No 10

Fronted by one of the world’s most iconic doors, 10 Downing Street is the home and office of the British Prime Minister and the heart of British politics. Steeped in both political and architectural history, this famed address was originally designed in the late seventeenth century as little more than a place of residence, with no foresight of the political significance the location would come to hold. As its role evolved, 10 Downing Street, now known simply as ‘Number 10,’ has required constant adaptation in order to accommodate the changing requirements of the premiership. Written by Number 10’s first ever ‘Researcher in Residence,’ with unprecedented access to people and papers, No. 10: The Geography of Power at Downing Street sheds new light on unexplored aspects of Prime Ministers’ lives. Jack Brown tells the story of the intimately entwined relationships between the house and its post-war residents, telling how each occupant’s use and modification of the building reveals their own values and approaches to the office of Prime Minister. The book reveals how and why Prime Ministers have stamped their personalities and philosophies upon Number 10 and how the building has directly affected the ability of some Prime Ministers to perform the role. Both fascinating and extremely revealing, No. 10 offers an intimate account of British political power and the building at its core. It is essential reading for anyone interested in the nature and history of British politics.

"This book is useful to historians of the Civil War who wish to draw on it for an authoritative account of this campaign, and Civil War buffs will want it in their libraries". -- James M. McPherson Princeton University

Platform No. 10 On a bustling railway platform, an unexpected story is waiting to unfold. Fleeing from a troubled past in an orphanage in Patna, a young and destitute boy, Ami, finds himself on Platform No. 10 in Delhi?s Nizamuddin station, where Shetty Dada rules the platform boys with an iron fist. During the day, Ami tries his best to stay out of trouble, avoiding both the havaldars and the ragpickers, who sniff glue up on the roof. During the night, he dreams of home, and of one day having a family of his own. Meanwhile, in another part of the city, Janaki, an affluent young widow, finds herself struggling to hold on to her husband?s vast fortunes. Disillusioned by the betrayal of her family at the prospect of wealth, Janaki wonders whether she?ll ever find happiness again, and the strength to move on. When life brings Ami and Janaki face to face on Platform No. 10, their disparate worlds collide, setting off a series of events that will forever change their destiny.

Catalogue accompanying 'Futile Gesture No.10', an exhibition held at Screen Space (Melbourne, Australia).

The Getty Research Journal features the work of art historians, museum curators, and conservators from around the world as part of the Getty’s mission to promote critical thinking in the presentation, conservation, and interpretation of the world’s artistic legacy. Articles present original research related to the Getty’s collections, initiatives, and research projects. This issue features essays on the cross-cultural features of a small alabaster vessel in the “international style” of the ancient Mediterranean, French and Flemish influences in the Montebourg Psalter, a new identification for the so-called bust of Saint Cyricus, the effects of the Reformation on the art market in northern Europe, sketchbooks kept by the Portuguese painter João Glama Stroeberle containing comments from his teachers, the origins of the architectural history survey, Japanese ink aesthetics in non-ink media, the impact of the invention of adhesive tape in the 1930s on the artistic process of abstract painters, and the importance of ephemeral artifacts for the documentation of Carolee Schneemann’s performance works. Shorter texts include notices on an Egyptian ushabti from the tomb of Neferibresaneith, a bronze statuette newly identified as representing the Alexandrian god Hermanubis, and an etching by Félix Bracquemond commissioned by the Parisian gallery Arnold & Tripp.