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Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

This Well Woven Barclay Collection 2 ft. x 7 ft. Runner will be a welcoming addition to your home. This runner is great to arrange at the end of your bed, or in your hall as an attractive accent piece. With a modern style, this runner is great for contemporary spaces. It has a stain-resistant design and antimicrobial materials, keeping harmful allergens out. It has a 100% olefin construction, which will resist fading over the years. Designed with blue features, this runner will add a cooling pop of color to your room. It has a floral motif, introducing a natural accent into your living area. Color: Light Blue. Pattern: Floral,Geometric.

The Well Woven Barclay Collection 2 ft. x 4 ft. Area Rug is a great option if you are looking to upgrade the furnishing of your home. With a modern style, this rug is the ideal accessory for contemporary homes. It has stain-resistant fabrics and fade-resistant materials, which ensure it will not discolor. This loomed rug has a 100% polypropylene design, which will efficiently resist fading over time. It delightfully blossoms with floral accents, adding a graceful touch to any room. It comes in an ivory shade for a light and neutral accent to your decor. Pattern: Floral,Geometric.

Pepper mill featuring the original Zassenhaus ceramic grinding mechanism. Made in Germany. Made from olive wood. Matte finish with cast iron black painted body.

Pepper mill featuring the original Zassenhaus ceramic grinding mechanism. Made in Germany. Made from olive wood. Matte finish with cast iron black painted body.

Hannover Duets (9) Les Lunes du Cousin Jacques - CD 4003913124043

Hannover Musik / Grand Trio No 7 Marschner / Die Aufnahmen Ensemble Tanden - CD 4003913121202

Bernd and Hilla Becher's photographic documentation of the abandoned and demolished Hannover Coal Mine resurrects the colliery before the viewer s eyes: the three winding towers spanning a period of about 100 years; the power station with its cooling towers; the adjacent coking plant; and the spectacular conveyor belts traversing the entire compound. 200 black-and-white photographs selected from a total of 600 negatives taken between 1971 and 1974 present panoramic views of the plant and its individual structures from several perspectives. The photographic narrative of entire plants has previously been given little notice in the reception of the Bechers work. Reminiscent of the documen tation of Zeche Hannibal published in 2000, the present volume is another important contribution to the interpretation of their oeuvre.

Geschichte des Königreichs Hannover - Von 1849 bis 1862 ist ein unveränderter, hochwertiger Nachdruck der Originalausgabe aus dem Jahr 1899. Hansebooks ist Herausgeber von Literatur zu unterschiedlichen Themengebieten wie Forschung und Wissenschaft, Reisen und Expeditionen, Kochen und Ernährung, Medizin und weiteren Genres. Der Schwerpunkt des Verlages liegt auf dem Erhalt historischer Literatur. Viele Werke historischer Schriftsteller und Wissenschaftler sind heute nur noch als Antiquitäten erhältlich. Hansebooks verlegt diese Bücher neu und trägt damit zum Erhalt selten gewordener Literatur und historischem Wissen auch für die Zukunft bei.

Deutsch/Englisch. Hrsg. von Markus Jager. Eine architekturhistorische Würdigung dieses frühen Hauptwerkes von Peter Behrens: Das Buch schildert die Biographie des Gebäudes von der ersten Planungsidee über die unterschiedlichen Nutzungen und baulichen Veränderungen bis hin zu seiner jüngsten Restaurierung. Das einstige Continental-Verwaltungsgebäude in Hannover wurde 1912-1914 nach Plänen von Peter Behrens erbaut, im Zweiten Weltkrieg weitestgehend zerstört, in den 50er Jahren stark modifiziert wieder aufgebaut, unter Denkmalschutz gestellt und wird heute als "Haus der Wirtschaftsförderung" genutzt. Mit Beiträgen von Charlotte Hopf, Markus Jager, Kai Koch, Myriam König, Hans-Achim Körber, Sonja Olschner, Anne Panse, Birte Rogacki-Thiemann. 204 Seiten mit 132 überwiegend farbigen Abb., Großformat, gebunden (Wasmuth & Zohlen Verlag 2020) leichte Lagerspuren. Statt EUR 58,00. Gewicht: 1141 g - Gebunden/Gebundene Ausgabe - Sprachen: Deutsch, Englisch

In original shrinkwrap. ; Quarto; 204 pages

Text by Martina Flamme-Jaspers.

656 S., OPbd., Gr.-8*. (Veröffentlichungen der historischen Kommission für Niedersachsen und Bremen 203). Schnitt fleckig, gut erhaltener Pappband. 69 Sprache: Deutsch Gewicht in Gramm: 1000

Now available in paperback, this lavishly illustrated and astonishingly comprehensive volume stands as the definitive study of the influential but deliberately elusive international Dada movement of the early twentieth century. Organized according to the primary city centers where this shifting, quintessentially avant garde movement emerged, Dada: Zurich, Berlin, Hannover, Cologne, New York, Paris features the work of 40 key artists, both infamous and lesser-known, including Louis Aragon, Hans Arp, Hugo Ball, André Breton, Otto Dix, Marcel Duchamp, Hannah Höch, Man Ray, Tristan Tzara and Kurt Schwitters, to name just a few, in media spanning painting, sculpture, photography, collage, photomontage, prints and graphic work. Dynamically designed with an uncommon intelligence suited to the complexity of the movement itself, it contains hundreds of reproductions of works which, until the major traveling exhibition of 2005 and 2006 for which this book was originally produced, had for the most part never been seen in one place together. Documentary images, topical essays and an invaluable illustrated chronology of the movement make this volume uniquely essential, along with witty chronicles of events in each city center, a selected bibliography and biographies of each artist, accompanied by Dada-era photographs.

Bernd and Hilla Becher's photographic documentation of the abandoned and demolished Hannover Coal Mine resurrects the colliery before the viewer s eyes: the three winding towers spanning a period of about 100 years; the power station with its cooling towers; the adjacent coking plant; and the spectacular conveyor belts traversing the entire compound. 200 black-and-white photographs selected from a total of 600 negatives taken between 1971 and 1974 present panoramic views of the plant and its individual structures from several perspectives. The photographic narrative of entire plants has previously been given little notice in the reception of the Bechers work. Reminiscent of the documen tation of Zeche Hannibal published in 2000, the present volume is another important contribution to the interpretation of their oeuvre.

Along with Russian Constructivism and Surrealism, Dada stands as one of the three most significant movements of the historical avant garde. Born in the heart of Europe in the midst of World War I, Dada displayed a raucous skepticism about accepted values. Its embrace of new materials, of collage and assemblage techniques, of the designation of manufactured objects as art objects as well as its interest in performance, sound poetry and manifestos fundamentally shaped the terms of modern art practice and created an abiding legacy for postwar art. Yet, while the word Dada has common currency, few know much about Dada art itself. In contrast to other key avant-garde movements, there has never been a major American exhibition that explores Dada specifically in broad view. Dada--the catalogue to the exhibition on view in 2006 at the National Gallery of Art in Washington and The Museum of Modern Art in New York presents the hybrid forms of Dada art through an examination of city centers where Dada emerged: Zurich, Berlin, Cologne, Hanover, New York and Paris. Covered here are works by some 40 artists made in the period from circa 1916, when the Cabaret Voltaire was founded in Zurich, to 1926, by which time most of the Dada groups had dispersed or significantly transformed. The city sections bring together painting, sculpture, photography, collage, photomontage, prints and graphic work.Relying on dynamic design and vivid documentary images, Dada takes us through these six cities via topical essays and extensive plate sections; an illustrated chronology of the movement; witty chronicles of events in each city center; a selected bibliography; and biographies of each artist--accompanied by Dada-era photographs.

Along with Russian Constructivism and Surrealism, Dada stands as one of the three most significant movements of the historical avant garde. Born in the heart of Europe in the midst of World War I, Dada displayed a raucous skepticism about accepted values. Its embrace of new materials, of collage and assemblage techniques, of the designation of manufactured objects as art objects as well as its interest in performance, sound poetry and manifestos fundamentally shaped the terms of modern art practice and created an abiding legacy for postwar art. Yet, while the word Dada has common currency, few know much about Dada art itself. In contrast to other key avant-garde movements, there has never been a major American exhibition that explores Dada specifically in broad view. Dada--the catalogue to the exhibition on view in 2006 at the National Gallery of Art in Washington and The Museum of Modern Art in New York presents the hybrid forms of Dada art through an examination of city centers where Dada emerged: Zurich, Berlin, Cologne, Hanover, New York and Paris. Covered here are works by some 40 artists made in the period from circa 1916, when the Cabaret Voltaire was founded in Zurich, to 1926, by which time most of the Dada groups had dispersed or significantly transformed. The city sections bring together painting, sculpture, photography, collage, photomontage, prints and graphic work.Relying on dynamic design and vivid documentary images, Dada takes us through these six cities via topical essays and extensive plate sections; an illustrated chronology of the movement; witty chronicles of events in each city center; a selected bibliography; and biographies of each artist--accompanied by Dada-era photographs.

Now available in paperback, this lavishly illustrated and astonishingly comprehensive volume stands as the definitive study of the influential but deliberately elusive international Dada movement of the early twentieth century. Organized according to the primary city centers where this shifting, quintessentially avant garde movement emerged, Dada: Zurich, Berlin, Hannover, Cologne, New York, Paris features the work of 40 key artists, both infamous and lesser-known, including Louis Aragon, Hans Arp, Hugo Ball, André Breton, Otto Dix, Marcel Duchamp, Hannah Höch, Man Ray, Tristan Tzara and Kurt Schwitters, to name just a few, in media spanning painting, sculpture, photography, collage, photomontage, prints and graphic work. Dynamically designed with an uncommon intelligence suited to the complexity of the movement itself, it contains hundreds of reproductions of works which, until the major traveling exhibition of 2005 and 2006 for which this book was originally produced, had for the most part never been seen in one place together. Documentary images, topical essays and an invaluable illustrated chronology of the movement make this volume uniquely essential, along with witty chronicles of events in each city center, a selected bibliography and biographies of each artist, accompanied by Dada-era photographs.

Der Band enthält die Erstedition von ca. vierzig altägyptischen Zaubertexten auf Papyrusamuletten und Ostraka. Sind die Amulette zumeist durch Personennamen individuellen Besitzern zuweisbar, verbleiben die Scherben gewöhnlich im Bereich der Anonymität und dienten eher als Kladden oder Skizzen für spätere Übertragungen auf Papyrusstreifen. Diese Streifen wurden entweder gefaltet oder gerollt, zusätzlich verschnürt und anschließend in kleine Amulettkapseln gestopft. In dieser "Verpackung" trug man sie dann an einer mehrfach verknoteten Schnur um den Hals und hoffte so auf deren Schutz vor diversen Dämonen und Krankheiten. Das ist eine Praxis, wie man sie z.B. noch heutzutage im sog. Volksislam finden kann, aber auch in Regionen, die eigentlich als christianisiert gelten. Häufig wurden die die Papyrusamulette auch noch mit Illustrationen versehen, die mehr oder minder exakt mit Angaben des Spruchtextes übereinstimmen. Ein solcher Spruchtext besteht im Falle seiner kompletten Niederschrift aus drei Teilen: 1. dem Titel mit der Angabe, wozu der Spruch dient, 2. dem eigentlichen Rezitativ und 3. der manuellen Instruktion, was zur Durchführung des Spruches an Requisiten bernötigt wird. Unterschiedliche Tintenfarbe markiert diese Spruchteile. So wird rote Tinte etwa für den Titel verwendet, außer für Götter- und Dämonennamen, damit die als gefährlich erachtete rote Farbe deren Gerfährlichkeit nicht aktiviert. Des Weiteren werden auch die Handlungsanweisungen in aller Regel durch Rot vom übrigen schwarzen Text abgesetzt. Die Faltung mancher Amulette weist in ihrem Querschnitt nicht selten eine verblüffende Übereinstimmung mit einer Hieroglyphe auf, die eine der zentralen Aktionen altägyptischer Magie darstellt, das "Umkreisen" des Übels. Diese Beobachtung ist an einigen dieser Papyrusamulette erstmalig gemacht worden und zeigt, dass die handwerkliche Verarbeitung des Amuletts zusätzlichen Schutz vor Gefahren bewirken sollte.

»I don’t set rules«An automatic lawnmower rings a bell, a balloon leaves a trace in the sand, a boat moves on barrels. Everything is on the move with Roman Signer (* 1938 in Appenzell)—randomly, one might assume, as insinuated by his statement? Not at all; the artist rather perceives sculpture as a processual description of a condition, and thus expands the usual three dimensions of objects by a fourth: time. Hence his works are also described as “time sculptures”. He often uses explosives, water or movement as a resource, so as to be able to direct the experience of his artworks toward the experience of physical violence and speed. Such a method of working naturally generates a lot of interest from the audience, because it is quite reminiscent of those exciting and crackling archaic forces that seem to inhabit this anarcho-lab. But above all we love that violent roar and crack. Roman Signer's work has actually been exhibited internationally for quite a while, for instance at the 1987 documenta, the sculpture projects in Münster in 1997, and in Hannover in 2000 at the Expo, as well as most recently in 2010 at Herrenhausen Gardens. The exhibition at Kestnergesellschaft thus shows a very well-known artist with his latest works that, in this volume accompanying a remarkable exhibition, delight us once again with the poetic quality of things and the grotesque aspects of everyday life.Exhibition Kestnergesellschaft Hanover, 23/8–4/11/2018