“Amour, Wine and Real Estate in Southern France” is California artist Marques Vickers’ memoir and mediation on five years of his passionate pursuit of la belle vie in France’s Languedoc rustic refuge. Vickers’ 45 evocative and original vignettes illuminate the enchantment behind southern French culture and village life. His insider’s profiles into the region’s history, eccentricities and charm become an indispensable guide for the visitor wishing to lift the veil behind French mystique. For expatriates wishing to integrate seamlessly, his insights bridge the divide of nationality. His diverse and humorous essays become as delicately layered as the alchemic blending of fine Rhone Valley style wines. The edition offers practical advice on the realities of investing and renovating stone village properties with purchasing and resale strategies. Commentary is abundantly seasoned regarding the often confounding and intruding French bureaucracy on matters of immigration, health care and regional wine classifications. “Amour, Wine and Real Estate” is a gourmet indulgence as flavorful and aromatic as the diverse natural herbs fronting limestone caged mountain ranges crowned by mediaeval castle ruins. France’s Languedoc region boasts the world’s largest wine acreage, pristine and vacant white sand Mediterranean beaches and internationally renowned cuisine including foie gras, cassoulet, duck specialties, pastis and varied fresh seafood delicacies from the spawning waters. The savage regional winds, climate and landscape extremes stimulate a beauty that has both haunted and inspired artists such as Salvador Dali, Pablo Picasso and Henri Matisse. The writings escort you into the cloistered halls of a seasonal truffle auction, adjacent regional caverns boasting scrawled 10,000-year-old drawings and 400 year-old graffiti and the remnant legacy of the Cathar religion that barely escaped total annihilation. Savor this gourmet delicacy at your favorite patisserie accompanied by a dark roasted espresso and chocolate pastry. “Amour, Wine and Real Estate in Southern France” is your travel companion to experience a captivating adventure from the inside.

“So You Think You Know Washington State Wines?” is designed to simplify your understanding by identifying growing trends, grape descriptions and the history of Washington wine production. The edition profiles the 15 top wine grapes and the unique aspects of the state’s growing sectors. The 62-page edition is idea for wine collectors, winemakers and anyone who appreciates a world class Washington vintage. The following are just seventeen from hundreds of little known facts about Washington wines and the 2015 grape harvest. 1. Washington is the second largest producer of premium table wine in the United States behind California. Washington’s harvest comparatively represents only 6% of the overall California production levels. 2. Washington’s red grape varietals harvested 112.8 thousand tons in 2015. The closest California equivalent was the San Luis Obispo, Santa Barbara, and Ventura County. 3. The State of Washington harvested 222 thousand tons of wine grapes during the 2015 harvest, down 2.2% overall from the previous year. The deficit was attributed to the excessive heat conditions and a reduced Cascade Mountain snowpack. 4. Red varietal grapes account for 51% of the total production and actually increased yields by 5% during the 2015 harvest. 5. Cabernet Sauvignon was the top-producing grape during 2015 with 47,400 tons, representing 21% of the overall harvest. Cabernet Sauvignon had the largest growth rate. 6. White Riesling was the top white wine and second most overall produced grape with 44,100 tons, accounting for 20% of the total. Washington produces more White Riesling than any other state. 7. Chardonnay was the third most produced grape with 42,000 tons, Merlot fourth with 35,200 tons and Syrah fifth with 16,000 tons. 8. Grenache Noir is the most lucratively priced wine grape in Washington and sold for $1,722 per ton. Cabernet Sauvignon averaged $1,527 per ton, an increase of 5.5% from 2014. Cabernet Sauvignon sells in the Napa Valley in excess of $6,000 per ton. 9. The growing regions of San Luis Obispo County, Yakima Valley and Walla Walla Valley share numerous similarities. Their topographies feature expansive arid flatlands surrounded by hilly terrain. Each region has a long historical agricultural tradition. 10. Top-tiered Washington vineyards have commanded pricing between $75,000-$80,000 per acre. Large established vineyards have been documented to sell for $25,000-$30,000 and bare unplanted terrain often averages $10,000-$15,000 per acre. 11. Washington has 14 American Viticultural Areas (AVAs) recognized and defined by the United States Treasury Department. Seven have only been established within the last ten years and three stretch across the Oregon border. 12. The primary growth advantage Washington offers over neighboring Oregon is the capacity to expand wine grape cultivation. Washington has twice as much plantable acreage available. 13. Today, 98% of the wine grapes grown are east of the Cascade Mountains. In 1970, there were only ten official wineries in all of Washington. By 2000, that figure had expanded to 163 and by 2010, more than 700 wineries. Currently it is estimated that there are over 900 wineries. 14. The two largest Washington growing regions, the Yakima and Walla Walla Valleys share the topography of a desert landscape and the tributary waters of the Columbia River branching out via the Yakima and Walla Walla Rivers. 15. The Walla Walla Valley averages approximately the same annual rainfall levels as the Napa Valley (21 inches). The Yakima Valley received even less rainfall (8 inches), but is supplemented by a snowfall level of 23 inches. 16. The Yakima Valley profits from the accumulating rains and snows of Mount Ranier and Mount Adams, part of the Cascade Mountain Range. The melting Spring snowpack results in substantial volumes of water that are channeled into the region and directed by canals and aqueducts into the agricultural basins and hillsides.

“The Artistic Properties of Reflective” is California artist Marques Vickers photographic edition of over 105+ captured images of inverted and reflective objects mirrored by glass. The diverse photo sequence was captured through a variety of windows from the port district of Tacoma, Washington. FROM THE PREFACE: When lightning strikes sand, the optical dispersal of imagery mirrors and scatters coherent composition. The alchemy involved in forming glass creates curtains of fluid and reflective waveforms. This distortion reassembles appearance into fresh reconstructions. Reality is transposed into a hallucination of disintegrating elements, elevating its innate simplicity into multi-dimensional appearance. This deconstruction process enables a viewer to visualize objects into unimaginable patterns. We are confronted with a vision that challenges our neatly and concisely constructed assemblages. We are compelled to acknowledge the inner layers of composition superficially invisible to the eye. We break imagery into constructive granulated sands that ultimately disjointed unions. Alchemy in its purest form is the ability to transmute base metals into noble and precious derivatives such as gold. The practice of western alchemy dates back to ancient Egypt with the city of Alexandria as its capital. Islam and Asian based religions embraced the shadowy art from their earliest inception. This ancient transformation of base metals symbolically assumed a spiritual dimension as an elixir of life. In the context of glass reflection, linear shapes are restructured into abstractions and curvatures. Objects are liberated from their fixed matter and reshaped into fluid forms lacking edge and definition. The decline of alchemy as an established practice was facilitated in the early eighteen century by the rise and acceptance of modern scientific methodology. Ancient spirituality and mysticism were displaced by experimentation and quantitative comparison. Chemistry universally replaced the role of alchemy. There remains a space for interpretive alchemy when one views the unlocked reflections stimulated by glass. Restructuring matter becomes as mystical as reconstructing sand particles into sheets of solid matter.

“The 2014 Napa Valley Wine Harvest: Demystifying the California Wine Industry and Coming Economic Decline” is a photographic edition portraying the beauty and landscape of the northern California wine region during each stage of the annual wine harvest. Photographer Marques Vickers 80+ images captures the diversity of the vineyard terrain and majesty of the individual vines from his artist perspective. The photography is supplemented by his observations and projections regarding the 2014 final grape crush report released on March 10, 2015 by the United States Department of Agriculture, Pacific Field Office. Vickers addresses the three most strident issues: water, real estate value levering and overproduction that peril the continued stability of the industry. The 2014 Napa Valley harvest may ultimately prove a benchmark before the reality of the California drought radically affects the region’s yields. The harvest was the second largest and most lucrative in the history of the Napa Valley region bringing in a 9% value increase from 2013. By contrast, the state of California’s overall production shrunk 8.3% and valuation rose less than 1%. The Northern San Joaquin Valley region had production decreases of 16%. Vickers elaborates on what is going on within Napa that is eluding the majority of the State’s wine regions. Despite the continued effects of severe drought conditions, the 2014 harvest may ultimately emerge as the finest year of the decade due to the smaller and more concentrated berry sizes, creating greater flavor complexity. What distinguished 2014 from the current year has been the timely rains and seasonal heat spikes. As water sourcing becomes the new alchemy within the Napa Valley and throughout California, aggressive deep well water drilling for underground sources is creating a potential for economic, liability and ecological catastrophe. The depletion of underground sources and storage reserves may prove necessary for short-term coverage caused by the continuing drought and overproduction. Longer-term implications such as stricter water rationing and production moratoriums may inhibit continued growth and elevate pricing. Will fine wine palettes and consumers foot the bill at the marketplace? Vickers writings elaborate beyond the traditional marketing rhetoric and hype both Napa’s production success and California’s decline during 2014. More poignantly, the results from the grape crush report identify significant production trends taking shape regarding emerging drought resilient grapes and increasingly out-of-favor Zinfandel and Merlot varietals. Based on the immediate economic threats and absence of nimbostratus (rain) clouds, a major financial correction appears eminent. Vickers’ “The 2014 Napa Valley Wine Harvest: Demystifying the California Wine Industry and Coming Economic Decline” edition is a straightforward guide for wine enthusiasts to understand the complexities of a wine harvest and outstanding visual overview of one of the most renown wine regions internationally.

“Death of a Post Office: The Bruised Legacy of Architect William H. Corlett” details the abrupt 2014 closure and aftermath of the Franklin Street Post Office in Napa, California. The Art Deco style building, constructed in 1933 sustained significant structural damage during the August 23rd Napa earthquake closing the facility to public access and mail sorting operations. Author Marques Vickers began photographing the exterior damage on the morning of the quake and continued in intervals until January 2017. Over 70+ images display the building’s exterior wounds. Vickers’ narrative follows the history and complexity of restoring local architect’s William H. Corlett’s design, originally financed by Franklin Roosevelt’s Works Progress Administration. The brick edifice features exterior terra cotta friezes of shields, ram heads, eagles, and decorative cornices. Sizable bronze urn lanterns front the entrance and exit doors. The interior showcases an elaborate lobby featuring detailed woodwork, ceilings and lower walled marble paneling. In 1985, the building was added to the National Register of Historical Places. The repair cost evaluation in July 2015, prompted the US Postal Service to announce their intention to demolish the building. A subsequent concerted public outcry resulted in the authority modifying their decision and offering the building for sale. The stipulation that the structure be restored to its original architectural integrity has become problematic. Napa is destined to lose their main post office but potentially gain a commercial development. The book photographs another Corlett designed building, the Alexandria Hotel that sustained significant damage during the quake. Privately owned, restoration work began immediately and was completed in 2016. An additional 30+ photos document the stages of repair and five additional Corlett structures in Napa. Despite the severity of the structural destruction, Corlett’s legacy remains intact.

Shadowlands is a photographic concept edition accentuating contours, silhouettes and dominant color compositions of 150 photographic images. Many of the images are recognizable icons and landmarks. They are transformed into graphic arts appearance by employing photo imaging software. The accompanying shadows create a foreboding and often sinister impression. The result is a glimpse into the unconscious white space that frames and lightens photography. Photographer Marques Vickers has assembled a diverse portfolio of internationally compiled images. Their reverse lighting reinvents the impression, often upsetting our conventional interpretation of their substance and matter. The effect mirrors the surrealists’ notion of superficially unseen structures that open the portal for interpretative meanings. Imagery is enabled to transcend precise and simplistic definition.

Marques Vickers’ “Herron Island, Washington” is a photographic survey showcasing the diminutive island with a land area of 300 acres and population of 150. Located along the Case Inlet of Southern Puget Sound, the island’s dimensions are estimated at one and a quarter miles in length by one half mile in width. Vickers’ nearly 150 images capture the prominent north and south coastline beaches, interior residential terrain and roundtrip ferry transfers from the mainland peninsula. The island is abundant with deer, eagles, seals, seagulls, Pacific geoducks (large clams), beach, flora, fauna and spectacular views of the Puget Sound straits. Despite Herron Island’s luster, safety and tranquility, it remains virtually unknown to western Washington residents and beyond. Herron Island was initially discovered in 1792 as part of Lieutenant Peter Puget’s expedition, under the command of Captain George Vancouver. The original landing party was greeted with inhospitable weather conditions and the island remained unoccupied for nearly fifty years. An American naval exploration party led by Lieutenant Charles Wilkes re-explored and re-charted Puget Sound including the island in 1841. The island’s name was changed from Wednesday Island to Herron Island in recognition of one of Wilkes' crew members. Little background has been documented about Seamon Herron. Another century passed with reportedly only a sole caretaker habitant. The island was privately purchased during the 1950s. Herron Island was incorporated on April 30, 1958 as a non-profit, non-stock Washington Corporation composed of the owners and purchasers of island property. Buildable lots were partitioned and resold for development. The island is currently self-sustaining and does not receive local, state or federal funding. Over the decades, the interior has been graded and roads connect the island throughout. A community building, fire station and water system has been established for residents. Access to the island is available exclusively via a daily operating ferry and limited by invitation only from an island resident most of the year. The crossing requires approximately ten minutes to the mainland dock.

“The Lafayette White Cross Protest Memorial” is a pictorial edition of Northern California’s most striking and poignant monument established for soldiers who have died in the Iraqi, Afghanistan and overseas battlefield conflicts. Established in November 2006 as a protest against American involvement in Iraq, the Memorial has become an important symbol of remembrance with over 4000 rustic white crosses implanted on a hillside in suburban Lafayette. The inclined property overlooks one of Contra Costa County’s freeway arteries and the Lafayette BART transit station. Photographer Marques Vickers 120 images capture the intimacy and personalization of the panorama, which began as a spontaneous and controversial movement. His images start in mid-2014 and extend beyond a two-year cycle. The hillside has freshened green once again following the ravages of the California drought. During this period the casualty tally has increased from 6809 to an excess of 7,000. In one of two accompanying essays titled “Conflict and Remembrance” Vickers observes that the changes in warfare have currently shifted conventional battlefield deaths to urban terrorist actions targeting civilians. The Crosses of Lafayette are probably the largest American memorial of its kind in post 9/11 and likely the most personal. Traditional white crosses are accompanied by some bearing the Star of David, Islamic crescents, Buddhist prayer wheels and other religious symbolism. Several feature attached photographs, writings and other personal mementos. Vickers photographs heighten the emotional expression and familiarity with a project entirely conceived by volunteers who maintain the Memorial. These caretakers battle deterioration by nature, organized opposition and vandalism. The images accurately capture the manifestation of collective and individual grief that transcends this simple expression of loss into a more powerful manifestation by how we remember those fighting and dying so far away from their home.

“Tulip Universe” is photographer Marques Vickers visual survey of the cup shaped flower often popularly misunderstood and underestimated for its beauty. His pictorial edition features over 110 images of this exotic flower capturing the diversity of colors and complexity of design. From the Preface by Linda L. Allen: Tulips are generally perceived as a simple, sweet flower. In truth, there are over 3,000 varieties that include every color other than blue and have a history as fascinating as the most glorious rose or exotic orchid. The tulip is commonly thought to have originated in the Netherlands – in particular Holland. Cultivation actually began in Central Asia over a thousand years ago and was later brought East by the Turks. In the mid 1600’s they were introduced to Europe. In an unusual twist the Dutch obsession was fueled, in part, by a virus that caused broken tulips. The disease, identified by the botanist Carolus Clusius, caused gorgeous striations within flower’s color. Tulip Mania was rampant and the price of bulbs soared. At its height, some bulbs sold for 10 times an average workingman’s yearly salary and cost more than most homes. Speculation on future crops earned tulips the dubious distinction of having caused the first investment bubble. Although opinions differ and there is no recorded history, it is generally accepted that the resulting market crash had a catastrophic effect on the country’s economy. The spring-blooming tulips are members of the Liliaceae family, which includes asparagus, aloe, garlic, onions, and wide diversity of flowers. Their height varies from less than 8 inches to 2 feet and may bloom from 1 to 3 weeks although their bloom time is usually limited to 1 – 7 days. Commonly there is one flower per stem but some varieties have up to 4. There may be from 2 – 12 leaves. While many have no scent, some are known for their beautiful scent. Most varieties of tulips are almost perfectly symmetrical. It appears that the flower possesses 6 petals. Actually, they have 3 petals and 3 sepals. Since the sepals and petals are almost the same size and shape, the common misconception was developed. As mentioned, tulips come in every color but blue. The most common are yellow, orange, violet, pink and red with the last being the most popular. Today, some varieties combine a variety of colors and rival the showiest tropical flower. Rather than a virus they are the result of extensive breeding programs.

This edition is an intimate photo examination of the infamous Butte, Montana sex trade once nationally recognized during the late 19th and early 20th century. Over 135 current photographs document the remnants of the famed copper mining town’s prostitution core. The work details historical anecdotes, narratives on colorful personages and perspective on an era when prostitution was locally institutionalized. The remaining Dumas Brothel is a profiled parlor house noteworthy for its operational longevity between 1890-1982. The Dumas is the longest tenured American house of prostitution. The property weathered numerous reform movements and attempts towards forced closure by governmental authorities. Owner tax evasion ultimately shuttered the property. Across the road is the Blue Range Building, the last street-facing example of the lowest extremity of prostitution once employed within the district. The seven sets of ground floor doors and adjacent windows housed segregated cubicles called cribs. Diminutive cribs accommodated only a single bed and an occasional washbasin. Lower esteemed prostitutes serviced clients from these utilitarian spaces. Butte’s prostitution industry reinforced a rigid hierarchy of distinguishing elite mistresses for the affluent and influential, from lowly street solicitors. The lifestyle of sex professionals was plagued by drug addiction, financial debt, sexually transmitted diseases, pregnancy, abortion, violence and abuse by their patrons and jealousy-motivated clients. Suicide was common even amongst the highest regarded women within such a cannibalistic environment, During the turn of the twentieth century, Butte was one of the largest Rocky Mountain population centers. Its licentious reputation mirrored contemporary Las Vegas. Unlike many western frontier settlements, cowboy culture made minimal intrusion. Butte’s red-light district is a haunting environment with a complex past.