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How has the firm of Swaine Adeney Brigg, one of Britain's oldest and most prestigious manufacturers of leather goods and umbrellas, survived for so long? What are the ingredients of its lasting success? This book charts how the company has kept pace with the shifting needs and demands of the marketplace, seizing trading opportunities, for the most part successfully, along the way. Swaine & Adeney began as makers of driving, riding, and hunting whips, becoming whip-makers to the royal family. With the coming of the railways, horse-drawn transport was greatly reduced and demand for whips shifted away from driving accessories to hunting and fashionable riding accessories. As the twentieth century dawned Swaine & Adeney survived the advent of the motor car by applying their leatherworking skills also to the making of luggage. Other equestrian accessory companies were absorbed: J. Kohler & Son, makers of coaching and hunting horns, and G. & J. Zair Ltd, whip-makers of Birmingham. In the dark days of 1943, Thomas Brigg & Sons, London's leading umbrella and walking-stick manufacturers joined forces with Swaine & Adeney, bringing with them their own long and impressive history of craftsmanship and royal patronage. Together, as Swaine Adeney Brigg, they emerged into the post-war era with renewed vigour. The hatters Herbert Johnson and the luggage-making arm of Papworth Industries were later added to the group. Neville Chamberlain, Margot Fonteyn, Augustus John, and Stirling Moss have been among the proud owners of the group's stylish products, and Harrison Ford as Indiana Jones and Peter Sellers as Inspector Clouseau both wore Herbert Johnson hats.

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The manuscript, here shown in facsimile with commentary, was made by a clergyman in a bid for the patronage of an Elizabethan magnate. The earliest known English attempt at an original writing book, it combines scripts and ornament to emulate printed Continental writing books, with quoted texts to individual letters stressing the value of learning.

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A remarkable private collection formed over the last thirty years is the focus of this richly illustrated book that introduces the reader to English silver spanning a century and a half from a little before the Tudor age (1485-1603) to the threshold of the Civil War (1642-51). This was a period when England changed out of all recognition. At the beginning it was still essentially a medieval country dominated by an autocratic king and a rich and powerful Church; by the end of the period the Church had lost virtually all of its power and, with the execution of Charles I in 1649, the monarchy itself was abolished. To a degree, this changing world is mirrored in the styles represented by the silver featuring in the collection. Besides setting the silver against its social and historical background the book examines the wide range of techniques used by silversmiths at the time to shape and adorn silver objects.

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The book begins by the North Sea. It is a late summer's afternoon, and a bright sun has dispersed the greyness of the day. Two Englishmen are enjoying a swim off the Essex coast when all at once both have the feeling that they are back at the French seaside. They find themselves starting to tell each other of their youthful experiences of living in France. The adventures they narrate follow one after another like waves rolling onto the shore. Clive, coming from London, had found himself spending a year deep in the French countryside within sight of the western Pyrenees; John, hailing from Devon, had ended up living for a while in the City of Light within sight of the Folies Bergere. Outsiders though they were, they momentarily became part of French society, their adventures fuelled by the culinary delights of their adopted land. They tell their tales with humour and relish as they recall their initiation into the French way of life of decades ago - and how it shaped their own.

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Whereas the life of her husband, the dashing Napoleonic general and diplomat Charles de Flahaut, is well known, Margaret has remained in the shadows. Yet this biographical study, based on unpublished and intimate correspondence in the Archives Nationales, Paris, reveals her to have been the more interesting of the two. It shows how much he depended on her brains, political judgment and artistic taste as well as her fortune to guide him in his career. More than that, their letters to each other also confirm that she made a success of her controversial marriage and that the bond between them was strengthened through all the vicissitudes of their life together. A faithful and sincere friend, she could be an implacable enemy: Talleyrand's companion, the duchesse de Dino, whom she dubbed `that horrid little serpent', and the Duke of Wellington, `that bully', were favourite targets. Her lively, observant but wicked pen takes us with her on visits to Talleyrand at Valencay, to the marquis de Lafayette, to the duchesse de Praslin at Vaux-le-Vicomte, to house parties in stately homes of England and Scotland - Arundel, Woburn, Bowood, Chatsworth, Grimsthorpe and Drummond Castle. Acknowledged a superb hostess, her descriptions of the menus, and entertainments organized in her homes in Scotland, London, and Paris and at the Flahaut embassies in Vienna and in London capture the flavour of those cosmopolitan gatherings. Her guests were also drawn to the display of her fine French furniture and collection of works of art, acquired during her years in Paris which set a new fashion in decoration. Interesting, too, are her accounts of sightseeing in Rome before the city of the Grand Tour changed into the capital of united Italy. The enjoyable social life in the continental watering places is also described, for Margaret believed in the curative effects of spas. A lifelong liberal in politics and an upholder of Whig principles, her politicomanie inspires sharp comments on the opponents of Reform in England and on the self-seeking ministers of Louis-Philippe in France. Unusually, for a British woman, the daughter of Admiral Keith, an inveterate enemy of the French, she shared her husband's admiration for Napoleon and joined with him in supporting Napoleon III. Born before her time she could have made a name for herself in today's world as a professional artist or politician in her own right. As it was, she used her talents to become an expert in the art of living the life so amusingly and vividly evoked in letters to her husband, her children and her close friends. These relationships, which are the heart of the book, are presented to the reader by an English woman historian, herself a Francophile.

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The value of inventories in charting how houses were arranged, furnished and used is now widely appreciated. Typically, the listings and valuations were occasioned by the death of an owner and the consequent need to deal with testamentary dispositions. That was not always so. The inventory for Castlecomer House, Co. Kilkenny, for example, was drawn up to make a claim following the house's devastation in the 1798 uprising. Mostly hitherto unpublished, the inventories chosen give new-found insights into the lifestyle and taste of some of the foremost families of the day. Above stairs, the inventories show the evolving collecting habits and tastes of eighteenth-century patrons across Ireland and how the interiors of great town and country houses were arranged or responded to new materials and new ideas. The meticulous recording of the contents of the kitchen and scullery likewise sheds light on life below stairs. Itemized equipment required for the brewhouse, dairy, stables, garden and farmyard reflects the at times significant scale of the communities the houses supported and the remarkable degree of self-sufficiency at some of the demesnes. A comprehensive index facilitates access to the myriad items forming the inventories, while the books listed at three of the houses are tentatively identified in separate appendices. A foreword together with short preambles to the inventories set the households in their historical context. Illustrated with contemporary engravings of the houses and with portraits of the owners of the time, the inventories will appeal to country-house visitors, historians of interiors, patronage, collecting and material culture as well as to scholars, curators, collectors, creative designers, film directors, bibliographers, lexicographers and novelists. The eighteenth century is the period onto which the Knight of Glin directed his penetrating gaze as art historian. The book is dedicated to his memory.

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Norfolk Summer presents the story about the making of a film starring Julie Christie and Alan Bates Joseph Losey's award-winning movie The Go-Between was filmed entirely on location in Norfolk in 1970. The film charts the tragic story of a young boy's loss of innocence during a hot summer and stars Julie Christie and Alan Bates as a pair of lovers crossing class boundaries in late Victorian England. The production brought together the playwright Harold Pinter, who adapted L.P. Hartley's elegant novel for the screen, the acclaimed director Joseph Losey and a cast of international stars for ten weeks' filming in and around Melton Constable Hall in north Norfolk - a time of happy creativity, some tension and a good deal of comedy. But the idyllic summer only came about after years of bitter battling over the rights of the book, and it was to be followed by yet more intrigue and high drama, which culminated in the film's triumph at the 1971 Cannes Film Festival, where it won the prestigious Palme d'Or.

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