Francis 'Frank' Montague Holl (1845-1888) was one of the great painters of the Victorian era, notable for his tragic social realism as well as his penetrating portraits. Although highly respected in his lifetime, his early death meant that he never fully received the acclaim that his work merited. This book represents the first retrospective of this significant artist. Exploring in parallel the subject paintings and he portraits, it considers the importance of Holl's output and his continued relevance today. Leading scholars in the field look at different aspects of Holl's painting, while full catalogue entries examine certain works in detail. Holl was a prodigiously talented artist who entered the the Royal Academy Schools at the age of fifteen, where he won a gold medal for religious painting in 1863. A year later two of his paintings were accepted for exhibition at the Royal Academy where he showed work regularly until his death. He was commissioned by Queen Victoria to paint 'No Tidings from the Sea'. Holl became part of an informal school of social-realist painting that flourished during the 1870s; its aim was to draw attention to the everyday conditions of the working classes and the poor, and implicitly to criticise the social structures that maiantained such conditions. His great subject pictures, often on bleak themes, were frequently criticised for their darkness but found great favour with the public, who empathised with his depictions. Funeral processions, child mortality and grief were very much part of life and his emotive images struck a chord with his audience. In 1879, when Holl exhibited a portrait of the engraver Samuel Cousins at the Royal Academy it created a sensation. In the nine years of life that remained he painted over 150 portraits, some of the greatest of his age-achievements which can be seen on a par with those of Watts and Millais. His influence was felt in his lifetime and later through the work of Van Gogh who greatly admired Holl.

Double Oscar-winning musical drama following the meteoric rise of a 1960s all-girl vocal group. Based on the 1981 Broadway hit musical, the film follows full-figured belter, Effie White (Jennifer Hudson), and her school friends, Deena Jones (Beyonce Knowles) and Lorrell Robinson (Anika Noni Rose), aka The Dreamettes. They're a Chicago amateur vocal group who enter the famous amateur night at the legendary Harlem Apollo in New York singing a song by Effie's brother, CC (Keith Robinson), and come out on top. The four girls meet sweet-talking Curtis Taylor Jr. (Jamie Foxx), a promoter and manager who in no time gets the star-struck gang the gig as back up vocalists for the famous Jimmy 'Thunder' Early (Eddie Murphy). The match is perfect and their combined career takes off. Soon things get complicated when Lorrell begins dating married man Jimmy, and Effie starts getting busy with Curtis. When the two acts part ways, The Dreamettes become the Dreams and consequently famous in their own right, while Jimmy's career tanks in a mire of smooth-pop balladry. Infighting between Effie and Deena over lead privileges, as well as offstage rivalry in love, makes for a lot of tears and heartache for all concerned.

The Ultimate Edge, by Mark Billings, tells the little-known story of four men who became instrumental in changing the face of contemporary professional blackjack, winning the admiration of players the world over, and the disdain of casino bosses everywhere. Through traditional narrative and detailed examples, deep technical insights, and his own instinct for the game, Billings tells a compelling tale of improbable friendship, cutting-edge blackjack, and good old human obsession. In The Ultimate Edge there is something for everyone: the general reader, blackjack enthusiast, or even the professional gambler. Mark Billings' book reads like a novel, teaches like a textbook, and entertains like a good Hollywood movie. Told with wit and filled with insider secrets known only to a select few of blackjack's elite, The Ultimate Edge recounts the gambling adventures of four unique men you will not soon forget.

Perhaps the most prolific artist of the nineteenth century, Sir John Gilbert (1817-97) was President of the Royal Watercolour Society, a regular exhibitor at the Royal Academy and illustrator for numerous illustrated papers, novels and children's books. Yet despite his impressive list of achievements, his name has become lost among figures such as Leighton, Watts, Millais and Burne-Jones who dominated the Victorian art world of which he was a part. Re-assessment of Gilbert's contribution to British art history reveals an artist who created powerful images - strong on narrative, romantic, illustrative and escapist - that have much to offer the viewer today. In addition, Gilbert is an interesting figure, both for what his story can tell us about Victorian taste and the vagaries of the art market, and because of his unusual practice of working contemporaneously in oils, watercolour and as an illustrator; blurring the boundaries between these media and using them interchangeably. Bringing together a selection of large-scale historical paintings, modest and rarely seen landscape watercolours, illustrated novels and children's books, newspaper illustrations and ephemera from both public and private sources, this groundbreaking publication explores both an unduly neglected figure and some important aspects of Victorian life. Offering first-class, original research, Sir John Gilbert is essential reading for all those with a particular interest in Victorian art, literature and society.