Kas publications (8 Ergebnisse)
- Softcover
Anbieter: WorldofBooks, Goring-By-Sea, WS, Vereinigtes KönigreichWorldofBooks
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Gebraucht - Gut
EUR 8,68
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Paperback. Zustand: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.
Sprache: Englisch
Verlag: Takarakka Nowan Kas Publications, Carnarvon Gorge, QLD, 1999
- Softcover
Anbieter: Harbeck Rare Books, Carina, Brisbane, QLD, AustralienHarbeck Rare Books
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Gebraucht - Gut bis sehr gut
EUR 126,41
EUR 25,67 VersandVersand von Australien nach USAAnzahl: 1 verfügbar
Soft cover. Zustand: Near Fine. Oblong format. 21 x 29.5 cm. xiii, 160 pp with 3 maps, 8 figures and very many colour photographs. Colour illustrated paperback. Tiny nicks to 3 corners. Scarce.
The Unambal : A tribe in Northwest Australia.
Lommel,, Andreas. Primary English translation by Ian Campbell .
Verlag: Carnarvon Gorge, Qld. :Takarakka Nowan Kas Publications, 1997., 1997
- Softcover
- Erstausgabe
Anbieter: Grant's Bookshop, Cheltenham, VIC, AustralienGrant's Bookshop
Verkäufer/-in kontaktierenVerkäufer/-in mit 4 SternenZustand: Gebraucht
EUR 59,10
EUR 16,26 VersandVersand von Australien nach USAAnzahl: 1 verfügbar
In den WarenkorbLarge 8vo. xvi+122pp. :Map. B/w illustrations. Original wrappers, a very good copy. . First edition. Report from a 1938 German expedition. With warnings about the sensitive nature of the (1938) photographs reproduced and the offer of an unillustrated version. Very scarce in either issue.
Weitere BilderVerlag: Takarakka Nowan Kas Publications, Carnarvon Gorge, 1997
- Softcover
- Erstausgabe
Anbieter: Michael Treloar Booksellers ANZAAB/ILAB, Adelaide, SA, AustralienMichael Treloar Booksellers ANZAAB/ILAB
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Gebraucht - Gut
EUR 79,01
EUR 20,54 VersandVersand von Australien nach USAAnzahl: 1 verfügbar
In den WarenkorbPaperback. Zustand: Very Good. First Edition. Carnarvon Gorge, Takarakka Nowan Kas Publications, 1997 (first edition in English)/ 1952 (first edition [in German]). Quarto, xviii, 122 pages with 32 illustrations (from photographs), 4 sketches and a map. Pictorial card covers slightly rubbed at the extremities; an excellent copy.…This monograph on the Wunambal people of the Kimberley region is the product of Lommel's fieldwork on the 1938-39 expedition of the Frobenius Institute. It includes detailed observations on Wunambal material culture, social organisation, religious beliefs and songs. This translation contains a seven-page introduction by the author new to this edition. We have previously catalogued a copy of this book containing a loosely-inserted 'warning' slip (not present in this copy), stating this is 'a faithful English translation of the original 1952 German version . and accordingly contains the same end block of photographic illustrations. Some photographs depict ceremonial activities of some 60 years ago, and some readers may choose for various reasons not to view material that they may consider sensitive'. The translation is by Dr Ian Campbell.
Weitere BilderVerlag: Takarakka Nowan Kas Publications, Toowong (Qld), 2000
- Softcover
- Erstausgabe
- Signiert
Anbieter: Muir Books [Robert Muir Old & Rare Books], PERTH, WA, AustralienMuir Books [Robert Muir Old & Rare Books]
Verkäufer/-in kontaktierenVerkäufer/-in mit 4 SternenZustand: Gebraucht
EUR 2.054,18
EUR 23,96 VersandVersand von Australien nach USAAnzahl: 1 verfügbar
In den Warenkorbleatherette. 1st edition thus. 1st ed thus, oblong folio, pp.x, 464, profusely illustrated with over 620 colour photographs and 2,000 illustrations, maps. Original boards, colour plate laid onto front of imitation crocodile leatherette boards, decorated endpapers. Loosely inserted fold-out colour brochure. Signed and dated (17.8….2000) by author. Near fine condition. Scarce and significant study of Kimberley rock art and finely painted human figures known as Bradshaw, named after explorer and pastoralist Joseph Bradshaw, first European to sight and record them in 1891. The aboriginal name, Gwion Gwion, for these figures comes from the Ngarinyin people. In 1996 Grahame Walsh discovered a Bradshaw painting partly covered by a fossilised Mud Wasp nest, estimated to be approximately 17,000 years old. Lavishly illustrated throughout, with hundreds of illustrations and colour plates.
Weitere BilderVerlag: Takarakka Nowan Kas Publications, in association with The Australian Centre, University of Melbourne, Toowong, 2000
- Hardcover
- Erstausgabe
Anbieter: Michael Treloar Booksellers ANZAAB/ILAB, Adelaide, SA, AustralienMichael Treloar Booksellers ANZAAB/ILAB
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Gebraucht - Sehr gut
EUR 1.264,11
EUR 20,54 VersandVersand von Australien nach USAAnzahl: 1 verfügbar
In den WarenkorbHardcover. Zustand: Fine. First Edition. Toowong, Takarakka Nowan Kas Publications, in association with The Australian Centre, University of Melbourne, 2000. Oblong folio, [vi], xiv, 464 pages with over 2000 illustrations and over 620 colour plates. Synthetic leather with a large colour-pictorial title-label mounted on the front… cover; a fine copy in the original cardboard packaging. An unparalleled 'visual record of ancient Kimberley rock art, dealing specifically with periods predating the Ice Age', and a work of lasting significance produced to the highest standard. Grahame Walsh died in 2007, aged 62; an insight into the nature of the man and this book may be found in this extract from his obituary by Nicolas Rothwell, published in 'The Australian', 24 August 2007. It was in the Kimberley that Walsh 'encountered the two art traditions that would dominate his later years. The Bradshaw rock paintings are ancient and extend across an arc of the north Kimberley. They depict graceful figures engaged in display or hunt. The Wandjina paintings, much more recent, mark the last crescendo of Kimberley Aboriginal art. In their best-known form, they show round, wide-eyed faces surrounded by ghostly halo circles. To Walsh, both these traditions had an intense appeal. Backed by private sponsors, he prepared the first large book on the Bradshaws. It appeared in 1994. By this stage, Walsh was becoming a figure of notoriety in the academic rock art world. It was plain he was a field photographer of brilliance and a persistent finder of lost sites. But he was without formal qualifications and his somewhat controversy-courting ideas about pre-Aboriginal civilisations in the far north triggered a storm of predictable fury. The result was a damaging split between Walsh and the academy: damaging, arguably, for both sides. Walsh had found a fresh forum for his ideas and a wider audience. Perhaps, in all the twisting course of his life, no turn was stranger than the one that brought him into contact, and friendship, with the leaders of Australia's legal and corporate worlds. Unusual backers began funding his research. He was especially close to Dame Elisabeth Murdoch and Maria Myers, to both of whom he dedicated his masterpiece, "Bradshaw Art of the Kimberley", a vast, unclassifiable book, part photographic essay, part speculative anthropology, bound in purple mock-crocodile skin. A photograph of the author glowers from the frontispiece: he sits, a pair of cameras at the ready, beside a Bradshaw panel, wearing his favourite battered black Akubra, souvenired from the aftermath of a bar-room brawl in Camooweal. It is clear today that 2000, when the "purple crocodile" was published, marked the moment of Walsh's greatest difficulty as well as the first pinnacle of his public renown. Protests from Kimberley Aboriginal groups angered by his interpretation of the Bradshaw style redoubled; rock art experts resented his refusal to share his data or provide access to sites he knew. But the overwhelming detail collected in "Bradshaw Art" and the depth of his knowledge of the tradition made their own case. It became impossible to deny that Walsh, through his solitary efforts, had uncovered a vast, half-forgotten realm of indigenous art'.
Weitere BilderVerlag: Takarakka Nowa Kas Publications, Toowong, 2000
- Hardcover
- Erstausgabe
Anbieter: Peter Arnold Antiquarian Booksellers, East Prahran, VIC, AustralienPeter Arnold Antiquarian Booksellers
Verkäufer/-in kontaktierenVerkäufer/-in mit 2 SternenZustand: Gebraucht - Sehr gut
EUR 853,27
EUR 21,39 VersandVersand von Australien nach USAAnzahl: 1 verfügbar
In den WarenkorbHardcover. Zustand: Fine. 1st Edition. Oblong folio, illustrated with more than 2000 illustrations, diagrams and line-drawings, and over 600 colour plates, pp. [vi], xiv, 464. Original maroon alligator skin-patterned synthetic leather with colour plate insert on upper cover. Previous owner's inscription on front free endpaper, o…therwise fine. We will advise postage costs and delivery times, which will vary from those quoted by ABE.
Weitere BilderVerlag: Takarakka Nowan Kas Publications, in association with The Australian Centre, University of Melbourne, Toowong, 2000
- Hardcover
- Erstausgabe
- Signiert
Anbieter: Michael Treloar Booksellers ANZAAB/ILAB, Adelaide, SA, AustralienMichael Treloar Booksellers ANZAAB/ILAB
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Gebraucht - Sehr gut
EUR 1.896,17
EUR 20,54 VersandVersand von Australien nach USAAnzahl: 1 verfügbar
In den WarenkorbHardcover. Zustand: Fine. First Edition. Toowong, Takarakka Nowan Kas Publications, in association with The Australian Centre, University of Melbourne, 2000. Oblong folio, [vi], xiv, 464 pages with over 2000 illustrations and over 620 colour plates. Synthetic leather with a large colour-pictorial title-label mounted on the front… cover; a fine copy. The title page is signed and dated (17 August 2000) by the author. An unparalleled 'visual record of ancient Kimberley rock art, dealing specifically with periods predating the Ice Age', and a work of lasting significance produced to the highest standard. Grahame Walsh died in 2007, aged 62; an insight into the nature of the man and this book may be found in this extract from his obituary by Nicolas Rothwell, published in 'The Australian', 24 August 2007. It was in the Kimberley that Walsh 'encountered the two art traditions that would dominate his later years. The Bradshaw rock paintings are ancient and extend across an arc of the north Kimberley. They depict graceful figures engaged in display or hunt. The Wandjina paintings, much more recent, mark the last crescendo of Kimberley Aboriginal art. In their best-known form, they show round, wide-eyed faces surrounded by ghostly halo circles. To Walsh, both these traditions had an intense appeal. Backed by private sponsors, he prepared the first large book on the Bradshaws. It appeared in 1994. By this stage, Walsh was becoming a figure of notoriety in the academic rock art world. It was plain he was a field photographer of brilliance and a persistent finder of lost sites. But he was without formal qualifications and his somewhat controversy-courting ideas about pre-Aboriginal civilisations in the far north triggered a storm of predictable fury. The result was a damaging split between Walsh and the academy: damaging, arguably, for both sides. Walsh had found a fresh forum for his ideas and a wider audience. Perhaps, in all the twisting course of his life, no turn was stranger than the one that brought him into contact, and friendship, with the leaders of Australia's legal and corporate worlds. Unusual backers began funding his research. He was especially close to Dame Elisabeth Murdoch and Maria Myers, to both of whom he dedicated his masterpiece, "Bradshaw Art of the Kimberley", a vast, unclassifiable book, part photographic essay, part speculative anthropology, bound in purple mock-crocodile skin. A photograph of the author glowers from the frontispiece: he sits, a pair of cameras at the ready, beside a Bradshaw panel, wearing his favourite battered black Akubra, souvenired from the aftermath of a bar-room brawl in Camooweal. It is clear today that 2000, when the "purple crocodile" was published, marked the moment of Walsh's greatest difficulty as well as the first pinnacle of his public renown. Protests from Kimberley Aboriginal groups angered by his interpretation of the Bradshaw style redoubled; rock art experts resented his refusal to share his data or provide access to sites he knew. But the overwhelming detail collected in "Bradshaw Art" and the depth of his knowledge of the tradition made their own case. It became impossible to deny that Walsh, through his solitary efforts, had uncovered a vast, half-forgotten realm of indigenous art'. Signed.
