2002, ISBN: 9780807853528

Harpers Monthly, 1913. soft. 6.5"" X 10"". ORIGINAL EDITION Publisher-Printing Location: Harper & Brothers, New York Date and Numbering: October 1913, Volume CXX… mais…

Harpers Monthly, 1913. soft. 6.5"" X 10"". ORIGINAL EDITION Publisher-Printing Location: Harper & Brothers, New York Date and Numbering: October 1913, Volume CXXVII, Number DCCLXI Size and Page Count: 6.5 ? X 10 ? Tall, approx. 200 pages, includes advertisements and the back cover with statement of Harper s New Monthly Magazine Condition: Good, binding good, first few pages have significant watermark damage, most all subsequent pages have light watermark damage in middle of outside edge, spine cover creased slightly, otherwise complete. Illustrations Information: approx. 40 illustrations and many vintage advertisements! ----An excellent opportunity for the collector, researcher or historian---- Articles and information: A homespun wizardry -By Alice Brown All the way to Fremantle -By Norman Duncan A little leaven -By Maud Christian Aymar Poem: The first year -By Ellen M.H. (Ellen Maria Huntington) Gates On Christianizing the Eskimos -By Vilhjalmur Stefansson The tax at Lipi-Lipi -By Eleanor Stuart The invisible tide -By Alan Sullivan Miss Mahala and Johnny -By Harriet Elizabeth Prescott Spofford Poem: The mother -By Fannie Stearns Davis An old American tow-path -By Richard Le Gallienne Purple and fine linen -By Ednah (Robinson), Mrs. Aiken Capitalizing character -By John L. Mathews A forgotten slavery of colonial days -By Marcus Wilson Jernegan Poem: By the curb -By James Stephens A change of masters -By Pearce Bailey Poem: God's will -By Mildred Howells The Coryston family: A novel (chaps. XIII-XIV) -By Mrs. Humphrey Ward The island of Chincoteague -By Maude Lavinia Radford Warren The case of Frederick -By Mary Heaton Vorse Editor's easy chair -By William Dean Howells Editor's drawer/Poem: The idiotic inventions of Professor B. House -By Barry Gilbert Editor's drawer/Poem: Granny Shay -By Louise Ayres Garnett Editor's drawer/Poem: The day of days -By John Kendrick Bangs (And other Editor's drawer articles), Harpers Monthly, 1913, 0, Chapel Hill, NC: University of North Carolina Press, 2002. 216 pages, illustrations; 26 cm. BRAND NEW. A fine copy. Still in publisher's shrinkwrap. "Although nineteenth-century American landscapes typically were painted from a high vantage point, looking down from above, southern landscapes that featured plantations diverged from this convention in telling ways. Portraits of planters' landholdings were often depicted from a point below the plantation house, a perspective that directs the viewer's gaze upward and, as John Vlach observes, echoes the deference and respect the planter class assumed was its due. Moreover, Vlach notes, slaves were rarely represented in plantation paintings made before the Civil War, although it was slave labor that powered the plantation system. After the war and the abolition of slavery, he argues, a wistful revisionism seems to have restored these people--still toiling in the service of the masters--to the landscapes they had created and on which they were so cruelly mistreated. This richly illustrated book explores the statements of power and ironic evasions encoded in plantation landscapes, focusing on six artists whose collective body of work spans the period between 1800 and 1935 and documents plantations across the South, from Maryland to Louisiana: Francis Guy, Charles Fraser, Adrien Persac, Currier & Ives chief artist Fanny Palmer, William Aiken Walker, and Alice Ravenel Huger Smith." - Publisher. . Paperback. NEW. 4to - over 9¾" - 12" tall., University of North Carolina Press, 2002, 6<

2002, ISBN: 0807853526

[EAN: 9780807853528], Neubuch, [PU: University of North Carolina Press, Chapel Hill, NC], 216 pp., illus., bib. notes, index; 26 cm. BRAND NEW. A fine copy. Still in publisher's shrinkwra… mais…

[EAN: 9780807853528], Neubuch, [PU: University of North Carolina Press, Chapel Hill, NC], 216 pp., illus., bib. notes, index; 26 cm. BRAND NEW. A fine copy. Still in publisher's shrinkwrap. "Although nineteenth-century American landscapes typically were painted from a high vantage point, looking down from above, southern landscapes that featured plantations diverged from this convention in telling ways. Portraits of planters' landholdings were often depicted from a point below the plantation house, a perspective that directs the viewer's gaze upward and, as John Vlach observes, echoes the deference and respect the planter class assumed was its due. Moreover, Vlach notes, slaves were rarely represented in plantation paintings made before the Civil War, although it was slave labor that powered the plantation system. After the war and the abolition of slavery, he argues, a wistful revisionism seems to have restored these people--still toiling in the service of the masters--to the landscapes they had created and on which they were so cruelly mistreated. This richly illustrated book explores the statements of power and ironic evasions encoded in plantation landscapes, focusing on six artists whose collective body of work spans the period between 1800 and 1935 and documents plantations across the South, from Maryland to Louisiana: Francis Guy, Charles Fraser, Adrien Persac, Currier & Ives chief artist Fanny Palmer, William Aiken Walker, and Alice Ravenel Huger Smith." - Publisher. Size: 4to - over 9¾" - 12" tall, Books<

2002, ISBN: 0807853526

[EAN: 9780807853528], Neubuch, [PU: University of North Carolina Press, Chapel Hill, NC], 216 pages, illustrations; 26 cm. BRAND NEW. A fine copy. Still in publisher's shrinkwrap. "Althou… mais…

[EAN: 9780807853528], Neubuch, [PU: University of North Carolina Press, Chapel Hill, NC], 216 pages, illustrations; 26 cm. BRAND NEW. A fine copy. Still in publisher's shrinkwrap. "Although nineteenth-century American landscapes typically were painted from a high vantage point, looking down from above, southern landscapes that featured plantations diverged from this convention in telling ways. Portraits of planters' landholdings were often depicted from a point below the plantation house, a perspective that directs the viewer's gaze upward and, as John Vlach observes, echoes the deference and respect the planter class assumed was its due. Moreover, Vlach notes, slaves were rarely represented in plantation paintings made before the Civil War, although it was slave labor that powered the plantation system. After the war and the abolition of slavery, he argues, a wistful revisionism seems to have restored these people--still toiling in the service of the masters--to the landscapes they had created and on which they were so cruelly mistreated. This richly illustrated book explores the statements of power and ironic evasions encoded in plantation landscapes, focusing on six artists whose collective body of work spans the period between 1800 and 1935 and documents plantations across the South, from Maryland to Louisiana: Francis Guy, Charles Fraser, Adrien Persac, Currier & Ives chief artist Fanny Palmer, William Aiken Walker, and Alice Ravenel Huger Smith." - Publisher. Size: 4to - over 9¾" - 12" tall, Books<