 1953 under the name "Before the Exhibition".

Signed, dated 1981. Mixed media on paper.

Size: 75 x 56 cm.

Price: 10,000 TL / $675,676.00

Abidin Dino's dance with the unknown is his most secret face. His paintings, which do not arise from anywhere, from any object, perhaps reveal his most mysterious side. This interesting composition will live on only with its own existence, incomparable and incomparable. This interesting painting, which works with its own abstract color values, establishes a musical rhythm with the light shadows, geometric and uncertain surface distributions discovered during its production.

ABIDIN DINO

Born in Istanbul, Abidin Dino went to Switzerland and Paris at a very young age. He lived there for many years. He returned to Istanbul in 1926 and studied at Robert College during this time, then entered the press as a writer and illustrator at Babıalî. His first works were published in Artist magazine in 1931, and later in many magazines and books. He went to the Soviet Union in 1934 and worked in theater and cinema.

He studied cinema in Leningrad for three years with Eisentein and Yutkevic, from make-up to set, from direction to script. He worked on the film Miners, directed by Yutkevic. In 1937, he was forced to leave Leningrad when the Soviet Union sent back all its foreign students due to World War II. When he returned to Türkiye, he founded the "D Group" with a few friends, and later the "Liman Group".

Later, he went to London and Paris. He worked as a painter and decorator in Paris. He developed friendships with prominent names in various branches of art such as Pablo Picasso, Cocteau, Malraux.

He settled in Paris for good in 1952. He was the honorary president of the French Plastic Arts Union and the art consultant of the New York World Exhibition at various times. In addition to the exhibitions he opened all over the world, he wrote stories in French and Turkish. His paintings are based on intellectual and visual foundations. What ties his periodical works together is the continuity of this intellectuality and visuality and their organic relationship within themselves.

Abidin Dino, the painter of lavis, watercolors, lines, and in some cases embroidery and delicate ornamentation, is before us with a giant bouquet consisting of spirals and spiral color transitions. The artist has placed the entire composition, in which a variety of flowers are abstracted and crowned with doves, as if they were about to spill out from the paper. Rather than defining the blessings of nature and opening them up to view, Dino constructs his images with a stylization that leaves room for the imagination of the viewer. In the art of painting, praise for beauty, a feast for the eyes and dreams can only be achieved so much in a single painting.

An imaginary landscape where the sky and the earth, the land and the horizon disappear into each other. Abidin Dino creates a romantic, dreamlike scene with all the possibilities of a single color. In the depth of the painting, a soil-scented road that starts somewhere far away and cuts the entire composition diagonally seems to herald both death and life. A strange mystery grows and swells with a monochrome technique that requires great mastery. Dino, who sanctifies nature and reaches beyond the visible with his misty landscapes,

Signed. Oil on canvas.

Size: 54.5 x 46 cm.

Price: 7,000 TL / $472,973.00

A vertically cut back or a Fontana-like surface cleavage. Abidin Dino creates a brand new map of human anatomy with a body that he spreads over every square centimeter of his canvas.

A deep groove cutting vertically from top to bottom across the canvas reveals the spine of a body that we cannot quite tell if it is male or female.

This split, which ends with slight folds at the lower end of the painting, leaves all the details it leaves out to the imagination of the viewer.

Sealed. 1970s. Watercolour on paper.

Size: 76 x 56 cm.

Price: 7,000 TL / $472,973.00

AVNI ARBAS

He worked with important future Turkish painters such as Cihat Burak and Selim Turan in the painting studio directed by Mehmet Ali Bey, an art teacher and soldier painter. He met İbrahim Safi and Naci Kalmukoğlu and worked in their studios. He left Galatasaray and enrolled in the Painting Department of the Fine Arts Academy (1937). It is understood that his Siirt trip inspired his paintings, which were exhibited in his first exhibition in Paris in 1954 and inspired by Mahmut Makal's Bizim Köy (Notes of a village teacher). In the meantime, he participated in various mixed exhibitions, especially the Liman Exhibition. He went to Paris with a scholarship provided by the French Government. In 1951, the paintings that Avni sent from Paris were exhibited in Adalet Cimcoz's newly opened Maya Gallery in Istanbul. This was his first solo exhibition.

His first exhibition at Paris's Galerie La Roue in May 1953 consisted mostly of paintings that could be described as human landscapes, mostly from Our Village. He married Henriette Lapouge, with whom he had been together since the early 1950s, in 1958.

In the portraits of Henriette that he made over many years, Arbaş’s talent as a portrait painter is revealed in all its dimensions. Just like in the drawings he studied with Nazım Hikmet, who occasionally went to Paris. Avni Arbaş made friends in Paris, Antibes and Vallauris, including the Picassos, Tristan Tzaras, Aragons and Prevert brothers, and took his place among the painters of the Ecole de Paris.

This Turkish painter, who devoted his entire life to the world of colors and lines, reflected the smells, colors, light and air of any place in the world in his paintings. After returning to Türkiye, he continued to paint the ever-changing light of the Bosphorus and Marmara in Istanbul, and the fish, fishermen, fruits and flowers of the southern shores.

Sealed. 1968. India ink on paper.

Size: 75 x 55 cm.

Price: 5,000 TL / $337,838.00

Signed. 1976. Watercolour on paper.

Size: 100 x 70 cm.

Price: 8,000 TL / $540,541.00

– “Abidin Dino / Antibes Paintings” published by Galeri MD in Istanbul in 1989

Taking the experience he gained from his previous work one step further in each of his paintings, Bedri Rahmi is a special artist who has been able to apply different techniques and different effects to different forms and areas. The artist creates an interesting depth and emphasis on time with the linear images he places with a composition structure that flows horizontally in front of an Istanbul panorama represented vividly by saturated colors. Bedri Rahmi openly declares that every touch he makes to the surface is a painting. The white background of the canvas not only overflows from the edges of the composition and becomes a part of the painting, but also shows that the artist uses the surface like a notebook. The figures in the foreground, which give the feeling of belonging to another time against the stillness of the elements that create the landscape, establish both a contrast and a pictorial balance with the horse carriage, the mansion and the car entering from the right of the painting. The actions of the people in the landscape, in contrast to the settledness, are proof that time is flowing forward.

Signed, dated 1943. Mixed media on paper.

Size: 63 x 49 cm.

Price: 20,000 TL / $135,135.00

EREN EYUBOGLU

He studied painting at the Academy of Fine Arts in Iaşi, Romania. He worked in the workshop of AndreÅL Lhôte in Paris between 1930 and 1932.

She opened her first exhibition in Paris in 1933 at Jean Europe. She married Bedri Rahmi Eyüboğlu, whom she met in Paris in 1936. She returned to Türkiye with her husband and participated in Group D exhibitions and state exhibitions. She contributed works to the Edinburgh Festival in 1957 and the Hamburg Turkish Women Painters Exhibition in 1958. She opened her first personal exhibition in Istanbul in 1941.

In addition to painting, she was also interested in ceramic art. In the early period of her artistic life, she worked in a constructive approach under the influence of Lhôte, while in her later paintings she turned to a more colorist and regional approach to painting, originating from the art of her husband Bedri Rahmi.

Inspired by his trips to Anatolia and especially the Bursa region, he reflected local life and folk motifs in his works with a sensitive narrative.

Although he focused on color, he did not neglect the winning structural interpretation of the form. Over time, he developed a style of his own, especially in his paintings of Turkish female figures in groups, in addition to the works of Bedri Rahmi.

After his abstract and semi-abstract pursuits in Paris between 1948 and 1952, Nedim Günsür's entire understanding of art changes completely when he goes to Zonguldak Ereğli to teach. The colorist lyrical and geometric experiments of Paris give way to the darkness and outcry of pain, resistance, and solidarity. The honorable but also difficult life of the miners paves the way for Günsür to ​​develop a socially realistic understanding of art. We are looking at one of the sharpest examples of this understanding, which opened a door for him to criticize all the cruelty and injustice in the world in the following years on the plane of painting. This painting opens up to the murderous power of war and the helplessness of death. Crows covering the sky as a sign of evil, a male body hanging from a withered tree, people whose bodies are left on the ground in a tossed position... Günsür creates a universal scene of death and slaughter in this dark painting.

– It is on page 63 of the book “Eren Eyüboğlu” prepared by Ferit Edgü and published by Ada Publications in 1944.

A mosque that contains cubic-constructivist tastes in some parts of its architectural layout, a giant plane tree in its courtyard provides shade and is dedicated only to silence. Eren Eyüboğlu sanctifies a historical texture with the rich possibilities of painting in this composition that he purges of people. The colorful lines that intersect or emerge within each other surprisingly connect both the tree that is the center of the painting and the mosque that rises like a monument from the right of the painting. In this fresh painting where the extreme simplicity of the details and the color cautiously reference each other, we witness Eren Eyüboğlu's skill in using the brush masterfully.

The face of a young girl looking into the eyes of the viewer with a pitiful expression under a pure white cover.

The light cutting vertically across her face reveals both her bright and dark sides. The dramatic expression with which she bows her head seems to emphasize a pain she wants to share with us. Who knows, maybe this young girl is longing for love.

The painter had great courage to paint every inch of the painting. With her large face placed in every square centimeter, she seems to want to tell us something about herself and her life. Nuri İyem shares with us a deficiency in her world with this beautiful female face that she pulled from the bottom of her memories and dreams.

Signed. The back of the canvas is also signed and dated 1994. Oil on canvas.

Size: 38.5 x 46.5 cm.

Price: 8,000 TL / $540,541.00

ZEKİ FAİK İZER

He went to Paris to study with Hamit Görele and Architect Sedat Hakkı Eldem. He first started his studies in Paris at the AndreÅL Lhôte Studio. Then, he continued his education by entering the Applied Fine Arts High School. He studied ceramics, mural painting and fresco at Prof. Maret's studio for six months. Zeki Faik İzer, who stayed in Paris until 1932, continued to participate in the AndreÅL Lhôte Studio continuously.

When he returned to Türkiye, he was appointed as an art teacher at Ankara Gazi Education Institute. Shortly afterwards, he was transferred to Ankara Atatürk Boys' High School, so he resigned and returned to Istanbul. He played an important role in the establishment of the "D Group" in 1933.

He went to Paris again between 1934-1936. Here, he worked as a photo retoucher and made illustrations for books to earn his living. In 1937, he was appointed to the Photography Studio of the State Academy of Fine Arts. In 1940, he was appointed to the Poster Studio and in 1955, to teach the Painting Studio. Starting in 1947, Zeki Faik began to use a painting language with semi-fov, semi-impressionist qualities, with faux colors and abundant light contrasts. He made large-scale, abstract compositions. Brush strokes reflecting the influence of the music he listened to on canvases or multicolored abstract expressions with fluidity began to form the basis of Zeki Faik İzer's art. In the 1970s, he also began to create collages reflecting the dynamism of intricate drawing sections that contrasted with lively, smooth flat surfaces.

He received first prizes at the 4th State Painting and Sculpture Exhibition in 1942 and at the 18th State Painting and Sculpture Exhibition in 1956. He won another award in the New York Gougenheim Exhibition in 1961, when he came first in the Turkish Section with his work titled “Sultan Ahmet Mosque Glasses”. He retired from the Academy in 1968 due to his age limit.

CEVAT DERELI

He studied at the middle school and high school. In 1915, with the guidance of Nazmi Ziya, he registered at the Sanayi-i Nefise School, where he became a student of Hikmet Onat and İbrahim Callı.

He founded the New Painting Society with his friends in 1922-1923. He passed the exam held by the Ministry of Education in 1923 and went to Paris with a scholarship. He worked in the Paul-Albert Laurens studio in Julian until 1928. He worked as a teacher's assistant in the Nazmi Ziya studio at the Fine Arts Academy.

He continued in this position for four years. When Leopold LeÅLvy was appointed head of the painting department at the Academy, he returned to his old institution.

When Calli retired in 1947, he became a workshop instructor. He participated in the Venice Biennale in 1956 with a similar painting to the one he made in 1954, titled "Production".

He contributed paintings to contemporary Turkish art exhibitions held abroad. An international committee that gathered to select the paintings to be included in the 50-year modern art exhibition held in Brussels in 1958 found Cevat Dereli's paintings worthy of being exhibited among the works sent from Türkiye.

During this period, the foreign press began to give positive impressions about the artist. In the early days, he worked realistically with an impressionist spirit and produced many still lifes and landscapes in this field. He made a series of paintings about Istanbul nature, the lives of fishermen, and the “yellozlar” of Bagdat Street. His paintings are in the Istanbul and Ankara State Painting and Sculpture Museums, as well as in private collections in Turkey and abroad.

FAHİR AKSOY

He was born in Istanbul. He was educated at Fevziye and Edirne High Schools and the English and American College. He started journalism in 1935. His first articles were published in Vakit and Edirne Posta. He later wrote reviews, essays and stories on art. He wrote three film scripts for television on folk art, Mevlevi art and Bektashi art. He also worked on documentaries. The artist, who also served as the Head of the Press and Broadcasting Foreign News Department for a while, painted in a naive style.

Signed. Oil on plywood.

Size: 50 x 40 cm.

Price: 11,500 TL / $101,351.00

Captain Arif

He graduated from the Naval Academy in 1924 and worked with Nazmi Ziya for a long time. His impressionistic and strong understanding of design is striking in his early paintings.

Later, he moved away from the figure and turned to abstract forms. He worked with dense and matte paint layers that left a relief effect on the surface. He participated in Galatasaray, D Group and State Painting - Sculpture exhibitions.

CEMAL TOLLU

He was born in Istanbul. He studied at the Sanayi-i Nefise. He went to France and worked in the studios of A. Lhote, F. LeÅLger and M. Grommaire. He was accepted into the staff of the Academy of Fine Arts by L. LeÅLvy. He was among the founding members of the “D Group” in 1933. He was influenced by cubist painters such as Andre L'hote and Fernand LeÅLger, whom he studied with. He was inspired by the kunt forms in Anatolian Hittite art. He integrated the figures or groups of figures he handled in his paintings with the landscapes that formed their surroundings and background. Here, mountains, trees and houses took on a role as compositional elements. Nudes were one of the most indispensable subjects in the artist’s paintings.

YUKSEL ARSLAN

Yüksel Arslan, who started drawing and painting at a young age, created his first paintings by rubbing everything he found around him (flowers, grass, stones, bricks, coal and pieces of soap) on paper. He also used pastel, watercolor, gouache and oil paints, but his passion for natural painting materials remained one of the main factors that determined his paintings in later years. After graduating from Istanbul Boys High School, he entered the Department of Art History at Istanbul University, Faculty of Literature, but quit his education after a while. In 1955, he organized his first exhibition, “Relationship, Behavior, Praise for Troubles” at Istanbul Maya Gallery, which established him in the art scene. During the same years, he became interested in prehistoric art and examined the preparation of natural paints made from materials such as soil, honey, egg white, oil and bone marrow in cave paintings.

During his trips in Anatolia, he learned the subtleties of the root dye technique from old women. He conducted research on the technique of old miniature painters. Developing his paintings in the light of all this research, in line with a technique that could be considered unique to him, he turned to reading the works of writers such as Marquis de Sade and Nietzsche; he was interested in painters such as Miro, Klee and the works of surrealist painters. The artist, who was influenced by the works of Michaux on one hand and Eastern miniatures on the other, was inspired by Karagöz figures and the works of Bosch. He adopted the argument that painting is not a goal but a tool in the service of thought by making the statement in Klee’s diary, “I am a painter of thought”, the basic principle that shaped his paintings.

After completing his military service in Eleşkirt, he returned to Istanbul with hundreds of drawings and opened his second exhibition in Istanbul in 1959, which included the "Phalisme" series. In the same year, he was invited to Paris by Andre Breton and the art dealer Raymond Cordier. He settled in Paris in 1961 and held his third personal exhibition with R. Cordier in 1962. This exhibition was followed by the Copenhagen and Berlin exhibitions that formed the "Arture" series in 1965.

After exhibiting 22 paintings from this series in Frankfurt, he returned to Paris and opened a new exhibition where his "Arture" works were concentrated. He came to Türkiye in 1967 and presented his works in two separate exhibitions in Ankara and Istanbul. In the same years, he began to illustrate Marx's Capital (this work, consisting of 30 paintings, was published as a book in Paris in 1975).

Signed, dated 1954. Written on the bottom: “Memoir. I may die and never forget, we made a promise inwardly, will I never forget, you were in Istanbul and in my house, how beautiful you were, will I never forget that we were apart, are you crazy or what, will I never forget you. I will never forget, I will never forget, I will never forget.” Mixed technique on paper.

Size: 27 x 23 cm.

Price: 1,200 TL / $810,811.00

Signed. Oil painting on hardboard. The artist has painted figures on the back of the hardboard.

Size: 23.5 x 15 cm.

Price: 3,500 TL / $236,486.00

FİKRET MUALLA

His father, Ekrem Bey, was the second director of the Public Debt Administration, which regulated the receivables of European states from the Ottomans. Fikret Mualla was interested in football in his childhood, but he lost his place in football life as a result of an accident that resulted in a broken ankle.

He lost his mother, who could not overcome the Spanish flu, at a young age. This loss had negative effects on Fikret Mualla throughout his life. When his resistance to his stepmother intensified, Fikret Mualla was sent to his aunt. Later, he went to Germany to study engineering.

Instead of a regular education, he left himself to the free formation of his instincts. He visited many museums in Switzerland and Italy. In 1928, he was admitted to a mental hospital in Berlin.

He later returned to Istanbul and was appointed as an art teacher at Ayvalık Middle School. He made new friends in the art community through the drawings he drew for newspapers and magazines. He went to France in 1939. During this period, which coincided with the depressing years of World War II, he joined the colorful world of Montparnasse cafes and bohemian artist circles.

The suspicion that he was constantly being watched and living under conspiracies dragged him into endless fights. He opened his first personal exhibition in Paris in 1954. He was placed in a house in the town of Reillane, near Nice, 80 km from the sea, and as always, his angel, Madame Angles, was with him. The air of the south was good for Fikret Mualla, but he could not overcome the illness that came with his advancing age.

After his death, some of his paintings were purchased by the state and a Fikret Muallâ Hall was created in the Ankara Painting and Sculpture Museum. With his tragic life and depression, he is the first Turkish artist who managed to open the doors of our contemporary art to the Western world with the original structure of his painting and who was able to make his name known in Western sources.

Signed, dated 1945. "Le Charbonier" written on the back of the canvas. Oil on canvas.

Size: 33.5 x 24 cm.

Price: 12,000 TL / $810,811.00

Fikret Mualla is an urban explorer who spies on everything around him down to the smallest detail. He not only brings the cute cafes, dainty gentlemen and fancy ladies of Paris into his paintings, but also takes daily life with all its harshness as his subject.

Despite the roughness and hardening of all the lines of his body, the artist discovers an energy that will affect the viewer in the image of a worker carrying coal with a basket on his back. Like a blue snake coiling around the worker's body, it also flows into the city view appearing on the horizon behind, making reference to the social ties that the workforce is in relationship with.

Signed, dated 1973. Thinned oil on cardboard.

Size: 62 x 47.5 cm.

Price: 14,000 TL / $945,946.00

– It is on page 76 of the book “Avni Arbaş” prepared by Ferit Edgü and published by Ada Publications in Istanbul in 1992.

Tearing the canvas surface like a paper or a poster, discovering colorful ribbons hidden in a monochrome background. This is a special work from Burhan Doğancay’s “Ribbons” series that he matured in the 1970s. In these compositions where illusion and reality replace each other, the artist displays a conceptual mastery that continues the trompe de l’oeil tradition. Not only do we visualize the ultimate point that an image we may encounter in daily life can reach in the art of painting as abstraction, but every time we watch it, we are amazed by the colors of a giant ribbon that swings as if it were moving with its arms and shadow.

BURHAN DOGANCAY

He was born in Istanbul in 1929. He began his art education by taking lessons from his father and Arif Kaptan. He studied law at Ankara University. He completed his doctorate in economics at the University of Paris in 1955. While continuing his academic education, he continued his painting studies, which he had started with his father's encouragement, without any interruption. He participated in art studies at La Grande Chaumiere during his student years in Paris. When he completed his doctorate and returned to Ankara, he opened joint exhibitions with his father at the Art Lovers Club. In 1961, five of his paintings were accepted to the 22nd State Painting and Sculpture Exhibition. He went to New York in 1962. In 1964, one of his works was purchased by Thomas Messer, the director of the Guggenheim Museum. He began his "Walls" series, which would begin with the walls of New York and be an important source of inspiration, in the same years. In 1975, he began the "World Walls" photography project, which would cover 114 countries. In 1962, the products of the project were exhibited for the first time under the name of “Whispering Walls” at Georges Pompidou in Paris. In 1983, the artist’s designs began to be woven as tapestries by France’s famous carpet center Aubusson. Nineteen large-scale photographs of the Brooklyn Bridge, which underwent major repairs in 1986, were exhibited for nearly two years at JFK International Airport during New York City’s 100th anniversary celebrations (1998).

An interesting painting from the master painter of the Paris School, pregnant with different associations. A figure fleeing to the right of the painting with a sword-like form in his hand, a mobile form resembling a windmill crowned with purples right behind him, and a sharp movement cutting the painting like a knife wound on top... This painting, consisting of only three gestural movements and not easily defined, points to the depth of imagination of Nejad Devrim, who is in search of a modern art by infusing cultural memory into abstract painting. A masterful dance of small expressions and delicate touches of color.

NEJAD DEVİRİM

He was the son of writer İzzet Melih Devrim and painter Fahrelnissa Zeid. After completing his education at Galatasaray High School, he entered the Painting Department of IDGSA and worked in LeÅLopold Levy's studio. In 1947, he opened his first solo exhibition in Paris (Allard Gallery) with the support of Maurice Bedel. Eastern art and French poetic abstraction were the main sources of his influence. In 1952, he participated in the Painters of the New Paris School exhibition. A year later, he was invited to a group exhibition prepared by Estienne in Brussels. During this period, he traveled to Italy, Spain, the Netherlands and England. In 1958, he had a retrospective exhibition in Brussels (Palace of Fine Arts). He formed close friendships with artists such as Polliakof, Mannesier and Bissiere and participated in group exhibitions with them. He earned Bissiere's praise. His works were exhibited in the May and Neorealism halls in Paris. In 1980, he held a comprehensive exhibition in New York (Sutton Place). He later continued his life in Poland.

Critic G. Boudille evaluated Nejad's painting in the 1960s as "a mirror of its creator, who is lively, enthusiastic, restless and elegant, complex, versatile and changeable." Nejad Devrim's art is the product of a vision and sensitivity gained through personal experience and accumulation. He can be considered an original representative of international abstract. His works are in private collections in our country, as well as in museums in France, Denmark and Poland.

Above all, Bedri Rahmi is a painter of search, discovery of new methods and techniques. There are very few artists of his generation who are as open to new experiences as he is. The geometric forms he interpreted with influences from the Anatolian carpet, kilim and mosaic tradition provided him with unlimited freedom by appropriating modern art as his own. This painting not only presents the excitement of horizontally flowing rhythms as a geometric repetition series, but also constitutes one of the most beautiful examples of the artist's endless search.

Signed, dated 1961. Watercolour on paper. Pasted onto canvas.

Size: 64.5 x 48 cm.

Price: 7,000 TL / $472,973.00

Signed, dated 1975. "Vienna" written below the signature. Watercolour on paper.

Size: 28.5 x 20 cm.

Price: 5,500 TL / $371,622.00

– Participated in the “Nejad Retrospective Exhibition” held at the Istanbul Atatürk Cultural Center between 14 - 30 September 2001. (Exhibition catalogue, p.152.)

Signed, dated Paris 1954. Gouache and pencil on paper.

Size: 61 x 45 cm.

Price: 9,000 TL / $608,108.00

NURİ ABAÇ

In 1944, he worked in the Leopold Levy studio of the I.DGSA painting department. He then transferred to the architecture department. He settled in Ankara in 1960. He participated in many exhibitions both in Turkey and abroad. His paintings are divided into two as pre-1970 and post-1970. In his first period, he was inspired by Anatolian mythology, and in his second period, he used figures that applied the understanding of form in traditional Karagöz depictions to daily life. However, the common feature of both periods was his fantastic interpretations.

Signed, dated 1948. Oil on plywood.

Size: 62 x 50 cm.

Price: 8,000 TL / $540,541.00

SUKRİYE DIKMEN

Şükriye Dikmen, one of the artists representing the Republican Era generation, graduated from the State Academy of Fine Arts in 1948 and then went to Paris. She graduated from the art history department of the Ecole du Louvre and worked in Fernand LeÅLger's studio and with Sergier and Roger Chastel at the Academie Ranson. She is a portraitist of single-figure women and young girls. She painted female figures with well-defined, large-eyed miniatures, female heads reminiscent of Japanese prints, ovals surrounding faces, eyes that looked like bright windows opening to the outside world, thin necks, and folded hands.

Signed. Oil on canvas. "BITRAN 59" and "Le Corps" written on the back of the canvas.

Size: 88 x 116 cm.

Price: 25,000 TL / $168,919.00

The lid of the bulbous body on a round table is in the form of a dome. The table and body are decorated with stylized leaf and flower motifs using the engraving technique. The openwork lid is decorated with large flower motifs. The tombstone of the body and lid are in good condition, while that of the table is worn in places. 19th century

Size: Height: 20cm.

Price: 17,000 TL / $114,865.00

Flat-bottomed, flat body with low, everted edges. White background with cobalt blue, green and red, reed leaf and flower motifs. Border surrounded by stylized Chinese cloud motif. Cobalt blue flower motif on back surface. Last quarter of 16th century.

Price: 15,000 TL / $101,351.00

Diameter: 30 cm.

a. "For a good life, treat your mother and father well" is written in celî sülüs calligraphy using silver wire on a green velvet background.

b. "I prayed to my Lord because of my distress and He gave me relief" is written in celî sülüs calligraphy using silver wire on a green velvet background.

Specially made for the Ottomans. The bowl has a flat bottom, a bulbous body, a wide mouth and a domed lid. The plate has a flat bottom and a flat body. The lid handle is gilded in the style of a Mevlevi cone. It is segmented. Various flower motifs are embroidered on a dark red and colorless background with a cutting technique. The plate border has small...

Size: Height: 19.5 cm.

Price: 7,000 TL / $472,973.00

Diameter: 19.5 cm.

Between 1848 and 1851. The vase, which stands on a square base, has a swollen and high body, a narrow mouth and two handles. The lid is segmented. The gilded bronze handle is in the form of a branch, and the lid handle is in the form of an artichoke. A gilded bronze garland motif consisting of stylized leaves is appliquéd to the body. A...

Size: Height: 192cm.

Price: 30,000 TL / $202,703.00

Book of engravings. Paris Imprimerie de Lemercier, 1855. Consists of 22 colored lithographic engravings.

Size: 38 x 32 x 1.5 cm.

Price: 10,000 TL / $675,676.00

Known under the name Abdullah FreÅLres (Abdullah Brothers), the three brothers Kevork (1939 - 1918), Hovsep (? - 1902) and Vichen (? - ?) were the most famous photographers of the period (1858 - 1898). The Abdullah Brothers formed a partnership in 1858 and first bought Rabach's studio; then they settled in Beyoğlu in 1867.

In the same year, they participated in an exhibition in Paris and won a medal with their work titled “A Panorama of Istanbul”. Their fame began to spread from the early 1860s onwards. In 1863, they were appointed as the “official photographers” of Sultan Abdulaziz and continued this duty during the reign of Sultan Abdulhamid II. In 1886, they settled in Cairo upon the invitation of Tevfik Pasha, but decided to return to Istanbul after 2 years. After their return, they sold their studio to Sebah & Joaillier in 1899 due to the deterioration of their business.

a. Still life

b.Landscape

c.Landscape

d.Landscape

e.Landscape

It is written in Old Turkish, “The jug in the cell, on Friday.”

Signed in Old Turkish. Mixed media on paper.

Size: 38 x 22cm.

Price: 3,000 TL / $202,703.00

Unsigned. Watercolour on paper.

Size: 31 x 16cm.

Price: 2,000 TL / $135,135.00