[RARE COMPLETE RUN OF THE FIRST OFFICIAL PROPAGANDA JOURNAL] حرب مجموعه‌سى / Harb mecmuasi... [i.e., The War journal: A pictorial periodical that discusses the soldier and the battle] Tesrîn II 1331 – Haziran 1334. Nos: 1-27. SET

N. A.

Ahmed Ihsan ve Sürekâsi, Istanbul, 1915-1918.

COMPLETE TITLE: [RARE COMPLETE RUN OF THE FIRST OFFICIAL PROPAGANDA JOURNAL] حرب مجموعه‌سى / Harb mecmuasi: Asker ve muharebeden bahseder risâle-i musavvere. [i.e., A pictorial periodical that discusses the soldier and the battle]. The War journal: Tesrîn II 1331 – Haziran 1334. Nos: 1-27. SET

Original pictorial wrappers. 4to. (32 x 24 cm). In Ottoman script (Old Turkish with Arabic letters). 27 issues set, richly illustrated with photographic reproductions. Some small tears on extremities and corners, slight foxing on some pages. Overall, a very good set.

An exceedingly rare complete run of this richly illustrated first official war propaganda organ of the Ottoman Empire, started publishing during the Gallipoli campaign between the Ottoman army and the Allied coalition led by Britain.

The Harp Mecmuasi was first published by the Ministry of War in Istanbul as a biweekly in November 1915 and launched as a response to the British propaganda and contained frequent pro-German materials, shortly after the outbreak of the Gallipoli Campaign, which saw the Ottoman Empire align with the Central Powers, particularly Germany and Austria-Hungary. The publication was directly linked to the Ottoman military and aimed to support the Empire's war effort, both on the battlefield and in the public sphere. The journal served as an official mouthpiece for the Ottoman army, with a particular focus on military and political developments, as well as boosting morale among soldiers and civilians.

One of the primary functions of Harp Mecmuasi was to boost morale among Ottoman soldiers and the general population. The journal aimed to foster support for the war by portraying the Ottoman military as brave and heroic, despite facing overwhelming odds. It sought to cultivate a sense of national pride and unity through idealized and often exaggerated depictions of battles, leaders, and soldiers. These portrayals were designed to inspire optimism and resilience among the public.

It frequently published news from the fronts of World War I from the Gallipoli Campaign to the end of the War. It also provided detailed information on the history, ethnography, and geography of the various parts of the Empire, including Jerusalem, the Gallipoli Campaign, the Kut al-Amara Front, the Palestine and Egypt Campaigns, and the Galicia Front and the Sarikamis and Kars Fronts, and the Suez Canal. The journal was assisted by the Intelligence Office under the General Staff in producing these articles which were mostly accompanied by drawings and photographs. One of these photographs was that of Seyit Ali Çabuk (known as Corporal Seyit) who was an Ottoman soldier, and it was published on the cover page of the second issue of the journal dated December 1915. Corporal Seyit was shown carrying a 275 kg heavy shell to the gun in the photograph. It made Corporal Seyit legend being the symbol of the victory of the Ottoman Navy at the Dardanelles on 18 March 1915. Other leading Ottoman military figures of the fight in Gallipoli were also covered in the articles, including Captain Mehmet Hilmi and Lieutenant Fahri from the Rumeli Mecidiye battery. The journal featured aerial photographs of the Suez Canal which were employed by the Ottoman fighter pilots in their attacks against the British Navy in the region.

The magazine regularly reported on the successes of the Ottoman army, both real and imagined. Articles detailed victories, often focusing on the contributions of particular regiments, commanders, or geographical regions. For instance, the Battle of Gallipoli (1915), a crucial victory for the Ottoman Empire, was a central topic of the journal. It served not only as a military success but also as a symbolic event for Ottoman identity during the war. The Harp Mecmuasi portrayed Gallipoli as a turning point, emphasizing the bravery and tactical superiority of the Ottoman forces against the Allied invaders. The magazine included personal testimonies from soldiers and officers, often turning them into heroes of the state. It is clear that many of the anonymous frontline photographs featured in the journal were specifically depicted and used by the Empire.

Like other wartime propaganda outlets, the Harp Mecmuasi used stark anti-Allied rhetoric to demonize the Ottoman Empire’s enemies, particularly the British, French, and Russian forces. It framed the Allies as imperialistic powers bent on the destruction and partition of the Ottoman state. Articles often depicted the British and French as oppressive colonial forces, while the Russians were portrayed as a threat to the integrity of the Ottoman lands in the Caucasus and other regions. This vilification helped to rally the population around the idea of defending their homeland from foreign invaders and imperialist powers.

Ahmet İhsan Tokgöz (1868-1942) was a prominent figure in the late 19th and early 20th centuries, known for his contributions to Turkish literature, publishing, and journalism. He published a biweekly magazine, Umran, and worked as a translator at the Translation Office of the Ministry of Foreign Affairs. In 1888, he joined the Servet newspaper and, in 1890, left his position at the Tophane Müşirliği to become a partner in the Realm Printing House. On March 27, 1891, he began publishing the weekly Servet-i Fünun [i.e., The Wealth of Sciences] magazine, which became a significant platform for literature and science. In 1907, following a partnership split, the printing house was renamed Ahmet İhsan Matbaası.

That same year, Tokgöz joined the Committee of Union and Progress. After the Second Constitutional Era, Servet-i Fünun shifted from a literary magazine to a daily political newspaper, before returning to a weekly publication in 1909. He also taught economic geography at the Trade School from 1909 until 1915. In 1912, Tokgöz served as the mayor of Beyoğlu for fourteen months. In 1917, he began publishing the French-language newspaper Le Soir. He revived Servet-i Fünun in 1924, after it had been suspended during the armistice period.

Tokgöz was elected to parliament in 1931 and continued to publish Servet-i Fünun until his death. He is remembered as the founder of the Servet-i Fünun literary movement, which played a crucial role in Turkish literature, and for establishing a prominent printing house in the Ottoman Empire. Additionally, Tokgöz is known for translating Jules Verne’s works into Turkish, including the first-ever Turkish translation of Verne’s books.

Duman 0775., As of February 2025, OCLC shows more than ten copies (22475175, 1443925958).