Galleries Books

This book is an overview of a wonderful exhibit that I saw at the National Gallery on Art Nouveau. How good was the show? I saw it five times and took a different friend with me everytime. It covers just about all aspects of the movement and also concentrates on certain key cities where Art Nouveau took particular hold. The first portion gives one the vocabulary to understand what Art Nouveau was and then provides some excellent examples of it in practice. This book probably is a better way to gain an understanding of this this wonderful artistic time period right before WWII. Because it provides plenty of examples I think there is a greater narrative structure than what one otherwise finds in single subject art books. Even though the exhibit has long closed, this is still an excellent survey.

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".

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!

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.

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 book is one to have! This book is what I call the greatest beginners book to waterfowl. It takes you step by step, thru different breeds (Canvasback & Green-winged teal), types (Dabblers & divers), and the anatomy of the birds. It is a great book for any waterfowl painter or Waterfowl carving beginning artist to invest in. It has helped me a lot and it has helped my other fellow artist out also. (Like 2000 Federal Duck Stamp artist Adam Grimm) Take my word: get this book. You'll thank me.

I have been hunting ducks all my life and have read quite a few books on waterfowl, but I have never come across any book with so many pictures on different kinds of ducks and geese. I believe this book is an excellent source for people who are beginners in waterfowl hunting since they can learn about what different kinds of ducks look like.

I've looked everywhere for a table top book with just information and color photos of ducks to help us identify the water fowl we see from our home on the Chesapeake Bay - This is it - Wonderful full size, full color photos that point out the differences in species both in flight characteristics and on the water feeding activities. Age and sex appearance differences are also illustrated as each species has its own chapter. Well organized layout that is ideal for our purpose - best of its kind that I've seen.

The Great Gallery of Ducks... is truly great, if you're looking for a pictorial reference book on waterfowl. The book is crammed with photographs, almost all of which are well-taken, many showing fine detail. A few are underexposed, but most are indeed of great use to birders, artists and others intent on seeing waterfowl up close and personal.

Like my cousin who said he loves his Grandpa book, I too think it's a great book for those who are looking to know more about the anatomy of ducks. Along with Dick's other books and works, he always put so much effort into everything he did. I was there when many of the pictures for the book were taken. The pictures that look as if they were taken on a real pond were actually done at a pond on property Dick owned. He took a goose decoy, placed an electric motor, prop and controls inside, and a remote controlled camera pointing out from its side. Before his death, he told me he wanted to come up with a way to take pictures of ducks and geese from the air. He talked of developing a remote controlled goose with a camera that would fly. I believe he would have done! It is truely a pleasure to look at my copy of the book and remember his genius.

Whether or not THE BLUE GUIDE NEW YORK is useful to you depends on what you need it for. It is quite heavy (1.6 pounds), making it impractical for the traveler who is going to be in New York for only a few days. It offers rather exhaustive information on subjects that the casual tourist may have little interest in, such as history and architecture. I would not recommend it to the first-time visitor who is only going to be in town a short time. However, this is the recommended book for people preparing to take the New York City Bureau of Consumer Affairs' licensing exam to become a tour guide. I've lived in New York for more than 40 years and I found every page loaded with useful facts that I was not aware of. I learned the architects of every major building in town, where the stone used to build those buildings was quarried, as well as the artists who were responsible for the internal and external decoration, not to mention the political machinations that were necessary to begin construction. It provides floor plans of the major museums and detailed descriptions of the collections they contain. But this is probably too much information for the average tourist. This is a book for those with a passionate interest in the world's most exciting city. If you don't fall into that category, you'd be better off looking elsewhere. But I personally find the book an extremely useful reference that I'm sure I will be consulting for years to come. Four stars.

Carol von Pressentin Wright's BLUE GUIDE NEW YORK is a brilliant guide to the city and stands alone for historical perspective, cultural depth, and effective prose. Though I've lived in New York City for 12 years, this book serves as a constant companion, and I grab it nearly any time I walk out the door--every outing can now yield new layers of understanding of this, my adopted town. In the midst of a busy day, I might pass through, say, Union Square and take a moment to read the appropriate entry. Not only do I absorb details of architecture and city planning that previously eluded me, but also the whole checkered and colorful history of the place jumps to life.

Thus, I heartily recommend the book to all longer-term visitors and to those New York residents who yearn for a greater appreciation of home. Indeed, the richness of detail and comprehensive geographical coverage may actually render BLUE GUIDE less than ideal for the short-term visitor. (For those in need of a restaurant or hotel guide, there are more than enough lesser guides to fill the bill.)

One caveat. As an avid user of the 1991 2nd edition, I looked forward to the long overdue 2002 edition. With all due respect to the two new co-authors and their well-intentioned efforts, I believe that the newer, more user-friendly visual format actually decreases the book's effectiveness, as does the additional text, which lacks the consistently high critical standards of Wright's solo work. I recommend seeking out the 1991 edition (Amazon seems to offer several copies at reasonable prices). Whatever inconvenience is caused by the several outdated entries is outweighed by the ample rewards of the text.

Although Amazon lists only one author, the current edition of this book was actually revised and heavily rewritten by Stuart Miller and Sharon Seitz as a glance inside the book itself will reveal.

Co-authors of "The Other Islands of New York City" and individually authors of "Big Apple Safari for Families" (Seitz) and "Where Have All Our Giants Gone" (Miller), we streamlined many of the routes and shifted the emphasis of the book to add more on the boroughs outside of Manhattan and to add places that reflect previous oversights in terms of nature and of popular culture (places like CBGBs, for example).

All right, the most recent edition of the Blue Guide added CBGB's, an East Village rock, punk club that has now gone out of business. A few other establishments in the various editions of this fantastic guide are undoubtedly also no longer with us.

Having said that, even the oldest first and second editions (the latter, from 1991) are still incredibly useful, even timeless. For even they have listings of the most important sights in each of the city's five boroughs, a bevy of maps, lists of hotels and restaurants, sightseeing services, theaters, amusements, gardens, museums and so on.

But unlike the average, perfunctory city guide, this one (at least the 1991 edition) has more than 760 pages, including all the maps. And those pages also encompass a broad spectrum of architectural descriptions and historical events.

Not only buildings and the like are described here. So are whole parks, streets and districts, along with detailed pointers on all the exterior and interior trivia one could ever want to know while on a walking tour.

I can't attest to the value of any of the other 40-plus Blue Guide titles. But if you forget every other guide book while in New York, it will be okay, so long as you bring along at least some version of this one.

--Alyssa A. Lappen

Carol von Pressentin Wright's "Blue Guide to New York" is probably the most comprehensive guidebook to the Big Apple available. Absolutely indispensable, it includes 41 detailed maps for all five boroughs: Manhattan, Brooklyn, the Bronx, Queens, and Staten Island, along with several black and white photographs. As a New Yorker, I cannot think of anything that has not been included here. I frequently use the book myself, especially when I have out-of-town visitors. It is also excellent, for New Yorkers and visitors alike, to use on walking tours. I have the 2002 edition.

In an extremely accessible format, "The Blue Guide" presents information on all NYC districts and important sights, including: practical information, lodgings, restaurants and eateries for every budget, transportation, museums and galleries, sports, performing arts, shopping, monuments, historic detail and districts, detailed walking tours and background information. As noted, there is a veritable plethora of clear and easy-to-follow maps, along with a large pull-out MTA map of the subway system, and bus, railroad and ferry connections.

From the posh shops on Madison and Fifth Avenues to the funky Lower East Side, from the streets of Greenwich Village and Soho to the brownstones of Brooklyn Heights and Park Slope, this is the one and only guide you will need to navigate through this fabulous city, and to find fascinating out-of-the-way places most tourests never discover. There are myriad cultures here: Little Odessa in Brighton Beach, Brooklyn, Little Italy, Chinatown, a thriving Greek community in Astoria, Queens, Atlantic Ave. in Brooklyn where Arabic is heard on the street and wares from all over the Middle East are sold. Almost every country in the world is represented here and you can visit them all easily with the Blue Guide in hand. I hope you enjoy the city I love!
JANA

Painting The Word is a truly outstanding guide to Christian paintings and their meanings brings art and spirituality together in an inspiring coverage. More than a history of painting, Painting The Word discusses how Christian images reflected and influenced Christian civilization as a whole, with a universal quality delivering balanced messages. Color reproductions of significant classic Christian art works appear throughout.

As an ordained Anglican priest and the dean of Christ Church in Oxford, John Drury is by no means an accredited art historian but he is a trained artist and has a knowledgeable background in theology and New Testament exegesis. Depicted as "a book about how Christian paintings convey their messages" (p.ix), Painting the Word uniquely "extends" the "historically iconographical, or picture-describing, approach" to art by incorporating spiritual "meditation," in order to bring the reader through a "contemplative waiting process" of viewing Christian artwork (p. xi-xiii).

John Drury specifies that the purpose of the book is for the reader to take ownership of the paintings and receive `spiritual nourishment' from them. What originally began as `postcard sermons' describing artwork exhibited in the London National Gallery, has developed over time into the authoring of this wonderful book, which is full of photographic illustrations of European Christian paintings from the 14th to 18th century.

The author successfully brings the reader along on a spiritual journey through the life, death and resurrection of Jesus. Drury groups paintings under each key moment of the salvation story, starting with the Annunciation, to the Nativity, to Christ's baptism and ministry, and culminating with his death and resurrection. In this way, Painting the Word is entirely Christocentric, as it focuses on the sacrificial narrative of Jesus "from conception to resurrection" (p. xiv).

I question whether Drury successfully builds a connection between the artwork itself and the spirituality being conveyed by the artist, because Drury presents some very odd theological concepts throughout his book. I disagree with Drury's constant insinuation that the original painters understood the biblical scenes that they were depicting as "myths." For example, as Drury begins his discussion of paintings depicting the Annunciation, he states, "A dialogue between Mary and the angel follows. It can only be imaginary, but... it is held together over a respectful distance by their mutual regard" (p.41). Drury claims on the very next page that the "moment" of the Annunciation is thanks to the "imagination" of St Luke and St John. Is Drury actually insinuating that the dialogue between Mary and the angel was only a fantasy? Would the artists of the Annunciation paintings really see their portraits as depicting a mythical scene? If so, then a plethora of Christian artists from the 14th to 17th centuries must have believed that Christianity was nothing more than a "myth", as Drury repeatedly refers to sacred Tradition as "myth" throughout the book (cf. p.48, 89, 114). It is more likely that Drury is imposing his own view upon the reader rather than objectively bringing out the artist's intended spirituality.

A more detailed review is available on my website:
http://members.shaw.ca/angelamccormick

This book is without doubt one of the more beautifully prepared and printed books in my collection. Done by the Yale University Press in association with the National Gallery of London, virtually every page is a treasure. There are nearly two hundred full-colour-process reproductions of artworks throughout the text, and every page (not just the colour plates) are heavy bond, high-gloss stock that shows the ink and colour with vibrancy and depth.

John Drury spent a career at both Cambridge and Oxford dealing in matters of theology, ecclesiology, liturgy, and art. I discovered Drury's book while attending a course at my own seminary on the church and the arts, and kept finding myself frustrated at the rapid pace we would go through topics (a frustration I know the professor teaching the course shared - how does one do justice to 2000 years of music, architecture, and art in a mere 15 sessions?). I sought out supplemental materials to help fill out the outline, and Drury's text serves the purpose in many ways.

Drury states his purpose early in the text. `This is a book about how Christian paintings convey their messages. It takes on whole paintings. It is not content with just picking symbols out of them for identification. Composition, colour, contents (including architecture and landscape as well as figures) and the ways in which the paint itself is handled - all are treated as part and parcel of their religious meanings.' This is a holy and holistic approach.

Drury adopts a kind of picture-describing approach (one that he terms `historically iconographical'). This involves absorbing details while understanding context and material. This is the same kind of attention that worship requires (and indeed, the Eastern church has always had this kind of physical artistic interplay with the tradition of use of icons for prayer, meditation and worship purposes) - it requires an openness to experience and feeling while also benefitting from understanding and guidance.

Major artists and works studied in detail in this text include the work of Tiepolo (c. 1750s), the Wilton Diptych (anonymous, c. 1390s), Titian (c. 1510-40s), Duccio (c. 1310s), Filippo Lippi (c. 1450s), Poussin (c. 1630-50s), Rembrandt (c. 1640s), Piero della Francesca (c. 1450-70s), Caravaggio (c. 1600s), Rubens (c. 1630s), Velazquez (c. 1610s), Cezanne (c. 1900s), and others. Most presentations begin by showing the whole work, then proceeding to look at individual characteristics or highlights often pulled aside in side images or isolated for greater emphasis. The text and artwork is arranged in good pattern throughout the text.

Throughout his text, Drury makes a repeated call for care, meditation and attention to be given to the artwork as well as the response to the artwork. He makes that statement that we should stay in front of the images `longer than people usually do' - noticing in museums, art shops, churches and other places that people tend to shuffle past rather than give attention to the most stunning and sublime works of art. Drury draws in history, theology, philosophy, literature, biblical references and images, and other cultural and contextual references to make the experience of these works a full and profound one. This is not a book to be read quickly or glanced over lightly.

Drury includes a narrative annotated bibliography rather than a simple list; he provides both a general bibliography for the entire text as well as a selected bibliography for each chapter/topic.

This is a wonderful book, a great gift for oneself or for others. It is particularly good for those who want a deeper experience and understanding of the way in which art has and can interact and enhance one's relationship with Christianity and its message.

Reasoned analysis involves dissection of statements and dissection of images. The dissection is needed to detect evidence or to expose the lack thereof. The reason analysis of images is needed is that all of the images are not natural. They are iconic based on conventions (like language) and therefore Christian images are signs. The discipline to investigate them is not the neuropsychology of perception but semiotics, the science of signs. Here we have an excellent semiotic rhetoric of Christian images informing us of the meaning of the signs and the meaning behind the images given to us by an expert in both religion (John Drury is a priest) and in the history of art. The cross, the scourging pillar, the spear and the sponge on a cane -all these have meaning. Particularly interesting was Chapter three with the dissection of the different presentations of the annunciation by Duccio as compared to Lippi and Poussin and the biblical quotes that supported each artist's view of what happened and how it happened.

John Drury is an art historian who uses his vocation as a priest to explain the subtlety of meaning that lies hidden in the symbolism of religious paintings in London's National Gallery.

Anyone how has looked at such a painting but not "seen" it, would do well to read this wonderful book and share the insights that the author offers. Paintings that I would have passed by with scarcely a second glance, are revealed within a context of their time, with reference to their history, the world view of the artist, the common and uncommon symbolism employed and much else besides.

It gives the possibility of sharing a visual language that we have lost and enables us to understand what it is about a picture that we sense is great, without comprehending why that might be.

It is hard to think that anyone who has ever visited an art gallery could not profit from reading this book and has certainly given me the enthusiasm to go and look at the pictures for myself.

For creating made buttons, there is no better book. However, for absolute novices, it is a bit confusing.

This is a wonderful book for a historic costumer. Especially if antique buttons are out of your means and modern buttons are not period enough. Whether you are doing a garment from hundreds of years ago, to more recent Victorian and Edwardian, there will be something for you in this book. The buttons included are timeless styles. Attractively and concisely portrayed, the author separates them into appropriate skill levels. There are instructions on many needle made buttons, including tenerife lace types. There are even instructions on making frogs (common cape closures made from cording). The photos are large and in color. The instructions are clear and easy to follow. A super book!

There are buttons for everyone in this book whether you rate high in precision crafts, or low in patience. The directions and illustrations are great and the buttons turn out beautiful. Nancy Nehring includes a breif history about many of the buttons and when and where they were popular. A wonderful resource for the historical re-enactor and historic demonstrations. And great to use when you are re-enacting, and lose a button.

Most books of this sort are by and large garbage. This one is a keeper. Unsual ideas for needle work buttons, and how to make them. Very nice.

My dream is that one day i will have enough free time to try all sorts of crafts. For that purpose, i hoard crafts books, including this one.

I haven't made any of the buttons in this book, but i have read over the instructions of the majority. Honestly, i think i can make at least the easy and the moderate projects. Nancy Nehring's explanations are very clear, and easy to follow. Still, though, i would have liked more diagrams in a step-by-step way (at least for the basic styles).

The photographs are gorgeous, and they certainly do justice to the many beautiful styles of buttons depicted.

It has great poster-like images and screen shots, all of high quality. The original art is also superb. If you like Gundam Wing and want some extra art or if you want to draw something from Gundam Wing get this...and the technical manualGundam Technical Manual #1: Gundam Wing cause that thing has ALL the details about the machines and the story leading up to the show.

Hm... I happen to LOVE this book. I own it. Bought it at a different website (animenation.com) with a different cover, but it's the same pictures... And the pictures are great! There were quite a few I hadn't seen before (example 1: the one of Treize and Une's head from the side. example 2: one with both Milliardo and Zechs (Milliardo with his mask on) from the side and a full shot of Noin from the front). The whole thing is layed out very nicely. I give it... *drumroll* Ten out of ten thumbs up! Eh... Right. Anyway...

For all those die-hard Gundam fans who were disappointed with the three-volume manga, this will more than make up for it.

Like the title says, this book displays a collection of pictures -- original ones or screenshots from the anime -- that is, simply, the art of "Gundam Wing." The book does a good job of fairly balancing the pictures of the five pilots as well as other important characters. For those who surf the web a great deal, many of these pictures will be recognized immediately. And many people might also notice that the pictures are a lot crisper, clearer, and cleaner than some found on fansites, which is alone worth the price of the book.

However, there is also a good deal of pictures that have most likely not been found on the internet (although they probably will be soon because of people with scanners and a lot of free time). These pictures heighten the worth of the book, and the fact that they were drawn by the artists who worked on the anime makes it all the more satisfying. After all, where do the original artists take the time to add more of their talent to a collection of already-beautiful artwork?

All in all, there was only once complaint I had, and that was that the book was a little short. The book is only about 96 pages of art, with a brief interview with the artists. Despite this setback, the book is definately a must-have for anyone who's ever enjoyed the artwork and wants to gloss over it for days on end. Try and say something like that about "Pokemon"!

This is a really great thing to buy for any GW fan. The artwork is beautifull.....amazing.....there aren't enough good words to describe it.....I'm very happy that I bought it.....

This is a great book! It's worth the money! If you know Gundam like I do then you'll love this book. It has pictures from the Endless Waltz as well as some from the earlier movies. The pictures are very colorful and quite creative. Each character is given a few pages of pictures. If you are familiar with the pics on the trading cards, they're there too! Also the covers of the movies are included. I highly reccomend this book to anyone seeking help on drawing the Gundam Wing characters or just looking for a peice to add to their collection!

I love this product. I bought two, one for the office and one for home.

Four years ago a friend gave me this calendar as a Christmas gift and I have purchased one for myself every year since. As other reviewers have said, the photos are beautiful and the little messages are informative.

I'm a teacher and keep this calendar on top of a filing cabinet. One of my students, one who failed my class last year because she didn't do any work, has been always been very hard to reach. She finally spotted this calendar and goes to look at the photo and read the comment everyday. It turns out that she has several cats at home. Occasionally she has asked if she could keep one of the photos (of course!) and we've actually had conversations about our cats., not our content area, but our cats. I wish I could tell you her scholarship has dramatically improved but, sadly, no. However, she tries a little and at least talks to me now. Is it because of the calendar or because she doesn't want to spend another year in my class? Hard to say. Some kids are very hard to connect with and this calendar was the one thing that worked for this student.

Yeah, I know TMI.

This year I'm also buying the dog calendar for my little nephews who are huge dog lovers.

If you like cats, you will enjoy this calender. I have purchased this for at least four years and enjoy seeing the different cats and little bits of knowledge each day.

Spectacular beauty! The photography is "one of a kind" along with the information printed on the calendar. I've learned so much useful information from this calendar; accompanied by humor, laughter, associated with the feline persuasion, provided an added bonus. The plastic holder, which the individual sheets reside in, is solid clear plastic; to be displayed any place of your choice without incident (i.e. falling over, or breakage).

You want the best, well then this is it!!!

Have been buying this calendar for several years now. Never miss getting a copy each year. High quality glossy photos on firm large cards, adorable cats with interesting snippets of information. Makes each day a new furry surprise! Sits neatly and firmly on desk. Highly recommended to all cat lovers out there.

dada: zurich, berlin, hanover, cologne, new yorkk, paris

This book is wonderfully informative, plus it has so many full-color reproductions--the type of terrific catalog that inspires one to stroke its pages with a sense of seduction (works in my mind!).

Coupled with Hans Richter's: "Dada, Art and Antiart" and movement's philosophy and works are clearly understood. Graphics are truly great and commentary enlighten. It might be noted this book is German published as the Max Ernst book "Life and Work". Both with numerous colored plates of the highest quality. The Dada book though excels in text.

I have always had a weakness for Dada, and within this quixotic movement a special liking for Schwitters. So I visited the Dada-exposition in the Paris Centre Pompidou last year, and there bought both the Dickerman catalogue of the American exposition, and the (French language) catalogue of the Centre Pompidou itself, which differ in many ways. The exposition was wonderful by the way, and one of the best I' ve seen in many years. Thinking that a morning would be enough to see what I wanted to see, I changed my mind, decided to take dinner in the Pompidou, and stayed for the rest of the day. The immense amount of material was stunning. And the same thing really goes for both impressive catalogues. The American (Dickerman) version (520 pages) follows Dada by way of the cities where Dada developed, and does so in a more or less chronological fashion. Essays are excellent, photomaterial looks great. It is the sort of catalogue you would expect from an exposition like this. The European catalogue, more than thousand pages, printed on very thin paper, treats subjects, artists, and everything else connected with Dada according to alfabet. It seems to me that the catalogue has just about everything that could be seen at the exposition, with exception of the films of course. Although I felt a bit silly after buying both catalogues (spending some 100 euros), I was in the end very glad that I did. Everybody who buys catalogues now and then, know how disappointing these sometimes are. Well, these aren't. They are both superb, knowledgeable. And the people who made them have done a terrific job. In the end you wind up thinking: Hey, these guys (and girls) must have loved Dada as much as I do.

IF YOU LIKE ART THIS IS THE PERFECT MEAL.
BREAKFAST LUNCH DINNER AND SNACKS
I WISH I HAD ONE OF THESE BOOKS IN EVERY ONE OF MY ROOMS
OR ANYWHERE I VISIT WHERE THERE MIGHT BE FREE TIME TO LEAF THRU IT!

My son had this book when he was a child. He is now an adult, and he asked about the book one day when he and his wife were having dinner with us. His book had been ruined many years prior to this, but since he brought it up I got the idea to get another one for him. We gave it to him as one of his birthday gifts. He was soooo happy to get it! His wife has been collecting children's books anyway, so it will be added to their collection for when they have children. It is a timeless book for kids to read over and over again and to have fun with the pop ups of the animals in it--especially fun for little boys, and big boys, too!

There is an attractive quality to pop up books, and this one hits the mark. A succession of brightly colored animals leap off the pages, mouths flapping open and shut. Each animal declares "I'm going to eat you for my dinner!" to the animal featured on the previous page. And he does.

Frog Vulture Gorilla Tiger Crocodile Shark

The illustrations are large - each animal spans two pages, with similarly large fonts for the text. The hinged mouths pop out to invite little fingers to probe inside. The combination of a simple layout, bold colors and repeating text make this book ideal for young children.

A note of interest: this book is reasonably priced at $6.99, with several others available by the same author.

My grandsons (2-5 years)love this book and never tire of it. In fact, they always say, "Read again." My kids at school liked it so much that one of them helped themselves to it and I will have to get another!

This a such a fun book to read aloud to the kids... all her books are wonderful but I think my grandsons loved this one the most..

I love this book and my one year old baby sister does too. During our first reading the animals look of the scary animals shocked her a little bit. Now that's she's used to it, she loves the book. I like to change my voice for each animal. Be careful when reading it to children who like to still rip pages and put books in their mouths. This is a pop-up book and the pages are not sturdy like a board book.

This is my second Islands calendar. After visiting dozens and dozens of islands it is fun to flip a page a day and see so many familiar sights. The photography is superb. I am sure that I will buy my third Islands calendar next year.

Received the two Calendars in great shape and sound packaging.
I really enjoyed the one from last year.
So for this year I got one for the office and one for home.
Last year's was on a heavier card stock.
Now I need to be careful about putting the day behind, so that it does not bend.
May I suggest that they make next year with a separate Saturday and Sunday.
As so many of us work 6 days a week.
We loose out on 52 pictures.
I plan on getting two for next year, so please keep them coming.
Enjoy the daydreams too.

I keep my gallery calendar at work where I can look at the wonderful island scenes any time I need a little break in the day. The paper quality of this calendar is exceptional, however, the photo quality of the 2006 calendar is superior to this year's (2007) version.

I was not only impressed with my new calender & its amazing photos, but also with the reliable & superior service...my order was processed/delivered in no time & arrived in perfect condition-thanks again!! :)

This is very nice. It was hard to find an item like this for my wife for Christmas.