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Former art forger Annie Kincaid has reinvented her life and now operates a legitimate decorative painting business, but memories are long in the art world. Here, with the blessing of the FBI Art Squad, Annie uses her underworld connections to boost her new art investigation business, where she’s partnered with her ex-art thief/love interest Michael X. Johnson. At first it’s strictly business, but she stumbles across a body in an exclusive Nob Hill men’s club. Then an insurance adjuster asks her to find a stolen -- and forged -- erotic painting. Then her Uncle Anton is attacked and Annie’s on the trail of more than just art. Moving easily between high and low circles, she makes the rounds of Nob Hill and Chinatown, a sex club, and the artists’ studios to find justice.
Since she went straight, Annie Kincaid’s been applying her genius for fine art forgery to her own faux finishing business in San Francisco. She hasn’t seen the inside of a jail cell since she was seventeen, although sometimes it takes all of her arts—fine or otherwise—to keep it that way… Annie knows that art security can be inadequate, but it’s crazy to think that an Old Master painting could be hanging unguarded in the local columbarium where she’s doing restoration work. Still, when she gets a tip that the chapel’s copy of Raphael’s exquisite La Fornarina might be the real thing, Annie has to take a look. And when she runs into a certain sexy art thief on the premises, alarm bells go off in her head as well as her heart. Tired of being an art world pariah, Annie hopes that if she can help return the masterpiece to Italy, she’ll finally be redeemed. But when murder enters the picture, Annie realizes that it won’t be so easy to put things at the cemetery to rest… INCLUDES ART TIPS!
At ten, painting a perfect Mona Lisa made Annie Kincaid a prodigy. A similar copy at seventeen made her a crook. Lesson learned: genuine art is priceless, and forgery gets you arrested. Now Annie puts her artistic talents to honest use as a faux finisher in San Francisco. But her past may not be painted over as well as she thought… Annie’s got bad news for her ex-boyfriend, curator Ernst Pettigrew: the snooty Brock Museum’s new fifteen-million-dollar Caravaggio painting is as fake as a three-dollar bill. And the same night Annie makes her shattering appraisal, the janitor on duty is killed—and Ernst disappears. To top it all off, a well-known art dealer has absconded with multiple Old Master drawings, leaving yet more forgeries in their places. Finding the originals—and pocketing the reward money—will get Annie’s new landlord off her back. But it could also draw her into the underworld of fakes and forgers she swore she’d left behind, starting with a close encounter with a changeable but charming art thief…
The shocking story of a deadly trend in Victorian wallpaper design, illustrated by beautiful and previously unseen arsenic-riddled designs from the British National Archives In Germany, in 1814, Wilhelm Sattler created an extremely toxic arsenic and verdigris compound pigment, Schweinfurt green–known also as Paris, Vienna, or emerald green–which became an instant favorite amongst designers and manufacturers the world over, thanks to its versatility in creating enduring yellows, vivid greens, and brilliant blues. Most insidiously, the arsenic-laced pigment made its way into intricately patterned, brightly colored wallpapers and from there, as they became increasingly in vogue, into the Victorian home. As its use became widespread, commercial arsenic mines increased production to meet the near-insatiable demand. Not least of which was the UK’s largest mining plant, DGC whose owner was William Morris, originator of the British Arts and Crafts movement and arguably the finest wallpaper designer of his generation. Bitten by Witch Fever (Morris’s own phrase to dismiss arsenic- and- wall-paper-related public health concerns in 1885) tells this fatal story of Victorian home décor, building upon new research conducted especially for this book by the British National Archive, on their own samples. Spliced between the sections of text are stunning facsimiles of the wallpapers themselves.
For centuries, arsenic's image as a poison has been inextricably tied to images of foul play. In King of Poisons, John Parascandola examines the surprising history of this deadly element. From Gustave Flaubert to Dorothy Sayers, arsenic has long held a place in the literary realm as an instrument of murder and suicide. It was delightfully used as a source of comedy in the famous play Arsenic and Old Lace. But as Parascandola shows, arsenic has had a number of surprising real-world applications. It was frequently found in such common items as wallpaper, paint, cosmetics, and even candy, and its use in medical treatments was widespread. American ambassador Clare Boothe Luce suffered from exposure to arsenical paint in her study, and Napoleon's death has long been speculated to be the result of accidental or intentional poisoning. But arsenic poisoning is still a public menace. In the neighborhood surrounding American University in Washington, D.C., the army has undertaken a massive cleanup of artillery shells and bottles containing chemical warfare agents such as arsenical lewisite after a number of workmen and residents became ill. Arsenic contamination of the water supply in Bangladesh and in West Bengal, India, is a major public health problem today as well. From murder to crime fiction, from industrial toxin to chemical warfare, arsenic remains a powerful force in modern life.
While her father and best friend are dying, a young American woman tries to find the limits of love and the power of art in the face of the inevitable.
Shares reproductions of the artist's fantasy-themed paintings along with personal insights and a discussion of her characters' histories.
This version of 'Shadows from the Walls of Death' is a tribute to Robert Clark Kedzie, who produced the originals of which there are now only two left in existence. They are located at the University of Michigan and Michigan State University. The originals are approximately 22 x 30 inches containing a title page and an 8 page preface followed by 86 samples cut from rolls of arsenic impregnated wallpaper. The book is sealed in a protective container and each individual page is encapsulated. This particular edition does not actually contain any arsenic. Further to that the content of this volume including both text and images are for entertainment purposes.
Arsenic is rightly infamous as the poison of choice for Victorian murderers. Yet the great majority of fatalities from arsenic in the nineteenth century came not from intentional poisoning, but from accident. Kept in many homes for the purpose of poisoning rats, the white powder was easily mistaken for sugar or flour and often incorporated into the family dinner. It was also widely present in green dyes, used to tint everything from candles and candies to curtains, wallpaper, and clothing (it was arsenic in old lace that was the danger). Whether at home amidst arsenical curtains and wallpapers, at work manufacturing these products, or at play swirling about the papered, curtained ballroom in arsenical gowns and gloves, no one was beyond the poison's reach. Drawing on the medical, legal, and popular literature of the time, The Arsenic Century paints a vivid picture of its wide-ranging and insidious presence in Victorian daily life, weaving together the history of its emergence as a nearly inescapable household hazard with the sordid story of its frequent employment as a tool of murder and suicide. And ultimately, as the final chapter suggests, arsenic in Victorian Britain was very much the pilot episode for a series of environmental poisoning dramas that grew ever more common during the twentieth century and still has no end in sight.
The Congressional Record is the official record of the proceedings and debates of the United States Congress. It is published daily when Congress is in session. The Congressional Record began publication in 1873. Debates for sessions prior to 1873 are recorded in The Debates and Proceedings in the Congress of the United States (1789-1824), the Register of Debates in Congress (1824-1837), and the Congressional Globe (1833-1873)