Lasser Ethan (30 results)

Condition: Very Good. Item in very good condition! Textbooks may not include supplemental items i.e. CDs, access codes etc.

Condition: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.

Hardcover. Condition: Good. HARDCOVER Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Oversized.

Hardcover. Condition: Used-Very Good. Cloth, no dj. Minor shelf-wear.

Softcover, new condition, still in shrinkwrap, clean and crisp.

Paperback. Condition: Fine.

Hardcover. Condition: Very Good. no dust jacket as issued No dust jacket. Very Good hardcover with light shelfwear - NICE! Oversized.

hardcover. Condition: Very Good. Modest shelfwear to clear acetate jacket, clean pages and sound binding.

284pp. 72 plates, numerous text illus. Lrg. 4to. Boards. Published in conjunction with exhibitions at Harvard Art Museums, Harvard University, Cambridge, May-Dec. 2017, and The Hunterian, University of Glasgow, 2018.

Hardcover without dustjacket as issued, 284 pages, as new condition; clean and crisp; no internal marks. Foreign shipping may be extra.

Hardcover. Condition: New. Brand new still in publisher's shrink wrap. oversized and overweight. Please email for photos. Larger books or sets may require additional shipping charges. Books sent via US Postal.

Hardcover. Condition: New in shrinkwrap. Color-pictorial boards; white lettering. Decorative end papers; orange place-holder ribbon. XXIV, [2], 284 pp. full of color and a few bw illustrations. This publication accompanies the exhibition The Philosophy Chamber: Art and Science in Harvard's Teaching Cabinet, 1766-1820, on view at the Harvard Art Museums, Cambridge, Massachusetts, from May 19 through December 31, 2017, and at The Hunterian, University of Glasgow, Scotland, in 2018. This book explores the history and collections of one of the most unusual rooms in early America. Between 1766 and 1820, the Philosophy Chamber, a grand room adjacent to the Harvard College Library, was home to more than one thousand artifacts, natural specimens, and works of art dispatched to the college from points around the globe. Named for the discipline of natural philosophy, the Philosophy Chamber served as a lecture hall, experimental lab, and picture gallery. The room was frequented by an array of artists, scientists, travelers, and revolutionaries, and its collections stood at the center of artistic and intellectual life at Harvard and in the New England region for more than 50 years. Dispersed and hidden away for nearly 200 years, this unrivaled collection has been reunited for the first time since it was originally assembled, providing an invaluable window into the art and culture of early America. It attests to the wide-ranging spirit of inquiry that characterized the late 18th and early 19th centuries. With an insightful look at conservation efforts and detailed examination of specific objects, including works by artists such as John Singleton Copley and John Trumbull, this publication explores the social and political stakes that underpinned one of the most remarkable assemblages of artifacts, images, and objects in the Atlantic World, and introduces readers to many long-forgotten icons of American culture. - from the museum's web site.

Hardback. Condition: New. Nineteenth-century stoneware by enslaved and free potters living in Edgefield, South Carolina, highlights the central role of Black artists in the region's long-standing pottery traditions Recentering the development of industrially scaled Southern pottery traditions around enslaved and free Black potters working in the mid-nineteenth century, this catalogue presents groundbreaking scholarship and new perspectives on stoneware made in and around Edgefield, South Carolina. Among the remarkable works included are a selection of regional face vessels as well as masterpieces by enslaved potter and poet David Drake, who signed, dated, and incised verses on many of his jars, even though literacy among enslaved people was criminalized at the time. Essays on the production, collection, dispersal, and reception of stoneware from Edgefield offer a critical look at what it means to collect, exhibit, and interpret objects made by enslaved artisans. Several featured contemporary works inspired by or related to Edgefield stoneware attest to the cultural and historical significance of this body of work, and an interview with acclaimed contemporary artist Simone Leigh illuminates its continued relevance.Published by The Metropolitan Museum of Art/Distributed by Yale University PressExhibition Schedule:The Metropolitan Museum of Art, New York (September 9, 2022-February 5, 2023)  Museum of Fine Arts, Boston (March 6-July 9, 2023)  University of Michigan Museum of Art, Ann Arbor (August 26, 2023-January 7, 2024)  High Museum of Art, Atlanta (February 16-May 12, 2024).

Condition: As New. Unread book in perfect condition.

Condition: New.

Hard Cover. Condition: Very Good -. First Hardback Edition. 300 x 210mm. pp. 284. English text. First hardback edition of 'The Philosophy Chamber: Art and Science in Harvard's Teaching Cabinet 1766 - 1820'. Colour and black and white illustrations (mostly colour). Bound in original pictorial boards. No dust jacket [as published]. Some rubbing and light bumping to corners, otherwise generally clean. Binding strong. No ownership inscription or underlining. See images. 1.45kg. Extra postage overseas.

Hardcover. Condition: NF. Color-pictorial boards; white lettering. Decorative end papers; orange place-holder ribbon. XXIV, [2], 284 pp. full of color and a few bw illustrations. This publication accompanies the exhibition The Philosophy Chamber: Art and Science in Harvard's Teaching Cabinet, 1766-1820, on view at the Harvard Art Museums, Cambridge, Massachusetts, from May 19 through December 31, 2017, and at The Hunterian, University of Glasgow, Scotland, in 2018. This book explores the history and collections of one of the most unusual rooms in early America. Between 1766 and 1820, the Philosophy Chamber, a grand room adjacent to the Harvard College Library, was home to more than one thousand artifacts, natural specimens, and works of art dispatched to the college from points around the globe. Named for the discipline of natural philosophy, the Philosophy Chamber served as a lecture hall, experimental lab, and picture gallery. The room was frequented by an array of artists, scientists, travelers, and revolutionaries, and its collections stood at the center of artistic and intellectual life at Harvard and in the New England region for more than 50 years. Dispersed and hidden away for nearly 200 years, this unrivaled collection has been reunited for the first time since it was originally assembled, providing an invaluable window into the art and culture of early America. It attests to the wide-ranging spirit of inquiry that characterized the late 18th and early 19th centuries. With an insightful look at conservation efforts and detailed examination of specific objects, including works by artists such as John Singleton Copley and John Trumbull, this publication explores the social and political stakes that underpinned one of the most remarkable assemblages of artifacts, images, and objects in the Atlantic World, and introduces readers to many long-forgotten icons of American culture. - from the museum's web site.

Condition: As New. Unread book in perfect condition.

Condition: New.

Hardcover. Condition: Brand New. 350 pages. 11.75x8.25x1.00 inches. In Stock.

Paperback. Condition: Brand New. 458 pages. 9.50x6.50x1.25 inches. In Stock.

Condition: New. Satisfaction Guaranteed or your money back.

Hardback. Condition: New. Nineteenth-century stoneware by enslaved and free potters living in Edgefield, South Carolina, highlights the central role of Black artists in the region's long-standing pottery traditions Recentering the development of industrially scaled Southern pottery traditions around enslaved and free Black potters working in the mid-nineteenth century, this catalogue presents groundbreaking scholarship and new perspectives on stoneware made in and around Edgefield, South Carolina. Among the remarkable works included are a selection of regional face vessels as well as masterpieces by enslaved potter and poet David Drake, who signed, dated, and incised verses on many of his jars, even though literacy among enslaved people was criminalized at the time. Essays on the production, collection, dispersal, and reception of stoneware from Edgefield offer a critical look at what it means to collect, exhibit, and interpret objects made by enslaved artisans. Several featured contemporary works inspired by or related to Edgefield stoneware attest to the cultural and historical significance of this body of work, and an interview with acclaimed contemporary artist Simone Leigh illuminates its continued relevance.Published by The Metropolitan Museum of Art/Distributed by Yale University PressExhibition Schedule:The Metropolitan Museum of Art, New York (September 9, 2022-February 5, 2023)  Museum of Fine Arts, Boston (March 6-July 9, 2023)  University of Michigan Museum of Art, Ann Arbor (August 26, 2023-January 7, 2024)  High Museum of Art, Atlanta (February 16-May 12, 2024).

Condition: Sehr gut. Zustand: Sehr gut | Sprache: Englisch | Produktart: Bücher | Keine Beschreibung verfügbar.

Condition: As New. Unread book in perfect condition.

Condition: As New. Unread book in perfect condition.

Condition: New.

Condition: New.

Hardcover. Condition: Brand New. 458 pages. 9.50x6.75x1.25 inches. In Stock.

Final script for the 1985 film, seen here under the working title "The XYZ Murders," with an annotation in manuscript pencil on the title page, noting the release title. A mild-mannered security technician finds himself unwillingly implicated in a murder plot engineered by his boss, who has hired a pair of hit men after learning of a covert plan by his business partner to undermine his authority. Although largely unsuccessful upon release, the film has since been reconsidered as a cult classic. Shot on location in Los Angeles and Detroit. White generic Embassy Pictures wrappers. Title page present, dated 10/20/83, noted as Final, with credits for screenwriters Sam Raimi and Joel and Ethan Coen. 100 leaves, with last page of text numbered 98. Xerographic duplication, rectos only. Pages Near Fine, wrapper Very Good plus, bound internally with two gold brads.