During 1792-1815, the period of the Coalition Wars and the Napoleonic Wars between France and Europe, prisoners were taken on both sides. The majority of them were confined, sometimes for many years, in England and Scotland. Some of the prisoners built ship models from scraps of wood or mutton and beef bones. Rigging was made of silk or whatever other fine material could be obtained. The prisoners developed an art form and the models were sold to the public through the guards. This trade enabled the prisoner to acquire ivory and special tools to make the models all the more decorative. The remain highly sought after and valuable collectors' items to this day. This book shows the beauty of the models selected as the finest in the Peter Tamm Collection in the International Maritime Museum of Hamburg.

During 1792-1815, the period of the Coalition Wars and the Napoleonic Wars between France and Europe, prisoners were taken on both sides. The majority of them were confined, sometimes for many years, in England and Scotland. Some of the prisoners built ship models from scraps of wood or mutton and beef bones. Rigging was made of silk or whatever other fine material could be obtained. The prisoners developed an art form and the models were sold to the public through the guards. This trade enabled the prisoner to acquire ivory and special tools to make the models all the more decorative. The remain highly sought after and valuable collectors' items to this day. This book shows the beauty of the models selected as the finest in the Peter Tamm Collection in the International Maritime Museum of Hamburg.

Sea Narratives: Cultural Responses to the Sea, 1600-Present explores the relationship between the sea and culture from the early modern period to the present. The collection uses the concept of the ‘sea narrative’ as a lens through which to consider the multiple ways in which the sea has shaped, challenged, and expanded modes of cultural representation to produce varied, contested and provocative chronicles of the sea across a variety of cultural forms within diverse socio-cultural moments. Sea Narratives provides a unique perspective on the relationship between the sea and cultural production: it reveals the sea to be more than simply a source of creative inspiration, instead showing how the sea has had a demonstrable effect on new modes and forms of narration across the cultural sphere, and in turn, how these forms have been essential in shaping socio-cultural understandings of the sea. The result is an incisive exploration of the sea’s force as a cultural presence.

Deaf Walls Speak presents an insider’s view of artmaking in Guantánamo, the world’s most notorious prison, as self-expression and protest, and to stage a fundamental human rights claim that has been denied by law and politics: the right to be recognized as human. The book juxtaposes detainee artist Moath al-Alwi’s testimony and artwork with essays that situate his work within legal, political, aesthetic, and material contexts to demonstrate that artwork at Guantánamo constitutes important forms of material witnessing to human rights abuses perpetrated and denied by the U.S. government.

During the French Revolutionary and Napoleonic Wars, over 200,000 prisoners of war of many nationalities were brought to Britain to be held in the infamous prison hulks, land prisons and parole depots. Many prisoners languished in captivity for over eleven years. This book tells the story of these men and women. Hell Upon Water examines how prisoners of war were acquired by the British, how they were fed, clothed and accommodated by the Transport Board of the Admiralty. The larger prisons such as Dartmoor, Portchester Castle and Norman Cross are described in detail, alongside the smaller lesser known depots of Forton, Stapleton, and Mill Bay. It compares the treatment of French prisoners with that of Britons in France, and also tells the stories of officers who fell in love with local girls and married, and those who fought to escape.

In terms of quality, historical significance and sheer numbers, the Kriegstein family’s ship model collection in the United States is the finest in private hands anywhere in the world. Principally made up of official 17th- and 18th-century models in the Admiralty or Navy Board style, the collection is unrivalled by any museum outside the British national collection at Greenwich. As the models are not on public display, this book fills the need for a detailed catalogue and visual reference with superb colour photos of all the models, both overall portraits and multiple close-ups. Apart from lengthy descriptions of these magnificent artefacts, space is devoted to how they were identified, and the valuable research done by Arnold and Henry Kriegstein, the identical twins whose shared passion brought this all together. Beyond the technicalities of the ships, the story has a human dimension in the brothers’ adventures in pursuit of every model and their dogged determination to secure them against official obstruction and dubious antiques-trade practices. This is an entirely new and revised edition of Seventeenth and Eighteenth Century Ship Models first published in 2007, now expanded to include the additions to the collection since that date.

Offers an anthology of thirty-four horror tales from the United States, Great Britain, and Australia.