puppets (41 Ergebnisse)

Zustand: good. Ellen Appleby (illustrator). Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Original cloth with dustjacket, a very good copy. Text in German. Please see description or ask for photos.

Paperback. Zustand: Brand New. 92 pages. 11.81x8.82x0.24 inches. In Stock.

Pictorial Boards. Zustand: Very Good. Emilia Lang & Eduard Blanch (illustrator). First Edition. Pictorial boards wit light shelf wear, 3 inch indent to upper cover. A photo-illustrated Spanish picture book featuring puppets by Emilia Lang & Eduard Blanch of the Pea Green Boat Puppet Company. The French edition, "Gwendoline," won the Prix Angle for a children's book illustrated with photography. Size: Small Oblong 4to.

Original Wraps. Zustand: Very Good. First Canadian Edition. 100p. Book.

Softcovers. Zustand: Very Good - See Description. First Edition. No stated date but understood to be 1972. First edition. 12 'Broadsides' consisting of 1 or 2 sheets that create 4 or 8 pages when folded. "Despite its name, SWAA/BROADSIDES 1 is not launched in a spirit of belligerence. It aims to be an alert and lively forum for information, opinion, discussion, controversy and participation in the arts in the south west, encouraging and constructive confrontation between the artist, his patrons (public and private) and the public." Contents are: Ken Campbell - The thing is, it seemed like it might be a good life; DaSilva Puppets - Peter and the Wolf cut-out puppets; Peter Maxwell Davies - Working towards an Opera; Ronald Duncan - Canto 53 from MAN, part four; Neil Dunn - Extract from ! Want; John and Sue Fox - On the streets and beaches; Denis Goacher - Rainald's Pet, Richard Hawkins - Presenting Contemporary Music; Jane Howell and the Northcott Theatre Company - Both the establishment and the rebels against the establishment; John Moat - The Arvon Foundation; Mike Westbrook - Songs from TYGER; John Wolseley - Plant Poem No 10. The 'broadsides' are contained in a white card folder with black titling on the front and details of the contributors on the inside of the front cover. The folder is in very good condition with shelf wear and some soiling. The top corners of the folder have some creasing and there are staple and tape repairs to the top and bottom of the pocket joint on the rear of the folder. The individual 'broadsides' are in very good condition. There is no inscription.

Hardcover. Zustand: Good. 1st Edition. First edition, 30 pp., bound in half cloth and pictorial boards. Small sticker on front cover, corners and edges rubbed, back cover shaved, age toning, hinge visible at back. Good copy. Full page photo's of the puppets from the film. 22 x 29 cm.

Hardcover. Zustand: Good. 19 pp., gebonden in half linnen en geillustreerd karton. Zeer goed. Incl. bijlage hoe je zelf poppen kan maken. Ontwerp poppen door Hannelore Wegener, kleurenfoto's door Adolf Schmidt 27 x 19 cm.

Water buffalo hide and pigment 37 x 76 cms, painted both sides, some surface wear and loss of pigment, mounted on the original spliced bamboo baton, in very good condition. Figure of a Naga or sea serpent, used in the Javanese and Balinese 'wayang kulit' or leather shadow puppet theatre tradition. This puppet appears in many different stories in the Mahabharata epic and in the Javanese tradition can also represent the god and king of all snakes, Bathara Naga. Purchased in Java in the early 1970s.

Audio-CD. Zustand: Neu. Neuware.

Water buffalo hide and pigment 33 x 18 cms, painted both sides, affixed to a spliced horn baton (loss at the head), surface wear and loss of pigment, overall in good condition. A naked devil figure or ?Satanan? used in the Javanese and Balinese 'wayang kulit' or leather shadow puppet theatre tradition. Unsurprisingly a menacing and malign figure, the puppet is depicted naked (with blackened genitals), with bared teeth and fangs. Purchased in Java in the early 1970s.

[1] pp.; 28 x 21.6 cm; monochrome; edition size unknown; unsigned and unnumbered; photocopy / xeroxed Flyer / handbill for Black Flag performance schedule of gigs by Black Flag, Saccharine Trust, Saint Vitus, Meat Puppets, DC3, and others held July 6 ? 20, [1984], featuring artwork by Raymond Pettibon. Good. Mailed copy with mailing marks and mailing wear. Folded in three for mailing with staple holes. Wear to corners and additional light handling wear. Otherwise clean and unmarked.

Water buffalo hide and pigment 42 x 16 cms, painted both sides, affixed to a spliced horn baton, some surface wear and loss of pigment, overall in good condition. Figure of a Pocong, used in the Javanese and Balinese 'wayang kulit' or leather shadow puppet theatre tradition. A pocong is a ghost in the form of a corpse wrapped in its burial shroud. The deceased are typically wrapped in a white cloth which is tied at several places including feet, torso and neck. Burial is often without a casket. Before closure of a grave, the ties must be loosed so that the spirit of the person is released. If not they are doomed to wander the world, haunting the living and places at will. Belief has it that they sometimes haunt bamboo or bannana tree groves in order to befriend the living. During early Covid lockdown in Java, neighbourhoods would block road access to enforce curfew with one or two people dressed as pocongan as a warning to trespassers. Purchased in Java in the early 1970s.

Water buffalo hide and pigment, elaborately gilt 38 x 56 cms, painted both sides, minor surface wear and loss of pigment, without the baton, in very good condition. Figure of Jatayu, a demi-god who takes the form of a vulture or an eagle, used in the Javanese and Balinese 'wayang kulit' or leather shadow puppet theatre tradition. According to the Ramayana epic, Jatayu died while trying to thwart the kidnapping of Dewi Sinta by Rahwana, the king of Alengka. A very attractive example. Purchased in Java in the early 1970s.

Water buffalo hide, gilt and pigment, chiselled and cut out, 34 x 54 cms (fully extended), painted both sides affixed to a spliced horn baton, some fading and minor loss of pigment. This puppet represents the supreme being Sang Hyang Wenang (power holder of all gods) in the Javanese 'wayang kulit' or leather shadow puppet theatre tradition. In Old Javanese, the term Hyang means "god", "goddess", "deified being", or "divinity". Purchased in Java in the early 1970s. See: Joko Susilo, Eisler Shadow-Puppet Collection Catalogue, Bates College, Lewiston, Maine.

Water buffalo hide and pigment 29 x 44.5 cms affixed with cotton to a baton (41 cms). A folk puppet depicting Nyi Brayut and her husband Ki Brayut (the small lead figure in red jacket and pants), who have a great many children. Kyi Brayut is carrying on his shoulder a support which connnects the children to the basket like base on which the children are being carried. The term "brayut" comes from the word "brayat", meaning offspring. Of ancient origin, this shadow puppet was traditionally used for the ritual ceremony held at the 7th month of pregnancy to safeguard the mother and baby during its birth. The display of the puppet would symbolically "bring down" Nyi and Ki Brayut and so magically intervene to assist in a safe birth. This puppet was often used from the early 1970s onwards in government campaigns urging the use of birth control to limit family size. Purchased in Java in the early 1970s.

Water buffalo hide 66 x 24 cms (body), pigment, jointed arms, painted both sides, intricately punctured, the jointed arms and body affixed to horn and wooden batons slight wear and rubbing with some loss of pigment to the top of the shoulder of one arm, but in very good, bright condition. This puppet represents the figure of Batara Yamadipati, the god of death. Son of Semar, he is responsible for collecting the souls of mortals when their time comes. In the Javanese Wayang he dwells with mortals and is invited to joke by the Punakawans. This example is brightly coloured, joyful almost, flesh-coloured rather than gilt and black--symbolically death hiding in plain sight. Purchased in Java in the early 1970s. Also see: Joko Susilo, Eisler Shadow-Puppet Collection Catalogue, Bates College, Lewiston, Maine.

Water buffalo hide, gilt and pigment, chiselled and cut out, 30 x 40 cms (fully extended, without batons), painted both sides, jointed arms, one affixed to a horn baton, the other bamboo, the body affixed to a spliced horn baton, minor loss of pigment. Dewa Ruci is the representation of Bima in miniature form. It is used in the story of the young Bima, called Bratasena, who goes in search of the meaning of life/the water of life. At the end of his journeys he finds it in a miniature of himself representing his true self. The story of Dewa Ruci thus represents the search for perfection and union with the divine and is thus important in Javanese mysticism. Purchased in Java in the early 1970s. See also: Joko Susilo, Eisler Shadow-Puppet Collection Catalogue, Bates College, Lewiston, Maine.

Water buffalo hide, gilt and pigment, chiselled and cut out, 34 x 54 cms (fully extended), painted both sides, two jointed arms affixed to horn batons, another spliced horn baton holding the body, some minor loss of pigment. This puppet represents the goddess Dewi Naganini in the Javanese 'wayang kulit' or leather shadow puppet theatre tradition. She is the daughter of the serpent god Antaboga, and is known for her virtues of loyalty, love and devotion to her fellow creatures. Purchased in Java in the early 1970s. See: Joko Susilo, Eisler Shadow-Puppet Collection Catalogue, Bates College, Lewiston, Maine.

Water buffalo hide, gilt and pigment, chiselled and cut out, 40 x 39 cms (fully extended), painted both sides, one arm jointed and affixed to a bamboo baton, the other arm stationary, holding a staff, another spliced bamboo baton holding the body, some fading and loss of pigment. This puppet represents the seer or sage Durwasa in the Javanese 'wayang kulit' or leather shadow puppet theatre tradition. Resi Durwasa (Durvasa in the Indian Mahabharata) was known as a bestower both of curses and boons. He invested Krishna with partial invulnerability. To Dewi Kunti he bestowed a mantra to invoke gods by whom she could beget sons. Unwisely trying this out, she became pregnant by the Sun God, Surya. Resi Druwasa enabled the birth of her son Karna via her ear and the infant was put into a basket and floated down a river, to be found and adopted by others. In modern Wayang, this story has reputedly been employed to address issues of gender equality. Purchased in Java in the early 1970s. See: Joko Susilo, Eisler Shadow-Puppet Collection Catalogue, Bates College, Lewiston, Maine.

Water buffalo hide and pigment, elaborately gilt and cut out 58 x 25 cms, painted both sides, a spliced horn baton holds the body, some abrasions and fading to the painted surface, in good condition overall. This puppet represents the dewa Bathara Guru in the Javanese 'wayang kulit' or leather shadow puppet theatre tradition. Bathara Guru (the Javanese name for the deity Shiva) symbolized the imperfection of man, represented in the bodily defects of the puppet: four arms, small feet, marks on the throat and often (though not here) depicted with fangs. Purchased in Java in the early 1970s. See: Joko Susilo, Eisler Shadow-Puppet Collection Catalogue, Bates College, Lewiston, Maine.

Water buffalo hide, gilt and pigment, elaborately chiselled and cut out, 49 x 72 cms (arms fully extended), painted both sides, jointed arms, each affixed to bamboo batons and another spliced horn baton holding the body; some fading and loss of pigment; stamped "H N" at the base of the puppet. This puppet represents the King/Knight Raden Astadarma, in the Javanese 'wayang kulit' or leather shadow puppet theatre tradition. This character appears in the Wayang Madya stories. These stories were originally sponsored by the princely poet Mangkunegara IV (1811?1881) the fourth ruler of Mangkunegaran, a principality based in Surakarta, Java, ruling from 1853 to his death in 1881. In recent times these stories are intended to retell 19th century heroic poems reflecting on 20th Century events, linking Wayang Purwa with Wayang Gedog. Purchased in Java in the early 1970s. See: Joko Susilo, Eisler Shadow-Puppet Collection Catalogue, Bates College, Lewiston, Maine.

Water buffalo hide, gilt and pigment, elaborately chiselled and cut out, 43 x 69 cms (arms fully extended), painted both sides, jointed arms, each affixed to horn batons and another spliced horn baton holding the body. This puppet represents Suryatmaja or Suryaputra, son of Dewi Kunti in the Javanese 'wayang kulit' or leather shadow puppet theatre tradition. A particularly fine example. Purchased in Java in the early 1970s. Also see: Joko Susilo, Eisler Shadow-Puppet Collection Catalogue, Bates College, Lewiston, Maine.

Water buffalo hide, gilt and pigment, chiselled and cut out, 50 x 41 cms (fully extended), painted both sides, one arm jointed and affixed to a bamboo baton, (the other arm stationary) another spliced bamboo baton holding the body, some minor loss of pigment. This puppet represents the priestly hermit Resi Gotama (or Gotama Rishi) in the Javanese 'wayang kulit' or leather shadow puppet theatre tradition. In this tradition, Resi Gotama is married to a beautiful angel, Dewi Indradi, and despite his royal heritage spurns kingship for life as a hermit. A particularly attractive example. Purchased in Java in the early 1970s. See: Joko Susilo, Eisler Shadow-Puppet Collection Catalogue, Bates College, Lewiston, Maine.

Water buffalo hide 63 x 90 cms (extended), pigment and gilt, jointed arms, painted both sides, intricately punctured, the jointed arms and body affixed to horn and wooden batons slight wear and rubbing with some loss of pigment, overall in good condition. This impressive large puppet represents Bima /Werkadura / Bratasena, the incarnation of the god who became the ruler of the wind, in the Javanese 'wayang kulit' or leather shadow puppet theatre tradition. "Werkadura is the most feared of warriors, creating havoc with his terrible club and atrocious fingernails?Merciless to his enemies, gigantic, ungainly, heavily muscled, hairy, with protruding eyes and thunderous voice?Nevertheless, his unswerving honesty, loyalty, fortitude and military skill make him among the most admired figures in wayang." (Benedict R. O'G. Anderson, Mythology and the Tolerance of the Javanese" Cornell, 1965) Purchased in Java in the early 1970s. See also: Joko Susilo, Eisler Shadow-Puppet Collection Catalogue, Bates College, Lewiston, Maine.

Water buffalo hide, gilt and pigment, elaborately chiselled and cut out, 54 x 69 cms (arms fully extended), painted both sides, jointed arms, each affixed to horn batons and another spliced horn baton holding the body. This Javanese 'wayang kulit' or leather shadow puppet, represents Kresna (Krishna) in the Hindu epic, the Mahabharata. His importance and the reasons for his great regard is that he is considered the 8th avatar of the god Wisnu (Visnu), the protector and preserver of good and destroyer of evil. The 7th avatar is Rama. In Soeharto?s New Order regime, this ?lineage? of avatars ?particularly Rama--became significant in their own mythical presentation [to themselves] of the regime. It is in the Ramayana?not Mahabharata?that the final battle against evil forces was to be fought and the dharma upheld. "Kresna is part God, an incarnation of the mighty Wisnu. He is the consummate politician, diplomat and strategist of war. By far the most intellectually brilliant of the Pendawa [sic] faction, it is Kresna who makes their final victory possible. On the other hand, he is the conscienceless liar and an unscrupulous schemer who never hesitates to break the rules when he feels it necessary" (Benedict R. O'G. Anderson, "Mythology and the Tolerance of the Javanese" Cornell, 1965). Also see: Joko Susilo, Eisler Shadow-Puppet Collection Catalogue, Bates College, Lewiston, Maine. A particularly fine example. Purchased in Java in the early 1970s.

Water buffalo hide, pigment, gilt, fabric and hair (three of the four figures) all with jointed arms, painted both sides, the arms and bodies affixed to spliced horn batons (three for each puppet), some abrasion and wear with some loss to the pigment, but the set in very good condition: Semar (body): 35 x 35 cms; Gareng: 36 x 16 cms; Petruk: 53 x 20 cms; Bagong: 41 x 23 cms. A set of four comedic Punakawan figures. Chief of these is Semar, one of the most well-loved figures in Wayang, both a humble servant and powerful god. "Semar is usually accompanied by his three adopted sons, Gareng, Petruk and Bagong, and together they are known as the Punakawan ('knowing friends or attendants')." (Gregory Churchill et al "Semar, ever so smartly" Winayangan, 2009). In this set Gareng is the eldest son, who limps and has a crippled arm; Petruk is the middle child depicted as tall and lanky, who has a distinctive long nose; Bagong is the youngest of the three: a chubby figure, with big round eyes, thick lips, and naïve behaviour. ".the scene where Semar traditionally emerges is called the goro-goro (?world in chaos?). The narration of the puppeteer speaks of earthquakes and storms that beset the cosmos, but then announces Semar who appears like a shaft of light, piercing the dark. Semar?s cosmic and comic humour promises the audience both laughs and wisdom. He is a clown who connects the cosmic and everyday. All opposites and contradictions dissolve in his wisdom and mythos." (World Encyclopedia of Puppetry Arts) Purchased in Java in the early 1970s. See: Joko Susilo, Eisler Shadow-Puppet Collection Catalogue, Bates College, Lewiston, Maine.

Water buffalo hide and pigment, elaborately gilt and cut out 54 x 69 cms, painted both sides, jointed arms, each affixed to horn batons and another spliced horn baton holds the body. This puppet represents the dewa Bathara Guru in the Javanese and Balinese 'wayang kulit' or leather shadow puppet theatre tradition. Batara Guru is the Indonesian embodiment of the Hindu deity, Shiva, and perhaps the most sacred of Indonesian shadow puppets. A dalang (puppeteer) must make offerings to Guru, the supreme god, creator and ruler of earth, who stands at the origin point of humankind, before commencing a shadow play performance. Batara Guru also known as Sang Hyang Manikmaya is conceived of as the younger brother of Semar. The figure is generally shown in meditative repose, standing upon his mount, the bull. He is viewed as a spiritual teacher and guide directing lesser deities and humans in their earthly endeavors. This particularly fine example is elaborately carved with gilt and rides on the mythical bull, Nandini. Bathara Guru (the Javanese name for the deity Shiva) symbolized the imperfection of man, represented in the bodily defects of the puppet: four arms, small feet, marks on the throat and often (though not here) depicted with fangs. Purchased in Java in the early 1970s. See: Joko Susilo, Eisler Shadow-Puppet Collection Catalogue, Bates College, Lewiston, Maine.

Unbound. Zustand: Near Fine. Photomechanically reproduced flyer on 8.5" x 11" blue paper. Fine. An original flyer promoting a gig at the Whiskey-a-Go-Go with Social Distortion, 45 Grave, and the Meat Puppets. Artwork is of marching Nazis. This gig was only a few years before Social Distortion's mid-80s hiatus brought on by frontman Mike Ness' drug addiction; to date they are the highest grossing punk band. Fronted by Dinah Cancer, 45 Grave were a Horror punk band formed in 1979. They are considered one of the first American goth rock bands.

Water buffalo hide and pigment, chiselled and cut out, 17 x 22 (figure only), affixed to a bamboo baton, worn with noticeable loss of pigment. This puppet represents the animal character of Kate Kancana or golden rooster, a form assumed by Prince Arjuna in the Javanese Wayang Kulit tradition. Purchased in Indonesia in the early 1970s. See : Joko Susilo, Eisler Shadow-Puppet Collection Catalogue, Bates College, Lewiston, Maine.