In this novel in the #1 New York Times bestselling In Death series, Lieutenant Eve Dallas faces a serial killer who offers his victims eternal youth by taking their life… After a tip from a reporter, Eve Dallas finds the body of a young woman in a Delancey street dumpster. Just hours before, the news station had mysteriously received a portfolio of professional portraits of the woman. The photos seemed to be nothing out of the ordinary for any pretty young woman starting a modeling career. Except that she wasn't a model. And that these photos were taken after she had been murdered. Now Dallas is on the trail of a killer who's a perfectionist and an artist. He carefully observes and records his victim's every move. And he has a mission: to own every beautiful young woman's innocence, to capture her youth and vitality—in one fateful shot...

An artist whose canvas signifies death. A Deputy Inspector desperate for a child who’s caught in the middle. An Inspector who prefers to work alone. These are the essential elements of ‘A Portrait of Death’. Deputy Inspector Lola Gúzman and her husband are on holiday innocently wandering around Barcelona, enjoying the sights and experiencing the culture, when all hell breaks loose as blood and death seem to occur all around her. However, the killing spree isn’t just confined to the Catalonian capital, but spreads to other cities all around Spain growing ever more gruesome. The massacres do have one thing in common; they come accompanied by works of art. Art created by the brush of a master. Deputy Inspector Lola Gúzman teams up with Inspector Andrés López of the UCO, Spain’s elite organized crime department. They are confronted by no ordinary criminal, but a madman who will stop at nothing to produce the most grotesque paintings possible; paintings that will live long in the memory. However, the paintings don’t just include random members of the general public, as the two police officers find that the lives of the ones they hold dearest have also stepped into the killer’s cross hairs.

Three years ago, I held her pink silk toe shoe in my hand, helplessly watching the cab drive away before I could give it back to her. The next morning when I stood in front of the portrait drying on my easel, I knew the beautiful ballerina would soon die. Her portrait is one of two hundred and twenty-seven. Each one of the subjects is the victim of murder, and I've painted them all. I've kept my morbid ability a secret for twenty years, terrified someday, someone would find out.Someday has arrived, and the someone banging down my door today demanding answers is a gorgeous, irate homicide detective armed with a photo of one of my paintings right there on the front page of the most popular tabloid in the city. He peppers me with questions I can't answer, and despite my worst fears being realized, all I can think about is painting this man, alive, and with far fewer clothes on.Detective Callum Graham tells me the dead ballerina I painted is his sister, and she's been missing for three years. Missing, he says firmly, as though any other conclusion is unacceptable. My inappropriate thoughts of seeing him naked, vanish. How do I explain to this man, this brother desperate to find his baby sister alive, that she's been dead for two years, eleven months, and three weeks?

Forty years and 1,400 executions after the U.S. Supreme Court ruled the death penalty constitutional, eminent political scientist Frank Baumgartner and a team of younger scholars have collaborated to assess the empirical record and provide a definitive account of how the death penalty has been implemented. A Statistical Portrait of the Death Penalty shows that all the flaws that caused the Supreme Court to invalidate the death penalty in 1972 remain and indeed that new problems have arisen. Far from "perfecting the mechanism" of death, the modern system has failed.

In the quiet English village of Marmis Parva, a weekend house party is organised by a society hostess...but this is no ordinary soiree. Renowned Contralto Giselle Du'Lac, society nerve specialist Mr Weatherly Draycott, and young socialite Lady Bunny Ellerbeck are amongst the guests who have been invited to make it the social event of the season, but the weekend ends in horror when two men are savagely murdered during the course of the first evening and a young man, presumed dead, returns home after two years' imprisonment in South Africa, bringing with him proof of treason. Detective Chief Inspector Elliott Caine's long-awaited holiday in the Lake District is cancelled as he is brought in to investigate the peculiar nature of the murders. More bodies are discovered, and Elliott has to manoeuvre between high society, Government protocols and the sickening nature of the crimes if he and his old friend, Detective Sergeant Abernathy Thorne, are to catch this sadistic killer, and the traitor lurking amongst the honoured guests. When Caine's mysterious past comes back to haunt him, will his judgement be too clouded to focus on solving the crime? Will the Boer spy's identity be uncovered before they can flee? How are these murders connected to another in New York? A Portrait of Death: The Versipellis Mysteries, Book One, is the first in an exiting new series following the supernatural escapades of Victorian Occult Investigators, Elliott Caine and Abernathy Thorne.

'This is a story about what might happen when a woman takes charge... A glorious visceral mystery' The Times While on her daily walk with her dog in the woods near her home, Vesta comes across a chilling handwritten note. Her name was Magda. Nobody will ever know who killed her. It wasn't me. Here is her dead body. Shaky even on her best days, Vesta is also alone, and new to the area, having moved here after the death of her husband. Her brooding about the note grows quickly into a full-blown obsession: who was Magda and how did she meet her fate? From the Booker-shortlisted author of Eileen comes this razor-sharp, chilling and darkly hilarious novel about the stories we tell ourselves and how we strive to obscure the truth. __________________________ PRAISE FOR DEATH IN HER HANDS: 'Routinely hailed as one of the most exciting young American authors working today' Guardian 'A new kind of murder mystery' New Yorker 'Dark, devious' Observer 'A fine line between shocking realism and the absurd' New Statesman 'A brilliant off-kilter detective story' Evening Standard 'A beautiful novel' Sunday Times

How portraits of artists during the Renaissance helped create the first art stars in modern history Michelangelo was one of the biggest international art stars of his time, but being Michelangelo was no easy thing: he was stalked by fans, lauded and lambasted by critics, and depicted in unauthorized portraits. Still Lives traces the process by which artists such as Michelangelo, Dürer, and Titian became early modern celebrities. Artists had been subjects of biographies since antiquity, but Renaissance artists were the first whose faces were sometimes as recognizable as their art. Maria Loh shows how this transformation was aided by the rapid expansion of portraiture and self-portraiture as independent genres in painting and sculpture. She examines the challenges confronting artists in this new image economy: What did it mean to be an image maker haunted by one's own image? How did these changes affect the everyday realities of artists and their workshops? And how did images of artists contribute to the way they envisioned themselves as figures in a history that would outlive them? Richly illustrated, Still Lives is an original exploration of the invention of the artist portrait and a new form of secular stardom.