Member Tribe (27 results)

Paperback. Condition: Good.

Condition: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.

Condition: Very Good. Very Good.

Paperback. Condition: Very Good. 0. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Condition: Fine. 0th Edition. Used book that is in almost brand-new condition. May contain a remainder mark. Better World Books: Buy Books. Do Good.

Condition: Very Good. 0th Edition. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Paperback. Condition: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

paperback. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

paperback. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

paperback. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

Paperback. Condition: VG. Illustrated by Amos Goldbaum (illustrator). 238 pages. Clean, very good binding. A humorous guide to everything Jewish. Illustrated throughout with drawings, photos;

Paperback. Condition: New.

Soft cover. Condition: New. PHOTO AND VIDEO OF PAGES TAKEN TO SHOW CONDITION PRIOR TO SHIPPING; PHOTOS EMAILED FOR MORE SPECIFICS WHEN REQUESTED; Book. Book.

Wraps. Condition: Near Fine. Photographs (illustrator). Third Printing. 247pp; including bibliography and photographic credits. Immaculate, gift quality, signed by author on title page, textblock extremely clean and tight, very minimal edge and spine wear. Size: 8vo - over 7¾" - 9¾" tall. Signed by Author. Paperback.

Condition: new.

Trade Paperback. Condition: New. New Book.

Soft cover. Condition: Near Fine. 1st Edition. Softcover SIGNED BY THE AUTHOR on the title page, in excellent, near-pristine condition (slight handling). 238 pages. [15oz]. Signed by Author(s). Book.

Mass Market Paperback. Condition: Very Good.

Hardcover. Condition: VG. Dust Jacket Condition: VG. First Edition. SMALL OWNER'S NAME TO FFEP.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. WARMLY INSCRIBED AND SIGNED BY CAMILLE BAUM. ASSUMED FIRST EDITION.

Softcover. First printing. pp. 248. 8vo. Illustrated card covers. Many black and white photographs and illustrations. No detectable flaws, contents bright, clean and unmarked with tight, sound binding; very good+. The book is divided into three sections: Part One: Interview with Wihopa (Agnes Ross) with Family Tree; Part Two: Memories of their mother by James Duane, Kenneth, and Allen Ross; Part Three: A Female Medicine Bundle and The Feminine Energy. SIGNED and inscribed by the author to the title page.

Magazine. Condition: Very Good+. Mildly discolored from age . Since the article has no illustrations, we have not provided an image ; No Illustrations; 8 x 11; 8 pages; This is an article/advertisement only from a vintage journal and is not the full journal.

hardcover. Condition: Very Good. Very Good. Dust Jacket may NOT BE INCLUDED.CDs may be missing. SHIPS FROM MULTIPLE LOCATIONS. book.

Condition: Sehr gut. Zustand: Sehr gut | Seiten: 186 | Sprache: Spanisch | Produktart: Bücher | Keine Beschreibung verfügbar.

Condition: very_good. Gently read. May have name of previous ownership, or ex-library edition. Binding tight; spine straight and smooth, with no creasing; covers clean and crisp. Minimal signs of handling or shelving. 100% GUARANTEE! Shipped with delivery confirmation, if you're not satisfied with purchase please return item! Ships USPS Media Mail.

Condition: good. A copy that has been read, remains in good condition. All pages are intact, and the cover is intact. The spine and cover show signs of wear. Pages can include notes and highlighting and show signs of wear, and the copy can include "From the library of" labels or previous owner inscriptions. 100% GUARANTEE! Shipped with delivery confirmation, if you're not satisfied with purchase please return item! Ships via media mail.

This lithograph, created by Karl Joseph Brodtmann, depicts an individual named Maxuruna, who appears to belong to an indigenous group, from South America, based on the adornments and distinctive features. The print showcases Brodtmann's interest in indigenous peoples and their cultural markers, such as facial adornments and traditional ornamentation. Description: This lithograph portrays Maxuruna, a member of an indigenous tribe, identifiable by the unique facial piercings and decorations, possibly from the Amazon or another region in South America. The term Maxuruna may refer to an ethnic group from the Amazon Basin or a specific individual within an indigenous community. - Facial adornments: Maxuruna is shown with elaborate piercings, including circular disks in both cheeks and around the mouth, which are distinctive cultural markers of certain indigenous tribes. These types of body modifications often held symbolic or social significance, reflecting status, identity, or religious practices within the tribe. - Feather ornaments: The figure wears feathers attached to the piercings and a necklace with similar decorations, which may symbolize connection to nature, rank, or ceremonial roles within the community. Feathers were often used by many indigenous tribes to denote status or spiritual significance. - Hairstyle: Maxuruna's hair is styled in a central tuft, leaving the sides shaved or short, a possible cultural hairstyle that identifies the individual's tribal affiliation. Maxuruna's expression is neutral but commanding, and Brodtmann's detailed approach captures the texture of the skin, the positioning of the facial modifications, and the adornments, all rendered with precision. Maker: Karl Joseph Brodtmann (1787?1862), a Swiss lithographer, was known for his detailed work in both ethnographic and natural history subjects. His ethnographic prints offered European audiences insight into the diverse peoples encountered through exploration and colonization. His works were often part of larger collections documenting the variety of human cultures worldwide. Technique and Style: This piece, like many others by Brodtmann, was created using lithography, a printmaking technique that allows for great detail and subtle shading. Brodtmann's style can be classified as ethnographic realism, focusing on the accurate representation of indigenous peoples and their distinct cultural attributes. The lithograph makes use of detailed shading, particularly around the piercings, hair, and facial features, to create a three-dimensional effect. The meticulous attention to the size, placement, and texture of the adornments demonstrates Brodtmann's commitment to depicting the unique cultural markers of the individuals he portrayed. Cultural Context: The name Maxuruna might be linked to a South American indigenous group, likely from the Amazon Basin, such as the Matsés, Yagua, or Mayoruna. The body modifications and feather adornments are distinctive cultural practices seen among indigenous groups from this region, often serving as symbols of rank, identity, or spiritual significance. This print is part of a broader European fascination with the "exotic" and unfamiliar customs of indigenous peoples during the 19th century, reflecting both a curiosity about and a desire to document the world's cultural diversity. Brodtmann's portrayal of Maxuruna captures the intersection of artistic representation and anthropological documentation, contributing to the ethnographic knowledge of his time. This lithograph would have been part of a collection intended to educate European audiences about the peoples of distant lands, reflecting the broader trends of scientific exploration and colonial interest in the 19th century.