"Sam and Mary Cooke have assembled at Kualii, their Manoa Valley home, a cultural treasure unsurpassed by any other private collection in the islands. This collection of paintings, drawings, and prints of the Hawaiian Islands uniquely reflects the kamaaina appreciation the Cookes have for various locales throughout the islands, including generations-long associations with people and places, and a love of legends and history. In this book, historian and bibliographer David W. Forbes presents a selection of the collection's finest works. Hawaii in the late eighteenth and early nineteenth centuries, with particular focus on portrayal of the Hawaiian chiefs, is depicted by artists associated with voyages of exploration and art in the interest of science, including John Webber, Jacques Arago, Louis Choris, John Hayter, Alfred T. Agate, Titian Ramsay Peale, and J. G. Keulemans. Everyday life in mid-nineteenth century Hawaii is captured by August Borget, Enoch Wood Perry Jr., Edward Bailey, Paul Emmert, and George H. Burgess. Landscapes and portraits of emerging multi-cultural Hawaii are beautifully rendered by accomplished late nineteenth- and early twentieth-century artists Charles Furneaux, Joseph D. Strong, Jules, Tavernier, D. Howard Hitchcock, Helen Whitney Kelly, Lionel Walden, Matteo Sandona, and by mid-twentieth century painters Lloyd Sexton and Peter Hurd"-- From book jacket.

This book examines the portrayal of themes of boundary crossing, itinerancy, relocation, and displacement in US genre paintings during the second half of the long nineteenth century (c. 1860–1910). Through four diachronic case studies, the book reveals how the high-stakes politics of mobility and identity during this period informed the production and reception of works of art by Eastman Johnson (1824–1906), Enoch Wood Perry, Jr. (1831–1915), Thomas Hovenden (1840–95), and John Sloan (1871–1951). It also complicates art history’s canonical understandings of genre painting as a category that seeks to reinforce social hierarchies and emphasize more rooted connections to place by, instead, privileging portrayals of social flux and geographic instability. The book will be of interest to scholars working in art history, literature, American studies, and cultural geography.

This book tackles photography’s role during Robert Louis Stevenson’s travels throughout the Pacific Island region and is the first study of his family’s previously unpublished photographs. Cutting across disciplinary boundaries, the book integrates photographs with letters, non-fiction, and poetry, and includes much unpublished material. The original readings of photographs and non-fiction highlight Stevenson’s engagement with colonial ideology and reality and advance new arguments about Victorian travel, settlement, and colonialisms in the Pacific. Like the Stevensons, the book moves from the Marquesas to the atolls of the Gilbert Islands in Micronesia; from the Kingdom of Hawai‘i’s political ambitions to Samoan plantations and the Stevensons’ settlement at Vailima. Central to this study is the notion that Pacific history and Pacific Island cultures matter to the interpretation of Stevenson's work, and a rigorous historical and cultural contextualization ensures that local details structure literary and photographic interpretation. The book’s historical grounding is key to its insightful conclusions regarding travel, settlement, photography, and colonialism.

The biographical material formerly included in the directory is issued separately as Who's who in American art, 1936/37-

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