By Benjamin Nicholas Lawrance
The lives of six African youngsters, a while 9 to 16, have been endlessly altered through the rebellion aboard the Cuban schooner l. a. Amistad in 1839. Like their grownup partners, all have been captured in Africa and illegally offered as slaves. during this interesting revisionist background, Benjamin N. Lawrance reconstructs six entwined tales and brings them to the leading edge of the Amistad clash. via eyewitness stories, courtroom documents, and the children's personal letters, Lawrance recounts how their lives have been inextricably interwoven via the ancient drama, and casts new mild on unlawful nineteenth-century transatlantic slave smuggling.
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Additional resources for Amistad's Orphans: An Atlantic Story of Children, Slavery, and Smuggling
61). Art dealers in the Netherlands and the United States represent on average between 10 and 20 artists (a few large galleries, which have extensive financial resources as well as personnel, may represent up to 50 artists, as well as the estates of artists who have deceased); they schedule exhibitions for “their” artists on an annual or biennial basis which last six weeks on average. Before, during, and after the exhibition, the dealer tries to sell these works, which happens mostly on a consignment basis: when a sale is made, the dealer receives a commission which in most cases amounts to 40 or 50 percent of the selling price.
2 I was warned by fellow researchers, friends with a background in the art world, and dealers in pilot interviews that my respondents would not be willing to discuss the business end of their operations. In this respect my background as an art historian proved to be an advantage. Before starting an interview I would usually ask questions about the current exhibition or about the artists which the gallery represented; I also signaled to my informants that I was aware of the position of the gallery and its artists in the contemporary art world.
66). In a similar vein, contemporary art dealers maintain that they aspire to distribute art for history, not for the market. At seminars and expert meetings that I attended, they spoke of their galleries as a “place for experimentation,” a “vehicle for ideas,” and a “mild biotope” in which art can flourish. ” In an empirical study, German art dealers told researchers that personal and artistic rather than economic criteria are decisive when it comes to the selection of artists that the gallery represents.