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Shamrock Tableware, with its basket weave, is a timeless design first created in the 1880s.The simplicity of the pattern is based on the weave used in wickerwork baskets, once a common feature of both town and country. The design also cleverly uses the stems of the shamrocks to shape such features as the handles and details of the design. It remains an iconic collection, one symbolic of Belleek’s long craft tradition. This Teacup and Saucer comes as a set and with its handpainted Shamrocks would make a signature gift that can be treasured for a lifetime. •Made In Ireland •Hand Painted •Teacup and Saucer Included •Handwash Recommened •Measures - Teacup 11.4cmW x 7.1cmH x 177mlC/6flozC, Saucer 16.5cmD

Inspired by the book "Viagens Philosophicas" (philosophical voyages) by the naturalist Alexandre Rodrigues Ferreira, as well as by the fauna, flora and people of today's Amaznia, this collection, which was developed in partnership with Ecoarts Amaznia, gathers all of the groups brands for the first time, namely Vista Alegre, Casa Alegre and Bordallo Pinheiro. Featuring over 70 porcelain, earthenware, stoneware, glass and crystal pieces, part of the revenue from the collection will be channeled back into the reforestation of the Amazon's Mato Grosso area through the planting of native fruit trees, which will help preserve an environmental, cultural, social and scientific heritage that is crucial to the future of humankind. Award winning collection with a European Product Design Award - Silver Prize Winner. 3oz capacity Porcelain Made in Portugal Your account will be credited within 48 hours after this item ships. The Account Credit is not valid for prior purchases or balances and must be used within sixty (60) calendar days after the Account Credit is deposited into your account (the "Account Credit Period"). Upon expiration of the applicable Account Credit Period any unused Account Credit will automatically expire.

From the Pulitzer Prize–winning author of The Overstory, an emotionally charged novel inspired by the myth of Orpheus."If Powers were an American writer of the nineteenth century...he'd probably be the Herman Melville of Moby-Dick. His picture is that big," wrote Margaret Atwood (New York Review of Books). Indeed, since his debut in 1985 with Three Farmers on Their Way to a Dance, Richard Powers has been astonishing readers with novels that are sweeping in range, dazzling in technique, and rich in their explorations of music, art, literature, and technology.In Orfeo, Powers tells the story of a man journeying into his past as he desperately flees the present. Composer Peter Els opens the door one evening to find the police on his doorstep. His home microbiology lab―the latest experiment in his lifelong attempt to find music in surprising patterns―has aroused the suspicions of Homeland Security. Panicked by the raid, Els turns fugitive. As an Internet-fueled hysteria erupts, Els―the "Bioterrorist Bach"―pays a final visit to the people he loves, those who shaped his musical journey. Through the help of his ex-wife, his daughter, and his longtime collaborator, Els hatches a plan to turn this disastrous collision with the security state into a work of art that will reawaken its audience to the sounds all around them. The result is a novel that soars in spirit and language by a writer who “may be America’s most ambitious novelist” (Kevin Berger, San Francisco Chronicle).

On November 20, 1952, George Adamski first made contact with extraterrestrials-including a long-haired youth from Venus named Orthon-in the California desert.or so he claimed. He offered photographic proof. He wrote books about his encounters, including the sensational bestseller Flying Saucers Have Landed. He never stopped advocating the truth of his claims even as he came under extraordinary ridicule. And in the process, however inadvertently, Adamski invented the modern mass counterculture. This new edition of Colin Bennett's modern classic posits, in the author's uniquely engaging style, Adamski as a kind of unwitting performance artist who "structured one of the most blatant acts of visionary cheek of the twentieth century," introducing the jittery postwar Western world to the image of the UFO, which confounded and tweaked authority while also fully embodying Cold War neuroses. Whether Adamski was telling the truth or not is almost irrelevant-though Bennett has his own ideas about Adamski's veracity. What remains compelling about Adamski's bizarre and compelling tale of alien visitations is the transformative power of stories, even if they're false, to warp our culture on a grand scale.

Madness, murder and mayhem abound in SPIES & SAUCERS, a collection of three sui generis novellas by ROBERT GUFFEY. Each of these tales explores the anti-Communist hysteria of the 1950s, as well as the flying saucer obsession of that era, while straddling the boundaries of seemingly disparate genres: metaphysical science fiction, espionage, satire, and crime noir. The first part of SPIES & SAUCERS, The Fallen Nun, takes place in 1959. Our protagonist, Kyle Black, wakes up one morning to discover a dead nun lying facedown in the marijuana garden in his backyard. Attempting to solve the mystery of how the nun ended up in his garden leads Kyle to strange encounters with an Irish Cyclops named Finn mac Cumhall, a Devil Bat grown to enormous proportions by a dead mad scientist, two homicidal tabloid journalists, and a sickly extraterrestrial abducted by a time travelling mother superior . . . In Communist Town, U.S.A., a young FBI agent named Philip Trowbridge is sent to Wisconsin in 1955 with orders to infiltrate a small town, reportedly a hotbed of underground Communist activity, in which several previous FBI agents have disappeared without a trace . . . "Spies and Saucers" is set three years earlier in 1952 and involves a blacklisted, left-wing Hollywood screenwriter named Curt Adamson. Down on his luck after having been dumped by every studio on the West Coast, Adamson is recruited by a covert spy agency to write a screenplay for an unknown reason unknown only to Adamson, that is. Adamson s superiors are well aware of the screenplay s purpose. Though consistently told he doesn t have a need to know, Adamson insists on discovering the truth behind the tale he himself is weaving, and uncovers a plot far more outlandish and ominous than the cheap horror and science fiction B-movies on which he s built his tarnished reputation . . .

Secret files regarding aliens and the government's attempts to cover-up.

Madness, murder and mayhem abound in SPIES & SAUCERS, a collection of three sui generis novellas by ROBERT GUFFEY. Each of these tales explores the anti-Communist hysteria of the 1950s, as well as the flying saucer obsession of that era, while straddling the boundaries of seemingly disparate genres: metaphysical science fiction, espionage, satire, and crime noir. The first part of SPIES & SAUCERS, The Fallen Nun, takes place in 1959. Our protagonist, Kyle Black, wakes up one morning to discover a dead nun lying facedown in the marijuana garden in his backyard. Attempting to solve the mystery of how the nun ended up in his garden leads Kyle to strange encounters with an Irish Cyclops named Finn mac Cumhall, a Devil Bat grown to enormous proportions by a dead mad scientist, two homicidal tabloid journalists, and a sickly extraterrestrial abducted by a time travelling mother superior . . . In Communist Town, U.S.A., a young FBI agent named Philip Trowbridge is sent to Wisconsin in 1955 with orders to infiltrate a small town, reportedly a hotbed of underground Communist activity, in which several previous FBI agents have disappeared without a trace . . . "Spies and Saucers" is set three years earlier in 1952 and involves a blacklisted, left-wing Hollywood screenwriter named Curt Adamson. Down on his luck after having been dumped by every studio on the West Coast, Adamson is recruited by a covert spy agency to write a screenplay for an unknown reason unknown only to Adamson, that is. Adamson s superiors are well aware of the screenplay s purpose. Though consistently told he doesn t have a need to know, Adamson insists on discovering the truth behind the tale he himself is weaving, and uncovers a plot far more outlandish and ominous than the cheap horror and science fiction B-movies on which he s built his tarnished reputation . . .

Kurt Vonnegut cites Theodore Sturgeon as the inspiration for his character Kilgore Trout. This volume includes 12 stories from 1953, considered Sturgeon's golden era. Among them are such favorites as the title story, "The Silken-Swift," "A Way of Thinking," "The Dark Room," "The Clinic," and "The World Well Lost," a story known for being very ahead of its time in advocating gay rights.

205 pages. Paperback in very good condition; Age toning to page edges and end papers.

On November 20, 1952, George Adamski first made contact with extraterrestrials-including a long-haired youth from Venus named Orthon-in the California desert.or so he claimed. He offered photographic proof. He wrote books about his encounters, including the sensational bestseller Flying Saucers Have Landed. He never stopped advocating the truth of his claims even as he came under extraordinary ridicule. And in the process, however inadvertently, Adamski invented the modern mass counterculture. This new edition of Colin Bennett's modern classic posits, in the author's uniquely engaging style, Adamski as a kind of unwitting performance artist who "structured one of the most blatant acts of visionary cheek of the twentieth century," introducing the jittery postwar Western world to the image of the UFO, which confounded and tweaked authority while also fully embodying Cold War neuroses. Whether Adamski was telling the truth or not is almost irrelevant-though Bennett has his own ideas about Adamski's veracity. What remains compelling about Adamski's bizarre and compelling tale of alien visitations is the transformative power of stories, even if they're false, to warp our culture on a grand scale.

Who would have thought back in 1946 that a small, struggling machine shop named Arrow Development would change the way the world would have fun?  In today's setting of themed environments and multi-million dollar attractions, it is hard to picture what the amusement industry was like right after the Second World War. Theme parks did not exist. "Kiddielands" were popular, but small and crude. Larger amusement parks, such as those at Coney Island, were becoming a bit ragged and seedy. Valuable raw materials went to war, not to pleasure. What was left after the war was in short supply and extremely expensive.  Ed and Karl's accomplishments are indeed stunning when viewed as a whole.  Their association with Walt Disney lasted for nearly twenty years, and resulted in Arrow having a hand in numerous ride systems for Disney up until the opening of Walt Disney World. They created dark rides, boat rides, car rides, and a group of circling pachyderms named Dumbo. But the most important contribution to Disneyland by Ed and Karl was the Matterhorn Mountain Bobsleds. Before 1959, roller coasters were either wooden or small steel structures built of flat iron rails. The duo decided that to simulate a bobsled, none of these options would work.  Instead, they came up with an entirely new system, where low slung vehicles would ride on polyurethane wheels over a tubular steel track. Thus, the modern roller coaster was born. Today, every tubular steel roller coaster in the world can trace its lineage back to Ed and Karl.

First Daily Grail edition, first printing. 2014 reprint of 1969 original. Fine- hardback in a Fine- dust jacket, protected in a Brodart, clean and unmarked.

This teacup and saucer showcases a joyous detail from First Steps, after Millet (1890), one of Vincent van Gogh's (Dutch, 1853-1890) many interpretations of works by Jean-François Millet (French, 1814-1875). Van Gogh deeply admired the Barbizon School cofounder, who so adeptly portrayed the beauty and drudgery of rural French life. In the fall and winter of 1889-90, while he was a voluntary patient at the asylum in Saint-Rémy, the Dutch artist painted 21 copies-or "translations," as he referred to them-after Millet, including this endearing picture of a young child toddling toward a field-bound figure with open arms.

Based on the Greek legend of Orpheus, Gluck's Orfeo ed Euridice is one of the oldest operas in the repertoire. Its beautiful simplicity, poignant story, and moving arias, expressed in music largely pastoral and elegiac in tone, have made the work a favorite of audiences since its first production in 1762.In a series of elegant, dramatic musical tableaux, the opera tells the story of Orpheus, a musician of ancient Greece, who pines after Euridice, his recently deceased lover. Inconsolable, Orpheus descends to the underworld where the depth of his sorrow and the intensity of his love for Euridice persuade the gods to release her. However, there is one condition: during the journey back to the world above, Orpheus must not look upon his lover. Torn by passion and fear of abandonment by Euridice, Orpheus cannot resist embracing his beloved — and loses her again. Because of the festive nature of the occasion for which the opera was written, however, the work ends on a happy note: the gods again take pity on Orpheus and restore Euridice to life once more.By the time he composed Orfeo ed Euridice, Glick's style had fully assimilated (to quote D. J. Grout in A History of Western Music) "Italian melodic grace, German seriousness, and the stately magnificence of the French tragédie lyrique." Now music lovers can study and appreciate the complete score of this masterpiece, reprinted here from the authoritative full-score edition originally published in the Denkmäler der Tonkunst in Österreich.

Here are three poems by unknown authors, the first two dating from around 1400 AD. The poems come with an acclaimed introduction by Tolkien, and have become an established student text.

This teacup and saucer showcases a joyous detail from First Steps, after Millet (1890), one of Vincent van Gogh's (Dutch, 1853-1890) many interpretations of works by Jean-François Millet (French, 1814-1875). Van Gogh deeply admired the Barbizon School cofounder, who so adeptly portrayed the beauty and drudgery of rural French life. In the fall and winter of 1889-90, while he was a voluntary patient at the asylum in Saint-Rémy, the Dutch artist painted 21 copies-or "translations," as he referred to them-after Millet, including this endearing picture of a young child toddling toward a field-bound figure with open arms.

Gluck: Orfeo Ed Euridice / Kuijken, Kweksilber, Jacobs, Release Date: 01/01/1999, Composer: Christoph W. Gluck, Performer: Ren Jacobs, Magdalena Falewicz, Marianne Kweksilber, Conductor: Sigiswald Kuijken, Orchestra/Ensemble: Ghent Collegium Vocale, La Petite Bande, Number of Discs: 2. This was the first period-instrument recording of this opera. Presented in the 1762 version (for castrato) and recorded in 1982, it still stands up very well. Ren Jacobs has since become one of the world's great

Andrew Parrott and the Taverner Consort & Players celebrate their 40th anniversary with a magnificent recording of the world's first operatic masterpiece. Parrott has been at the center of the early and baroque music scenes for over four decades, and his meticulous research brings a fresh perspective to the myth of love lost and found through the art of music. Befitting such an outstanding recording, the two-CD set is luxuriously packaged with extensive notes and the complete libretto with Engli

Vinyl LP pressing. First-ever US vinyl of the debut album by Bristol's Flying Saucer Attack, and first vinyl edition of any kind since 1993! This edition of the album is produced in full collaboration with FSA/Dave Pearce. AKA Rural Psychedelia, Flying Saucer Attack's first album was released in 1993 after a couple of instantly sold-out singles. Released at the height of the shoegaze boom, the album is a blend of memorable fuzzed out songs and far-out instrumental doodles, sidestepping the rock

Maybe life is a little more interesting than we first thought. Maybe there are extraterrestrial beings visiting the earth and maybe the infamous Men in Black are fighting a battle of secrecy. in this unique UFO and ET film we show you real footage of an infamous black helicopter harassing innocent bystanders. What are they protecting? What is so secret? the evidence in this film shows that UFOs and the Alien Threat are VERY real. Join Tony Topping and Dennis Richards in this thought provoking fo