2018, ISBN: 9780374139674

Taschenbuch, Gebundene Ausgabe

Rara stampa Estratta da pubblicazione del 1922 sulla Prima Guerra Mondiale del 1914-1918... ...stampa che ha quindi oltre 95 anni! Rare print Extracted from publication of 1922 about the … Mehr…

Rara stampa Estratta da pubblicazione del 1922 sulla Prima Guerra Mondiale del 1914-1918... ...stampa che ha quindi oltre 95 anni! Rare print Extracted from publication of 1922 about the First World War of 1914 -1918... ... press that has so over 95 years! Impression rare Extrait de la publication de 1922 sur la Première Guerre mondiale 1914-1918 ... ... press qui a tellement plus de 95 ans! Seltene druck Gewonnen aus der Veröffentlichung von 1922 auf dem Ersten Weltkrieg 1914-1918 ... ... Drücken, die so über 95 Jahren! Pour tous les ages L'inauguration du colosal Hindenburg de bois, dressé à Berlin devant le monument de la Victoire, d'après le Welt-Spiegel. Pour jeter la bonne semence dans l'ame des petits Allemands: ""Le village bombardé, modèle artistique de construction"" Une prévoyance qui trahit la préméditation: uniformes et drapeaux allemands découverts en 1914, dans une usine, près de Petrograd + Prevoyance La caissette trouvée, le 22 septembre 1916, enfouie dans la cour de la legation allemande, à Bucarest, et contenant des tubes de virus de la morve destinés à empoisonner les attelages de boeufs de l'artillerie roumaine. Un des tubes de virus, réduit approximativement au quart. Deuxième enveloppe de la caissette de virus de la morve adressée à ""l'attaché militaire bulgare colonel Samargieff"" et l'un des cachets du consulat allemand de Cronstadt. Attendant l'entrée triomphale: dans une penderie, sous des pantalons. La prévoyance en défaut: la couverture du Simplicissimus du 25 juin 1918. Attendant l'entrée triomphale: dans une cuisine, sur un fourneau Dimensioni Fronte/retro Cm 25,00 x 36,00+Cm 25,00 x 36,00 ADLG - 022 Qualora vogliate delle scansioni migliori contattateci, soddisferemo ogni vostra richiesta. PaypalCarta di creditoBonifico bancario La stampa verrà inserita all'interno di plico di adeguate dimensioni per proteggerne l'integrità ©, 0, New York: Time Inc. for the American Federation of Arts. Very Good. 1959. First Edition. Paperback. 64 pages; Contents clean and secure in original white wrappers stamped in blind; bumped at lower outer corner; former owner's name signed at top edge of front wrapper "Munsing." From the collection of Stefan P. Munsing [1915-1994] who worked in New York City as a designer for Hans Knoll, Norman Bel Geddes and RCA. Munsing served in the Army in World War II, then as Chief of the Monuments, Fine-Arts & Archives Section in Munich. The MFAA was an Army unit locating stolen artworks which had disappeared into the huge Nazi hoards during the war. [The "Monuments Men"] Munsing later joined the U.S. Department of State during the later 1940's and '50's, where he established the State Department's Amerika Haus programs in Munich and Berlin and organized exhibitions and cultural programs in Germany and Austria. In 1955, he was named cultural officer at the American Embassy in London, where he staged exhibitions of such New York artists as Philip Pavia, Paul Jenkins and Ben Shahn and became an important force in the London art world. Munsing returned to the U.S. in the 1960's and 70's where he helped establish the contemporary art collection of the National Museum of Fine Arts in Washington (now the National Museum of American Art) and headed the State Department's Art in Embassies program. In retirement from the State Department after 1976, Mr. Munsing was a consultant to the American Association of Museums. Exhibition catalog issued for the Centennial Celebration of the American Institute of Architects designed by Gyorgy Kepes. Featuring the work of Frank Lloyd Wright, Mies van der Rohe, Le Corbusier, Walter Gropius, Richard J. Neutra, Alvar Aalto, Marcel Breuer, Wallace K. Harrison, Philip C. Johnson, Skidmore, Owings & Merrill, Eero Saarinen, Edward D. Stone and R. Buckminster Fuller. Illustrated thoughout with wonderful photographs and architectural drawing of buildings by these architects. ., Time Inc. for the American Federation of Arts, 1959, 3, New York: American Craftsman's Council. Very Good. 1964. First Edition. Original Printed Wrappers. Vol. XXIV, No. 3; 126 pages; Contents clean and secure in original pictorial wrappers. Former owner's name on front cover -- "Munsing." Craft Horizons is a periodical magazine that documents and exhibits crafts, craft artists, and other facets of the field of American craft. The magazine was founded by Aileen Osborn Webb and published from 1941 to 1979. It included editorials, features, technical information, letters from readers, and photographs of craft artists, their tools, and their works. The magazine both "documented and shaped" the changing history of the American craft movement. It was succeeded by American Craft in 1979. Craft Horizons began as an untitled newsletter in November 1941, sent out to artists who had purchased stock in, and consigned works to, America House. One of Webb's earliest initiatives in support of craft, America House was a New York retail shop that featured pieces from artists around the country. Contents clean and secure in original glossy pictorial wrappers. Former owner's name on front wrapper "Munsing." From 1959 to 1979 the editor in chief of Craft Horizons was Rose Slivka, the associate editor since 1955. At a time when the field of craft was growing rapidly, Slivka is credited with helping to define its philosophy and terminology. She also moved the focus of the magazine away from an emphasis on traditional techniques, foregrounding artistic forms and innovative expression. From the collection of Stefan P. Munsing [1915-1994] who worked in New York City as a designer for Hans Knoll, Norman Bel Geddes and RCA. Munsing served in the Army in World War II, then as Chief of the Monuments, Fine-Arts & Archives Section in Munich. The MFAA was an Army unit locating stolen artworks which had disappeared into the huge Nazi hoards during the war. [The "Monuments Men"] Munsing later joined the U.S. Department of State during the later 1940's and '50's, where he established the State Department's Amerika Haus programs in Munich and Berlin and organized exhibitions and cultural programs in Germany and Austria. In 1955, he was named cultural officer at the American Embassy in London, where he staged exhibitions of such New York artists as Philip Pavia, Paul Jenkins and Ben Shahn and became an important force in the London art world. Munsing returned to the U.S. in the 1960's and 70's where he helped establish the contemporary art collection of the National Museum of Fine Arts in Washington. ., American Craftsman's Council, 1964, 3, Minneapolis: Walker Art Center. Near Fine. 1951. First Edition. Paperback. 64 pages; Clean and secure in original pictorial wrappers. Based on the exhibition "Knife / Fork / Spoon" at the Walker Center prepared by Towle Silversmiths. Illustrated with b&w photographs throughout. A great aid for those trying to identify authentic examples. Former owner's last name discreetly in ink at top corner of front wrapper "Munsing." From the collection of Stefan P. Munsing [1915-1994] who worked in New York City as a designer for Hans Knoll, Norman Bel Geddes and RCA. Munsing served in the Army in World War II, then as Chief of the Monuments, Fine-Arts & Archives Section in Munich. The MFAA was an Army unit locating stolen artworks which had disappeared into the huge Nazi hoards during the war. [The "Monuments Men"] Munsing later joined the U.S. Department of State during the later 1940's and '50's, where he established the State Department's Amerika Haus programs in Munich and Berlin and organized exhibitions and cultural programs in Germany and Austria. In 1955, he was named cultural officer at the American Embassy in London, where he staged exhibitions of such New York artists as Philip Pavia, Paul Jenkins and Ben Shahn and became an important force in the London art world. Munsing returned to the U.S. in the 1960's and 70's where he helped establish the contemporary art collection of the National Museum of Fine Arts in Washington (now the National Museum of American Art) and headed the State Department's Art in Embassies program. In retirement from the State Department after 1976, Mr. Munsing was a consultant to the American Association of Museums. ., Walker Art Center, 1951, 4, London: Museums Journal. Near Fine. 1961. Paperback. Offprint from Museums Journal Vol. 61, No. 3 December 1961; 8 pages; Contents clean and unmarked in original self wrappers. This offprint contain an asticle by Stefan Munsing on the American Museum in Britain - Claverton House in Bath. Included is a typed letter on American Museum in Britain letterhead to Munsing from the museum's director Ian McCallun (signed) thanking Munsing for his help in organizing an American Costume exhibition. The American Museum in Britain is based at Claverton Manor, near Bath, England, in a house, designed by Jeffry Wyatville and built in the 1820s on the site of a manor bought by Ralph Allen in 1758, replacing the manor house built by Ralph of Shrewsbury around 1340. The museum was founded by two antique collectors, an American, Dallas Pratt (August 21, 1914 – May 20, 1994) and a Briton, John Judkyn (1913 – July 27, 1963) and opened to the public for the first time on July 1, 1961. The exhibits cover American history in form of period rooms from circa 1690 to 1860 with space for exhibitions on more recent events and topics. Stefan P. Munsing [1915-1994] worked in New York City as a designer for Hans Knoll, Norman Bel Geddes and RCA. Munsing served in the Army in World War II, then as Chief of the Monuments, Fine-Arts & Archives Section in Munich. The MFAA was an Army unit locating stolen artworks which had disappeared into the huge Nazi hoards during the war. [The "Monuments Men"] Munsing later joined the U.S. Department of State during the later 1940's and '50's, where he established the State Department's Amerika Haus programs in Munich and Berlin and organized exhibitions and cultural programs in Germany and Austria. In 1955, he was named cultural officer at the American Embassy in London, where he staged exhibitions of such New York artists as Philip Pavia, Paul Jenkins and Ben Shahn and became an important force in the London art world. Munsing returned to the U.S. in the 1960's and 70's where he helped establish the contemporary art collection of the National Museum of Fine Arts in Washington (now the National Museum of American Art) and headed the State Department's Art in Embassies program. In retirement from the State Department after 1976, Mr. Munsing was a consultant to the American Association of Museums. ., Museums Journal, 1961, 4, New and untouched. Bilingual, entire contents in German and English. Detailed treatment of one of West Berlin's seminal modernist monuments., Ernst & Sohn Berlin, 1994, 0, Paris, France: Fondation Paribas (on behalf of Musees et Monuments de France, 1995. Softcover. Good+ (scuffs, scratches to wraps; light edge-wear. light rubbing to corners. harsh bump to spine top w/ tears & crimp/crease to edges; crimp/crease to upper pg gutters. remains tightly bound). Black pictorial wraps; 127 pp.; Profusely illustrated with color and bw photos. Text in English. A guide to Charlottenburg Palace, the largest palace in Berlin, and the only building dating back to the Hohenzollern family (though it was badly damaged in World War II, it has since been reconstructed); Beautiful photos and extensive information about the palace and the dynasty who occupied it., Fondation Paribas (on behalf of Musees et Monuments de France, 1995, 2.5, Berlin: Ernst & Sohn, 1990. First edition. Hardcover. Near Fine. 11 x 9 1/2 in. Color photo boards and illus. Photos of graffiti on the Berlin Wall. Text in German and English. Condition is NEAR FINE ; a perfect copy except for a rather charming black felt-tip gift inscription on the title pg. Art. Stax., Ernst & Sohn, 1990, 4, New York, New York, U.S.A. : Farrar, Straus and Giroux, 2018. First American Edition 1st Printing. Hardcover. New/New. 8vo - over 7¾ - 9¾" tall. Translated from the German by Daniel Bowles. In Berlin, Germany, in the early 1930s, the acclaimed Swiss film director Emil Nageli receives the assignment of a lifetime: travel to Japan and make a film to establish the dominance of Adolf Hitler's Nazi empire once and for all. But his handlers are unaware that Nageli has colluded with the Jewish film critics to pursue an alternative objective - to create a monumental, modernist, allegorical spectacle to warn the world of the horror to come. Meanwhile, in Japan, the film minister Masahiko Amakasu intends to counter Hollywood's growing influence and usher in a new golden age of Japanese cinema by exploiting his Swiss visitor. The arrival of Nageli's film-star fiancee and a strangely thuggish, pistol-packing Charlie Chaplin - as well as the first stirrings of the winds of war - soon complicates both Amakasu's and Nageli's plans, forcing them to face their demons . . . and their doom. Second novel by the author of IMPERIUM.THE DEAD was the recipient of the Herman Hesse Literature Prize and the Swiss Book Prize. As new, unread, first edition, first printing, in as new, mylar-protected dust jacket. {Not remainder-marked or price-clipped} OFC 2F, Farrar, Straus and Giroux, 2018, 6<

2018, ISBN: 9780374139674

New York: Charles Scribner's Sons, 1898. Hard Cover. Good/No Jacket. 0x0x0. Birch, R.B. [Reginald]. Boards soiled, light scratches on rear board, ink name on two pages. 1898 Hard Co… Mehr…

New York: Charles Scribner's Sons, 1898. Hard Cover. Good/No Jacket. 0x0x0. Birch, R.B. [Reginald]. Boards soiled, light scratches on rear board, ink name on two pages. 1898 Hard Cover. xiii, 415, [12] pp. Engraved plates by Reginald B. Birch. Roland, the nephew of the Charlemagne of romance, and his companion in all great enterprises, is unknown to history. Yet he is the typical knight, the greatest hero of the middle ages. His story, as I shall tell it you, is not a mere transcript of the old romances. The main incidents have been derived from a great variety of sources, while the arrangement and the connecting parts are of my own invention. I have culled the story from the song-writers and poets of five centuries and of as many languages. Sometimes I have adhered closely to the matter and spirit, and even the words, of the originals; sometimes I have given free rein to my own imagination; and throughout I have endeavored so to arrange and retouch the individual parts of the story as lend interest to its recital, and adapt it to our own ways of thinking, and our modern notions of propriety. The oldest story of Roland was doubtless that which was sung by the minstrel of William the Conqueror, in 1066. Wace, in his account of the battle of Hastings, says, "Taillefer, who sang very well, rode before the duke, singing of Charlemagne and of Roland and Oliver, and of the vassals who died at Roncevaux." The song which Taillefer sang must have been the "Chanson de Roland," written by one Turold, perhaps as early as the tenth century. It is by far the finest of all the "tales of France." More than twenty years after the battle of Hastings, there appeared a Latin work, entitled, "The Life of Charles the Great and of Roland," which, it was claimed, had been written by Archbishop Turpin, the father-confessor of Charlemagne. The falsity of this claim is too apparent to need any proof; and yet the work, having been sanctioned by Pope Calixtus, and placed by him upon the roll of canonical books, exerted no small influence over the poetical literature which followed it, and supplied materials and suggestions to many later romancists. In England, in the thirteenth and fourteenth centuries, there appeared several rhyming romances relating to our hero. Among these were "Sir Ferumbras," an adaptation of a French poem, entitled "Fierabras," "Otuel," and "Roland and Ferragus." One of the first books printed in our language was a legendary history of Charlemagne, entitled "The Lyf of Charles the Great, fynysshed in the reducing of it into Englysshe in the xvii day of Juin MCCCCLXXXV. Explicit per William Caxton." In our own time, Mr. John Malcolm Ludlow, in his "Popular Epics of the Middle Ages," has given us a valuable critical analysis of some of the most noticeable legends of Roland and Charlemagne. In Germany, we find an adaptation of the "Chanson de Roland" in an old poem, entitled, "Ruolandes Liet," which appeared, probably, as early as 1177, and has recently been edited by William Grimm. Karl Simrock's "Kerlingisches Heldenbuch" contains some of the most delightful traditions of Roland and Charlemagne; and the "Kaiserchronik," published in 1849, gives a complete legendary history of Charlemagne and his peers from a German point of view. In Italy the story of Roland was long a most fertile and attractive theme, and gave rise to more than one great poem. The legends relating to his parentage and boyhood are contained in the "Innamoramento di Milone d'Anglante," printed in the sixteenth century, and in several other poems much older; the "Orlando Innamorato" of Boiardo tells us of the marvellous adventures of our hero in Fairyland and in the Far East; the "Orlando Furioso" of Ariosto tells of his prowess as a knight, his disappointment in love, his madness and ultimate recovery; the "Morgante Maggiore" of Pulci relates the story of his later adventures and his death. In the mediæval romances of Spain the name of Roland is of frequent occurrence; and the story, modified to suit the prejudices of Spanish readers, is found in numerous old songs and poems, some of them as early as the twelfth century., Charles Scribner's Sons, 1898, 2.5, New York, New York, U.S.A. : Farrar, Straus and Giroux, 2018. First American Edition 1st Printing. Hardcover. New/New. 8vo - over 7¾ - 9¾" tall. Translated from the German by Daniel Bowles. In Berlin, Germany, in the early 1930s, the acclaimed Swiss film director Emil Nageli receives the assignment of a lifetime: travel to Japan and make a film to establish the dominance of Adolf Hitler's Nazi empire once and for all. But his handlers are unaware that Nageli has colluded with the Jewish film critics to pursue an alternative objective - to create a monumental, modernist, allegorical spectacle to warn the world of the horror to come. Meanwhile, in Japan, the film minister Masahiko Amakasu intends to counter Hollywood's growing influence and usher in a new golden age of Japanese cinema by exploiting his Swiss visitor. The arrival of Nageli's film-star fiancee and a strangely thuggish, pistol-packing Charlie Chaplin - as well as the first stirrings of the winds of war - soon complicates both Amakasu's and Nageli's plans, forcing them to face their demons . . . and their doom. Second novel by the author of IMPERIUM.THE DEAD was the recipient of the Herman Hesse Literature Prize and the Swiss Book Prize. As new, unread, first edition, first printing, in as new, mylar-protected dust jacket. {Not remainder-marked or price-clipped} OFC 2F, Farrar, Straus and Giroux, 2018, 6<

ISBN: 9780374139674

“A great Faustian fable, and a literary endeavor of historical ingenuity that we now may start to characterize as Krachtian.” —Karl Ove Knausgaard In Berlin, Germany, in … Mehr…

“A great Faustian fable, and a literary endeavor of historical ingenuity that we now may start to characterize as Krachtian.” —Karl Ove Knausgaard In Berlin, Germany, in the early 1930s, the acclaimed Swiss film director Emil Nägeli receives the assignment of a lifetime: travel to Japan and make a film to establish the dominance of Adolf Hitler’s Nazi empire once and for all. But his handlers are unaware that Nägeli has colluded with the Jewish film critics to pursue an alternative objective—to create a monumental, modernist, allegorical spectacle to warn the world of the horror to come. Meanwhile, in Japan, the film minister Masahiko Amakasu intends to counter Hollywood’s growing influence and usher in a new golden age of Japanese cinema by exploiting his Swiss visitor. The arrival of Nägeli’s film-star fiancée and a strangely thuggish, pistol-packing Charlie Chaplin—as well as the first stirrings of the winds of war—soon complicates both Amakasu’s and Nägeli’s plans, forcing them to face their demons . . . and their doom.The Dead is the beautiful, brilliant, and utterly mad novel that Thomas Mann would have written had he known the East like Yukio Mishima and loved his adopted Hollywood with the gusto of Nathanael West. —Joshua CohenThe Dead is a story of love and sadness in times when the weak were broken by the unforgiving ideologies of fascism and National Socialism . . . I read The Dead twice in a row, first for the story and then for the beauty of the prose. —Sjón Trade Books>Hardcover>Fiction>Fiction>Historical Fic, Farrar, Straus and Giroux Core >2<

2018, ISBN: 9780374139674

New York, New York, U.S.A. : Farrar, Straus and Giroux, 2018. First American Edition 1st Printing. Hardcover. New/New. 8vo - over 7¾ - 9¾" tall. Translated from the G… Mehr…

New York, New York, U.S.A. : Farrar, Straus and Giroux, 2018. First American Edition 1st Printing. Hardcover. New/New. 8vo - over 7¾ - 9¾" tall. Translated from the German by Daniel Bowles. In Berlin, Germany, in the early 1930s, the acclaimed Swiss film director Emil Nageli receives the assignment of a lifetime: travel to Japan and make a film to establish the dominance of Adolf Hitler's Nazi empire once and for all. But his handlers are unaware that Nageli has colluded with the Jewish film critics to pursue an alternative objective - to create a monumental, modernist, allegorical spectacle to warn the world of the horror to come. Meanwhile, in Japan, the film minister Masahiko Amakasu intends to counter Hollywood's growing influence and usher in a new golden age of Japanese cinema by exploiting his Swiss visitor. The arrival of Nageli's film-star fiancee and a strangely thuggish, pistol-packing Charlie Chaplin - as well as the first stirrings of the winds of war - soon complicates both Amakasu's and Nageli's plans, forcing them to face their demons . . . and their doom. Second novel by the author of IMPERIUM.THE DEAD was the recipient of the Herman Hesse Literature Prize and the Swiss Book Prize. As new, unread, first edition, first printing, in as new, mylar-protected dust jacket. {Not remainder-marked or price-clipped} OFC 2F, Farrar, Straus and Giroux, 2018, 6<