A box of buttons, mother-of-pearl and plastic, metal and glass, rattling and untethered. A hundred-year-old pin, forgotten in a hem. Fragile silks and fugitive dyes, fans and crinolines, and the faint mark on leather from a buckle now lost. Claire Wilcox has worked as a curator in Fashion at the Victoria & Albert Museum for most of her working life. Down cool, dark corridors and in quiet store rooms, she and her colleagues care for, catalogue and conserve clothes centuries old, the inscrutable remnants of lives long lost to history; the commonplace or remarkable things that survive the bodies they once encircled or adorned. In Patch Work, Wilcox deftly stitches together her dedicated study of fashion with the story of her own life lived in and through clothes. From her mother's black wedding suit to the swirling patterns of her own silk kimono, her memoir unfolds in luminous prose the spellbinding power of the things we wear: their stories, their secrets, their power to transform and disguise and acts as portals to our pasts; the ways in which they measure out our lives, our gains and losses, and the ways we use them to write our stories.

    From the Nazi purges of 'degenerate art' and Goering's shopping sprees in occupied Paris to the perilous journey of the 'Mona Lisa' from Paris and the painstaking reclamation of the priceless treasures of liberated Italy, The Rape of Europa is a sweeping narrative of greed, philistinism, and heroism that combines superlative scholarship with a compelling drama.The cast of characters includes Hitler and Goering, Gertrude Stein and Marc Chagall--not to mention works by artists from Leonardo da Vinci to Pablo Picasso.

    These essays, collected from the pages of The Economist's Intelligent Life magazine, reveal the special hold that some museums have over us all.In his ode to the Museum of Anthropology in Xalapa, Mexico, the great novelist and essayist Carlos Fuentes writes, “Museums, like lovers, can lose their charms. But the next time can always be the first time.” William Boyd visits the Leopold Museum in Vienna—a shrine to his favorite artist, Egon Schiele, whom Boyd first discovered on a postcard as a University student. In front of her favorite Rodins, Allison Pearson recalls a traumatic episode she suffered at the hands of a schoolteacher following a trip to the Musée in Paris. Neil Gaiman admires the fantastic world depicted in British outsider artist Richard Dadd’s “The Fairy Feller’s Master-Stroke,” a tiny painting that also decorated the foldout cover of a Queen album, housed in the Victorian room of Tate Britain’s Pre-Raphaelite collection. Ann Patchett fondly revisits Harvard University’s Museum of Natural History—which she discovered at 19, while in the throes of summer romance with a biology student named Jack.Treasure Palaces is a treasure trove of wonders, a tribute to the diversity and power of the museums, the safe-keepers of our world’s most extraordinary artifacts, and an intimate look into the deeply personal reveries we fall into when before great art.

    It sits in the quiet dark of an archive waiting for a treasure hunter or obsessive researcher to root out its very existence. Under the streets of Manhattan priceless books are shelved; brick outbuildings in London’s East End house drawers of Victorian embroidery remembering foundlings long ago dead; body bags in Washington clothe space suits covered in real moon dust and in an unvisited aircraft hangar sits Auguste Piccard’s extraordinary invention, the balloon gondola…This and many other extraordinary inventions, legacies, discoveries and artefacts have been visited and curated by Molly Oldfield into a Secret Museum. Rich in atmosphere and anecdote, suffused with the surprising emotion of a personal discovery, but grounded in fascinating factual detail, this is a unique and beautifully illustrated book.The Secret Museum reveals sixty unknown artefacts and stories from all five continents, from Rome to Rio and Boston to Berlin. And like the very best mornings spent at a museum it promises to be idiosyncratic, surprising and enormously good fun.The Artefacts in the book include: An original Gutenberg Bible printed on vellum, Harrison Schmitt’s Space Suit, A piece of Newton’s Apple Tree, Van Gogh’s Sketchbooks, The original drawings of Wimbledon’s Centre Court, Dickens’ letter opener,Three pieces of Mars, and much more…

    Forced to sell thousands of acres of his lands and nearly all of his furniture and artwork, in 1831 his heirs bid a final goodbye to Monticello itself. The house their illustrious patriarch had lovingly designed in the Blue Ridge Mountains of Virginia, his beloved "essay in architecture," was sold to the highest bidder. "Saving Monticello" offers the first complete post-Jefferson history of this American icon and reveals the amazing story of how one Jewish family saved the house that became a family home to them for 89 years -- longer than it ever was to the Jeffersons. With a dramatic narrative sweep across generations, Marc Leepson vividly recounts the turbulent saga of this fabled estate. Twice the house came to the brink of ruin, and twice it was saved, by two different generations of the Levy family. United by a fierce love of country, they venerated the Founding Fathers for establishing a religiously tolerant and democratic nation where their family had thrived since the founding of the Georgia colony in 1733, largely free of the persecutions and prejudices of the Old World.Monticello's first savior was the mercurial U.S. Navy Commodore Uriah Phillips Levy, a colorful and controversial sailor, celebrated for his successful campaign to ban flogging in the Navy and excoriated for his stubborn willfulness. Prompted in 1833 by the Marquis de Lafayette's inquiry about "the most beautiful house in America," Levy discovered that Jefferson's mansion had fallen into a miserable state of decay. Acquiring the ruined estate and committing his considerableresources to its renewal, he began what became a tumultuous nine-decade relationship between his family and Jefferson's home.After passing from Levy control at the time of the commodore's death, Monticello fell once more into hard times, cattle being housed on its first floor and grain in its once elegant upper rooms. Again, remarkably, a member of the Levy family came to the rescue. Uriah's nephew, the aptly named Jefferson Monroe Levy, a three-term New York congressman and wealthy real estate and stock speculator, gained possession in 1879. After Jefferson Levy poured hundreds of thousands of dollars into its repair and upkeep, his chief reward was to face a vicious national campaign, with anti-Semitic overtones, to expropriate the house and turn it over to the government. Only after the campaign had failed, with Levy declaring that he would sell Monticello only when the White House itself was offered for sale, did Levy relinquish it to the Thomas Jefferson Foundation in 1923.Rich with memorable, larger-than-life characters, beginning with Thomas Jefferson himself, the story is cast with such figures as James Turner Barclay, a messianic visionary who owned the house from 1831 to 1834; the fiery Uriah Levy, he of the six courts-martial and teenage wife; the colorful Confederate Colonel Benjamin Franklin Ficklin, who controlled Monticello during the Civil War; and the eccentric, high-living, deal-making egoist Jefferson Monroe Levy. Pulling back the veil of history to reveal a story we thought we knew, "Saving Monticello" establishes this most American of houses as more truly reflective of the American experience than has ever been fully appreciated.

    They range from the intensely physical, like the Icelandic Phallological Museum, which collects the penises of every mammal known to exist in Iceland, to the vaporously metaphysical, like the Museum of Icelandic Sorcery and Witchcraft, which poses a particularly Icelandic problem: How to display what can't be seen?In The Museum of Whales You Will Never See, A. Kendra Greene is our wise and whimsical guide through this cabinet of curiosities, showing us, in dreamlike anecdotes and more than thirty charming illustrations, how a seemingly random assortment of objects--a stuffed whooper swan, a rubber boot, a shard of obsidian, a chastity belt for rams--can map a people's past and future, their fears and obsessions. The world is chockablock with untold wonders, she writes, there for the taking, ready to be uncovered at any moment, if only we keep our eyes open.

    But which ones? As he guides readers through an intellectual hall of mirrors, Lawrence Weschler revisits the 16th-century "wonder cabinets" that were the first museums and compels readers to examine the imaginative origins of both art and science. Illustrations.

    Their lives soon become entwined with their next-door neighbors: Javad, an Iranian neuroscientist, and his college-aged son, Amir, who is drawn to the illicit exploration of the city's forbidden spaces.As Esther settles into life in London, a friendship develops with Javad. But when terrorists attack the London transit system in July, the chaos that follows both fractures possibilities for the future, and reveals the deep fault lines of the past.With both nuanced clarity and breathtaking grandeur, Margot Singer's Underground Fugue is an elegant, suspenseful, and deeply powerful debut.

    Lincoln scholar Harold Holzer sheds new light on the war by examining fifty objects from the New-York Historical Society’s acclaimed collection. A daguerreotype of an elderly, dignified ex-slave, whose unblinking stare still mesmerizes; a soldier’s footlocker still packed with its contents; Grant’s handwritten terms of surrender at Appomattox—the stories these objects tell are rich, poignant, sometimes painful, and always fascinating. They illuminate the conflict from all perspectives—Union and Confederate, military and civilian, black and white, male and female—and give readers a deeply human sense of the war. With an introduction from Pulitzer Prize winner Eric Foner and more than eighty photographs, The Civil War in 50 Objects is the perfect companion for readers and history fans to commemorate the 150th anniversaries of both the Battle of Gettysburg and Lincoln’s Gettysburg Address.

    The band aimed to build on previous sales and critical acclaim with its boldest and most ambitious album yet, but was instead urged by skittish Reprise execs to make the record more “radio friendly.” When Wilco wouldn’t give, they found themselves without a label. Instead, they used the Internet to introduce the album to their fans, and eventually sold the record to Nonesuch, another division of Warner. Wilco was vindicated when the album debuted at No. 13 on the Billboard charts and posted the band’s strongest sales to date. Wilco: Learning How to Die traces the band’s story to its deepest origins in Southern Illinois, where Jeff Tweedy began growing into one of the best songwriters of his generation. As we witness how his music grew from its punk and alt-country origins, some of the key issues and questions in our culture are addressed: How is music of substance created while the gulf between art and commerce widens in the corporate consolidation era? How does the music industry make or break a hit? How do working musicians reconcile the rewards of artistic risk with the toll it exacts on their personal life? This book was written with the cooperation of Wilco band members past and present.  It is also fully up to date, covering the latest changes in personnel and the imminent release of the band’s fifth album, A Ghost Is Born, sure to be one of the most talked-about albums of 2004.

    Yet few of them are aware of the remarkable history of that place and of the buildings themselves—a fascinating story that historian James Gardner elegantly chronicles in the first full-length history of the Louvre in English.More than 7,000 years ago, men and women camped on a spot called Le Louvre for reasons unknown; a clay quarry and a vineyard supported a society there in the first centuries AD. A thousand years later, King Philippe Auguste of France constructed a fortress there in 1191, just outside the walls of a city far smaller than the Paris we know today. Intended to protect the capital against English soldiers stationed in Normandy, the fortress became a royal residence under Charles V two centuries later, and then the monarchy’s principal residence under the great Renaissance king François I in 1546. It remained so until 1682 when Louis XIV moved his entire court to Versailles. Thereafter the fortunes of the Louvre languished until the tumultuous days of the French Revolution when, during the Reign of Terror in 1793, it first opened its doors to display the nation’s treasures. Ever since—through the Napoleonic era, the Commune, two World Wars, to the present—the Louvre has been a witness to French history, and expanded to become home to a legendary collection, including such masterpieces as the Mona Lisa and Venus de Milo, whose often-complicated and mysterious origins form a spectacular narrative that rivals the building’s grand stature.

    Eight Apulian vases, of the fourth century BC, were discovered in the swimming pool of a German-based art smuggler. More valuable than the recovery of the vases, however, was the discovery of the smuggler's card index detailing his deals and fellow dealers. It revealed the existence of the furtive tombaroli -tomb raiders-who stole classical artifacts, and a clandestine network of dealers and smugglers who spirited them out of Italy and into the hands of wealthy collectors and museums.Peter Watson, a distinguished former investigative journalist of the London Sunday Times and author of two previous exposes of art world scandals, traces the networks and names the key figures who have depleted Europe of its classical treasures. Among the looted items are the irreplaceable and highly collectable vases of Euphronios, the equivalent in their field to the sculptures of Bernini or the paintings of Michelangelo. Their journey takes them through the doors of some of the world's greatest institutions: Sotheby's auction house, the Getty Museum, the Museum of Fine Arts Bostons, the British Museum, the Berline Museum of Classical Antiquities, the Miho Museum in Japan and the Metropolitan Museum of Art in New York City.When the news networks around the world began to broadcast the events of the trial of a former curator at the Getty Museum in Los Angeles in 2005, they stumbled across the corner of a thirty-year conspiracy. Filled with colorful characters and hum drama. The Medici Conspiracy completely and authoritatively exposes the latest version of one of the oldest cons in the world: theft, smuggling, and duplicitous dealing-all in the name of art. With this definitive revelation of the chain of corruptions, the world of antiquities dealing and museum collections will never be the same again.

    Personal drives, group identity, decision-making and meaning-making strategies, memory, and leisure preferences, all enter into the visitor experience, which extends far beyond the walls of the institution both in time and space. Drawing upon a career in studying museum visitors, renowned researcher John Falk attempts to create a predictive model of visitor experience, one that can help museum professionals better meet those visitors’ needs. He identifies five key types of visitors who attend museums and then defines the internal processes that drive them there over and over again. Through an understanding of how museums shape and reflect their personal and group identity, Falk is able to show not only how museums can increase their attendance and revenue, but also their meaningfulness to their constituents.

    Anne-Marie O'Connor, writer for the Washington Post, formerly of the Los Angeles Times, tells the galvanizing story of the Lady in Gold, Adele Bloch-Bauer, a dazzling Viennese Jewish society figure; daughter of the head of one of the largest banks in the Hapsburg Empire, head of the Oriental Railway, whose Orient Express went from Berlin to Constantinople; wife of Ferdinand Bauer, sugar-beet baron. The Bloch-Bauers were art patrons, and Adele herself was considered a rebel of fin de siècle Vienna (she wanted to be educated, a notion considered "degenerate” in a society that believed women being out in the world went against their feminine "nature"). The author describes how Adele inspired the portrait and how Klimt made more than a hundred sketches of her-simple pencil drawings on thin manila paper. And O'Connor writes of Klimt himself, son of a failed gold engraver, shunned by arts bureaucrats, called an artistic heretic in his time, a genius in ours. She writes of the Nazis confiscating the portrait of Adele from the Bloch-Bauers' grand palais; of the Austrian government putting the painting on display, stripping Adele's Jewish surname from it so that no clues to her identity (nor any hint of her Jewish origins) would be revealed. Nazi officials called the painting, "The Lady in Gold" and proudly exhibited it in Vienna's Baroque Belvedere Palace, consecrated in the 1930s as a Nazi institution. The author writes of the painting, inspired by the Byzantine mosaics Klimt had studied in Italy, with their exotic symbols and swirls, the subject an idol in a golden shrine. We see how, sixty years after it was stolen by the Nazis, the Portrait of Adele Bloch-Bauer became the subject of a decade-long litigation between the Austrian government and the Bloch-Bauer heirs, how and why the U.S. Supreme Court became involved in the case, and how the Court's decision had profound ramifications in the art world. In this book listeners will find riveting social history; an illuminating and haunting look at turn-of-the-century Vienna; a brilliant portrait of the evolution of a painter; a masterfully told tale of suspense. And at the heart of it, The Lady in Gold-the shimmering painting, and its equally irresistible subject, the fate of each forever intertwined.

    But as Stephen Asma shows in Stuffed Animals and Pickled Heads, there is moregoing on in these great institutions than just smart fun. Asma takes us on a wide-ranging tour of natural history museums in New York and Chicago, London and Paris, interviewing curators, scientists, and exhibit designers, and providing a wealth of fascinating observations. We learn how the first museums were little more than high-toned side shows, with such garish exhibits as the pickled head of Peter the Great's lover. In contrast, today's museums are hot-beds of serious science, funding major research in such fields as anthropology and archaeology. Rich in detail, lucid explanation, telling anecdotes, and fascinating characters.... Asma has rendered a fascinating and credible account of how natural history museums are conceived and presented. It's the kind of book that will not only engage a wide and diverse readership, but it should, best of all, send them flocking to see how we look at nature and ourselves in those fabulous legacies of the curiosity cabinet.--The Boston Herald.