‎SUDERMANN Hermann‎
‎ES WAR‎

‎Handbook of weapons: Gulf War, Falklands / malvinus conflict History of Japanese Submarines Japanese Book‎

‎TBD 1980 Soft Cover Fine‎

‎South African War through the Stereoscope. Vol. I-II.‎

‎Washington, Underwood & Underwood, 1900 - 1901. 72 stereoscope card (177 x 90 mm) housed in the original book-like slipcase. Slipcase with wear. Cards fine and clean. ‎

‎Fine collection of 72 stereoscope cards depicting primarily war scenes from the South African War (Anglo-Boer war). Most of the images deal with the action on the north-eastern frontier of the Cape between November 1899 and February 1900 including scenes from Hanover, Naauwpoort, Dordrecht or Arundel and Rensburg (South of Colesburg). U & U photographers were also present on the march to Kimberley, at the surrender of General Cronje at Paardeberg, at the occupation of Bloemfontein, on the march through the Free State towards Johannesburg and the triumphant entry into Pretoria. Images of the Natal campaign (siege of Ladysmith), battlegrounds of Colenso and Spioenkop are also included. “War correspondents and news photographers descended upon South Africa at the start of the Anglo-Boer war, among them the photographers of Underwood & Underwood. These photographers were not news photographers after sensational, gory war images, nor were they part of any pro-British or anti-Boer propaganda campaign. They stayed away from conflict zones but still captured other military related activity with their primary market, namely the American middle class in mind. Underwood and Underwood produced sets of images in boxes made to look like a single, or a pair of books entitled: “The South African War through the Stereoscope”. These boxes were then filled with Anglo-Boer war stereo photographs pasted onto curved cardboard. More titles were added as the war progressed. Later described as the leaders in armchair travel photography, Underwood & Underwood was founded by two brothers in 1881 in Ottawa, Kansas. The brothers were Elmer Underwood (born Fulton County, Illinois 1859 - died St. Petersburg, Florida during 1947) and Bert Elias Underwood (born in Oxford, Illinois 1862 - died Tucson, Arizona during 1943). The company moved its main office from Ottawa, Kansas to New York City 10 years later. During the late 19th and early 20th century, Underwood and Underwood (To be referred to as U & U from this point onwards) responded to the increasing demand of their primary market, namely the middle-class American’s visual curiosity on the expanding world. The Underwoods hired their own photographers, some of whom were Americans. Unfortunately, none of their names have been recorded on the Anglo-Boer war stereo cards or on the photographs themselves. It is thought that some photographs may also have been bought from South African based photographers by U & U. This would however have been an absolute exception and not the rule. The Anglo-Boer war images sold door to door in America would have formed but a small fraction of the wide variety of images and themes on offer by U & U.” (Carol Hardijzer, Anglo-Boer War - Stereo Photographs produced by Underwood & Underwood).‎

‎Bitter Truth : Avant-garde Art and the Great War‎

‎, Yale University Press, 1994 Hardcover, 336 pages, ENG, 295 x 250 x 30 mm, dustjacket, In very good condition!, 330 b&w illustrations, 70 colour plates, index. ISBN 9780300057041.‎

‎"It is unspeakable, godless, hopeless. I am no longer an artist interested and curious. I am a messenger who will bring back word from the men who are fighting to those who want the war to go on forever. Feeble, inarticulate, will be my message, but it will have a bitter truth." - Paul Nash, 1918, at Passchendaele. The trauma of the First World War had an immensely powerful effect on the painters, sculptors, and printmakers who participated in it. They produced an extraordinary range of striking images that conveyed the immediacy and horror of their experiences and feelings. This arresting book is the first to bring together and examine the full international array of images spawned by the Great War. Richard Cork shows how avant-garde artists from Europe, Russia, and the United States challenged the recruiting posters and other propagandist views of the struggle by producing art that reflected the degradation of the trenches. The conflict was anticipated before hostilities began by the visionary and apocalyptic work of painters such as Meidner and Kandinsky. Chagall, Nevinson, Hartley, Beckmann, Kirchner, and other artists were quick to define war's essential tragedy with objective, expressionist, or allegorical art that alluded to their own wartime experiences. The harshest images of war were made in the latter stages or after the Armistice, when artists such as Dix had time to consider their participation in the war. Ironically, the post-war years also witnessed the redemptive work of Spencer and Brancusi, who after the Armistice produced monumental affirmations of brotherhood, fortitude, and love. This lavishly illustrated book will accompany a major exhibition of art from World War I, to be held at the Altes Museum in Berlin from June 4 to August 28 and at the Barbican Art Gallery in London from September 29 to December 11, 1994.‎

‎Fate of Early Italian Art during World War Two. Protection, Rescue, Restoration‎

‎, Brepols, 2024 Hardback, 416 pages, Size:216 x 280 mm, Illustrations:59 b/w, 42 col., 1 maps b/w, Language: English. ISBN 9782503609744.‎

‎Summary In Italy, art historians can study wall-paintings, tombs, and stained-glass windows in the early churches for which they were created because they have been preserved in situ over the centuries. This book explores one fraught period of this critical preservation work, during the five years of World War II in Italy, when numerous artistic monuments of value were vulnerable to damage and destruction. Works of art from the late Middle Ages and Early Renaissance lie at the focus, among them, the Angevin tombs of Santa Chiara in Naples, the frescoes of Pisa's Camposanto, Piero della Francesca's wall-painting of Sigismondo in the Tempio Malatestiano in Rimini, and the Mazzatosta Chapel in Viterbo. Rooted in the archives, the narrative charts the formidable task of safeguarding stationary art in the midst of aerial and ground attacks. Taking centre stage are the struggles endured by heritage superintendents, the innovations tested under pressure by art restorers, and the desperate position of clerical custodians of churches. The Allied Monuments Officers, who arrived over halfway through the war, provided substantial assistance in the rescue of damaged art from ruined buildings. This study offers an original perspective by emphasizing the Italian protagonists, whose efforts played out against the political and economic landscape of fascism and the devastation wrought by the war on Italian soil. TABLE OF CONTENTS List of illustrations Acknowledgements List of abbreviations Chapter 1. Introduction Chapter 2. Historical Background: Italy's Experience of World War II Chapter 3. The Role Of The Italian Federal Government in the Protection of Stationary Monuments from War Damage Chapter 4. The Defence of Art in the Italian Provinces before and during World War II Chapter 5. The First Responses To The War Damage Of Early Italian Art, 1943-1945 Chapter 6. What Befell the Mazzatosta Chapel in Viterbo and the Wider Circumstances in Lazio Province during World War II Chapter 7. The Wall Paintings of Pisa's Camposanto Monumentale in the Context of World War II Chapter 8. Conclusion Bibliography Index‎

‎War Land on the Eastern Front: Culture National Identity and German Occupation in World War I (Studies in the Social And Cultural History of Modern Warfare)‎

‎Cambridge University Press 2026 320 pages 15 5x2 1x23cm. 2026. Broché. 320 pages.‎

‎Très bon état dos légèrement creusé intérieur propre bonne tenue‎