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Two monumental granite statues by famed German artist Kathe Kollwitz-the Grieving Parents-have been stolen from a World War I soldiers' cemetery in Belgium. What could the motive have been for such an unlikely theft? On a visit to the director of the Kollwitz Museum in Cologne, retired art history professor and Kollwitz scholar Megan Crespi is asked to aid in tracking down the robber or robbers. As she pursues clues and visits possible suspects more Kollwitz statues are stolen in Cologne and Berlin. Crespi's itinerary takes her to the Berlin Kollwitz Museum, Weimar, the Baltic Sea island of Rugen, Greifswald, and finally to the Kollwitz House in Moritzburg. On the way she interacts with physicians Abraham Ruckgabe and Iliana Frankel, the just-married couple Monika von Putbus and Akram al-Aljamie, and unscrupulous CEO of Rugen's asbestos-contaminated Dorotek factory, Reinhold Fromm, collector of dominatrix drawings. We meet possible suspects, Iranian prince Yusri Pahlavi, greedy Lukas Zamann of the Galerie Zamann, and the mysterious "e;Marie Schmidt,"e; of Moritzburg, Kollwitz's final home. All seem to be connected to the spate of Kollwitz thefts. Can Crespi solve these thefts and will the precious artworks be found? An unexpected denouement involving seven persons and two cats gives us the answer.

Overflowing with passion for her work as a scholar and teacher, Distinguished Professor of Art History Emerita at Southern Methodist University in Dallas, Texas, Alessandra Comini reminisces through six decades as an unconventional art historian in this illustrated memoir. The author of award-winning books on Egon Schiele, Gustav Klimt, and Ludwig van Beethoven, Comini draws on her sixty years of daily journals, sharing research-related anecdotes as she reflects on the formation and flowering of her distinguished career. Beginning with her colorful background as a refugee from Franco's Spain, then Mussolini's Italy, she describes her music-loving family's sometimes humorous, sometimes painful adjustment to a World War II Texas. A series of fortuitous experiences at Interlochen's National Music Camp, Barnard College, the University of California at Berkeley, and Columbia University later leads to what would ultimately be a turning point in her life as well as in Schiele scholarship. She discovered the actual cell in which Schiele had been imprisoned in a provincial Austrian jail half a century earlier. Comini invites readers to join her in the same zestful and persistent pursuit of cultural history that has repeatedly earned her the honor of being voted "e;outstanding"e; professor, by her students at Columbia University and later at Southern Methodist University in Dallas. Her research and quests take the reader around the world and back. From the islands of Corfu, Madeira, Rugen, and Tahiti to the cities of Lisbon, Rome, Oslo, and St. Petersburg, Comini pursues such diverse and distinctive personalities as Rosa Bonheur, Gustav and Alma Mahler, Pablo Picasso, Eleonora Duse, Edvard Munch, Kathe Kollwitz, Vaslav Nijinski, and Egon Schiele. Alessandra Comini's memoir will inspire readers with its sincere and compelling account of an extraordinary life and career still passionately in progress. Retirement for her has meant discovering a joyful new profession: writing art history murder mystery novels that take her eighty-year-old pseudonymous heroine Megan Crespi from the top of Europe down to Antarctica in pursuit of murderous purloiners of artworks by Klimt, Schiele, Kokoschka, Munch, and Kollwitz.

The murals fronting the entrance of Skip Maisel’s Indian Jewelry and Crafts store at 510 Central Avenue SW in Albuquerque, New Mexico are a treasure of Native American painting and are of national importance. They represent some of the earliest and finest paintings by a seminal group of Southwestern native artists. Commissioned in 1939 by the store’s founder, Maurice Maisel, the grandfather of the current owner, the murals are an extraordinary expression of fine arts, rarely seen on a commercial building. Despite their prominence on the building’s façade, a fixture in downtown Albuquerque, they are essentially hidden in plain sight. The murals’ subject matter demonstrates a unifying thematic context. Through the use of paired opposites, cultural themes and subjects can be compared and contrasted. In addition, the stylistic differences between artists, while showing the strong influence of training at “The Studio” art program at the Santa Fe Indian School established by Dorothy Dunn, they also demonstrate considerable differences in execution. The Maisel’s building was designed by legendary New Mexico architect John Gaw Meem, popularizer of the Santa Fe Style. Meem hired well known Santa Fe artist Olive Rush for a total of $1,500 to paint the murals. She then hired eleven Native Americans to undertake the project and saw to it that they were paid a fair wage. Maisel’s was to be Rush’s last Native American project and she clearly wished the project to be a culmination statement of the mural work she had been engaged in with The Studio for nearly a decade. To that end, she included artists of varying ages, from forty-four year old Awa Tsireh of the first generation of Pueblo painters, to sixteen year old Popovi Da, a beginning Studio painter and the son of famous potters Maria and Julian Martinez, as well as including representatives of three principal Native American cultures in the Southwest: Pueblo, Navajo and Apache.

Brother Bobcat loves to herd his big fluffy sheep and cows. He also loves to eat junk food. One day Brother Bobcat got very sick and had to go to the hospital. Suddenly his life has turned upside down. Can he learn to eat the right foods to get healthy? Will he ever be able to herd his sheep and cows again? This tale includes his struggles with diabetes and having to start dialysis and his determination to return to health.

The community of Cuba, New Mexico, its institutions and economy are changing rapidly and radically. Our town is losing its former identity and its precious historical resources. Personally, I feel an urgent need to capture as much of our history as possible. I hope to share what I can from my perspective in the form of plticas. In Spanish, plticas means conversation, talk or chat, as well as discourse or a communication of ideas or information. Those of us who experienced Cuba before the age of electronic devices used to relate through plticas. With our passing, the resources from the past will become less accessible unless they are written down. The stories and the fascinating people who once made our world special will fade away. The modern reader is invited to share our history and join in appreciating who we were as a community. Like any other place, Cuba's history illustrates compassion and pain as well as conflict, cooperation and endurance. These stories and observations have relevance in this place and elsewhere, now and in the future.

The information in this manual is primarily intended for Olympic-type lifters and coaches so they can improve performance in this sport. But since the hip and leg action of most other sports is similar to that of Olympic Lifting, other sports participants and coaches will also find this manual useful.

For a long time Ann Stalcup has been fascinated by the role that the over 300 Navajo Code Talkers played in the Pacific during World War ll. Although all the facts are true, this story is a fictionalized account of the Code Talkers—America’s Secret Weapon. There is increased urgency in telling their story in a way that young people, as well as adults, can understand and appreciate. The author interviewed four of the original “talkers” in Arizona and New Mexico before writing this book and was impressed with their courage, graciousness, and desire to share their story. For twenty-three years following the war, their unbroken code had remained a secret. Not even their families were permitted to know the part they had played in fighting the war. This inspiring story focuses for the most part on one man, but it is the experience of every code talker’s dangers and triumphs. Recognition of their contribution was a long time coming.

Many people love the American Southwest without truly understanding it. Ross Randall Calvin did and we are the richer for it. Calvin began his search as a pilgrim health-seeker, believing he had left the "known world" behind when he fled the East for New Mexico. There he soon found to our benefit that he could use his observational skills and intellect to fashion a picture that helped him and us comprehend those unique factors that make New Mexico what it is-its history, people, culture, climate, and so much more. Those lessons learned he shared with us. His books and essays can open our eyes to New Mexico if we but heed them. Calvin's story as discoverer and interpreter unfolds in rich detail in this essential work. * * * * * Ron Hamm has written widely and extensively on New Mexico as a journalist, then later as author and biographer over some five decades. His previous books have been "The Bursums of New Mexico: Four Generations of Leadership and Service" and "New Mexico Territorial Era Caricatures" (Sunstone Press 2014). Ross Calvin gave him a fresh insight into New Mexico through "Sky Determines" and "River of the Sun." "Ross Calvin, Interpreter of the Southwest" is Hamm's most satisfying work.

Katherine Augustine is an extraordinary person. This book tells Katherine’s story in her own words. It is drawn entirely from a selection of her writings in various publications, complete copies of which are available in archives in Albuquerque and Santa Fe, New Mexico. The book is in two parts. The first, “My Life From Laguna Pueblo to Albuquerque” is Katherine’s autobiography from her childhood to the start of her nursing career. The second, “Tales My Grandmother Told Me and Being Laguna,” is a collection of Laguna Pueblo stories she learned as a child and personal observations of feast days and public ceremonies. For over thirty years she wrote stories about her life and observations of growing up at Laguna Pueblo, along with articles on current events, for several publications; these included the Indian Pueblo Cultural Center newsletter Pueblo Horizons, a column for the now defunct evening newspaper the Albuquerque Tribune, articles for the Albuquerque Laguna Colony Newsletter, and Round the Roundhouse, the New Mexico State Employees newsletter. Photographs in the first section are from Katherine’s family album, while images illustrating stories from Laguna Pueblo are derived from photographs of prehistoric art in the collection of Paul R. Secord.

In this first volume in The Serpent Trilogy, Penny Anderson, a high school junior, escapes an untenable home situation and flees across the country to join her Uncle and Aunt in Serpiente, New Mexico. The Navajo Hidalgo, a detective, tries to warn Penny of the dangers of Serpiente but she persists and in the end wins the confidence and hearts of a unique family. Together they uncover the mysterious creatures that have, throughout history, enjoyed vexing and manipulating humans to evolve into warring creatures for their own evil reasons. Using the tools of science and Indian folklore, the detectives discover the secret to making peace with the serpents. Unfortunately, antiquity thieves discover and attack the serpents, sparking a war. The family conducts historical research that reveals the ultimate goals and truth about the serpents. Includes Readers Guide.

Sadakichi Hartmann was born in Japan in 1867, the second son of Prussian businessman Carl Hartmann and a young prostitute, Osada. Upon her death shortly after Sadakichi’s birth, both boys were sent to Hamburg, Germany to live and be educated, as promised by Hartmann Senior to their mother on her deathbed. With this act of kindness, their father completely washed his hands of any further obligation to the boys. He ignored them completely as he continued his profession traveling the world over as a business rep for various corporations. Their father’s rare appearances, and gelid distance toward them when he was present, affected Sadakichi depressingly, he having a satiating need of a father’s acceptance and affection. Although Sadakichi found the Hartmanns in general were a cold lot, it was in particular his father’s endearment he sought. Possibly too, he may have felt a streak of guilt over his mother’s death. As his father’s Teutonic demeanor grew, Sadakichi’s growing rebelliousness became intolerable, and at fourteen he was disowned and shipped to a Hartmann brother in Philadelphia. From here on, the youth drivingly self-educated himself thoroughly, in time becoming widely and respectfully known in the world of art, literature and entertainment. His retentive memory was an amazing asset which fascinated many of his colleagues. And of course his aim at intentionally driving himself to succeed at anything he touched was to win his father’s respect and acceptance. But it was a draining, thankless, heart-crushing journey.