P. I. Gina “Tinkerbell” Miyoko, armed with a baby blue Magnum, a Harley blessed with holy water by her dramatically disposed mother, and a Japanese mingei tucked in her pocket (a good luck charm from her Sherlock-obsessed father), spends her time sniffing out delinquent dads in San Francisco and honing her detective skills.But when her best friend Rose, an undercover agent, discovers a stalker on her tail, she hires Tink as a bodyguard. Someone must be trying to intimidate Rose and scare her out of testifying in an upcoming case on looted Mayan artifacts. But when Tink tries to flush-out the stalker, things take a far more dangerous turn, and she finds herself taking her best friend’s place to follow the looters’ trail to Cancun.Deep in the jungle and far from civilization, Tink must decide who she can trust as she tries to unearth the ones responsible behind the pilfering and bloodshed—and still make it out alive.

In this “irresistible, immersive, and completely unputdownable” (Ellery Lloyd, New York Times bestselling author) debut novel, a former antique hunter investigates a suspicious death at an isolated English manor, embroiling her in the high-stakes world of tracking stolen artifacts. What antique would you kill for? Freya Lockwood is shocked when she learns that Arthur Crockleford, antiques dealer and her estranged mentor, has died under mysterious circumstances. She has spent the last twenty years avoiding her quaint English hometown, but when she receives a letter from Arthur asking her to investigate—sent just days before his death—Freya has no choice but to return to a life she had sworn to leave behind. Joining forces with her eccentric Aunt Carole, Freya follows clues to an old manor house for an advertised antiques enthusiast’s weekend. But not all is as it seems. It’s clear to Freya that the antiques are all just poor reproductions, and her fellow guests are secretive and menacing. What is going on at this estate and how was Arthur involved? More importantly, can Freya and Carole discover the truth before the killer strikes again?

This book shows all types of chairs, tables, sofas, and beds made in America from the seventeenth century to the mid-twentieth century.

Tasoula Hadjitofi was only a child when her homeland, Cyprus, was invaded. As bombs fell and soldiers marched through the streets, her mother stood guard, reminding her children to not be afraid—not of the bombs or anything else that may follow. They would always have their family and their faith. Soon thereafter, Tasoula found herself homeless and nation-less. A refugee. Decades later, she's a successful entrepreneur and the honorary Cypriot consul to The Netherlands. But family and faith remained her touchstones—and she never lost her longing for "home." She often thought of the gorgeous Cypriot churches and their icons. One day, an art dealer offers her a chance to buy Cyprian icons stolen during the war. Icons hold a special place in the hearts of many Greek Cypriots. They are not just masterpieces—they are artistic manifestations of faith and a gateway to the divine.Outraged, Tasoula sets out on a quest to repatriate these artifacts. An immensely difficult task as icons often lack provenance in the eyes of the law. But she is determined. Yet the road to “The Munich Case”—the largest art trafficking sting in European history—is filled with mind games, subterfuge, global politics, and a shady figure named Van Rinj, whose motives are never entirely clear...

A “thrilling, well-researched” account of years of scandal at the prestigious Getty Museum (Ulrich Boser, author of The Gardner Heist). In recent years, several of America’s leading art museums have voluntarily given up their finest pieces of classical art to the governments of Italy and Greece. Why would they be moved to such unheard-of generosity? The answer lies at the Getty, one of the world’s richest and most troubled museums, and scandalous revelations that it had been buying looted antiquities for decades. Drawing on a trove of confidential museum records and candid interviews, these two journalists give us a fly-on-the-wall account of the inner workings of a world-class museum, and tell a story of outlandish characters and bad behavior that could come straight from the pages of a thriller. “In an authoritative account, two reporters who led a Los Angeles Times investigation reveal the details of the Getty Museum’s illicit purchases, from smugglers and fences, of looted Greek and Roman antiquities. . . . The authors offer an excellent recap of the museum’s misdeeds, brimming with tasty details of the scandal that motivated several of America’s leading art museums to voluntarily return to Italy and Greece some 100 classical antiquities worth more than half a billion dollars.” —Publishers Weekly, starred review “An astonishing and penetrating look into a veiled world where beauty and art are in constant competition with greed and hypocrisy. This engaging book will cast a fresh light on many of those gleaming objects you see in art museums.” —Jonathan Harr, author of The Lost Painting

Anchored in eight years of fieldwork and analysis of all existing scholarship, this unparalleled summary of the prehistory of the southern Rocky Mountains is available for the first time in paperback.

The J. Paul Getty Museum's antiquities collection contains objects spanning thousands of years, from Preclassical times as far back as the third millennium B.C. through A.D. 600, encompassing Cycladic, Minoan, Mycenaean, Greek, Etruscan, South Italian, Roman, and Romano-Egyptian artifacts. The collection at the Getty Villa includes one of the finest assemblages of ancient Greek vases in the United States; monumental marble sculptures and diminutive bronzes; Greek and Roman gems; and Hellenistic silverware, jewelry, and glass. In lively prose accompanied by full-color photographs of nearly two hundred objects, this handbook presents the most important pieces in the collection.

Anne and CC, the famous Spoon Sisters who track their antique hunting adventures in their popular blog, are flying home from a recent shopping spree in Paris. Anne finds herself seated next to a nervous gentleman, who becomes even more agitated during some major air turbulence and both he and Anne drop their bags in the aisle. However, that pales in comparison when the man is later found dead in the airplane's lavatory. Because the plane is full, the crew is forced to place the man's body back in his seat next to Anne. Upon deplaning, Anne hopes that's the last she'll have to think of the dead man and quickly begins planning what to do with all of the items she has found on her trip--far more than she has room to store in her small home. With her business partner CC on her case to unload most of her purchases, Anne is oblivious to the man stalking her

Ancient Lives provides new perspectives on objects, people and place in early Scotland and beyond.This scholarly and accessible volume provides a show-case of new information and new perspectives on material culture linked, but not limited to, Scotland.

The eminent physician and anatomist Dr William Hunter (1718-1783) made an important and significant contribution to the history of collecting and the promotion of the fine arts in Britain in the eighteenth century. Born at the family home in East Calderwood, he matriculated at the University of Glasgow in 1731 and was greatly influenced by some of the most important philosophers of the Scottish Enlightenment, including Francis Hutcheson (1694-1746). He quickly abandoned his studies in theology for Medicine and, in 1740, left Scotland for London where he steadily acquired a reputation as an energetic and astute practitioner; he combined his working life as an anatomist successfully with a wide range of interests in natural history, including mineralogy, conchology, botany and ornithology; and in antiquities, books, medals and artefacts; in the fine arts, he worked with artists and dealers and came to own a number of beautiful oil paintings and volumes of extremely fine prints. He built an impressive school of anatomy and a museum which housed these substantial and important collections. William Hunter’s life and work is the subject of this book, a cultural-anthropological account of his influence and legacy as an anatomist, physician, collector, teacher and demonstrator. Combining Hunter’s lectures to students of anatomy with his teaching at the St Martin’s Lane Academy, his patronage of artists, such as Robert Edge Pine, George Stubbs and Johan Zoffany, and his associations with artists at the Royal Academy of Arts, the book positions Hunter at the very centre of artistic, scientific and cultural life in London during the period, presenting a sustained and critical account of the relationship between anatomy and artists over the course of the long eighteenth century.