"William Hogarth: The Cockney's Mirror" is a book about one of the greatest artists of England. The book is split into four parts. The first gives the background of William Hogarth's life and pictures, the second recounts his career and character and his attitude to his own genius, the third gives the stories, actors (real or imagined) of the principal pictures and prints, and the fourth describes and analyses the work from the point of view of aesthetics.

First published in 1997. For this second edition of Art Books: A Basic Bibliography of Monographs on Artists, the vast number of new books published since 1985 was surveyed and evaluated. This has resulted in the selection of 3,395 additional titles. These selections, reflective of the increase in the monographic literature on artists during the last ten years, are evidence of the activities of a larger number of art historians in more countries worldwide, of the increasingly diverse and ambitious exhibition programs of museums whose number has also increased dramatically, and also of a lively international art market and the attendant gallery activities. The selections of the first edition have been reviewed, errors have been corrected and important new editions and reprints have been noted. The second edition contains 278 names of artists not represented in the first edition.

By focusing on the artist's most famous works, this collection of essays applies studies of science and philosophy from the period to give a more accurate sense of the meanings in Hogarth's art.

'Cries', artistic representations of the various denizens of London's streets including prostitutes, beggars and tinkers, were produced between 1580 and 1900. This study analyses the representation behind the art of the 'Cries' in a social, cultural and historical context.

The master of the Golden Age detective novel displays his expertise in the historical whodunit with this Gothic tale of passion and bizarre murder, which Newsday hailed as “mystery fiction at its finest” When headstrong young heiress Peg Ralston flees London for Versailles, her father sends dashing rake Jeffrey Wynne to bring her home from the court of England’s greatest enemy. But upon their return it appears that a mysterious portrait and a child’s nursery rhyme link vivacious Peg to a bawdy old seamstress who resided near London Bridge and was quite literally scared to death. The old woman’s murder is but one thread in a web of conspiracy that includes blackmail, court intrigue, and an underground club that has made a hobby out of murder. With Peg’s life at stake, Wynne will do everything he can to trace the diabolical connection between the two women—and resist falling in love.

Consuming Culture in the Long Nineteenth Century aims to bring together detailed analyses of the cultural myths, or fictions, of consumption that have shaped discourses on consumer practices from the eighteenth century onwards. Individual essays provide an excitingly diverse range of perspectives, including musicology, philosophy, history, and art history, cultural and postcolonial studies as well as the study of literature in English, French, and German. The broad scope of this collection will engage audiences both inside and outside academia interested in the politics of food and consumption in eighteenth and nineteenth century culture.

This first book-length critical examination of the life and work of Marjorie Bowen (1885-1952) reveals a major English writer whose prodigious output included stories of history, romance, and the supernatural. As Pulitzer Prize-winning critic Michael Dirda writes in his Foreword, Bowen may be "the finest British woman writer of the uncanny of the last century," a view that echoes the high regard of cultural historian Edward Wagenknecht, who called her "a literary phenomenon," one whose best work places her alongside such contemporaries as Edith Wharton and Daphne du Maurier. Publicly acclaimed--known only by a series of pseudonyms (including "Marjorie Bowen")--but privately inscrutable, she was and is a mysterious and complex character. Drawing for the first time upon archival resources and the cooperation of the Bowen Estate, this book reveals a woman who saw herself as a rationalist and serious historian, but also as a mystic and "dark enchantress of dread." Above all, through a lifetime of domestic storms and creative ecstasy, Bowen worked tirelessly as both a professional writer and a consummate artist, always seeking, as she once confessed, "to find beauty in dark places."

Rake's Progress, Harlot's Progress, Illustrations for Hudibras, Before and After, Beer Street, and Gin Lane, 96 more. Commentary by Sean Shesgreen.