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“The Spanish Element in Our Nationality” delves beneath the traditional “English-only” narrative of U.S. history, using Spain’s participation in a series of international exhibitions to illuminate more fully the close and contested relationship between these two countries. Written histories invariably record the Spanish financing of Columbus’s historic voyage of 1492, but few consider Spain’s continuing influence on the development of U.S. national identity. In this book, M. Elizabeth Boone investigates the reasons for this problematic memory gap by chronicling a series of Spanish displays at international fairs. Studying the exhibition of paintings, the construction of ephemeral architectural space, and other manifestations of visual culture, Boone examines how Spain sought to position itself as a contributor to U.S. national identity, and how the United States—in comparison to other nations in North and South America—subverted and ignored Spain’s messages, making it possible to marginalize and ultimately obscure Spain’s relevance to the history of the United States. Bringing attention to the rich and understudied history of Spanish artistic production in the United States, “The Spanish Element in Our Nationality” recovers the “Spanishness” of U.S. national identity and explores the means by which Americans from Santiago to San Diego used exhibitions of Spanish art and history to mold their own modern self-image.

Winner of the Ewell L. Newman Award from the American Historical Print Collectors Society (2009) Winner of the Betty M. Linsley Award from the Association for the Study of Connecticut History (2010) This is the first book-length account of the pioneering and prolific Kellogg family of lithographers, active in Connecticut for over four decades. Daniel Wright Kellogg opened his print shop on Main Street in Hartford five years before Nathaniel Currier went into a similar business in New York and more than twenty-five years before Currier founded his partnership with James M. Ives, yet Daniel and his brothers Elijah and Edmund Kellogg have long been overshadowed by the Currier & Ives printmaking firm. Editor Nancy Finlay has gathered together eight essays that explore the complexity of the relationships between artists, lithographers, and print, map, and book publishers. Presenting a complete visual overview of the Kelloggs’ production between 1830 and 1880, Picturing Victorian America also provides museums, libraries, and private collectors with the information needed to document the Kellogg prints in their own collections. The first comprehensive study of the Kellogg prints, this book demands reconsideration of this Connecticut family’s place in the history of American graphic and visual arts. CONTRIBUTORS: Georgia B. Barnhill, Lynne Zacek Bassett, Candice C. Brashears, Nancy Finlay, Elisabeth Hodermarsky, Richard C. Malley, Sally Pierce, Michael Shortell, Kate Steinway.

Dogs are as ubiquitous in American culture as white picket fences and apple pie, embracing all the meanings of wholesome domestic life—family, fidelity, comfort, protection, nurturance, and love—as well as symbolizing some of the less palatable connotations of home and family, including domination, subservience, and violence. In Picturing Dogs, Seeing Ourselves, Ann-Janine Morey presents a collection of antique photographs of dogs and their owners in order to investigate the meanings associated with the canine body. Included are reproductions of 115 postcards, cabinet cards, and cartes de visite that feature dogs in family and childhood snapshots, images of hunting, posed studio portraits, and many other settings between 1860 and 1950. These photographs offer poignant testimony to the American romance with dogs and show how the dog has become part of cultural expressions of race, class, and gender. Animal studies scholars have long argued that our representation of animals in print and in the visual arts has a profound connection to our lived cultural identity. Other books have documented the depiction of dogs in art and photography, but few have reached beyond the subject's obvious appeal. Picturing Dogs, Seeing Ourselves draws on animal, visual, and literary studies to present an original and richly contextualized visual history of the relationship between Americans and their dogs. Though the personal stories behind these everyday photographs may be lost to us, their cultural significance is not.

For almost two centuries, the author and the editors of the first historical novel in Spanish published in the Americas, Jicotencal, remained unnamed. On the basis of documentary evidence, this symposium identifies the author as Cayetano Lanuza, and the true editors of the book as the New York firm of Lanuza, Mendia & Co.

This book explores the life of Henry Dresser (1838-1915), one of the most productive British ornithologists of the mid-late nineteenth and early twentieth centuries, and is largely based on previously unpublished archival material. Dresser travelled widely and spent time in Texas during the American Civil War. He built enormous collections of skins and eggs of birds from Europe, North America and Asia, which formed the basis of over 100 publications, including some of the finest bird books of the late nineteenth century. Dresser was a leading figure in scientific society and in the early bird conservation movement; his correspondence and diaries reveal the inner workings, motivations, personal relationships and rivalries that existed among the leading ornithologists.

TheIndex of American Designwas one of the most significant undertakings of the Federal Art Project -- the visual arts arm of the Works Progress Administration. Part of President Franklin D. Roosevelt's New Deal, this ambitious initiative set out to discover and document an authentic American style in everyday objects. The curators of theIndexcombed the country for art of the machine age -- from carved carousel horses to engraved powder horns to woven coverlets -- created by artisans for practical use. In their search for a true American artistic identity, they also sought furniture designed by regional craftsmen laboring in isolation from European traditions.Kentucky by Designoffers the first comprehensive examination of the objects from the Bluegrass State featured in this historic venture. It showcases a wide array of offerings, including architecture, furniture, ceramics, musical instruments, textiles, clothing, and glass- and metalworks. The Federal Art Project played an important role in documenting and preserving the work of Shaker artists from the Pleasant Hill and South Union communities, and their creations are exhibited in this illuminating catalog. Beautifully illustrated with both the original watercolor depictions and contemporary, art-quality photographs of the works, this book is a lavish exploration of the Commonwealth's distinctive contribution to American culture and modern design. Features contributions from Jean M. Burks, Erika Doss, Jerrold Hirsch, Lauren Churilla, Larrie Currie, Michelle Ganz, Tommy Hines, Lee Kogan, Ron Pen, Janet Rae, Shelly Zegart, Mel Hankla, Philippe Chavance, Kate Hesseldenz, Madeleine Burnside, and Allan Weiss.

Copublished with the Utah State Historical Society. Affiliated with the Utah Division of State History, Utah Department of Heritage & Arts Andrew J. Russell is primarily known as the man who photographed the famous “East and West Shaking Hands” image of the Golden Spike ceremony on May 10, 1869. He also took nearly one thousand other images that document almost every aspect of the construction of the Union Pacific Railroad. Across the Continent is the most detailed study to date of the life and work of an often-overlooked but prolific artist who contributed immensely not only to documentation of the railroad but also to the nation’s visualization of the American West and, earlier, the Civil War. The central focus in the book is on the large body of work Russell produced primarily to satisfy the needs of the Union Pacific. Daniel Davis posits that this set of Russell’s photos is best understood not through one or a handful of individual images, but as a photographic archive. Taken as a whole, that archive shows that Russell intended for viewers never to forget who built the Union Pacific. His images celebrate working people—masons working on bridge foundations, freighters and their wagons, surveyors with their transits, engine crews posed on their engines, as well as tracklayers, laborers, cooks, machinists, carpenters, graders, teamsters, and clerks pushing paper. Russell contributed to a golden age of Western photography that visually introduced the American West to the nation, changing its public image from that of a Great American Desert to a place of apparently unlimited economic potential.

Henry James completed his short story \"Nona Vincent\" in 1892, and it is clear that his choice of subject -- the writing of a play and its production in London's West End -- reflects to an extent the circumstances of his life at the time. James's account of pre-adolescent days is filled with the colorful detail of mid-nineteenth-century New York theater: the recital of plays and players, authors, characters, roles (many long-forgotten), catalogues the leisure pursuits of the James family and, more broadly, sketches in some of the detail of popular mass entertainment in a historical urban moment. Though private or domestic occasions, these were designated in retrospect as opportunities for the establishing of \"scene\" and performance. But James also introduces the idea of spontaneous, incidental performance which marks a revelation for the observing \"small boy,\" an episode of clear significance in this figurative extension of the genre in which an incident of family life can be riskily transformed into unpredictable, open-ended drama.

The California Gold Rush captured the get-rich dreams of people around the world more completely than almost any event in American history. This catalog, published in celebration of the sesquicentennial of the 1848 discovery of gold at Sutter's Mill, shows the vitality of the arts in the Golden State during the latter nineteenth century and documents the dramatic impact of the Gold Rush on the American imagination. Among the throngs of gold-seekers in California were artists, many self-taught, others formally trained, and their arrival produced an outpouring of artistic works that provide insights into Gold Rush events, personages, and attitudes. The best-known painting of the Gold Rush era, C.C. Nahl's Sunday Morning in the Mines (1872), was created nearly two decades after gold fever had subsided. By then the Gold Rush's mythic qualities were well established, and new allegories—particularly the American belief in the rewards of hard work and enterprise—can be seen on Nahl's canvas. Other works added to the image of California as a destination for ambitious dreamers, an image that prevails to this day. In bringing together a range of art and archival material such as artists' diaries and contemporary newspaper articles, The Art of the Gold Rush broadens our understanding of American culture during a memorable period in the nation's history.

[...]that number of copies is more than sufficient, certainly for the imposed-upon historian who must analyse the contents of annual catalogues that, even in 1857, ran to nearly 300 pages and (by 1899) to nearly 500. [...]anyone undertaking a full count would need to halve any total they achieved. [...]the printers and paper suppliers are likely to have granted the publisher a credit line of three to six months; and authors are likely to have entered into a half-profits arrangement, so they will get nothing until the book is declared to be in profit, how and when being up to the publisher.14 When Mudie's and Smith's finally became exasperated with the situation and declared that they would not accept three-decker novels that cost more than four shillings a volume, they confidently expected that their decision would sink the three-volume novel. [...]one must stress again that these catalogues, unlike some other catalogues, do not indicate the numbers of copies of a given title in stock.15 One can assume with considerable confidence, however, that there were more copies of M. E. Braddon, Mrs Henry Wood or Charlotte Yonge, than there would be of Amelia Edwards, Henry James or Sarah Tytler Unsurprisingly, the stocks of almost all the novelists listed here increased over the period - some slowly, as the author's death or waning popularity curbed them; some quickly, as their productivity and/or popularity grew.