The third edition of The Dictionary of Sea Painters further enhances its stature as the pre-eminent reference guide in its field. Marine painting, as befits the historical importance of its subject, has a rich and varied heritage. The range stretches from the heroics of great artists such as Turner to the humble yet finely detailed harbour paintings intended for master mariners. The range of work between these two extremes is widely collected and admired, and the dictionary satisfies an ever-growing demand for authoritative information from collectors, dealers and auction houses. Other sections of the book offer a wealth of further information. There are detailed drawings of the stems and sterns of important ships, and maritime flags are illustrated in colour - an asset for the purposes of dating and identification.

Sailing across time and geography, the imaginary and the real, The Sea chronicles the many physical and cultural meanings of the watery abyss. This book explores the sea and its meanings from ancient myths to contemporary geopolitics, from Atlantis to the Mediterranean migrant crisis. Richard Hamblyn traces a cultural and geographical journey from estuary to abyss, beginning with the topographies of the shoreline and ending with the likely futures of our maritime environments. Along the way he considers the sea as a site of work and endurance; of story and song; of language, leisure, and longing. By meditating on the sea as both a physical and a cultural presence, the book shines new light on the sea and its indelible place in the human imagination.

Ship portraits include paintings, prints, and photographs. A ship portrait is often more than just an image of a vessel. This book focuses primarily on paintings and prints, discussing the content of a portrait and how to interpret the information in it. For the new collector and current collector alike, students, ship modelers, and curators this book includes tools to help you navigate sources, auctions, research, flags, funnel marks, signatures, attributions, dates, condition, details, and restoration of ship portraits.

In December 1846, the Keying, a Chinese junk purchased by British investors, set sail from Hong Kong for London. Named after the Chinese Imperial Commissioner who had signed away Hong Kong to the British, manned by a Chinese and European crew, and carrying a travelling exhibition of Chinese items, theKeying had a troubled voyage. After quarrels on the way and a diversion to New York, culminating in a legal dispute over arrears of wages for Chinese members of the crew, it finally reached London in 1848, where it went on exhibition on the River Thames until 1853. It was then auctioned off, towed to Liverpool, and finally broken up. In this account of the ship, the crew and the voyage, Stephen Davies tells a story of missed opportunities, with an erratic course, overambitious aims, and achievements born of lucky breaks—a microcosm, in fact, of early Hong Kong and of the relations between China and the West.

Steamship Nationalism is a cultural, social, and political history of the S.S. Imperator, Vaterland, and Bismarck. Transatlantic passenger steamships launched by the Hamburg-Amerikanische Packetfahrt-Aktien-Gesellschaft (HAPAG) between 1912 and 1914, they do not enjoy the international fame of their British counterparts, most notably the Titanic. Yet the Imperator-class liners were the largest, most luxurious passenger vessels built before the First World War. In keeping with the often-overlooked history of its merchant marine as a whole, they reveal much about Imperial Germany in its national and international dimensions. As products of business decisions shaped by global dynamics and the imperatives of international travel, immigration, and trade, HAPAG’s giant liners bear witness to Germany’s involvement in the processes of globalization prior to 1914. Yet this book focuses not on their physical, but on their cultural construction in a variety of contemporaneous media, including the press and advertising, on both sides of the Atlantic. At home, they were presented to the public as symbolic of the nation’s achievements and ambitions in ways that emphasize the complex nature of German national identity at the time. Abroad, they were often construed as floating national monuments and, as such, facilitated important encounters with Germany, both virtual and real, for the populations of Britain and America. Their overseas reception highlights the multi-faceted image of the European superpower that was constructed in the Anglo-American world in these years. More generally, it is a pointed indicator of the complex relationship between Britain, the United States, and Imperial Germany.

First English-language edition of Emmanuel Bénézit's Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs, based on the 14-volume French edition published in 1999. It has been revised, adapted and updated.--Preface.