The Southwestern Historical Quarterly, Volume 104, July 2000 - April, 2001 Page: 610
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Southwestern Historical Quarterly
The common-sense cultural approach that Hassrick and his students take
remains mainstream to most thinking people, including the "working class."
This is a catalogue/book that is beautiful enough and yet challenging enough
to be an important generator of long and sometimes learned discussions togeth-
er with wonder at the gorgeous illustrations.
Vzszons of the West is a very different kind of book that also has beautiful illustra-
tions that are mostly photographs. J. P. Bryan's Torch Energy Company collec-
tion is nothing if not eclectic. One might say that Bryan has Catholic interests.
Major elements of his collection include splendid Native American artifacts and
clothing from many parts of the West, art photos of Texas missions, a superb
series of color photos of Mexican Indian festivals by photographer George O.
Jackson Jr. that truly warrant a lingering gaze, Christian missionary art that com-
pares at times with the best of such art in Europe, specimens of art by black artist
John Willard Banks, Ike Edmund Morgan, and such as Doc Spellmon's The Rescue
of Lt. Bullis reminding us of the Buffalo Soldiers who served so effectively along
the Rio Grande; then comes views of cowgirls and female rodeo riders to round
out the political correctness of the Torch Company collection. Alas, one photo,
Bonnie McCarroll Thrown From Silver (1915) shows Ms. McConnell fatally breaking
her neck! Next, for some Freudian reason comes a display of Mexican and west-
ern spurs and then western firearms which, while not art per se, are nonetheless
treats for the eye-and even for the imagination as one thinks of them in use in
the Old West, which has been so thoroughly trashed by so-called "New" western
historians. The final segment of the collection features a collection of Texas art,
expertly described by Becky Duvall Reese, director of the El Paso Art Museum.
There are many unusual gems in this collection that runs up to 1976, not the
least of which is Julius Stockfleth's marine painting, The S. S. City of Berlin (n.d.),
especially since the maritime history of Texas is a virtual unknown.
The volume that includes such varied collections makes Torch Company cura-
tor Melissa Baldridge's point abundantly clear. J. P. Bryan's western vision knows
University of Texas, Austin William H. Goetzmann
Sailing Ship Elissa. By Patricia Bellis Bixel; Jim Cruz, photography editor.
(College Station: Texas A&M University Press, 1998. Pp. xxii+93.
Illustrations, acknowledgments, introduction, afterword, appendix, biblio-
graphic essay, index. ISBN 0-89o96-826-8. $22.95, cloth.)
Few sights are more impressive than a square-rigged tall ship moving under
the power of the wind. For more than twenty years, the barque Elissa has served
as a symbol of the era of sailing ships and as an icon for the port of Galveston.
How she became a centerpiece in the port of Galveston is one of the more inter-
esting, and inspirational, stories in historic preservation. Elzssa's connection to
Galveston is not simply a latter-day preservation yarn, for she made at least two
trips there during her long career. Galveston has wholeheartedly adopted Elissa,
so much so that no trip there is complete without a visit to the Texas Seaport
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Texas State Historical Association. The Southwestern Historical Quarterly, Volume 104, July 2000 - April, 2001, periodical, 2001; Austin, Texas. (texashistory.unt.edu/ark:/67531/metapth101221/m1/688/?rotate=90: accessed June 28, 2017), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; crediting Texas State Historical Association.