'Dry Store Room No. 1' is an intimate biography of the Natural History Museum, celebrating the eccentric personalities who have peopled it and capturing the wonders of scientific endeavour, academic rigour and imagination.

82.50

An illustrated guide to the collection of the Uffizi Gallery - one of the world's most celebrated art galleries. It provides readers with a look at the gallery's origins and history, as well as discussions about restoration efforts, and biographies of selected artists.

Harvard Professor Robert Langton, visiting Paris, is called in when the curator of the Louvre is murdered. Alongside the body is a series of baffling ciphers. Langton and a gifted French cryptologist, Sophie Neveu, are amazed to find a trail that leads to the works of Da Vinci - and beyond.

Olivia is a gorgeous little pig who likes to dress up, sing songs, dance, think, snooze and is even quite good at building sandcastles. At the end of the day, when she snuggles up in bed and her mother reads her a story (or three), Olivia feels very full of love. Ages 3+.

Provides exhibit designers and label writers with a step-by-step guidebook for planning, writing and producing exhibit labels.

An anthology of writings on exhibition practice from artists, critics, curators and art historians which address the contradictions posed by museum and gallery staged exhibitions, and the challenge of staging art presentations and displays.

Five Impressionist paintings come to life when Katie jumps through the frame and into the picture!

The final battle between good and evil. Only one will survive...

A gruesome discovery has just been made in Manhattan - a cache of the bones of dozens of murder victims. Evidently a serial killer operated in New York's notorious Five Points neighbourhood in the 1880s. Then a news story on the old murders appears to ignite a fresh series of similar killings.

Traces the birth, evolution, and decline of public art museum as an institution meant to spark democratic debate and discussion. This work suggests ideas and inspiration may be found in mass entertainment such as popular music and movies. It illuminates the public role of art museums by describing the ways they influence how art is seen.

Based on a lecture series of the same title held in 2000-2001 by the Harvard Program for Art Museum Directors, this book also includes an introduction by Cuno and a roundtable discussion among the participating directors. It is a collection of sustained reflections by prominent museum directors on the state of affairs in their profession.

In a series of richly detailed studies from Britain, Australia and North America, Bennett investigates how 19th and 20th century museums, fairs and exhibitions have organised their collections and their visitors.

This book considers the material conditions in which the production and consumption of art takes place, looking at how art is presented to the community and how art museums are shaped by cultural, social and political determinants.

Takes the reader on a journey from ethnological artifacts to kitsch. Posing the question, 'What does it mean to show?' this title explores the agency of display in a variety of settings: museums, festivals, world's fairs, historical re-creations, memorials, and tourist attractions.

Why are the Elgin Marbles in London and not on the Acropolis? Why do there seem to be as many mummies in France as there are in Egypt? Why are so many Etruscan masterworks in America? This title examines the implications for the preservation of the objects themselves and for how we understand our shared cultural heritage.

By examining the social conditions of museum practices, this book shows that cultivated taste is not a natural gift but a socially inculcated disposition which is distributed unevenly, and which predisposes some to distinguish themselves through their love of art, while others are deprived of it.

Once a year, the dogs in the paintings in the National Gallery have an exciting night out. They all have a few hours to run up and down the grand staircases, to chase each other and to go exploring. One night, however, four of the dogs have too much to eat and sleepily climb back into the wrong works of art. This story features illustrations.