The Mistresses

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The Mancini Sisters, Marie and Hortense, were born in Rome, brought to the court of Louis XIV of France, and strategically married off by their uncle, Cardinal Mazarin, to secure his political power base. Such was the life of many young women of the age: they had no independent status under the law and were entirely a part of their husband's property once married. Marie and Hortense, however, had other ambitions in mind altogether. Miserable in their marriages and determined to live independently, they abandoned their husbands in secret and began lives of extraordinary daring on the run and in the public eye. The beguiling sisters quickly won the affections of noblemen and kings alike. Their flight became popular fodder for salon conversation and tabloids, and was closely followed by seventeenth-century European society. The Countess of Grignan remarked that they were traveling "like two heroines out of a novel." Others gossiped that they "were roaming the countryside in pursuit of wandering lovers. "Their scandalous behavior -- disguising themselves as men, gambling, and publicly disputing with their husbands -- served as more than just entertainment. It sparked discussions across Europe concerning the legal rights of husbands over their wives. Elizabeth Goldsmith's vibrant biography of the Mancini sisters -- drawn from personal papers of the players involved and the tabloids of the time -- illuminates the lives of two pioneering free spirits who were feminists long before the word existed.

A dynastic tale of two families—the Gerrards and Leiders—as seen through the eyes of four women whose lives are bound by blood and friendship, and interwoven with the destiny of Houston, Texas, for over 70 years.

Seventeen-year-old Henry VIII was 'a youngling, he cares for nothing but girls and hunting.' Over the years, this didn't change much. Henry was considered a demi-god by his subjects, so each woman he chose was someone who had managed to stand out in a crowd of stunning ladies. Looking good was not enough (indeed, many of Henry's lovers were considered unattractive); she had to have something extra special to keep the king's interest. And Henry's women were every bit as intriguing as the man himself. In this book, Henry's mistresses are rescued from obscurity. The sixteenth century was a time of profound changes in religion and society across Europe – and some of Henry's lovers were at the forefront of influencing these events. Kelly Hart gives an excellent insight into the love life of our most popular king, and the twelve women who knew the man behind the mask.

Natasha, the innocent and loyal mistress of Russian oligarch Vladimir Stanislas, strikes up a friendship with gifted artist Theo Luca that opens her eyes to the freedoms she can never have with Vladimir.

"Profiles over one hundred women criminals, describing their lives, crimes, and prosecution; includes such individuals such as Lizzie Borden, Bonnie Parker, Amy Fisher, and Susan Smith. Also, includes members of groups such as "lethal nurses," "'Heavenly Creatures, '" "Manson Women," "Papin Sisters," and "Symbionese Liberation Army Women."

Why is everything that compromises greatness in art coded as 'feminine'? Has the feminist critique of Art History yet effected real change? With a new preface by Griselda Pollock, this edition of a truly groundbreaking book offers a radical challenge to a women-free Art History. Parker and Pollock's critique of Art History's sexism leads to expanded, inclusive readings of the art of the past. They demonstrate how the changing historical social realities of gender relations and women artists' translation of gendered conditions into their works provide keys to novel understandings of why we might study the art of the past. They go further to show how such knowledge enables us to understand art by contemporary artists who are women and can contribute to the changing self-perception and creative work of artists today. In March 2020 Griselda Pollock was awarded the Holberg Prize in recognition of her outstanding contribution to research and her influence on thinking on gender, ideology, art and visual culture worldwide for over 40 years. Old Mistresses was her first major scholarly publication which has become a classic work of feminist art history.

HOSTILE TAKEOVER Flatly refused a promotion by her tycoonfather, heiress Tempest Lambert offered herservices to his worst enemy. But was it thejob she wanted, or just her new boss, thedevastatingly handsome Gavin Renard? He'd made millions as a corporate raider,but taking over the Lambert's retailconglomerate wasn't about business—Gavin wanted revenge. Using Tempestas a pawn in his takeover game was apossibility. Making her his mistress—thatwas an offer he couldn't refuse.

A Sunday Times bestseller - Five women. One house. One extraordinary history. From its construction in the 1660s to its heyday in the 1960s, Cliveden played host to a dynasty of remarkable and powerful women. Anna Maria, Elizabeth, Augusta, Harriet, and Nancy were five ladies who, over the course of three centuries, shaped British society through their beauty, personalities, and political influence. Restoration and revolution, aristocratic rise and fall, world war and cold war form the extraordinary backdrop against which their stories unfold. An addictive history of the period and an intimate exploration of the timeless relationships between people and place, The Mistresses of Cliveden is a story of sex, power and politics, and the ways in which exceptional women defy the expectations of their time.

When George I arrived in England he found a kingdom in turmoil. Mistrustful of the new monarch from Hanover, his subjects met his coronation with riots. At George’s side was his mistress, Melusine von der Schulenberg, whilst his ex-wife languished in prison. Known as the Maypole thanks to her eye-catching figure, Melusine was the king’s confidante for decades. She was a mother to his children and a queen without a crown. George II never forgave his father for tearing him from his mother's arms and he was determined to marry for love, not duty. Though his wife, Caroline of Ansbach, proved to be a politically gifted queen, George II turned to another for affection. She was Henrietta Howard, the impoverished Countess of Suffolk, and she was desperate to escape her brutish husband. As the years passed, the royal affair became a powerplay between king and queen and the woman who was mistress to one and servant to another. Melusine and Henrietta's privileged position made them the envy of every courtier. It also made them a target of jealousy, plotting and ambition. In the tumultuous Georgian court, the bedroom and the throne room weren't so far apart.