DOCSLIB.ORG

TUSHITA FINE ARTS Postkarten TFA 7016–17903

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TUSHITA FINE ARTS Postkarten TFA 7016–17903 NEWSLETTER No. 12 November 2010 TUSHITA FINE ARTS Postkarten TFA 7016–17903 TFA 7758 TFA 7756 TFA 7757 EAN 4025872022499 EAN 4025872022457 EAN 4025872022482 Ando Hiroshige Katsushika Hokusai Ando Hiroshige Horikiri Iris Garden Thistle and Crossing Bikuni Bridge in Snow TFA 7757 TFA 7759 TFA 7760 EAN 4025872022482 EAN 4025872022505 EAN 4025872022512 Keisai Eisen Kesai Eisen Suzuki Harunobu Bijin (Beautiful Woman) Ukiyo-E The Stay of Oiso, 1830 The Night Bell From the Series Toto Geiko, CA. 1848 TUSHITA Verlag GmbH · Meidericher Strasse 6–8 · 47058 Duisburg Tel.: Inland: 0203-80097-0 · Export 0203-800-16 · Fax 0203-80097-15 [email protected] · www.tushita.com · Shop www.tushita.de TFA 7754 EAN 4025872022451 TFA 7723 Katsushika Hokusai EAN 4025872022062 Cresting wave off the coast of Kanagawa Salvador Dali 1937 [The great wave] (Kanagawa oki uranami), Cygnes Refletant des Eléphants from the series Thirty-six Views of Mr. Fuji (Fugaku sanjurokkei), ca. 1831 - 1834 TFA 7722 TFA 7452 EAN 4025872022055 EAN 4025872021980 Salvador Dali Salvador Dali The Disintegration of the Persistence The Persistence of Memory, 1931 of Memory, 1952 - 1954 TFA 7739 TFA 7738 EAN 4025872022307 EAN 4025872022291 Edward Hopper Edward Hopper Gas Station, 1940 Nighthawks, 1942 TUSHITA Verlag GmbH · Meidericher Strasse 6–8 · 47058 Duisburg Tel.: Inland: 0203-80097-0 · Export 0203-800-16 · Fax 0203-80097-15 [email protected] · www.tushita.com · Shop www.tushita.de TFA 7458 EAN 4025872022017 TFA 7475 EAN 4025872022024 Salvador Dali Le Bateau, 1942 - 43 Salvador Dali Girafe en feu TFA 7141 TFA 7074 TFA 7458 EAN 4025872021973 EAN 4025872021959 EAN 4025872021997 Salvador Dali Salvador Dali Salvador Dali Ph. M. Ginies Leda Atomica, 1949 (Detail) Rève causé par le vol d‘une abeille... TFA 7484 TFA 7485 TFA 7461 EAN 4025872022031 EAN 4025872022048 EAN 4025872022000 Salvador Dali Salvador Dali Salvador Dali Young Virgin auto-sodomized by Wall Decoration for Helena Rubinstein ma femme, nue... the horns of their own chasity - 1954 1942 (Detail) 1945 (Detail) TUSHITA Verlag GmbH · Meidericher Strasse 6–8 · 47058 Duisburg Tel.: Inland: 0203-80097-0 · Export 0203-800-16 · Fax 0203-80097-15 [email protected] · www.tushita.com · Shop www.tushita.de TFA 7129 TFA 7734 TFA 7516 EAN 4025872022116 EAN 4025872022253 EAN 4025872022239 Pablo Picasso Pablo Picasso Pablo Picasso Femme Debouzt, 1946 (Detail) Portrait of Dora Maar, 1937 Woman with Book TFA 7052 TFA 7068 TFA 7100 EAN 4025872022079 EAN 4025872022093 EAN 4025872022109 Pablo Picasso Pablo Picasso Leonardo da Vinci Portrait de Jaqueline, 1954 Child with a Dove Mona Lisa TFA 7436 TFA 7058 EAN 4025872022176 EAN 4025872022086 Pablo Picasso Michelangelo Sur la plage, 1961 (Detail) Creation of Adam (Section) TUSHITA Verlag GmbH · Meidericher Strasse 6–8 · 47058 Duisburg Tel.: Inland: 0203-80097-0 · Export 0203-800-16 · Fax 0203-80097-15 [email protected] · www.tushita.com · Shop www.tushita.de TFA 7502 TFA 7827 TFA 7473 EAN 4025872022826 EAN 4025872022277 EAN 4025872022819 Wassily Kandinsky Joan Miro Piet Mondrian Aquarelle, 1923 The singing Fish, 1972 Composition with red, blue, yellow TFA 7811 TFA 7810 TFA 7042 EAN 4025872022260 EAN 4025872022284 EAN 4025872022802 Joan Miro Joan Miro Wassily Kandinsky Daybreak, 1968 Dog in front of the sun, 1949 Tension Calme, 1924 TFA 17903 TFA 7036 EAN 4025872022833 EAN 4025872022796 Wassily Kandinsky Wasily Kandinsky Trente, 1937 Fleche vers le cercle TUSHITA Verlag GmbH · Meidericher Strasse 6–8 · 47058 Duisburg Tel.: Inland: 0203-80097-0 · Export 0203-800-16 · Fax 0203-80097-15 [email protected] · www.tushita.com · Shop www.tushita.de NEWSLETTER No. 13 November 2010 TUSHITA FINE ARTS Postkarten TFA 7016–7778 TFA 7773 TFA 7736 TFA 7770 EAN 4025872022680 EAN 4025872022710 EAN 4025872022727 Henri de Toulouse-Lautrec Alfons Mucha Alfons Mucha Students Ball in Bordeaux, 1900 Spring. 1896 Reverie TFA 7772 TFA 7752 TFA 7771 EAN 4025872022673 EAN 4025872022437 EAN 4025872022703 Charles Verneau Théophile Alexandre Steinlein Henri de Toulouse-Lautrec Tournée du Chat Noir Mothu et Doria, 1896-1900 Japanese Divan, 1893 TUSHITA Verlag GmbH · Meidericher Strasse 6–8 · 47058 Duisburg Tel.: Inland: 0203-80097-0 · Export 0203-800-16 · Fax 0203-80097-15 [email protected] · www.tushita.com · Shop www.tushita.de TFA 7753 TFA 7016 EAN 4025872022444 EAN 4025872022659 Théophile Alexandre Steinlein Vincent van Gogh Exposition, Art Nouveau poster for the Branches d‘amadier en fleurs, 1890 exhibition of his work at the Bodiniere, 1894 TFA 7064 TFA 7765 EAN 4025872022611 EAN 4025872022604 Claude Monet Claude Monet Les Coquelicots, 1873 Suzanne Reading, 1887 Musée d‘Orsay, Paris TFA 7762 TFA 7775 EAN 4025872022536 EAN 4025872022666 Claude Monet Vincent van Gogh The Water Lily Pond, Water Irises, 1900-01 Water Lily Pond, 1904 TUSHITA Verlag GmbH · Meidericher Strasse 6–8 · 47058 Duisburg Tel.: Inland: 0203-80097-0 · Export 0203-800-16 · Fax 0203-80097-15 [email protected] · www.tushita.com · Shop www.tushita.de TFA 7763 TFA 7099 TFA 7761 EAN 4025872022543 EAN 4025872022598 EAN 4025872022529 Claude Monet Claude Monet Claude Monet The Japanese Footbridge, 1899 The Artists Garden in Vetheuil The Water Lily Pond, Water Irises (Detail) TFA 7767 TFA 7740 TFA 7741 EAN 4025872022628 EAN 4025872022314 EAN 4025872022321 Vincenz van Gogh Marc Chagall Marc Chagall The Cafe Terrace on the Place The Blue Violinist, 1947 Newlyweds with Pais in the du Forum, Arles, at night Background, CA. 1980 TFA 7769 TFA 7768 EAN 4025872022642 EAN 4025872022635 Vincent van Gogh Vincent van Gogh Starry Night, 1888 Vincent‘s Bedroom in Arles, 1888 TUSHITA Verlag GmbH · Meidericher Strasse 6–8 · 47058 Duisburg Tel.: Inland: 0203-80097-0 · Export 0203-800-16 · Fax 0203-80097-15 [email protected] · www.tushita.com · Shop www.tushita.de TFA 7774 EAN 4025872022697 TFA 7474 EAN 4025872022215 Henri de Toulouse-Lautrec Pierre Bonnard Nu à contre-jour ou Woman in Corset, C. 1894-1896 L‘eau de Cologne, 1908 TFA 7431 TFA 7749 TFA 7750 EAN 4025872022130 EAN 4025872022406 EAN 4025872022413 Otto Müller Amedeo Modigliani Amedeo Modigliani Gypsy Lovers Jeune fille rousse en robe du soir, 1918 Femme en robe noire TFA 7748 TFA 7418 TFA 7747 EAN 4025872022390 EAN 4025872022123 EAN 4025872022383 Egon Schiele Egon Schiele Egon Schiele Squatting Nude The Artist‘s Wife Seated Woman in Underwear, 1917 TUSHITA Verlag GmbH · Meidericher Strasse 6–8 · 47058 Duisburg Tel.: Inland: 0203-80097-0 · Export 0203-800-16 · Fax 0203-80097-15 [email protected] · www.tushita.com · Shop www.tushita.de TFA 7746 TFA 7745 EAN 4025872022376 EAN 4025872022369 Gustav Klimt Gustav Klimt The Girlfriends, 1917 The Dancer, 1916-18 TFA 7744 TFA 7118 TFA 7706 EAN 4025872022352 EAN 4025872022338 EAN 4025872022246 Gustav Klimt Gustav Klimt Gustav Klimt Water Serpents II. 1904-07 The Kiss, 1907-08 Judith I, 1901 TFA 7743 TFA 7751 EAN 4025872022345 EAN 4025872022420 Gustav Klimt Amadeo Modigliani The Fulfillment, 1909 Reclining Nude, 1917 TUSHITA Verlag GmbH · Meidericher Strasse 6–8 · 47058 Duisburg Tel.: Inland: 0203-80097-0 · Export 0203-800-16 · Fax 0203-80097-15 [email protected] · www.tushita.com · Shop www.tushita.de TFA 7110 TFA 7778 EAN 4025872022550 EAN 4025872021966 Gustav Klimt Raoul Dufy The Virgin, 1913 Trente Ans ou La Vie en Rose, 1931 TFA 7737 TFA 7435 EAN 4025872022574 EAN 4025872022161 Paul Klee Raoul Dufy The Mountain Niesen, 1915 La Tour Eiffel, 1935 TFA 7433 TFA 7777 EAN 4025872022147 EAN 4025872021942 Raoul Dufy Raoul Dufy Paris, 14 Juillet Le Moulin de la Galette, 1942 TUSHITA Verlag GmbH · Meidericher Strasse 6–8 · 47058 Duisburg Tel.: Inland: 0203-80097-0 · Export 0203-800-16 · Fax 0203-80097-15 [email protected] · www.tushita.com · Shop www.tushita.de TFA 7735 TFA 7442 EAN 4025872022758 EAN 4025872022192 Paul Klee Robert Motherwell Oriental Sweet, 1938 Je t‘aime, 1955 TFA 7764 TFA 7455 EAN 4025872022741 EAN 4025872022208 Paul Klee Jean Dubuffet Stage Landscape, 1937 Tissu d‘episodes, 1990 TFA 7438 EAN 4025872022185 Jean Dubuffet La Calipette, 1961 TFA 7742 EAN 4025872022581 Paul Klee Park Near Lucerne, 1938 TUSHITA Verlag GmbH · Meidericher Strasse 6–8 · 47058 Duisburg Tel.: Inland: 0203-80097-0 · Export 0203-800-16 · Fax 0203-80097-15 [email protected] · www.tushita.com · Shop www.tushita.de NEWSLETTER No. 3 Februar 2011 TUSHITA FINE ARTS Postkarten TFA 7779–7825 TFA 7782 TFA 7783 TFA 7785 EAN 4025872027777 EAN 4025872027784 EAN 4025872027807 Ando Hiroshige, Pobert Delannay, John William Waterhouse, Turbulent Waves, 1855 Le Manège des cochons, 1922 Boreas, 1902 TFA 7787 TFA 7788 TFA 7809 EAN 4025872027821 EAN 4025872027838 EAN 4025872027876 Jean Fouquet - Madonna, Serafines Edmund Blair-Leighton Paul Klee - Figure in the Garden, and Cherubines, ca. 1450 The Accolade, 1901 1937 TUSHITA Verlag GmbH · Meidericher Strasse 6–8 · 47058 Duisburg Tel.: Inland: 0203-80097-0 · Export 0203-800-16 · Fax 0203-80097-15 [email protected] · www.tushita.com · Shop www.tushita.de TFA 7779 TFA 7780 EAN 4025872027746 EAN 4025872027753 Paul Klee Paul Klee Farbtafel, 1930 Feuer bei Vollmond, 1933 TFA 7781 TFA 7784 EAN 4025872027760 EAN 4025872027791 Edward Hopper Claude Monet Portrait of Orleans, 1950 Strand in Trouville TFA 7786 TFA 7789 EAN 4025872027814 EAN 4025872027845 Claude Monet Gustave Caillebotte The Terrace at Sainte-Adresse, 1867 Les raboteurs de parquet, 1875 TUSHITA Verlag GmbH · Meidericher Strasse 6–8 · 47058 Duisburg Tel.: Inland: 0203-80097-0 · Export 0203-800-16 · Fax 0203-80097-15 [email protected] · www.tushita.com · Shop www.tushita.de TFA 7812 TFA 7814 TFA 7815 EAN 4025872027906 EAN 4025872027920 EAN 4025872027937 Auguste Renoir Fresco at Pompeji, Roman Fresco Dance in the Country, 1883 Neo and his wife, 1st. AD TFA 7816 TFA 7817 TFA 7824 EAN 4025872027944 EAN 4025872027951 EAN 4025872028255 Primavera, Fresco Claude Monet Auguste Renoir Rue St. Denis, 1878 Dance in the City, 1883 TFA 7808 TFA 7813 EAN 4025872027869 EAN 4025872027913 Vincent van Gogh Roman Fresco, 1st.
Load more

Recommended publications
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Paul Gauguin
    Paul Gauguin Painter, Sculptor 1848 – 1903 • Born on June 7, 1848 in Paris, france • Mother was peruvian, family lived Peru for 4 years • Family returns to France when he is 7 • Serves in the Merchant Marine, then the French Navy • Returns to Paris and becomes a Stockbroker • Marries a danish woman and they have 5 children • They live in Copenhagen where he is a stockbroker • Paints in his free time – buys art in galleries and makes friends with artists Portrait of Madame Gauguin • Decides he wants to (1880) paint full time – leaves his family in Copenhagen and goes back to Paris • His early work is in the impressionist style which is very popular at that time • He is not very successful at his art, he is poor • Leaves France to find a simpler life on a tropical island Aline Gauguin Brothers (1883) Visits his friend Vincent vanGogh in Arles, France where they both paint They quarrel, with van Gogh famously cutting off part of his ! own ear Gauguin leaves france and never sees van Gogh again Night Café at Arles (1888) Decides he doesn’t like impressionism, prefers native art of africa and asia because it has more meaning (symbolism) He paints flat areas of color and bold outlines He lives in Tahiti and The Siesta (1892) paints images of Polynesian life Tahitian women on the beach (1891) • His art is in the Primitivist style- exaggerated body proportions, animal symbolism, geometric designs and bold contrasting colors • Gauguin is the first artist of his time to become successful with this style (so different from the popular impressionism) • His work influences other painters, especially Pablo Picasso When do you get married? (1892) Gauguin spent the remainder of his life painting and living ! in the Marquesas Islands, a very remote, jungle-like ! place in French Polynesia (close to Tahiti) Gauguin’s house, Atuona, ! Marquesas Islands Gauguin lived ! alone in the ! jungle, where ! one day his houseboy arrived to find him dead, with a smile on his face.
    [Show full text]
  • Finding Form Art at Saint Mary's
    Summer 2007 . Finding Form Art at Saint Mary’s Your gift to the Annual Fund creates. Your gift could help a young woman... who has always dreamed in color... attend Saint Mary’s... where she will learn theories and techniques… and study the ideas and events… that have inspired expression through the ages… ideas that will change her perspective… and give her the power… to change the perspective of others. The Annual Fund A Larger Canvas Gifts to the Annual Fund help provide fifinancial nancial aidaid andand scholarshipsscholarships toto SaintSaint Mary’sMary's students.students. NineNine out out of ten Saint Mary’sMary's studentsstudents receivereceive somesome kindkind ofof fifinancial nancial assistance.assistance. YourYour contribution,contribution, largelarge oror small, small, makes a difference! Please support the Annual Fund by making a gift onlineonline atat www.saintmarys.eduwww.saintmarys.edu oror byby callingcalling (800)(800) SMC-8871.SMC-8871. tableof contents Volume 82, Number 2 Summer 2007 FEATURES Courier (USPS 135-340) is published four times a year by Saint Mary’s College, Notre Dame, IN 46556-5001. 4 From Inspiration Periodicals postage paid at the Post Offi ce at Notre Dame, IN 46556 to Installation and at additional mailing offi ces. POSTMASTER: Send address changes by Scot Erin Briggs to Alumnae Relations, Saint Mary’s College, 110 Le Mans Hall, Notre The fourth in a six-part series on the Dame, IN 46556-5001. College’s nationally accredited programs. Copyright 2007 Saint Mary’s College, Page 4 Notre Dame, IN 46556. Reproduction in whole or part is 10 The Artist’s Way prohibited without written permission.
    [Show full text]
  • The Anchor Newspapers
    Rhode Island College Digital Commons @ RIC The Anchor Newspapers 9-11-1939 The Anchor (1939, Volume 11 Issue 01) Rhode Island College of Education Follow this and additional works at: https://digitalcommons.ric.edu/the_anchor Recommended Citation Rhode Island College of Education, "The Anchor (1939, Volume 11 Issue 01)" (1939). The Anchor. 47. https://digitalcommons.ric.edu/the_anchor/47 This Book is brought to you for free and open access by the Newspapers at Digital Commons @ RIC. It has been accepted for inclusion in The Anchor by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. Greetings , lanket Tax Payable Class of 1942 ! THE ANCHO Today RHODE ISLAND COLLEGE OF EDUCATION Vol. XI, ::--Jo.1 PROVIDENCE, RHODE ISLAND, MONDAY, SEPTEMBER 11, 1939 Price 10c Repainted College Interior Barnard Practice Trustees Expected to Name Greets R i c_e_a_n_s__ T _o_d_a----=--y Assignments Made College Head in October Guide Editor Dean Lists New Students in Shower Repairs to Commence Preparatory Course Board Pays Honor ,Professor Brown President in October Until Appointment The list of students who will prac­ to Attainments Much discussed plans for altera­ tice at Henry Barnard School from The new President of R. I. C. E. tions in the physical aspect of Rhode September, 1939 to February , 1940 of Dr. Alger to take the place of Doctor John Island College of Education ha'Ve in preparation rfor spring state train­ Lincoln 1A1ger, ,who resigned in Aug­ finally been partially carried into ef­ irug assignments was made •known by Declaring that '"Doctor John Al­ ust, will not 1be named until Octo­ fect.
    [Show full text]
  • 8. Siestas and Snoozes
    87 8. Siestas and Snoozes When one yawns until the hinges of the jaws can’t open any wider and stretches to the point of tumbling over, drowsiness seeks satisfaction in sleep: The body is demanding attention. Twenty or thirty minutes of rest are called for, ideally during the fall in vigilance between three and five in the afternoon. Studies show that halfway through the day at least twenty minutes of sleep boosts one’s intellectual and physical performance. In East Asia, many companies make time available for workers and staff to take a nap after lunch. Elsewhere, however, this break that promotes wellbeing is rarely respected. Like other practices that once seemed so difficult to establish, however, leadership and example, together with appropriate facilities, could make for an enduring change. If people are really a company’s most precious resource, why can’t a break that makes them more productive become established practice? When one is sleepy, it shows: Edgar Degas’ (1834-1917) The Ironers (fig. 134) is a justly famous work that captures this theme perhaps better than any other. Figure 134.- . Edgar Degas (France, 1834-1917). The Ironers, circa 1878/79. – Oil on canvas, 76 x 81.5 cm. Musée d'Orsay, Paris France Two women in a laundry stand before an ironing bench. Degas places them along a diagonal. The one on the left, already in a state of lethargy, yawns as drowsiness overcomes her; beside her, her exhausted workmate leans heavily on her iron, pressing down with both hands. Confined in the close frame of the painting, the women evoke an emotion that the restricted space intensifies.
    [Show full text]
  • Eindhoven Footnotes 2 Not Knowing the City of Knowledge Eindhoven Footnotes 2 Not Knowing the City of Knowledge 2 Introduction Jacqueline Schoemaker
    Eindhoven Footnotes 2 Not Knowing the City of Knowledge Eindhoven Footnotes 2 Not Knowing the City of Knowledge 2 Introduction Jacqueline Schoemaker SOMETIMES SOMEONE ASKS me to pass on to others a method of approaching public space that was passed on to me several years ago. It’s a simple method, one you can apply yourself, anywhere you are, if you feel that the territory you custom- arily move about in, or even some territory you don’t know at all, needs closer examination. Here’s what you do: you draw a random straight line on a topographical map of the territory you’re about to explore, and you walk, as closely as possible, on that line. You don’t choose where you walk but you let yourself be dictated by a predetermined route that doesn’t follow but cuts right through the logic of the planned environ- ment, the logic, that is, of the social, political and economic fabrics that make up the territory. You become a stranger to those structures, you 3 EINDHOVEN FOOTNOTES don’t walk from home to work or from a concert to the train station, but you walk westward, or you walk until the steady rain makes you seek shelter. How do you walk a straight line? You can’t. In reality, you make an irregular zigzag move- ment while you walk. The straight line that you drew on the map cuts through houses, office buildings, railway lines, enclosed industrial areas, roads under construction, woods without footpaths. In order to stay as closely as possible on the straight line, you have to diverge from it, continually.
    [Show full text]
  • An Illustrated Catalogue of Painter-Etchings for Sale by Frederick Keppel & Co
    CORNELL UNIVERSITY COLLEGE OF ARCHITECTURE LIBRARY Cornell University Library NE 1960.K38 The print-collector's bulletln:an illust 3 1924 020 561 738 THE PRINT-COLLECTOR'S BULLETIN AN ILLUSTRATED CATALOGUE OF PAINTER-ETCHINGS FOR SALE BY FREDERICK KEPPEL & CO. 4 EAST 39th STREET, NEW YORK NOTE ALTHOUGH on the day of issuing The Print-Collectok's . Bulletin Ave were able to supply each print mentioned at the price quoted, the steady advance in the value of certain rare prints sometimes renders it impossible for us to supply a duplicate im- pression at the original price. After the Bulletin has been examined, we should be glad to send a selection of the Etchings themselves, for inspection, by ex- press or mail, to any address. AVe pay all charges of transmission ; and our correspondents need feel under no obligation to purchase, if the Etchings themselves do not satisfy them in every respect. Correspondents whom we do not already know, and who may desire to have Etchings sent on selection, will recognize the pro- priety of introducing themselves with a proper reference. Frederick Keppel & Co. Septemlier L!S, 1908 \^ ADOLPHE APPIAN ADOLPHE APPIAN MY admiration foi' Appiaii's wofk as an etcher (lie is a chai'iii- . iiig painter also) was ab'eady great several years ago, but the more I see how rare liis (pialities are in contemporary art, or in any art, the more I feel disposed to value them. His work is always quite easy and graceful in manner, never strained, never betraying an effort, and it hardly ever fails to charm by a most delicate feeling for the poeti-y of natural landscape.
    [Show full text]
  • EOC Narcolepsy And
    NARCOLEPSY Cover: “Sleeping Movement”, Siepie van der Meer. Y S P E The art of dreaming: L giving shape to dreams. O Narcolepsy and art. C R Collected by: Claudio Bassetti and Monika Raimondi Neurocenter (EOC) of Southern Switzerland A on behalf of the European Narcolepsy Network (EU-NN) under the patronage of the N European Sleep Research Society (ESRS) “The object of art is to give life a shape.” (William Shakespeare) INTRODUCTION Narcolepsy is a chronic sleep disorder in which a Y person is overcome by sudden, uncontrollable sleep attacks. It is believed to affect approximately 1 in every 2,000 people regardless of sex and/or race (about 200,000 people in Europe). S Narcolepsy is frequently unrecognised, and often mistaken for epilepsy or depression. The typical wait between onset and diagnosis is 10 years. P Many people with narcolepsy find that it affects their psychological well-being. Narcolepsy negatively E affects their self-esteem, job stability, and relationships. The most common symptom of narcolepsy is excessive and overwhelming daytime sleepiness regardless of the amount of night time L sleep a person gets. It usually starts affecting people when they are teenagers or young adults. Other classic symptoms O of narcolepsy, which don't necessarily occur in all patients, include cataplexy, disrupted or fragmented night time sleep, hypnagogic and hypnopompic hallucinations, and sleep paralysis. C Since it causes poor memory, reduced concentration or attention, and irritability, daytime sleepiness can impair people's ability to perform everyday tasks. R The life of a narcoleptic is one full of added complications.
    [Show full text]
  • 7603551.Pdf (4.18
    INFORMATION TO USERS This material wat produced from a microfilmcopy of the original document. While tha moat advanced technological meant totograph pho and reproduce this document have been wed, the quality it heavily deparot upon the quality of the original submitted. The following explanation of techniquesprovided is to help you understand markings or patterns which may appear onreproduction. this I.The sign or "target" for pages perentiyapi lacking from the document photographed is "Misting Page(s)". it was possible to obtain the missing paga(s) or section, they are splicedto in the film along with adjacent pages, This may have necessitated cuttingru thi an image end duplicating adjacent pages to insure you complete continuty. 2. Whan an image on the film is oblitsratad with a large round black mark, it is an indication that tha photographcr suspected that tho copy may have moved during exposure and cauithusise a blurred image. You will find a good image of the pega in the edjacert frame. 3. Whan a map,drawing or chart, jtc.,e was part of the matarial being photographedthe photographerfollowed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand comer of a large sheet arid to continue photoing from left to right in equal sections with a smat overlap. If necessary, sectioning is continued again — beginning below pie first row and continuing on until complete. 4. The majority of users indicate that textual content is of greatest value, however, a sommvhat higher qualireproduction could be made from "photographs" if essential to the uirstanding of tha dissartation.
    [Show full text]
  • THE PANAMA CANAL REVIEW 2, from Lockages at Pedro Miguel
    5 cents Vol. 8, No. 1 BALBOA HEIGHTS, CANAL ZONE, AUGUST 2, 1957 Gift Ofthe Panama CanalMuseum pany over a four-year construction per- il id, requiring neither special appropria- tions nor borrowing. WTiile the short-range plan embodies no new features that have not been given consideration in prior studies of the Canal capacity problem, it attacks the problem at the most immediately critical points. Of importance in the long-range planning, virtually all of the proposed improve- ments would be beneficial in almost any permanent improvements or changes con- sidered probable for the Panama Canal. The study of the Canal capacity prob- lem is being conducted by an Ad Hoc Committee appointed last January by Assistant Secretary of the .Army George H. Roderick. Members aie Governor Potter, Chan-man, Maj. Gen. Julian L. Schley, and Ralph A. Tudor. The Ad Hoc Committee's first report was based on statistical and other data developed by a Working Committee, composed of a group of Canal officials intimately acquainted with operating problems. This v>-as headed by former Lt. Gov. H. W. Schull, Jr., until his departure last month. He has been succeeded as Chairman by Lt. Gov. Hugh ^L Arnold. Efforts of the Working Committee were warmly praised by Board members, especially plans for illumination of the Locks and Gaillard Cut which were de- veloped largely through Colonel Schull's initiative. In effect the short-range plan will provide for 24-hour operation of the waterway under safe conditions; par- Mooring facilities For two big ships north of Pedro Miguel Locks would reduce tial elimination of a serious bottleneck congestion and increase Canal capacity during Pacific Locks overhaul periods.
    [Show full text]
  • The Projects and Wanderings of Alfanhui] with a Critical Introduction by Ruth M
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1964 English translation of the Spanish novel Industrias y andanzas de Alfanhui [The projects and wanderings of Alfanhui] with a critical introduction by Ruth M. Danald Ruth M. Danald The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Danald, Ruth M., "English translation of the Spanish novel Industrias y andanzas de Alfanhui [The projects and wanderings of Alfanhui] with a critical introduction by Ruth M. Danald" (1964). Graduate Student Theses, Dissertations, & Professional Papers. 2229. https://scholarworks.umt.edu/etd/2229 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. An English Translation of the Spanish Novel INDUSTRIAS I ANDANZAS DE ALFANHUI h f Bafael sSnchez Ferlosio with a Critical Introduction by Ruth M. Danald B.A. Douglass College, Rutgers University, 1942 Presented in partial fulfillment of the requirements for the degree of Master of Arts MONTANA STATE UNIVERSITY 1964 Approved by: .airman. Board of Examiners Graduate School AUG 21 1964 Date UMI Number: EP35648 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted.
    [Show full text]
  • Sample Slide Sample Slide Sample Slide Sample Slide Sample Slide Sample Slide Sample Slide Sample Slide Sample Slide Sample Slid
    The Harvest Landscape MD 2008 Van Gogh and Monet Teachers’ notes This a self portrait by Vincent Van Gogh. He was born in the Brabant area of Holland in 1853. Look carefully at his painting. Can you see all his brush strokes? They look like he has painted with lines. 1853 - 1890Sample Slide wheat fieldSample Slide Van Gogh painted a lot of pictures of the countryside around him. This was one of the the last paintings that Vincent Sample Slide Van Gogh painted before he died. It is called wheat field with crows. Sample Slide Many of his pictures were painted at Sample Slide harvest time. wheat field with stacks In each of his paintings, the colour of the haystacks is Sheaves of wheat – July 1890 Vincent Van Gogh was very interested in the different because harvest. He often painted farmers at work. His the light shining paintings show us what it was like in those days. on the haystacks Sample Slide is different. Sheaves of wheat – August 1885 Monet tried to Sample Slide paint his impression of what he saw as SampClaudele Monet S wasl ai de the light changed. French painter who was Sample Slide born in France in 1840. In a field next to Monet’s Haystacks in house there were some Provence 1888 haystacks. The haystacks In October 1890 Monet wrote a letter about his were kept until the cut haystacks paintings. He said…. 1840 - 1926 crop could be threshed to separate the grains from the stalks. I’m hard at it, working Sample Slide stubbornly on a series of different effects, but at this time of year the sun sets so Sample Slide Monet painted pictures fast that it’s impossible to of the same haystacks Sample Slide Monet would get up before it The Siesta I want to paint what I can see to show them at keep up with it! was properly light and paint his at the very moment I see it.
    [Show full text]