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Many people in the past – perhaps a majority – were poor. Tracing our ancestors amongst them involves consulting a wide range of sources. Stuart Raymond’s handbook is the ideal guide to them. He examines the history of the poor and how they survived. Some were supported by charity. A few were lucky enough to live in an almshouse. Many had to depend on whatever the poor law overseers gave them. Others were forced into the Union workhouse. Some turned to a life of crime. Vagrants were whipped and poor children were apprenticed by the overseers or by a charity. Paupers living in the wrong place were forcibly ‘removed’ to their parish of settlement. Many parishes and charities offered them the chance to emigrate to North America or Australia. As a result there are many places where information can be found about the poor. Stuart Raymond describes them all: the records of charities, of the poor law overseers, of poor law unions, of Quarter Sessions, of bankruptcy, and of friendly societies. He suggests many other potential sources of information in record offices, libraries, and on the internet.
An easy-to-use guide for British family historians tracing ancestry connected with the insolvency system. Debtors’ prisons are infamous, but very little has been written about the records of those confined within them in London or elsewhere in the country. Even less has been written about the trials of those who were often incarcerated following misfortune or mismanagement rather than criminal intent. That is why Paul Blake’s handbook is so useful for researchers who want to learn about forebears who may have been caught up in the insolvency system. In a series of information-filled chapters, Blake covers the historical background to the handling of debt and debtors, and bankruptcy and bankrupts. In addition, he describes the courts and procedures faced by both creditors and debtors, and the prisons where so many debtors were confined. Throughout the book, details are given of the records that researchers can turn to in order to explore the subject for themselves. Many are held at The National Archives, but others are to be found at local record offices around the country. Paul Blake’s book will be appreciated by local, social and family historians, as well as those with an interest in debtor crime and punishment, and bankrupts in general.
In the predawn hours of March 7, 1868, four prisoners aided by a guard escaped from Fort Jefferson in the Dry Tortugas and headed a small, open fishing boat into a violent storm in the Gulf of Mexico. The men were never seen again. One of them, Colonel George St. Leger Grenfell, was a British soldier of fortune who had come to America in 1862 and earned himself a unique place in the Confederate Valhalla. In this biography Stephen Z. Starr recounts the fascinating story of this romantic and neglected character. Grenfell was a talented cavalry officer who served with John H. Morgan, Braxton Bragg, and J. E. B. Stuart. Yet his congenital restlessness hampered his effectiveness. In one of his most fantastic adventures, Grenfell plotted to help northern Copperheads take over the governments of Ohio, Indiana, and Illinois and establish a Northwestern Confederacy. When the plan—the “Chicago Conspiracy” as it became known—to attack Camp Douglas, free Confederate prisoners, and capture Chicago was discovered, Grenfell, along with 150 cohorts, was arrested. He and six of the principal collaborators were convicted and sentenced to life imprisonment. Grenfell and three fellow prisoners planned the escape that apparently ended in tragedy, although rumors that the legendary soldier of fortune was still alive persisted for many years.
Though his father had faced bankruptcy, James Clarke Hook (1819–1907) nevertheless managed to paint himself into country-gentlemanhood, becoming famous for his landscapes of British coastal scenes and his ability to evoke not just the sights but also the sounds and even the smell of the sea. James Clarke Hook, Juliet McMaster’s lively biography of the brilliant but underappreciated Victorian painter, brings the reader through Hook’s rigorous training at the Royal Academy Schools, his travelling studentship in Florence and Venice, and his work as a historical painter, to the discovery of his métier as a painter of contemporary rural and coastal scenes. Part of the secret of Hook’s success was his resolution to paint the final large canvas of his seascapes onsite, braving wind and weather – for which he invented an easel that was adaptable to uneven terrain. McMaster’s research led her to retrace the painter’s footsteps to the rocky headlands and sheltered bays where, over a hundred years ago, Hook had set up his easel to capture the tang of sea. McMaster connects Hook, an academician for half a century, with the major figures and movements of Victorian art – including the Pre-Raphaelites John Everett Millais and Holman Hunt, the etcher Samuel Palmer, and the painter and sculptor G.F. Watts. James Clarke Hook worked alongside the fishermen and rural families who populate and enliven his canvases; this book reinvigorates our understanding of his artistic process and unique sense of place.
Tracing the cultural, material, and discursive history of an early manifestation of media culture in the making. Beginning in the late eighteenth century, huge circular panoramas presented their audiences with resplendent representations that ranged from historic battles to exotic locations. Such panoramas were immersive but static. There were other panoramas that moved—hundreds, and probably thousands of them. Their history has been largely forgotten. In Illusions in Motion, Erkki Huhtamo excavates this neglected early manifestation of media culture in the making. The moving panorama was a long painting that unscrolled behind a “window” by means of a mechanical cranking system, accompanied by a lecture, music, and sometimes sound and light effects. Showmen exhibited such panoramas in venues that ranged from opera houses to church halls, creating a market for mediated realities in both city and country. In the first history of this phenomenon, Huhtamo analyzes the moving panorama in all its complexity, investigating its relationship to other media and its role in the culture of its time. In his telling, the panorama becomes a window for observing media in operation. Huhtamo explores such topics as cultural forms that anticipated the moving panorama; theatrical panoramas; the diorama; the "panoramania" of the 1850s and the career of Albert Smith, the most successful showman of that era; competition with magic lantern shows; the final flowering of the panorama in the late nineteenth century; and the panorama's afterlife as a topos, traced through its evocation in literature, journalism, science, philosophy, and propaganda.