Journals Books

Great ideas that inspired me to make journals for my "older" family members. Often unwilling to follow through on projects, they love the books and love the idea of journaling this way. We will have a record of their faith to share with the next generations.

Gorgeously photographed, sensitively written, this would be such a lovely gift. Beautiful projects and many good ideas. I love this book.

I would highly recommend this book to anyone who would like to express their spiritual thoughts and ideas in different artistic ways. The visuals are very clear and there are lots of inspirational projects.

Some beautiful art work in this collection. The perspective is deeply Christian, so those of us on the periphery will have to tread carefully. Still, great projects like the prayer board will translate well to anyone in search of religious reflection through design and self-publishing.

I LOVE to bake pies, and this book is my pie-Bible! My family particularly raves over the cherry and apple pies I have made from this cookbook. I like to try different pie crust recipes from this book, besides all the different fillings. This is the ONE cookbook I turn to when I am going to bake a pie for company or a bake sale. Each recipe has been delicious.

There are sections devoted to fruit pies, cream pies, and savory pies. There are instructions on how to bake a no-fail pie crust. There are many full-color pictures of the completed pies, too. All in all, it's a treasure! Add this to your cookbook collection and you won't be disappointed.

This pie cookbook has techniques and recipes for everone from the beginning pie baker to the most experienced. The fruit pies cannot be beat, and the main dish pies are very good. Best of all is the section on crusts - different types, and how to produce a great-looking and great-tasting pie.

My copy of this book is over 20-years old. If there is ever a fire, I'm saving the Farm Journal pie cookbook.

I WOULD HIGHLY RECOMMEND THIS BOOK. I PURCHASED MINE 25 YEARS AGO WHEN I WAS IN COLLEGE AND IT IS A WONDERFUL COOKBOOK. THE PIE CRUSTS RECEIPES ARE TRIED & TRUE. ONE CRUST, TWO CRUST, HEART HEALTHY, TARTS, TURNOVERS, PUFF PASTRY, AND MORE! THE DIRECTIONS ARE CLEAR AND CONSISE. THE BOOK IS WRITTEN IN A GREAT STYLE. A SHORT DESCRIPTION/HISTORY PRECEEDS EACH RECEIPE, ADDING INTEREST FOR THE BAKER. ALSO TIPS ARE GIVEN ON HOW TO MAKE YOUR PIES LOOK NICE-CRUST EDGINGS & SHINY TOPS. MANY RECEIPES, FRUIT, MAIN DISH, ETC. MY COPY IS FALLING APART & FLOUR DUST THE PAGES. A GREAT BOOK.

I recently received this book as a gift and to be honest I had never baked a pie before. I thought that I would never be able to master making my own pastry or even come close to baking a successful pie but this book has so many great recipes and instructional passages that it was a snap. Baking pies is now one of my favorite things to do. There is even a section of "savory main dish pies", that contains a number of quick and easy recipes for dinner-time. Great as a gift for yourself or someone else!

This cookbook came out in 1977--and I was fortunate enough to buy a copy then. I now own dozens of cookbooks, but none have as many wonderful recipes in one place as this one. If I want a really GOOD recipe, it's the one I turn to. If I could give it more than five stars, I definitely would! (I've even considered buying an extra copy so that if--horror of horrors--something happened to mine, I would have a spare!)

I *LOVE* this book. I have tried many (probably most) of the recipes, and each was an unqualified success, which became a treasured favorite. The recipes are unfailingly delectable, easy to make, and don't require any special or exotic ingredients. If you want to be begged for your recipes, get a copy of this book ... truly wonderful.

I am a cookbook "buff". I have over 200 cookbooks on my shelf, and this is the one I turn to time and again. The recipes are down to earth and easy to follow. The ingredients are not exotic or unattainable. Every recipe I have tried from this book has been successful. This is not an exaggeration! I am currently looking for another copy of this out-of-print cookbook for my sister who is getting married. An excellent book for the beginner cook, or for one with experience. This book is truly worth the time and effort of tracking down another one.

The recipes are easy to follow; the ingredients are easy to find. This is good, plain all American cooking. I have NEVER had a bad result from ANY recipe I've tried out of this book. I have been searching for an extra copy of this book, for my mother, for YEARS. I have been just photo-copying the recipes out of it, and mailing them down to her. I have been a modest collector of cookbooks, and this one, again, is the very best one I have

Quinn, who grew up in one of the small suburban towns that dot the meadowlands, really captures the essense of this wilderness in the middle of the megalopolis. I never knew about how many people used (and still use) the meadowlands for hunting, trapping, fishing, etc.

While other authors deal with the cultural significance of something like the meadowlands, Quinn takes the position of a passionate naturalist and friend of the meadowlands, describing in detail wildlife, regional ecology and geology, history of the area and the many pressures the meadows face today.

A must if you're a fan of urban ecology, New Jersey, or just well-written nonfiction.

To all caring and compassionate environmentalists out there, Fields of Sun and Grass, the latest offering by gifted naturalist, writer, and artist John R. Quinn, is a glorious cry of victory via a remarkable portrayal of some of the most durable and stubbornly determined survivors in the faunal and floral kindgdom.

The setting is the New Jersey Meadowlands, a wild and reedy tract located a mere six miles west of New York's Times Square. It is considered by many as nothing more than a "toxic wasteland," but is in fact home to a dazzling array of often overlooked plants and animals. While there is little doubt that many of the life forms that once thrived here are long gone, many others remain, and these are the primary focus of this book. Many, many species are discussed; far too many to list here. Suffice it to say Quinn leaves no stones unturned.

The book has three central parts, respectively called "Yesterday," "Today," and "Tomorrow." Each covers a different time period in the ecological life of the Meadowlands. There also is an "Introduction," a "Starting Point," an "Epilogue," a bibliography, an index, and an interesting sort of "hands-on" chapter called "Exploring the Meadowlands." This will be of particular interest to anyone who lives within traveling distance of the region. It gives helpful and experienced advice on enjoyed the Meadowlands firsthand through boating, fishing, hiking, and the visiting of local parks.

Quinn's text is thorough, complete, and offered in a beautifully poetic yet pragmatic prose, making the read that much more pleasant and inviting. A memorable example can be found right at the beginning of the introduction-"Six miles-and ten thousand years-to the west of Manhattan's Times Square lies one of the grandest environmental paradoxes on Earth. Here, beneath a sun often obscured by smoky industrial exhalations, a river of many bends makes its way to the sea." It is peppered throughout with the occasional personal anecdote, like the touching retelling of an experience an eight-year-old Quinn had with his beloved grandfather in the summer of 1946 called "Grandpa and the Red Herring" (page 36). The paperback version is 348 pages in length, and much to Quinn's credit, a great deal of it is made up of his thoughtful and well-researched text.

The author's artwork is perhaps the aspect of the book that most effectively haunts you. It is simple black-and-white ink sketches, but there is an emotional complexity to each that is hard to describe, yet easy to appreciate. Quinn's clever focus on the wildlife while making sure to almost always include some image from man's industrial intervention does a marvelous job of hammering the book's point home. A glaring example of this can be found on pages 124 and 125, where we see a lone kestrel perched on the peak of a weed, while in the background looms the vague but unmistakable figure of a pair of tractors and a group of hard-hatted workers. Somehow the lack of colorization adds to the feeling of both positive and negative, of humankind's destructiveness (both intentional and inadvertent), and of the wildlife's determination to go on.

John Quinn is no stranger to the region, having been born and raised in the Village of Ridgefield Park, which rests on the Meadowland's northern edge. According to the author bio, he has published ten other books on nature and science. A potential reader can be comforted and assured by the fact that Quinn's experience and sincerity are deeply invested into every word and every drawing. In this age of the slipshod, assembly-line product, here we find an honest and lovingly crafted work by a man who genuinely cares about what he's doing.

As a proud and concerned naturalist myself, I strongly urge you to pick up a copy of Fields of Sun and Grass.

I have come to treasure Fields of Sun and Grass - it is worthy of a keepsake box like those reserved for special shells and rocks. Mr. Quinn has created a labor of love as well crafted as any story quilt, full of fascinating animal and landscape sketches; historical reenactments on a personal scale; and easily read, well-researched passages on the human and geological history of a forsaken, not forgotten, ecological wonder. One comes away exposed to a deeply stirring portrait of the meadows that dares you not to care about their future.

L. Charkey, Co-Director, Bergen Save the Watershed Action Network (Bergen SWAN); Administrator, Hackensack River Watershed Fund

The first time I met John R. Quinn was a few years ago he was deeply involved in the gathering of stories that make up the Soul of the New Jersey meadows. His journalistic background was in control and he wanted to present as complete a picture as possible regarding the current controversey surrounding the future of the Meadowlands. At the time I was assisting the New Jersey Audubon Society by providing boat rides to conduct a migratory bird habitat inventory of the Meadowlands( published by NJAS and available to the public). We invited John to join us for a day on the River and he honored all of us by chronicling the trip in Fields of Sun and Grass. Now I can relive the personal experiences of that glorius day any time I want thanks to Johns eye for detail and his skill at turning a day of field research into a story about our adventure in the Urban Wilderness. Putting controveresy and advocacy aside I recommend this book to teachers througout the Hackensack River Watershed Everytime I take their students out on the Boat or go in to their classrooms to "talk to the children". As Riverkeeper I am contacted frequently by people who are requesting information about the Meadowlands thanks to John I have a ready reference and I have learned a lot about the estuary of the Hackensack that allows me to be a more effective advocate and a better Riverkeeper Captain Bill Sheehan Hackensack Riverkeeper Inc.

This book shows it all. If you are a carpenter, or want to be one, this book will show you in exhaustive detail how to do finish work. I can say that the tricks learned in this gem of a book have really benefited me, and increased my living as a carpenter. A must have.

If there is a textbook for finish carpentry this is it and Gary Katz is the professor. If its not in here you can generalize the techniques in the book to figure out how to do it. I wish I could apprentice for Gary Katz. OOOOHHHH hes my idol.

I'm a DIY'er who's tackled projects ranging from electrical to roofing to tile. My experience with finish carpentry was pretty much limited to base molding and the replacement of doors and their casing. I recently purchased a new home, and while walking through various model homes, I really fell in love with the finish carpentry upgrades such as crown molding, coffered ceilings and library-paneled walls. The problem with buying those types of upgrades from a home builder (or from a contractor) is the exorbitant cost. I initially bought this book in the hopes it would get me comfortable in installing crown moulding in a couple of rooms in my new home, but the more time I spend reading it, the more confident I feel in attempting projcets that are much more complex - and rewarding. Crown will now be in the rooms with the LEAST amount of treatment. This book contains many pictures and diagrams that, combined with the text, serve to really simplify the steps for a wide range of projects. The book also includes many tips that help people like me avoid angst and marital problems (like when and when not to use MDF, how to compensate for shoddy construction, etc). The best part is if I don't quite understand something the first time, I can read it again and again until it finally clicks. I've gone from looking at ornate projects and guessing how they were done to KNOWING how they were done, and being confident enough to attempt them myself.

Although the book has a lot of pictures (none in color), It is very comprenhensive. It covers diverse issues usually found in separate books:
Closets, bookshelves, hanging doors and windows, fireplace mantels, curved woodwork, etc.

All the chapters detail very well every project in a professional way: professional tools and methods to accomplish taks efficiently and economicaly. Do not expect a boring book to explain how to use every single tool or a buying guide.

This books goes directly to the target.
Great book to combine with other of the Taunton's books of the series "Build Like a Pro" or the "Traditional Woodwork : Adding Authentic Period Details to Any Home" of Mario Rodriguez.

The missing star is because of the lack of pictures in color.

This book is not as compelling as "Incest", but it's still Anais: still burning, still feeling, still wholly human, with all flaws and wishy-washiness included. But again, I warn away people who may not be down with heavily sexual content. If you are, though...

"This is not a lie. I was starting to tell lies and struck a truth! Very often I tell lies that are deeply true."
-Anais Nin, January 17, 1937

Diary opening with a visit to New York accompanying Dr Otto Rank. Searches for release from Rank. Back to Paris, Henry, Hugh, and to find Gonzalo More. Desriptions of interior worlds built for Hugh, Gonzalo, and Henry. Beautiful. Houseboat on the Seine, "Nanankepichu", Villa Seurat, Louveciennes.

As follower of Anais' Diaries (expurgated or not) and her novels I would like to express my admiration and my curiosity for her amazing literature and her rare personality, motivated again by "Fire". I believe that Anais was able to enjoy sex simultaneously with several men, each one of them however, playing an appropriate , no transferable, role: Hugh (husband),Joaquin Nin (father-lover),Eduardo Sanchez (cousin-brother), Henry Miller (friend-lover), Gonzalo More (lover-friend) and others. Occidental society usually attribute this promiscuous behavior only to men.As Anais shows, this may happen also among ladies, perhaps more often than accepted . Indeed, these "faults" may be heavily damned and punished by society when perpetrated by ladies. Probably Anais was the first woman , brave and courageous enough , to describe her own experiences and feelings about eroticism and sensuality written from a female point of view. Actually, looking at her inner mirror she describes herself with delicacy , ever avoiding disgusting pornography. I believe that Anais spent her life searching a Big One Love . As a result she found many "Love" and many Lovers . The sum of them never reached totality. Her Love was her fantasy and her invention, hence endless and inaccessible. On the other hand, in this and other books Anais masterly present unknown, almost domestic features and characteristic of the personality of several men and ladies who were outstanding representatives in art, literature, theatre, politics as Neruda, Alberti, Dali, Allendy, Rank, Gore and others.

Anais Nin was raised a devout Catholic and to earn her family's love she was expected to be demure, self-sacrificing, hard-working, and chaste. When her father abandoned the family she assumed, as children sometimes do, that he had left because she wasn't "good" enough. She played the role of "good girl" for twenty years in response. Then all hell broke loose.

What I believe is different about FIRE is that it reveals Anais's explorations and experiementation with her inner "bad girl" in a way that she had only just begun in HENRY AND JUNE and INCEST. In it she is still married to Hugh and involved with Henry Miller, but in FIRE she has a relationship with the famous analyst Otto Rank that takes some treacherous twists and turns. Her writing is as wonderful as ever. For the Nin fan, this diary is yet another must-read.

I have not read this book, but for the uninformed, the Dadent and Sons company, has been selling products-including stock for the hives, and queen bees, for a very long time. I contacted them in the early 70's. their catalog was very informative.

I don't know which dadent he is, but I would not easily doubt whatever is in this book.

Great beginning book for those new to the hobby and a grand refresher for those a little more experienced. Fine work.

From what kind of hives, how to care for the bees, how to select them, gather the honey and winter them - this book has everything you will ever need to know. I happen to have the 8th edition, 1930, and is as detailed as the newer editions.

Not too sexy, but has all the right stuff. This book is a timeless guide to modern-day beekeeping. The pictures are a little dated, and black-white, but the information is sound and professionally written. This book left me feeling well educated and confident. And at this price, it's a deal!

I have just read The Flats by Leo Byrne. I was struck by the detail in his recollections. The story transports the reader back to Dublin in the rare oul times and as an Irish person myself, I felt such an affinity to the man and the story.
Leo has a style of writing which captures the Irish 'way' and his book had me experiencing a range of emotions both happy and sad. The details in The Flats are meticulous and the memories he recalls in the book, the people, the customs, the streets of Dublin etc are now remembered forever by a true son of Ireland in an authentic Irish way. A story-teller of renown that's Leo Byrne. Buy this book you won't be disappointed.

The Flats is a charming glimpse into every day life in Ireland during the 40's and 50s. Often, I've seen books and movies criticised as portraying Ireland as we think it is not as it really is. This is a gentle, loving look at the apartments in Dublin and the ebb and flow of people during a kinder, gentler time. Dubliners have their own Dublinesque patter, Dublin roots in the sons and daughters, and supposedly they never lose their accent not matter where they have been transplanted. The

Irish have ways that centre heavily upon the family, neighbours, traditions and beliefs that are ages old.

Leo Byrne was born in Dublin in 1937, at Hollis Street Hospital, just a short walk from "the Flats" - the Perse House Flats. In 1959, he moved across the Pond to New York, eventually finding his way to California. He served in the American army. After retirement, he spent time at women's shelters, dressing as a leprechaun, to bring cheer and a wee taste of Eire to the Yanks. Even though he was transplanted, his heart fondly recalls his days in the Flats and it's reflected in his writing. His joy of life, his love for his native land comes through in each tale of this collection.

It's a perfect gift for that transplanted child of Eire or that person who feel Ireland calls to their soul. His thoughts cover holidays, personal hygiene, swimming in the Liffey, courting, trash handling and even a ghostly tale. An absolute must for anyone interested in Ireland.

Leo Byrne tells a great story ,I nearly had my own hand out for the slap from the teacher.The fright of a young boy in an inner city school comes across as does the first job and the sheer joy of the first big pay packet.
The pictures alone are worth the price of this book.I did shed a tear or two at his sheer love of his country and his people.For a man a long way from home for a long time he hasn't forgotten his roots.There has been many books written by Irish authors and Mister Byrne is up there with the best of them.Anyone that can make you laugh and cry at the same time are truly gifted.
My only question is where is the sequel???

Most unusual account of a young lad growing up in Dublin Ireland, vivid merories and wonderfull childhood experiences both sad, humorous, and overall a happy enviroment. Woderfully memorized and documented to the last page.
Mary Yvonne, housewife

Forgotten Confederates: An Anthology About Black Southerners is an informative text that introduces the reader to an ignored, overlooked, and often times denied chapter in the history of the War Between the States. The editors have compiled a collection of modern essays, period news articles, obituaries, personal recollections, and Confederate records that provide readers an opportunity to either educate themselves or to pursue further exploration of the role that African Americans played in the Confederacy. The anthology includes sections that 1) deal primarily with the actual historical events, 2) sociological and anthropological studies concerning the social structure when the conflict occurred (providing the reader with a basic understanding of the times that purely historical texts often lack), and 3) personal remembrances that give the reader insight into the actual thoughts of those African Americans who worked with or for the Confederacy. The book is imminently readable and its format permits the reader to continue through the text as written at his leisure or to concentrate upon records, historical texts, or contemporary musings if he wishes. Two aspects of the work created a great impression upon this reviewer. The first aspect is the objectivity of the text. While the potential for a biased point of view is great in subject matter of this sort, the editors did an excellent job of presenting all aspects of African-American Southern involvement in the conflict. The records that were presented reflected the nature of the contributions of both slaves and freemen and numerous references were made to individuals who served in both sides of the conflict. Additionally, there were no obvious attempts at apologia for the reasons behind African-American participation in the Confederacy. The editors again were objective in their selection of source materials and where conclusions are drawn by either contributors, past historians, or participants; the editors let those conclusions stand. Moreover, in records or lengthy discourses that required editing, the editors summarised the passages without loss of factual information. Secondly, an extensive reference is made available to the reader who chooses to pursue additional information on the topic. This resource includes a description and page number of each particular relevant reference, for which this reviewer was particular grateful. This reviewer highly recommends Forgotten Confederates to any student of the Civil War, students of sociology or African American studies, or any reader with an interest in the more obscure details of the American Civil War as an excellent introduction to the role that African Americans played in the Confederate States.

I had no idea so many black soldiers fought for the South.Some were really body servants, others were quartermasters and cooks and others were flat out real soldiers. This is a piece of history that has been totally left out of the history books. This is the only book of it's kind that I know of so if you are a black or Civil War history buff you must add this one to your collection.

Mr. Barrow has written a most extraordinary book on some of the most noble, yet sadly forgotten, defenders of the Confederacy - the Black Confederates. He offers a quite insightful look of their service throughout the War For Southern Independence. Some of the personal accounts of these brave men of colour are wonderful, leaving us to question the bigotry of those who use revisionist tactics in portraying the War For Southern Independence. I believe the unfortunate & temporarily successful block of the racist organisation NAACP against a proposed monument in the Commonwealth of Virginia, that was to have been erected to the memory of the thousands upon thousand of blacks who wore the grey & butternut & bore the Saint Andrew's Cross of the Southern Confederacy, is such an example.

The common conception of black Southerners in the Civil War has described a people unified by their opposition to the Confederacy and resisting the Southern war effort, either passively and actively.
This view can only be maintained by ignoring a mass of research material that strongly suggests that black opinion, like other opinion, was represented across the spectrum, and was strongly influenced by sectional, local, and family loyalties which have largely disappeared in the modern world, but which were of paramount importance in the nineteenth century. Many blacks, free and slave, in fact, considered themselves Southerners first and blacks second, and served the Southern cause enthusiastically.
This unconventional view is supported here by a wealth of clippings, rosters, memoirs, photos, archival records, and other data to convincingly demonstrate that the matter is more complex than the simplifiers of history would have it, and to show that the actual record of the black Southerner leaves no firm ground for those who would cite his experiences for modern political purposes.
(The "score" rating is an unfortunately ineradicable feature of the page. This reviewer does not "score" books.)

Fortune: The Art Of Covering Business is a compendium of cover art drawn from past issues of Fortune magazine in celebration of its 70th anniversary. These covers are reproduced in full color and span the magazine from 1930 to 1950. Informatively enhanced with a Foreword by John Huey and an Historical Essay by Daniel Okrent, Fortune: The Art Of Covering Business is a welcome celebration drawing from a spectrum of artistic talents who provided visual symbols of America's burgeoning industrial society on the cover of one of the nation's most influential and prestigious magazines.

Henry Luce, the cofounder of Time Magazine, decided to launch Fortune after the market crash in 1929. He priced it at a dollar a copy (about ten dollars in today's currency value), and set out to make it the best possible magazine.

In the publisher's eyes (as taken from an advertising brochure), American business "has importance -- even majesty -- so the magazine . . . will look and feel important -- even majestic." " . . . [E]very page will be a work of art." Luce went on to say, "[T]he new magazine will be as beautiful as exists in the United States. If possible, the undisputed most beautiful."

Early staff members often later became famous poets and authors (such as Archibald MacLeish and James Agee) who worked just enough to earn a living, and then went back to their poetry. Luce found it easier to teach poets about business than to teach those who knew about business how to write.

The essays contain many rewarding stories. One of the best is how Thomas Maitland Cleland designed the first cover by sketching it upside down on a tablecloth in a speakeasy for the editor, Parker Lloyd-Smith. The original tablecloth, complete with drawing, is still mountained in the Time-Life building.

Some of the famous cover artists included Diego Rivera and Fernande Leger. In those days, the cover was independent of the stories in the issue. The cover was simply to attract attention and to encourage thought. If you remember early Saturday Evening Post covers by Norman Rockwell, you will get the idea.

By 1948, the vision changed. Luce wanted Fortune professionalized. The new concept was for "a magazine with a mission . . . to assist in the successful development of American business enterprise at home and abroad." By 1950, the artful covers were gone.

Now I must admit here that I found the covers displayed to be primarily of interest as reflecting social attitudes toward business. So I found these images to be like Monet's Gare St. Lazare, except without the appeal of Monet's technique. Frankly, the art did not move me or appeal to me except for one Leger cover. Perhaps the art will speak more to you. I graded the book down one star accordingly.

A value to me in this book was stopping to think about how much business has changed in the last 71 years, since Fortune was founded. That was "before Social Security, . . . the sitdown strikes of the thirties, . . . the creation of the SEC." " . . . [D]isclosure requirements for public companies were virtually nonexistent." As a result, companies didn't tell anybody anything. So it was a pretty bold idea to write about business. Contrast that with out information overload of data about every possible business and economic angle. What a difference!

How much time do you spend obtaining business information now? How can that be reduced while increasing your effectiveness? Perhaps, like the Fortune art, you can get an overview that will connect with what needs to be done . . . and found a great American business in the process like Fortune Magazine did.

When was the last time a bunch of 20-somethings started a new business that featured art and majesty, as Luce and his colleagues did? Aren't we overdue for some quality again?

Take in the big picture!

The history of business can be seen through the covers of Fortune magazine. One can see how business has changed from 1930 to 1950 month by month. The art work is excellent and is a historcial reference of economic and industrial changes in North America and the world. There is some interesting reading, as well.

Fortune magazine, for many years, had the luxury of using eye-catching graphics on its covers unrelated to the contents inside. This rather unusual arrangement was because most copies were on subscription to the folks who ran the nation's business and any newsstand sales were a bonus. The fact that it did not have to use its cover to compete with other magazines for sales allowed the various Art Editors to go for great illustrations from the leading graphic artists of the day.

All the covers from the first issue in February 1930 to December 1950 are shown in this lovely designed and printed book, either one to a page or four to a page (I felt the four to a page ones could have been a little bigger) and each year starts on a page with a few news items and some stats about business. The magazine's owner Henry Luce chose Tom Cleland to art edit the first issue and he came up with a rather ugly format for the covers, a double frame devise, the logo was in one and the illustration in another, I think this heavy framing design rather spoils the early covers and fortunately by 1942 it was dropped.

Daniel Okrent explains in his short introduction that cover artists were chosen for their creativity, some of the best graphic artists commissioned included Fred Ludekens, Erik Nitsche, A M Cassandre, Joseph Binder, George Gusti, John Atherton and Lester Beal. Although artists from the fine arts were also used, such as Ben Shahn, Fernand Leger, Charles Sheeler and Diego Rivera I don't think these covers work as well because their work is not suited to the constraints of commercial graphics.

By 1950 Fortune, now a very successful business monthly and making Henry Luce even richer, changed its editorial focus into a magazine that Luce said should "...assist in the successful development of American business enterprise at home and abroad." Covers now had to work harder as other business weeklies and monthlies all competed for the CEO's time and the luxury of a stunning cover image for its own sake had gone. This lovely book shows you the best of Fortune covers.

***FOR AN INSIDE LOOK click 'customer images' under the cover.