4 comments about How to Identify Prints, Second Edition.

1. This book is found in the printrooms of most galleries and print collectors as it is a precise and concisely written text which explains the complex processes of printmaking. It clarifies the sometimes baffling differences between printing families and the creative techniques involved in making a print such as the subtle visual difference between an etching and an engraving. The book is illustrated throughout to assist the reader to identify printing techniques, characteristics and attribution marks used in Old Master prints through to those made in contemporary times. This reference text would appeal to anyone fascinated by prints and provides a new vocabulary for those who want to know more about the interesting visual variations possible in the world of the print.



2. I almost said "for the beginning print lover," but even the pros might want occasional reminders about obscure processes.
   
   This book displays an incredible number of processes and variations. Even within etching, there is standard intaglio process, relief etching, intaglio so deep it's amost relief, spit-biting or open-biting - well, a very long list. This gives an exacting look at the marks specific to each process, and gives good diagnostic descriptions. A special strength in this book is the differential diagnoses, the questions to ask that help distinguish two very similar kinds of marks. Every point made in the text is illustrated real samples, and that makes for a heck of a lot of illustrations.
   
   I have almost no quibbles with this text. There are just a few minor points that Gascoigne could have brought out more clearly. First is that Japanese woodcuts are under-represented. It's a rich tradition with a number of distinguishing features: gradations of ink hand-placed on a block, occasional use of mica for luster, and occasional use of un-inked "blind" impressions to impress texture into the paper. Second is a mark that I think is unique to drypoint: the line is often asymmetric, crisp on one side and blurred on the other, capturing the asymmetry of the drypoint burr. The split drypoint line is more famous but, in my experience, less common. I've seen it only in the most aggressively worked drypoints, such as some by Picasso. Third is a feature of some dust-ground aquatints: that the white marks can sometimes form a connected mesh around the black dots, where a spirit ground always has a black ocean dotted with white islands. I know these are minor points, and I hope you see how few there are.
   
   I'm a process nut. It's not the only way I enjoy prints, and not the way everyone enjoys them. For me, though, it really adds something to know how the maker's hand created each mark that I see. This isn't strictly a process book, and only accidentally a book of process history. It's a book about how a print looks, and seeing even more in the finest part of its looks. In the end, that's really the best reason to love a print.
   
   //wiredweird
   
   PS: A little while ago, I was given a very nice color print. It was done in mezzotint style, using burnishers to work from dark to light. Instead of a rocker-made ground, though, it had an aquatint ground. Color came from inking au poupee, dabbed on the plate. The giver was quite surprised that I read its story so precisely. Read this book, and you'll know just what I saw.



3. Back in print and updated in a new paperback edition is Bambar Gascoigne's classic How To Identify Prints, first published in 1986 and enjoying ongoing acclaim as an essential resource for any involved in identifying prints, whether they be woodcuts, lithos, or etchings. Some ninety techniques - manual and mechanical alike - are described to round out an accompanying history of prints. A lasting, classic work essential to any art library and many a general library reference collection.



4. Now in an updated and expanded second edition, How To Identify Prints: A Complete Guide To Manual And Mechanical Processes From Woodcut To Inkjet is a superb reference and self-teaching tool for discerning between manual prints, process prints, and screenprints/non-prints, whether the print in question is monochrome or color, and whether it is relief, intaglio, or planographic. 272 illustrations, 40 of which are in color, highlight the meticulous attention to detail in this excellent manual, which also covers essential aspects of printing history and the craft of printmaking. This new addition is revised with insights concerning how increasingly sophisticated yet inexpensive cheap printing processes such as quality inkjet and laser prints affect the process of identifying and evaluating printed images. A "must-read" for anyone collecting authentic prints or pursuing a career involving the identification of prints.

2 comments about Cera*mica: Mexican Pottery of the 20th Century.

1. As a long time collector and appreciate of my time spent in Mexico, this book provides any excellent representation of folk art, past and present. Lastima, that they are not more widely appreciated outside of Mexico. This well photographed catalogue opens an opportunity to explore the beauties of Mexican culture. Highly recmmended.



2. I really enjoyed this book on Mexican Pottery. I really think that the layout of this book was perfect, and all the captions for the pictures were very insightful. I feel that I learned a lot from this book, and i can't wait till the author creates another title, because I feel that whatever she produces will be amazingly educational to read. I recommend this book to anyone who is interested in the pottery, or just anyone who would like to learn a little bit.

4 comments about Direct Stone Sculpture.

1. I am very picky at buying books because of the high shipping costs to South America, sometimes as high as the cost of a book.
   I purchased Direct Stone Sculpture because it was well praised at an art forum by highly renowned artists. After reading the book, I must say that I fully agree with them. It is worth reading and enjoying the photographs of many works. It teaches carving and use of carving tools.
   I am not only learning to sculpt but also appreciating art made by great "stoners" at the Sculpture Gallery of the book.
   The book has many photographs of the carving process, and shows detailed views of many hand and power tools that I found useful.
   I think this book should have a special place at any home library even at non carvers' shelves.
   HR, Bolivia



2. After reading the two previous reviews, I purchased this book on sculpture and was surprised to find that "soapstone" carving was dismissed from the very beginning of the book. Liebson makes clear that he does not even allow "soapstone" in his classroom--on the grounds that (his opinion)it is dangerous to the sculpter's health, and also crumbles when worked.
   Since I am new to sculpture, this was disappointing because "soapstone" was the only material I had worked with, and hoped this book was going to give me some valuable advise. Beyond Liebson's dismisal of "soapstone" the book is everything that those other reviews said it was. Tools, methods and merchandising are all covered with ample illustrations. I hope to take full advantage of Liebson's valuable lessons once I have graduated up to limestone and the like.
   A.B.



3. Every sculptor should own this book, and it's really the only one you need. Meilach's volume makes a good supplement, but really that's all it is; Liebson's book easily stands on it's own as the standard reference.

   Why? Almost the entire book is devoted to the craft and mechanics of carving stone. Liebson looks like someone's dad, and writes like it, too -- this book eschews all discussion of "art" in favor of simple, practical advice on "how to do it." From selecting a stone and tools to using and caring for those tools to finishing, polishing, mounting, and displaying your sculpture, even to gaining exhibitions and marketing your work, Liebson covers absolutely everything you need to know to get started, and to keep going. I've been carving for over five years now, and I still refer constantly to this book.




4. This book has aroused in me a great deal of enthuiasm for the process of shaping stone and the creation of art forms out of stone. Liebson is an authority on the subject and he writes extremely well. Manufacturers and suppliers of tools and stone are listed in an index. A list of recommended tools is provided as well as a fairly comprehensive description of how to best utilize these tools. The photographs are interesting and informative. An inspirational book. Of the three books on stone sculpture which I've read, this is by far the best.

1 comments about Hislop's Official International Price Guide to Fine Art, 2nd Edition (Hislops Official International Price Guide to Fine Art).

1. Useful. Compact, reliable, most important sales are well documented, and even minor names of artists are registered. I do regret of not buying it before. Highly professional, well-balanced and calm approach - Hislop's is not boasting about multi-million sales, or trends, or tendencies - it gives you the information on the hammer prices within a certain period of time. Great job

1 comments about Maxfield Parrish Identification and Price Guide (Maxfield Parrish: Identification & Price Guide) (Maxfield Parrish: Identification & Price Guide).

1. Incredibly useful. I believe Flacks has written the most accurate and convenient pricing guide available for Maxfield Parrish collectors and anyone else who wants to figure out what a Parrish item is worth. If you're looking for a great coffee table book, I suggest Alma Gilbert's The Masterworks. -- James Halperin, sf novelist (The Truth Machine & The First Immortal) and Parrish collector.

No comments about The Art Economy: An Investor's Guide to the Art Market.

3 comments about Soviet Impressionist Painting.

1. Bolshevik political ideology held contemporary European art movements such as Cubism and Abstract Modernism in contempt. The Soviet Union authorized, supported and fostered a naturalist oriented art movement from the 1930s through the 1980s. Thanks to the Cold War politics of the Kremlin, Russian artists created a realist school of painting, while the Communist government did what it could to suppress Soviet Impressionist paintings -- many of whose art works still managed to be smuggled out into western markets and find their way into European and American museums. With the collapse of the Soviet Union, scholars and art critics were finally able to appreciate Soviet impressionist art and arts. Now a compilation of the best of that art is showcased, along with an informed and informative commentary, in the 463-pages that comprise "Soviet Impressionist Painting" by Vern G. Swanson and published by the Antique Collectors' Club. Profusely illustrated with superb reproductions throughout, "Soviet Impressionist Painting" is enhanced with the inclusion a Chronology of Soviet Art; a glossary, extensive endnotes, a bibliography, a listing of the illustrations, and a comprehensive index. A seminal contribution to 20th Century Art reference collections and supplemental reading lists, "Soviet Impressionist Painting" is highly recommended for personal, academic, and community library collections.



2. Covering Soviet realist art from the 1930s to the 1980s, this impressive volume Soviet Impressionist Painting is a revelation. The well written and accessible text is both interesting and informative, explaining the prevailing conditions which influenced the artists and their work. The reproductions of the paintings are interspersed with the text, and vary from smaller than postcard size to the double page spread, one quibble here is that the text and the image to which it refers rarely appear on the same page, but usually two or three pages apart; with illustrations on every page this seems an odd arrangement. It concludes with a twenty five page chronology of Soviet art.
   
   Perhaps because of their initial impact, the first impression is that the majority of pictures here depict happy workers off to the field, smiling families and cheerful youths. However this is not strictly the case, there are more pensive portraits and groups, and there is a fair sprinkling of landscapes along with a few still life and some nudes.
   
   What really stands out, regardless of subject matter, is the quality of the painting; vibrant and energetic, with lively brush work and a strong sense of light these pictures cannot fail to appeal. Here the quality of the photography and printing come to the fore, one can sense the texture of paint and the brush work, adding greatly to the vitality of the work. The colour reproduction is superb, rich and at times vivid or even luminous; the paintings truly come to life on the page.
   
   This is genuinely a sumptuous volume, lavishly illustrated almost entirely in colour. Grab a copy while you can before this one goes out of print.



3. I thought I would never own this book as the out of print version was running from $300 up to $800!!!!?!?. That was for a book only a few years old. This one will be the same. This publisher tends toward the lower print runs so I suspect this item will be history (so to speak). As an artist my point of view is all about the images. I read the books that are honest assesments of the work and not deconstructionis bs (read Michael Fried). This book offers a fair assesment of the work being shown with no illusions regarding the setting within which the art work was created. In the introduction we read, "...they (critical western writers) imagined that in a controlled society all art was necessarily bad, because artists can only create in absolute freedom. Yet few in the West could name a single Soviet artist or visualize any of their paintings. What we had were blanket dismissals from the ill-informed." This book is about dispelling those blanket dismissals. Apart from all that, when the artwork is taken at face value, the work presented is a mindblowing celebration of talent. With awe I read artists name after name without any recongnition and realized the treasure this book begins to expose. The images are beautiful. The editors were not afraid to run an image over the gutter to show its best impact within the confines of the book. This is a book that will be read and studied for years. If you are a fan of Sorov, Sorolla, Fechen, etc....this is the mother load. The cover art is a good representation of the quality and kind of work you will find inside.

1 comments about Creativity and the Arts with Young Children.

1. This book is excellent. I have only had to read the first 4 chapters to date. I have learned so much about creativity and young children.
   
   I thought of myself to be a creative person until I read these first couple of chapters.

4 comments about Great Collectors of our Time: Art Collecting Since 1945.

1. Excellent, if expensive, volume. The first survey of collectors and collecting since the early 60's. Well illustrated. Mostly on art collecting.



2. Written by a senior staff member of Sotheby's, this book offers an interesting overlook on the collections and personalities of some of the most important art collectors of our time. The text itself is a collection of short pieces on each collector, describing the building and the highlights of their collection (which can be African art, Islamic art, modern paintings, rare books, old masters, contemporary art, etc). You will not find any real scoop here, since, but for a few exceptions, most of the people and collections described are already well-known , but it is still a book that is pleasant to read and full of good-quality illustrations of seldom reproduced works.



3. This is a truly magnificent book, very well written, very complete. The text is scholarly and straight forward, with many answered questions about this club of great collectors. While the events of theirs lifes are vividly told, the text also explains and illuminates each personality through interesting analyses. The author tends to be factual and does not speculate much. If you want to be as much entertained as educated on this great collectors buy this fantastic book. This is no ordinary art book. You will treasure it and be proud to show it to friends. Simply 5 stars!



4. Will be enjoyed by those interested in the most significant collectors of great art since the end of World War II and the role each played in preserving various treasures of the world's culture.
   
   By its nature this is a quick survey work, with short articles on each collector, along with nice photographs of important pieces within their separate collections. Each individual survey spans the time from when and how the collector started; to the collection's ultimate breadth and setting; to how it was eventually dispersed (usually to a museum or two) at death or other final point--unless the collector is still alive and still in possession.
   
   My favorite collector in the book: The Canadian embassy worker in the Soviet Union, Mr. George Costakis.
   
   For those really interested, you can find more detailed books on a number of these collectors, such as "Memories of a Collector" by Giusppe Panza.
   
   James Stourton is a highly informed and interesting art expert, although certainly given to focusing on the positive about each of his selected collectors and their collections.

3 comments about Popular Arts of Mexico: 1850-1950.

1. McMenamin's lavishly illustrated tome covers many areas of Mexican folk art, including certain forms specifically created for the American tourist market in the 1920's, 30's and 40's. Folk ceramics, talavera, textiles, furniture, wood carvings, popote or straw mosaics, lacquerware, loteria drawings and carved coconut banks are among the folk art genres included in this well-researched book. As a collector of Mexican folk art, I know only too well how difficult it is to find books in English on this subject; McMenamin offers both the serious scholar and the casual collector precious insight into many folk art forms that have almost completely disappeared or are languishing because of the acculturation that inevitably occurs with foreign contact. Popular Arts of Mexico (1850-1950) is a good, basic overview of areas other than traditional dance masks and Los Dias de Los Muertos-related folk art.



2. Beautiful pictures, informed text! Collectors use this "Bible" as a reference to describe their Mexican folk art.

   Most of the information is unavailable in other books.

   Plus, the book is gorgeous.




3. I was first told about Donna McMenamin's book "Popular Arts of Mexico" by a fellow collector of Mexicana who thought I might like it. I remember telling him I had too many other interest to get involved in such a broad field of collecting. At that time I was collecting the most basic of Mexican chotzkie, anything with a "Sleeping Mexican" on it seemed appropriate. Then I saw Donna's book. One word...Wow. I was first just blown away with the pictures, such clear and concise images. And the detail! Sadly, I was hooked. I started taking her book with me on jaunts to the antique mall where I would pick up anything that looked remotely similar. Can you say expensive? Eventually, because of the book, I was able to spot things on my own, which was great, and much cheaper. :-) Donna's book has opened up a whole new world of collecting for me. I had never seen a carved wood panel, known as "bas relief." When I saw the chapter in her book I just knew I had to own one. They are incredible and have now become a focal point in our collection of TRUE Mexican Popular Arts. OK, I still like sleeping Mexican things, but I'm crazy! :-) It would be difficult for me to say a collectibles book changed my life, I guess it seems so shallow, however, Donna's book gave me a new awareness of things that are amazingly beautiful. I'd say that's a positive life change. Can you say sappy book review? :-)