Lot of 3 Antique Vintage Primitive Leather & Metal Corn Husker Shuckers

Antiques aficionados and rummagers of every stripe: call to mind dimly lit attics, trunks smelling of old leather, dusty cartons, and that indescribable tingle of suspense aroused by the idea of a hidden prize which has been lying there, biding its time, waiting for you to find it. If you follow the instructions we have mapped out for you, you might discover almost anything. . . Armed with this list of Paris addresses, carefully selected to fulfill all your desires, you’ll be equipped with what you need to search for the unknown, unexpected surprise, be it large or small. Paris still contains many mysterious secrets and magical places, which you’ll discover, to your wonderment, as you explore its secondhand stores that are brimming with all sorts of decorative curiosities. At the rear of a courtyard or sheltered by a nineteenth-century arcade, in a Gothic stone basement or in an ordinary-looking shop, you will find a cornucopia of delights at a variety of prices, always with charm.Fifty-eight antique, vintage, and curiosity shops–as well as the Saint-Ouen flea market–are profiled and photographed in this lavish guide to all things collectible in Paris.

Antiques aficionados and rummagers of every stripe: call to mind dimly lit attics, trunks smelling of old leather, dusty cartons, and that indescribable tingle of suspense aroused by the idea of a hidden prize which has been lying there, biding its time, waiting for you to find it. If you follow the instructions we have mapped out for you, you might discover almost anything. . . Armed with this list of Paris addresses, carefully selected to fulfill all your desires, you’ll be equipped with what you need to search for the unknown, unexpected surprise, be it large or small. Paris still contains many mysterious secrets and magical places, which you’ll discover, to your wonderment, as you explore its secondhand stores that are brimming with all sorts of decorative curiosities. At the rear of a courtyard or sheltered by a nineteenth-century arcade, in a Gothic stone basement or in an ordinary-looking shop, you will find a cornucopia of delights at a variety of prices, always with charm.Fifty-eight antique, vintage, and curiosity shops–as well as the Saint-Ouen flea market–are profiled and photographed in this lavish guide to all things collectible in Paris.

ANTIQUE VINTAGE CUBBY BOXES Handmade with detail to have a great primitive look. Made from old reclaimed wood to give an authentic look and feel. A lot of time is involved in this piece and you won't find another just exactly like. Because wood is reclaimed and old, there are marks and possibly small chips natural to old wood. I guarantee piece to be strong and sturdy, but will have distressed marks throughout. Pick your color! Choose from GREEN, WHITE, NAVY, or RED from the drop down box above. Each measures: 37"L x 10"W x 12"H The inside of each measures: 6.5" x 9.5" Perfect for DVD storage, shoes, as a piece to help organize the office, store CDS..the possibilities are endless! Made of reclaimed wood to give a look of long ago. You will not find another unique piece so true to the time like this. Heavy and well made.

THE MIND of PRIMITIVE MAN by FRANZ BOAS. Originally published in 1911. PREFACE: Since 1911, when the first edition of The Mind of Primitive Man was published much work has been done in all the branches of science that have to be considered in the problem with which the book deals. The study of heredity has made important strides and has helped to clear up the concept of race. The influence of environment upon bodily form and behavior has been the subject of many investigations and the mental attitudes of primitive man have been studied from new points of view. For this reason a large part of the book had to be rewritten and rearranged. The first statement of some of the conclusions reached in the book were made in an address delivered by the author as vice-president of the Section of Anthropology of the American Association for the Advancement of Science, in 1895. Ever since that time the subject has re mained one of his chief interests. The result of his studies has been an ever-increasing certainty of his conclusions. There is no fundamental difference in the ways of think ing of primitive and civilized man. A close connection between race and personality has never been established. The concept of racial type as commonly used even in scientific literature is misleading and requires a logical as well as a biological redefinition. While it would seem that a great number of American students of biology, psychol ogy and anthropology concur with these views, popular prejudice, based on earlier scientific and popular tradition, has certainly not diminished, for race prejudice is still an important factor in our life. Still worse is the subjection of science to ignorant prejudice in countries controlled by dictators. Such control has extended particularly to books dealing with the subject matter of race and culture. Since nothing is permitted to be printed that runs counter to the ignorant whims and prejudices of the governing clique, there can be no trustworthy science. When a publisher whose pride used to be the number and value of his scien tific books announces in his calendar a book trying to show that race mixture is not harmful, withdraws the same book after a dictator comes into power, when great cyclopedias are rewritten according to prescribed tenets, when scientists either do not dare or are not allowed to publish results contradicting the prescribed doctrines, when others, in order to advance their own material in terests or blinded by uncontrolled emotion follow blindly the prescribed road no confidence can be placed in their statements. The suppression of intellectual freedom rings the death knell of science. FRANZ BOAS NEW YORK COLUMBIA UNIVERSITY January, 1938. Contents include: CONTENTS PAGE 1. INTRODUCTION 3 Double meaning of primitiveness, 3. The White race having achieved the highest civilization said to represent the highest physical type, 4. Does cultural achievement depend upon hereditary apti tude alone 6. Many races contributed to the or igin of civilization, 7. Early civilization in Amer ica, 8. Interpretation of rapidity of development, 8. Decline of primitive cultures, 11. Spread of civilization, 13. Summary, 15. The problem, 17. 2. HISTORICAL REVIEW 19 Boulainvilliers and Gobineau, 19. Klemm, 20. Carus, 21. Morton, 22. Nott and Gliddon, 23. Houston Stewart Chamberlain, 24. Madison Grant, 25. Palaeontologist, 26. Stoddard, 26. von Eickstedt, 27...

Anthropology is a kind of debate between human possi- bilities--a dialectical movement between the anthropologist as a modern man and the primitive peoples he studies. This brilliant, tough-minded book contains chapters ranging from encounters in the field to essays on the nature of law, schizophrenia and civilization, and the evolution of the work of Claude Lvi-Strauss. Diamond views the anthropologist who refuses to become a searching critic of his own civilization as not merely irresponsible, but a tool of Western civilization.

The notion of retrieving a bit of the past-by owning a material piece of it-has always appealed to humans. Often our most prized possessions are those that have had a long history before they came into our hands. Part of the pleasure we gain from the encounter with antiques stems from the palpable age and the assumed (sometimes imaginary) cultural resonances of the particular object. But precisely what is it about these objects that creates this attraction? What common characteristics do they share and why and how do these traits affect us as they do?In Antiques: The History of an Idea, Leon Rosenstein, a distinguished philosopher who has also been an antiques dealer for more than twenty years, offers a sweeping and lively account of the origin and development of the antique as both a cultural concept and an aesthetic category. He shows that the appeal of antiques is multifaceted: it concerns their value as commodities, their age and historical and cultural associations, their uniqueness, their sensuous and tactile values, their beauty. Exploring how the idea of antiques evolved over time, Rosenstein chronicles the history of antique collecting and connoisseurship. He describes changing conceptions of the past in different epochs as evidenced by preservations, restorations, and renascences; examines shifting attitudes toward foreign cultures as revealed in stylistic borrowings and the importation of artifacts; and investigates varying understandings of and meanings assigned to their traits and functions as historical objects.While relying on the past for his evidence, Rosenstein approaches antiques from an entirely original perspective, setting history within a philosophical framework. He begins by providing a working definition of antiques that distinguishes them from other artifacts in general and, more distinctly, both from works of fine art and from the collectible detritus of popular culture. He then establishes a novel set of criteria for determining when an artifact is an antique: ten traits that an object must possess in order to elicit the aesthetic response that is unique to antiques. Concluding with a provocative discussion of the relation between antiques and civilization, this engaging and thought-provoking book helps explain the enduring appeal of owning a piece of the past.

The notion of retrieving a bit of the past-by owning a material piece of it-has always appealed to humans. Often our most prized possessions are those that have had a long history before they came into our hands. Part of the pleasure we gain from the encounter with antiques stems from the palpable age and the assumed (sometimes imaginary) cultural resonances of the particular object. But precisely what is it about these objects that creates this attraction? What common characteristics do they share and why and how do these traits affect us as they do?In Antiques: The History of an Idea, Leon Rosenstein, a distinguished philosopher who has also been an antiques dealer for more than twenty years, offers a sweeping and lively account of the origin and development of the antique as both a cultural concept and an aesthetic category. He shows that the appeal of antiques is multifaceted: it concerns their value as commodities, their age and historical and cultural associations, their uniqueness, their sensuous and tactile values, their beauty. Exploring how the idea of antiques evolved over time, Rosenstein chronicles the history of antique collecting and connoisseurship. He describes changing conceptions of the past in different epochs as evidenced by preservations, restorations, and renascences; examines shifting attitudes toward foreign cultures as revealed in stylistic borrowings and the importation of artifacts; and investigates varying understandings of and meanings assigned to their traits and functions as historical objects.While relying on the past for his evidence, Rosenstein approaches antiques from an entirely original perspective, setting history within a philosophical framework. He begins by providing a working definition of antiques that distinguishes them from other artifacts in general and, more distinctly, both from works of fine art and from the collectible detritus of popular culture. He then establishes a novel set of criteria for determining when an artifact is an antique: ten traits that an object must possess in order to elicit the aesthetic response that is unique to antiques. Concluding with a provocative discussion of the relation between antiques and civilization, this engaging and thought-provoking book helps explain the enduring appeal of owning a piece of the past.

Early in the 1980s, some of the world’s most famous architects and industrial designers began to design a wide variety of everyday objects for the home. From tea kettles and toasters to desk lamps and dustpans, these highly designed, often whimsical products blurred the lines between form, function, and fun. Lisa Roberts, an architect and home furnishings designer, became so enamored of these objects that she set out to collect her favorites, amassing more than 300 exemplary pieces over the past 25 years. Seventy of these award-winning household objects—created by such design superstars as Michael Graves, Philippe Starck, and Karim Rashid—are presented in Antiques of the Future, a book as clever, energetic, and eye-popping as the products themselves. Each is captured in vibrant, humorous photographs, accompanied by details about the product, designer, and manufacturer and a concise explanation of why it deserves a place in the collection. Whether it’s a paperweight, a salad spinner, or a blow dryer, these ordinary objects have extraordinary style. Accessible and entertaining, Antiques of the Future not only helps readers to develop an eye for distinctive design but also explains how they can start their own “museum-quality” collections.

While the secret powers of the antiques still haunt the owners, it is time to take a look into the mysterious past of Bun-Nyu and Mr. Now, the destiny of becoming a shaman is laid upon Bun-Nyu. While her grandmother does her best to protect Bun-Nyu from this destiny, Mr. Yang appears and makes a special offer...

In Volume 3 of the award-winning manga, Ono's mentor Jan, an ingenious French patisier, enters the story. Two women reporters - a.k.a. "busty female announcer unit Haruka & Tammy" - also enter the scene, and while manager Tachibana is interested in them, they're only interested in Ono's cakes. Continuing what makes Antique Bakery great, each new character has his own lumbering way of searching for happiness, and we dig deeper into the closets of the series' most popular characters.