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Home to five museums, including the Old and New Museums, the Old National Gallery, the Bode Museum, and the Pergamon Museum, Berlin’s Museum Island was declared a UNESCO World Heritage site in 1999 and represents nearly two hundred years of museum history.           In this new book, renowned experts on Museum Island take readers on a fascinating tour of the history and architecture of the museums located there, as well as their collections. The Essays included here focus on features and artworks of particular interest and are richly illustrated with both current and historical photographs. Broadening the scope, the book also includes discussions of the surrounding urban development, conservation efforts associated with the museums, and the ongoing redesign of Museum Island, which includes plans for expansion and the Archaeological Promenade. Museum Island is notable in that it illustrates the evolution of modern museum design throughout the twentieth century. For those interested in art, architecture, or conservation—or those hoping to visit—this book offers a comprehensive guide to the five museums and their masterpieces.

Patterns and Poetry: No Robes from the Lucy Truman Aldrich Collection, Museum of Art, Rhode Island School of Design, is a beautiful and informative publication on the RISD Museum's collection of costumes for the Japanese No theater. This collection, arguably the finest in the United States, was assembled largely on the spot in Japan during the 1920's by Rhode Islander Lucy Truman Aldrich, sister-in-law of John D. Rockefeller, Jr. The 47 robes came to the Museum by gift and bequest from Miss Aldrich herself and represent all catagories of No costume. Four essays document the history of the collection, including Miss Aldrich's encounter with Chinese bandits; poetic allusion in the imagery of the robes; the traditional methods of making No robes; and the evolution of No costume over 650 years. Individual entries with color illustrations discuss each of the 47 objects.

In aesthetic quality, significance, and scope, the Metropolitan Museum’s Oceanic, or Pacific Islands, collection is one of the finest and most comprehensive in the world. This generously illustrated volume features some 200 masterworks from the more than 2,600 objects currently in the collection, and it is published to coincide with the opening of the Museum’s new galleries of Oceanic art. An overview of Oceanic art and a history of the Metropolitan’s collection are followed by detailed chapters devoted to each of the five major cultural regions of the Pacific: Australia, Melanesia, Micronesia, Polynesia, and the islands of Southeast Asia. Among the notable works discussed are a monumental Baining barkcloth figure, a spectacular shield from the Solomon Islands, the Museum’s renowned Torres Strait mask and acclaimed Mangarevan wooden male figure, a weather charm from the Caroline Islands, and textiles from the regions of Lampung and Sumba, in Sumatra. A glossary and selected bibliography conclude this essential guide.

In aesthetic quality, significance and scope, the Metropolitan Museum's Oceanic or Pacific Islands collection is one of the finest and most comprehensive in the world. This generously illustrated volume features some 200 masterworks from the more than 2,600 objects currently in the collection, and it is published to coincide with the opening of the Museum's new galleries of Oceanic art. An overview of Oceanic art and a history of the Metropolitan's collection are followed by detailed chapters devoted to each of the five major cultural regions of the Pacific: Australia, Melanesia, Micronesia, Polynesia, and the islands of Southeast Asia. Among the notable works discussed are a monumental Baining barkcloth figure, a spectacular shield from the Solomon Islands, the Museum's renowned Torres Strait mask and acclaimed Mangarevan wooden male figure, a weather charm from the Caroline Islands, and textiles from the regions of Lampung and Sumba, in Sumatra. A glossary and selected bibliography conclude this essential guide. About the Author: Eric Kjellgren is Evelyn A. J. Hall and John A. Friede Associate Curator for Oceanic Art, Department of the Arts of Africa, Oceania, and the Americas, The Metropolitan Museum of Art. He is the principal author of Adorning the World: Art of the Marquesas Islands (MMA/Yale, 2005) and of Splendid Isolation: Art of Easter Island (MMA/Yale, 2001).

In aesthetic quality, significance, and scope, the Metropolitan Museum’s Oceanic, or Pacific Islands, collection is one of the finest and most comprehensive in the world. This generously illustrated volume features some 200 masterworks from the more than 2,600 objects currently in the collection, and it is published to coincide with the opening of the Museum’s new galleries of Oceanic art. An overview of Oceanic art and a history of the Metropolitan’s collection are followed by detailed chapters devoted to each of the five major cultural regions of the Pacific: Australia, Melanesia, Micronesia, Polynesia, and the islands of Southeast Asia. Among the notable works discussed are a monumental Baining barkcloth figure, a spectacular shield from the Solomon Islands, the Museum’s renowned Torres Strait mask and acclaimed Mangarevan wooden male figure, a weather charm from the Caroline Islands, and textiles from the regions of Lampung and Sumba, in Sumatra. A glossary and selected bibliography conclude this essential guide.

399 pages : illustrations (chiefly colour) ; 30 cm. English edition. This book, available in Italian and English, is the result of ten years of research and collaboration between the Vatican Museums and the local communities of the Pacific area, carried on according to the philosophy of reconnection of the objects with the places they come from. The text, showing a remarkable photographic apparatus of more than 300 images, begins with a section analysing the history of the collections and their development over the centuries. Following, the catalogue of every object, divided in six different geographic areas: Micronesia, Polynesia, Melanesia, New Guinea, Island Southeast Asia, and Australia. What emerges is a wide and interesting variety of artifacts, created by the cultures living in these areas. These are the very same artifacts, which the Pope s Museums host and preserve, in order to pass them down, intact, for the future generations.

Eyes of the Ancestors takes an in-depth look at the Dallas Museum of Art’s world-renowned collection of artworks from Island Southeast Asia. Beautiful photography and essays by distinguished international scholars unlock the magic of the island cultures of Indonesia, Sarawak, and East Timor. Leading anthropologist Reimar Schefold introduces these texts, which investigate various indigenous art forms from a fresh art-historical perspective. They describe the contexts, purposes, and aesthetic influences of a range of objects, from intricately woven sacred and ceremonial textiles to carved ancestor figures. Also featured are gold and metalwork designs as well as weaponry and jewelry, most dating back more than a hundred years. A 19th-century mouth mask in the collection, from the Leti Islands, is one of only our known to be in existence. Carved in the shape of a bird’s head, this wooden mask was used in ritual dances. Other spectacular examples from the collection likewise reflect the beliefs and practices of these island peoples.

A lasting contribution to the study of Japanese textiles and to the cultural history of the Inland Sea region, this volume presents a historical ethnography of the fishing villages that produced the sashiko no donza, or fishermanís coat. It provides as well an in-depth analysis of regional textile production, the sashiko tradition in the village of Hokudan, and the iconography of the eloquently stitched designs that appear on the coats.

Book by Metropolitan Museum of Art (New York, N. Y.), Capistrano-Baker, Florina H.

Book by Metropolitan Museum of Art (New York, N. Y.), Capistrano-Baker, Florina H.

These chic hoops evoke a rare chevron-shaped earring in The Met collection, which was originally produced on the island of Cyprus in the 6th-5th century B. C. Cyprus served as a way station for ships in the eastern Mediterranean since prehistoric times, which is reflected in the diversity of the island's jewelry. The Museum's ancient earring may be an antecedent to the boat-shaped variety that would become popular later on.

The publications of the Hakluyt Society (founded in 1846) made available edited (and sometimes translated) early accounts of exploration. The first series, which ran from 1847 to 1899, consists of 100 books containing published or previously unpublished works by authors from Christopher Columbus to Sir Francis Drake, and covering voyages to the New World, to China and Japan, to Russia and to Africa and India. This 1882 volume contains a history of the early governors of Bermuda. The work is anonymous, although the editor suggests that the author might be Captain John Smith, governor of Virginia. First settled in 1612, Bermuda became an important plantation colony after the failure of the first two English colonies in Virginia. This edition provides a vivid description of the social conditions and organisation on Bermuda from the founding of the colony.

Our modern necklace in 14k vermeil evokes an ancient gold lion-head pendant in The Met, which was made on the island of Cyprus during the second half of the 5th century B. C. On the original pendant, the lion-head is finely modeled in two halves, left and right, with a flat gold sheet closing off the neck aperture. For centuries, global cultures have crafted jewelry with protective charms that wearers believe will enhance their personal power: symbols of religious faith, images of fierce creatures, bells to summon ancient spirits, and beyond.

Good condition. A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.

A sociological study of the native tribes along the west coast of Canada.

By Maia Nuku The visual arts of Oceania tell a wealth of dynamic stories about origins, ancestral power, performance, and initiation. This publication explores the deeply rooted connections between Austronesian-speaking peoples, whose ancestral homelands span Island Southeast Asia, Australia, Papua New Guinea, and the island archipelagoes of the northern and eastern Pacific. Unlike previous books, it foregrounds Indigenous perspectives, alongside multidisciplinary research in art history, ethnography, and archaeology, to provide an intimate look at Oceania, its art, and its culture. Stunning new photography highlights more than 130 magnificent objects, ranging from elaborately carved ancestral figures in ceremonial houses, towering slit drums, and dazzling turtle-shell masks to polished whale ivory breastplates. Underscoring the powerful interplay between the ocean and its islands, and the ongoing connection with spiritual and ancestral realms, Oceania: The Shape of Time presents an art-focused approach to life and culture while guiding readers through the artistic achievements of Islanders across millennia. Maia Nuku is Evelyn A. J. Hall and John A. Friede Associate Curator for Oceanic Art at The Metropolitan Museum of Art.

This new 2-volume edition of “the most significant botanical publication on Pacific plants in recent decades” (Flora Vitiensis Nova) includes an extensive addendum providing information on newly described species, nomenclatural changes, and new island records, together with a bibliography of important taxonomic references published since the first edition. The status of 271 species newly listed as endangered or threatened has also been updated.

Chicago-based artist Theaster Gates, whose projects range from small-scale sculptures to ambitious urban interventions, investigates the transformative powers of art in this provocative book. As the force behind the much-acclaimed Stony Island Arts Bank, Gates responds creatively to the challenges of space, whether working in museums or in communities. In this instance, he explores notions of blackness, freedom, and the history of house music. Featuring works by the artist himself as well as objects drawn from the Exhibit of American Negros at the 1900 Paris Exposition, the Ed Williams collection of negrobilia, and Frankie Knuckles's vinyl collections, How to Build a Museum proposes new ways of honouring and remembering Black experience, exploring the potential of symbolic structures and their associated objects.Theaster Gates is an American social practice installation artist, who teaches in the Department of Visual Arts at the University of Chicago. His highly acclaimed work deals with issues of urban planning, religious space, and craft, and the revitalization of poor urban neighborhoods.

This is a pictorial book that shows the rich craftsmanship and cultural history of the islands of Southeast Asia. It covers a variety artifacts from the Philippines and the surrounding islands that trade goods with them. Each book contains specific information for each unique item, including full color pictures of the item, a brief description of its size, composition and location found. We were inspired to create this book with the intent of documenting these precious treasures of history for Moroland Museum Historical Archives and to share with others these unique historical weapons and artifacts. Many of these items have never been seen by the public in any form other than by their original owners as these are from private collections located in the Philippines and can only be viewed in the Moroland Museum Historical Publications books.This book is the fifth book in a series of rare books with multiple volumes on specific subjects. These subjects include swords, daggers, shields, armor, bows & arrows, artifacts, etc.

It is not widely appreciated that the first systematic archaeological work in Alaska was undertaken by Diamond Jenness of the National Museum of Canada (now the Canadian Museum of Civilization). In 1926 Jenness worked at two locations on Bering Strait: Cape Prince of Wales and Little Diomede Island. This work resulted in the first identification of Old Bering Sea culture and determined the stratigraphic position of Thule culture in Alaska, laying the groundwork for later investigations by Collins, Giddings and others. Jenness summarized all this in the space of a few published pages; his collections have never been described. This study examines the Bering Strait collections in the light of nearly 65 years of archaeological research in Alaska. Spanning nearly 2,000 years of Eskimo prehistory, these collections are aesthestically magnificent and document the intensive cultural interaction across Bering Strait and between Yupik and Inupiat speaking people.