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Second Official Handbook of Practical Jokes (Signet)

A fascinating account of the pioneering astronomer who claimed (erroneously) to have discovered a planet outside the solar system.There are innumerable planets revolving around innumerable stars across our galaxy. Between 2009 and 2018, NASA's Kepler space telescope discovered thousands of them. But exoplanets―planets outside the solar system―appeared in science fiction before they appeared in telescopes. Astronomers in the early decades of the twentieth century spent entire careers searching for planets in other stellar systems. In The Lost Planets, John Wenz offers an account of the pioneering astronomer Peter van de Kamp, who was one of the first to claim discovery of exoplanets. Van de Kamp, working at Swarthmore College's observatory, announced in 1963 that he had identified a planet around Barnard's star, the second-closest star system to the Sun. He cited the deviations in Barnard's star's path―“wobbles” that suggested a large object was lurching around the star. Van de Kamp became something of a celebrity (appearing on a television show with “Mr. Wizard,” Don Henry), but subsequent research did not support his claims. Wenz describes van de Kamp's stubborn refusal to accept that he was wrong, discusses the evidence found by other researchers, and explains recent advances in exoplanet detection, including transit, radial velocity, direct imaging, and microlensing. Van de Kamp retired from Swarthmore in 1972, and died in 1995 at 93. In 2009, Swarthmore named its new observatory the Peter van de Kamp Observatory. In the 1990s, astronomers discovered and confirmed the first planet outside our solar system. In 2018, an exoplanet was detected around Barnard's star―not, however, the one van de Kamp thought he had discovered in 1963.

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Stanford Anderson's long-awaited study of the great architect and designer Peter Behrens' contribution to the visual culture of the twentieth century.Most histories of twentieth-century architecture cite Peter Behrens' influence on three of his protégés―Walter Gropius, Ludwig Mies van der Rohe, and Le Corbusier―and mention the turbine factory and arc lamp he designed for the German electrical firm AEG. Now Behrens' full contribution to the history of twentieth-century architecture is finally told, in Stanford Anderson's indispensable guide to one of the great designers of our century.The author was first attracted to Behrens as one of the emblematic figures in the development of architectural modernism. Over the years, he has reflected critically on the growing body of Behrens scholarship that has appeared on both sides of the Atlantic, as well as on the views of such tastemakers as Philip Johnson, who rejected Behrens' AEG Turbine Factory, the signature icon of his early experiments in modernism, in favor of his later conservatively classical work. Anderson now assimilates decades of research into a definitive work that considers Behrens from the most nuanced perspective yet and that clarifies many problematic issues such as Behrens' endorsement of historical determinism and his work on Hitler's proposed monumental axis in Berlin.The book looks at the cultural and architectural context in which Behrens worked, his early career, and the relation of his own house in Darmstadt to his ideal of a society where life is formed as art. It also looks at his directorship of the School of Arts and Crafts in Düsseldorf, where he drew on the work of such brilliant historiographers of art and architecture as Alois Riegl and August Schmarsow. In his conclusion, Anderson considers Behrens' melancholy in the face of modern industrial society and his avoidance of a direct address of life, despite, or rather because of, his professed commitment to express life as art.

Most histories of twentieth-century architecture cite Peter Behrens' influence on three of his protégés--Walter Gropius, Ludwig Mies van der Rohe, and Le Corbusier--and mention the turbine factory and arc lamp he designed for the German electrical firm AEG. Now Behrens' full contribution to the history of twentieth-century architecture is finally told, in Stanford Anderson's indispensable guide to one of the great designers of our century.The author was first attracted to Behrens as one of the emblematic figures in the development of architectural modernism. Over the years, he has reflected critically on the growing body of Behrens scholarship that has appeared on both sides of the Atlantic, as well as on the views of such tastemakers as Philip Johnson, who rejected Behrens' AEG Turbine Factory, the signature icon of his early experiments in modernism, in favor of his later conservatively classical work. Anderson now assimilates decades of research into a definitive work that considers Behrens from the most nuanced perspective yet and that clarifies many problematic issues such as Behrens' endorsement of historical determinism and his work on Hitler's proposed monumental axis in Berlin.The book looks at the cultural and architectural context in which Behrens worked, his early career, and the relation of his own house in Darmstadt to his ideal of a society where life is formed as art. It also looks at his directorship of the School of Arts and Crafts in Düsseldorf, where he drew on the work of such brilliant historiographers of art and architecture as Alois Riegl and August Schmarsow. In his conclusion, Anderson considers Behrens' melancholy in the face of modern industrial society and his avoidance of a direct address of life, despite, or rather because of, his professed commitment to express life as art.

 The true story of how seventeenth-century Europe's most famous painter doubled as a secret agent and negotiated a peace between superpowers. Peter Paul Rubens is best remembered as the Old Master with the penchant for fleshy, pink nudes whose popularity was eclipsed by that of Rembrandt van Rijn. In his time, however, Rubens had no equal; his contemporaries revered him as the greatest painter of his era, if not in all history. His undeniable artistic genius, bolstered by a modest disposition and a reputation as a man of tact and discretion, made him a favorite among monarchs and political leaders across Europe, and gave him perfect cover for the clandestine activities that shaped the landscape of seventeenth-century politics. In Master of Shadows, Mark Lamster tells the story of Rubens's life and brilliantly re-creates the culture, religious conflicts, and political intrigues of his time. Commissions to paint military and political leaders drew Rubens from his Antwerp home to London, Madrid, Paris, and Rome. The Spanish crown, recognizing the value of his easy access to figures of power, enlisted him into diplomatic service. His uncommon intelligence, preternatural charm, and ability to navigate through ever-shifting political winds allowed him to negotiate a long-sought peace treaty between England and Spain even as Europe's shrewdest statesmen plotted against him. Master of Shadows weaves a gripping drama of cloak-and-dagger diplomacy with an insightful, authoritative exploration of Rubens's art and the private passions that influenced it.

Stanford Anderson's long-awaited study of the great architect and designer Peter Behrens' contribution to the visual culture of the twentieth century.Most histories of twentieth-century architecture cite Peter Behrens' influence on three of his protégés―Walter Gropius, Ludwig Mies van der Rohe, and Le Corbusier―and mention the turbine factory and arc lamp he designed for the German electrical firm AEG. Now Behrens' full contribution to the history of twentieth-century architecture is finally told, in Stanford Anderson's indispensable guide to one of the great designers of our century.The author was first attracted to Behrens as one of the emblematic figures in the development of architectural modernism. Over the years, he has reflected critically on the growing body of Behrens scholarship that has appeared on both sides of the Atlantic, as well as on the views of such tastemakers as Philip Johnson, who rejected Behrens' AEG Turbine Factory, the signature icon of his early experiments in modernism, in favor of his later conservatively classical work. Anderson now assimilates decades of research into a definitive work that considers Behrens from the most nuanced perspective yet and that clarifies many problematic issues such as Behrens' endorsement of historical determinism and his work on Hitler's proposed monumental axis in Berlin.The book looks at the cultural and architectural context in which Behrens worked, his early career, and the relation of his own house in Darmstadt to his ideal of a society where life is formed as art. It also looks at his directorship of the School of Arts and Crafts in Düsseldorf, where he drew on the work of such brilliant historiographers of art and architecture as Alois Riegl and August Schmarsow. In his conclusion, Anderson considers Behrens' melancholy in the face of modern industrial society and his avoidance of a direct address of life, despite, or rather because of, his professed commitment to express life as art.

This Harlequin Omnibus includes: Sister Peters in Amsterdam, reprint of HR-1361 - Adelaide Peters was flattered to have been chosen for the medical exchange program - especially as Professor Coenraad van Essen had done the choosing! But working with him during her year's stay in Holland proved to be far from smooth sailing emotionally! Nurse in Holland, reprint of HR-1385 - After seeing Dr. Paul Doelsma a few times, Maggy found it hard to decide whether his attentions were serious or not. When he asked her to "special" his ailing mother in Holland, she was thrilled. But she hadn't known about his girl friend then. Blow Hot, Blow Cold, reprint of HR-1409 - Consulting surgeon Jonkheer Maximillian van Oosterwelde was delightfully charming one minute and glacially distant the next. Sophy Greerrslades agreed to nurse in his Utrecht hospital, but she didn't know what to make of him - or her own pounding heart whenever he was near!

The West has been accused of seeing the East in a hostile and deprecatory light, as the legacy of nineteenth-century European imperialism. In this highly original and controversial book, David Schimmelpenninck van der Oye examines Russian thinking about the Orient before the Revolution of 1917. Exploring the writings, poetry, and art of representative individuals including Catherine the Great, Alexander Pushkin, Alexander Borodin, and leading orientologists, Schimmelpenninck argues that the Russian Empire’s bi-continental geography, its ambivalent relationship with the rest of Europe, and the complicated nature of its encounter with Asia have all resulted in a variegated and often surprisingly sympathetic understanding of the East among its people.

Peter Urban was "America's First Tenth Dan" and truly a one of a kind. The book includes over 400 exceptionally rare photos from the archives of people like Chuck Merriman, Joe Lopez, Kayo Ong, John Hooker, Mike Daly, Ken Van Sickle, Don Warrener, Julia Urban, Kevin Norlander and many more. The chapters include his complete biography from womb to the tomb so to speak, his timeline, Karate Dojo chapters that were never printed, Role Call including all those who were his real students bio's and photo's, old magazine articles, his stories, his many lists, also his many philosophies and unique outlooks on like and just so much more.

Peter Urban was "America's First Tenth Dan" and truly a one of a kind. The book includes over 400 exceptionally rare photos from the archives of people like Chuck Merriman, Joe Lopez, Kayo Ong, John Hooker, Mike Daly, Ken Van Sickle, Don Warrener, Julia Urban, Kevin Norlander and many more. The chapters include his complete biography from womb to the tomb so to speak, his timeline, Karate Dojo chapters that were never printed, Role Call including all those who were his real students bio's and photo's, old magazine articles, his stories, his many lists, also his many philosophies and unique outlooks on like and just so much more.

Most histories of twentieth-century architecture cite Peter Behrens' influence on three of his protégés--Walter Gropius, Ludwig Mies van der Rohe, and Le Corbusier--and mention the turbine factory and arc lamp he designed for the German electrical firm AEG. Now Behrens' full contribution to the history of twentieth-century architecture is finally told, in Stanford Anderson's indispensable guide to one of the great designers of our century.The author was first attracted to Behrens as one of the emblematic figures in the development of architectural modernism. Over the years, he has reflected critically on the growing body of Behrens scholarship that has appeared on both sides of the Atlantic, as well as on the views of such tastemakers as Philip Johnson, who rejected Behrens' AEG Turbine Factory, the signature icon of his early experiments in modernism, in favor of his later conservatively classical work. Anderson now assimilates decades of research into a definitive work that considers Behrens from the most nuanced perspective yet and that clarifies many problematic issues such as Behrens' endorsement of historical determinism and his work on Hitler's proposed monumental axis in Berlin.The book looks at the cultural and architectural context in which Behrens worked, his early career, and the relation of his own house in Darmstadt to his ideal of a society where life is formed as art. It also looks at his directorship of the School of Arts and Crafts in Düsseldorf, where he drew on the work of such brilliant historiographers of art and architecture as Alois Riegl and August Schmarsow. In his conclusion, Anderson considers Behrens' melancholy in the face of modern industrial society and his avoidance of a direct address of life, despite, or rather because of, his professed commitment to express life as art.

The most extensive review of Galapagos tortoises. Originally published 1914, this is a facsimile reprint with a new Foreword by Peter C. H. Pritchard.

Together with Holbein, Anthony van Dyck (1599 -1641) is one of the most important names in British pre-18th century art. Born in Antwerp he was a precocious talent, rising swiftly to become the chief assistant to Peter Paul Rubens, then Northern Europe's most prominent painter. His importance to British art cannot be overstated; during the turbulent years of the reign of Charles I, he single-handedly reinvented portrait painting, leaving behind a legacy that would influence later generations. Van Dyck first came to Britain in 1620 to work for James I. Between 1621 and 1627 he worked in Italy, adding to his clientele of wealthy patrons. Charles I recognised in van Dyck the potential to be the perfect creator of the royal image. The artist returned to London in April 1632 and was almost immediately knighted and provided with an enviable property and pension, becoming the chief painter of the court. His portraits of the royal family and courtiers, imbued with an understated authority and relaxed elegance, were an instant success. His pictures of Charles especially seemed to represent the king as both a powerful sovereign and 'nature's gentleman'. His popularity stemmed from his ease when moving in aristocratic circles, and his talent for flattering almost all subjects. Thomas Gainsborough famously said on his deathbed 'We are all going to heaven and van Dyck is of the company'. The authors not only explore van Dyck's years in England, but also his enduring influence on British art and culture in the centuries following his death, reflected in the way 18th and 19th century British sitters wanted their portraits to convey the gravitas and sophistication the earlier painter had mastered so well. Extensively illustrated, this is the most thorough examination ever published of van Dyck's English sojourn and the influence it had on the cultural life of the nation.

The most extensive review of Galapagos tortoises. Originally published 1914, this is a facsimile reprint with a new Foreword by Peter C. H. Pritchard.

This incisive book provides an in-depth critical and biographical study of the artistic range of film director Gus Van Sant.· Original interviews conducted for the project with film scholar Peter Tonguette, film editors Pietro Scalia and Vladis Oskarsdottir, and others· Photographs of Van Sant at work on his films· An extensive bibliography of books that reflect the gay lifestyle and eclectic, artistic nature of Van Sant

Hymns to the Silence is a thoroughly informed and enlightened study of the art of a pop music maverick that will delight fans the world over. In 1991, Van Morrison said, Music is spiritual, the music business isn't. Peter Mills' groundbreaking book investigates the oppositions and harmonies within the work of Van Morrison, proceeding from this identified starting point. Hymns to the Silence is a detailed investigative study of Morrison as singer, performer, lyricist, musician and writer with particular attention paid throughout to the contradictions and tensions that are central to any understanding of his work as a whole. The book takes several intriguing angles. It looks at Morrison as a writer, specifically as an Irish writer who has recorded musical settings of Yeats poems, collaborated with Seamus Heaney, Paul Durcan and Gerald Dawe, and who regularly drops quotes from James Joyce and Samuel Beckett into his live performances. It looks at him as a singer, at how he uses his voice as an interpretive instrument. And there are chapters on his use of mythology, on his stage performances, and on his continuing fascination with America and its musical forms.

Painting and Politics in Northern Europe offers a chronological account of political engagement in works by the early modern Northern European painters Jan van Eyck, Pieter Bruegel the Elder, Peter Paul Rubens, and Frans Snyders. Offering fresh interpretations of canonical paintings, Margaret Carroll illustrates how these artists registered their pictorial responses to the political events and debates of their day. The imagery of gender and power was often intertwined with these debates. Considering a range of works, including Van Eyck’s Arnolfini Portrait, Bruegel’s Netherlandish Proverbs, and Rubens’s Life of Marie de Médicis series, Carroll examines the ways in which these Netherlandish painters seized on that imagery and creatively transformed it into the materials of art.The narrative follows the way painters responded to the emergence of “modern” theories of politics and natural law from the classical and medieval tradition. Carroll begins by addressing paintings that identify the natural order with consensual social relations in a stable political hierarchy, then turns to paintings that stress the struggle for mastery in a perilous and unstable world. These paintings may be valued not merely as historical artifacts of a bygone era but as interventions in a cultural discourse that continues to this day.

No progressive rock band could ever be said to be a household name, but Van der Graaf Generator, celebrating their fiftieth anniversary in 2018, rarely enjoyed that distinction even in the households of many prog fans. VdGG, and the band’s main creative force, Peter Hammill, really only had one foot in prog – the other pivoted between more straight-ahead rock, wild experimentation, and at times, brutal noise. While VdGG’s run ended prematurely, the members carried on musically to varying extents, but none as much as Hammill, who has remained a relentless force, creating exciting and challenging albums on an almost yearly basis from the heyday of VdGG to the present day. VdGG, meanwhile, came full-circle, reforming in 2005 and still going strong. Both Hammill and VdGG have been lauded as musicians’ musicians by such luminaries as Peter Gabriel, David Bowie, Julian Cope, Mark E. Smith, and Johnny Rotten. This book will explore what these musicians, and legions of dedicated fans, found so inspiring over the years: a baker’s dozen of VdGG albums and over thirty solo Hammill studio releases will be discussed, as well as a handful of essential live recordings, experiments, and collaborations. Nothing like this has been offered before, and it will prove an invaluable guide for navigating the Hammill/Van der Graaf Generator sonic labyrinth.

A great deal has been written about the military career of Comfederate General Earl Van Dorn, but his death at the hands of infuriated Dr. George B. Peters hinted spying and espionage. A baby a short time later by Jessie McKissack Peters, the young wife of a much older physician and state senator husband who had been absent for a year, came into question. The fascinating families left to cope with the situations include servants who were taught trades that allowed them to rebuild the area. Descendants became the first blacks to receive architectural licenses.