Galveston Architecture: A Visual Journey is a photographic journey of the architecture and history of select 100 buildings in Galveston, Texas with photographs by World Heritage Photographer, Pino Shah, and narratives by Galveston Historical Foundation (GHF). Pino Shah is a World Heritage Photographer based in McAllen, Texas, and Ahmedabad, India. @ArtByPino, www.artbypino.com. Galveston Historical Foundation preserves and revitalizes the architectural, cultural and maritime heritage of Galveston Island. The Foundation is a 501 (c) (3) non profit charitable corporation. Galveston Historical Foundation (GHF) was formed as the Galveston Historical Society in 1871 and merged with a new organization formed in 1954 as a non-profit entity devoted to historic preservation and history in Galveston County.
While Houston has enjoyed unprecedented growth in its development into an increasingly international business center, coastal Galveston retains the history and charm of its past. Visitors to both cities and new residents of the area will enjoy the sites, restaurants, accommodations, and other features included in this new edition.
The Galveston Architecture Guidebook will be invaluable to all those who visit Galveston. Historic preservationists, scholars of nineteenth-century material culture, architects, and historians will be fascinated by the broad range of buildings and urban conditions it documents. Finally, anyone interested in Galveston or the Gulf Coast will find in this book a wealth of information.
People of African descent were some of Galveston's earliest residents, and although they came to the island enslaved, they retained mastery of their culinary traditions. As Galveston's port prospered and became the "Wall Street of the South," better job opportunities were available for African Americans who lived in Galveston and for those who migrated to the island city after emancipation, with owner-operated restaurants being one of the most popular enterprises. Staples like Fease's Jambalaya Café, Rose's Confectionery and the Squeeze Inn anchored the island community and elevated its cuisine. From Gus Allen's business savvy to Eliza Gipson's oxtail artistry, the Galveston Historical Foundation's African American Heritage Committee has gathered together the stories and recipes that preserve this culinary history for the enjoyment and enrichment of generations, and kitchens, to come.
In Mythic Galveston: Reinventing America's Third Coast, Susan Wiley Hardwick examines Galveston's rapid rise and the myth created by immigrants and boosters of an abundant island with a highly temperate, even tropical, climate, ideal for settlement. Hardwick's historical analysis focuses on immigrant settlement patterns and the important contributions to Galveston's evolving sense of place made by diverse ethnic and racial groups."--BOOK JACKET.
Certificate of Commendation, American Association for State and Local History, 1994 T. R. Fehrenbach Book Award, Texas Historical Commission, 1992 San Antonio Conservation Society Citation, 1993 Dramatic historical events have frequently provided subject matter for artists, particularly in pre-twentieth-century Texas, where works portraying historical, often legendary, events and individuals predominated. Until now, however, these paintings of Texas history have never received the kind of study given to historical, fictional, and film versions of the same events. Painting Texas History to 1900 fills this gap with an interdisciplinary approach that explores these paintings both as works of art and as historical documents. The author examines the works of more than forty artists, including Henry McArdle, Theodore Gentilz, Robert Onderdonk, William Huddle, Frederic Remington, Friedrich Richard Petri, Arthur T. Lee, Seth Eastman, Sarah Hardinge, Frank Reaugh, W. G. M. Samuel, Carl G. von Iwonski, and Julius Stockfleth. He places each work within its historical and cultural context to show why such subject matter was chosen, why it was depicted in a particular way, and why such a depiction gained popular acceptance. For example, paintings of heroic events of the Texas Revolution were especially popular in the years following the Civil War, when, in Ratcliffe's view, Texans needed such images to assuage the loss of the war and the humiliation of Reconstruction. Though the paintings cut across traditional art history categories—from the pictographs of early historic Indians to European-inspired oil paintings—they are bound together by their artists' intent for them to function as historically evocative documents. With their visual narratives of events that characterized all of America's westward expansion—Indian encounters, military battles, farming, ranching, surveying, and the closing of the frontier—these works add an important chapter to the story of the American West.
"This book, the first of two volumes devoted to the Lone Star State, covers the central, southern, and Gulf Coast region (the earliest areas of Spanish and Anglo settlement and the majority of the counties that won independence from Mexico in 1836) and includes four major cities--Austin, Corpus Christi, Houston, and San Antonio."--Publisher's description.
The Houston area offers an abundance of resources and activities for gardeners and garden lovers, if people only know where to look: Love roses? Go to the Garden Center in Hermann Park. Want fresh vegetables? Pay in advance for a weekly supply at Central City Co-op. Can’t live without daffodils? Find twenty varieties at the Bulb and Plants Mart. In this handy, versatile guide to all things related to gardens in Houston and its environs, Texas Master Gardener Eileen Houston presents the book she wished had been available when she first moved to the city. Writing about public gardens, garden events, farmers’ markets, garden clubs, retail nurseries, volunteer opportunities, and more, Houston shares her favorite finds in an opening section, called “Best of the Best,” listing places and events she believes garden enthusiasts will not want to miss. For each garden site, event, and outlet, readers learn what they need to know about times, fees, locations, and contact information. A map and key help identify which destinations will require some planning and which can be easily enjoyed, depending on where readers live or work. Helpful descriptions focus on the special features or distinctive ambience of each place or happening. A chapter on retail sources is packed with advice: where to buy native or organically raised plants; how to find specialty shops and nurseries devoted to specific kinds of plants, such as African violets, bonsai, tropicals, roses, orchids, and cacti;· which retailers offer fountains, benches, sculptures, and antique garden accessories. At the end of the book, Houston steers readers to her recommended garden books and websites. Anyone interested in exploring the gardening scene in Houston and surrounding areas—whether resident or visitor, participant or spectator—will discover in this book much to do and share with family, friends, and fellow gardeners.
In Lone Star Steeples: Historic Places of Worship in Texas, Carl J. Christensen Jr. and Pixie Christensen present sixty-five captivating and historically significant structures in exquisite watercolor illustrations accompanied by brief summaries and convenient, handcrafted maps. Ranging from stately edifices of brick and stone located in urban centers to more humble wood-frame chapels in rural surroundings, the houses of faith shown in these pages have one important trait in common: They have all served as centers of cultural identity, spiritual comfort, and public service to the communities in which they arose. In their introduction, the Christensens write, “The journey behind Lone Star Steeples crisscrossed the state along back roads, farm roads, and state highways. In these journeys and in the stories that were told, certain patterns began to emerge: the pride of the people in building their churches debt-free, the perseverance of the people who endured their beloved church being destroyed by natural disaster once, twice, or even three times . . . the people’s recognition of the church as their cultural foundation, their moral foundation, their social center.” As the Christensens demonstrate, Texas is home to a remarkable diversity of people, and their places of worship reflect and celebrate that diversity.
