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Provenance
Detailed biographies describe the lives of twelve collectors of tribal art in Britain, active between 1770 and 1990.These men were rarely field collectors and only occasional travellers, but they were vigorous hunters, for whom the pursuit, handling and possession of such objects was what mattered. The climax of the period of collecting from around 1880 to 1960 coincided with the maximum extent of Empire, when legions of explorers, missionaries, administrators, traders and military personnel brought back to Britain an inexhaustible quantity of exotic material. The sources for the collections included most of Africa, the Americas and the Pacific, as well as tribal societies in Asia. The collectors described here – a interesting mix of highly individualistic, eccentric and sometimes avaricious men – could, and did, quite reasonably claim that they were saving ethnographic material for the future.This was partly based on the widely held notion that tribal cultures were disappearing and the idea that some museums were negligent and uninterested in ethnography.Several of the collectors eventually created museums themselves, most notably Pitt Rivers. Contemporary illustrations and recent photography of the objects are accompanied by evocative photographs of the collectors amongst their collections.
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Provenance and Early Cinema
Remnants of early films often have a story to tell.As material artifacts, these film fragments are central to cinema history, perhaps more than ever in our digital age of easy copying and sharing.If a digital copy is previewed before preservation or is shared with a researcher outside the purview of a film archive, knowledge about how the artifact was collected, circulated, and repurposed threatens to become obscured.When the question of origin is overlooked, the story can be lost.Concerned contributors in Provenance and Early Cinema challenge scholars digging through film archives to ask, "How did these moving images get here for me to see them?" This volume, which features the conference proceedings from Domitor, the International Society for the Study of Early Cinema, 2018, questions preservation, attribution, and patterns of reuse in order to explore singular artifacts with long and circuitous lives.
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Songs of No Provenance
A suspenseful, wildly engaging debut novel following a musician spiraling in self-doubt and self-searching after a night – and a relationship – gone wrong. Songs of No Provenance tells the story of Joan Vole, an indie folk singer forever teetering on the edge of fame, who flees New York after committing a shocking sexual act onstage that she fears will doom her career.With the threat of an internet storm looming over her, Joan seeks refuge at a writing camp for teenagers in rural Virginia, where she’s forced to question her own toxic relationship to artmaking – and her complicated history with a friend and mentee – while finding new hope in her students and a deepening intimacy with a nonbinary artist and fellow camp staff member.Lydi Conklin boldly explores kink, shame, queer appropriation, fame hunger, cancel culture, trans nonbinary identity and how to make art without ego, all the while asking how Joan might forge a new future for herself. Suffused with flashbacks to a musical underworld as seductive as it is seedy, Songs of no Provenance is a visceral, gutsy and profound debut novel about love, self-acceptance and clawing oneself to safety.
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Provenance - An Alternate History of Art
This is a fascinating re-examination of the importance and legacy of provenance in the history of art.This book goes beyond the narrow definition of the term provenance, which addresses only the bare facts of ownership and transfer, to explore ideas about the origins and itineraries of objects, consider the historical uses of provenance research, and draw attention to the transformative power of ownership.The result is a volume of essays that makes a strong case for recuperating provenance - what contributing author Anne Higonnet calls "so many epic tales compressed into such dry lists" - for the history of art.Provenance attends to the social life of art, a work's biography subsequent to the moment of its origin. "Provenance" offers a broad perspective, ranging from ancient archaeology to conceptual art, that encompasses Europe, Asia, and the Americas, and considers a variety of media.The essays demonstrate in myriad ways how an owner's relationship with a work of art or, in varying degrees, with the object's previous owners can change irrevocably the way the work will be perceived and understood by future generations.
Price: 35.00 £ | Shipping*: 0.00 £
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What is the difference between manufacturing and production?
Manufacturing refers to the process of converting raw materials or components into finished goods through various techniques and processes. Production, on the other hand, is a broader term that encompasses all activities involved in creating goods or services, including manufacturing, but also includes activities such as planning, designing, and managing the entire process. In essence, manufacturing is a subset of production, focusing specifically on the physical transformation of materials into products.
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How to design the production?
To design the production, it is important to first understand the requirements and goals of the production. This includes determining the target audience, the message or story to be conveyed, and the resources available. Once these factors are understood, a production plan can be developed, outlining the necessary steps, timeline, and budget. This plan should consider all aspects of the production, including casting, scripting, set design, costume and makeup, lighting, sound, and post-production. Collaboration and communication among the production team are essential to ensure a cohesive and successful production.
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What is the difference between workshop production and workshop manufacturing?
Workshop production refers to the process of creating goods or products in a workshop setting, often involving skilled craftsmen and artisans. This can include activities such as woodworking, metalworking, and other forms of handcrafting. On the other hand, workshop manufacturing involves the use of machinery and advanced technology to produce goods in a workshop setting. This can include activities such as 3D printing, CNC machining, and other automated manufacturing processes. In essence, workshop production is more focused on traditional, manual craftsmanship, while workshop manufacturing involves more modern, automated techniques.
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Can someone explain the triangular relationship between design, manufacturing, and materials?
The triangular relationship between design, manufacturing, and materials refers to the interconnectedness of these three elements in the production of a product. Design influences the choice of materials and manufacturing processes, as it determines the functionality, aesthetics, and performance of the product. Materials selection is crucial in determining the manufacturability and performance of the product, and manufacturing processes must be chosen based on the design and materials to ensure efficient and cost-effective production. Ultimately, the success of a product depends on the harmonious integration of design, manufacturing, and materials.
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Provenance Research Today : Principles, Practice, Problems
Covering key aspects of provenance research for the international art market, this accessible publication, co-published with the International Foundation for Art Research (IFAR), explores a range of themes including challenges and best practice to considerations specific to Nazi looted art and the trade in illicit antiquities. Provenance research is a crucial component of any art-market transaction.Without a provenance it is often difficult to establish a work’s authenticity, its true value or who has legal title.Whether buying, selling or simply maintaining an artwork in either a private or a public collection, the days when a blind eye could be turned to the history (or the lack of a known history) of a work have long gone.Proper, thorough and effective provenance research is the minimum required and demanded in today’s art world – a world that is increasingly recognising the need for greater and more effective self-regulation in the face of fakes, forgeries and challenges to ownership or authenticity that are now commonplace. Provenance Research Today is essential reading for a broad audience, from those studying to become part of the art world or professionals starting a career in provenance research, to collectors or would-be collectors, dealers, galleries, auction houses, police and art lawyers.
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Provenance Research in Book History : A Handbook
Since this handbook was first published in 1994, interest in the book as a material object, and in the ways in which books have been owned, read and used, has burgeoned.Now established as a standard reference work, this book has been revised and expanded with a new set of over 200 colour illustrations, updated bibliographies and extended international coverage of libraries and online resources. It covers the history and understanding of inscriptions, bookplates, ink and binding stamps, mottoes and heraldry, and describes how to identify owners and track down books from particular collections via library and sale catalogues.Each section features an evaluated bibliography listing further sources, both online and in print.Illustrated examples of the many kinds of ownership evidence which can be found in books are also shown throughout.Relevant to anyone seeking to identify previous owners of books, or trace private libraries, this title will also support the work of all book historians interested in the history of reading or the use of books and in the book as a material object.An essential handbook for anyone working in provenance research.
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Provenance and Possession : Acquisitions from the Portuguese Empire in Renaissance Italy
A thought-provoking study of how knowledge of provenance was not transferred with enslaved people and goods from the Portuguese trading empire to Renaissance ItalyIn the fifteenth and sixteenth centuries, Renaissance Italy received a bounty of "goods" from Portuguese trading voyages—fruits of empire that included luxury goods, exotic animals and even enslaved people.Many historians hold that this imperial "opening up" of the world transformed the way Europeans understood the global.In this book, K.J.P. Lowe challenges such an assumption, showing that Italians of this era cared more about the possession than the provenance of their newly acquired global goods.With three detailed case studies involving Florence and Rome, and drawing on unpublished archival material, Lowe documents the myriad occasions on which global knowledge became dissociated from overseas objects, animals and people.Fundamental aspects of these imperial imports, including place of origin and provenance, she shows, failed to survive the voyage and make landfall in Europe.Lowe suggests that there were compelling reasons for not knowing or caring about provenance, and concludes that geographical knowledge, like all knowledge, was often restricted and not valued. Examining such documents as ledger entries, journals and public and private correspondence as well as extant objects, and asking previously unasked questions, Lowe meticulously reconstructs the backstories of Portuguese imperial acquisitions, painstakingly supplying the context.She chronicles the phenomenon of mixed-ancestry children at Florence’s foundling hospital; the ownership of inanimate luxury goods, notably those possessed by the Medicis; and the acquisition of enslaved people and animals.How and where goods were acquired, Lowe argues, were of no interest to fifteenth- and sixteenth-century Italians; possession was paramount.
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1990 Macallan 14 Year Old Speyside Scotch Whisky 1990 McGibbons Provenance Bottling (Original Box)
This lovely 14 year old vintage Macallan 14 Year Old Speyside Scotch Whisky is 46% proof and was bottled by McGibbons Provenance Bottling in 2004. This Malt Whisky is shipped in its original presentation box with three wine accessories (corkscrew, wine pourer & drip stopper) [worth £17.99] at no extra cost and now includes a free gift card with your personal message and tasting and storage notes.
Price: 399.97 € | Shipping*: 0.00 €
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Can anyone design, print, and distribute flyers?
Yes, anyone can design, print, and distribute flyers. Designing a flyer can be done using various software programs or online tools. Printing can be done at home with a printer or at a professional printing shop. Distributing flyers can be done by hand, through direct mail, or by hiring a distribution service. It is important to ensure that the content of the flyer is clear, visually appealing, and targeted to the intended audience.
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How do you write about a stage design production?
When writing about a stage design production, it is important to first provide a brief overview of the production, including the title, playwright, director, and venue. Describe the overall aesthetic of the set design, including any notable features such as lighting, props, and special effects. Discuss how the stage design enhances the storytelling and mood of the production, and analyze how it contributes to the overall impact of the performance on the audience. Additionally, consider the practical aspects of the stage design, such as how it facilitates scene changes and actor movement.
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What are the production costs of the material for manufacturing a concrete Lego brick?
The production costs of the material for manufacturing a concrete Lego brick include the cost of cement, aggregates (such as sand and gravel), water, and any additives or coloring agents. Additionally, there are costs associated with the energy required to mix and cure the concrete, as well as the molds used to shape the bricks. Overall, the production costs can vary depending on the quality and quantity of materials used, as well as the efficiency of the manufacturing process.
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Is all of this just a fabrication?
No, not all of this is a fabrication. While some information may be fabricated or exaggerated, there are also elements of truth and reality in what is being presented. It's important to critically evaluate the information and consider multiple sources before coming to a conclusion about its authenticity.
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