Standing Naked At 10 Below


Book Description

Have you ever felt like you were standing naked at 10 below; feeling helpless, not knowing what to do or where to go next. That's how most feel when they're trying to get their product exposed in the mainstream media, especially in today's tough economy. They want to, but don't know how. I take you on a step-by-step journey and show you how to be your own PR pro without any expense to you.




Gold Coins of the World, 10th edition


Book Description

The tenth edition of Gold Coins of the World expands on its predecessor, digging more deeply into new areas of collector interest, and expanding many sections. From the coins of Ancient Greece, Rome, and the Byzantine Empire, and from Afghanistan through Zanzibar, it includes the addition of many new discoveries for dozens of countries. From the 384 pages of the 1958 edition, the work has expanded to 852 pages, which have been completely revised and updated. The authors have listed more than 22,000 coin types, which are illustrated with more than 8,500 photos—now, for the first time, each one of them in color. Each country’s section includes tables of weight and fineness. The market valuations are extensively revised to reflect both the higher price of gold as well as the skyrocketing demand for numismatic rarities. Valuations are now provided, for the first time, in up to three states of preservation. Many of the prices, especially for great rarities and coins in higher grades, have at least doubled. In fact, as collectors recognize the scarcity of coins in the highest states of preservation, the premium for such coins relative to lower-graded ones is escalating beyond traditional proportions. The coinage of India and the Islamic world, long dismissed by western collectors as difficult to decipher, unimportant, and lacking in value, is now the subject of intense interest, and has shown some of the most dramatic increases of all. The reader will also find a useful directory of the world’s leading gold-coin dealers and auction houses. For the numismatist, banker, economist, historian, or institution of higher learning, the tenth edition of Gold Coins of the World is a book for every library, public and private.







Ancient Terracottas from South Italy and Sicily in the J. Paul Getty Museum


Book Description

In the ancient world, terracotta sculpture was ubiquitous. Readily available and economical—unlike stone suitable for carving—clay allowed artisans to craft figures of remarkable variety and expressiveness. Terracottas from South Italy and Sicily attest to the prolific coroplastic workshops that supplied sacred and decorative images for sanctuaries, settlements, and cemeteries. Sixty terracottas are investigated here by noted scholar Maria Lucia Ferruzza, comprising a selection of significant types from the Getty’s larger collection—life-size sculptures, statuettes, heads and busts, altars, and decorative appliqués. In addition to the comprehensive catalogue entries, the publication includes a guide to the full collection of over one thousand other figurines and molds from the region by Getty curator of antiquities Claire L. Lyons. Reflecting the Getty's commitment to open content, Ancient Terracottas from South Italy and Sicily in the J. Paul Getty Museum is available online at www.getty.edu/publications/terracottas and may be downloaded for free.




The Journal of Roman Studies


Book Description

Includes proceedings of the Society, report of the council, list of members, etc.










Sickert


Book Description

Walter Richard Sickert (1860-1942) was an artist of prodigious creativity. For sixty years, in his roles as painter, teacher, and polemicist, he was a source of inspiration and influence to successive generations of British painters. With his roots in the Victorian era, Sickert broke all taboos. He was uncompromisingly truthful, revealing beauty in the squalid as in the sublime: in cockney music halls, the crumbling streets of Dieppe, the grand sites of Venice, and the low-life of Camden Town. Decades before Warhol, he exploited the potential of photo-based imagery and of studio production lines to create iconic portraits of the grandees of theatrical, social, and political life. This catalogue is divided into two parts: essay chapters describe Sickert's chronology in terms of stylistic and technical development, and a fully illustrated catalogue presents more than 2800 drawings and paintings, many of which have never been published before.




Butrint 4


Book Description

This richly illustrated volume discusses the histories of the port city of Butrint, and its intimate connection to the wider conditions of the Adriatic. In so doing it is a reading, and re-reading, of the site that adds significantly to the study of Mediterranean urban history over the longue durée . Firstly, the book proposes a new paradigm for the development-history of Butrint - based on discussions of the latest archaeological, historical and landscape studies from approximately 20 new excavations and surveys, together covering a temporal arch from prehistory to the early modern period. Secondly, it examines how the perception of the city influenced the archaeological methodology of 20th-century studies of the site, where iteration and reversal were often being applied in equal measure. In this it asks important questions on the management of heritage sites and the contemporary role of archaeological practise. Inge Lyse Hansen is Adjunct Professor of Art History at John Cabot University and specialises in the visual and material culture of the Roman world. She has published on portraiture, funerary art and the use of role models and patronage and has edited several archaeological volumes. Richard Hodges is Scientific Director of the Butrint Foundation, a leading medieval archaeologist and the author of more than 20 books. Sarah Leppard has led or participated in more than 15 excavations in eight countries and has managed major excavations at Butrint.




Yavneh


Book Description

In the words of late Professor Moshe Kochavi, the Philistine repository pit at Yavneh is the kind of discovery made only once every fifty years. It is the richest repository pit ever found from Bronze and Iron Ages Israel/Palestine, containing thousands of cultic finds originating from a temple, including an unprecedented number - more than a hundred - of cult stands (so-called 'architectural models') carrying rich figurative art, dozens of fire-pans, chalices and other objects. The present volume includes the full publication of the excavation, the stratigraphy, the cult stands and the figures detached from cult stands, several clay and stone altars and some pottery vessels related to burning of plant material, most likely incense. This exceptional book raises a host of highly important and intriguing questions. Is this a favissa, or even a genizah? Why are many cult stands badly broken, while some are intact - were cult stands broken on purpose? What is the explanation for the unique stratigraphy and for the layer of gray ash in the pit - was fire kindled inside as part of a ritual? How do we know that these finds are Philistine? Are they part of the 'furniture' of the temple or objects dedicated by worshippers as votives? Do the figures on the cult stands represent mortal beings, or divinities? If divinities, can we relate them with Biblical or extra-biblical data on the gods of the Philistines? What was the function/s of cult stands? Were they models of buildings, supports for images, offering tables, altars, or perhaps incense burners? Why are female figures dominant, while male figures are virtually absent? In discussing such topics, Yavneh I treats issues that are central to many fields of study: religion and cult in Iron Age Israel/Palestine; the history and archaeology of the Philistines and their 'western' relations; Near Eastern iconography, the meaning of cult stands/architectural models and the understanding of votive objects and of repository pits in general. Literally salvaged from the teeth of a bulldozer, these rare finds are now published. Generations of scholars will discuss and reinterpret them - there is no 'final word' for such finds and hence, this final excavation volume is not an end, but a beginning.