What if there was a uniquely safe place to put your money that also earned the best long-term returns? In this new and updated edition of Only the Best Will Do, master investor Peter Seilern reveals everything you need to know to practise the art of quality growth investing: finding the companies that can reliably deliver steady and strong growth for the long term. Distilling everything he has learned from a lifetime in the financial markets, Peter Seilern will enlighten you on how to narrow down from tens of thousands of listed stocks to the select elite that belong in a quality growth investor’s portfolio. These are shares that can be safer than bank deposits or government bonds. They also upend conventional wisdom on the merits of diversification, and reveal typical index-hugging fund management as even more self-serving and unjustified than many thought. Quality growth businesses are the ultimate assets for those serious about making their investments work for them over the long term while minimising the risk of permanent loss of capital. You don't even need to worry too much about overpaying. All quality growth investing requires is patience, independent thinking, and the special golden rules - revealed here in detail - for finding the very best companies in the world. For the investor truly interested in making the most of their time in the markets, only the best will do.
Oil sketches by Peter Paul Rubens—created at speed and in the heat of invention with a colorful loaded brush—convey all the spontaneity of the great Flemish painter’s creative process. This ravishing book draws from both private and public collections to present in full color 40 of Rubens’s oil sketches. Viewers will find in these informal paintings an enchanting intimacy and gain a new appreciation of Rubens’s capacity for invention and improvisation, and of his special genius for dramatic design and coloristic brilliance. The book investigates the role of the oil sketch in Rubens’s work; the development of the artist’s themes and narratives in his multiple sketches; and the history of the appreciation of his oil sketches. It also explores some of the unique aspects of his techniques and materials. By revealing the oil sketches as the most direct record of Rubens’s creative process, the book presents him as the greatest and most fluent practitioner of this vibrant and vital medium.
Drawing on detailed design, construction and financial histories of six prominent Performing Arts buildings with budgets ranging from £3.4 million to over £100 million, Geometry and Atmosphere presents unique and valuable insights into the complex process of building for the arts. Each theatre project, from tailor-made spaces for avant-garde companies to iconic and innovative receiving houses, yields surprising and counter-intuitive findings. For each of the six projects, the authors have interviewed all those involved. Combining these interviews with exhaustive archival research, the authors then provide cross-case analysis which is distilled into guidance for all stakeholders as they transform their initial vision into built reality. In particular, the book challenges the technical focus of existing design guides for the Performing Arts by suggesting that current practice in briefing and design does not serve the Arts community especially well. It shows that there is a need for an approach in which the focus is firmly rooted in the delivery of the driving artistic vision. As well as being of interest to architects, urban designers and those involved in theatre studies, this book will be useful to other sectors where public money is spent on major building projects.
German armies examines the diversity of German involvement in European conflict from the Peace of Westphalia to the age of Napoleon. Challenging assumptions of the Holy Roman Empire as weak and divided, this study provides a comprehensive account of its survival in a hostile environment of centralizing belligerent states. In contrast to the later german states, the Empire was inherently defensive, yet many of its component territories embarked on expansionist, militaristic policies, creating their own armies to advance their objectives. The author examines the resultant tensions and explains the structure and role of the different German forces. In addition, a number of wider issues are addressed, such as war and the emergence of absolutism, the rise of Austria and Prussia as great powers, non-violent forms of conflict resolution and the relative effectiveness of German military and political institutions in meeting the challenge of revolutionary France. Drawing on a range of sources, the author provides a detailed analysis of the German dimension of the great struggles against Louis XIV's France, competition for supremacy in the Baltic and Mediterranean and the prolonged wars with the Ottoman Turks. German armies extends the boundaries of military history by placing ancien regime warfare within a wider social, cultural and international context.
The Renaissance of Etching is a groundbreaking study of the origins of the etched print. Initially used as a method for decorating armor, etching was reimagined as a printmaking technique at the end of the fifteenth century in Germany and spread rapidly across Europe. Unlike engraving and woodcut, which required great skill and years of training, the comparative ease of etching allowed a wide variety of artists to exploit the expanding market for prints. The early pioneers of the medium include some of the greatest artists of the Renaissance, such as Albrecht Dürer, Parmigianino, and Pieter Bruegel the Elder, who paved the way for future printmakers like Rembrandt, Goya, and many others in their wake. Remarkably, contemporary artists still use etching in much the same way as their predecessors did five hundred years ago. Richly illustrated and including a wealth of new information, The Renaissance of Etching explores how artists in Germany, the Netherlands, Italy, and France developed the new medium of etching, and how it became one of the most versatile and enduring forms of printmaking. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}
History comes alive in these pages as Peter Stephaich traces his origins from 1608 when King Rudolph II of Hungary conferred noble status on his family. He describes in fascinating detail his upbringing in a world which has long since ceased to exist. As a member of the elite Hussar Cavalry, Stephaich fought bravely on horseback against mechanized armies in World War II. At the start of his career in Hungary's elite diplomatic corps, the brutal Nazi occupation of his country left him destitute and in exile. He reinvented himself in the US as an announcer with Radio Free Europe, in Egypt as a shipping operator and in Paris as a stock broker where he also became the recognized expert on traditional hunting across Europe. Yet as Alexandre de Takacsy writes in his epilogue, Peter always had the deepest reverence for nature and wildlife. His was a life well lived in truly turbulent times.
This volume is the second in the series devoted to portraits and in this volume is confined to portraits painted in Antwerp, cataloguing those in which the sitters are identified. Dr. Vlieghe examines the specific stylistic evolution of Rubens as a portrait painter, and shows how clearly the portraits reflect the general development of the painter's style. Of particular interest is the way in which Rubens merged the monumental sense of form and High-Renaissance devices that he had learnt in Italy with the traditions of style and iconography current in the Southern Netherlands. Especial emphasis is laid on the emblematic character of Rubens's portraits, especially those of his own family.
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