Art History Books

This is going to be short because english is not my first language.

This is an excellent study on the action genre. I never thought somebody could analize action movies like this.

Lichtenfeld has worked both in making films and as a film critic and commentator, including doing extra features for DVDs of several action films. He sees this popular film genre as "derived from the Western, film noir, and the police procedural (with special guest appearances made by the disaster film and others [with an evolution] quite analogous to the horror film." Though many films depict violence and mayhem, the action film is distinguished in that it ushered in a "new violence [which] would be deployed more to pleasure audiences than to jar them." This "new violence" came about from a shift in standards marking a "New Hollywood" and related changes in structures and pacing of films and cinematographic techniques such as lingering on the violence by slow-motion and close-ups. It is these and other elements, not merely the violence and plotting, which account for the new genre of the action film. The cluster of elements reflected changes in the culture's psychic relationship with violence and what it looked for in entertainment. Bonnie and Clyde is pointed to as a seminal action film, with the films Billy Jack, Shaft, and The French Connection closely related to it in paving the way for the action film by demonstrating its popularity and giving guidance for filmmakers. Advertising, publicity, and marketing of action films has as much a part in the author's multifaceted study of this major contemporary film genre as film history, film editing, and cinematography. References to numerous action films over the past couple of decades make for enjoyable as well as engaging and stimulating reading.

Useful because it shows there is a deeper level of impact than just the shoot 'em up bang-bang to the typical action picture.

Lichtenfeld's book is required reading for anyone interested in the contemporary action film. Beyond its obvious merit as the best book available on the genre, I can recommend it as a model of genre criticism. I've used this as a text in my course on action cinema at Wesleyan where I teach it as an exemplar of genre studies. Lichtenfeld offers a compelling thesis about the genre's popular/cultural appeal without losing sight of industrial imperatives. This book does much to balance to often overly theoretical writing on the subject by offering a grounded, historically-minded account. Moreover, Lichtenfeld's critical observations are spot on, and his descriptions of scenes and sequences will send you back to the films again and again. The additions to the new edition further shore up his argument and expand the scope of films. It is also a fun read!

Being both a lover of film and a student of history, you can imagine my interest in this book. Who can deny the impact movies have had on the 20th (and now 21st) century? And what type of film most exemplifies what movies are capable of? Action, brother. Action.

I was introduced to this book and this author through a radio talk show I heard recently. Mr. Lichtenfeld came across as extremely intelligent, likeable and very knowledgeable about his subject matter. I immediately ordered the book from Amazon.

I read it through in one weekend (it's so accessible to even non-film students) and I couldn't believe how much I learned about movies that I had watched over and over again all my life. Mr. Lichtenfeld treats the topic with reverence without once losing the joy of what makes these movies great: the characters, the chases, the explosions and, of course, the lines. His breakdowns of each landmark film and his separation of them into specific categories makes it so easy to follow the development of the action genre over the last half century.

Even the bad films (my apologies, Mr. Seagal), of which there are many, are used as examples of the importance and social influence this genre has had on recent generations. They're all in here: science fiction, superhero actioners and even westerns, of which I have a particular fondness, are discussed.

I will pass this book on to my other film-loving friends with my highest recommendation. And now I'm off to watch 'Lethal Weapon' for the 56th time, albeit with a new outlook.

Finally action movies get their due! It's about time.

Angela Fisher spent seven years criss-crossing Africa, seeking out traditional forms and styles of jewelry and body adornment. The metal crafting, artistic modes and affectations of traditional piercings are stunning. The more extreme examples of African body art are already missing: cutting and/or scarring, limb binding (neck/arms/legs) and lip stretching are lost arts these days.

The photography is top notch, with highly detailed closeups and oversize, full-color images on most pages. Notes are included for each image, with geography, tribal information and craftsman's details for many pieces.

This is a great example of the "coffee table" book. I checked this title out of the library while in graduate school repeatedly until my mother gifted me with my own copy (thanks, Mom!). For artists and jewelers, this volume will be an endless source of inspiration.

...origin as it relates to African cultural and creative expression and influence. Many designs and patterns we see repeated in contemporary jewelry design can be traced to African styles and designs created centuries ago - a fact beautifully exemplified in this book - with the added bonus of learning something about the meaning behind the particular adornment/piece of jewelry. The photos are brilliant! This book is a treasure and a highly recommended "must read" for everyone interested in design, jewelry and fashion history, and cultural customs, influences and contributions.

I found this book to be amazing...I loved the discussion about the different African cultures and most especially the pictures--I'm even considering purchasing another copy of this book just so I could frame some of the beautiful, highly colorful pictures. I am buying more books from those authors--I expect the other books to be just as beautiful and informative.

This is a thoughtful and gorgeous peek at the diversity of the continent. The colors of the photos alone are worth the price! Fisher's more recent work, "African Ceremonies", with Beckwith, is even better, if possible. And folks, Africa contains 54 countries, over 800 different languages and thousands of dialects, and has around 730 million people. If you consider yourself an interested citizen of our world, don't just look at the pictures, learn about the continent! Many people have criticised the authors, for this and their other works, because they present an Africa that doesn't exist anymore, or they are patronizing and exploitative- I agree in part with this criticism, but I would add some balancing words. This continent has some of the richest cities in the world- Johannesburg being one, and some of the poorest villages- I was visiting in one of them several weeks ago in eastern Namibia. People have cellphones, people have no phones, some drive Lexuses and some drive donkey carts made from the beds of old pick-up trucks. "Old" ceremonies are vibrantly alive for some people, and simply unimportant for others, sometimes within the same family or community. The point is that the images from this book *are* parts of life on this continent, but obviously do not tell the whole story. However, it is just as wrong and short-sighted to dismiss cultures as it is to see only the "exotic". The funny thing is that I first saw this book and "African Ceremonies" at a Himba village in Kaokoland, Namibia, shown to me by a man who was wearing "traditional" Himba clothes, with red ochre on his skin and so on. We were paging through this book and my friend, who is also Himba but wears "western" clothes, commented on how weird the images were, to which his friend laughed and agreed. To them, the pictures of most of these ceremonies were just as alien as they are to most westerners. So, to everyone who likes to box "Africa" and "Africans" into one category, this is perhaps something to think about.

The beauty, dignity, and composition of the photos are enough to lure the reader. This book features the jewelry and accessories of African costume in different regions and tribes. It gives the reader information on the people wearing these lovely adornments, as well as describing their meanings and ceremonial uses, when applicable. While this represents only specific aspects of some parts of Africa, it is a beautiful glance at some tribal costumes still worn in increasingly fewer and fewer places.

If you love Lt.Ellen Ripley and actress Sigourney Weaver? - you must read this book!

In the span of the twenty-five years since the release of the first Alien film in 1979, much has changes in the American culture and society and the film industry. It would be easy to write a relatively standard work analyzing the four films in the series that include Lt. Ellen Ripley (Sigourney Weaver). Other than those interested scholars and, perhaps, fans engrossed with those films, such a book would be rather dull. But Gallardo C. and Smith have produced a far different, far more unexpected and powerful work. This is done through an elegant and insightful organization of the work. Each of the four major chapters deals with one of the four films (Alien, Aliens, Alien3, Alien: Resurrection). Nicely written personal forward, introduction and a conclusion surround these, but it is these four chapters that are the meat of the text.
At first glance a potential reader may imagine that these four chapters have little to do with each other, as each deals with a different film. What is so wonderful about this organization is that Gallardo C. and Smith are able to actually accomplish two things with their text. The first is a surprisingly well researched and detailed close-reading of each of the films. But the second, which would likely not be possible in any other format, is a tracing of those cultural shifts of the last twenty-five years. When the first film was released in 1979 the United States was on a cusp both culturally and politically. Second Wave feminism was reaching a crest of cultural importance, the rise of the Republican Right was beginning to be noticed, and one small decision to change a protagonist from male to female was surprising in many ways. This was a female hero that did not scream and run to her protecting male. Gallardo C. and Smith do not pull punches, though, and while they praise Alan Ladd Jr. (then the head of 20th Century Fox) for casually suggesting the change, they also point out that he gathered together secretaries from the Fox offices to view Sigourney Weaver's screen test because in the late 1970s there simply were not female executives in the film industry.
With the emergence of the Reagan-era, the defeat of the E.R.A. (Equal Rights Amendment) film in the United States changed as well. The new heroes of film in the 1980s became muscled "hard men" and Gallardo C. and Smith spend much time discussing the changes made to the character of Ripley by James Cameron as a reaction to this change. The two most general critical replies made about these first two Alien films has been that the first suggested a new type of female hero, while the second was one of two things (or perhaps a bit of both): Either it is a film about reifying the nuclear unit (in the form of Ripley as mother, Newt, a young girl as daughter, and Hicks, a marine, as father), or it is a metaphorical Vietnam film.
Gallardo C. and Smith have it both ways, emphasizing the polyphony of the texts, and the fact that multiple readings are not necessarily false readings. They become more critical of the final two films featuring Lt. Riply, but in a carefully respectful way. Blamed for the lackluster reception of the third film are mostly studio problems that led the film to essentially be the "merged" versions of two competing scripts within the studio - and that with far too little "development" time. Of the fourth they note that the film undermines much of what came before it because of the underlying ironic and postmodern nature of Alien: Resurrection.
Gallardo C. and Smith claim early that they do not intend to write a "theory book" for such a book is beyond the scope of what they intend. Any while they have not, in another way they have written a "theory book" of a certain time. The organization of their volume is such that the intellectual history (the changes in theoretical perspectives from 1979 and after) can quite easily be fished from their text. The transition from Second Wave to post-feminism (or Third Wave, or whatever term you prefer) is there. The transition of the Modernist heroes of the 1970s to the muscle-bound Sylvester and Arnold-like character of the Reagan-era (which were ironic, but few seemed to notice) to the postmodern pastiche and irony are all just under the surface, waiting to be considered.
That "just beneath the surface" level allows Alien Woman to work very nicely as both a film studies work on its topic, and as, literally, an intellectual history of one of the more profound times for change in the academy in some time. The character of Ripley has always been on that embodied a certain amount of "sex trouble," but by placing the films in their own times, Gallardo C. and Smith manage to analyze with being over critical. This isn't the type of criticism too often found in the academy, the kind I like to call "claiming Napoleon was a bad general because he never called for air support." This is the kind of critical examination that allows theoretical perspectives to exist, but doesn't think an analysis of Ulysses should spend fifty pages discussing Foucault and five with the actual text. So, when the authors make their claim that this is not a "theory book" what they seem to really mean is, "we are theoretically informed, but are dealing with our texts, not polysyllabic jargon. And it is all the better for it (this from someone who likes theory, too!).
Gallardo C. and Smith have produced a work that is developed, complex, insightful, and still maintains a readability that was so accomplished I almost felt jealous. It is a suitable for collections at colleges and universities with film programs, film studies programs, English programs that emphasize cultural studies, American studies programs, and popular culture programs. I would recommend it for upper level undergraduates, scholars of culture, feminism or speculative fiction in all its form.
I just published my first book (do not worry, I wont name drop it here!) and upon publication I approached the large dry eraser board in my office and wrote down all the possible "next book" projects I could think of and, among these was a book on the Alien films. It turns out that Ximena Gallardo C. and C. Jason Smith have already written it, and I'm scholar enough to know the did a better job than I would have. Alien Woman has my highest recommendation.

About a two weeks ago, my husband bought this book, and we have been notified that it will be on its way soon. I'm saying this because for some reason Amazon delayed the delivery, and if it happens to you, it's worth the wait. I know it's worth it because I borrowed a colleague's copy.

But to the review: Having watched the first three movies only once when they were released in theaters, I found that ALIEN WOMAN helped me remember many, many scenes I had forgotten. I believe that this is one of the book's strengths: the authors deal with the movies in their entirety, as opposed to dealing just with selected scenes that "prove" their points and ignoring the rest.

Another strength is how easy and fun this book is to read! No cumbersome quotes, no "academese" to muddle through-a book as entertaining as the movies, and even more exciting sometimes. Where else will you find an academic text that describes Ripley's spacing of the Alien Queen as "bitch-slapping the Alien into space"?

ALIEN WOMAN does have an agenda. It centers on Ripley more than the monster, and it does reveal how hard it is for actresses to find a role different from "babe," "mom," and "old lady" (and I'm old enough to remember what few roles women had before ALIEN was released). It is the book's contention that Ripley manages to escape this mold, and so, that she's a somewhat unique female hero in sci-fi cinema-and more than just a dragon slayer.

All in all, ALIEN WOMAN was good enough to make me want a copy of my own, and to make me rent ALIEN RESURRECTION, which appeared to be too violent and silly in the ads for me to care about watching it before I read this book.

Alien Woman is one of those books that works to find the proper context for an aesthetic product. Gallardo and Smith read the Alien films in the context of gender theory and feminism (and the way gender theory and feminism fit into the very different cultural moments of the films: 1979, 1986, 1992, 1998). For them, the films unevenly chart such themes as the primacy of the body, the breakdown of the rationalist-humanist white male subject, the fear of woman and the feminine, the identification of the monstrous and horrific with the feminine and with sexuality, and the emergence of philosophical post-humanism as an alternative to Renaissance humanism. Though they do not put it in these terms they essentially track the consequences of a Hegelian-style equation: the split "Man vs. Alien" is merely the reflection of a split within category "Man (human)" itself, "Man vs. Woman." In other words, the fight between Man and Alien is really the gender trouble within humanity itself.

The authors have an admirable sense of focus: outside of an introduction and an afterword, the book devotes one chapter to each film analysis: no novel or comic book spin-offs, no video games, no parodies, no fan-fiction. Gallardo and Smith know these films backwards, forwards and sideways. Heavy theory is relegated to the footnotes (making the whole thing easy to read), but their knowledge of Freud, Jung, Foucault, and Butler shows in the pages. And for several years Gallardo and Smith have chaired the science fiction section of one of the largest academic popular culture conferences in the world: Alien Woman is particularly strengthened by their almost encyclopedic knowledge of science fiction movies good and bad; the reader benefits from their sitting through these often awful films (Ice Pirates, anyone?), and connecting them to the Alien series. The book also hits every substantial piece of Alien criticism: future scholars will start reading about the films here, and then follow the bibliography.

Gallardo & Smith have written a work that *will be* one of *the* most important books ever for scholars AND fans of the Aliens series of films. This serious and thought-provoking, clearly-written work is immanently readable at the same time as it is insightful and rigorously scholarly. It will promote greater academic understanding of science-fiction and feminism (together and as discrete studies) and those who read it will want to own it, reference it, and read it for sheer pleasure again and again.

The study examines the entire story arc of four movies that made us gasp and wonder, and made us re-examine science fiction not only as more than just "bug eyed monsters against the good GUYS" but also as reflections of the historical era from which each film arose. This seriously well-researched and well documented work traces the history of the movie's compelling images, (for example, giving us "ah ha" moments about the inspiration for the films' artwork, facts that I know I never knew about the reason for the Aliens' form). It gives us intricate close-readings of each film, examining scene after scene with insight and depth, and helps us understand the metaphors of Corporate space and humanity in a post-human era.

One of my favorite parts is the close-reading of Ripley's suicidal leap in Aliens 3, and I had to gloat as Gallardo & Smith reveal the background meanings and imagery of her strongly compelling act of grasping the newborn alien bursting from her chest. I was delighted when I realized that my own feelings watching the film for the first time were right (I knew it!) and had that comfortable feeling you get when having a great conversation with people who share your passion for interesting works of cultural significance.

Never a "publish or perish," jargon-laden ivory-tower read, this work is compelling and fun, at the same time that it contributes important scholarship to a pivotal science fiction franchise and science fiction studies in general. If you are a fan of the series, but not an academic, you will still love this book, and learn something new and worthwhile about your favorite sci-fi. If you are an academic looking for rigorous critical interpretation, you will also find what you are looking for.

A must read for fans, scholars, and anyone interested in the "post-human" subject and Ripley's compelling character. Plus, a heck of a lot of fun and hard to put down.

This book is a series of summaries and stories of the 30 designers Bucher talked to. It's a great book to flip through and think about. My only regret is that most of the designers' works shown in the book is reproduced at miniscule size, simply because there is so much of it to show. I think I had the wrong expectation in wanting to see lots and lots of work, but the stories of each designer is an inspiration in itself.

I am a designer. I carry this book to my office everyday. This is my most important book to quickly review entire graphic design history, and also inspire ideas from other designers!!!

I love this book. There is a ton of info but writer/designer Stefan Bucher has layed it out in an eye-catching, extremely functional way and I appreciate that. The insight into the designers lives and working process is something you just won't find in another book. I find it inspiring for us wannabe designers! As an artist or designer, this is a must-read!

After much time reading books on what seems like my weakest attribute (business acumen), I decided to treat myself to a book that was focused on what I love: design. In September I stumbled upon a book by designer, Stefan Bucher, called "All Access, The Making of Thirty Extraordinary Graphic Designers."

This book was a rather fortuitous find, but it re-awakened my interest in the joy of making things. I read and reflected upon the content in it exclusively for a number of weeks. This is particularly rare for me, as I generally have about a dozen books on the go, all in varying stages of completion.

It feels as though the design community has recently experienced a deluge of monographs which take on either a hero-worshiping or somewhat self-indulgent nature. Although he's clearly excited by the people he chronicles in his book, Stefan manages to stem any kind of adulation, instead breaking his studies into small chapters. Each of these passages works to illustrate the challenges real practitioners of design have struggled with, and how they have come to find their voice through their work.

If anything was difficult for me in reading this book, it was in keeping names and bodies of work straight. The vast collection of gifted designers and their wide ranging oeuvres, felt a little like a crash course that I couldn't quite process in time. As a result, I've been re-reading the book in fits and spurts since the fall, and have referenced it extensively in discussions ever since.

To read more: http://www.ideasonideas.com/2006/01/reconsidering_design/

All Access is one of the most abundant, interesting design books I've had the pleasure to comb through. Most design publications are a pleasant visual trip, but All Access has not only engaged my eyes, but pulled me in to read every entertaining, inspiring word. I would recommend this book to everyone from the seasoned design professional to someone who is only remotely interested in graphic design. It could change the latter to the former....

If you don't know this book, buy it immediately. It takes American film criticism up to about 1970 and coincides with the time Sarris was involved with the (real) Village Voice, Jonas Mekas, American Cahiers,and the founding of the NY Film Festival and the national society of film critics. It took me about five years of reading his reviews until I finally got it - Sarris had understood that the most profound thoughts and themes were played out with style and panache by genre filmmakers with personal obsessions and ideas that did not require Western Union to spell it out.

There's some things to quibble about (I never could see why he thought so highly of Blake Edwards, but I keep trying because I trust his insight. Even Sarris can change his mind as he did on Billy Wilder a few years back).

If you are a film buff and have not discovered his work (also recommended:
Confessions of a Cultist; The John Ford Mystery Book; You Ain't Seen Nothing Yet are among the best) start here. That goes double if you experience guilty pleasure and see things no one else does in people like Anthony Mann, Michael Powell, Sam Fuller, Max Ophuls, Budd Boetticher or James Whale. I have often given this book as a gift to film loving friends. It opens a world of discovery and rapport when a friends "gets it" and suddenly, you both have a shared sensibility and frame of reference.
Also, check out his website for yearly top ten lists and also the work of his wife Molly Haskell (especially good on Howard Hawks).

This volume parses the good guys from the bad guys, tells you whom you should love and why, and summarily dismisses the ones not worth taking seriously. In other words, for good or bad, it arms you, as will no other film book ever written, with a set of eloquently-stated prejudices that may seal off certain directors from your serious consideration for all time. (It would be too glib to say that this is the books best and worst point.) Suffice to say, it has taken years for me to tear down the wall Sarris built between me, as a budding cinephile, and William Wyler, Billy Wilder, John Huston and even John Frankenheimer, for that matter. (These are just a few of the ones I think he was, or may have been, wrong about.)

But I love this book and always find it worth picking up to reread a few entries, for two or three reasons that never grow old:

1) Sarris IS an absolutely remarkable writer. His prose bristles with alternately apt and acid phrases and insights. The parallel between Ambrose Bierce and Sarris has grown on me through the years. (I think it was Sarris who brought currency to the word "pretentious"-- possibly THE serious put-down word from the 70s to the 90s, possibly to the present-- by the way. He used it with unerring surgical delicacy, as a bludgeon.)

2) He is hard to argue with in his negative evaluation of certain other respected directors. Thirty-five years ago, Sarris renounced Kubrick, noting, in typical form, that the very fact that he made one film every 5 years seemed to be all the proof his advocates needed of his integrity. Ouch! And he said that Kubrick is the director of the best coming attractions in the business.

This last is highly prophetic of the present general situation, when Hollywood has made a sort of science of over-selling weak films with absurdly hyperbolic trailers that often have little to do with the tone or experience of the films they advertise. This comment indicates also how much of Sarris is audaciously arguable, and out of synch with conservative academia re Kubrick and just about everything else. --Not a bad thing, as far as I am concerned.) And I think he was also decades ahead of the curve in recognizing Keaton as Chaplin's better.

3) He has been, for decades, an antidote to Pauline Kael. Period.

If you know the directors covered well enough to take it all with a grain of salt where needed, this book is probably the best read on movies and their directors from the second and third quarters of the 20th Century that will ever be written. THE great mapping out of this seminal period by the auteur theorys chief surveyor-- and a fun and drolly amusing place to pick up your snazzy-looking anti-philistine, anti-pretentious attitude off-the-rack.

There are few books on cinema that are more important than this title. To any serious student of film this book is perhaps the only book that you will refer to as long as you watch films.

Extolling the virtues of The American Cinema would be too hard. Beside being an invaluable reference for cinema between 1929-1968, it also contains wonderful peices of film theory. Because of this The American Cinema can be read a few pages at a time or you can completely dwelve into the material. No matter the method, Sarris will engage you in a meaningful dialogue of film. Film literature is rarely able to be this give and take. Those with an above average inclination toward cinema should purchase.

When it first appeared in the late '60s, Sarris' book was literally memorized by critics, students and teachers. It provided a root approach to discussing film, quickly absorbed, and readily shaped to one's personal tastes. A beautiful combination of reference and aesthetic, it ushered in the era of "the director as superstar," and was completely absorbed by everyone in film. Unfortunately, its absorption was so complete, the author, Mr. Sarris, was for the most part uncredited and unrewarded.

This is a wonderful book. It really fleshes out the remains of Rome's ancient monuments

We're planning a trip to Rome and like to prepare by reading about places we'll be seeing. This gives a very good explanation of the Roman building remains in an interesting manner.

Great book
love to see rome then and now
makes history come alive

This book uses overlays to show what Ancient Rome looked like when everything was new and in good shape. Then, you can flip the overlay and see how things look now. I always wondered how things looked then and wished I had a time machine to go back to those days. This book is the second-best thing to a time machine. The artists have done a great job of reconstructing the famous buildings, forums and temples. The book is well worth the money and is less expensive from Amazon than buying it in Rome.

This is a great book but way too expensive. I could have bought the exact book in Rome for less than half the price from a vendor at the Colosseum but decided to wait until I got home.

My wife enjoyed the book very much, very enlightening and educational, well done and presented. Worth the cost and more!

This book is a box collectors dream come true. Excellent detailed photos combined with informational prose.I am glad I purchased it.

Good information on the periods, materials and types of antique boxes most frequently collected. Photography excellent and item pricing accurate. I love this book and it's helped me enormously.

One does not have to be an expert to love this book. It is a treasure trove of information on all kinds of English boxes from the 18th to the early 20th centuries. Packed with photographs and intelligent text, it is simply the best, most informative, most comprehensive book on the subject. It's easy to tell the writers are not only experts with vast experience but lovers of these boxes too.
I'm particularly interested in writing boxes, and I could wish for more chapters on these, but that is purely out of a sense of greed. The whole book is fascinating, whether one is browsing or studying. Thanks.

Look I stipulate that this is most likely the best book currently on tea caddies and box's and such, but these reviews are so gushing. This book is not prefect, the font is poor and it is overpriced at 90.00 U.S. I think it is well worth 50.00 U.S., but for 90.00 I expect more pages and better quality. I was expecting the Holy Grail when I ordered this book, the reviews where hailing this as the burning bush; what I got was a good book, a very good book on tea caddies and box's, but not the end all be all. If you love tea caddies and such you will immediately enjoy this book, but the sticker shock may take a bit longer to get over.

Aprons & Icons is for vintage clothing fans and for those who have a warm spot in their hearts for the unsung heros of the wardrobe. Documenting everything from groovy '60's styles to early 1900's workaday models, the book is well researched and beautifully presented. It makes a great gift. Each time I open it I discover something new.

I just loved Joyce Chaney's book, Aprons:Icons of the American Home. It is the only book to date on the history of the american apron. The photographs are beautiful and the content is complete. Every page brings a memory of mom, grandmother or an aunt. This is a must for anyone interested in american icons, aprons or vintage clothing.

This book is full of large, colorful photos of many beautiful aprons. It is also filled with pertinent information for anyone interested in vintage aprons. Reading it makes me feel "home again." I've been an apron collector for years, and I had the opportunity to view Ms. Cheney's apron exhibit in my town's museum recently. It was fabulous! This book is my new favorite! Thanks, Ms. cheney!

As a quilter and vintage fabric lover I found this book to be a beautiful feast. The photos are large and clear, all aprons shown are displayed over period dresses, or on their own. This book is fabulous for collectors, or people like me that love to recreate vintage designs. I hope aprons come back, but even if they don't I will still wear them. This book is very timely, and it does deserve five stars. One word of cation, it isn't a pattern book, there are no projects, or patterns. It is simply aprons, in all their glory. A great coffee table book!

This book will take you back through vivid memories of aprons for cooking, home, and just fun. It also inspires a fashion sense because these aprons are timeless and fit today's world as much as yesterday's. Thank you Mme. Cheney for a great book and one that fills a void in the history of fashion and textiles.

I rate this book just a slight notch above the KQED AYBS book, simply because the creators of AYBS had input in this project. It also highlights the bit players who appeared on AYBS, otherwise the two books do a fine of episode, character, and actor bio's. But the before mentioned book does a slightly better job at reviewing 'Grace and Favour' and the Australian AYBS version..., so you have to buy both :-)

For those of you who have the Are You Being Served? book by Adrian Rigelsford--are you free? For those of you who don't, are you also free? Well, gather around everybody, and that also includes special Grace Brothers board members.

This 25th anniversary book by Richard Webber with the two co-creators of the show, Jeremy Lloyd and David Croft, is basically an update of the previous book, but in a slightly different format. The story-by-story synopses are there, but instead of the * to **** ratings, there are memorable dialogue bits, that are always good for a laugh or two.

New material: familiar BBC performers who made guest appearances (mostly as hapless customers) on the show, with a short bio on each one. However, why was Gorden Kaye, who later starred in Lloyd and Croft's French Resistance comedy, 'Allo 'Allo, excluded from this section? Also, an episode-by-episode list of guest appearances.

What really perks me are younger photographs of the stars. They are recognizable but it's interesting to see how they looked before they joined Grace Brothers. And Lloyd and Croft's personal observations on the stars are filled with the fondest and highest respect.

There are bios on some of the minor but regular performers, such as Vivienne Johnson (Mr. Grace's nurse), Milo Sperber (Mr. Grossman) and Benny Lee (Mr. Klein), as well as those in Grace And Favour.

There are some updates. Inbetween books, Arthur English, who played Mr. Harman the packing department head, died in 1995, as did Billy Burden (Mr. Moulterd), in 1994.
However, the icing on the cake is the list of hot dolly bird secretaries who appeared throughout the season. My favorites: Penny Irving, the luscious redhead who appeared during the show's peak era, Louise Burton, and the Barbie Doll Candy Davis, who now got a Master's degree and is teaching. Wow, brain and beauty! How rare! Another hottie, Debbie Linden, sadly died in 1997.

My recommendation: get this AFTER the Adrian Rigelsford book to get the optimal enjoying effect. You'll be right as rain then.

This lovely and indeed comprehensive tribute book commences with an introduction by Jeremy Lloyd and David Croft (co-writers of the series) and a foreword by Lloyd's ex-wife (and two-time guest), Joanna Lumley, and it is sure to be treasured by fans of this entertaining British comedy.

What makes this book so enjoyable is the amount of participation author Richard Webber has received from everyone involved in the production (from writers, directors, costume designers, etc., to the actors themselves), and the book is filled with their many anecdotes. In the case of deceased actors Harold Bennett (Young Mr. Grace) and Arthur Brough (Mr. Grainger), assistance has been provided by their son and daughter, respectively.

The book includes a detailed history of the series--how it came about, how the actors were chosen, why certain actors left the show, how certain effects were achieved, and so on. Also included are chapters on the stage show, the movie, the 90's sequel (Grace and Favour also known as Are You Being Served? Again!) and a look at the success of the show (and its US and Aussie spinoffs) abroad.

My favourite parts are the four-page bios of the original cast, which includes b/w and sepia photos of the actors at various ages and stages in their careers. (A priceless inclusion are the childhood photos of most of these actors). This is followed by one-half- to one-page bios of "other memorable characters"--the maintenance men, the replacements for Mr. Grainger and Mr. Lucas, Old Mr. Grace, the nurse, and the canteen manageress. There are separate chapters for the secretaries and the lift girls with brief quarter-page bios and tiny b/w photos of each. Finally, there is a chapter devoted to "familiar faces" which contains brief quarter-page bios & tiny b/w photos of every actor to have appeared as a guest on the show.

The book also includes a complete episode guide, often with a particularly memorable snippet of dialogue from the episode being summarized or a "memory" from one of the cast of crew. An episode guide and brief quarter-page bios are also provided for Grace and Favour. Finally, there is a detailed index.

The book is a 10" x 7 3/4" 176-page hardcover printed on thick, good-quality paper with a matte finish, and it contains many b/w and colour photos throughout.

In conclusion, this is an attractive, well-researched, well-written, comprehensive and thoroughly enjoyable look back at one of Britain's most popular comedies and at the cast and crew who made it so memorable. Very highly recommended!

For those of you who have the Are You Being Served? book by Adrian Rigelsford--are you free? For those of you who don't, are you also free? Well, gather around everybody, and that also includes special Grace Brothers board members.

This 25th anniversary book by Richard Webber with the two co-creators of the show, Jeremy Lloyd and David Croft, is basically an update of the previous book, but in a slightly different format. The story-by-story synopses are there, but instead of the * to **** ratings, there are memorable dialogue bits, that are always good for a laugh or two.

New material: familiar BBC performers who made guest appearances (mostly as hapless customers) on the show, with a short bio on each one. However, why was Gorden Kaye, who later starred in Lloyd and Croft's French Resistance comedy, 'Allo 'Allo, excluded from this section? Also, an episode-by-episode list of guest appearances.

What really perks me are younger photographs of the stars. They are recognizable but it's interesting to see how they looked before they joined Grace Brothers. And Lloyd and Croft's personal observations on the stars are filled with the fondest and highest respect.

There are bios on some of the minor but regular performers, such as Vivienne Johnson (Mr. Grace's nurse), Milo Sperber (Mr. Grossman) and Benny Lee (Mr. Klein), as well as those in Grace And Favour.

There are some updates. Inbetween books, Arthur English, who played Mr. Harman the packing department head, died in 1995, as did Billy Burden (Mr. Moulterd), in 1994.
However, the icing on the cake is the list of hot dolly bird secretaries who appeared throughout the season. My favorites: Penny Irving, the luscious redhead who appeared during the show's peak era, Louise Burton, and the Barbie Doll Candy Davis, who now got a Master's degree and is teaching. Wow, brain and beauty! How rare! Another hottie, Debbie Linden, sadly died in 1997.

My recommendation: get this AFTER the Adrian Rigelsford book to get the optimal enjoying effect. You'll be right as rain then.

I have watched this show for years and this is such a great book. There are episode details and bios, and even customer bios. Joanna Lumley from AbFab was in the show a couple of times.

If you like AYBS, get this!

A lot of people hear the word "Art" and think of a painting on the wall or a sculpture proudly displayed on a table or mantle. The lush images in this book remind us that we can incorporate "Art" into every physical part of our lives. There's no need to sacrifice form for function or beauty for utility. All you have to do is look at the woodwork, the floors, the lighting, the walls, and, yes, the decorative objects--in short, every aspect of an art nouveau home--to see "Art" in the smallest detail. Art Nouveau exemplifies the principle of "Art for Life".

First off, thank you Paul! I have loved Art Nouveau from childhood, before I ever knew what the style was called. It is somewhere in my blood. ART NOUVEAU, 1890-1914 (pronounced Art Newvo) is like something from a dream. The photographs alone are worth buying this book for!

Here are the chapters along with two or more of my favorite works from each:

1 THE STYLE AND THE AGE
Emile Galle' "Hand." Hot-worked glass with patination. French, 1904. Victor Horta, Hotel Tassel (Tassel House) First-floor landing with view towards staircase. Brussels, 1893.
2 ALTERNATE HISTORIES
Gustav Klimt, Pallas Athene. Oil on Canvas, Austrian, 1898. Museen der Stadt Wien, Vienna. / Doorway with two jambs and a pillar from the 11th-century church at Urnes, Norway. Late 19th-century plaster cast.
3 THE CULT OF NATURE
Louis Majorelle and Daum Freres, pair of magnolia lamps. Gilt bronze and carved glass. French, c.1903. / Louis Majorelle and Daum Freres, Le Figuier de Barbarie. Lamp of patinated bronze and carved glass. French, 1903.
4 SYMBOLS OF THE SACRED AND PROFANE
"Spiritualism: In philosophy the state or condition of mind opposed to materialism or a material conception of things." Madame Blavatsky, Theosophic Glossary, 1892.
Rene Lilique, Dragonfly Woman*** corsage ornament. Gold, enamel, chrysoprase, moonstones and diamonds. French, c.1897-98. Calouste Gullbenkian Museum, Lisbon. / Gustav Klimt, Judith II (Salome). Oil on canvas. Austrian, 1909.
5 THE LITERARY HERITAGE
6 ORIENT AND OCCIDENT
Tsuba (sword guard). Iron with gold and silver inlay. Japanese, c.1700-1800. / Inro (small container). Wood with black, gold and brown lacquer and glazed pottery., Japanese, c. 1775-1800. Signed Mochizuki Hanzan.
7 ARABESQUES: NORTH AFRICA, ARABIA AND EUROPE
(left and right) Glass flasks from Persia (Iran). c, 1885. / (centre) Glass flask by L.C. Tiffany & Co. ***American, 1896.
8 LE STYLE ANGLAIS: ENGLISH ROOTS OF THE NEW ART

James McNeill Whistler, Peacock Room for the Frederic Leyland Hourse, 1876. Courtesy of the Freer Gallery of Art, Smithsonian Institution, Washington D.C. / Alexander Fisher, peacock sconce.** Steel, bronze, silver, brass and enamel. English, c.1889.
9 THE AGE OF PAPER
Camille Martin, Portfolio, L'Estampe orignale.* Tooled mosaic leather. French, 1893. / Henri Bellery-Desfontaines, L'Enigme. Colour lithograph. French, 1898.
10 MOULDING WOOD: CRAFTSMANSHIP IN FURNITURE
Rupert Carabin, table, Wood. French, 1896. [I wish you could see this photo.** Two nude women on either side of the rectangular table have arms outstretched to hold the x top left of it, and their heads are the top right side of the x and their knees are bent to go down the bottom right of the x respectively.] / Eugene Gaillard, dining room** [black and white but oh I can see it in full color!] L'Art Nouveau Bing, Expositioin Universelle, Paris, 1900.
11 THE NEW TEXTILES
Henry van de Velde, dress** Belgian, 1900. / Otto Eckmann, Five Swans. Woven tapestry. German, 1896-97.
12 THE NEW CERAMICS: ENGAGING WITH THE SPIRIT
Agathon Leonard, part of a table setting: Jeu de l'echarpe. Porcelain.* French, 1898. / Weduwe N.S.A. Brantjes, dish.** Earthenware, Dutch, c.1900.
13 THE NEW GLASS: A SYNTHESIS OF TECHNOLOGY AND DREAMS
Louise Comfort Tiffany, vase.** Glass with applied and marvered colours, combed. American, 1895.
14 MODERN METAL
Horta House, view from the music room towards the dining room. *** 1898-1900. /Fernand Dubois, candelabra.** Electro-plated bronze. Belgian, c.1889.
15 JEWELLERY AND THE ART OF THE GOLDSMITH [one of my favorite chapters]
Phillipe Wolfers, orchid hair ornament, gold, enamel, diamonds and rubies.*** Belgian, 1902. / Ren' Lilique, iris bracelet.*** Gold, enamel and opals. French, 1897. / Rene Lalique, damselflies necklace.*** Gold, enamel, aquamarines and diamonds. French, c.1900-02. / Rene Lalique, winged female figure.*** Bronze. French, c.1899-1900. / Alphonse Mucha, bodice ornament.*** Gold, ivory, enamel, opals, pearls, and coloured gemstones. Czech, c.1900.

Ok, time for just the chapter titles and most essential loves listed from each chapter. This gives you an idea of how comprehensive this book is!

16 THE CONCENTRATED ESSENCE OF A WRIGGLE: ART NOUVEAU SCULPTURE
Jean Dampt, The Fairy Melusine and the Knight Raymondin. French, 1894.
17 THE PARISIAN SITUATION: HECTOR GUIMARD AND THE EMERGENCE OF ART NOUVEAU
Hector Guimard, principal entrance to Le Castel Beranger.** Paris, 1898.
18 VICTOR HORTA AND BRUSSELS
All the photos from the Victor Horta House!
19 MUNICH: SECESSION AND JUGENDSTIL
Franz von Stuck, The Sin. Oil on canvas. German, c.1906.
20 SECESSION IN VIENNA
Josef Hoffmann, Palais Stoclet, detail of tower.** Brussels, 1905-11.
21 GLASGOW: THE DARK DAUGHTER OF THE NORTH
22 LOUIS SULLIVAN AND THE SPIRIT OF NATURE
Adler and Sullivan, Transportation Building, Columbian Worlds Fair. Chicago, 1893.
23 BARCELONA: SPIRITUALITY AND MODERNITY
Lluis Domenech i Montaner, auditorium of Palau de Musica Catalana.*** Barcelona, 1905-08. / Antoni Gaudi, Casa Batllo, detail of fascade.*** Barcelona, 1904-06. / And all photos of Antoni Gaudi, Sagrada Familia!***
24 BUDAPEST: INTERNATIONAL METROPOLIS AND NATIONAL CAPITAL
Odon Lechner, interior of The Museum of Applied Arts.*** Budapest, 1896./ Zsolnay factory, vase. Prcelain-faience covered in Eozin glaze.** Hungarian, 1899.
25 THE NEW ART IN PRAGUE (where my violin was made)
Oswald Polivka, entrance to the Novak Building.** Nove Mesto, prague, 1901-04./ Interior and exterior photos of Osvald Polivka and Antonin Balsanek, the Municipal House
26 HELINSINKI: SAARINEN AND FINNISH JUGEND
27 MOSCOW MODERN
Elena Polenova, plate from Mir Isskustva. St. Petersburg, 1900.
/ Fyodor Shekhtel, both photos from the Riabushinsky mansion.*** Moscow 1900-02.
28 LOUIS COMFORT TIFFANY AND NEW YORK [another one of my favorite chapters--I adore L.C.T!]
Everything! Four Seasons window. Leaded favrile glass. American, 1897.
29 TURIN: STILE FLOREALE, A LIBERTY FOR ITALY?
The coolest chair I've seen in a long time: Carlo Bugatti, chair.*** Parchment over wood, copper, paint. Italian, 1902.
30 A STRANGE DEATH...
"Decorative Art can no longer exist any more than the 'style' themselves...Culture has taken a step forward and the hierarchical system of decoration has collapsed." Le Corbusier, L'Art decoratif d'aujourd'hui, 1925.
ILLUSTRATED OBJECT LIST: ART NOUVEAU 1890-1914 EXHIBITION, NATIONAL GALERY OF ART, WASHINGTON. Perhaps the best for last, has thumbnails of 375 additional pieces! I love it!

Listening to King Crimson The Power to Believe...awesome too.
Soar!

This is the book to get on Art Nouveau. The authoritative essays are well annotated, and an excellent bibliography is included. The illustrations are very fine. Of course this is a nice "coffee table book," but really this is a wonderful reference book for scholars of the Fin de Siècle-Belle Époque. Highly recommended!

A book of incredible detail and beauty. I first saw this book in my local library and decided I simply must have it. There are print art, furniture and jewellry, arcitecture examples and more. Worth the purchase price to the last penny!

This is a rare gem among art histories: A well researched book that an average person will enjoy as much as a researcher. What makes this book stand out from other books about art nouveau is how thorough it is (It is phone book thick) and the quantity and quality of the pictures. All the reproductions of art in this book are color, with the obvious exception of older photographs of artists and occasionally architecture or artifacts that no longer exist except in black and white pictures.

The book takes the theory that art nouveau was part of a social response to industrialization. So the art is defined as art that used a return to nature or investigation into magic to try to make sense of the world. Art works are organized by what materials they were created from (jewelry, ceramics, textile, commercial advertising prints). Paintings and some examples of the other medias are grouped by country with a historical write on art nouveau in that geographical region.

This book is great. The high quality color reproductions and so many of them are worth looking through again and again. If you are at all into art nouveau then you are likely to love this book. Libraries should make this available because of the wonderful high quality color reproductions.