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This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Brothers William Donnell Crooker and Charles Crooker were among the most prominent mid-nineteenth-century shipbuilders in Bath, Maine, itself one of the most prominent shipbuilding cities in the world during that time. This colorful history of the Crookers' company by the great-great grandson of William Donnell provides a thorough overview of a family, its contributions to shipbuilding, and the historic sweep of shipbuilding in the area, as well as a fascinating glimpse into everyday life in Maine during this time. Today, a small portion of Maine's twenty-first-century shipbuilder, Bath Iron Works, occupies land that was once the Crooker yard.

Captain James Madison Hood was the real U.S. Consul in the novel Anna and the King of Siam, but before his arrival in Bangkok, he was also a merchant ship captain, builder of clipper ships, legislator in both Massachusetts and Illinois, industrialist, and land speculator. He was present at the birth of the Republican Party. As U.S. Consul, he presided over the trial of Dr. Dan Beach Bradley for libel of the French Consul, Gabriel Aubaret, a case which influenced the course of Southeast Asian history and got Anna Leonowens in trouble with King Mongkut. Captain Hood lived large and was not above a little extralegal maneuvering to support his lifestyle. His life is a tour through the politics, economics and deal making of the mid-19th century.

“A fascinating, fast-paced history…full of remarkable characters and incredible stories” about the nineteenth-century American dynasties who battled for dominance of the tea and opium trades (Nathaniel Philbrick, National Book Award–winning author of In the Heart of the Sea). There was a time, back when the United States was young and the robber barons were just starting to come into their own, when fortunes were made and lost importing luxury goods from China. It was a secretive, glamorous, often brutal business—one where teas and silks and porcelain were purchased with profits from the opium trade. But the journey by sea to New York from Canton could take six agonizing months, and so the most pressing technological challenge of the day became ensuring one’s goods arrived first to market, so they might fetch the highest price. “With the verse of a natural dramatist” (The Christian Science Monitor), Steven Ujifusa tells the story of a handful of cutthroat competitors who raced to build the fastest, finest, most profitable clipper ships to carry their precious cargo to American shores. They were visionary, eccentric shipbuilders, debonair captains, and socially ambitious merchants with names like Forbes and Delano—men whose business interests took them from the cloistered confines of China’s expatriate communities to the sin city decadence of Gold Rush-era San Francisco, and from the teeming hubbub of East Boston’s shipyards and to the lavish sitting rooms of New York’s Hudson Valley estates. Elegantly written and meticulously researched, Barons of the Sea is a riveting tale of innovation and ingenuity that “takes the reader on a rare and intoxicating journey back in time” (Candice Millard, bestselling author of Hero of the Empire), drawing back the curtain on the making of some of the nation’s greatest fortunes, and the rise and fall of an all-American industry as sordid as it was genteel.

A rich exploration of American artworks that reframes them within current debates on race, gender, the environment, and more Object Lessons in American Art explores a diverse gathering of Euro-American, Native American, and African American art from a range of contemporary perspectives, illustrating how innovative analysis of historical art can inform, enhance, and afford new relevance to artifacts of the American past. The book is grounded in the understanding that the meanings of objects change over time, in different contexts, and as a consequence of the ways in which they are considered. Inspired by the concept of the object lesson, the study of a material thing or group of things in juxtaposition to convey embodied and underlying ideas, Object Lessons in American Art examines a broad range of art from Princeton University’s venerable collections as well as contemporary works that imaginatively appropriate and reframe their subjects and style, situating them within current social, cultural, and artistic debates on race, gender, the environment, and more. Distributed for the Princeton University Art Museum