x-heesy ยท 1 year ago
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Wonderful I could cry ๐Ÿ˜ญ ๐Ÿ•บ๐Ÿผ
๐—œ๐—™ ๐—ฌ๐๐—จ ๐—–๐๐—จ๐—Ÿ๐—— ๐—™๐—จ๐—–๐—ž ๐— ๐—จ๐—ฆ๐—œ๐—–
๐  ๐—ง๐—ฅ๐ ๐—–๐—ž ๐  ๐——๐ ๐—ฌ ๐—ž๐—˜๐—˜๐—ฃ๐—ฆ ๐—ง๐—›๐  ๐——๐๐—–๐—ง๐๐—ฅ ๐ ๐—ช๐ ๐—ฌ
๐—œ ๐ ๐—  ๐  ๐——๐ ๐—ก๐—–๐—œ๐—ก๐—š ๐—ฆ๐ ๐—ก๐——๐—ช๐—œ๐—–๐—› ๐ŸŽง๐Ÿ’ƒ๐Ÿฝ๐Ÿ•บ๐Ÿผ๐Ÿชฉ๐Ÿš€๐Ÿ’ฅ
๐—š๐๐๐—ฆ๐—˜๐—•๐—จ๐— ๐—ฃ๐—ฆ / ๐—œ๐—ก๐—ง๐—˜๐—ฅ๐—ก๐ ๐—ง๐—œ๐๐—ก๐ ๐—Ÿ ๐—•๐—˜๐ ๐—ง๐—ฆ /๐—œ๐—ก๐—ง๐๐— ๐—ฌ๐—ฆ๐๐—จ๐—Ÿ / ๐—˜๐ ๐—ฅ๐—š๐ ๐—ฆ๐—  / ๐—ง๐—›๐—œ๐—ญ๐—ญ ๐—œ๐—ญ ๐  ๐—š๐—œ๐—™ ๐ ๐—ง๐—ง๐ ๐—–๐—ž / ๐—ฆ๐—˜๐—ซ๐——๐—ฅ๐—จ๐—š๐—ฆ๐ ๐—ก๐——๐—ฆ๐๐—–๐—ž๐—ฆ๐—ช๐—œ๐—ง๐—›๐—›๐๐—Ÿ๐—˜๐—ฆ / ๐—ฃ๐—จ๐—ก๐—ž๐—ฆ๐ ๐—ฅ๐—˜๐—ก๐—ง๐——๐—˜๐ ๐—— / ๐—›๐—˜๐—Ÿ๐—Ÿ ๐—ฌ ๐ ๐—ฆ๐—ฆ / ๐—š ๐ ๐—— ๐—œ ๐—ฆ ๐  ๐—— ๐— / ฮ“ะฏะ”CาœะคFฮ“HฮžDะ”ะฃ / ๐——๐—˜๐—˜๐—ฃ๐——๐ ๐—ฅ๐—ž๐ ๐—ก๐——๐——๐ ๐—ก๐—š๐—˜๐—ฅ๐๐—จ๐—ฆ / ๐—ฃ๐—›๐—จ๐—–๐—ž ๐—œ๐—ง ๐Ÿฐ ๐—ฃ๐—›๐—จ๐—ก / ๐—ช๐—œ๐—ง๐—›๐๐—จ๐—ง๐— ๐—จ๐—ฆ๐—œ๐—–๐—Ÿ๐—œ๐—™๐—˜๐—ช๐๐—จ๐—Ÿ๐——๐—•๐—˜๐ ๐— ๐—œ๐—ฆ๐—ง๐ ๐—ž๐—˜ / ๐—ช๐๐—ก๐——๐—˜๐—ฅ๐—™๐—จ๐—Ÿ ๐—œ ๐—–๐๐—จ๐—Ÿ๐—— ๐—–๐—ฅ๐—ฌ / ๐—ช๐—˜๐—œ๐—ฅ๐—— ๐—œ๐—ฆ ๐  ๐—–๐๐— ๐—ฃ๐—Ÿ๐—œ๐— ๐—˜๐—ก๐—ง / ๐—ฆ๐—œ๐—–๐—ž ๐—ก ๐—ง๐—ช๐—œ๐—ฆ๐—ง๐—˜๐—— ๐ŸŽง / ๐—Ÿ๐๐—ฆ๐—ง ๐—œ๐—ก ๐—ฆ๐—ง๐—˜๐—ฅ๐—˜๐ / ๐—ง๐—›๐ ๐—ก๐—ž๐—ฆ ๐—Ÿ๐๐—ฅ๐—— ๐Ÿฐ ๐— ๐—จ๐—ฆ๐—œ๐—–๐—ž / ๐—œ๐— ๐—™๐—ฅ๐—˜๐ ๐—ž๐—œ๐—ก๐—š๐—ง๐—›๐—˜๐—™๐—จ๐—–๐—ž๐๐—จ๐—ง / ๐—œ๐—ก๐—˜๐—˜๐——๐—ง๐๐——๐ ๐—ก๐—–๐—˜๐—ง๐—›๐—˜๐—™๐—จ๐—–๐—ž๐๐—จ๐—ง / ๐—ฆ๐—จ๐—•๐—•๐ ๐—ฆ๐—ฆ๐— ๐ ๐—ฆ๐—ฆ๐ ๐—–๐—ฅ๐—˜ / ๐—ฆ๐—›๐ ๐—ž๐—˜๐—ช๐—›๐ ๐—ง๐—ฌ๐ ๐— ๐ ๐— ๐ ๐—š๐ ๐—ฉ๐—˜๐—ฌ๐  /๐——๐—ฅ๐๐—ฃ๐—•๐—˜๐ ๐—ง๐—ฆ๐—ก๐๐—ง๐—•๐๐— ๐—•๐—ฆ / ๐—ฅ๐ฬˆ๐—›๐—ฅ๐—ง ๐—ช๐—œ๐—˜ ๐—›๐—œ๐—ฅ๐—ฆ๐—–๐—› / ๐—œโ€™๐—  ๐——๐—œ๐—ฆ๐—–๐
#panicdynamicpandemic #trackoftheday #gifattack #gifmania #moody #edm #electronicmusic #shakewhatyamamagaveya @darksilenceinsuburbiareloaded #raaaaven #electroshockboogie #dancemfdance #partymusic #lostinmusic #thankslordfortriphop
๐—ง๐—ฅ๐ ๐—–๐—ž ๐๐—™ ๐—ง๐—›๐—˜ ๐——๐ ๐—ฌ: Tricksy by Lark ๐Ÿ˜ญ๐Ÿ•บ๐Ÿผ
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dreaminginthedeepsouth ยท 1 year ago
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Wassily Kandinsky, โ€˜Untitledโ€™ (1928) :: [Robert Scott Horton]
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Imogen Savage: Housed in a 19th-century listed mansion that stretches skyward into spires, the Grisebach auction house gives off the disquieting charm of a German fairytale castle. Outside runs Fasanenstrasse, a leafy street of galleries and skincare boutiques in one of Berlinโ€™s chicest corners. On December 1 2022, Marcin Krรณl, the Polish consul in Berlin, climbed the steps to the building for the evening sale beginning at 6pm. A number of impressive modern artworks were on offer, including a sought-after self-portrait in oil by Max Beckmann. But it was Lot No 31, โ€œUntitledโ€, a little pink Wassily Kandinsky watercolour from 1928, that had Krรณlโ€™s attention that evening. Krรณl was not at Grisebach as a buyer. Earlier that day he had sent the auction house a message demanding it stop the sale of the Kandinsky. In the hours since, representatives at Grisebach had reviewed the legal status of the artwork and its right to be sold by Inga Maren Otto, a German billionaire and philanthropist. Their decision was clear. They would proceed. At 4.40pm, Krรณl took to Twitter, quoting the message heโ€™d sent to Grisebach. โ€œWithdraw[ing] the painting from the auction,โ€ he wrote, โ€œ[was] the only correct and moral action in this situation . . . The provenance/history of the painting stated [in the catalogue] is clear . . . the painting has ownership markings indicating its origin from the National Museum in Warsaw. [It has been registered] from the Polish side in Interpolโ€™s database of stolen works of art.โ€ He finished the thread with an update: โ€œThe auction house has not yet stopped selling the work. As of 4.50pm.โ€
Krรณl watched on a TV screen in the corner of an anteroom as the auction began. Lot No 31 eventually appeared on the screen. Flattened by the glowing pixels, the original aqueous colours took on neon tones. There was a faint scribble underneath in Kandinskyโ€™s handwriting. After a flurry of bids, more than doubling the upper reserve price, the hammer came down. Afterwards, Krรณl posted a photo to Twitter with a solemn summary of what he had witnessed. It read like both the beginning and the end of an art-crime story: โ€œGrisebach sold Kandinskyโ€™s watercolour [โ€œUntitledโ€] for โ‚ฌ310,000. The painting was stolen in 1984 from the National Museum in Warsaw.โ€ Then the Berlin police showed up at the auction house, in response to a report of a stolen artwork being sold on the premises. Krรณlโ€™s message that day was, said Grisebach in a statement issued after the event, the first theyโ€™d learnt of the theft.
I heard about the auction of the Kandinsky watercolour some weeks later. I was intrigued by this little work on paper, the size of which is hard to gauge when viewed online. A cluster of geometric shapes and coloured washes not much bigger than a postcard, itโ€™s not a famous piece and was never supposed to be. The personalised dedication at the bottom provides a clue as to its original, more intimate context. Through Krรณlโ€™s media offensive, I began to imagine the painting in its previous lives. A valued artwork can do this; move through history like a time traveller who has seen it all, changing hands, changing walls, changing in value, picking up a few marks and scuffs, but remaining, on the surface, itself. Itโ€™s easy to forget that many of the works of art we see today have somehow weathered revolutions, wars and genocide. During and after the second world war, art collections dispersed like breadcrumbs in the mouths of sparrows. Since that time, art dealers and auction houses have continued to sell these works, right up to the present day, with values soaring.
As I began to trace the Kandinskyโ€™s journey, I discovered the story had deeper roots than even Krรณl had imagined. The watercolour wasnโ€™t stolen once but twice. Having survived the Nazi partyโ€™s confiscations of modern art in the 1930s, it languished in a depot in occupied Poland before travelling back and forth across the world via private and public sales as the lines between black market and art market blurred postwar. As the trail grew more convoluted, my questions multiplied. How was it possible, I wondered, that a piece of art that we know was once stolen from a major European museum could now be sold, perfectly legally, by an important German auction house? And who, in the chain of ownership spanning nearly a century, is the rightful owner of Lot No 31? In his Dessau studio in 1928, Wassily Kandinsky sat before a small sheet of thick paper. He drew in ink, a balance of precisely placed interlocking semicircles, triangles and floating circles, with a more irregular snakelike mark through the centre. Then he dragged his paintbrush across some watercolour pans, applying the colours to the interior of the shapes in blues, yellows and reds, and washing the surround in pink. The watery paint pooled in different areas, variegating the intensity of the colour where it settled. Then it dried, locking the painting into position. At the bottom, in pencil, the artist wrote: โ€œMeinem lieben Otto Ralfs, herzlichsten Glรผckwunsch, Kandinsky I IV 28โ€ [โ€œTo my dear Otto Ralfs, Happy Birthday, Kandinsky, 1 April 28โ€]. It was a gift, made for his friend and patron on the occasion of his 36th birthday. Kandinskyโ€™s studio was in a row of identical semi-detached houses located in a pine forest at the edge of town, where artist-professors lived and worked. This was the vision of Walter Gropius, founder of the influential modernist art and design school the Bauhaus, who designed the Dessau โ€œMastersโ€™ Housesโ€ in 1925 to fit his concept of gesamtkunstwerk, or total artwork. Kandinsky lived at No 6, next door to the Swiss-German artist Paul Klee. The day I visited earlier this summer, the sunny weather was heating the pines, filling the air with the same calm, sweet smell that Kandinsky, then in his late fifties, and the younger Klee would have breathed as they sat drinking tea together in the garden.
Inside, the thick, shiny paint was fresh from recent restoration work, distracting the senses from conjuring their presence. The artistsโ€™ studios, the largest rooms in their carefully designed houses, shared a wall. From the front, an enormous horizontal window frames the central focus of the house, the parallel studios in which they worked, taught and held salons: Kandinsky on the left, Klee on the right. Otto Ralfs and his wife Kรคte bought their first works by Klee when they visited the Bauhaus in Weimar in September 1923. After that, their lives changed completely. The couple didnโ€™t have a lot of money. He worked as an insurance salesman and owned a shop in his hometown, Braunschweig, in northern Germany. She was a paediatric nurse. But they were among the first people to see the value in the art being produced at the Bauhaus. At one point, they had the largest collection of Klees, and the second-largest collection of Kandinskys after Solomon R Guggenheim.
[Financial Times]
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ms-understand ยท 9 months ago
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Legends Live // Inge Beckmann does the 30's
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webionaire ยท 11 months ago
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Fink's best-known work is Social Graces, a series of photographs he produced in the 1970s that depicted and contrasted wealthy Manhattanites at fashionable clubs and social events alongside working-class people from rural Pennsylvania participating in events such as high school graduations. Social Graces was the subject of a solo exhibition at the Museum of Modern Art in 1979 and was published in book form in 1984.[3][7] A New York Times reviewer described the series as exploring social class by comparing "two radically divergent worlds", while accomplishing "one of the things that straight photography does best: provid[ing] excruciatingly intimate glimpses of real people and their all-too-fallibly-human lives."[7]
In 2001, for an assignment from The New York Times Magazine, Fink created a series of satirical color images of President George W. Bush and his cabinet (portrayed by stand-ins) in scenes of decadent revelry modeled on paintings by Weimar-era painters Max Beckmann, Otto Dix, and George Grosz. The planned publication of the series was canceled after the September 11 attacks, but was displayed in the summer of 2004 at the PowerHouse Gallery in New York, in a show titled "The Forbidden Pictures: A Political Tableau."[8]
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behindfairytales ยท 3 years ago
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Olympians shown in Troy: Fall of a City (2018)
Lex King as Aphrodite Shamilla Miller as Athena Inge Beckmann as Hera Hakeemย Kae-Kazim as Zeus
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milliondollarbaby87 ยท 5 years ago
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Shepherds and Butchers (2016) Review
Shepherds and Butchers (2016)ย Review
Lawyer Johan Weber takes on a hopeless case of multiple murder from a South African prison guard, when he delves deeper into the background of the man he is traumatised from his job and the executions he took part in.
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grande-caps ยท 6 years ago
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Sceencaps || The Scorpion King: Book of Souls (2018) GALLERY LINK : [x] Quality : BluRay screencaptures Amount : 2284 files Resolution : 1920x1080px
-Please like/reblog if taking! -Please credit grande_caps/kissthemgoodbye!
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cptrs ยท 6 years ago
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davidosu87 ยท 4 years ago
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badmovieihave ยท 7 years ago
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Bad movie I have The Dark Tower 2017
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x-heesy ยท 7 months ago
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Stay wild Moon Child ๐Ÿบ
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wornoutspines ยท 5 years ago
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Noughts + Crosses | Pilot review
It wasnโ€™t in my weekend plans but I watched #NoughtsAndCrosses and hereโ€™s my #review of the pilot episode:
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Premise: The series is speculative fiction describing an alternative history in which native African people had gained a technological and organisational advantage over the European people, rather than the other way around, with Africans having made Europeans their slaves. The series takes place in an alternative 21st-century Britain. At the time of the series, slavery had been abolished for someโ€ฆ
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gackandchang ยท 7 years ago
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Inge Beckmann
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behindfairytales ยท 3 years ago
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Olympians shown in Troy: Fall of a City (2018)
Lex King as Aphrodite Shamilla Miller as Athena Inge Beckmann as Hera Hakeemย Kae-Kazim as Zeus
more on the source link
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whatdoesshedotothem ยท 3 years ago
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Tuesday 4 April 1837
8 10
12 5
No kiss quarter hour no ten minutes washing โ€“ breakfast at 9 10 at which hour F55ยฐ in the sun โ€“ A- read aloud 2pp. 8vo of French โ€“ out at 10 โ€“ in the stable โ€“ Charles Howarth came โ€“ to come tomorrow to do up repair the back stable (stall-partitions) โ€“ had him in about servants hall door bell to be rung by back-door people Charles asked if Joseph M- had spoken about letting the upper bed water off โ€“ yes! Charles begged me to consider about it โ€“ if let off as JM- proposed, I should loose ยพ of Dove house farms upper bed coal โ€“ thanked Charles โ€“ said he might mention it or not as he liked but if it was known he would get many an ill word for telling me โ€“ then in the cow house โ€“ the cow calved about before 10 last night Thomas Pearson would like the buy the calf (a quey) to keep, at a few days old โ€“ asked what he should give give โ€“ John said Aquilla Green had lately sold one for 7/6 (John guessed 15/. and was told, for ยฝ that) I said that would not do โ€“ if fit for the butcher what should be the price? a good calf would weight 20lbs. per quarter โ€“ 5 or 6 weeks old or more โ€“ customary to sink the offal and then pay for the weight of the quarters โ€“ I said the calf ought to be worth ยฃ2. oh! yes! and if sold in 5 weeks this would pay me better than 7/6 in a few days โ€“ a little while with Ingham + 2 โ€“ no mason here โ€“ went to Robert Mann + 3 at 12 just as they going to dinner โ€“ walked to him (from the new drain in Sour Ing get stone to wall it with by pulling up the low part of the main drain made by Pickells in Godley Ing) walked with him to beyond the Lodge โ€“ likes putting the Engine at the top of the Bank โ€“ sure we can get water โ€“ thinks there will be enough in the rag โ€“ plenty in the rag in the new bank and plenty at Bird cage โ€“ sauntered till Robert was out of sight then walked forward to Northgate โ€“ looked about there โ€“ the top court-yard will be large enough if I reserve part - ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  from about 3 yards above the gateway fronting St. Annesโ€™ street to the end of my property = 14 yards x 15 yards reserving the little rectangle a at the top โ€“ then to Whitleyโ€™s โ€“ ordered Beckmann and hints on buying a horse and bought flannel and riband at Fosters for cousin ย  went to Farrerโ€™s but nobody coming immediately walked out again โ€“ returned up the old bank about 2 โ€“ a little while with A- then with Bligh till A- off about 2 ยผ - then twenty minutes washing out again about 2 ยพ - with Robert + 3 (Frank carting stone for Ingham from Hipperholme quarry โ€“ his son John with 2 one horse carts bringing stone from the Pickells drain for Robert M- and carting to fill up the hollow (ancient road) between the 2 brook Ings down to the meer โ€“ then along the walk by Tilley holme to Listerwick and about there โ€“ with Joseph Mann till near 6 โ€“ then with John Oates โ€“ stood talking in his cow house till 6 25 โ€“ how to get water for the engine at the top of the bank โ€“ JO- said if I could get it in Godley lane I could get it at the top of the bank โ€“ the same water โ€“ from the same measures โ€“ might get rag water โ€“ or the same as got for John Bottomely โ€“ but if I had all the Sour Milk hall Godley lane water, it would not be enough for a condensing engine โ€“ JO- for a high pressure engine which would use the water hot, and might be supplied โ€“ I could not get the water cooled for a condenser โ€“ How said I does Mr. Haigh do for a 60 horse power engine โ€“ answer He has a great deal of water from the coal works, upper and lower bed โ€“ then cannot I have the same? yes! I suppose, said I, the low bed water would be about 65 yards to lift โ€“ yes! I could do that well enough JO- agreed โ€“ he said 2 horse power would lift as much as I wanted โ€“ but he would have a high pressure โ€“ why said I, has Holt a condenser โ€“ oh! because he had a great quantity of water โ€“ JO- knew many of the condensing engines in H-x in difficulty in summer to get the water sufficiently cooled โ€“ 2 very nice high pressure engines pulling up coal inclined planes at Little Borough โ€“ he said if I had set my coal engine in the low corner of Pearonsโ€™ field where they 1st met with the upper bed coal in Long goit 3rd ultimo I should have had my colliery going now โ€“ that Long goit would not then have been wanted โ€“ a good job and a bad one โ€“ he always thought I should repent it โ€“ what a feeder of water it took from Mytholm mill, and, by setting my engine pit where I did, I did not loose 3 acres more coal โ€“ he said he wished to see the water in the meer โ€“ sure I should draw 5ft. if the banks would hold it โ€“ I said they were so ordered as to leave 2ft. to sink on โ€“ were ordered 2ft. higher than the water level โ€“ well said JO- they may hold it โ€“ but the by-wash is too low โ€“ I said that could easily be altered โ€“ yes! he agreed it could โ€“ who is right, and who wrong? nous verrons โ€“ home at 6 ยฝ - dressed โ€“ dinner at 6 ยพ - coffee โ€“ read the newspaper โ€“ came upstairs at 9 40 and till 10 40 wrote the whole of today โ€“ F30ยฐ at 10 ยพ pm fine frosty morning (hard frost out of the sun till towards noon) and fine day till about 1pm then a slight showers and several snow showers in the course of the afternoon one or 2 heavyish ones โ€“
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bayofbalar ยท 3 years ago
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Owned TBR-list of Doom
Or; I own too many books and I have too little time to get to them all.
I want to say that Iโ€™ll entirely pull my reads this year off my own shelves, but itโ€™s rather unlikely to actually happen. Mood reader and all that.
Shamelessly stealing @lettersfromthelighthouse โ€˜s formatting - bold is started, strikethrough is finished. Imagine that the titles are italicised; tumblr refuses to copy formatting done in another file. I hope I shall keep updating this post, but I am notoriously forgetful, so thereโ€™s that.
Sorted into categories, but no alphabetical order under the cut:
Non-fiction, historic:
The Illustrated Red Baron, Peter Kilduff
Crossroads, Reizen door de Middeleeuwen, David Abulafia (red.)
Five Miles High & Forty Below, Bill Williams
Vergeten volkeren, Philip Matyszak
The Discovery of Middle Earth, Graham Robb
Nobel Streven, Frits van Oostrom
The Darkening Age, Catherine Nixey
The Histories, Herodotus
Where Poppies Blow, John Lewis-Stempel
Een paleis voor de doden, Herman Clerinx
The Edge of the World, Michael Pye
The Silk Roads, Peter Frankopan
Danubia, Simon Winder
De uitvinding van de natuur, Andrea Wulf
Vriend Over Vijand, Peter van Damme
Non-fiction, historic equine:
Dressage, Sylvia Loch
The Royal Horse of Europe, Sylvia Loch
The Warhorse 1250-1600, Ann Hyland
The Medieval Horse and its Equipment, John Clark
The Horse in the Ancient World, Ann Hyland
The Horse in the Middle Ages, Ann Hyland
The Medieval Warhorse, From Byzantium to the Crusades, Ann Hyland
Non-fiction, equine training manuals:
True Horsemanship Through Feel, Bill Dorrance & Leslie Desmond
Grondwerk met paarden, Inge Teblick
Pferde Gymnastizieren mit dem Clicker, Viviane Theby
Gymnasium of the Horse, Steinbrecht
Basic Training of the Young Horse, Ingrid & Reiner Klimke
The Scales of Training Workbook, Claire Lilley
Non-fiction, miscellaneous:
Stolen World, Jennie Erin Smith
Dier, bovendier, Frank Westerman
The Old Ways, A Journey On Foot, Robert Macfarlane
Entangled Life, Merlin Sheldrake
The Travels, Marco Polo
J.R.R. Tolkien Artist & Illustrator, Hammond & Scull
Zout, Vet, Zuur, Hitte, Samin Nosrat
Fiction, โ€˜classicsโ€™:
Moby-Dick, Herman Melville
Don Quixote, Cervantes
The Master & Margarita, Mikhail Bulgakov
Maurice, E.M. Forster
The Complete Sherlock Holmes, Sir Arthur Conan Doyle
Gone With the Wind, Margaret Mitchell
The Picture of Dorian Grey, Oscar Wilde
Mrs. Dalloway, Virginia Woolf
Wuthering Heights, Emily Bronte
Lord of the Flies, William Golding
Jane Eyre, Charlotte Bronte
Metamorphosen, Ovidius
Fiction, โ€˜classic sci-fiโ€™:
Frankenstein, Mary Shelley
The Great Science-Fiction, H.G. Wells
Treasure Island, R.L. Stevenson
Dr. Jekyll and Mr. Hyde, R.L. Stevenson
Het geheimzinnige eiland, Jules Verne
Michael Strogoff, Jules Verne
Fiction, fantasy:
The Two Towers, J.R.R. Tolkien
The Return of the King, J.R.R. Tolkien
The Worm Ouroboros, E.R. Eddison
Het helse paradijs, Thea Beckmann
Kinderen van moeder aarde, Thea Beckmann
Piranesi, Susanna Clarke
Jonathan Strange & Mr. Norrell, Susanna Clarke
Black Leopard, Red Wolf, Marlon James
Beren and Luthien, J.R.R. Tolkien
The Fall of Gondolin, J.R.R. Tolkien
The Childrenโ€™s Book, A.S. Byatt
Rivers of London, Ben Aaronovitch
The Story of Kullervo, J.R.R. Tolkien
Fiction, sci-fi:
Hyperion, Dan Simmons
The Three-Body Problem, Liu Cixin
The Testaments, Margaret Atwood
Calibanโ€™s War, James S.A. Corey
Fiction, historic:
Lincoln in the Bardo, George Saunders
The Essex Serpent, Sarah Perry
Butcherโ€™s Crossing, Jon Williams
The Last English King, Julian Rathbone
Paradeโ€™s End, Ford Maddox Ford
Heer Belisarius, Robert Graves
De naam van de roos, Umberto Eco
Fiction, anthologies:
Trigger Warning, Neil Gaiman
The Weird Tales of William Hope Hodgson, W.H. Hodgson
The Call of Cthulhu, H.P. Lovecraft
Norse Mythology, Neil Gaiman
Tales Before Tolkien, Douglas A. Anderson (ed.)
Fiction, Poetry:
Shelley, Shelley (too lazy to check for the editor, itโ€™s not on the cover)
The War Poems of Wilfred Owen, Wilfred Owen
Fiction, Miscellaneous:
Overstory, Richard Powers
Frankissstein, Jeanette Winterson
How to be Both, Ali Smith
De Hills, Matias Faldbraken
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