Published In Aid of BBC Children in Need * The Countryfile Calendar has brought nature into our homes for nearly three decades, and now this comprehensive collection captures the essence of each season, bringing together viewers’ photographs of the British countryside throughout the year.

The best guide to the country, packed with full-color photographs of the highest caliber This magnificent collection of photographs captures not only Britain's splendid natural beauty, but the very essence of the land—its people, its history, its architecture, and its customs. Stunning pictures transport readers on a journey county by county though England, Scotland, and Wales, with extended captions that bring each image to life. From cottages to cathedrals, from palaces to promenades, and from Stonehenge to the works of modern British sculptors, this is a stunning photographic celebration of Britain's glorious past and thriving present.

Family Britain continues David Kynaston's groundbreaking series Tales of a New Jerusalem, telling as never before the story of Britain from VE Day in 1945 to the election of Margaret Thatcher in 1979. 'The book is a marvel ... the level of detail is precise and fascinating' Sunday Telegraph 'A wonderfully illuminating picture of the way we were' The Times As in Austerity Britain, an astonishing array of vivid, intimate and unselfconscious voices drive the narrative. The keen-eyed Nella Last shops assiduously at Barrow Market as austerity and rationing gradually give way to relative abundance; housewife Judy Haines, relishing the detail of suburban life, brings up her children in Chingford; the self-absorbed civil servant Henry St John perfects the art of grumbling. These and many other voices give a rich, unsentimental picture of everyday life in the 1950s. We also encounter well-known figures on the way, such as Doris Lessing (joining and later leaving the Communist Party), John Arlott (sticking up on Any Questions? for the rights of homosexuals) and Tiger's Roy of the Rovers (making his goal-scoring debut for Melchester). All this is part of a colourful, unfolding tapestry, in which the great national events - the Tories returning to power, the death of George VI, the Coronation of Queen Elizabeth, the Suez Crisis - jostle alongside everything that gave Britain in the 1950s its distinctive flavour: Butlin's holiday camps, Kenwood food mixers, Hancock's Half-Hour, Ekco television sets, Davy Crockett, skiffle and teddy boys. Deeply researched, David Kynaston's Family Britain offers an unrivalled take on a largely cohesive, ordered, still very hierarchical society gratefully starting to move away from the painful hardships of the 1940s towards domestic ease and affluence.

Repainting the work of another into one?s own canvas is a deliberate and often highly fraught act of reuse. This book examines the creation, display, and reception of such images. Artists working in nineteenth-century London were in a peculiar position: based in an imperial metropole, yet undervalued by their competitors in continental Europe. Many claimed that Britain had yet to produce a viable national school of art. Using pictures-within-pictures, British painters challenged these claims and asserted their role in an ongoing visual tradition. By transforming pre-existing works of art, they also asserted their own painterly abilities. Recognizing these statements provided viewers with pleasure, in the form of a witty visual puzzle solved, and with prestige, in the form of cultural knowledge demonstrated. At stake for both artist and audience in such exchanges was status: the status of the painter relative to other artists, and the status of the viewer relative to other audience members. By considering these issues, this book demonstrates a new approach to images of historic displays. Through examinations of works by J.M.W. Turner, John Everett Millais, John Scarlett Davis, Emma Brownlow King, and William Powell Frith, this book reveals how these small passages of paint conveyed both personal and national meanings.

Luftwaffe Bombers in the Battle of Britain will contains some 140-150 images of German bomber aircraft during the summer of 1940. The images will cover the entirety of the battle and will depict losses across Britain during this period. Each picture will tell its own story, and will be fully captioned with historical detail.Each section will have a short introduction and the images will include those of shot down aircraft, including relatively intact machines, badly damaged/destroyed wreckages, photographs of pilots and other related illustrations. All images are from the author's unique collection of wartime photographs of Luftwaffe losses, collected from a variety of sources across some thirty-five years of research.

"First published in Great Britain by Bantam Press"--T.p. verso.