Francis Bacon is considered one of the most important painters of the twentieth century. A major exhibition of his paintings at the Royal Academy of Arts, planned for 2020 but postponed because of the pandemic, explores the role of animals in his work – not least the human animal. Having often painted dogs and horses, in 1969 Bacon first depicted bullfights. In this powerful series of works, the interaction between man and beast is dangerous and cruel, but also disturbingly intimate. Both are contorted in their anguished struggle, and the erotic lurks not far away: ‘Bullfighting is like boxing,’ Bacon once said. ‘A marvellous aperitif to sex.’ Twenty-two years later, a lone bull was to be the subject of his final painting. In this fascinating publication – a significant addition to the literature on Bacon – expert authors discuss Bacon’s approach to animals and identify his varied sources of inspiration, which included wildlife photography and the motion studies of Eadweard Muybridge. They contend that, by considering animals in states of vulnerability, anger and unease, Bacon was able to lay bare the role of instinctual behaviour in the human condition. Images below, left to right: Francis Bacon (1909-1992), Fragment of a Crucifixion, 1950. Oil and cotton wool on canvas, 140 x 108.5 cm. Stedelijk van Abbemuseum, Eindhoven. Photo Hugo Maertens Francis Bacon (1909-1992), Study for Portrait (with Two Owls), 1963. Oil on canvas, 198.1 x 144.8 cm. Private collection. Photo Prudence Cuming Associates Ltd Francis Bacon (1909-1992), Man with Dog, 1953. Oil on canvas, 152 x 117 cm. Albright-Knox Art Gallery, Buffalo, New York. Gift of Seymour H. Knox Jr, 1955, inv. K1955:3. Photo Prudence Cuming Associates Ltd All images © The Estate of Francis Bacon. All rights reserved, DACS/Artimage 2020.

It was in Paris in 1927, at an exhibition dedicated to Picasso, that Francis Bacon grasped his vocation as a painter. In 1946, he moved to Monaco on the French Riviera where he lived for four years, his time in the Principality marking a turning point in his art; with his popes series, he became a painter of the human figure. In Paris he befriended artists and intellectuals, such as Giacometti and Leiris, whilst the city would become the setting for the crystalisation of his reputation in 1971 with the retrospective at the Grand Palais. In 1975, Bacon would take a studio in the Marais district. This bilingual publication co-published by Albin Michel and The Francis Bacon MB Art Foundation tells of Bacon s deep ties with France and Monaco, and has been overseen by Martin Harrison, author of Francis Bacon: Catalogue Raisonne and curator of the coinciding exhibition Francis Bacon, Monaco et la culture franc aise which runs at Grimaldi Forum, Monaco from 2 July 2016 until 4 September 2

A collection of previously lost, now restored episodes - known by fans as the 'orphaned' episodes - from the legendary Doctor Who series. Episodes are: 'The Crusade' (1); 'The Crusade' (3) - with commentary by Julian Glover and Gary Russell; 'The Daleks' Master Plan' (2) - with commentary by Peter Purves, Kevin Stoney and Ray Cusick; 'The Daleks' Master Plan' (5); 'The Daleks' Master Plan' (10); 'The Celestial Toymaker' (4); 'The Underwater Menace (3)'; 'The Moonbase' (2); 'The Moonbase' (4); 'The Faceless Ones' (1); 'The Faceless Ones' (3); 'The Evil of the Daleks (2) - with commentary by Deborah Watling and Gary Russell; 'The Abominable Snowmen' (2) - with commentary by Deborah Watling and Gary Russell; 'The Enemy of the World' (3); 'The Web of Fear' (1) - with commentary by Deborah Watling, Derrick Sherwin and Gary Russell; 'The Wheel in Space (3)'; 'The Wheel in Space (6) - with commentary by Derrick Sherwin and Tristan de Vere Cole; and 'The Space Pirates' (2). 'Audio only' episodes are: 'The Crusade' (2); 'The Crusade' (4); 'The Moonbase' (1); and 'The Moonbase' (3).

1842 was a year of crisis in Britain, and no more so than in the West Riding town of Halifax. A great strike of all trades took place across England in 1842. It reached its zenith in the industrial towns of the north, starting in the small communities of Lancashire and quickly spreading to the West Riding of Yorkshire as Lancashire marchers poured across the Pennines. In hand with its neighbouring town of Huddersfield, Halifax was noted for its opposition to the New Poor Law which, in 1834, attempted to abolish outdoor relief for the poor, for its support of a maximum ten-hour working day and the Chartists' call for workers' voting rights. When Bradford publican 'Fat Peter' Bussey attended the first Chartist Convention in London in 1839, he took with him the West Riding petition bearing 52,800 signatures, 25 percent of which had been given at Halifax. This book discusses the efforts made by the men and women of Halifax in these early years of organised agitation for social reform, their 'clandestine meetings and nightly drilling', their 'determination, resilience and militancy' to gain a say in the laws under which they lived. It tells of the fight for the legislative rights of workers like seventeen-year-old Patience Kershaw, who dragged loads of coal for twelve hours each day along narrow and dangerous passages under the hills of Halifax. When the Lancashire marchers arrived at Halifax in the hot summer of 1842, the cavalry attempted to clear the streets with their sabres and a violent response was inevitable, arrests quickly followed. The climax came when many hundreds of the men and women of Halifax fought against British soldiers on 16th August 1842, an event which led to the humiliation of a proud platoon of Prince Albert's Own and to the death of at least six men of Halifax.