Artists In Crime

A model is murdered in this “first-rate” detective story by the Mystery Writers of America Grand Master (Kirkus Reviews). On a ship traveling back to England, Miss Agatha Troy finds Inspector Roderick Alleyn tedious and dull; he thinks she’s a bohemian cliché. They may be destined for romance, but there’s a murder in the way: No sooner has Alleyn settled in to his mother’s house, eager for a relaxing end to his vacation, than he gets a call that a model has been stabbed at the artists’ community down the road. And the talented Miss Troy is one of the community’s most prominent and outspoken members . . . “The doyenne of traditional mystery writers.” —The New York Times

When murder upsets the creative tranquility of an artists' colony, Scotland Yard sends in its most famous investigator. And what begins as a routine case turns out to be the most momentous of Roderick Alleyn's career. For before he can corner the killer, his heart is captured by one of the suspects-the flashing-eyed painter Agatha Troy, who has nothing but scorn for the art of detection.

A high-society homicide is the talk of the London season . . .“Marsh’s writing is a pleasure.” —The Seattle Times It’s debutante season in London, and that means giggles and tea-dances, white dresses and inappropriate romances . . ..and much too much champagne. And, apparently, a blackmailer, which is where Inspector Roderick Alleyn comes in. The social whirl is decidedly not Alleyn’s environment, so he brings in an assistant in the form of Lord “Bunchy” Gospell, everybody’s favorite uncle. Bunchy is more than lovable; he’s also got some serious sleuthing skills. But before he can unmask the blackmailer, a murder is announced. And everyone suddenly stops giggling . . . “It’s time to start comparing Christie to Marsh instead of the other way around.” —New York Magazine “[Her] writing style and vivid characters and settings made her a mystery novelist of world renown.” —The New York Times

When he retired as the chief security officer of New York City’s Metropolitan Museum of Art, John Barelli had spent the better part of forty years responsible not only for one of the richest treasure troves on the planet, but the museum’s staff, the millions of visitors, as well as American presidents, royalty, and heads of state from around the world. For the first time, John Barelli shares his experiences of the crimes that occurred on his watch; the investigations that captured thieves and recovered artwork; the lessons he learned and shared with law enforcement professionals in the United States and abroad; the accidents and near misses; and a few mysteries that were sadly never solved. He takes readers behind the scenes at the Met, introduces curators and administrators, walks the empty corridors after hours, and shares what it’s like to get the call that an ancient masterpiece has gone missing. The Metropolitan Museum covers twelve acres in the heart of Manhattan and is filled with five thousand years of work by history’s great artists known and unknown: Goya, da Vinci, Rembrandt, Warhol, Pollack, Egyptian mummies, Babylonian treasures, Colonial crafts, and Greek vases. John and a small staff of security professionals housed within the Museum were responsible for all of it. Over the years, John helped make the museum the state-of-the-art facility it is today and created a legacy in art security for decades to come. Focusing on six thefts but filled with countless stories that span the late 1970s on into the 21st century, John opens the files on thefts, shows how museum personnel along with local and sometimes Federal Agents opened investigations and more often than not caught the thief. But of ultimate importance was the recovery of the artwork, including Celtic and Egyptian gold, French tapestries, Greek sculpture, and more. At the heart of this book there will always be art—those who love it and those who take it, two groups of people that are far from mutually exclusive.

What is street art? Who is the street artist? Why is street art a crime? Since the late 1990s, a distinctive cultural practice has emerged in many cities: street art, involving the placement of uncommissioned artworks in public places. Sometimes regarded as a variant of graffiti, sometimes called a new art movement, its practitioners engage in illicit activities while at the same time the resulting artworks can command high prices at auction and have become collectable aesthetic commodities. Such paradoxical responses show that street art challenges conventional understandings of culture, law, crime and art. Street Art, Public City: Law, Crime and the Urban Imagination engages with those paradoxes in order to understand how street art reveals new modes of citizenship in the contemporary city. It examines the histories of street art and the motivations of street artists, and the experiences both of making street art and looking at street art in public space. It considers the ways in which street art has become an integral part of the identity of cities such as London, New York, Berlin, and Melbourne, at the same time as street art has become increasingly criminalised. It investigates the implications of street art for conceptions of property and authority, and suggests that street art and the urban imagination can point us towards a different kind of city: the public city. Street Art, Public City will be of interest to readers concerned with art, culture, law, cities and urban space, and also to readers in the fields of legal studies, cultural criminology, urban geography, cultural studies and art more generally.

Some of the priceless masterpieces have been stolen from the Town Gallery and replaced with forgeries, and it's up to you spot the clues and identify the fakes. This spot-the-difference game also contains facts about paintings, tips on the techniques of the Old Masters and a glossary of art terms.

A wonderfully wicked new anthology from the editor of The Penguin Book of Gaslight Crime It is the Victorian era and society is both entranced by and fearful of that suspicious character known as the New Woman. She rides those new- fangled bicycles and doesn't like to be told what to do. And, in crime fiction, such female detectives as Loveday Brooke, Dorcas Dene, and Lady Molly of Scotland Yard are out there shadowing suspects, crawling through secret passages, fingerprinting corpses, and sometimes committing a lesser crime in order to solve a murder. In The Penguin Book of Victorian Women in Crime, Michael Sims has brought together all of the era's great crime-fighting females- plus a few choice crooks, including Four Square Jane and the Sorceress of the Strand.