Boston seen anew through historical paintings

The riveting story of the country's first banking scandal in the first decades of the American republic This enthralling historical narrative of the birth of speculative capitalism in America opens in the 1790s when financial pioneer-turned-confidence-man Andrew Dexter, Jr. created a pyramid scheme founded on real estate speculation and the greed of banks, who freely printed the paper money he needed to finance the then tallest building in the United States-the Exchange Coffee House, a 153-room, seven-story colossus in downtown Boston. The story of Dexter's rise and eventual collapse offered an object lesson to the rising young nation, and presents striking parallels to the subprime mortgage meltdown and looming economic collapse of today.

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.

The impulse in much nineteenth-century American painting and culture was to describe nature as a wilderness on which the young nation might freely inscribe its future: the United States as a virgin land, that is, unploughed, unfenced, and unpainted. Insofar as it exhibited evidence of a past, its traces pointed to a geologic or cosmic past, not a human one. The work of the New England artist Fitz H. Lane, however, was decidedly different. In this important study, Margaretta Markle Lovell singles out the more modestly scaled, explicitly inhabited landscapes of Fitz H. Lane and investigates the patrons who supported his career, with an eye to understanding how New Englanders thought about their land, their economy, their history, and their links with widely disparate global communities. Lane’s works depict nature as productive and allied in partnership with humans to create a sustainable, balanced political economy. What emerges from this close look at Lane’s New England is a picture not of a “virgin wilderness” but of a land deeply resonant with its former uses—and a human history that incorporates, rather than excludes, Native Americans as shapers of land and as agents in that history. Calling attention to unexplored dimensions of nineteenth-century painting, Painting the Inhabited Landscape is a major intervention in the scholarship on American art of the period, examining how that body of work commented on American culture and informs our understanding of canon formation.

“This book is not just about a man of science but also about a scientific culture in the making—warts and all.” —The New York Times Book Review Charismatic and controversial Swiss immigrant Louis Agassiz took America by storm in the early nineteenth century, becoming a defining force in American science. Yet today, many don’t know the complex story behind this revolutionary figure. At a young age, Agassiz—zoologist, glaciologist, and paleontologist—was invited to deliver a series of lectures in Boston, and he never left. An obsessive pioneer in field research, Agassiz enlisted the American public in a vast campaign to send him natural specimens, dead or alive, for his ingeniously conceived museum of comparative zoology. As an educator of enduring impact, he trained a generation of American scientists and science teachers, men and women alike—and entered into collaboration with his brilliant wife, Elizabeth, a science writer in her own right and first president of Radcliffe College. But there was a dark side to his reputation as well. Biographer Christoph Irmscher reveals unflinching evidence of Agassiz’s racist impulses and shows how avidly Americans at the time looked to men of science to mediate race policy. He also explores Agassiz’s stubborn resistance to evolution, his battles with a student—renowned naturalist Henry James Clark—and how he became a source of endless bemusement for Charles Darwin and esteemed botanist Asa Gray. “A wonderful . . . biography,” both inspiring and cautionary, it is for anyone interested in the history of American ideas (The Christian Science Monitor). “A model of what a talented and erudite literary scholar can do with a scientific subject.” —Los Angeles Review of Books

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