wisconsin

Hardcover. Madison, University of Wisconsin Press, 1st, 1938, Book: Very Good, Dust Jacket: None, Hardcover, blue cloth covers with gilt lettering, 186 pages. The title of this book refers to the meetings in London taverns and private houses, beginning about 1650, of English scientists and men of means and philosophical interests. At these meetings a great deal was eaten and drunk, discussion and even experimentation took place. It was from this nucleus that the Royal Society was formed in 1662. After that an inner circle still dined before the meetings of the Society and in 1725 formed a dining club. Dean Slichter, in the first two essays of this volume sketches the parallel early histories of the Royal Society and of the Club, stressing the importance for science of the patronage of the men of wealth and social position who belonged to these organizations. Name on front fly leaf, otherwise clean.

Softcover. Madison WI, University of Wisconsin, reprint., 2005, Book: Very Good, Dust Jacket: None, Softcover in pictorial wraps, 244 pages. The Blind African Slave recounts the life of Jeffrey Brace (ne Boyrereau Brinch), who was born in West Africa around 1742. Captured by slave traders at the age of sixteen, Brace was transported to Barbados, where he experienced the shock and trauma of slave-breaking and was sold to a New England ship captain. After fighting as an enslaved sailor for two years in the Seven Years War, Brace was taken to New Haven, Connecticut, and sold into slavery. After several years in New England, Brace enlisted in the Continental Army in hopes of winning his manumission. After five years of military service, he was honorably discharged and was freed from slavery. As a free man, he chose in 1784 to move to Vermont, the first state to make slavery illegal. There, he met and married an African woman, bought a farm, and raised a family. Although literate, he was blind when he decided to publish his life story, which he narrated to a white antislavery lawyer, Benjamin Prentiss, who published it in 1810. Upon his death in 1827, Brace was a well-respected abolitionist. In this first new edition since 1810, Kari J. Winter provides a historical introduction, annotations, and original documents that verify and supplement our knowledge of Brace's life and times. Clean copy.

Hardcover. Chicago, University Of Chicago Press, 1st, 2007, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 182 pages. The Reverend Howard Finster was twenty feet tall, suspended in darkness. Or so he appeared in the documentary film that introduced a teenaged Greg Bottoms to the renowned outsider artist whose death would help inspire him, fourteen years later, to travel the country. Beginning in Georgia with a trip to Finster's famous Paradise Gardens, his journey--of which The Colorful Apocalypse is a masterly chronicle--is an unparalleled look into the lives and visionary works of some of Finster's contemporaries: the self-taught evangelical artists whose beliefs and oeuvres occupy the gray area between madness and Christian ecstasy. With his prodigious gift for conversation and quietly observant storytelling, Bottoms draws us into the worlds of such figures as William Thomas Thompson, a handicapped ex-millionaire who painted a 300-foot version of the book of Revelation; Norbert Kox, an ex-member of the Outlaws biker gang who now lives as a recluse in rural Wisconsin and paints apocalyptic visual parables; and Myrtice West, who began painting to express the revelatory visions she had after her daughter was brutally murdered. These artists' works are as wildly varied as their life stories, but without sensationalizing or patronizing them, Bottoms--one of today's finest young writers--gets at the heart of what they have in common: the struggle to make sense, through art, of their difficult personal histories. Clean copy.

Softcover. Madison WI, University of Wisconsin Press, 2nd pr., 1992, Book: Very Good, Dust Jacket: None, Softcover, 440 pages, b&w illustrations. George Stocking has been widely recognized as the premier historian of anthropology ever since the publication of his first volume of essays, Race, Culture, and Evolution, in 1968. As editor of several publications, including the highly acclaimed History of Anthropology series, he has led the movement to establish the history of anthropology as a recognized research specialization. In addition to the study Victorian Anthropology, his work includes numerous essays covering a wide range of anthropological topics. The eight essays collected in The Ethnographer's Magic consider the emergence of anthropology since the late nineteenth century as an academic discipline grounded in systematic fieldwork. Clean copy.

Hardcover. Madison WI, University of Wisconsin Press, reprint, 1989, Book: Very Good, Dust Jacket: None, Hardcover, brown cloth with white lettering on spine. 276 pages. Between 1868 and 1897 Henry James wrote a number of short essays and reviews of artists and art collections; these essays were published in magazines such as "Atlantic Monthly" and "Harper's Weekly" and in newspapers such as the "New York Tribune". They included James' comments on Ruskin, Turner, Whistler, Sargent, and the Impressionists, among many others. Thirty of these essays were collected and first published in a modern edition in 1956, accompanied by John Sweeney's introduction which sketched James' interests in the visual arts over a period of years, focusing on the ways in which painting and painters entered his work as subjects. Susan Griffin's new foreword places James' observations in a contemporary context. Some of the novelist's judgements will seem wrong to today's readers: he was very critical of the Impressionists, for example, but all of these essays bear the stamp of James' critical intelligence, and they tell us a great deal about his development as a writer during those years. Bight, clean copy.

Hardcover. Wisconsin, Stanton & Lee Publishers, Inc., 1st, 1983, Book: Very Good, Dust Jacket: Good, Hardcover, 240 pages. SIGNED BY OWEN GROMME. Color and b/w illustrations throughout. "SIGNED" sticker on front cover. Dust cover shows wear: some chipping on spine and edges, small tears along edges, light fading. Boards in great shape, only very light fading along bottom edges. From the dust jacket front flap: "...presents the life and art of a man who through eight decades of accomplishment as a naturalist and artist has provided us with a link between the 19th and 21st centuries."

Softcover. Madison WI, University of Wisconsin Press, reprint, 1972, Book: Very Good, Dust Jacket: None, Softcover, 469 pages."One of the first histories to treat non-whites as active self conscious protagonists in twentieth-century South African affairs rather than as a dark acquiescent host before which the really important story of white South Africa unfolds. The new edition has been corrected and eight new chapters extend the coverage to the end of 1963. It is an important addition to the literature about South Africa."--The Historian. C;ean copy.

Softcover. Madison WI, University of Wisconsin Press, reprint, 1977, Book: Very Good, Dust Jacket: None, Softcover, 295 pages. Wisconsin Chippewa Myths & Tales, originally published in 1977, was the first collection of Chippewa folklore to provide a comparative and sociological context for the tales. These myths and tales were recorded between 1941 and 1944 by four young field workers who later became prominent anthropologists: Joseph B. Casagrande, Ernestine Friedl, Robert E. Ritzenthaler, and Victor Barnouw himself. The tales--which include stories of tricksters, animals, magical powers, and cannibal ice-giants--were told primarily by five members of the Lac Court Oreilles and Lac du Flambeau bands of Chippewa: John Mink, Prosper Guibord, Delia Oshogay, Tom Badger, and Julia Badger. Wisconsin Chippewa Myths & Tales is read as much for its fascinating stories as for its scholarship.