Loading ...
Sorry, an error occurred while loading the content.

Re: [Marbling] Silhouette Paper

Expand Messages
  • Antonio Vélez Celemín
    Marbled paper is a type of painting which consist on the transfer of a pattern made on a bath to a sheet of paper. The instruments used to make the pattern or
    Message 1 of 10 , Mar 23, 2008
    • 0 Attachment
      Marbled paper is a type of painting which consist on the transfer of a pattern made on a bath to a sheet of paper. The instruments used to make the pattern or design never touches the paper, the whole work is made on the bath.

      There are two differents ways to make silhouette paper. One consist on cutting pieces of leather of the desired shape, dye them and put a paper and the dyed leather togheter under a press or weights. When dry, the paper will have the silhouette of the piece of leather and the color of the dye in this place, being the rest of the paper on the original color of it.
      The other way consist on cutting pieces of paper as stencils which will protect the sheet of silhouette paper when it will receive the dye. In this case the silhouette, the form of the stencils, will have the color of the original paper.

      Silhouette paper was used in Iran in XV century, in this second procedure; both were used in Turkey in XVI and XVII centuries.

      I hope these serves.

      Antonio
      ----- Original Message -----
      From: senefru1
      To: Marbling@yahoogroups.com
      Sent: Sunday, March 23, 2008 10:18 AM
      Subject: [Marbling] Silhouette Paper


      I would like to know if there is a difference between the
      terms "Silhouette Paper" and "Marbled Paper"?
      if so please explain for me the "Silhouette Paper"





      [Non-text portions of this message have been removed]
    • haytham kamal
      Thank you Antonio for this information, I would like to ask if you or anybody have photos of historical ottoman ebru works, because I need it in a thesis thank
      Message 2 of 10 , Mar 23, 2008
      • 0 Attachment
        Thank you Antonio for this information, I would like to ask if you or anybody have photos of historical ottoman ebru works, because I need it in a thesis

        thank you



        ---------------------------------
        Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now.

        [Non-text portions of this message have been removed]
      • Antonio Vélez Celemín
        On www.bnf.fr clic on: catalogues et biblioteque numerique. Then go to: Mandragore and there to: Recherche; then mark: Manuscrits, orientaux, clic on index
        Message 3 of 10 , Mar 23, 2008
        • 0 Attachment
          On www.bnf.fr clic on: catalogues et biblioteque numerique. Then go to: Mandragore and there to: Recherche; then mark: Manuscrits, orientaux, clic on index and look for Arabe 169, Arabe 6076 and Arabe 6077 you can find there some silhouette papers and a lot of ottoman Ebru borders for miniature painting. Perhaps the resolution will be enough for your needs.

          Antonio
          ----- Original Message -----
          From: haytham kamal
          To: Marbling@yahoogroups.com
          Sent: Sunday, March 23, 2008 11:05 AM
          Subject: Re: [Marbling] Silhouette Paper


          Thank you Antonio for this information, I would like to ask if you or anybody have photos of historical ottoman ebru works, because I need it in a thesis

          thank you

          ---------------------------------
          Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now.

          [Non-text portions of this message have been removed]





          [Non-text portions of this message have been removed]
        • haytham kamal
          Dear Antonio, Again, useful information, god bless you Haytham. ... Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. [Non-text
          Message 4 of 10 , Mar 23, 2008
          • 0 Attachment
            Dear Antonio,
            Again, useful information, god bless you

            Haytham.



            ---------------------------------
            Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now.

            [Non-text portions of this message have been removed]
          • Jake Benson
            3zizi Hadratak Haytham! This long message was written by me to help expand upon the description that Antonio posted, with some added observations about
            Message 5 of 10 , Mar 23, 2008
            • 0 Attachment
              '3zizi Hadratak Haytham!

              This long message was written by me to help expand upon the
              description that Antonio posted, with some added observations about
              "silhouette" papers.

              "Silhouette paper" as we call it in English, is one method of
              stenciling known by the terms "kaghez-i 'aksi" or "akkaseh" in
              Persian, which is spelled "akkase" in Modern Turkish. The word is
              derived from the Arabic word 'aks meaning "negative" "contrary"
              "opposite" or "contrast", and in this case can be interpreted to mean
              "reflection". Various Turkish sources (based on the writings of
              Mehmet Ali Kagitçi) have reported that the word means "white bowl",
              but this is erroneous as this latter word is spelled completely
              differently in Arabic script. Interestingly enough today in Iran,
              this term is commonly used to refer to photography, likely due to the
              process of using negative film.

              This term was used in India as well as Iran and Turkey, and is a very
              broadly used for all methods of stenciled designs. There are really 3
              different methods of stenciling found in Islamic decorative papers:

              1) Cut paper is placed on a paper and colors are finely sprinkled over
              top, and then the stencil is removed.

              2) Cut paper, leather, or even possible fabric is soaked in dye, and 2
              sheets of paper are pressed together as a sandwich around the stencil.

              3) Color is wiped or blotted through a cut paper stencil, in a
              "pochoir" method. The stencil which may or may not be reinforced in
              some manner.

              (Then there is the additional method of combining stencils with
              marbling!)

              In addition, it is very common to find the designs produced by all of
              these methods can be seen outlined in ink, color, or gold, or in some
              cases, even overpainted.

              The information that Antonio gave about using cut leather soaked with
              dye to produce such papers came from a description provided by the
              late Turkish bookbinder Emin Barin to Albert Haemmerle. There is no
              actual textual source for the method he described, and it is not known
              whether he actually reproduced such designs himself, as the production
              of such papers had clearly died out by that point in time. I think he
              was simply offering his thought based on his own observations. See
              Haemmerle's Buntpapier, page 37, footnote 5, and on page 38. That
              said, it was this particular form of "impressed" stencil are what can
              be found in European Alba Amicora of the late 16th-17th centuries. I
              am not aware that the other "sprinkled" and "pochoir" methods were
              collected by European travelers in these albums.

              Barin attributed the invention of this impressed paper to Central Asia
              and cited two manuscripts, but did not provide an actual reference or
              accession number. Whether these manuscripts were produced using the
              "impressed" or the "sprinkled" method remains to be determined. Many
              examples of the "sprinkled" method can be found n 15th century
              manuscripts, but I have yet to see any made through the "impressed"
              method from before the 16th century. I think that this "sprinkled"
              method is the oldest method. It appears to have been developed during
              the late Timurid dynasty in workshops in Central Asia, principally
              Herat, especially during the reign of Sultan Husayn al Bayqara. While
              there is no textual source describing the method, this can be observed
              in many manuscripts, especially safina or jung anthologies from the
              15th- 17th c. In Central Asia, Iran, and Turkey. I've yet to see one
              of Indian production.

              According to Yves Porter, the process is mentioned in a Persian text
              from India, entitled "Risala-ye Jeld Sazi". There is a problematic
              term for the material mentioned in a critical edition of the text-
              "kasanbi" or "kasambi". Porter thinks it may an Indian word for a
              kind of safflower-dyed starch cloth. See Porter's book Paintere,
              Paintings, and Books" pp 51-2. he also mentions that the term
              "kaghez-i 'Aksi" together with "Kaghez-i Abri" is mentioned in the
              Persian dictionary Me'at ul Istilah of Anand Ram Mokhles.

              The other methods of stenciling were created by sprinkling very fine
              drops of color over a cut paper stencil, and then in another different
              procedure, there appears to be a kind of tampon used to press color
              directly over the stencil, akin to the French method of "pochoir".
              This latter method seems to have further developed in India in the
              16th century, as a number of borders associated with the atelier of
              'Abdur Rahim Khan-e Khanan. These elaborate multi-colored borders are
              known as "'Aks-i Haft Rang " or "Seven Colored Stencil" designs. For
              more information, please see the appendix devoted to this subject in
              "Mughal Art and Patronage" by John Seyller.

              From my own observations, I think that in the first "impressed"
              method, two papers were pressed around the cut stencils. If you have
              the opportunity to view album amicora, you can see that there are
              reflecting designs. In some, the color "squished" out and the image
              is blurred, whereas in other cases, the impression is incomplete- and
              a range of impression in between.

              In addition, I also wonder if these really were executed using
              leather, as described by Barin. It depends on the kind of leather ,
              of course, but most would become to malleable and even expand or
              become stretchy when whetted, so they would not retain their original
              form after cutting. For this reason, I think that a thicker, sized
              paper may have been used, as it would not expand in the manner that
              leather does. The colors are always dyes, not pigments, and almost
              always seem to be a red dye, possibly kirmiz, madder, brasilwood, or
              lotur; a golden yellow dye possibly made from saffron or safflower;
              and a green dye that is may be made from copper verdigris. Of the top
              of my head, i have not seen blue used, likely from indigo used, but it
              may have been that a combination of indigo and yellow was used to make
              the green color.

              In connection with this discussion, I have often wondered how we have
              come to use the term"silhouette" for this "impressed" kind of
              stenciled paper. Haemmerle does not appear to use this term, but
              "schablonierens", a term meaning "stencils (If Susanne Krause is
              reading this, please feel free to add your own observations and
              correct me if I'm wrong). Just how we came to call this paper
              "silhouette" is a mystery. I had thought that Rosamond Loring used
              the term, but after checking, I found that she did not. So that makes
              me wonder if possibly Olga Hirsch was the first to employ this term.
              In any case, it is actually a very recent practice, and one that I
              think we should reconsider for several reasons. The term
              "silhouette" is a bit misleading, as the European and American
              traditions of cut paper silhouettes is very common and very distinct;
              it has nothing to do with these Eastern papers. Next, we do have an
              actual term used in Persian and Turkish for this paper, and it doesn't
              translate as "silhouette" at all, but "stencil".

              Here are some examples of the "sprinkled" variety:

              http://expositions.bnf.fr/splendeurs/grand/3-55cd.htm

              http://expositions.bnf.fr/splendeurs/grand/5-121ab.htm

              The "impressed" or "silhouette" variety

              http://classes.bnf.fr/dossisup/grands/138.htm
              http://expositions.bnf.fr/livrarab/grands/048b.htm

              The images from the Bibliothèque Nationale de France (both stenciled
              and marbled) have all been published in a few catalogs. Have you been
              able to visit Philip Croom at the AUC Rare Book & Special Collection
              Library? I think they have these books:

              "L'art du livre arabe : du manuscrit au livre d'artiste"
              http://worldcat.org/oclc/51722494&referer=brief_results

              "Splendeurs persanes : manuscrits du XIIe au XVIIe siècle"
              http://worldcat.org/oclc/38507388&referer=brief_results

              "Soliman le Magnifique : [catalogue de l'exposition présentée du] 15
              février au 14 mai 1990, Galeries nationales du Grand Palais."
              http://worldcat.org/oclc/22854149&referer=brief_results

              Also, there are more examples that had been posted in the Swedish
              National Library site, but they have been removed. You can still see
              the images if you visit www.archives.org and enter these URLs into the
              search box:

              http://www.kb.se/HS/islam/eng/marmorerat.htm
              http://www.kb.se/HS/islam/stambok.jpg
              http://www.kb.se/HS/islam/cod_or_52.htm

              There is one image of the "pochoir" method online. They are found in
              the borders of one of the stencil-marbled paintings of a "nag" or
              starving horse, that was auctioned at Sotheby's in 2002.

              http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=PXPQ

              The image is also found in the folder for this group 'Marbled
              Antiquaria at Auction"

              http://ph.groups.yahoo.com/group/Marbling/photos/browse/165b

              http://ph.groups.yahoo.com/group/Marbling/photos/view/165b?b=1

              Finally, here is something very special, just for you Haytham. There
              is an image from the Bibliothèque Nationale of an Arabic and Coptic
              Christian manuscript that uses a similar, Ottoman style border. It is
              very intriguing for many reasons:

              http://expositions.bnf.fr/livrarab/grands/076.htm

              Whether or not this paper is of actual Masri manufacture is debatable
              though. There is no specific evidence that has come to light to show
              that this method of decorative paper was ever produced in Egypt. The
              paper could have been made elsewhere and imported. Nevertheless,
              There are earlier examples of what may be stenciled leather designs
              used for doublures (internal covers) in Mamluk bookbindings. Some
              have said that these doublures were block-printed, but I have not
              personally observed any sign of impression.

              Perhaps this is a topic that you can research more? The Director of
              the Islamic Museum in Cairo told me that a woman at Cairo University
              produced her thesis on Mamluk bookbinding. Unfortunately, I cannot
              find my notes with this information, and I was not able to obtain a
              copy of the book anyway; perhaps you can find it and see if there is
              anything helpful to you? In any case, please let me know the citation
              if you should find it.

              Insh'allah hadha mas3dat leek!

              m3a salamah,

              Jake Benson
            • Office
              Also see and read about the work of the late Christopher Weinmann in Ink & Gall Volume V Number 2 Fine Print Volume Nine, Number Four Christopher Weinman
              Message 6 of 10 , Mar 23, 2008
              • 0 Attachment
                Also see and read about the work of the late Christopher Weinmann in

                Ink & Gall Volume V Number 2

                Fine Print Volume Nine, Number Four

                Christopher Weinman A Tribute


                charles
                +.+.+.+.+.+.+.+.+.+.+.+.+.+.+.+.+.+
                L. A Book Arts, Inc.
                Custom Bindery / Krause Intaglio
                321 West Torrance Blvd. Suite A
                Carson, CA 90745
                310.217.0400
                +.+.+.+.+.+.+.+.+.+.+.+.+.+.+.+.+.+

                On Mar 23, 2008, at 1:18 PM, Jake Benson wrote:

                > '3zizi Hadratak Haytham!
                >
                > This long message was written by me to help expand upon the
                > description that Antonio posted, with some added observations about
                > "silhouette" papers.
                >
                > "Silhouette paper" as we call it in English, is one method of
                > stenciling known by the terms "kaghez-i 'aksi" or "akkaseh" in
                > Persian, which is spelled "akkase" in Modern Turkish. The word is
                > derived from the Arabic word 'aks meaning "negative" "contrary"
                > "opposite" or "contrast", and in this case can be interpreted to mean
                > "reflection". Various Turkish sources (based on the writings of
                > Mehmet Ali Kagitçi) have reported that the word means "white bowl",
                > but this is erroneous as this latter word is spelled completely
                > differently in Arabic script. Interestingly enough today in Iran,
                > this term is commonly used to refer to photography, likely due to the
                > process of using negative film.
                >
                > This term was used in India as well as Iran and Turkey, and is a very
                > broadly used for all methods of stenciled designs. There are really 3
                > different methods of stenciling found in Islamic decorative papers:
                >
                > 1) Cut paper is placed on a paper and colors are finely sprinkled over
                > top, and then the stencil is removed.
                >
                > 2) Cut paper, leather, or even possible fabric is soaked in dye, and 2
                > sheets of paper are pressed together as a sandwich around the stencil.
                >
                > 3) Color is wiped or blotted through a cut paper stencil, in a
                > "pochoir" method. The stencil which may or may not be reinforced in
                > some manner.
                >
                > (Then there is the additional method of combining stencils with
                > marbling!)
                >
                > In addition, it is very common to find the designs produced by all of
                > these methods can be seen outlined in ink, color, or gold, or in some
                > cases, even overpainted.
                >
                > The information that Antonio gave about using cut leather soaked with
                > dye to produce such papers came from a description provided by the
                > late Turkish bookbinder Emin Barin to Albert Haemmerle. There is no
                > actual textual source for the method he described, and it is not known
                > whether he actually reproduced such designs himself, as the production
                > of such papers had clearly died out by that point in time. I think he
                > was simply offering his thought based on his own observations. See
                > Haemmerle's Buntpapier, page 37, footnote 5, and on page 38. That
                > said, it was this particular form of "impressed" stencil are what can
                > be found in European Alba Amicora of the late 16th-17th centuries. I
                > am not aware that the other "sprinkled" and "pochoir" methods were
                > collected by European travelers in these albums.
                >
                > Barin attributed the invention of this impressed paper to Central Asia
                > and cited two manuscripts, but did not provide an actual reference or
                > accession number. Whether these manuscripts were produced using the
                > "impressed" or the "sprinkled" method remains to be determined. Many
                > examples of the "sprinkled" method can be found n 15th century
                > manuscripts, but I have yet to see any made through the "impressed"
                > method from before the 16th century. I think that this "sprinkled"
                > method is the oldest method. It appears to have been developed during
                > the late Timurid dynasty in workshops in Central Asia, principally
                > Herat, especially during the reign of Sultan Husayn al Bayqara. While
                > there is no textual source describing the method, this can be observed
                > in many manuscripts, especially safina or jung anthologies from the
                > 15th- 17th c. In Central Asia, Iran, and Turkey. I've yet to see one
                > of Indian production.
                >
                > According to Yves Porter, the process is mentioned in a Persian text
                > from India, entitled "Risala-ye Jeld Sazi". There is a problematic
                > term for the material mentioned in a critical edition of the text-
                > "kasanbi" or "kasambi". Porter thinks it may an Indian word for a
                > kind of safflower-dyed starch cloth. See Porter's book Paintere,
                > Paintings, and Books" pp 51-2. he also mentions that the term
                > "kaghez-i 'Aksi" together with "Kaghez-i Abri" is mentioned in the
                > Persian dictionary Me'at ul Istilah of Anand Ram Mokhles.
                >
                > The other methods of stenciling were created by sprinkling very fine
                > drops of color over a cut paper stencil, and then in another different
                > procedure, there appears to be a kind of tampon used to press color
                > directly over the stencil, akin to the French method of "pochoir".
                > This latter method seems to have further developed in India in the
                > 16th century, as a number of borders associated with the atelier of
                > 'Abdur Rahim Khan-e Khanan. These elaborate multi-colored borders are
                > known as "'Aks-i Haft Rang " or "Seven Colored Stencil" designs. For
                > more information, please see the appendix devoted to this subject in
                > "Mughal Art and Patronage" by John Seyller.
                >
                > From my own observations, I think that in the first "impressed"
                > method, two papers were pressed around the cut stencils. If you have
                > the opportunity to view album amicora, you can see that there are
                > reflecting designs. In some, the color "squished" out and the image
                > is blurred, whereas in other cases, the impression is incomplete- and
                > a range of impression in between.
                >
                > In addition, I also wonder if these really were executed using
                > leather, as described by Barin. It depends on the kind of leather ,
                > of course, but most would become to malleable and even expand or
                > become stretchy when whetted, so they would not retain their original
                > form after cutting. For this reason, I think that a thicker, sized
                > paper may have been used, as it would not expand in the manner that
                > leather does. The colors are always dyes, not pigments, and almost
                > always seem to be a red dye, possibly kirmiz, madder, brasilwood, or
                > lotur; a golden yellow dye possibly made from saffron or safflower;
                > and a green dye that is may be made from copper verdigris. Of the top
                > of my head, i have not seen blue used, likely from indigo used, but it
                > may have been that a combination of indigo and yellow was used to make
                > the green color.
                >
                > In connection with this discussion, I have often wondered how we have
                > come to use the term"silhouette" for this "impressed" kind of
                > stenciled paper. Haemmerle does not appear to use this term, but
                > "schablonierens", a term meaning "stencils (If Susanne Krause is
                > reading this, please feel free to add your own observations and
                > correct me if I'm wrong). Just how we came to call this paper
                > "silhouette" is a mystery. I had thought that Rosamond Loring used
                > the term, but after checking, I found that she did not. So that makes
                > me wonder if possibly Olga Hirsch was the first to employ this term.
                > In any case, it is actually a very recent practice, and one that I
                > think we should reconsider for several reasons. The term
                > "silhouette" is a bit misleading, as the European and American
                > traditions of cut paper silhouettes is very common and very distinct;
                > it has nothing to do with these Eastern papers. Next, we do have an
                > actual term used in Persian and Turkish for this paper, and it doesn't
                > translate as "silhouette" at all, but "stencil".
                >
                > Here are some examples of the "sprinkled" variety:
                >
                > http://expositions.bnf.fr/splendeurs/grand/3-55cd.htm
                >
                > http://expositions.bnf.fr/splendeurs/grand/5-121ab.htm
                >
                > The "impressed" or "silhouette" variety
                >
                > http://classes.bnf.fr/dossisup/grands/138.htm
                > http://expositions.bnf.fr/livrarab/grands/048b.htm
                >
                > The images from the Bibliothèque Nationale de France (both stenciled
                > and marbled) have all been published in a few catalogs. Have you been
                > able to visit Philip Croom at the AUC Rare Book & Special Collection
                > Library? I think they have these books:
                >
                > "L'art du livre arabe : du manuscrit au livre d'artiste"
                > http://worldcat.org/oclc/51722494&referer=brief_results
                >
                > "Splendeurs persanes : manuscrits du XIIe au XVIIe siècle"
                > http://worldcat.org/oclc/38507388&referer=brief_results
                >
                > "Soliman le Magnifique : [catalogue de l'exposition
                > présentée du] 15
                > février au 14 mai 1990, Galeries nationales du Grand Palais."
                > http://worldcat.org/oclc/22854149&referer=brief_results
                >
                > Also, there are more examples that had been posted in the Swedish
                > National Library site, but they have been removed. You can still see
                > the images if you visit www.archives.org and enter these URLs into the
                > search box:
                >
                > http://www.kb.se/HS/islam/eng/marmorerat.htm
                > http://www.kb.se/HS/islam/stambok.jpg
                > http://www.kb.se/HS/islam/cod_or_52.htm
                >
                > There is one image of the "pochoir" method online. They are found in
                > the borders of one of the stencil-marbled paintings of a "nag" or
                > starving horse, that was auctioned at Sotheby's in 2002.
                >
                > http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=PXPQ
                >
                > The image is also found in the folder for this group 'Marbled
                > Antiquaria at Auction"
                >
                > http://ph.groups.yahoo.com/group/Marbling/photos/browse/165b
                >
                > http://ph.groups.yahoo.com/group/Marbling/photos/view/165b?b=1
                >
                > Finally, here is something very special, just for you Haytham. There
                > is an image from the Bibliothèque Nationale of an Arabic and Coptic
                > Christian manuscript that uses a similar, Ottoman style border. It is
                > very intriguing for many reasons:
                >
                > http://expositions.bnf.fr/livrarab/grands/076.htm
                >
                > Whether or not this paper is of actual Masri manufacture is debatable
                > though. There is no specific evidence that has come to light to show
                > that this method of decorative paper was ever produced in Egypt. The
                > paper could have been made elsewhere and imported. Nevertheless,
                > There are earlier examples of what may be stenciled leather designs
                > used for doublures (internal covers) in Mamluk bookbindings. Some
                > have said that these doublures were block-printed, but I have not
                > personally observed any sign of impression.
                >
                > Perhaps this is a topic that you can research more? The Director of
                > the Islamic Museum in Cairo told me that a woman at Cairo University
                > produced her thesis on Mamluk bookbinding. Unfortunately, I cannot
                > find my notes with this information, and I was not able to obtain a
                > copy of the book anyway; perhaps you can find it and see if there is
                > anything helpful to you? In any case, please let me know the citation
                > if you should find it.
                >
                > Insh'allah hadha mas3dat leek!
                >
                > m3a salamah,
                >
                > Jake Benson
                >
                >
                >



                [Non-text portions of this message have been removed]
              • Jake Benson
                Thank you Charles, A digital prospectus for this book was prepared and is available for group members to download. It is available in the files section of
                Message 7 of 10 , Mar 26, 2008
                • 0 Attachment
                  Thank you Charles,

                  A digital prospectus for this book was prepared and is available for
                  group members to download. It is available in the "files" section of
                  the group web site, and is entitled "RevisedWeimannProspectus2007-
                  lowres.pdf"

                  This book is still available from Ingrid Weimann.

                  Jake Benson


                  --- In Marbling@yahoogroups.com, Office <typenut@...> wrote:
                  >
                  > Also see and read about the work of the late Christopher Weinmann in
                  >
                  > Ink & Gall Volume V Number 2
                  >
                  > Fine Print Volume Nine, Number Four
                  >
                  > Christopher Weinman A Tribute
                  >
                  >
                  > charles
                  > +.+.+.+.+.+.+.+.+.+.+.+.+.+.+.+.+.+
                  > L. A Book Arts, Inc.
                  > Custom Bindery / Krause Intaglio
                  > 321 West Torrance Blvd. Suite A
                  > Carson, CA 90745
                  > 310.217.0400
                  >
                • yesim goktepe
                  hi all I want to invite all of you to our marbling exhibition, If you join us we ll be very glad sincerelly Yeşim Göktepe ... Yahoo! kullaniyor musunuz?
                  Message 8 of 10 , Mar 27, 2008
                  • 0 Attachment
                    hi all
                    I want to invite all of you to our marbling exhibition,
                    If you join us we'll be very glad
                    sincerelly Yeşim Göktepe






                    ---------------------------------
                    Yahoo! kullaniyor musunuz?
                    Istenmeyen postadan biktiniz mi? Istenmeyen postadan en iyi korunma Yahoo! Posta'da
                    http://tr.mail.yahoo.com

                    [Non-text portions of this message have been removed]
                  • yesim goktepe
                    I m sorry about my message there was not added exhibition file in my message. yesim goktepe wrote: hi all I
                    Message 9 of 10 , Mar 27, 2008
                    • 0 Attachment
                      I'm sorry about my message there was not added exhibition file in my message.

                      yesim goktepe <yesim63@...> wrote: hi all
                      I want to invite all of you to our marbling exhibition,
                      If you join us we'll be very glad
                      sincerelly Yeşim Göktepe




                      ---------------------------------
                      Yahoo! kullaniyor musunuz?
                      Istenmeyen postadan biktiniz mi? Istenmeyen postadan en iyi korunma Yahoo! Posta'da
                      http://tr.mail.yahoo.com

                      [Non-text portions of this message have been removed]






                      ---------------------------------
                      Yahoo! kullaniyor musunuz?
                      Istenmeyen postadan biktiniz mi? Istenmeyen postadan en iyi korunma Yahoo! Posta'da
                      http://tr.mail.yahoo.com

                      [Non-text portions of this message have been removed]
                    Your message has been successfully submitted and would be delivered to recipients shortly.