upton joel (15 Ergebnisse)

Zustand: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.

Zustand: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Fine. First Edition Assumed. Warmly inscribed by the author on the flyleaf. xv, 130 pp plus 91 plates in color and B & W. Inscribed by Author(s).

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: New.

Paperback. Zustand: Brand New. 472 pages. 7.01x1.18x8.98 inches. In Stock.

Zustand: New. 2025. paperback. . . . . . Books ship from the US and Ireland.

Paperback. Zustand: Brand New. 472 pages. 7.01x1.18x8.98 inches. In Stock.

Zustand: NEW.

Zustand: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In good all round condition. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,1100grams, ISBN:0271006722.

Taschenbuch. Zustand: Neu. Neuware - 'To call Upton's book 'original' or 'creative' is to understate the case. I regard his approach as extraordinary; [it's] unlike anything I have seen during my forty years of engagement with these issues.'--Parker Palmer, author of The Courage to Teach.

Karton Karton. Zustand: Sehr gut. First Published. 210 Seiten, mit Abbildungen, Zust: Gutes Exemplar. Mit original Schutzumschlag. Schneller Versand und persönlicher Service - jedes Buch händisch geprüft und beschrieben - aus unserem Familienbetrieb seit über 25 Jahren. Eine Rechnung mit ausgewiesener Mehrwertsteuer liegt jeder unserer Lieferungen bei. Wir versenden mit der deutschen Post. Sprache: Englisch Gewicht in Gramm: 1100.

University Park, 1990. XV,130 pp. 91 b./w. ills. Hardcover, d./j. - Dustjacket very sl. worn at spine-end.

Pennsylvania State University Press, 1990, 28 x 22 cm, publisher's cloth with d.w., 130 pp + 91 b/w and 4 col. ill.index, bibliography.

Thirty-two cdvs (27 by Whitney, 4 by James Martin, 2 by Benjamin Upton and 2 on unidentified mounts), plus three albumen photographs, one mounted on card stock measuring 5¼ x 4¼ inches, and two mounted on card stock measuring 6 x 4 inches. A striking and important group of Indian portraits taken by Joel Whitney in St. Paul, Minnesota, around the time of the Sioux Uprising of 1862. The Dakota War, or Sioux Uprising, was one of the last large scale attempts by Native Americans to expel white settlers from their territory. Denied rations and annuities promised by treaty in return for the forfeiture of the majority of their land, the Sioux decided that an armed revolt was the only option to save their people. Dakota warriors in Minnesota felt the time was ripe for victory, as more and more American men joined the Union during the Civil War, leaving Minnesota largely unprotected by the American military. U.S. Army regiments recalled from the battlefields of the Civil War defeated the Sioux at Wood Lake on September 23, 1862. In the weeks following, U.S. Army Colonel Henry Hastings Sibley arrested more than 2,000 Santee Sioux and instituted a military commission that found 303 guilty of capital crimes under legally circumspect proceedings. President Lincoln upheld the convictions of thirty-eight Sioux and ordered their execution by hanging at Mankato, Minnesota, on December 26, 1862, the largest mass execution in U.S. history. The present group of photographs includes portraits of five men who are identified as having participated in the massacre: Thaóyate Dúta (Little Crow), the Chief of the Santee Sioux who led his people into battle; PaHa Uza Tanka (The Great Scalp Taker), Te-He-Do-Ne-Cha (One Who Forbids His House), Marpiya Okinajin (Cut Nose) and Do-Wan-Sa (The Singer) all of whom were executed. Also pictured are Ta-Tanka-Nazin (Chief Standing Buffalo), who argued for peace, and "Old Bets," a Sioux squaw reputed to be 120 years old, who was kind to white captives in her village and is arguably one of the most identifiable and most photographed Sioux from this period. Other identified persons in the group include: Ma-Za-Oo-Nie (The Little Bird Hunter); Can-Ku Was-Te-Win (Good Road Woman) and Anpetu-Sapa-Win (Black Day Woman); Winnesheik and other Winnebago chiefs in the prison at Fort Snelling (who, although non-combatant, were forced into the camp at Fort Snelling with their people and ultimately exiled to the Dakotas). In addition to the portraits of the Santee Sioux, there are thirteen additional portraits of representatives from various bands of the Chippewa people. Joel Emmons Whitney (1822-86) was a pioneering Minnesota photographer and businessman. Whitney learned the art of daguerreotyping from Alexander Hesler, and opened a studio in St. Paul in 1851. He continuously updated his techniques, innovating and offering new products. By 1855, he was advertising paper photographs, which were touted as significantly cheaper than daguerreotypes. In 1860 he introduced the public to the carte-de-visite, which was an incredibly popular format throughout the decade. Whitney produced views of the area, portraits upon request, and - perhaps most notably - portraits and images of the local Native Americans. Whitney had been photographing Native Americans in the area and those who came through the town on their way to Washington for treaty talks. In the summer of 1862, however, the Sioux Uprising spurred new interest in Native American photographs and gave Whitney a unique opportunity for his enterprise. After the Sioux Uprising, Whitney became the principal portrait photographer of those captured and held at Ft. Snelling. Other photographers represented include James Martin and Benjamin Franklin Upton. Little is known about James E. Martin. He is first listed as a photographer in St. Paul's business directory in 1858. He issued cartes-de-visite and stereoscopic photographs, including subjects related to the 1862 Sioux Uprising. Martin's Gallery is listed at two or three different locations until 1870, at which time the business directory shows the gallery under different ownership. Martin remained active after the sale of his studio in partnership with B. F. Upton of St. Paul. Benjamin Franklin Upton (1818-1901) was born in Dixmont, Maine and began his photography career as a daguerreotypist. In 1856, he started working in St. Anthony, Minnesota, where he established a reputation as a photographer of the Sioux and Chippewa Indians. Upton did not make studio photographs; instead, he preferred to work in the out of doors, and develop his photographs out of a wagon-based studio. As Upton did not have the ability to publishing his photographs for a wider audience, there was a period during which Whitney published Upton's photographs on his own studio mounts. The photographs included in the present collection are as follows (captions are within quotes). References are to the Minnesota Historical Photo Collectors Group (MHPCG) catalog list of Whitney cartes-de-visite and to Riggs' numerical list of Sioux executed in Mankato, Minnesota on December 26, 1862. Three albumen photographs mounted on card stock are loose and not within the album; these portraits are untitled but and bear manuscript identification and are noted below: 1) "Winnesheik and Friends. Winnebagos." This photograph is an enlarged version of MHPCG 93. According to the Minnesota Historical Society, Winneshiek appears second from left with other Winnebago (Ho-Chunk) leaders likely at Fort Snelling in 1862 or 1863. Note: Following the Sioux Uprising, all Indian tribes from southwestern Minnesota, which included non-combatant Winnebago bands, were held captive in Fort Snelling and ultimately exiled from Minnesota. MHPCG 93. 2) "Te he si pa Sioux Dandy." Misidentification of MHPCG 19, "Te-Na-Se-Pa A Sioux Dandy." Also known as Do-wan-sa (The Singer). Do-wan-sa was executed in Mankato, MN onDecember 26, 1862 with thirty-seven other Sioux fo.