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When So-Called Dollars was published it was the first, and it is still the only book to deal comprehensively with its subject matter. The book begins with the legendary Erie Canal Completion issues of 1826 and proceeds to catalog 135 years of the Golden Age of American history, all the way up to 1961. Although there have been many propositions for reviving the book over the years, none were more than theoretical musings until two collectors, Tom Hoffman of Crystal Lake, IL and Jonathan Brecher of Cambridge, MA set the process in motion. They have been joined by two others, Dave Hayes and John Dean, to produce a remarkable new edition, of the sort that can only be the product of dedicated hobbyists who love their subject and see it as their obligation to share with others the knowledge gained from years of collecting. While the second edition holds true to the original in basic style and in substance, prices have skyrocketed and it offers much that is new. There are many more illustrations than in the first edition. In fact, virtually every type is now represented by a photograph. More historical information for the issues is presented in the text, which has been further expanded with additional listings of both previously unknown metal varieties and totally new items. The size of each item is now given in mm rather than in 16ths of an inch as in the 1963 edition. Each issue has been assigned a rarity rating of from R-1, indicating more than 5,000 known, to R-10, meaning unique. In addition, a loose-leaf price guide included in each book at no additional charge. The index has been expanded to include references to more subjects and places. Finally, there is a section of color plates. The Hibler & Kappen book remains the standard reference work on the subject with its HK numbers an instantly recognizable means of cataloging and identification.
In hundreds of full-colour stamps from many lands, this book depicts a small people who continue to leave their imprint on every area of human activity, from faith and morality to sports and motion pictures. Areas covered include Jewish customs and traditions, major contributions in all areas of culture and science, sports, entertainment, and much more. The stamps are arranged artistically and are catalogued, making the book a visual joy for all readers and a sourcebook for collectors.
Beginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USSR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. He discusses how hybrid forms of subjectivity are delivered by a new critical narcissism, and how the Korean-American artist, Cody Choi converts diffident gestures of appropriation from the logic of material or stylistic annexation into continuous incorporated events. Art After Appropriation also examines the creation of public art from covert actions and social feedback, and how bodies participate in their own appropriation. Art After Appropriation concludes with the advent of the rainbow net, an imaginary icon that governs the spaces of interactivity, proliferation and media piracy at the end of the millennium. John Welchman is Professor of Modern Art History, Theory and Criticism at the University of California, San Diego. He is the author of Modernism Relocated (1995) and Invisible Colors (1997); and editor of Rethinking Borders (1996), and a forthcoming three-volume anthology of the writings of LA artist MIke Kelley. Welchman has contributed to numerous journals, magazines, museum catalogues and newspapers, including Artforum; New York Times; Los Angeles Times; International Herald Tribune; Los Angeles County Museum of Art; Tate Gallery; Museum of Contemporary Art, Los Angeles; Reina Sofia, Madrid; Haus der Kunst, Munich
Over the past 150 years, many of the consumer goods sold and used across the country were either manufactured in Kansas City, Kansas, or passed through this industrial center. From the westbound trails of pioneer times until today, Kansas has been the crossroads of the nation, and the city has benefitted from its geographic centrality in the country. Household names with ties to the city include Google; Cerner Corporation; Procter & Gamble; General Motors; Colgate-Palmolive; the Santa Fe, Rock Island & Union Pacific Railroad lines; Phillips Petroleum; Armour and Company; Owens Corning; Massey Ferguson; General Electric; Sunshine Biscuits; Lee (apparel); Sealy (mattresses); and United Telecom (which morphed into Sprint Nextel). Images of America: Kansas City, Kansas aims to present some of that historic past, much of which has long been demolished, so that modern readers may see the complete, "full service" city as it evolved between 1804 and 2012.
Peekskill portrays the history of a small Dutch-style village that grew into a prosperous factory city, with scenic vistas that have always been a particular delight for photographers. Using many of the resulting photographs, Peekskill displays this delightful place, nestled into three surrounding hills where the Hudson River spreads into Peekskill Bay, approaching the Bear Mountain highlands. Peekskill also presents the prominent people of this community, who include Joseph Binney, owner of the company that later became the maker of Crayola products; Chauncey Depew, keynote speaker at the 1886 dedication of the Statue of Liberty; and George Pataki, governor of New York State.