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Named One of the Best Nonfiction Books of 2022 by the Los Angeles Times A premier historian penetrates the fog of corruption and cover-up still surrounding the murder of a Stanford University founder to establish who did it, how, and why. In 1885 Jane and Leland Stanford cofounded a university to honor their recently deceased young son. After her husband’s death in 1893, Jane Stanford, a devoted spiritualist who expected the university to inculcate her values, steered Stanford into eccentricity and public controversy for more than a decade. In 1905 she was murdered in Hawaii, a victim, according to the Honolulu coroner’s jury, of strychnine poisoning. With her vast fortune the university’s lifeline, the Stanford president and his allies quickly sought to foreclose challenges to her bequests by constructing a story of death by natural causes. The cover-up gained traction in the murky labyrinths of power, wealth, and corruption of Gilded Age San Francisco. The murderer walked. Deftly sifting the scattered evidence and conflicting stories of suspects and witnesses, Richard White gives us the first full account of Jane Stanford’s murder and its cover-up. Against a backdrop of the city’s machine politics, rogue policing, tong wars, and heated newspaper rivalries, White’s search for the murderer draws us into Jane Stanford’s imperious household and the academic enmities of the university. Although Stanford officials claimed that no one could have wanted to murder Jane, we meet several people who had the motives and the opportunity to do so. One of these, we discover, also had the means.
Contains the reports of state departments and officials for the preceding fiscal biennium.
Restoring a gifted art photographer to his place in the American canon and, in the process, reshaping and expanding our understanding of early 20th-century American photography Clarence H. White (1871–1925) was one of the most influential art photographers and teachers of the early 20th century and a founding member of the Photo-Secession. This beautiful publication offers a new appraisal of White’s contributions, including his groundbreaking aesthetic experiments, his commitment to the ideals of American socialism, and his embrace of the expanding fields of photographic book and fashion illustration, celebrity portraiture, and advertising. Based on extensive archival research, the book challenges the idea of an abrupt rupture between prewar, soft-focus idealizing photography and postwar “modernism” to paint a more nuanced picture of American culture in the Progressive era. Clarence H. White and His World begins with the artist’s early work in Ohio, which shares with the nascent Arts and Crafts movement the advocacy of hand production, closeness to nature, and the simple life. White’s involvement with the Photo-Secession and his move to New York in 1906 mark a shift in his production, as it grew to encompass commercial portraiture and an increasing commitment to teaching, which ultimately led him to establish the first institutions in America to combine instruction in both technical and aesthetic aspects of photography. The book also incorporates new formal and scientific analysis of White’s work and techniques, a complete exhibition record, and many unpublished illustrations of the moody outdoor scenes and quiet images of domestic life for which he was revered.