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This book sets a new standard as a work of reference. It covers British and Irish art in public collections from the beginning of the sixteenth century to the end of the nineteenth, and it encompasses nearly 9,000 painters and 90,000 paintings in more than 1,700 separate collections. The book includes as well pictures that are now lost, some as a consequence of the Second World War and others because of de-accessioning, mostly from 1950 to about 1975 when Victorian art was out of fashion. By listing many tens of thousands of previously unpublished works, including around 13,000 which do not yet have any form of attribution, this book becomes a unique and indispensable work of reference, one that will transform the study of British and Irish painting.
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In this first-of-its-kind treatment, Heinz Tschachler offers an account of Edgar Allan Poe's relation to the world of banking and money in antebellum America. He contends that Poe gave the full force of his censure to the acrimonious debates about America's money, Andrew Jackson's bank war, the panic of 1837 and the ensuing depression, and the nation's inability to furnish a "sound and uniform currency." Poe's attitude is overt in his early satires, more subdued in "The Gold-Bug," and almost an undercurrent in writings that enter into and historicize the discovery of gold in California. In Poe's writings much is concealed, though his art also reveals while it conceals, in this instance, a de...
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