1714, Paris

15 x 41 cm.

The post İstanbul Gravürleri appeared first on Emre Gurcay Collection.

Heartman (1440-1515)

CA 1493, Nuremberg

36 x 22,5 cm Hand Colored, Framed

Hartmann Schedel (1440 -1515) settled in Nuremberg 1484 He published the famous Nuremberg Chronicle 1493 Schedel’s library has been sold in 1552 to Hans Jacob Fugger Schedel’s Nuremberg Chronicle must have been one of the most popular of incunables judging by the number of surviving copies Some 800 copies of the Latin edition have been traced and 400 of the German This is not surprising considering that this compilation of sacred and profaned history was the most elaborate printed book of its time illustrated with more than 1800 woodcuts Among these were a number of double-page city views a folding map of the world and another of northern and central Europe.

The woodblock cutters were Michael Wolgemut, the well-known teacher of Albrecht Dürer, and his stepson Wilhelm Pleydenwurff. Wohlgemut was Albrecht Dürer’s tutor between 1486-90 and recent scholarship has shown, Albrecht Dürer may also have collaborated, since some of the cuts bear a remarkably close resemblance to the Apocalypse illustrations. The offered woodcut is one of the oldest authentic plans of Istanbul and realistically the only large format 15th Century view obtainable to collectors; History: Constantinople was the capital city of the Roman and Byzantine (330 ?1204 and 1261?1453), the Latin (1204?1261), and the Ottoman (1453?1922) empires. It was reinaugurated in 324 AD at ancient Byzantium, as the new capital of the Roman Empire by Emperor Constantine the Great, after whom it was named, and dedicated on 11 May 330.In the 12th century, the city was the largest and wealthiest European city and it was instrumental in the advancement of Christianity during Roman and Byzantine times. After the loss of its territory, the Eastern Roman (Byzantine) Empire was reduced to just its capital city and its environs, eventually falling to the Ottomans in 1453. Following the Muslim conquest, the former bastion of Christianity in the east, Constantinople, was turned into the Islamic capital of the Ottoman Empire, under which it prospered and flourished again. After the founding of the modern Republic of Turkey the successor state of the Ottoman Empire the city was renamed Istanbul in 1923. Istanbul is probably the Turkish modification of the ancient Greek. This interpretation seems conclusive, because those who spoke colloquially “the city” in late antiquity and the early Middle Ages in the Eastern Roman Empire generally meant Constantinople, which, with its five hundred thousand inhabitants and its mighty walls, could not be compared to any other city in a wide area .

The post İstanbul Gravürleri appeared first on Emre Gurcay Collection.

53,5 x 23 cm, hand colored, Framed

Decorative example of Hartmann Schedel’s incunable view of Constantinople from Schedel’s Liber Chronicum, perhaps the single most influential secular illustrated book of the 15th Century and one of the landmark printed works of the 15th Century.
Schedel’s view of Constantinople is one of the earliest obtainable views of the City and realistically the only large format 15th Century illustration available to collectors.
The Nuremberg Chronicle
Hartmann Schedel’s Liber Chronicarum: Das Buch der Croniken und Geschichten (loosely translated as World Chronicle, but popularly referred to as the Nuremberg Chronicle) was the first secular book to include the style of lavish illustrations previously reserved for Bibles and other liturgical works. The work was intended as a history of the world, from Creation to 1493, with a final section devoted to the anticipated Last Days of the World.
This work is without question the most important illustrated secular work of the fifteenth century and its importance rivals the early printed editions of Ptolemy’s Geographia and Bernard von Breydenbach’s Perengrinatio in Terram Sanctam in terms of its importance in the development and dissemination of early illustrated books. Published in Nuremberg by Anton Koberger, the book was first printed in Latin and followed five months later by a German edition translated by George Alt. This work enjoyed immense commercial success. A reduced-size version of the book was published in 1497, in Augsburg, by Johann Schonsperger. The illustration for Venice is adapted from the larger illustration of Venice in Breydenbach’s Peregrinatio, which was illustrated by Dutch artist Erhard Reuwich, who was working in Mainz in the 1480s.
While the majority of the illustrations in the book depict the various saints, royalty, nobility, and clergyman of the period, the work is perhaps best known for the large-format views of a number of the major European cities, including Rome, Venice, Paris, Vienna, Florence, Genoa, Saltzburg, Crakow, Breslau, Budapest, Prague, and major cities in the Middle East, including Jerusalem, Alexandria, and Constantinople. The work also included a magnificent double-page map of the world, a large map of Europe and several famous illustrations, including the “Dance of Death” and scenes from the Creation and the Last Judgement. While many of the double-page city views are less than accurate illustrations of the cities as they existed at the end of the fifteenth century, the illustrations are of great importance in the iconographic history of each of the cities depicted. Some of the double-page views were also apparently offered separately for sale, including some which had been colored prior to sale.
Schedel’s world map is based upon Ptolemy, omitting Scandinavia, southern Africa, and the Far East, and depicting the Indian Ocean as landlocked. The depiction of the world is surrounded by the figures of Shem, Japhet and Ham, and the sons of Noah, who repopulated the Earth after the Flood. On the left, printed from a separate block, are pictures of various mythical creatures, based upon classical and early medieval travelers’ accounts, including “a six-armed man, possibly based on a file of Hindu dancers so aligned that the front figure appears to have multiple arms; a six-fingered man, a centaur, a four-eyed man from a coastal tribe in Ethiopia; a dog-headed man from the Simien Mountains, a cyclops, one of those men whose heads grow beneath their shoulders, one of the crook-legged men who live in the desert and slide along instead of walking; a strange hermaphrodite, a man with one giant foot only (stated by Solinus to be used as a parasol but more likely an unfortunate sufferer from elephantiasis), a man with a huge underlip (doubtless seen in Africa), a man with waist-length hanging ears, and other frightening and fanciful creatures of a world beyond” (Stanford Ruderman catalog). The world map also includes a large island off the west coast of Africa, which may relate to the account of Martin Behaim’s voyage to the region, which is referenced by Schedel in the text.

The post İstanbul Gravürleri appeared first on Emre Gurcay Collection.

Paris: P. Didot l’ainé, 1809-1819. Etching with engraving by le Rouge, Pillement, and Née after Melling, with later, professional hand-colouring. Proof before title. Very good condition…

69 X 47 cm., framed

A fine view of the Tophane Place, Tophane fountain and behind Kılıç Ali Paşa Mosque from Melling’s grand work ‘Voyage Pittoresque de
Constantinople et des rives du Bosphore’.

Born in Lorraine in 1763, Antoine Ignace Melling, artist and voyager, was trained in architecture and painting. At the age of 19, he went to Constantinople as part of the Russian Ambassador’s retinue. After successfully completing several commissions for Hatice Sultan, the sister of Selim III, which included the renovation of her palace at Ortakoy, Melling was employed as the Sultan’s architect in 1795. His position as royal architect gave him a privileged opportunity to observe the Ottoman court, and during his eighteen years there, he made many detailed drawings of the sultan’s palaces, Ottoman
society, and Constantinople and its environs.
Within a year of returning to Paris in 1803, Melling published a prospectus for the ‘Voyage pittoresque’, the first thirteen livraisons of which were published in 1809. He mcompleted the engravings for this work in 1819.

The post İstanbul Gravürleri appeared first on Emre Gurcay Collection.

Born in Lorraine in 1763, Antoine Ignace Melling, artist and voyager, was trained in architecture and painting. At the age of 19, he went to Constantinople as part of the Russian Ambassador’s retinue. After successfully completing several commissions for Hatice Sultan, the sister of Selim III, which included the renovation of her palace at Ortakoy, Melling was employed as the Sultan’s architect in 1795. His position as royal architect gave him a privileged opportunity to observe the Ottoman court, and during his eighteen years there, he made many detailed drawings of the sultan’s palaces, Ottoman
society, and Constantinople and its environs.
Within a year of returning to Paris in 1803, Melling published a prospectus for the ‘Voyage pittoresque’, the first thirteen livraisons of which were published in 1809. He completed the engravings for this work in 1819.

The post İstanbul Gravürleri appeared first on Emre Gurcay Collection.

1948-1953

Houghton Mifflin and Company, Boston. In Very Good condition. Red cloth binding with gilt spine titles. Each volume has Churchill’s signature embossed on the front cover. Clean, no interior markings. Six Volumes. Each 9.5in x 6.25in, original red cloth with gilt and black ruled and lettered spines, illustrated with maps.

Churchills six-volume history of World War II. It is remarkable both for its sweep and for its sense of personal involvement, universally acknowledged as a magnificent historical reconstruction and an enduring work of literature. It won the Nobel Prize in 1953. This set includes the following: The Gathering Storm (1948) Their Finest Hour (1949) The Grand Alliance (1950) The Hinge of Fate (1950) Closing the Ring (1951) Triumph and Tragedy (1953).

The post İstanbul Gravürleri appeared first on Emre Gurcay Collection.

1936. Reading, PA. The Spencer Press. All books are in Near Fine condition. Light brown hardcover with gold and green embossing on the spine. No owners marking or bookplates. Bindings are tight.

The following books are in this set: 1. Last of the Mohicans By James Fenimore Cooper. 2. Autobiography of Benjamin Franklin. 3. Vanity Fair by William Thackeray. 4. Count of Monte Cristo by Alexandre Dumas. 5. Best Loved Plays of William Shakespeare. 6. Scarlet Letter by Nathaniel Hawthorne. 7. Ivanhoe by Walter Scott. 8. Tales of Mystery and Imagination by Edgar Allen Poe. 9. Vicar of Wakefield by Oliver Goldsmith. 10. Ben Hur by Lew Wallace. 11. Sketch Book by Washington Irving. 12. Treasure Island by Robert Stevenson. 13. Emerson’s Essays. 14. Westward Ho by Charles Kingsley. 15. Autobiography of Benvenuto Cellini. 16. Last Days of Pompeii by Bulwer Lytton. 17. Moby Dick by Herman Melville.

The post İstanbul Gravürleri appeared first on Emre Gurcay Collection.

Paul HADOL’un orijinal Fransız baskısı olan Avrupa’nın bu yergili karikatür haritası (1870), ülkeleri kişi biçiminde karikatürize ederek Temmuz 1870’de Fransa Prusya Savaşı ile neticelenecek gerginliğe gönderme yapmaktadır.

Politik karikatür haritaların (Serio-Comic) ilk örneklerinden olan HADOL’un haritası İngilizce, Almanca ve Flamanca olarak kopya edilmiştir.

The post Diğer Haritalar appeared first on Emre Gurcay Collection.

BRAUN, Georg and HOGENBERG, Franz

1575

33 x 48 cm, Orginal hand colored, Framed

The city view include monuments of Saint Sophia, Topkapi Palace. Twelve vignettes of Ottoman sultans line the bottom margin, including portraits of Soliman the Magnificent and Selim. Numerous ships in Bosphorus and Golden Horn. Mounted Sultan with entourage at bottom center.
CAPTION: Byzanz, now Constantinople.
COMMENTARY BY BRAUN: “Byzantium is a central place, because no one can travel to Asia or Europe without the city’s consent, since for one part of the world the city is like a bridge or a gate. It is bound by the sea on three sides: to the north the arm of the Bosporus, which belongs to Europe and is called Cornus (Horn). To the east the Bosporus Strait, to the south the Sea of Marmara.”
Constantinople is shown in bird’s-eye perspective from the east. The view looks directly down upon the new palace within its 200-acre park that was built by Sultan Mehmed II in 1453, immediately after the conquest of the city; since the 18th century it has been called the Topkapi palace. Beside it on the left stands Hagia Sofia, the coronation church of the Byzantine emperors. It was turned into a mosque on the day that Constantinople fell and subsequently given four minarets, still visible on the plate. Further left again are Roman ruins including obelisks and an amphitheatre. The city was founded in 668 BC under the name of Byzantion (Byzantium) by the Greeks, for whom the Bosporus Strait was already of strategic importance. Incorporated into the Roman Empire under Vespasian, in AD 324 the city was made the capital of the Eastern Empire by Emperor Constantine and renamed Constantinople. The 11 medallions along the lower edge contain the portraits of all the sultans, from the founder of the Ottoman Empire, Osman I, up to the current ruler of the day, Selim II. The name Istanbul was already in colloquial use in Ottoman times, but would replace Constantinople as the city’s official name only in 1930. With a population of some ten million, Istanbul is today the biggest city in Turkey. (Taschen)

Braun G. & Hogenberg F. and the Civitates Orbis Terrarum.
The Civitates Orbis Terrarum, or the “Braun & Hogenberg”, is a six-volume town atlas and the greatest book of town views and plans ever published: 363 engravings, sometimes beautifully coloured. It was one of the best-selling works in the last quarter of the 16th century. Georg Braun wrote the text accompanying the plans and views on the verso. A large number of the plates were engraved after the original drawings of Joris Hoefnagel (1542-1600), who was a professional artist. The first volume was published in Latin in 1572, the sixth volume in 1617. Frans Hogenberg created the tables for volumes I through IV, and Simon van den Neuwel created those for volumes V and VI. Other contributors were cartographer Daniel Freese, and Heinrich Rantzau. Works by Jacob van Deventer, Sebastian Münster, and Johannes Stumpf were also used. Translations appeared in German and French.
Following the original publication of Volume 1 of the Civitates in 1572, seven further editions of 1575, 1577, 1582, 1588, 1593, 1599 and 1612 can be identified. Vol.2, first issued in 1575, was followed by further editions in 1597 and in 1612. The next volumes appeared in 1581, 1588, 1593, 1599 and 1606. The German translation of the first volume appeared from 1574 on and the French edition from 1575 on.
Several printers were involved: Theodor Graminaeus, Heinrich von Aich, Gottfried von Kempen, Johannis Sinniger, Bertram Buchholtz and Peter von Brachel, who all worked in Cologne.
Georg Braun (1541-1622)
Georg Braun was born in Cologne in 1541. After his studies in Cologne, he entered the Jesuit Order as a novice. In 1561 he obtained his bachelor’s degree and in 1562 his Magister Artium. Although he left the Jesuit Order, he studied theology, gaining a licentiate in theology.
Frans Hogenberg (1535-1590)
Frans Hogenberg was a Flemish and German painter, engraver, and mapmaker. He was born in Mechelen as the son of Nicolaas Hogenberg.
By the end of the 1560s Frans Hogenberg was employed upon Abraham Ortelius’s Theatrum Orbis Terrarum, published in 1570; he is named as an engraver of numerous maps. In 1568 he was banned from Antwerp by the Duke of Alva and travelled to London, where he stayed a few years before emigrating to Cologne. There he immediately embarked on his two most important works, the Civitates published from 1572 and the Geschichtsblätter, which appeared in several series from 1569 until about 1587.
Thanks to such large scale projects as the Geschichtsblätter and the Civitates, Hogenberg’s social circumstances improved with each passing year. He died as a wealthy man in Cologne in 1590. (Est 2000 usd) 4 tears on the sheet))

The post BYZANTİUM NUNC CONSTANTINOPOLIS appeared first on Emre Gurcay Collection.

Rare Italian profile vie0w of Constantinople.
13.8 x 41.5 cm.

The post İstanbul Gravürleri appeared first on Emre Gurcay Collection.