The second volume of Cecil Beaton's unexpurgated diaries from 1965-1969 captures this prolific photographer, artist, writer, and designer at the height of his powers and at the center of everything in the Swinging '60s. These diaries present not only one life in fascinating minutiae, but an entire dazzling decade.

Presents a catalog to accompany the exhibition of Cecil Beaton's portraits.

Cecil Beaton's sense of style and his much-celebrated career as a designer for film and stage have come to overshadow his position as one of the great photographers of the twentieth century. Looking back from his final working years in the 1970s to the beginnings of his photography in the 1920s, we discover much more than a social record. This book is a reassessment of the complete photographic work, spanning six decades, mostly drawn from the 100000 prints and negatives in the Beaton Studio Archive at Sotheby's, and follows the definitive monograph of his work during the war years, Theatre of War, published in 2012.

A thorough analysis of the making of the film featuring original interviews with those involved. How Performance came about and the involvement of key players such as James Fox who journeyed into the criminal underworld and how real gangsters were involved in the research for the film. Reveals how Marlon Brando was originally considered for the role of Chas. The various conflicts and intrigues that arose during filming, how the film was edited, the censorship pressures, the unseen footage and how it eventually made its way to the big screen. Critical reaction to the film and how it turned into a cult classic. An overview of the careers to date of directors Donald Cammell and Nicolas Roeg.

Something Borrowed, Someone Dead continues the tradition in M. C. Beaton's beloved Agatha Raisin cozy mystery series—now a hit show on Acorn TV and public television. Gloria French was a jolly widow with dyed blonde hair, a raucous laugh and rosy cheeks. When she first moved from London to the charming Cotswolds hills, she was heartily welcomed. She seemed a do-gooder par excellence, raising funds for the church and caring for the elderly. But she had a nasty habit of borrowing things and not giving them back, just small things, a teapot here, a set of silverware there. So it's quite the shock when she is found dead, murdered by a poisoned bottle of elderberry wine. Afraid the murder will be a blight on the small town, Parish councillor, Jerry Tarrant, hires private detective Agatha Raisin to track down the murderer. But the village is secretive and the residents resent Agatha's investigation. Of course that doesn't stop the ever-persistent Agatha from investigating and sticking her nose where no one wants it—especially as the suspect list grows. And, as if it isn't enough that Agatha's ex has reentered the picture, the murderer is now targeting Agatha! With M.C. Beaton's Something Borrowed, Someone Dead the bossy, vain, and absolutely irresistible, Agatha Raisin continues to be a fan favorite.

Christmas Crumble continues the tradition in M. C. Beaton's beloved Agatha Raisin cozy mystery series—now a hit show on Acorn TV and public television. At home alone for the holidays, Agatha Raisin decides to host a dinner party for the elder residents in her Cotswold village of Winter Parva. Agatha's never been much of a homemaker, but she's dead-set on making this the perfect holiday for the "crumblies," as she affectionately calls them. She's decorated a tree while fending off her cats Hodge and Boswell, and even made a (lumpy) Christmas pudding in between swigs of rum. But when Agatha dumps the pudding on the head of the local self-proclaimed lothario—an eighty-five year old with a beer belly and fingers like sausages—his death by dessert proves more than a trifle as mysteries mount higher than the season's snowfall. So much for trying to do good by her neighbors. Now Agatha needs no less than a Christmas miracle to get herself out of this one... Deck the halls with boughs of folly this Christmas with Agatha Raisin, a modern-day Miss Marple, who Publishers Weekly calls "an absolute gem!"

“Behind almost every painting is a fortune and behind that a sin or a crime.” With these words as a starting point, Michael Gross, leading chronicler of the American rich, begins the first independent, unauthorized look at the saga of the nation’s greatest museum, the Metropolitan Museum of Art. In this endlessly entertaining follow-up to his bestselling social history 740 Park, Gross pulls back the shades of secrecy that have long shrouded the upper class’s cultural and philanthropic ambitions and maneuvers. And he paints a revealing portrait of a previously hidden face of American wealth and power. The Metropolitan, Gross writes, “is a huge alchemical experiment, turning the worst of man’s attributes—extravagance, lust, gluttony, acquisitiveness, envy, avarice, greed, egotism, and pride—into the very best, transmuting deadly sins into priceless treasure.” The book covers the entire 138-year history of the Met, focusing on the museum’s most colorful characters. Opening with the lame-duck director Philippe de Montebello, the museum’s longest-serving leader who finally stepped down in 2008, Rogues’ Gallery then goes back to the very beginning, highlighting, among many others: the first director, Luigi Palma di Cesnola, an Italian-born epic phony, whose legacy is a trove of plundered ancient relics, some of which remain on display today; John Pierpont Morgan, the greatest capitalist and art collector of his day, who turned the museum from the plaything of a handful of rich amateurs into a professional operation dedicated, sort of, to the public good; John D. Rockefeller Jr., who never served the Met in any official capacity but who, during the Great Depression, proved the only man willing and rich enough to be its benefactor, which made him its behind-the-scenes puppeteer; the controversial Thomas Hoving, whose tenure as director during the sixties and seventies revolutionized museums around the world but left the Met in chaos; and Jane Engelhard and Annette de la Renta, a mother-daughter trustee tag team whose stories will astonish you (think Casablanca rewritten by Edith Wharton). With a supporting cast that includes artists, forgers, and looters, financial geniuses and scoundrels, museum officers (like its chairman Arthur Amory Houghton, head of Corning Glass, who once ripped apart a priceless and ancient Islamic book in order to sell it off piecemeal), trustees (like Jayne Wrightsman, the Hollywood party girl turned society grand dame), curators (like the aging Dietrich von Bothmer, a refugee from Nazi Germany with a Bronze Star for heroism whose greatest acquisitions turned out to be looted), and donors (like Irwin Untermyer, whose collecting obsession drove his wife and children to suicide), and with cameo appearances by everyone from Vogue editors Anna Wintour and Diana Vreeland to Sex Pistols front man Johnny Rotten, Rogues’ Gallery is a rich, satisfying, alternately hilarious and horrifying look at America’s upper class, and what is perhaps its greatest creation.