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Fuller Genealogy
Digitized by the Internet Archive in 2008 with funding from IVIicrosoft Corporation http://www.archive.org/details/fullergenealogy04full aP\/ C. TKfi NEW YORK PUBLIC LIBRARY ASTOR, LENOX )i SOMK Fri.T.F.R (".EXKA l.( ; I S IS r.i i, XKWTox i-Ti.i.i-.i.; i:i.i/..\iii-. 1 II \i;i.uriM.\i WII.I.IA.M HVSI.or iri.l.KK IKSSK KR.WKI.IN l-ri.l.l'.K GENEALOGY OF SOME DESCENDANTS OF THOMAS FULLER OF WOBURN COMPILED BY WILLIAM HYSLOP FULLER OF PALMER. MASS. TO WHICH IS ADDED SUPPLEMENTS TO VOLUMES I. II, III PREVIOUSLY COMPILED AND PUBLISHED PRINTED FOR THE COMPILER 1919 THE NEW YORK tiljD£n foundations' FULLER GENEALOGIES COMPILED AND FOR SALE BY WILLIAM H. FULLER 23 School Street, Palmer, Mass. VOLUME I. Some Descendants of Edward Fuller of the Mayflower. I volume 8 vo., cloth, 25 illustrations, 306 pp. Now only sold as part of the set of 4 volumes. Price, $20.00 for the Set. postpaid. VOLUME IL Some Descendants of Dr. Samuel Fuller of the Mayflower. 1 volume 8 vo., cloth, 31 illustrations, 263 pp. Price, postpaid, $5.00. VOLUME III. Some Descendants of Captain Matthew Fuller, also of John Fuller of Newton, John Fuller of Lynn, John Fuller of Ipswich, and Robert Fuller of Dorchester and Dedham, with supplements to Volumes I and II. 8 vo., cloth, 14 illustrations, 325 pp. Price $5.00, postpaid. VOLUME IV. /Some Descendants of Thomas Fuller of Woburn, with Supplements to the previous volumes. Price $6.00, postpaid. PREFACE In compiling the "Genealogy of Some Descendants of Thomas Fuller of Woburn," I have been greatly assisted by the work of the late Elizabeth Abercrombie, whose volume is an authority on the genealogy of the descendants of Joseph^ Fuller, No. -
Durham E-Theses
Durham E-Theses Spectacular drama in urban entertainment: the dramatisation of community in popular culture Chaney, David Christopher How to cite: Chaney, David Christopher (1985) Spectacular drama in urban entertainment: the dramatisation of community in popular culture, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/10497/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Spectacular Drama in Urban Entertainment; the dramatisation of community in popular culture David Christopher Chaney ABSTRACT This is a study of some of the many types of entertainment that have been called spectacular, of the cultural significance of certain conventions in ways of transforming space and identity. Forms of spectacular drama both require and celebrate urban social relations, they constitute essential parts of the popular cultural landscape. They display an idealisation of ways of picturing collective experience. -
Ceramics Monthly Mar05 Cei03
www.ceramicsmonthly.org Editorial [email protected] telephone: (614) 895-4213 fax: (614) 891-8960 editor Sherman Hall assistant editor Ren£e Fairchild assistant editor Jennifer Poellot publisher Rich Guerrein Advertising/Classifieds [email protected] (614) 794-5809 fax: (614) 891-8960 [email protected] (614) 794-5866 advertising manager Steve Hecker advertising services Debbie Plummer Subscriptions/Circulation customer service: (614) 794-5890 [email protected] marketing manager Susan Enderle Design/Production design Paula John graphics David Houghton Editorial, advertising and circulation offices 735 Ceramic Place Westerville, Ohio 43081 USA Editorial Advisory Board Linda Arbuckle Dick Lehman Don Pilcher Bernie Pucker Tom Turner Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The Ameri can Ceramic Society. subscription rates: One year $32, two years $60, three years $86. Add $25 per year for subscriptions outside North America. In Canada, add 7% GST (registration number R123994618). back issues: When available, back issues are $6 each, plus $3 shipping/ handling; $8 for expedited shipping (UPS 2-day air); and $6 for shipping outside North America. Allow 4-6 weeks for delivery. change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation De partment, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available online at www.ceramicsmonthly.org. -
CYMBELINE" in the Fllii^Slhi TI CENTURY
"CYMBELINE" IN THE fllii^SLHi TI CENTURY Bennett Jackson Submitted in partial fulfilment for the de ree of uaster of Arts in the University of Birmingham. October 1971. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. SYNOPSIS This thesis consists of an Introduction, followed by Part I (chapters 1-2) in which nineteenth- century criticism of the play is discussed, particular attention being paid to Helen Faucit's essay on Imogen, and its relationship to her playing of the role. In Part II the stags-history of Oymbcline in London is traced from 1785 to Irving's Lyceum production of 1896. Directions from promptbooks used by G-.P. Cooke, W.C. Macready, Helen Eaucit, and Samuel ±helps are transcribed and discussed, and in the last chapter the influence of Bernard Shaw on Ellen Terry's Imogen is considered in the light of their correspondence and the actress's rehearsal copies of the play. There are three appendices: a list of performances; transcriptions of two newspaper reviews (from 1843 and 1864) and one private diary (Gordon Crosse's notes on the Lyceum Gymbeline); and discussion of one of the promptbooks prepared for Charles Kean's projected production. -
"Theater and Empire: a History of Assumptions in the English-Speaking Atlantic World, 1700-1860"
"THEATER AND EMPIRE: A HISTORY OF ASSUMPTIONS IN THE ENGLISH-SPEAKING ATLANTIC WORLD, 1700-1860" BY ©2008 Douglas S. Harvey Submitted to the graduate degree program in History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ____________________________________ Chairperson Committee Members* ___________________________________* ___________________________________* ___________________________________* ___________________________________* Date Defended: April 7, 2008 The Dissertation Committee for Douglas S. Harvey certifies that this is the approved version of the following dissertation: "THEATER AND EMPIRE: A HISTORY OF ASSUMPTIONS IN THE ENGLISH-SPEAKING ATLANTIC WORLD, 1700-1860" Committee ____________________________________ Chairperson ___________________________________* ___________________________________* ___________________________________* ___________________________________* Date Approved: April 7, 2008 ii Abstract It was no coincidence that commercial theater, a market society, the British middle class, and the “first” British Empire arose more or less simultaneously. In the seventeenth century, the new market economic paradigm became increasingly dominant, replacing the old feudal economy. Theater functioned to “explain” this arrangement to the general populace and gradually it became part of what I call a “culture of empire” – a culture built up around the search for resources and markets that characterized imperial expansion. It also rationalized the depredations the Empire brought to those whose resources and labor were coveted by expansionists. This process intensified with the independence of the thirteen North American colonies, and theater began representing Native Americans and African American populations in ways that rationalized the dominant society’s behavior toward them. By utilizing an interdisciplinary approach, this research attempts to advance a more nuanced and realistic narrative of empire in the early modern and early republic periods. -
Hippodrama, Or ‘Old’ Circus?: Legacy and Innovation in Contemporary Equestrian Performance
21 Kim Baston La Trobe University, Australia ‘New’ hippodrama, or ‘old’ circus?: legacy and innovation in contemporary equestrian performance The hippodrama existed as a popular spectacle during the nineteenth century, an entertainment marrying the equestrian acts that were staples of the early modern circus with a grander narrative purpose. As such it was denigrated by the guardians of ‘legitimate drama,’ such as Leigh Hunt, as an example of the triumph of the taste of the masses over the claims of the intellect. Within circus, equestrian performances waned in importance during the twentieth century, ceding prominence to wild animal and spectacular aerial acts. While animal performance within circus has also declined, there has been a recent resurgence of equestrian companies. In the contemporary equestrian spectacle the relationship of horse with human is radically re-defined, based on an ‘equal’ or ‘reciprocal’ sharing of the theatrical space, emphasising non-human animal agency and de-emphasising suggestions of coercion. Yet these spectacles retain strong traces of the traditional divisions of equestrian acts within the circus, from the formal movements of Haute École to ‘liberty’ acts. This article investigates the shifting narratives surrounding - the contemporary equestrian spectacle. Kim Baston is Senior Lecturer in Theatre and Drama at La Trobe University and she also lectures on circus history and culture at the National Institute of Circus Arts (NICA) in Melbourne, Australia. Keywords: hippodrama, equestrian acts, Cavalia, -
A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from themicrofilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Bell & Howell Information Company 300North Zeeb Road. Ann Arbor. Ml 48106-1346USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. “I HATE PRETTY WORK”: MADELINE YALE WYNNE AND THE AMERICAN CRAFT REVIVAL by Jessica H. -
IMAGES of SLAVERY: George Fuller's Depictions of the Antebellum South Sarahbums
IMAGES OF SLAVERY: George Fuller's Depictions of the Antebellum South SarahBums Fig. 1. George Fuller. NEGROSWAITING AT THE DEPOT. Late December, 1857. Pencil on paper. This drawing and all others in this article, which are being illustratedhere for thefirst time, are from a sketchbookmeasuring 512 by 103/4"inches, in a private collection. T HREETIMES IN THE I850s, George Fuller (1822- Fuller was no stranger to the life of the itinerant 1884)visited the Deep South, in each case remaining portrait artist. During the 1840s this native of Deerfield, there for several months. His primary motive was to Massachusetts, was almost constantly on the move, seek fresh opportunities for portrait commissions in painting faces in various parts of New England and areas where the competition might reasonably be sup- western New York State. It was simply necessary posed less fierce than in New York, Fuller's adopted business, for the most part routine and often dull. The city during the decade.' Southern states, however, opened up surprising new avenues of experience to the Yankee painter. He re- SARAH BURNS, Assistant Professorin the School of Fine corded those in memoranda, in letters to Arts at Indiana University, has written several articles experiences on nineteenth-centurypainting, including "A Study of family and friends in the North, and in a fascinating the Life and Poetic Vision of George Fuller (1822- sketchbook containing his impressions of slave life. 1884)" published in the Autumn, 1981, issue of the Fuller used this sketchbook in Montgomery, Ala- JOURNAL. bama, during the winter of 1857-1858. The cardboard- The American Art Journal/Summer 1983 35 x ; bound pad, measuring 5V2 by 103/4 inches, contains *?? '; . -
American Painters of Yesterday and Today
la k^Md §fi/Cat^iuLo /p/ Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/americanpaintersOOsheriala 2 a. DC U ^^ a w u o I a I— u X I' < o a o u. ^> iPijdA) AMERICAN PAINTERS OF YESTERDAY AND TODAY BY FREDERIC FAIRCHILD SHERMAN NEW YORK PRIVATELY PRINTED MCMXIX •• . ) • Copyright, 1919, by Frederic Fairchild Sherman Libra; TO MY FRIEND DOROTHEA A. DREIER HCQ •J 459278 CONTENTS PAGE Miniature Landscapes by J. Francis Murphy ... 3 The Landscape of Dwight W. Tryon 13 Four Figure Pictures by George Fuller 21 Early Oil Paintings by Winslow Homer 29 Figure Pictures by Wyatt Eaton 39 Arthur B. Davies 47 Early Genre Pictures by Harry W. Watrous . 55 Benjamin West 63 Vll ILLUSTRATIONS J. FRANCIS MURPHY The River Farm Frontispiece PAGE Twilight 6 Late September 6 Golden Autumn 8 DWIGHT W. TRYON Glastonbury Meadows 14 Cernay La Ville 14 Early Morning, September 16 Twilight, November 18 GEORGE FULLER The Romany Girl 22 Winifred Dysart 22 The Quadroon 22 Psyche 22 WINSLOW HOMER Haymaking 29 The Song of the Lark 30 A French Farm 30 Prout's Neck 34 ix WYATT EATON Portrait of William Cullen Bryant 40 Ariadne 4^ Lassitude 4* Reverie 4* ARTHUR B. DAVIES Girl at the Fountain 50 The Violin Girl 50 Clothed in Dominion S^ HARRY W. WATROUS L'Addition 56 The Guitar Player 5^ Records S^ Lost S^ BENJAMIN WEST Portrait of John Sedley 64 Portrait of a Gentleman 66 The Envoys Returning from the Promised Land 68 Presentation of the Queen of Sheba at the Court of King Solomon 68 MINIATURE LANDSCAPES BY J. -
The Opening Scene of Henry M. Milner's Equestrian Drama Mazeppa (1831) Contains an Unmistakable Echo of William Shakespeare'
The opening scene of Henry M. Milner’s equestrian drama Mazeppa (1831) contains an unmistakable echo of William Shakespeare’s Hamlet, as, on battlements lit by ‘the uncertain glimpses of the moon‘, a cautious sentinel calls out, ‘Who goes there?’i The play is characterised by such recycling and repurposing. It is a theatrical adaptation of Lord Byron’s poem Mazeppa (1819) that also borrows from Shakespeare’s Romeo and Juliet and Macbeth. In so doing, it engages in more than one type of adaptation. The shift from Byron’s poem to Milner’s equestrian spectacle altered the meaning of the poet’s work, from an exploration of one man’s solitary and potentially meaningless ordeal to a vivid portrayal of a densely populated social world in which, thanks to his ride on the wild horse, Mazeppa rises from lowly page to avenging prince. The inclusion of allusions to, and reworkings of, Shakespeare, situated the play within a tradition of Shakespearean adaptations on the illegitimate English stage. This tradition enacted a form of cultural contest between popular and elite theatre, as has been explored by Jane Moody and others,ii but since Milner’s was not explicitly an adaptation of Shakespeare it complicates this opposition. Milner’s Mazeppa is therefore particularly useful to illustrate the negotiation of cultural values that takes place in the act of adaptation. The theatrical Mazeppa thrived: its first season in 1831 was an immediate success and the play ran for several hundred performances at Astley’s Royal Amphitheatre in London. It was revived for many years subsequently in both England and America, including a famous production that starred the celebrated Adah Isaacs Menken, who played the role of Mazeppa for American audiences in 1861 and for English audiences two years later to great acclaim.iii This demonstrates that the particular adaptations made in the course of the transition from poem to theatrical presentation were very successful. -
Publications of the Metropolitan Museum Of
PUBLICATIONS OF THE METROPOLITAN MUSEUM OF ART • 1870-1964 A Bibliography compiled by Albert TenEyck Gardner Associate Curator of American Paintings and Sculpture 1965 3/i^Ar »(^/w^A^*» /)& '(%«st, PREFACE In the second century A.D. the prolific writer Galen compiled a classified bibliography of his works — necessary, in his view, to set the record of history straight. He first listed all the books falsely attributed to him and then, in seventeen succeeding chapters, listed and annotated the five hundred or so titles that had come from his hand. The account might be termed a "bio-bibliography," as it con stitutes a record of the author's productivity. This term is also appropriate to Albert TenEyck Gardner's bibliography of the publica tions of-The Metropolitan Museum of Art, the first complete listing of all known books, pamphlets, and serials bearing our imprint; for it is a record of the institution's achievements over the past nine decades and mirrors its varied and numerous activities. The scholarly publications testify to the contributions made to knowledge by the Museum's staff; the catalogues and guides indicate the broad scope of its acquisitions; the exhibition catalogues commemorate the many important loan exhibi tions that have complemented and augmented its collections. In brief, this bio-bibliography is a valuable index of the myriad ways in which the Museum presents its vast collections of art to an ever-growing public. It is also a testimony of the contributions of many individuals to the Museum's publishing program. As Mr. Gardner notes, a decisive influence over this program was wielded by Henry Watson Kent, Secre tary of the Museum for twenty-seven years, who established a tradition of fine design and printing for Museum publications that has survived ever since.