2015, ISBN: 9781137279767

Gebundene Ausgabe

New York: Harry N. Abrams, Inc., Publishers, 1968. Cloth, 264 pages, illustrations (some colour), colour map; 23 cm. Panorama of World Art Series. Near fine. Firm binding, clean inside co… Mehr…

New York: Harry N. Abrams, Inc., Publishers, 1968. Cloth, 264 pages, illustrations (some colour), colour map; 23 cm. Panorama of World Art Series. Near fine. Firm binding, clean inside copy. Age toning. Dust jacket, toned, protected in a mylar cover. CONTENTS: Beginnings of art in the Far East; Magic bronze art of ancient China; Art of the Han empire and gravemound Japan; Far Eastern art under Buddhist inspiration; Korean and Japanese art under Buddhist inspiration; Emergence of an indigenous art in Japan; Refinement of art under Sung and Koryo; Japanese art under Zen inspiration; Art of Ming and Ch'ing China and Yi dynasty Korea; Decorative art of Momoyama and Edo Japan.. 1st. Hardcover. Very Good/Very Good. 8vo. Collectible., Harry N. Abrams, Inc., Publishers, 1968, 3, Pimlico. Fine in Fine dust jacket. 2004. Hardcover. 0712669426 . Narrating the development and disappearance of the world's first war machine, this book reminds readers that much of the power of ancient empires was two-wheeled and horse-driven. Harnessed to other historians' broad-spectrum research on the causes of the end of the Bronze Age, Cotterell argues that, much like the later introduction of the stirrup, chariot technology dramatically recast battlefield strategy across the ancient world. Egyptians employed chariots as all-purpose fighting machines, while Roman chariots were more ceremonial, and Indian troops used theirs as archery platforms; Chinese engineers developed more efficient harnesses, permitting heavier cars. The author's comparative approach broadens the appeal of what would otherwise seem a narrow topic, but this account nevertheless behaves as a detailed military history. Particularly interesting for such scholarship, the author also discusses the chariot as a vehicle for modern popular culture; it aims to dispel the notion that chariots were simply horse-pulled tanks. Scholarly yet accessible, ; 344 pages ., Pimlico, 2004, 5, Princeton, New Jersey. : Princeton University Press., 2001. Book. Near Fine. Hardcover. HARDCOVER; in near fine condition with dustjacket. This is a heavy book; extra shipping may be required for priority mail or international orders. ., Princeton University Press., 2001, 4, Norton Museum of Art, West Palm Beach FL, 2003. 11 3/4" X 9 5/8" in illustrated slick paper covers. Some tiny blemishes: still about FINE condition. Superb photographs of ancient chinese art with detailed descriptions and commentary on each. 279pp.. Soft cover. Fine/No Jacket., Norton Museum of Art, West Palm Beach FL, 2003, 5, Chinese Literature / Panda Books, 1982-01-01. Journal. Very Good. Chinese Literature / Panda Books [Published date: 1982]. Chinese Literature December 1982. Paper covers, 166 pp. Text in English. In very good condition with light bumping and creasing to edges of covers and Light overall scuffing. Binding tight. Pages clean and unmarked. Includes 9 pages of color plates and several black and white illustrations throughout. Contents include: The Log Cabin Overgrown with Creepers by Gu Hua; How I Became a Writer by Gu Hua; Twenty-Five Years of the Beijing Academy of Painting by Rui An; Selected Early Writings: Outside a Rubble Strewn Garden, The Light, The Sun, The Su Causeway by Ba Jin; An Interview with the "Ci" Scholar Tang Guizhangby Guan Jian; Three Poems: To the Innovators by Chen Jingrong, Pebble by Chagan, The Seal of a Pathbreaker by Zhang Deyi; On "The Travels of Lao Can” by Yang Xianyi; Selections from "The Travels of Lao Can” by Liu E; Oil Paintings by Zhan Jianjun by Ai Zhongxin; Tales of Ancient Painters: A Little Cowherd Critic; The Painting with the Hidden Temple, Bada Shanren's Strange Paintings by Teng Mingdao; "Waterfall in Autumn” by Yao Shiying; Ancient Chinese Bronze Drums by Ji Cheng;Inside Back Cover: Orchid by Wang Ailan Cover: Gourds by Zhu Qizhan., Chinese Literature / Panda Books, 1982-01-01, 3, St. Martin's Press, 2015. Hardcover. New/New. New hardcover in like DJ. Text is clean and free of marks or underlining. Includes bibliography, index, maps, timeline, and full color photo plates. 432 pp. Fast shipping in a secure book box mailer with tracking. **One of The Washington Post's Notable Nonfiction Books of 2015** Thanks to Salem sea captains, Gilded Age millionaires, curators on horseback and missionaries gone native, North American museums now possess the greatest collections of Chinese art outside of East Asia itself. How did it happen? The China Collectors is the first full account of a century-long treasure hunt in China from the Opium Wars and the Boxer Rebellion to Mao Zedong's 1949 ascent. The principal gatherers are mostly little known and defy invention. They included "foreign devils" who braved desert sandstorms, bandits and local warlords in acquiring significant works. Adventurous curators like Langdon Warner, a forebear of Indiana Jones, argued that the caves of Dunhuang were already threatened by vandals, thereby justifying the removal of frescoes and sculptures. Other Americans include George Kates, an alumnus of Harvard, Oxford and Hollywood, who fell in love with Ming furniture. The Chinese were divided between dealers who profited from the artworks' removal, and scholars who sought to protect their country's patrimony. Duanfang, the greatest Chinese collector of his era, was beheaded in a coup and his splendid bronzes now adorn major museums. Others in this rich tapestry include Charles Lang Freer, an enlightened Detroit entrepreneur, two generations of Rockefellers, and Avery Brundage, the imperious Olympian, and Arthur Sackler, the grand acquisitor. No less important are two museum directors, Cleveland's Sherman Lee and Kansas City's Laurence Sickman, who challenged the East Coast's hegemony. Shareen Blair Brysac and Karl E. Meyer even-handedly consider whether ancient treasures were looted or salvaged, and whether it was morally acceptable to spirit hitherto inaccessible objects westward, where they could be studied and preserved by trained museum personnel. And how should the US and Canada and their museums respond now that China has the means and will to reclaim its missing patrimony? ., St. Martin's Press, 2015, 6<

2015, ISBN: 9781137279767

Leipzig: Ernst Rowohlt Verlag, 1913 Book. Fair. Hardcover. First Edition. Front board is detached (but present), lacks the spine strip covering, has edgewear - however the text and illust… Mehr…

Leipzig: Ernst Rowohlt Verlag, 1913 Book. Fair. Hardcover. First Edition. Front board is detached (but present), lacks the spine strip covering, has edgewear - however the text and illustrations are in very good condition!!! Illustrated, 255 page, German work on ancient Egypt.., Ernst Rowohlt Verlag, 1913, 2, St. Martin's Press, 2015. Hardcover. New/New. New hardcover with black paper over boards and red metallic lettering to spine in a new dust jacket. 8vo. (6.5 x 1.5 x 9.75 inche) Text is clean and free of marks or underlining. Includes bibliography, index, maps, timeline, and full color photo plates. 432 pp. Fast shipping in a secure book box mailer with tracking. **One of The Washington Post's Notable Nonfiction Books of 2015** Thanks to Salem sea captains, Gilded Age millionaires, curators on horseback and missionaries gone native, North American museums now possess the greatest collections of Chinese art outside of East Asia itself. How did it happen? The China Collectors is the first full account of a century-long treasure hunt in China from the Opium Wars and the Boxer Rebellion to Mao Zedong's 1949 ascent. The principal gatherers are mostly little known and defy invention. They included "foreign devils" who braved desert sandstorms, bandits and local warlords in acquiring significant works. Adventurous curators like Langdon Warner, a forebear of Indiana Jones, argued that the caves of Dunhuang were already threatened by vandals, thereby justifying the removal of frescoes and sculptures. Other Americans include George Kates, an alumnus of Harvard, Oxford and Hollywood, who fell in love with Ming furniture. The Chinese were divided between dealers who profited from the artworks' removal, and scholars who sought to protect their country's patrimony. Duanfang, the greatest Chinese collector of his era, was beheaded in a coup and his splendid bronzes now adorn major museums. Others in this rich tapestry include Charles Lang Freer, an enlightened Detroit entrepreneur, two generations of Rockefellers, and Avery Brundage, the imperious Olympian, and Arthur Sackler, the grand acquisitor. No less important are two museum directors, Cleveland's Sherman Lee and Kansas City's Laurence Sickman, who challenged the East Coast's hegemony. Shareen Blair Brysac and Karl E. Meyer even-handedly consider whether ancient treasures were looted or salvaged, and whether it was morally acceptable to spirit hitherto inaccessible objects westward, where they could be studied and preserved by trained museum personnel. And how should the US and Canada and their museums respond now that China has the means and will to reclaim its missing patrimony? ., St. Martin's Press, 2015, 6<

2015, ISBN: 9781137279767

St. Martin's Press, 2015. Hardcover. New/New. New hardcover in like DJ. Text is clean and free of marks or underlining. Includes bibliography, index, maps, timeline, and full color phot… Mehr…

St. Martin's Press, 2015. Hardcover. New/New. New hardcover in like DJ. Text is clean and free of marks or underlining. Includes bibliography, index, maps, timeline, and full color photo plates. 432 pp. Fast shipping in a secure book box mailer with tracking. **One of The Washington Post's Notable Nonfiction Books of 2015** Thanks to Salem sea captains, Gilded Age millionaires, curators on horseback and missionaries gone native, North American museums now possess the greatest collections of Chinese art outside of East Asia itself. How did it happen? The China Collectors is the first full account of a century-long treasure hunt in China from the Opium Wars and the Boxer Rebellion to Mao Zedong's 1949 ascent. The principal gatherers are mostly little known and defy invention. They included "foreign devils" who braved desert sandstorms, bandits and local warlords in acquiring significant works. Adventurous curators like Langdon Warner, a forebear of Indiana Jones, argued that the caves of Dunhuang were already threatened by vandals, thereby justifying the removal of frescoes and sculptures. Other Americans include George Kates, an alumnus of Harvard, Oxford and Hollywood, who fell in love with Ming furniture. The Chinese were divided between dealers who profited from the artworks' removal, and scholars who sought to protect their country's patrimony. Duanfang, the greatest Chinese collector of his era, was beheaded in a coup and his splendid bronzes now adorn major museums. Others in this rich tapestry include Charles Lang Freer, an enlightened Detroit entrepreneur, two generations of Rockefellers, and Avery Brundage, the imperious Olympian, and Arthur Sackler, the grand acquisitor. No less important are two museum directors, Cleveland's Sherman Lee and Kansas City's Laurence Sickman, who challenged the East Coast's hegemony. Shareen Blair Brysac and Karl E. Meyer even-handedly consider whether ancient treasures were looted or salvaged, and whether it was morally acceptable to spirit hitherto inaccessible objects westward, where they could be studied and preserved by trained museum personnel. And how should the US and Canada and their museums respond now that China has the means and will to reclaim its missing patrimony? ., St. Martin's Press, 2015, 6<