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Milton H. Greene (1922-1985), famous for his fashion photography and celebrity portraits from the golden age of Hollywood, met Marilyn Monroe on a photo shoot for Look magazine in 1953. The pair developed an instant rapport, quickly becoming close friends and ultimately business partners. In 1954, after helping her get out of her studio contract with 20th Century Fox, they created Marilyn Monroe Productions, Inc. Milton and Marilyn were much more then business partners, Marilyn became a part of the Greene family. By the time their relationship had ended in 1957, the pair had produced two feature films, in addition to more than 5,000 photographs of the iconic beauty. There was magic in Milton and Marilyn’s working relationship. The trust and confidence they had in each other’s capabilities was on full display in each photo. Greene passed in 1985, thinking his life’s work was succumbing to the ravages of time. His eldest son, Joshua, began a journey to meticulously restore his father’s legacy. A photographer himself, Joshua spent years researching ways to restore his father’s photographs as well as cataloging and promoting Milton’s vast body of work all over the world. As a result, Joshua established “The Archives,” a company committed to the restoration and preservation of photography. After spending nearly two decades restoring his father’s archive, Joshua Greene and his company are widely regarded as one of the leaders in photographic restoration and have been at the forefront of the digital imaging and large-format printing revolution.

Now Joshua Greene, in conjunction with Iconic Images, presents The Essential Marilyn Monroe: Milton H. Greene, 50 Sessions. With 280 photographs, including newly scanned and restored classics, as well as images that have appeared only once in publication, Greene’s Marilyn Monroe archive can finally be viewed as it was originally intended when these pictures were first produced more than 60 years ago. These classic sessions – 50 in all – cover Monroe at the height of her astonishing beauty and meteoric fame. From film-sets to the bedroom, at home and at play, Joshua has curated a lasting tribute to the work of a great photographer and his greatest muse. Poignant and powerful, joyful and stunning – these breathtaking images of an icon stand above all the rest. The Essential Marilyn Monroe: Milton H. Greene, 50 Sessions is sure to be a book that will become the platinum standard in photography monographs.

The artists in the Hardy family, Heywood, James, Frederick Daniel and several others, have always been popular with collectors. However, this is the first comprehensive assessment of their work, based on previously unpublished material and with illustrations of all their major paintings.

Heywood Hardy was a remarkably versatile artist who did much to advance a more realistic portrayal of animals, landscapes, portraits and sporting scenes over a long and productive career from 1860 to 1927. His elder brother James Hardy junior became one of the most accomplished sporting artists of his day. And their cousin Frederick Daniel Hardy painted some of the most accurate and sympathetic pictures of life in country towns and villages.

The book’s author, Kimber Hardy, a descendant of the Hardy painters, has called upon a significant collection of letters and documents about the artists. His revealing, intelligent narrative on their lives and works provides engaging accompaniment to the wealth of colour reproductions featured in the book.

There are no rules, and even less justice. Death takes everyone without discrimination. Sometimes it is accidental – like Signorelli, who fell from scaffolding. Sometimes it is expected, as with the diabetic Cezanne, who wrote “I am old, sick, and I swore to die while painting”. But often, researching a painter’s death is an easier task than determining which of their works is truly their ‘last’. Paintings tend to be dated by year and not month, inciting much debate among art historians. This book embraces this ambiguity, studying 100 examples of works that lay completed for several years, or were left unfinished on the easel, or were finished post-mortem by a friend’s grieving hand.

The Last Painting collects 100 terminal paintings from 100 artists, including Dalí, Manet, Toulouse-Lautrec, Degas, Goya, Pollock, Rembrandt, Dix, Bonnard, Titien, and many more. Each picture gives us a glimpse into the painter’s mind. Did they know death was coming? Did they paint with denial, or acceptance? Did they return to a favorite subject, or decide to embark on a new, original project while they still had time? A poetic and thought-provoking book, The Last Painting is a sensitive exploration of the relationship between art and death.

The Royal Touch is a beautiful compilation of stunning recipes gathered from far and wide on an incredible culinary journey. It is one that has covered three continents over several decades and has taken in many a royal palace along the way. Carolyn Robb, former personal chef to TRH The Prince and Princess of Wales, Prince William and Prince Harry, presents the food that she loves to serve to her family and friends; food that is fit for a king, yet is accessible to us all. Inspired by everything from her mother’s home-cooking, memories of her happy childhood in South Africa and her extensive travels to the extraordinary experiences of 13 years as a chef in the royal household, Carolyn’s recipes are simple to prepare and perfect to share. Whether you are entertaining special guests, going on a picnic, planning a cosy fireside supper, cooking with children or you simply feel like trying your hand at some baking, this book has it all and the ingredients you require won’t break the bank.

As soon as Bill Wyman was given a camera as a young boy, he quickly developed a passion for photography. After joining what would become the world’s greatest rock ‘n’ roll band, Wyman continued his hobby. When he didn’t have his bass, he had his camera. The result is an arresting, insightful and often poignant collection of photographs, showing his exclusive inside view of the band.

From traveling to relaxing, backstage and on, Stones From the Inside is a unique view captured by a man who was there, every step of the way. Along with the images of the band at work and play, Wyman includes remarkable images of those along for the ride, from John Lennon, Eric Clapton, David Bowie and Iggy Pop to John Belushi and Dan Aykroyd. To accompany his photographs, Wyman offers up wonderful insights, anecdotes and behind-the-photo stories, giving all us a front-row seat and backstage pass to what it was like to be there, as music history was made as a member of The Rolling Stones.

“…a beautiful book, filled with captivating images and explanatory text which never gets too dry or too technical…” – Revolution

Despite the functional obsolescence of the mechanical wristwatch (our phones and computers tell more accurate time) the early 21st Century has seen a boom in the development, production, and appreciation of all things horological. Whether it is presented to the collector as an alternative investment, as a feat of micro-mechanical technology, or as a showcase of artisanal mastery, the mechanical wristwatch has never possessed more forms, functions or facets than it does today.

The Wristwatch Handbook is written from the epicentre of a renaissance, a place in time between the Quartz revolution and the rise of the smart device – where the mechanical wristwatch is the antidote to the microprocessor and the permanent buzz of your inbox. From the multi-axis tourbillion, to the split-second chronograph, to the sidereal sky chart, The Wristwatch Handbook covers it all and does so with more than 470 rich illustrations from over 90 of the World’s leading brands.

The book is separated into two sections. The first section provides the reader with a comprehensive understanding of the mechanical movement. Its chapters explore power, transmission, distribution and regulation illustrating the basic concepts before considering the innovation and complexity that takes place further toward the cutting edge. From the fifty-day power reserve, to the constant force mechanism, and the 1,000Hz mechanical escapement, section 1 will allow the reader to understand and appreciate what is happening beneath the dial of their watch. Section two allows the reader to take this understanding and apply it to the vast range of complications (functions) that exist in modern horology. Each chapter showcases a distinct category of complication. For example, the regatta timer, pulsometer, and monopusher chronograph join a host of others in a chapter entitled ‘Recording Lapses of Time’; The power reserve indicator, dynamograph, and crown position indicator are featured in a chapter for ‘Power and Performance Indication’; The moon phase indicator, annual calendar, and planetarium can be found in the ‘Astronomical Complications’ chapter. Once the functional categories are exhausted, the final three chapters explore whimsical complications that have little regard for practical function, novelty time indication, and the ‘super-complicated’ watch – a rare breed of timepiece that houses an intimidating host of complications featured throughout the book. Upon completion of The Wristwatch Handbook the reader will be able to identify even the most exotic complication from across the room, and be able to share their appreciation and understanding of what makes it so useful and compelling.

The Wristwatch Handbook is “brand agnostic”, using only those watches that most aptly illustrate the given subject-matter. As a consequence the book places equal emphasis on the classic and the cutting edge, on watches produced in large volume or exclusive runs, by industry-leading technology or at the hand of a master. In doing so the book provides an unparalleled range of watches from over 90 brands, allowing the reader to determine for themselves which brands, complications, and styles they will build their collection from.

The wee folk have returned! Uncover the mystery of who they are and why they are here in the first book of the Vinetrope Adventures. Following a young girl, Sara, who has recently lost her mom to cancer, Return of the Vinetropes tells the story of a remarkable fairy-like creature found in Sara’s back yard. Lucinda Vinetrope: born wise, full-grown, and all alone. She may only be 12 inches high, but her personality is huge! Her arrival signifies the return of the Vinetrope nation, but also the return of their evil counterparts, the Chargons and the Vinkali. Joined by a supporting cast of comedic characters, animal and human alike, Sara and Lucinda set off on their quest to find the other Vinetropes and protect their world from danger.

Women Garden Designers presents twenty-seven of the most important and influential women garden designers and their gardens from around the world, showing both their finest commissions as well as the gardens they designed for themselves, in their own space. The carefully researched text examines their influences and their legacy to garden design. Beginning with the remarkable Gertrude Jekyll and Beatrix Farrand, who were working simultaneously, though on different sides of the Atlantic, the book then moves on into the 20th century, featuring international designers as diverse as Florence Yoch – who created gardens for film sets and for glamorous Hollywood homes – and Vita Sackville-West – whose regular gardening column in the Observer, along with her own garden at Sissinghurst, influenced those in Britain. In Australia, Edna Walling supplemented her income from her practice with regular articles in life-style magazines. Increasingly with picture-led articles, designers found a way to publicize and advertise their work, thus gaining new clients in emancipated women who were in a position to place their own commissions. Women designers were more likely and quicker to embrace the ecological garden movement particularly in Germany and Sweden in the middle of the 20th century. They are represented by Herta Hammerbacher and Rosemary Weisse, who created the glorious perennial plantings in Munich’s West Park and Ulla Bodorff in Sweden, as well as Isabelle Greene in California with her dry native plantings. The modern movement includes Monica Gora and Topher Delaney, for whom spirituality and landscape as works of art are important. The more conventional structured approach is represented by Penelope Hobhouse and Rosemary Verey, who began creating gardens later in their lives, following motherhood. Haruko Seki from Japan and Isabel du Prat from Brazil express their own special cultural qualities in their trans-global practices. Contents: Gertrude Jekyll (1843-1932, English); Beatrix Farrand (1872-1959, American); Norah Lindsay (1876-1948, English); Marian Coffin (1876-1957, American); Florence Yoch (1890-1972, American); Vita Sackville-West (1892-1962, English); Edna Walling (1895-1973, Australian); Brenda Colvin (1897-1981, English); Herta Hammerbacher (1900-1985, German); Sylvia Crowe (1907-1997, English); Maria Teresa Parpagliolo Shephard (1903-1974, Italian); Joane Pim (1904-2002, South African); Ulla Bodorf (1913-1982, Swedish); Rosemary Verey (1918-2001, English); Cornelia Oberlander (1921-, Canadian); Rosmarie Weisse (1927-2002, German); Penelope Hobhouse (1929- English); Niki de Saint Phalle (1930-2002, French); Isabelle Greene (1934- American); Arabella Lennox-Boyd (1938- Italian); Nancy Goslee Power (1942- American); Topher Delaney (1948- American); Isabel du Prat (1954- Brazilian); Petra Blaisse (1955- Dutch); Monica Gora (1959- Swedish); Haruko Seki (1959- Japanese).

This title includes papers from a range of international perspectives on architectural paint research. There are several papers on architectural restoration in the USA, including papers on Williamsburg, James Madison’s Montpelier, Tiffany’s decorative finishes, Stenton and Mount Pleasant, the Grand Opera House in Meridian, Mississippi. Other papers include research on architectural restoration in China, Norway and the United Kingdom.

In October 2004 the Art Technological Source Research study group held a highly successful symposium at the Instituut Collectie Nederland, Amsterdam: Approaching the Art of the Past: Sources & Reconstructions. Recipe books, treatises and manuals on artists’ materials, tools and methods are of fundamental importance for an understanding of how art objects were made. Historically accurate reconstructions on the basis of these sources provide insight into the original appearance of an object, as well as workshop practices, and provide models for understanding material degradation. The interpretation of artists’ intent rests on this kind of basic knowledge. For example: Van Gogh never intended the blossoms in his series of orchard paintings (Van Gogh Museum, Amsterdam) to appear quite as pale as they look today. How would they have looked originally? The recipe sources and reconstructions may answer this and help us understand what has happened. The symposium was held to discuss the role of source research and the use of reconstructions in the emerging field of art technological research. The Proceedings of the symposium (edited by Mark Clarke, Joyce Townsend and Ad Stijnman) will be published next year (2005). Table of contents Forward – Henriëtte van der Linden Preface – Alberto de Tagle Introduction – Ad Stijnman and Mark Clarke Chairman’s remarks – Arie Wallert An introduction to source research Ad Stijnman Reconstruction research, some cases and their contexts Ernst van de Wetering Blue and green, understanding historical recipes and phenomena on old master paintings Margriet van Eikema Hommes The Cologne database for Medieval painting materials and reconstruction Doris Oltrogge Levels of reconstruction of black iron gall inks for the InkCor project Ad Stijnman The value of accurate reconstructions to the art historian Lorne Campbell Historically accurate oil painting reconstructions for the De Mayerne Project Leslie Carlyle Cobalt blue, emerald green and rose madder in copal-based media used by the Pre-Raphaelites Joyce Townsend Reconstructions of French 19th-century red lake pigments for the Red Lake Project Jo Kirby When glass is made of plastic : restoration of the model of the Pavillon Saint-Gobain for the international exhibition of 1937 Olivier Béringuer ArTeS database Hayo de Boer Inventory of a pharmacy in Kolberg Andreas Burmester Page-Image Recipe Databases Mark Clarke and Leslie Carlyle 16th century portrait miniatures Alan Derbyshire, Nick Frayling, Timea Tallian Computer reconstruction of the yellow cloak of the Girl at the Virginals by Vermeer Joris Dik, Paul van Alkemade, Valerie Sivel, Jan van der Lubbe, Yuval Garini Sources and preparatory drawing in 15th-19th century Byzantine iconography Vaios Ganitis, Ekaterina Talarou 3D Digital Visualisation and Virtual Restoration of Polychrome Sculpture Angie Geary Whistler’s Correspondence: an artist in the studios Erma Hermens, Margaret MacDonald Reconstruction of recipes for flesh colours in mediaeval artist manuals Kathrin Kinseher Reconstruction of the one of Durer s drawing machines Aurélie Nicolaus, William Whitney Smalt glazes on silver leaf gildings of baroque and rococo polychromy in southern Germany Mark Richter (In)stability of pigment mixtures described in artist manuals Elzbieta Szmit-Naud Import of European painting materials in Havana, Cuba, in the 17th and 18th century Alberto de Tagle Chrozophora tinctoria : mediaeval colourant in the seventeenth century Arie Wallert Exploring Rembrandt s painting materials and techniques: Rembrandt and burnt plate oil Phoebe Dent Weil & Sarah Belchetz-Swenson Imitating ultramarine: artist’s economies reconstructed Sally Woodcock & Libby Sheldon

Fascinating, accessible and carefully structured, this is the first comprehensive and critical analysis of information on nineteenth-century artists’ materials; an invaluable resource.

This book reflects on the artistic process as manifested in the artwork itself and as documented in visual and written sources. It is part of ongoing technological research interpreting art from all disciplines and periods and exploring artists practice as recorded in treatises, manuals, artist s correspondence, journals and also images such as photographs, films or prints. This book is fourth in a series on technical art history produced by Archetype Publications for the Art Technological Source Resource study group.

This bulletin, the fourth of an annual series, which Archetype Publications is publishing in association with the British Museum, offers a new forum, to show a dynamic behind-the-scenes glimpse of current work of curators, conservators and scientists, conducted on a range of artefacts and materials across the collections at the British Museum.

This bulletin, part of an annual series, which Archetype Publications publishes in association with the British Museum, offers a forum to show a dynamic behind-the-scenes glimpse of the current work of curators, conservators and scientists conducted on a range of artifacts and materials across the collections at the British Museum.

This bulletin, the third in an annual series which Archetype Publications produces in association with the British Museum, offers a new forum in which to showcase a dynamic behind-the-scenes glimpse of the current work of curators, conservators and scientists, conducted on a range of artefacts and materials across the collections at the British Museum. Also available:
British Museum Technical Research Bulletin Vol I ISBN 9781904982272 British Museum Technical Research Bulletin Vol 2 ISBN 9781904982357

This bulletin, part of an annual series which Archetype Publications publishes in association with the British Museum, offers a forum to show a dynamic behind-the-scenes glimpse of the current work of curators, conservators and scientists conducted on a range of artifacts and materials across the collections at the British Museum. Contents: Foreword – David Saunders; The study and conservation of four ancient Egyptian funerary portraits: provenance, conservation history and structural treatment – Nicola Newman, Lynne Harrison, David Thomas, Joanne Dyer and John Taylor; Maker, material and method: reinstating an indigenously made chair from KwaZulu-Natal, South Africa – Catherine Elliott, Caroline Cartwright and Philip Kevin; A Bulgarian kukeri mask: a diplomatic gift and the conservation of its polyurethane foam decorations – Clare Ward, Nicole Rode, Marei Hacke and Judy Rudoe; A traditional Chinese method for weakening silk for use in the conservation of silk paintings – Vincent Daniels, Marei Hacke, Jin Xian Qiu and Valentina Marabini; Analytical study of the first royal Egyptian heart-scarab, attributed to a Seventeenth Dynasty king, Sobekemsaf– Gianluca Miniaci, Susan La Niece, Maria Filomena Guerra and Marei Hacke; Scientific analysis of a Buddha attributed to the Yongle period of the Ming dynasty – Quanyu Wang and Sascha Priewe; Examination and experimentation: conservation of an archaeological glass unguentarium for display – Julia Barton, Andrew Meek and Paul Roberts; Simple sophistication: Mauryan silver production in North West India – Paul Craddock, Caroline Cartwright, Kirsten Eckstein, Ian Freestone, Lalit Gurjar, Duncan Hook, Andrew Middleton and Lynn Willies; An unusual decorated skin coat from Canada: aspects of conservation and identification – Pippa Cruickshank, Caroline R. Cartwright, Jonathan C.H. King and Antony Simpson.

This bulletin, part of an annual series which Archetype Publications publishes in association with the British Museum, offers a new forum to show a dynamic behind-the-scenes glimpse of the current work of curators, conservators and scientists conducted on a range of artefacts and materials across the collections at the British Museum.

This bulletin, the second of an annual series which Archetype Publications is publishing in association with the British Museum, offers a new forum to show a dynamic behind-the-scenes glimpse of the current work of curators, conservators and scientists, conducted on a range of artifacts and materials across the collections at the British Museum.

British Museum Technical Research Bulletin, Volume 6 is part of an annual series which Archetype Publications publishes in association with the British Museum. It offers a forum to show a dynamic behind-the-scenes glimpse of the current work of curators, conservators and scientists conducted on a range of artefacts and materials across the collections at the British Museum. Also avaliable in the series: British Museum Technical Research Bulletin Volume 1 ISBN: 9781904982272 British Museum Technical Research Bulletin Volume 2 ISBN: 9781904982357 British Museum Technical Research Bulletin Volume 3 ISBN: 9781904982487 British Museum Technical Research Bulletin Volume 4 ISBN: 9781904982555 British Museum Technical Research Bulletin Volume 5 ISBN: 9781904982678

This bulletin is the first of a new annual series which Archetype Books is publishing in association with the British Museum. It offers a new forum to show a dynamic, behind-the-scenes glimpse of current work of curators, conservators and scientists, conducted on a range of artefacts and materials across the collections at the British Museum. This volume includes papers on: the conservation and analysis of the John White watercolors, the effects of ultraviolet-filtered light on fabrics, shell garniture from Gujarat, the black bronzes of Burma, the use of Variscite as a semi-precious stone, the effects of relative humidity on the corrosion of iron, the emperor’s terrapin, Aztec conch shell working, and pigmented inlays from the tomb chapel of an Old Kingdom noble.

Colour on paper presents significant treatment challenges and research opportunities for the conservator and conservation scientist. Understanding the use of colored media on paper informs art historical interpretations of works of art and leads to a better appreciation of technique. Recently, a distinguished group of conservators, conservation scientists and art historians came together in Chicago to discuss and debate advances in the investigation of colored media as used by artists over five centuries. This book presents the edited proceedings of the conference, ‘The Broad Spectrum: The Art and Science of Conserving Colored Media on Paper’, and is centered on five broad themes: – Pastel and Chalk – Watercolor and Ink – Nineteenth and Twentieth-Century Materials – The Colored Materials of Asian Art – New Methods and Technologies for Assessing Fading of Colored Media This comprehensively illustrated volume represents a unique collection of expertise and will be of interest to art historians and curators as well as researchers, practitioners and students of conservation. The title is due for publication in May 2002.

This volume contains papers from the 2014 ‘Conservation of Hair’ conference hosted by the Horniman Museum, ICON and the Natural Sciences Collections Association which provided a broad forum for discussions on the conservation of hair in museum objects. Within museums hair is used in many shapes and forms and the papers within this volume discuss the conservation of taxidermy, historic wigs and hair within modern art. This volume also moves from past to the future conservation of hair, looking into how hair has been used in the past, protection from pests within museums today and looking forward to research possibilities for the re-coloring of faded taxidermy specimens.

The papers published in this collection (supported by a generous donation from Abegg-Stiftung), all presented at Dyes in History and Archaeology meetings, demonstrate how dyes were used through the centuries. If one century is chosen – the 17th century, for example – a fascinating comparison can be made between the dyes and dyeing methods used in Europe, in Turkey, in South America and in Japan, not only on textiles, but also in the pigments used for painting.

Taking a different approach, chemical analysis has assisted detective work enabling a distinction to be made between rather similar 18th-century textiles with chinoiserie motifs, not all of which were Chinese in origin.

Over the long time scale covered in this book, many developments took place and are described in its pages. One of the most exotic of dyes, shellfish purple, was used in Late Bronze Age wall paintings dated to the 17th century BC at Akrotiri, while over 3000 years later the brilliantly colored, but sometimes impermanent synthetic dyes, devised by chemists, appeared on the market: the azo dyes, fluorescein, the eosins and others. A long and distinguished history of the use of color, a glorious variety of dyes revealed – the diversity of dyes in history and archaeology.