simon matila (9 Ergebnisse)

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

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

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

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

Hardcover. Zustand: Like New. Zustand des Schutzumschlags: 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.

Zustand: Very Good. Very Good condition. Good dust jacket. (World War 2, Art) A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp.

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 Rosenberg Institute for the Occupied Territories), or ERR, was formed, headed for Alfred Rosenberg by Gerhard Utikal The first operating unit, the western branch for France, Belgium and the Netherlands, called the Dienststelle Westen (Western Agency), was located in Paris. The chief of this Dienststelle was Kurt von Behr. Its original purpose was to collect Jewish and Freemasonic books and documents, either for destruction or for removal to Germany for further "study". However, late in 1940, Hermann Göring, who in fact controlled the ERR, issued an order that effectively changed the mission of the ERR, mandating it to seize "Jewish" art collections and other objects. The war loot had to be collected in a central place in Paris, the Museum Jeu de Paume. At this collection point worked art historians and other personnel who inventoried the loot before sending it to Germany. Göring also commanded that the loot would first be divided between Hitler and himself. Hitler later ordered that all confiscated works of art were to be made directly available to him. From the end of 1940 to the end of 1942 Göring traveled twenty times to Paris. In the Museum Jeu de Paume, art dealer Bruno Lohse staged 20 expositions of the newly looted art objects, especially for Göring, from which Göring selected at least 594 pieces for his own collection. Göring made Lohse his liaison-officer and installed him in the ERR in March 1941 as the deputy leader of this unit. Items which Hitler and Göring did not want were made available to other Nazi leaders. Under Rosenberg and Göring's leadership, the ERR seized 21,903 art objects from German-occupied countries.