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About the brand: Glamorous and edgy canvas wall art. iCanvas Pharaoh's Horses, 1848 by John Frederick Herring Sr Design details: These museum quality fine art prints are hand-framed, subjected to the highest standards of quality, and printed using state-of-the-art technology only available in the fine-art world. Made with heavyweight, 300gsm, acid free paper, in tandem with fade-resistant archival inks. Show off your love for art with this high-end fine art paper print. Indonesian hardwood frame with matte finish. Handcrafted and detail finished with rounded filled miter joints for a clean and smooth presentation. 300 gsm, heavyweight, cold press, archival fine-art paper with a distinct textured surface in a bright white tone. Protected by premium clear-coat, non-glare acrylite glazing; reducing glare and maintaining color vividness. Fade resistant epson ultrachrome archival inks. Dual D-ring hooks for stable hanging; making the print ready to hang right out of the box. Hanging accessories and instructions included. For care, dust with a non abrasive, dry cloth, using a plastic cleaner. Image type: giclee Frame: Indonesian hardwood Arrives ready to hang Made in the USA Choose from the following: 16in x 1in x 16in 24in x 1in x 24in

About the brand: Glamorous and edgy canvas wall art. iCanvas Pharaoh's Horses, 1848 by John Frederick Herring Sr Design details: These museum quality fine art prints are hand-framed, subjected to the highest standards of quality, and printed using state-of-the-art technology only available in the fine-art world. Made with heavyweight, 300gsm, acid free paper, in tandem with fade-resistant archival inks. Show off your love for art with this high-end fine art paper print. Indonesian hardwood frame with matte finish. Handcrafted and detail finished with rounded filled miter joints for a clean and smooth presentation. 300 gsm, heavyweight, cold press, archival fine-art paper with a distinct textured surface in a bright white tone. Protected by premium clear-coat, non-glare acrylite glazing; reducing glare and maintaining color vividness. Fade resistant epson ultrachrome archival inks. Dual D-ring hooks for stable hanging; making the print ready to hang right out of the box. Hanging accessories and instructions included. For care, dust with a non abrasive, dry cloth, using a plastic cleaner. Image type: giclee Frame: Indonesian hardwood Arrives ready to hang Made in the USA Choose from the following: 16in x 1in x 16in 24in x 1in x 24in

This unprecedented monograph on the print maker John Melville Kelly (1878-1962) is the first to trace the artist's extraordinary career from his early years in California to his stunning commercial success in Hawaii. While skilled in a variety of media, including painting and drawing, Kelly is best known for his alluringly beautiful and poignantly nostalgic etchings of native Hawaiians. His prints and drawings capture the essence of the islands and their people, even as they evoke a time and place far removed from modern experience.

John Frederick the Magnanimous was the elector of Saxony during Martin Luther's mature years (1532-1546), and they worked closely together on many things. After Luther's death, John Frederick shared leadership of the Smalcald League with his cousin, Philip of Hesse.This is the authoritative biography of John Frederick the Magnanimous (elector 1532-1547), son of John the Steadfast, who was raised a Lutheran on Luther's writings.

In 1773, John Frederick Whitehead and Johann Carl Büttner, two adolescent Germans, were placed on board the same ship headed to colonial America. With few options in Germany, each had been recruited by the labor contractors known popularly as soulsellers—men who traded in human cargo. On arrival in America they were sold to different masters, and, years later, each wrote a memoir of his experiences. These two autobiographies are valuable historical records of immigrant attitudes, perceptions, and goals. Despite their shared voyage to America and similar condition as servants, their backgrounds and personalities differed. Their divergent interpretations of their experiences provide rich firsthand insights into the transatlantic migration process, work and opportunity in colonial America, and the fates of former bound servants.Souls for Sale presents these parallel accounts—Whitehead's published for the first time—to illustrate the condition of German redemptioners and to examine the religious, economic, familial, and literary contexts that shaped their memoirs. The editors provide helpful introductions to the works as well as notes to guide the reader.

In 1976, the Corning Museum of Glass devoted it's entire issue of it's Journal of Glass Studies to the topic of John Frederick Amelung, an honor never awarded to any other glass-maker. This volume is an updated version of that Journal issue and it examines Amelung's glass-making venture from four distinct vantage points. The authors provide a history of the factory and it's lasting influence on American glass-making, an analytical survey of the documented products, a report on the archaeological investigation of one of the factory buildings, and a summary of chemical analyses of the fragments and documented glasses. Also included is a catalog containing photographs and detailed descriptions of Amelung's glasses and the inscriptions they bear.

Traces the life and career of the nineteenth-century American painter

Traces the life and career of the nineteenth-century American painter

We know who the Founding Fathers were economically and politically, but who founded America culturally and spiritually? For John Gardner, it was not until the generation after Jefferson and Adams that the revolutionary principles of American spiritual life were laid down. For him, Emerson, Melville, and Whitman speak for the spirit as it lives in America.This is not so much a work of literary criticism as a meditative attempt to allow the ideas of these founding fathers to be thought anew. The result is that we hear these heralds of the spirit as if for the first time. Their words, presented with uncanny directness, become prophetic of America today.

“Who would have looked for philosophy in whales, or for poetry in blubber?” the London John Bull remarked in October of 1851. And yet, the reviewer went on, “few books which professedly deal in metaphysics, or claim the parentage of the muses, contain as much true philosophy and as much genuine poetry as the tale of the Pequod's whaling expedition.” A decade and a half before surprising the world with a book of Civil war poetry, Melville was already confident of what was “poetic” in his prose. As Hershel Parker demonstrates in this book, Melville was steeped in poetry long before he called himself a poet. Here Parker, the dean of Melville studies, gives a compelling, in-depth account of how one of America’s greatest writers grew into the vocation of a poet. His work corrects two of the most pernicious misconceptions about Melville perpetuated by earlier critics: that he repudiated fiction writing after Pierre, and that he hadn’t begun writing poetry (let alone had a book of poems ready for publication) as early as 1860. In clearing up these misapprehensions, Parker gives a thorough and thoroughly involving account of Melville’s development as a poet. Parker demonstrates for the first time just how crucial poetry was to Melville from childhood to old age, especially its re-emergence in his life after 1849. Drawing on Melville's shrewd annotations of great British poets and on his probing, skeptical engagement with commentaries on poetry (particularly by the great Scots reviewers), Parker paints a richly textured portrait of a hitherto unseen side of Herman Melville.

“Who would have looked for philosophy in whales, or for poetry in blubber?” the London John Bull remarked in October of 1851. And yet, the reviewer went on, “few books which professedly deal in metaphysics, or claim the parentage of the muses, contain as much true philosophy and as much genuine poetry as the tale of the Pequod's whaling expedition.” A decade and a half before surprising the world with a book of Civil war poetry, Melville was already confident of what was “poetic” in his prose. As Hershel Parker demonstrates in this book, Melville was steeped in poetry long before he called himself a poet. Here Parker, the dean of Melville studies, gives a compelling, in-depth account of how one of America’s greatest writers grew into the vocation of a poet. His work corrects two of the most pernicious misconceptions about Melville perpetuated by earlier critics: that he repudiated fiction writing after Pierre, and that he hadn’t begun writing poetry (let alone had a book of poems ready for publication) as early as 1860. In clearing up these misapprehensions, Parker gives a thorough and thoroughly involving account of Melville’s development as a poet. Parker demonstrates for the first time just how crucial poetry was to Melville from childhood to old age, especially its re-emergence in his life after 1849. Drawing on Melville's shrewd annotations of great British poets and on his probing, skeptical engagement with commentaries on poetry (particularly by the great Scots reviewers), Parker paints a richly textured portrait of a hitherto unseen side of Herman Melville.

The narrative of facts―probably best exemplified in the literature of exploration―was an immensely popular genre in mid-nineteenth-century America. In White Lies, John Samson offers full contextual readings of Melville's five major narratives of facts―Typee, Omoo, Redburn, White-Jacket, and Israel Potter. Samson demonstrates that in these novels Melville critically rewrote the sources on which he drew, in effect making the genre itself a subject of his writing.In his introduction, Samson discusses Melville's knowledge of the genre and its ideology. He then reads each novel in terms of Melville's confrontation with its sources. In each, Samson says, an unreliable narrator represents particular ideological tendencies in Melville's sources. Melville heightens and extends these tendencies, exposes the contradictions and biases within them, and ends by showing the narrator evading or denying experiences that conflict with his ideology. According to Samson, Melville sees the concept of historical progress as the basis of these biases and evasions.In these five novels, Melville reveals the conflict between democratic, humanitarian, and individualistic principles, on the one hand, and the forces of racial superiority, religious bigotry, economic determinism, and political conservatism, on the other. Taken together, Samson asserts, these novels deconstruct the intellectual foundations of the form of historical narration endorsed by white patriarchal culture.Scholars and students of nineteenth-century American literature, specialists in the novel, and other readers of Melville will welcome Samson's provocative reinterpretation of these key works in American culture.

John Bryant has assembled a unique collection of critical writings dealing with the life, art, and influence of Herman Melville. More than just a survey of his works, this book is an intellectual guide that comprises the learning and insight of twenty-five noted Melville scholars, as well as their suggestions for further research. In combining criticism and bibliography, each chapter assesses the critical debates that have emerged concerning Melville's thought and art. The Companion also examines Melville's life and influence on the world of books, modern thought, foreign cultures, and popular culture.

John Bryant's book is a strong and significant argument for the centrality of the comic and repose in Melville's novels. The purpose of Melville and Repose is dual: to ground the uses of romantic humor in Melville in sensitive readings of contemporaneous European and American writings, and to offer a definitive account of the comic as the shaping force of Melville's narrative voice throughout the major phase of his literary career. Bryant argues that Melville fused a "rhetoric of geniality" and "picturesque sensibility" adopted from the British with a "rhetoric of deceit" borrowed from the American tall tale in order to create his own amiably cosmopolitan "rhetoric of aesthetic repose." Thorough research into American culture and recent Melville manuscript findings, an engaging style, and full, scholarly readings combine to make this historicist study a welcome addition to the libraries of Americanists and Melville scholars and enthusiasts.

John Bryant's book is a strong and significant argument for the centrality of the comic and repose in Melville's novels. The purpose of Melville and Repose is dual: to ground the uses of romantic humor in Melville in sensitive readings of contemporaneous European and American writings, and to offer a definitive account of the comic as the shaping force of Melville's narrative voice throughout the major phase of his literary career. Bryant argues that Melville fused a "rhetoric of geniality" and "picturesque sensibility" adopted from the British with a "rhetoric of deceit" borrowed from the American tall tale in order to create his own amiably cosmopolitan "rhetoric of aesthetic repose." Thorough research into American culture and recent Melville manuscript findings, an engaging style, and full, scholarly readings combine to make this historicist study a welcome addition to the libraries of Americanists and Melville scholars and enthusiasts.

John Bryant has assembled a unique collection of critical writings dealing with the life, art, and influence of Herman Melville. More than just a survey of his works, this book is an intellectual guide that comprises the learning and insight of twenty-five noted Melville scholars, as well as their suggestions for further research. In combining criticism and bibliography, each chapter assesses the critical debates that have emerged concerning Melville's thought and art. The Companion also examines Melville's life and influence on the world of books, modern thought, foreign cultures, and popular culture.

Arthur Melville was arguably the most innovative and modernist Scottish artist of his generation and one of the finest British watercolourists of the nineteenth century, yet he avoided categorization. In 1943 the Scottish Colourist John Duncan Fergusson confessed that although they never met, "his work opened up to me the way to free painting - not merely freedom in the use of paint, but freedom of outlook".This book offers a comprehensive survey of Arthur Melville's (1855-1904) rich and varied career as artist-adventurer, Orientalist, forerunner of The Glasgow Boys, painter of modern life and re-interpreter of the landscape of Scotland. His travels inspired spectacular watercolors and paintings. This book illustrates around sixty of his works, each with a catalogue entry, and an essay by Kenneth McConkey, which discusses Melville's art and career.

In 1839 Frederick Catherwood and John Lloyd Stephens climbed the steps of the Mayan pyramids of the lost city, Copan. This text reconstructs the two expeditions they made into Mayan territory, with historical and architectural annotations, and Catherwood's illustrations for Stephens travel diaries.

The Making of the Modern Law: Legal Treatises, 1800-1926 includes over 20,000 analytical, theoretical and practical works on American and British Law. It includes the writings of major legal theorists, including Sir Edward Coke, Sir William Blackstone, James Fitzjames Stephen, Frederic William Maitland, John Marshall, Joseph Story, Oliver Wendell Holmes, Jr. and Roscoe Pound, among others. Legal Treatises includes casebooks, local practice manuals, form books, works for lay readers, pamphlets, letters, speeches and other works of the most influential writers of their time. It is of great value to researchers of domestic and international law, government and politics, legal history, business and economics, criminology and much more.++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification:++++Harvard Law School Libraryocm32056670Includes index.Boston : Charles H. Edson, 1888. 2 v. (xv, 1635, xv-lxxxiv p.) ; 26 cm.

Fredrick J. Miller came to Milwaukee, Wisconsin, from Germany 150 years ago and started a small brewery that would evolve into one of the world’s largest. In The Miller Beer Barons, author Tim John tells the complete story of the family that built a beer empire from the entrepreneurial days of brewers like Miller, Pabst and Best, through the struggles of Prohibition to the corporate modern era. A member of the Miller family, John introduces readers to quirky and controversial family members like Emil Miller, who smashed beer bottles of competitors with his cane when he discovered them at taverns, or John’s own father, Harry, who served a brief, but stormy, tenure as company president. Tim John spent several years researching the book, which is likely the most complete history of Miller Brewing ever done. "The Miller Beer Barons" arrives just in time to commemorate Miller’s 150th anniversry in 2005.