A book for gardeners and art lovers everywhere: a selection of Vincent van Gogh's garden and flower paintings and drawings. Presents Van Goghs lifelong love affair with the garden. This title illustrates a range of works, from iconic oils such as Irises to exquisite etchings and intimate sketches.
Once a copper, always a copper. At least that’s how it seems for Brian ‘The Skull’ Murphy, long-retired but sought out by a trail of journalists and cops who regularly beat a path to his door. Once known as Australia’s toughest cop, The Skull was both charged with manslaughter (and acquitted), then awarded a Valour Award for bravery in the line of duty. It is these two sides to the complex man that intrigue audiences to this day. A non-drinking, Catholic family man, The Skull didn’t fit the 1950s police mould and often found himself on the outer among his colleagues. Dodging crooks and corruption on both sides of the thin blue line, The Skull carefully cultivated a reputation for being a ‘mad bastard’. Over 40 men felt the sting of his bullets, and many more felt the sting of his fists. But behind Australia’s toughest cop lay a personal secret of sexual abuse which Murphy shares publicly for the first time, in the hope that it will help others. This abuse formed the kind of police officer he later became — tough on the bad guys, but fiercely protective towards victims. With today’s political correctness and strict rules of conduct, there will never be another big personality copper like Brian ‘The Skull’ Murphy. This is his story.
Sophie Cunningham writes a year in the city's life, a year that takes us from the heatwave that culminated on Black Saturday when temperatures soared to 47 degrees to the destructive deluge of a hailstorm. She walks through Melbournes oldest suburb to its largest market, she goes to the footy and to the comedy festival, she talks publishing and learns how to use a letterpress. Along the way she journeys deep into her own recollections of the city she grew up in, and tells stories from its history: the theft of Picasso's Weeping Woman, the Hoddle Street massacre, William Barak's trek from Healesville, the Westgate Bridge Disaster, the high drama of the 1970 and 2009 AFL grand finals and the Market Murders of the sixties. She strolls by Melbourne's rivers and creeks while considering the history of the wetlands and river that sit at Melbourne's heart. She clambers through the drains that lie beneath. For it is water the corralling of it, the excess of it, the squandering of it, the lack of it that defines Melbourne's history, its present and its future.
The author explores van Gogh's paintings of flowers and gardens using the artist's personal letters to understand his color theories, and recreates the gardens van Gogh describes to compare them with the paintings.
A major project begun in 1973 reaches its conclusion with the publication of volumes 15 and 16 of the Biographical Dictionary, a series considered "a reference work of the first order" by Theatre and Performing Arts Collections. Among performers highlighted in these last volumes is Catherine Tofts, a gifted singer whose popular acclaim was captured in lines by Samuel Phillips: "How are we pleas’d when beauteous Tofts appears, / To steal our Souls through our attentive Ears?’ / Ravish’d we listen to th’ inchanting Song, / And catch the falling Accents from her Tongue." The first singer of English birth to master the form of Italian opera, Tofts frequently won leading roles over native Italian singers. Her salary--£400 to £500 a season--was one of the highest in the theatre. Her popularity declined, however, as her demands for payment increased--a situation captured in an epigram Alexander Pope may have penned: "So bright is thy beauty, so charming thy song, / As had drawn both the beasts and their Orpheus along; / But such is thy avarice, and such is thy pride, / That the beasts must have starved, and the poets have died." John Vanbrugh, whose play The Relapse is ranked as one of the best comedies of the Restoration period, became a subordinate crown architect under Sir Christopher Wren in 1702. In 1703, Vanbrugh began plans for the Queen’s Theatre in the Haymarket, an enterprise endorsed by the Kit Cat Club (of which Vanbrugh was a member). Even though his lavish design was acoustically defective, restructuring helped correct the problem and the theatre eventually became the exclusive center for opera in London.
Features a selection of twenty private gardens - mostly designed and brought into existence by their owners - which have been chosen for their diversity, creativity and skill in cultivation. They range from a former marsh to moors and open upland; from frost pockets to areas of excessive rainfall.