Hamdy Bey, (Osman). Les costumes populaires de la Turquie en 1873. Ouvrage publié sous le patronage de la Commision Impériale Ottomane pour l'Exposition Universelle de Vienne. 319, VII S. With gold-printed dedication box and 74 plates in heliogravure after photographs. 37.5 x 28.5 cm. Calf leather band d. C. (joints slightly weak, partly slightly open, otherwise only rubbed on standing edges insignificantly). Konstaninopel, Levant Times & Shipping Gazette, 1873. Premises with early photographs of the Turkish fashion costumes presented at the Vienna World Exhibition from 1873, on which the important Ottoman archaeologist, painter and museum founder Osman Hamdi Bey (1842-1910) was personally present, where he probably personally presented the present specimen together with his wife and co-author Marie de Launay the Archduke Rainier d'Autrich (1827-1913) ==References== The Archduke, with full name Rainer Ferdinand Maria Johann Evangelist Franz Ignaz of Austria moved to the highest circles as a patron of art and science. Honorary member of the Academy of Sciences and Protector of the Austrian Museum of Art and Industry, he took over the presidency of the Vienna World Exhibition from 1873. The specimen bears the title "A Son Altesse Impériale et Royale Monseigneur l'Archiduc Régnier" on a dedication sheet lithographed in golden letters. Les auteurs: O. Hamdy, Marie de Launay". The specimen had Hamdi Bey tied in a Turkish master book bindery in dark green semi-maroquine, with magnificent back gilding. However, the Binder paid special attention to the fantastic relief lids: The bookbinder (Mücellid) certainly from Istanbul followed the tradition of Ottoman pompous bindings by placing on a relief leather in different colours and rich surface gilding another lofty stencil layer, which here covered with the most delicate smooth, usually Moroccan goat leather (Saffian) and then with gold-embossed Riefeln, Guilloches, stamped fleurons and wave contours with gold points and pendentifs (Cevahir). The outer frame is formed by a guilloche-board, which is clasped with 14 medallions with the inner border. The lower position shows a rich gold border with red leather reliefs, which trains snake meanders with thorns and flowers. The floral elements of the soil increase in their sophistication to the middle of the binding: four half almond forms (shamsa, semsen) rise from above and below in the middle mirror, they are filled with brown tendrils, which form large and re-reliefed leaves on flat hammered gold ground. Another six semses, this time with blue tendrils and leaves, surround the large high-rectangular midfield as radial ray elements, on whose gold base mirror an even more daring, even more imaginative and more magnificent braiding labyrinth appears in brown relief leather, which is permeated with marguerites, lilies, butterflowers and other flowers, foliage and thorns - and thus represents the supreme ornamentation of the Ottoman period in a last great flower. The inner lid, designed with smoothed light green saffian leather, marked the Mücellid with a remarkable degree of broad floral borders, which were taken from the European form vocabulary: with vine leaves, grapes and leafy vines. An inner gold fillet frame even forms typical rococo elements of western binding art, while the middle medallion consists of numerous individual stamps with two larger slopes (Cevahir). The flying purposes covered with light green silk follow before the interior of the book rises with the dedication to the Archduke and the title. A small volte formed the Wiener Weltausstellung for the author Osman Hamdi Bey - as well as his wife and co-author - since he met the only 17-year-old French girl Marie there, who was to become his second wife and mother of his three children as "Naile". – Throughout clean, very broad-edge, very beautiful and uncircumcised specimen.