Matila simon (11 Ergebnisse)

Hardcover. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Good. No Jacket. Missing dust jacket; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Good. No Jacket. Missing dust jacket; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Good. The French Impressionists (Library of Fine Art)Matila Simon And Wendy Shore.Condition:used but clean and tidy.

Hardcover. Zustand: Like New. Like New. First Edition. First Edition, First Printing. Published by Harry N. Abrams, 1972. Folio. Burgundy cloth boards stamped in gold. Book is like new; clean with no writing or names. Sharp corners and spine straight. Binding tight and pages crisp. Dust jacket is like new with shelf wear and some smudges. 168 pages. ISBN: 0810900238. 100% positive feedback. 30 day money back guarantee. NEXT DAY SHIPPING! Excellent customer service. Please email with any questions or if you would like a photo. All books packed carefully and ship with free delivery confirmation/tracking. All books come with free bookmarks. Ships from Southampton, New York.…

hardcover. Zustand: Very Good. Most items will be dispatched the same or the next working day. A copy that has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Hardcover. Zustand: Very Good. First Edition with PICTORIAL LAMINATED cloth.

hardcover. Zustand: Good. Most items will be dispatched the same or the next working day. A copy that has been read but remains in clean condition. All of the pages are intact and the cover is intact and the spine may show signs of wear. The book may have minor markings which are not specifically mentioned.…

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Very Good. Very fine very large book in fresh clean grey cloth covers with very bright gilt titles to spine. Internally fine and free of inscriptions; profusely and beautifully illustrated both in b/w and also with many tipped-in colour plates. The dust jacket is very good++ and not price clipped; small tear at rear corners of spine small to base and a lttle larger with rub to top. A very attractive copy. …

Hardcover. Zustand: Very good. Zustand des Schutzumschlags: Fair. First Printing [Stated]. x, 214 pages. There are some tears and chips to dust jacket edges. Pencil erasure residue on fep. Includes Foreword by Joseph Anthony Horne, Footnotes, Acknowledgments, Bibliography, and Index. Also includes 26 black and white photographs. Eight days after France fell to the Germans on June 22, 1940, Hitler sent out an order demanding "the placing in security of all objects of art, whether they belong to France, to private owners, or to Jews." For the next four years, Nazi leaders schemed, squabbled, and defied each other in a stubborn struggle for the possession of French art. The curators of the Louvre had been prepared for the edict, and had made elaborately detailed plans in advance to save France's artistic heritage from falling into German hands. The author was a noted French artistic authority. She has been the Director of the International Print Exchanges and was part of the ownership team of a major French Art Gallery. She was the author of the Shorewood Art Reference Guide and was the translator of numerous French works into English. As an Art Historian, Ms. Simon obtained access to previously classified document during her research on The Battle of the Lourve. She also interview many of the American, French and Germans who were participants or knowledgeable observes of the events described in this important and impressive work. This information was derived from on-line sources: Art theft and looting occurred on a massive scale during World War II. It originated with the policies of the Axis countries, primarily Nazi Germany and Japan, which systematically looted occupied territories. Near the end of the war the Soviet Union, in turn, began looting reclaimed and occupied territories. "The grand scale of looted artwork by the Nazis has resulted in the loss of many pieces being scattered across the world." (Minyard, 2007) A large plan was drafted by the Nazis for much of the stolen art to be featured in a so-called Führermuseum, which would display much of the art plundered by the Nazis. This museum would feature works that were not considered to be "degenerate art" and would instead solely focus on the aesthetics that Hitler considered to be "good", and was to be created in the city of Linz. However, this museum was never created, and much of the art that may have been on display there is still missing today. The Nazis were so vehemently against the loss of the art that they had plundered for this museum that there was a plan to destroy a stockpile of art saved for the Führermuseum at the Altaussee salt mines, which held over 12000 pieces of stolen art, using eight 500-kilogram bombs. Nazi plunder refers to art theft and other items stolen as a result of the organized looting of European countries during the time of the Third Reich by agents acting on behalf of the ruling Nazi Party of Germany. Plundering occurred from 1933 until the end of World War II, particularly by military units known as the Kunstschutz, although most plunder was acquired during the war. In addition to gold, silver and currency, cultural items of great significance were stolen, including paintings, ceramics, books and religious treasures. Although most of these items were recovered by agents of the Monuments, Fine Arts, and Archives program (MFAA, also known as the Monuments Men), on behalf of the Allies immediately following the war, many are still missing. While the Nazis were in power, they plundered cultural property from every territory they occupied. This was conducted in a systematic manner with organizations specifically created to determine which public and private collections were most valuable to the Nazi Regime. Some of the objects were earmarked for Hitler's never realized Führermuseum, some objects went to other high-ranking officials such as Hermann Göring, while other objects were traded to fund Nazi activities. In 1940, an organization is known as the Einsatzstab Reichsleiter Rosenberg für die Besetzten Gebiete (The Reichsleiter.…

Zustand: Good. Good condition. Good dust jacket. (World War 2, France, Art) 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.