{"product_id":"bronze-inside-and-out-a-biographical-memoir-of-bob-scriver-9781552382271","title":"Bronze Inside and Out: A Biographical Memoir of","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eMore than any other book that I can think of, Bronze Inside and Out puts a human face on Western art - indeed, all art. It invites us to ponder the very nature of the creative process. From the foreword by Brian W. Dippie, University of Victoria\u003cbr\u003e\u003cbr\u003e\u003cem\u003eBronze Inside and Out\u003c\/em\u003e is a literary biography of sculptor Bob Scriver, written by his wife, Mary Strachan Scriver. Bob Scriver is best known for his work in bronze and for his pivotal role in the rise of \"\"cowboy art\"\". Living and working on the Montana Blackfeet Reservation, Scriver created a bronze foundry, a museum, and a studio - an atelier based on classical methods, but with local Blackfeet artisans.\u003cbr\u003e\u003cbr\u003eHis importance in the still-developing genre of \"\"western art\"\" cannot be overstated. Mary Strachan Scriver lived and worked with Boba Scriver for over a decade and was instrumental in his rise to international acclaim. Working alongside her husband, she became intimately familiar with the man, his work, and his process.\u003cbr\u003e\u003cbr\u003eHer frank, uncensored, and highly entertaining biography reveals details that give the reader a unique picture of Scriver both as man and as artist. Bronze Inside and Out also provides a fascinating look into the practice of bronze casting, cleverly structuring the story of Bob Scriver's life according to the steps in this complicated and temperamental process.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cul\u003e\n\u003cli\u003eForeward\u003c\/li\u003e\n\u003cli\u003eAcknowledgements\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003ePart One: Prelude\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003eGENRE: AMERICAN BRONZES\u003c\/li\u003e\n\u003cli\u003eWhy we learned to cast bronze and what it is like\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, Montana, early Sixties\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eHow I got to the Blackfeet Reservation and what it was like\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, Montana, 1961\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eHistory of the Blackfeet and how artists joined them\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eHigh northern prairie, 1600s forward\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003e\"Indian Days\"\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, Montana, in the Sixties\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eThe roots of American equestrian Bronzes\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eWashington, D.C., 1780s to the 1800s\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003ePROVENANCE: FAMILY HISTORY\u003c\/li\u003e\n\u003cli\u003eThe importance of story: the quick-draw guy\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1968\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eBob's genealogical roots and how his parents got to Browning\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eThe Palatine to England to Quebec to Montana, 1600s to 1900s\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eBob's Childhood\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, World War I and after\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eThe white community and how Bob acquired an Indian \"Mother\"\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eMilk River Ridge, the Twenties\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eArtists on the Scene\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eGlacier Park, the Twenties\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eEarl Heikka, \"crazy artist feller\"\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eGreat Falls, Twenties and Thirties\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eINSPIRATION: FROM MUSIC TO SCULPTURE\u003c\/li\u003e\n\u003cli\u003eFirst career: leading prize-winning high school bands\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003e1934-1950\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eSecond career: successful taxidermist\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1950-1964\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eThe Scriver Museum of Montana Wildlife\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, the Fifties\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eThe earliest sculptures and the C.M. Russell Contest\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, the Fifties\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eBeginning to sell\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, late Fifties\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003ePLASTILENE: THE EARLY YEARS\u003c\/li\u003e\n\u003cli\u003eAbout the material and what it demands\u003c\/li\u003e\n\u003cli\u003eGreenwich Village, the Forties\u003c\/li\u003e\n\u003cli\u003eMalvina Hoffman's plastilene\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eGreenwich Village, the Forties\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003ePlatilene sculptures shelved\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1962\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eThe miniature wildlife dioramas: a team effort\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, Spring 1962\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eBob nearly goes blind\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, Summer 1962\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eEvelyn Cole\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eChinook, Montana, 1967\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eMy first hunting trips\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eThe Rocky Mountain Front, Fall 1962\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eARMATURE: FORMING STRUCTURE\u003c\/li\u003e\n\u003cli\u003eAbout armatures\u003c\/li\u003e\n\u003cli\u003eThe armature of Bob's inner world\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, the sixties\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eThe Buffalo Roundup: We both ride\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eMoiese, 1963\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eOrganic armatures: skeletons\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBynum, Sun River, Moiese, Starr School, mix-Sixties\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eBroken ribcage\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1965\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eWASTE MOULD: SHARDS ON THE TABLE\u003c\/li\u003e\n\u003cli\u003eWaste molds, made for destruction\u003c\/li\u003e\n\u003cli\u003eDick Flood\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eThe northern prairie, Fifties and Sixties\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eAce Powell\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eHungry Horse, and Browning, 1928-1976\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eJohn Clarke \u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eEast Glacier, 1881-1970\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eThe last full-mount: a moose\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1968\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eEegie\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1968\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eElectric cowboys\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eCut Bank Creek, 1965\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eLife in Browning\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eThe Sixties\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eDrifters\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, mid-Sixties\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eDownhill\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eHudson's Bay Divide, Late Sixties\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003ePLASTER ORIGINAL: FIRST SUCCESS\u003c\/li\u003e\n\u003cli\u003eAbout plaster originals: the key\u003c\/li\u003e\n\u003cli\u003eGeorge Grey\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1968\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eAmerican Artist and Paul Juley\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning 1964\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eTrue Magazine\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1965\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eNew York Shows\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eManhattan, 1963\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eGlenbow Foundation\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eCalgary, 1967\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eChristmas\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1964\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eHunting in the Snow\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eEast front of the Rockies, 1965\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eBLACK TUFFY: TROUBLES BEGIN\u003c\/li\u003e\n\u003cli\u003eAbout flexible moulds\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, Fifties and foreward\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eThe Big Flood\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBlackfeet Reservation, 1964\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eAnimals drive a wedge\u003c\/li\u003e\n\u003cli\u003eBob the conservative, Mary the activist\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1969\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eKeith Seele, James Willard Schultz, Lone Wolf and Paul Dyck\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eThe Reservation 1966\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eOverwork and blow-ups\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning 1969\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cem\u003eInto the Wild\u003c\/em\u003e, Bucky, and breaking points\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eThe reservation, late Sixties\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eHunting again, Sweetgrass Hills\u003c\/li\u003e\n\u003cli\u003eMOTHER MOLD: WIVES AND OTHERS\u003cp\u003eAbout mother molds\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003eEllison Westgarth Macfie Scriver\u003c\/li\u003e\n\u003cli\u003eAlice the high school kid\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning and Malta, 1937-1943\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eJeanette the firebrand\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eEdmonton and Browning, 1946-1959\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eArlene the ideal\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1959-1962\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eMary the English teacher\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1966-1970\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eLorraine the widow\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning and Vancouver Island, 1972-2002\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eLOST WAX: CRUCIFIX, PIETA, AND MARGARET\u003cp\u003eMaxing of a wax duplicate\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003ePortrait of a polo player\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eSanta Rosa, Anacortes, 1967\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eBob's daughter dies\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eAnacortes, 1967 and 1968\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eMaurice poses for Jesus\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1967 and 1968\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eLost in grizzly country\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eSt. Mary's, 1969\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003ePart Two: Crescendo\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003eINVESTMENT: NEW YORK CITY\u003c\/li\u003e\n\u003cli\u003eOld-fashioned plaster investment\u003c\/li\u003e\n\u003cli\u003e\n\u003cem\u003eTo Tell the Truth \u003c\/em\u003eand Malvina Hoffman\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eNew York City, 1965\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eA Moose hunt\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eSwan Hills, Alberta 1969\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eCASTING BRONZE: THE BUFFALO BILL HISTORICAL CENTER\u003c\/li\u003e\n\u003cli\u003eCasting bronze: a review\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, Montana, 1932-1999\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eOne hundred bronzes\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning and Cody, 1969\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eHarry Jackson\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eCody and Browning, 1969\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eA jubilant hunting trip\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eEast Front of the Rockies, 1969\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eMOLTEN BRONZE: COWBOY HALL OF FAME\u003c\/li\u003e\n\u003cli\u003eMoment of truth\u003c\/li\u003e\n\u003cli\u003eThe Western art boom\u003c\/li\u003e\n\u003cli\u003eC.M. Russell Museum Benefit Auction\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eGreat Falls, Montana, 1970 to the present\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eDean Krakel, cowboys and Indians\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eOklahoma City, 1965 to the end\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eBill Lindermana\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eDenver and Browning, 1967-1970\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eThe National Rodeo Finals\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eOklahoma City, 1970\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eAsger Mikkelson\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1970-1975\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eMeltdown of a marriage\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003ePart Three: Diminuendo\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003eCHASING: THE THUNDER PIPE BUNDLE\u003c\/li\u003e\n\u003cli\u003eHow to \"chase\"a bronze\u003c\/li\u003e\n\u003cli\u003eBlackfeet religious ceremonies\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1963 to 1999\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eBlackfeet ceremonial objects\u003c\/li\u003e\n\u003cli\u003eBob cuts the rawhide\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1963\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eCree hauling ceremony, Blackfeet bundle opening\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1967 to 1999\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eThe Thunder Pipe Bundle transfer\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1969\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eCountin Coup\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning and Edmotnon, 1976-1990\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eThe million-dollar artifact collection\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning and Edmonton, 1990 to present\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003ehe Badger Lodge\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning and Two Medicine, 1971\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eTORCH: THE PRINCE OF PEACE\u003c\/li\u003e\n\u003cli\u003eWelding bronze\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1963 foreward\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eLosing family members\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003e1976 forward\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eThe Prince of Peace\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003e1982 forward\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eTrying to rekindle the flame\u003cem\u003eBrowning, 1985 forward\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eCOOLING: LEWIS AND CLARK\u003c\/li\u003e\n\u003cli\u003eThe journey slows\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eFort Benton and Great Falls, 1974 foreward\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eLewis and Clark begin\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eFort Benton, 1974 forward\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eDistinguished Achievements\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eGreat Falls 1990\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eLong quiet days in the shop\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1988 forward\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eFacing Death\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, late Ninties\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eDeath on Bob's terms\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1999\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003e\"The Man in Buckskin\"\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eValier, 2002\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003ePATINA: OVERVIEW\u003c\/li\u003e\n\u003cli\u003eHow patinas are formed\u003c\/li\u003e\n\u003cli\u003eWhat is a \"great artist\"\u003c\/li\u003e\n\u003cli\u003eThe artist as customer\u003c\/li\u003e\n\u003cli\u003eThe Flatiron Ranch\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1980\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eThe last visit and goodbye\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1998\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eFour Sculptors, four destinies\u003c\/li\u003e\n\u003cli\u003e\u003cem\u003eBrowning, 1929\u003c\/em\u003e\u003c\/li\u003e\n\u003cli\u003eNotes\u003c\/li\u003e\n\u003cli\u003eBob Scriver Timeline\u003c\/li\u003e\n\u003cli\u003eBiblography\u003c\/li\u003e\n\u003cli\u003e\u003cul\u003e\u003c\/ul\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"University of Calgary Press","offers":[{"title":"Default Title","offer_id":51041308442967,"sku":"9781552382271","price":35.06,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781552382271.jpg?v=1750949749","url":"https:\/\/bookcurl.com\/products\/bronze-inside-and-out-a-biographical-memoir-of-bob-scriver-9781552382271","provider":"Book Curl","version":"1.0","type":"link"}