Novedades

What do a barracks for British troops in the Falklands War, a floating jail off the Bronx, and temporary housing for VW factory workers in Germany have in common? The Balder Scapa: a single barge that served all three roles. Though the name would eventually change to Finnboda 12. And then to Safe Esperia. And later on, to the Bibby Resolution. And after that . . . in short, a vessel with so many names, and so many fates, that to keep it in our sights—as the protagonist of this fascinating economic parable—Ian Kumekawa has no choice but to call it, simply, the Vessel.

On May 28, 1914, the RMS Empress of Ireland began her 192nd trip across the Atlantic from Quebec City, Canada, en route to Liverpool, England, carrying 1,056 passengers and a crew of 423. In the early hours of May 29, fog descended on the St. Lawrence River, and the ocean liner was rammed by the Storstad, a Norwegian coal ship. In the fourteen minutes it took for the Empress of Ireland to sink, there was time to launch only four of the forty lifeboats, and rather than women and children first, it was everyone for themselves.

Drawing on maritime stories from various languages and continents – from Brazil and Southeast Africa to India and the Philippines – Wreckers shares dramatic tales of the sea and the events on land that followed. This offers an alternative timeline for the century after Columbus’ 1492 voyage and sheds light on the fractures and fault lines that accompanied the increasing geographical range of European ships.

For the first time, Shipwrecked and Rescued tells the near-tragic story of lost and desperate shipmates floundering for two days in the deep snow and near-zero temperatures. Jorgensen's detailed research and collection of 100 rare historical photos chronicles what happened, introduces the key players, and finally reveals the fate of those collectors' prizes in the century since.

John Ward was a self-taught artist, the son of a Master Mariner, who began his career apprenticed to a house and ship painter in Hull. Having completed his term by 1819, aged 21, he exhibited his first painting at the Royal Academy twelve years later. By the early 1840’s, he had begun to explore printmaking to produce ship portraits of local vessels and to gather material for a Manual of Marine Painting. “Marine Studies of British Merchant Vessels” and “Ten Views Illustrative of the Several Rates and Classes of Vessels in Her Majesty’s Navy” appeared as albums of lithographs ...