ForewordThe Discovery of Tutankhamun's TombTutankhamun & His WorldColor PlatesCatalogueBibliography

     In less than three weeks, Hitler achieved the most extraordinary military triumph of modern times: Holland, Luxembourg, and Belgium had been overrun; the French army was about to collapse; and the entire British Expeditionary Force, which had been sent across the Channel to help stop the Germans, was trapped against the sea at Dunkirk. Unless they could be rescued, Britain would be left without an army. ‘Dunkirk’ is the first book to present an overview of those awful days and show the effect the battle on the beaches was having on the rest of the world. It is also the day-by-day story of a great escape, of the transformation of a massive defeat into what would ultimately prove a disaster for Germany. “Norman Gelb demonstrates in Dunkirk how productive it is to focus on an individual operation or battle … Dunkirk is both a good adventure read and an instructive case study yielding modern lessons.” — JOHN LEHMAN, Former Secretary of the Navy, The Wall Street Journal “Norman Gelb finds fresh angles … Dunkirk stands as an exemplar of the perils of vacillation and the possibilities of action.” — The New York Times Book Review “Mr. Gelb has excavated beneath surface events, delved into political and psychological factors, and produced an intelligent, fast-moving narrative.” — PROFESSOR ARNOLD AGES, Baltimore Sun — “Vivid and comprehensive … Absorbing … Sets a high standard for other reconstructions” — Kirkus Reviews NORMAN GELB was born in New York and is the author of seven highly acclaimed books, including The Berlin Wall, Scramble: A Narrative History of the Battle of Britain, and Less Than Glory. He was, for many years, correspondent for the Mutual Broadcasting System, first in Berlin and then in London. He is currently the London correspondent for New Leader magazine. Endeavour Press is the UK's leading independent digital publisher. For more information on our titles please sign up to our newsletter at www.endeavourpress.com. Each week you will receive updates on free and discounted ebooks. Follow us on Twitter: @EndeavourPress and on Facebook via http://on.fb.me/1HweQV7. We are always interested in hearing from our readers. Endeavour Press believes that the future is now.

    The legendary curator John Szarkowski, director emeritus of the Department of Photography at New York's Museum of Modern Art, has painstakingly selected what he considers Adams' finest work and has attempted to find the single best photographic print of each. Szarkowski writes that "Ansel Adams at 100 is the product of a thorough review of work that Adams, at various times in his career, considered important. It includes many photographs that will be unfamiliar to lovers of Adams' work, and a substantial number that will be new to Adams scholars. The book is an attempt to identify that work on which Adams' claim as an important modern artist must rest." Ansel Adams at 100-the highly acclaimed international exhibition and the book, with Szarkowski's incisive critical essay-is the first serious effort since Adams' death in 1984 to reevaluate his achievement as an artist. The exhibition prints, drawn from important public and private collections, have been meticulously reproduced in tritone to create the splendid plates in this edition, faithfully rendering the nuances of the original prints. Ansel Adams at 100 is destined to be the definitive book on this great American artist. John Szarkowski is director emeritus of the Department of Photography, The Museum of Modern Art, New York. He is the author of such classic works as Looking at Photographs, The Photographer's Eye, Photography Until Now, and Atget, as well as several books of his own photographs, including the recently reissued The Idea of Louis Sullivan.

    The concert and the live album, Johnny Cash at Folsom Prison, propelled him to worldwide superstardom. He reached new audiences, ignited tremendous growth in the country music industry, and connected with fans in a way no other artist has before or since.Johnny Cash at Folsom Prison is a riveting account of that day, what led to it, and what came after. Scrupulously researched, rich with the author's unprecedented access to Folsom Prison's and Columbia Records' archives, illustrated with more than 100 photos, Johnny Cash at Folsom Prison shows how Johnny Cash forever became a champion of the downtrodden, as well as one of the more enduring forces in American music.

    Seuss was drawing biting cartoons for adults that expressed his fierce opposition to anti-Semitism and fascism. An editorial cartoonist from 1941 to 1943 for PM magazine, a left-wing daily New York newspaper, Dr. Seuss launched a battle against dictatorial rule abroad and America First (an isolationist organization that argued against U.S. entry into World War II) with more than 400 cartoons urging the United States to fight against Adolf Hitler and his cohorts in fascism, Benito Mussolini, Pierre Laval, and Japan (he never depicted General Tojo Hideki, the wartime prime minister, or Togo Shigenori, the foreign minister). Dr. Seuss Goes to War, by Richard H. Minear, includes 200 of these cartoons, demonstrating the active role Dr. Seuss played in shaping and reflecting how America responded to World War II as events unfolded.As one of America's leading historians of Japan during World War II, Minear also offers insightful commentary on the historical and political significance of this immense body of work that, until now, has not been seriously considered as part of Dr. Seuss's extraordinary legacy.Born to a German-American family in Springfield, Massachusetts, in 1904, Theodor Geisel began his cartooning career at Dartmouth College, where he contributed to the humor magazine. After a run-in with college authorities for bootlegging liquor, he had to use a pseudonym to get his work published, choosing his middle name, Seuss, and adding "Dr." several years later when he dropped out of graduate school at Oxford University in England. He had never planned on setting poison political pen to paper until he realized his deep hatred of Italian fascism. The first editorial cartoon he drew depicts the editor of the fascist paper Il Giornale d'Italia wearing a fez (part of Italy's fascist uniform) and banging away at a giant steam typewriter while a winged Mussolini holds up the free end of the banner of paper emerging from the roll. He submitted it to a friend at PM, an outspoken political magazine that was "against people who push other people around," and began his two-year career with the magazine before joining the U.S. Army as a documentary filmmaker in 1943.Dr. Seuss's first caricature of Hitler appears in the May 1941 cartoon, "The head eats, the rest gets milked," portraying the dictator as the proprietor of "Consolidated World Dairy," merging 11 conquered nations into one cow. Hitler went on to become one of the main caricatures in Seuss's work for the next two years, depicted alone, among his generals and other Germans, and with his allies Benito Mussolini and Pierre Laval. He is also drawn alongside "Japan," which Dr. Seuss portrays quite offensively, with slanted, bespectacled eyes and a sneering grin. While Dr. Seuss was outspoken against antiblack racism in the United States, he held a virulent disdain for the Japanese and rendered sinister and, at times, slanderous caricatures of their wartime actions even before the bombing of Pearl Harbor. But Dr. Seuss's aggression wasn't solely reserved for the fascists abroad. He was also loudly critical of America's initial apathy toward the war, skewering isolationists like America First advocate Charles Lindbergh, the Chicago Tribune's Colonel Robert McCormick, Eleanor Medill Patterson of the Washington Times-Herald, and Joseph Patterson of the New York Daily News, whom he considered as evil as Hitler. He encouraged Americans to buy war savings bonds and stamps and to do everything they could to ensure victory over fascism.Minear provides historical background in Dr. Seuss Goes to War that not only serves to contextualize these cartoons but also deftly explains the highly problematic anti-Japanese and anticommunist stances held by both Dr. Seuss and PM magazine, which contradicted the leftist sentiments to which they both eagerly adhered. As Minear notes, Dr. Seuss eventually softened his feelings toward communism as Russia and the United States were united on the Allied front, but his stereotypical portrayals of Japanese and Japanese-Americans grew increasingly and undeniably racist as the war raged on, reflecting the troubling public opinion of American citizens. Minear does not attempt to ignore or redeem Dr. Seuss's hypocrisy; rather, he shows how these cartoons evoke the mood and the issues of the era. After Dr. Seuss left PM magazine, he never drew another editorial cartoon, though we find in these cartoons the genesis of his later characters Yertle the dictating turtle and the Cat in the Hat, who bears a striking resemblance to Uncle Sam. Dr. Seuss Goes to War is an astonishing collection of work that many of his devoted fans have not been able to see until now. But this book is also a comprehensive, thoughtfully researched, and exciting history lesson of the Second World War, by a writer who loves Dr. Seuss as much as those who grow up with his books do.

    Now revised, enlarged and expanded, Kenneth Frampton brings the story up to date and adds an entirely new concluding chapter that focuses on four countries where individual talent and enlightened patronage have combined to produce a comprehensive and convincing architectural culture: Finland, France, Spain and Japan. The bibliography has also been reviewed and extended, making this volume more indispensable than ever.

    Newbery Honor Book author Jim Murphy orchestrates with fact, science, technology, and sociology the testimony of survivors and victims to tell the harrowing story of the phenomenal blizzard that crippled New York City in March, 1888.

    Her vivid visual vocabulary--sensuous flowers, bleached bones against red sky and earth--had a stunning, profound, and lasting influence on American art. O'Keeffe's personal mystique is as intriguing and enduring as her bold, brilliant canvases. Here is the first full account of her exceptional life-- from her girlhood and early days as a controversial art teacher, to her discovery by the pioneering photographer of the New York avant-garde, Alfred Stieglitz, to her seclusion in the New Mexico desert, where she lived until her death. And here is the story of a great romance between the extraordinary painter and her much older mentor, lover, and husband, Alfred Stieglitz. Renowned for her fierce independence, iron determination, and unique artistic vision, Georgia O'Keeffe is a twentieth-century legend who career spanned the history modern art in America.

    Chicago's change and growth over the last century is captured in this photographic history. Modern color photos sit side by side with black and white archival photographs. Every important building, avenue, neighborhood, and point of interest is documented. It covers all of Chicago's landmarks from Navy Pier to the Stockyards and from the Southside all the way up the Magnificent Mile. Take in a game at Wrigley Field, then take it all in from the top of the Sear's Tower. The Water Tower and all the other architectural features that make Chicago great are also included.

    Created in collaboration with Jeff Tweedy, Wilco, and Tony Margherita, this primarily visual book explores what Wilco does, how it does it, and where it all comes together. The band narrates the book in the form of long captions accompanying a variety of images: a Korean postcard, a Stratocaster, a backstage practice session, and so on. Along the way, central topics such as instruments, touring, and recording are covered both in general (i.e., what happens, physically, when a guitar string breaks) and specific to Wilco. Just as the band assembles its disparate talents and inspirations to make music, this book coheres in the end to reveal a 40 minute CD of original, unreleased songs. Just as Wilco experiments with music by turning convention on its head, this book is an utterly new take on the old genre of the rock 'n' roll book. The Wilco Book will look and read like a Wilco record sounds; it's a translation of the band's sensibility from sound into print.

    It documents her experience visiting the continent of Antarctica in January 2019 with photos taken by New Zealand photographer Harriet Were. Lorde expressed an interest in exploring the region of Antarctica since she was old enough to read. In January 2019, she visited Scott Base and McMurdo Station, Antarctica, travelling as an Antarctic Ambassador. During her visit, she observed microscopic species in environmental laboratories and spoke with scientists. Lorde described the book as "sort of a perfect precursor" to her upcoming third studio album. It will feature over 100 pages of images taken by New Zealand photographer Harriet Were and writings from Lorde. All proceeds will be used to fund a postgraduate scholarship created by Antarctica New Zealand, a government agency.

    She was born into a proper Victorian family, and came of age during suffrage. The quintessential Bohemian, she spent more than half a century, from her early days as a WPA artist living in the heart of the Village, through her Whitney retrospective in 1974, until her death ten years later, painting, often in near-obscurity, an extraordinarily diverse population—from young black sisters in Harlem to the elderly Jewish twin artists, Raphael and Moses Soyer, to Meyer Schapiro and Linus Pauling, to the American Communist Party chairman Gus Hall—creating an indelible portrait of 20th century America.Neel's hundreds of portraits portray a universe of powerful personalities and document an age. Neel painted through the Depression, McCarthyism, the Civil Rights Movement, the sexual revolution of the 60's, feminism, and the feverish eighties. Fiercely democratic in her subjects, she portrayed her lovers, her children, her neighbors in Spanish Harlem, pregnant nudes, crazy people, and famous figures in the art world, all in a searing, psychological style uniquely her own. From Village legend Joe Gould with multiple penises to Frank O'Hara as a lyrical young poet, from porn star Annie Sprinkle gussied up in leather, to her own anxious, nude pregnant daughter-in-law, Neel's portraits are as arrestingly executed as they are relentlessly honest.In this first full-length biography of Neel, best-selling author Phoebe Hoban recounts the remarkable story of Neel's life and career, as full of Sturm and Drang as the century she powerfully captured in paint. Neel managed to transcend her often tragic circumstances, surviving the death from diphtheria of her infant daughter Santillana, her first child by the renowned Cuban painter Carlos Enriquez, with whom she lived in Havana for a year before returning to America; the break-up of her marriage; a nervous breakdown at thirty resulting in several suicide attempts for which she was institutionalized; and the terrible separation from her second child, Isabetta, whom Carlos took back to Havana.In every aspect of her life, Neel dictated her own terms—from defiantly painting figurative pieces at the height of Abstract Expressionism, convincing her subjects to disrobe (which many of them did, including, surprisingly, Andy Warhol) to becoming a single mother to the two sons she bore to dramatically different partners. No wonder she became the de facto artist of the Feminist movement. (When Time magazine put Kate Millet on its cover in 1970, she was asked to paint the portrait.) Very much in touch with her time, Neel was also always ahead of it. Although she herself would probably have rejected such label, she was America's first feminist, multicultural artist, a populist painter for the ages.Phoebe Hoban's Alice Neel: The Art of Not Sitting Pretty tells the unforgettable story of a woman who forged a permanent place in the pantheon by courageously flaunting convention, both in her life and her work.

    Its aim is to enable the reader to recognise, understand and date any British building.As Matthew Rice says, ‘Once you can speak any language, conversation can begin, but without it communications can only be brief and brutish. The same is the case with Architecture: an inability to describe the component parts of a building leaves one tongue-tied and unable to begin to discuss what is or is not exciting, dull or peculiar about it.' RICE'S ARCHITECTURAL PRIMER will explain the language of architecture. With it in your hand, pocket or car, buildings will break down beguilingly into their component parts, ready for inspection and discussion. There will be no more references to that curly bit on top of the thing with the square protrusions. Ungainly and inept descriptions will be a thing of the past and, fluent in the world of volutes, hood moulds, lobed architraves and bucrania, you will be able to leave a cathedral or country house with as much to talk about as a film or play.RICE'S ARCHITECTURAL PRIMER starts with an explanation of the basic ‘Grammar' of buildings: elevation, plan, roof, gable and eave. This will enable the reader to better make use of what is to follow. It will also cover the Orders of Architecture – Doric, Tuscan, Ionic, Corinthian and Composite – so that the vital basics of Classicism are covered. Following this is the ‘Vocabulary'. This will be a chronological reference section covering, period by period, the windows, doors and doorcases, columns, chimneys, arches, balustrades and pediments that make up the built environment.

    It is named after the book dealer Wilfrid Voynich, who purchased it in 1912.http://en.wikipedia.org/wiki/Voynich_...

    They are enjoying a renaissance, with graphic designers and artists creating specialty tattoos for a growing audience, unleashing a revival of interest in the bawdy vintage tattoo. Old school tattoos are being rediscovered (sometimes ironically, sometimes not) by a new generation. Originally embraced by rebels, sailors, and gangsters, these tattoos—broken hearts, naked girls, floral motifs, and maritime emblems—are now showing up on the fashion runway and in music videos. This book chronicles vintage motifs in thematic chapters interspersed with profiles of influential tattoo artists and their distinctive designs: Sailor Jerry Collins, Don Ed Hardy ("the Godfather of Tattoos"), Mike "Rollo Banks" Malone, Bert Grimm, Japan’s Horiyoshi III, and Shanghai’s Pinky Yun.