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751 pp. biblio., maps. 2nd Edition

751 pp. biblio., maps. 2nd Edition

Book is in NEW condition. 1.65

Originally published: Houston: Telegraph Power Press, 1839. With a new introduction by Joseph W. McKnight, Larry and Jane Harlan Faculty Fellow and Professor of Law, SMU Dedman School of Law describing its compilation, translation and publication. From the series, Foundations of Spanish, Mexican and Civil Law. Warren Billings, Distinguished Professor of History, Emeritus, University of New Orleans, and Visiting Professor of Law, William and Mary School of Law, Series Editor. Reprint of the only edition. The First Complete English Translation ofMexican Laws Relating to Texas.

Print on Demand. âRelacià n y discursos del descubrimiento, poblacià n y pacificacià n de este Nuevo Reino de Leà nâ chronicles the 16th-century Spanish exploration and colonization of the Mexican state of Nuevo Leà n. Written by conquistador Alonso de Leà n, the book provides first-hand accounts of the Spanish military campaigns against native tribes, as well as geographical and ethnographic observations of the unexplored territory and its peoples. The book also discusses the introduction of Christianity to the region. Through Leà n's detailed descriptions, readers will gain insights into the challenges and triumphs of Spanish conquest and colonization. This book is a reproduction of an important historical work, digitally reconstructed using state-of-the-art technology to preserve the original format. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in the book.

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In the late eighteenth and early nineteenth centuries, black runaways braved an escape from slavery in an unprecedented alliance with Seminole Indians in Florida. This is the story of the maroons€™ ethnogenesis in Florida, their removal to the West, their role in the Texas Indian Wars, and the fate of their long quest for liberty and self-determination along both sides of the Rio Grande. Their tale is rich, colorful, and epic, stretching from the swamps of the Southeast to the desert Southwest. From a borderlands mosaic of slave hunters, corrupt Indian agents, Texas filibusters, Mexican revolutionaries, French invaders, Apache and Comanche raiders, frontier outlaws, lawmen, and Buffalo Soldiers, emerges a saga of enslavement, flight, exile, and ultimately freedom.

In the late eighteenth and early nineteenth centuries, black runaways braved an escape from slavery in an unprecedented alliance with Seminole Indians in Florida. This is the story of the maroons’ ethnogenesis in Florida, their removal to the West, their role in the Texas Indian Wars, and the fate of their long quest for liberty and self-determination along both sides of the Rio Grande. Their tale is rich, colorful, and epic, stretching from the swamps of the Southeast to the desert Southwest. From a borderlands mosaic of slave hunters, corrupt Indian agents, Texas filibusters, Mexican revolutionaries, French invaders, Apache and Comanche raiders, frontier outlaws, lawmen, and Buffalo Soldiers, emerges a saga of enslavement, flight, exile, and ultimately freedom.

An art scarf inspired by The Met collection. The stylish figure on this vibrant neckerchief represents the regional dress of Saltillo, the capital of the Mexican state of Coahuila. The image comes from a silkscreen print belonging to Regional Mexican Dress, a portfolio containing 25 brightly colored prints by Carlos Mérida (Guatemalan, 1891-1984). Having encountered the work of Picasso, Modigliani, Mondrian, and Klee, among other contemporary avant-garde artists, Mérida infused European modernism with Latin American themes. Though he's best known for his murals and paintings, this series reveals Mérida's talents as a printmaker and his enduring interest in indigenous subjects. We're pleased to present this scarf in celebration of Mexican Prints at the Vanguard at The Met Fifth Avenue. The rich tradition of printmaking in Mexico from the 18th to the mid-20th century is explored across more than 130 works drawn mainly from The Met collection-including woodcuts, lithographs, and screen prints by artists such as Diego Rivera, José Clemente Orozco, Leopoldo Méndez, and Mexico's best-known printmaker, José Guadalupe Posada, whose depictions of skeletons helped establish a global identity for Mexican art. © 2024 Artists Rights Society (ARS), New York To learn more about the exhibition, read our blog post

Winner, Society for American Archaeology Book Award, 2017San Antonio Conservation Society Publication Award, 2019The prehistoric hunter-gatherers of the Lower Pecos Canyonlands of Texas and Coahuila, Mexico, created some of the most spectacularly complex, colorful, extensive, and enduring rock art of the ancient world. Perhaps the greatest of these masterpieces is the White Shaman mural, an intricate painting that spans some twenty-six feet in length and thirteen feet in height on the wall of a shallow cave overlooking the Pecos River. In The White Shaman Mural, Carolyn E. Boyd takes us on a journey of discovery as she builds a convincing case that the mural tells a story of the birth of the sun and the beginning of time—making it possibly the oldest pictorial creation narrative in North America.Unlike previous scholars who have viewed Pecos rock art as random and indecipherable, Boyd demonstrates that the White Shaman mural was intentionally composed as a visual narrative, using a graphic vocabulary of images to communicate multiple levels of meaning and function. Drawing on twenty-five years of archaeological research and analysis, as well as insights from ethnohistory and art history, Boyd identifies patterns in the imagery that equate, in stunning detail, to the mythologies of Uto-Aztecan-speaking peoples, including the ancient Aztec and the present-day Huichol. This paradigm-shifting identification of core Mesoamerican beliefs in the Pecos rock art reveals that a shared ideological universe was already firmly established among foragers living in the Lower Pecos region as long as four thousand years ago.

The states of Northern Mexico—Tamaulipas, Nuevo León, Coahuila, Chihuahua, Durango, Sonora, Sinaloa, and Baja California Norte and Sur—have architecture, urbanism, and landscape design that offer numerous lessons in how to build well, but this constructed environment is largely undervalued or unknown. To make this architecture better known to a wide professional, academic, and public audience, this book presents the first comprehensive overview in either English or Spanish of the architecture, urban landscapes, and cities of Northern Mexico from the country's emergence as a modern nation in 1821 to the present day.Profusely illustrated with color and black-and-white photographs, maps, and analytical drawings of urban cores of major cities, The Architecture and Cities of Northern Mexico systematically examines significant works of architecture in large cities and small towns in each state, from the earliest buildings in the urban core to the newest at the periphery. Edward R. Burian describes the most memorable works of architecture in each city in greater detail in terms of their spatial organization, materials, and sensory experience. He also includes a concise geographical and historical summary of the region that provides a useful background for the discussions of the works of architecture. Burian concludes the book with a brief commentary on lessons learned and possible futures for the architectural culture of the region, as well as the first comprehensive biographical listing of the architects practicing in Northern Mexico during the past two centuries.

John Annerino, famed photographer of the Amerian Southwest, portrays the astonishing beauty of the U.S.-Mexico borderlands and contrasts those with images of the conflict that threatens to destroy them. These 1,956 miles through Texas, New Mexico, Arizona, and California on the U.S. side and Nuevo León, Coahuila, Chihuahua, Sonora, and Baja California Norte on Mexico's side are the beautiful, rugged, blood-stained borderlands that once lured conquistadors, missionaries, scalp hunters, bandits, smugglers, pioneers, and colonists from Spain, Mexico, and the United States. Annerino canoed the Río Grande/Río Bravo del Norte through the legendary Big Bend Frontier, walked treacherous immigrant trails like Arizona's Camino del Diablo (Road of the Devil), explored borderlands jaguar country on foot, and came to know the resilient people who live, work, and cling to the traditions on both sides of the border. Along the way he chronicled his perilous journeys through this "geography of chaos," capturing in remarkable photographs and evocative essays the stunning landscapes whose fragile environment is threatened by today's politics.

The states of Northern Mexico—Tamaulipas, Nuevo León, Coahuila, Chihuahua, Durango, Sonora, Sinaloa, and Baja California Norte and Sur—have architecture, urbanism, and landscape design that offer numerous lessons in how to build well, but this constructed environment is largely undervalued or unknown. To make this architecture better known to a wide professional, academic, and public audience, this book presents the first comprehensive overview in either English or Spanish of the architecture, urban landscapes, and cities of Northern Mexico from the country's emergence as a modern nation in 1821 to the present day.Profusely illustrated with color and black-and-white photographs, maps, and analytical drawings of urban cores of major cities, The Architecture and Cities of Northern Mexico systematically examines significant works of architecture in large cities and small towns in each state, from the earliest buildings in the urban core to the newest at the periphery. Edward R. Burian describes the most memorable works of architecture in each city in greater detail in terms of their spatial organization, materials, and sensory experience. He also includes a concise geographical and historical summary of the region that provides a useful background for the discussions of the works of architecture. Burian concludes the book with a brief commentary on lessons learned and possible futures for the architectural culture of the region, as well as the first comprehensive biographical listing of the architects practicing in Northern Mexico during the past two centuries.

Unravel the mysteries of Mexico. History, Culture, Wildlife, Wilderness, Northern Mexico’s Border States The only book currently to detail all of the National Parks ofNorthern Mexico's border states Baja, Sonora, Chihuahua, Coahuila, Nuevo Leon, Tamaulipas. This is also the only book to cover the Sierra del Carmena cross the Rio Grande River from Big Bend National Park, Texas. Includesfeatures on the Islands in the Sea Of Cortez and the Seri Indians as well as Copper Canyon and the Tarahumara Indians. Full color with fantastic maps and excellent descriptive test. This is a one of a kind publication the only one on this subject. You will be very pleased with this beautifully illustrated and informative guidebook.

Skillful hunters beautiful in flight, Prairie Falcons inhabit the rocky cliffs of the American West. These raptors range from southern Canada and northern North Dakota to Baja California, Arizona, New Mexico, western and northern Texas, and southeastern Coahuila, Mexico. This is the first book for a wide audience devoted exclusively to the Prairie Falcon. Stanley Anderson and John Squires cover all aspects of the falcon's life history from mating and rearing young to hunting behaviors and the yearly migration cycle. They provide complete descriptive characteristics for identifying Prairie Falcons and also compare them to other raptors, especially the closely related Peregrine Falcon. In addition, the authors recount the long association of falcons with people, which may extend back as far as 2000 BC. They describe the practice of falconry from the Middle Ages until today. And they assess the threats to Prairie Falcons posed by human activities, from pesticide use and destruction of habitat to disruption of the breeding cycle by careless birdwatchers.

En el altiplano de México corre el rumor de que los Perros Negros, los integrantes de la Legión de la Estrella, son inmortales... 1847. Los polvorientos llanos de Coahuila son el escenario de cruentas batallas entre la columna invasora de Zacarías Taylor, emisario de los esclavistas estadounidenses, el improvisado ejército de Antonio López de Santa Anna y el silencioso, casi invisible escuadrón de los Perros Negros, señores del desierto y de la noche, guardianes de aquella tierra desarmada. Joaquín Baluarte, su comandante, lleva una herida en el alma: la guerra se interpone entre él y Altares Moncada, la hermosa e indómita gobernadora de una nación inexistente, quien es asediada por el apátrida Nicandro Muñoz, un hombre obsesionado con el poder.Entretejiendo la reflexión histórica con la utopía en una prosa contundente, José Luis Gómez y Alejandro Hernández han creado con Los Perros de la Noche una realidad paralela teñida de poesía, inspirada por los misterios de un paisaje inolvidable que se erige como el gran protagonista. El jurado del Premio Letras Nuevas de Novela 2013 decidió otorgar la mención honorífica a esta novela.

Winner, Society for American Archaeology Book Award, 2017San Antonio Conservation Society Publication Award, 2019The prehistoric hunter-gatherers of the Lower Pecos Canyonlands of Texas and Coahuila, Mexico, created some of the most spectacularly complex, colorful, extensive, and enduring rock art of the ancient world. Perhaps the greatest of these masterpieces is the White Shaman mural, an intricate painting that spans some twenty-six feet in length and thirteen feet in height on the wall of a shallow cave overlooking the Pecos River. In The White Shaman Mural, Carolyn E. Boyd takes us on a journey of discovery as she builds a convincing case that the mural tells a story of the birth of the sun and the beginning of time—making it possibly the oldest pictorial creation narrative in North America.Unlike previous scholars who have viewed Pecos rock art as random and indecipherable, Boyd demonstrates that the White Shaman mural was intentionally composed as a visual narrative, using a graphic vocabulary of images to communicate multiple levels of meaning and function. Drawing on twenty-five years of archaeological research and analysis, as well as insights from ethnohistory and art history, Boyd identifies patterns in the imagery that equate, in stunning detail, to the mythologies of Uto-Aztecan-speaking peoples, including the ancient Aztec and the present-day Huichol. This paradigm-shifting identification of core Mesoamerican beliefs in the Pecos rock art reveals that a shared ideological universe was already firmly established among foragers living in the Lower Pecos region as long as four thousand years ago.