American photographer Clifford Coffin (1973-1972) is considered by many who knew him to be the greatest of "Vogue"'s "lost" photographers. His work had challenged the photographic standards of the day and produced fashion photos of unmatched elegance and flamboyance. Now the works of this influential and innovative fashion photographer are now published in one volume.

The Coffyn/Coffin Dynasty is a genealogical recapitulation of fifteen generations born in the United States. At first, I was going to title it The Coffin Saga Continues, but R. Gardner and Louis Coffin expired. I fell in love with a wonderful culmination of people belonging to my husband's family. I added the years before the stepping on US soil. There are millions more of people out there to be added. One can enjoy reading cover to cover about so many important individuals such as presidents, a Union Station president, aviators, college owners, and patented people besides farmers, teachers, doctors, etc. It is not the norm of "born and died" information.

'Magnificent ... Dressed for War works on many levels: as an evocation of an uncommon time; as a celebration of an uncommon woman; as pure, unalloyed fun' Lucy Davies, Daily Telegraph Dressed For War is the untold story of our most iconic fashion magazine in its most formative years, in the Second World War. It was an era when wartime exigencies gave its editor, Audrey Withers, the chance to forge an identity for it that went far beyond stylish clothes. In doing so, she set herself against the style and preoccupations of Vogue’s mothership in New York, and her often sticky relationship with its formidable editor, Edna Woolman Chase, became a strong dynamic in the Vogue story. But Vogue had a good war, with great writers and top-flight photographers including Lee Miller and Cecil Beaton – who loathed each other – sending images and reports from Europe and much further afield – detailing the plight of the countries and people living amid war-torn Europe. Audrey Withers’ deft handling of her star contributors and the importance she placed on reflecting people’s lives at home give this slice of literary history a real edge. With official and personal correspondence researched from the magazine’s archives in London and in New York, Dressed For War tells the marvellous story of the titanic struggle between the personalities that shaped the magazine for the latter half of the twentieth century and beyond.

Long before that ghastly and quite unnecessary slogging match in the mud which we now call the First World War had dragged to its blood-soaked conclusion the belief that most of the senior officers had spent their time in comfort and safety in chateaux far behind the lines with no idea of the conditions in which the men they commanded were fighting was firmly embedded in the public mind. As the years pass by that belief has, if anything, become more deeply held, gaining strength from plays like Oh! What a Lovely War, itself based on Alan Clark's book The Donkeys.It is the purpose of this book to show not only how the myth was born and grew but how totally at odds it is with the facts. Biographies of over 200 officers who held the rank of Brigadier-General or above who were killed or wounded during the war show how closely involved the men at the top were with the men at the front. Ironically, as the authors point out, this was more than just a waste of blood, for these were the very men whose experience was vital to the successful prosecution of the war. Had they actually stayed in their chateaux, as Lloyd George alleged, they might have done much more to hasten the end of the conflict.This is not only an invaluable work of reference but a tribute to those gallant senior officers who have been so unfairly traduced by many who should have known better.As featured in Essence Magazine.