Whitmore, William Henry:Heraldic Journal: Recording the Armorial Bearings and Genealogies of American Families (4 Vols. in 1; 24 Numbers) (#2690)
- copia autografata 2002, ISBN: 9780806304939
edizione con copertina flessibile, edizione con copertina rigida
New York: The Century Company, 1928. A square, tight copy. No underlining. No highlighting. No margin notes. With 51 illustrations, including a frontispiece portrait of Stevens. Inde… Altro …
New York: The Century Company, 1928. A square, tight copy. No underlining. No highlighting. No margin notes. With 51 illustrations, including a frontispiece portrait of Stevens. Index. Bound in the original gilt-decorated blue cloth. Col. John Stevens (1749-1838) was born in New York City. He trained as a lawyer but did not practice. At the start of the Revolutionary War, he offered his services to General George Washington. Stevens was commissioned a captain and worked to raise funds for the Continental Army. Within a few months he was appointed treasurer of New Jersey, a capacity in which he served for the duration of the war. In 1784 he bought most of the land that is now Hoboken, and spent 3 years building a home and estate on the property. By 1788 his attention had turned to steamboats and steam power, topics which occupied his time and fortune for the rest of his life. By 1804, he had completed a twin-screw-propeller steamboat, The Little Juliana, which operated on the Hudson River between Hoboken and New York City. This was three years before Fulton's steamboat Clermont made its first successful voyage in 1807. Among Steven's other inventions were the world's first ocean-going steamer [The Phoenix, 1809], the earliest steam-ferry service in America, the first American-built steam locomotive, and the world's first T-rail railroad track. It was Stevens who first proposed an elevated train system for New York, and a vehicular tunnel under the Hudson river. Some historians credit Stevens as founder of the Pennsylvania railroad system. The Stevens Institute of Technology in Hoboken is named for him. [This copy bears the pencil signature of Basil. M. Stevens, compiler of the HISTORY OF HOBOKEN AND THE STEVENS FAMILY (1952). In THE HOBOKEN COMPASS, M. A. O'Brien tells a story about Basil's daughter, Emily Custis Lewis Stevens, a blue blood descendent of George and Martha Washington. In 1948, although thought to be engaged to either the King of Yugoslavia or President Theodore Roosevelt's son, Emily shocked the world by eloping with a hairdresser from Montclair. According to O'Brien: "The New York Times Society page went wild, and the local paparazzi chased the couple all over the world, continuously asking personal questions of the couple as to their income, their reason for avoiding the Stevens family, (neither parent attended the wedding) and attempting to question Emily's brother, who stood up for her with his friend, a World War 2 bombardier. A small reception was held for Emily and her new husband, Jim Tully, at her best friend's home in North Bergen, from which they immediately took off to travel on a tour of the world. Basil. M. Stevens and his wife were incensed. Their beautiful and talented daughter had made her debut at the River Club in 1934, and in attendance, had been her parents choices for her to meet and possibly wed. These included a prince, an ambassador, a minister to England, and the son of a President (Teddy Roosevelt), with whom she had scandalized her family by dancing a sensuous tango with, and making all of the society papers, to the chagrin of her conservative family."] Keywords: Steamboats. Steam locomotives. New Jersey History. . First printing, March 1928 (so stated). Hard Cover. Very Good condition/No jacket. 8vo. xvii, 545pp., The Century Company, 1928, 3, Morris Museum, 2002-01-01. Paperback. Very Good. Signed by Author. Inscribed by the artist, Arie Alexander Galles on the front endpage. Minor shelf wear, rear cover has damage from sticker removal, binding tight, pages clean and unmarked. From the Artist's statement: "These photographs bear witness to the death camps, and are documents by accident. Neither Nazis nor Allies were concerned with photographic recordings of these sites. They were non consequential locations in the path of strategic targets, merely areas amid a landscape of changing fronts and dueling armies. The photons bouncing off the camps, fixed forever in crystals of photographic emulsion, went unnoticed by the world and the silent heavens. The abstraction of these images, the recording of the massive industrial scale of the Nazis' "Final Solution to the Jewish Problem," locks the horror into calm banality. Considering the vacuum of expanding malevolent lethargy, I often created in an effort to keep the expansion in check. I spent uncounted days peering into geographic Hades, mapping humanity's darkest undertaking. I drew a Midrash, an exegesis, a different way of thinking about the Holocaust. There, among mundane views of occupied Europe grew embedded cancers. The cancer consumed glorious landscape and barely concealed its rapacious appetite for devouring my people. All within a rational, geometric layout. As I drew I concentrated on what things looked like, not what they represented. This distancing enabled me to contemplate the dichotomy of the intrinsically fascinating aerial views apart from their horrifying truth. However, the two were not easily separated. When my consciousness insisted that the shapes represented crematoria, freight trains, ash pits, barracks, barbed wire fences, my posture of distance-equals-security proved false and emotion overwhelmed me. Harmless as the landscapes themselves appeared, the images bore lethal radiation. Cumulatively and without warning, the debilitating effects would strike my heart and my intellect. Nine years of hovering above these hells changed me. I marked paper with charcoal, literally drawing with ashes. And, sometimes, it felt to me that the physical act of drawing gave voice to the unheard screams of the murdered.The English title of the project refers to the "Fourteen Stations of the Cross" and to the fact that each concentration camp was established near a railroad station. The Hebrew title "Hey Yud Dalet," the acronym of "Hashem Yinkom Damam," “May God avenge their blood,†has been carved into the gravestones of Jewish martyrs throughout the centuries. Within each drawing I have hand lettered and embedded one fourteenth of the Kaddish. Interwoven into the texture of each drawing, these Aramaic and Hebrew phrases are invisible. The full suite of drawings completes the Kaddish, offering the prayer for those who perished and had no family to recite it for them. This Kaddish is also for those to whom the prayer was foreign, whose lives were extinguished in the same braid of horror and smoke that devoured Europe's Jews. I offer the "Fourteen Stations"/"Hey Yud Dalet" suite of drawings as icons for compassion and remembrance.Under no condition can art express the Holocaust. To withdraw art from confronting this horror, however, would assign victory to its perpetrators. That must not be. Each survivor, individually, must affirm his or her humanity and existence. As an artist, and a child of survivors, I can do no less., Morris Museum, 2002-01-01, 3, no place [White Bear Lake / Edina, MN]: no publisher [Fred E. Wilbur / Burgess Publishing Corporation] [1991]. Very Good in Very Good dust jacket. 1991. First Edition. Hardcover. First edition [stated]. This copy has been dated, inscribed and signed by "Jim Wilbur" [relationship to the author unclear but probably his brother who is mentioned/pictured in the book] on the copyright page. "Bud's letters to the members of his family and to the girl he married after the battles were won record the experiences and the devlopment of the character of one of the rank and file". 432 pages, illustrated. VG or better copy [light bumping to the spine ends and corners] in rubbed Dust Wrapper with short tears and creasing to the the top and bottom edges.; Signed by Author ., no publisher [Fred E. Wilbur / Burgess Publishing Corporation] [1991], 1991, 3, Lustre/Roli Books, 1999. Hardcover. New. The documentation of the recent history of the arts and artists of India has been more fanciful than factual. Artists, creative as they are, compile profiles that do not always stick to facts or bear scrutiny in historical terms. It is left to chroniclers to set the record right. The history of post-independence India is rather recent to have been recorded fully. Early scholars were busy trying to revive and reestablish art forms lost to a long, colonial rule. This book focuses on the last fifty years, coinciding with India attaining freedom from foreign rule. Most dramatis personae are alive and have contributed personal recollections to the book. Sumitra Charat Ram symbolises the generation that was born at the beginning of this century, and through the changing fortunes of the country, helped serve the arts and artists of India by creating a viable platform - the Shriram Bharatiya Kala Kendra - where very few existed in Delhi. Her persona is a perfect foil for the two worlds - the artistic and the commercial - to meet. Ashish Khokar, her collaborator, comes from a family of scholar-artists and is a product of young, independent India. His concerns, as also his insights, are from a point of view of a new, vibrant India. Exposed to arts and artists from childhood and trained in several forms, he offers insights into their beings, while the critic in him dissects their life and times dispassionately. Ultimately, this compilation is relevant for no other reason than the fact that while stars and established names are celebrated, a lot of lesser known but no less talented people are neglected or remain uncelebrated. A sizeable section of this book reads like a who`s who of the art world of India, especially of its capital city, New Delhi. This is the story of the Shriram Bharatiya Kala Kendra, which is the story of the countless artists it has produced and projected. This book celebrates India`s artistic genius. And, in the process, celebrates those who made it possible. Printed Pages: 192., Lustre/Roli Books, 1999, 6, Seattle: University of Washington Press, 2000. 1st. Softcover. Very Good. Seattle, University of Washington Press, 1st, 2000, Book: Very Good, Dust Jacket: None, Softcover. Like new in publishers shrink-wrap. Chief Joseph's exhausted words of surrender, 'Hear me, my chiefs, I am tired; my heart is sick and sad. From where the sun now stands, I will fight no more forever', are the accepted end of the Nez Perce War of 1877, in which several bands of Nez Perce attempting to find a new home outside their diminished Idaho reservation clashed with the U.S. military (and occasionally other Indians) along the Clearwater and Big Hole Rivers, and finally at the foot of the Bear Paw Mountains. However, a number of Nez Perce escaped transportation to Indian Territory with Joseph and continued their flight to Canada, with perhaps a hundred eventually joining Sitting Bull's Lakota."I Will Tell of My War Story" reproduces, describes, and discusses a remarkable series of drawings by an anonymous Indian artist who fought with Chief Joseph and later reached Canada. The drawings, in red, blue, and black pencil, include portraits of principal participants in the war, battle scenes, and views of Nez Perce camp life and celebrations during the war and after. The drawings are preserved in a small pocket ledger labeled 'Cash Book' on the front, which was acquired by Indian Agent Charles D. Warner in the 1880s. It was willed by him to a family living in northern Idaho, and is now in the collection of the Idaho State Historical Society. Scott Thompson worked closely both with the owners and with members of the Nez Perce community in preparing his manuscript. Thompson's detective work and research methods to identify Nez Perce and other parties pictured in the Cash Book make fascinating reading. He is careful to point out what is speculation and what has been documented or attested to by experts on dress, weapons, ceremony, and other aspects of Native culture. The Cash Book drawings are unique in several ways. They are one of very few firsthand pictorial records of the Nez Perce War, representing an even scarcer record of this war as seen from the Indian viewpoint. They contain invaluable historical and ethnographic information not only explicit in the form of military and Native dress, regalia, and quite graphic battle scenes, but also implicit. The drawings reveal an important stage of cultural adaptation as shown by the mixture of white and Native goods combined in Nez Perce material culture during the 1870s and 1880s, and by the artist's assimilation of white/European drawing techniques such as texture and perspective. The artist combined these drawing techniques with Native art traditions to make exceptionally effective pictorial communications. Scott M. Thompson is an art teacher at Chase Middle School in Spokane, Washington., University of Washington Press, 2000, 3, Baltimore, MD: Clearfield Co, 1972. Hardcover. Poor. 8vo. Variously paginated. Hardcover in red cloth. 1972 REPRINT OF 1865 edition. Four volumes in one. Binding shows light rubbing, with some of the blue colouring of the spine title label having worn away. Prior owner has written his name and applied his embossed stamp mark on front flyleaf. Text is clean and sound., Clearfield Co, 1972, 1<
