No comments about Architecture and Sensuality: Andrew Bromberg of Aedas.

2 comments about The History of Greek Vases.

1. Its a very good book, well documented. The only issue that is was important to improve, is to change at least some photos from Black and White to Color. Art documentation demands many times to see directly the pieces colors



2. Though this adds to a field which has been dealt with before, the book presnts a fresh and insightful viewpoint. It will be valuable to all students of Greek history and chronolgy, and modern "pot throwers" everywhere.

No comments about Carroll Dunham Prints: Catalogue Raisonne, 1984-2006 (Addison Gallery of American Art).

No comments about The Collections of Barbara Bloom.

No comments about Urban Walls: A Generation of Collage in Europe and America.

5 comments about Gullah Images: The Art of Jonathan Green.

1. It is given to particular artists to do the impossible. Claude Monet paints light. Andrew Wyeth paints time passing. You can hear Jonathan Green's paintings. In "Bessie Mae", he paints not only the singer, the song itself springs from the canvas. "Silence With The Birds" transfixes the mind, making common imagery so new that you may as well have just been born. Green belongs with those rare artists whose work leaves you seeing and feeling the world in a new way. You can spend an hour with this book, go for a walk and see fresh grace in the movement of the human body, sense something new in your step. All that and more, you will find in this book. There is in every painting the identifiable signature and the present quest - something that goes to your belly, and makes you whole. This is world-class art, visionary, accomplished, redemptive. Green's work expresses the spirit of a people who endured hundreds of years of brutal oppression, created the greatest religious songs in the language and fought a revolution without guns. Here is love, made visible. As in Rilke's poem about Apollo: 'You must change your life."



2. Last month I went to Charleston, South Carolina for the first time and discovered the art of Jonathan Green at Gallery Chuma. If I could be a piece of art, I would be painted by him. The art is shown in chronological order and the evolution of style through his career is evidenced. There is one color plate per page so each piece is easily viewed. All are in color. The art section is prefaced by three lyrical, thought-provoking chapters about the artist, the relationship of Gullah heritage, African American aesthetic, and his art as an expression of the layers of experiences mixed cultures bring to humanity. One chapter mentioned the flowing movement in the artwork which is also what first piqued my interest. I just can't help but wish that all that is good in the world of Jonathan Green's art could be in everyone and make our world a better place.



3. a beautiful book of green's work
   if you are a fan of his artwork--this book is an excellent compilation in both presentation and accompanying text



4. of color and of life. His vivid paintings make you feel glad to be alive



5. Conroy has done a splendid job of putting together the works of Jonathan Green. Not only does the book show Green's unique style to best advantage, but includes great information about the Gullah people and the artist. A must have book for anyone interested in the Gullahs or Jonathan Green.

1 comments about A New Light on Tiffany: Clara Driscoll and the Tiffany Girls.

1. Looking into how the highly-valued Tiffany lamps and other fine objects came to be, the three authors disclose the critical, unique part Clara Driscoll had in this. Driscoll served as a major creative force for many Tiffany lamps by her own artistic sense and as director of a staff of other talented women. Recently found correspondence of Driscoll's--an Ohio native who lived from 1861 to 1944--verifies that she was mostly responsible for the classic Tiffany designs of the Wisteria, Dragonfly, and Peony.
   
   The authors do not aim to devalue Louis Comfort Tiffany's (1848-1933) role and reputation in giving Driscoll her due. They seek mainly to lay out a broader, more informed understanding of the creation of the timeless Tiffany works. Parts of the book go beyond Driscoll's place in the company to see her as representative of sprightly, adventuresome, and bright young American woman coming into the American workforce and into large cities in the late 1800s and early 1900s. Besides Driscoll, there were a number of other similarly-talented and -natured women who contributed to the inimitable design and outstanding status of the Tiffany lamps and other objects. Collectively known as the "Tiffany Girls," many are pictured in available period photographs; and all known are given biographical notes.

2 comments about Etched Glass: Techniques & Designs.

1. I credit this book hands-down with inspiring and introducing me to the beautiful art of glass etching. Page after page of breathtaking sophisticated etched glass carvings are interspersed with photos of smaller examples easily within reach of a beginner. The authors have had over 25 years in the business and now hold beginner through master level classes at their art studio in New Mexico.

   This is a thorough book describing the various methods of etching, the materials, types of glass, types of techniques, etc. For example, etching cream - which is what I'm learning to use as a beginner is only capable of surface etching. Even so, this simple technique can make very beautiful designs on different types of glass. I've been practicing on jelly and juice jars I keep after finishing off said jelly or juice. That way, if or when I mess up it doesn't matter as much like it would had I practiced on an expensive wine glass or bowl. Soon I'll be ready to move on to the next project and type of glass to practice on. The authors discuss in particular detail surface etching, carving and shading. Applying and cutting various types of resists and etching creams, numbering patterns so you know which order to etch for a proper 3-dimensional effect, beveling, how to hold the carving/blasting wand, etc. is all here. Most of these techniques can be done now (at least on a small scale) with a small air compressor like the ones used for airbrush, portable blaster and tabletop sandblasting cabinets. Chapter 8 gives extensive advise on the various types of equipment (from hobbiest tabletop units to industrial room-sized) used for sandblast etching along with each piece of equipment's pros and cons.

   I'm looking at one tabletop unit that is moderately priced (less than $270). With this one tabletop unit (which the book shows a photo of and discusses) anyone can start recreating even the most sophisticated designs and projects included in this book for beginners and beyond. Detailed step-by-step photos for each project are shown in each chapter and the patterns for each project are provided in Appendix B. The other Appendices cover a glossary of terms, suppliers of etching machines, stencil sources, sources for glass, further reading and handy reference charts covering Moh's hardness scale, volume/linear/pressure measurements and abrasive grit sizes including microgrit powders. It really presents a very broad overview of everything one needs to get started making beautiful glass etching/carvings.

   And I want to stess again that page after page is a visual feast of gallery designs of what professional glass etchers can do. The cover of the book does not even begin to show how beautiful the artwork displayed inside really is. I can not stress this point enough. The artwork shown inside is truly worthy of anyone's coffee table. The fantastic thing is that I'm having a ton of fun learning this beautiful art - and all thanks to this one comprehensive book. Bravo! I want a sequel!




2. It was a boon to have this book Mr. Dobbins!! I have been able to etch and carve glass successfully and beautifully just with the help of the detailed instructions in the book! Today, if I am successful it is because of this book. Thankyou Mr. Dobbins for putting in your heart and soul into this book!! Aarti Jhawar(India)

3 comments about Collectors Encyclopedia of Roseville Pottery (Collector's Encyclopedia of Roseville Pottery).

1. This is a well organized reference to Bush-McCoy. It contains a history of Bush-McCoy; this added knowledge adds to the fun of collecting and allow you to sound more like you know what you are doing. Then there are pages on the different "marks" of the pottery. There is a dated value guide. But I find it easer to do my own comparing. The big plus is the color pictures that show what is available. For those discriminate people that do not just buy anything that says Bush-McCoy there is an index. It is also fun to see you Bush-McCoy pieces in the book.



2. The Huxfords are wonderful authors that have offered, collectors of Roseville Art Pottery, a basic foundation for identifying various Roseville lines. No one author [I personally author a mid-year price guide]has all the answers, but each of us attempt to add to the ongoing data base. The Huxford volumes are an essential tool for Roseville collectors and Dealers.



3. I purchased both the first and the second of the Roseville series by Sharon and Bob Huxford, hoping that I would get a complete guide of all Roseville pottery with prices. Unfortunately the "encyclopedia" was not complete. I guess this is how the authors sell books by not putting together a definitive book on Roseville.

2 comments about Brothers in Clay: The Story of Georgia Folk Pottery.

1. Excellent book covering the great folk potters of Geogia -All I hoped it would be.



2. The first thing that you will need to know about the author, if indeed personal perspectives are important, is that, unless the situation in which he finds himself is self-laudatory, he becomes....boorish. His work is no doubt ground breaking, but he leaves out so much of the ceramic history of Georgia because it would take too much effort to really uncover the truth. For example, one will see much that he has to offer for those potteries that existed above the fault line in Georgia. But, he fails to recognize equally important potteries in South Georgia. Try to find any relevant information about Lanier County, or the area around Lumpkin. Or, more damning, try to find any relevant information in this book about Washington County, probably the earliest pottery center in Georgia. Yes, Burrison does give WACO a passing notice; however, he skims details with the proviso that "more studies need to be done". Instead, Burrison rides the coattails of his protege', Lanier Meaders, who is indeed a worthy beast of burden, and very popular right now with the collector set. Still, the holes in his research are ragged, and we are expected to accept this with the admonition that more will come, later. I believe that as a researcher, Burrison relies on the obvious; that he used his assistants to provide details, and that, in general, as someone who promotes himself to be the primary source of expertise concerning Georgia pottery, he is "not authentic". And so, if you would like what seems to be a well-researched examination of Georgia pottery, but in fact is just a biased snapshot of it, then buy this book. In the meantime, the hope is that someone will take up the fallen mantel of Burrison's book and reveal a complete picture of a fascinating subject.