Leonardo

The Grammar of Television Production by Desmond Davis; Mike WoollerReview by: Ray E. KnightLeonardo, Vol. 10, No. 2 (Spring, 1977), pp. 171-172Published by: The MIT PressStable URL: http://www.jstor.org/stable/1573744 .

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David Octavius Hill and Robert Adamson were the first photographic artists to be studied seriously by the art historian Heinrich Schwartz. Indeed, many critics consider them the first artists of the medium, so it is altogether fitting that their work has experienced a resurgence of interest and acclaim during the last several years. Not only have prints by Hill and Adamson appeared on the auction block and in galleries with some regularity, but a number of articles and monographs have begun to enrich the previously rather paltry available literature. Sun Pictures is an excellent publication, against which the second book suffers by comparison.

The remarkable partnership between the painter Hill and the chemist and photographic technician Adamson lasted only from 1843 until Adamson's early death in 1848. They produced calotypes (paper negatives yielding paper prints) of a style and quality that reflect an aesthetic sensibility to the technical limitations of the medium. The posing of their portrait subjects was managed in such an ingenious manner that a calculated but convincing casualness emerged, despite the lengthy exposure times, which contrasted with the quaint, predictable rigidity found in the majority of the daguerreotypes of the period. In only 19 pages of introductory text, Bruce gracefully and concisely discusses their artistic achievement, places it in the context of the Scottish art and culture of the period, denotes the technical background of the then-new photographic inventions, assesses the apparent relative contributions of each of the partners to the work, provides biographical data, describes the circumstances (a gigantic painterly problem) that led Hill into photography and collaboration with Adamson and suggests the sociological and documentary value of the work beyond its visual impact. Fairly thorough captions accompany the reproductions, describing scenes and indicating circumstances under which they were photographed and identifying portrait subjects with some biographical detail.

In Ovenden's book, Marina Henderson's Introduction is far too brief and a lack of attention to detail, such as the incorrect hyphenation of William Henry Fox Talbot's name, gives the impression of an unduly hasty compilation. For the repro- ductions, Ovenden provides titles of only very few words, frequently omitting even the names of well-known subjects. He offers a picture book, with a minimum of text, and perhaps in this regard it is moderately successful, because the illustrations, of which there are 88, seem generally superior (a bit snappier and richer) to those in Sun Pictures. However, Bruce reproduces 130 pictures and therefore has much more information, both verbal and visual. Sun Pictures is a superb, immensely useful publication.

Form and Texture: A Photographic Portfolio. Ned Harris. Van Nostrand Reinhold, New York, 1975. 144 pp., illus. Paper, ?6.95. Reviewed by Michael Thompson+

Ned Harris is a beachcomber whose camera focus passes from beach to river, forest, junkyard and city. The camera permits him to collect not just objects and textures but often situations. In a context, be it sand, sea or factory yard, he looks for unusual objects. Particularly fascinating to him are modern manufac- tured products such as bottles, paperboards boxes, tyres, etc., either as incongruous elements in scenes in nature or in close-up views of them after they have undergone transformation in the sea. The forms and textures of physical geography, astronomy and built landscape are not treated.

The book is probably intended for those already committed to the subject and for students, for he includes the maximum number of photographs in the available space. The book is not beautiful but it and the book by P. Brodatz [ Textures (New York: Dover, 1966); Book Review, Leonardo 8, 264 (1975)] complement each other and are useful for reference.

The Grammar of Television Production. 3rd ed. Desmond Davis. Revised by Mike Wooller. Barrie & Jenkins, London, 1974.

David Octavius Hill and Robert Adamson were the first photographic artists to be studied seriously by the art historian Heinrich Schwartz. Indeed, many critics consider them the first artists of the medium, so it is altogether fitting that their work has experienced a resurgence of interest and acclaim during the last several years. Not only have prints by Hill and Adamson appeared on the auction block and in galleries with some regularity, but a number of articles and monographs have begun to enrich the previously rather paltry available literature. Sun Pictures is an excellent publication, against which the second book suffers by comparison.

The remarkable partnership between the painter Hill and the chemist and photographic technician Adamson lasted only from 1843 until Adamson's early death in 1848. They produced calotypes (paper negatives yielding paper prints) of a style and quality that reflect an aesthetic sensibility to the technical limitations of the medium. The posing of their portrait subjects was managed in such an ingenious manner that a calculated but convincing casualness emerged, despite the lengthy exposure times, which contrasted with the quaint, predictable rigidity found in the majority of the daguerreotypes of the period. In only 19 pages of introductory text, Bruce gracefully and concisely discusses their artistic achievement, places it in the context of the Scottish art and culture of the period, denotes the technical background of the then-new photographic inventions, assesses the apparent relative contributions of each of the partners to the work, provides biographical data, describes the circumstances (a gigantic painterly problem) that led Hill into photography and collaboration with Adamson and suggests the sociological and documentary value of the work beyond its visual impact. Fairly thorough captions accompany the reproductions, describing scenes and indicating circumstances under which they were photographed and identifying portrait subjects with some biographical detail.

In Ovenden's book, Marina Henderson's Introduction is far too brief and a lack of attention to detail, such as the incorrect hyphenation of William Henry Fox Talbot's name, gives the impression of an unduly hasty compilation. For the repro- ductions, Ovenden provides titles of only very few words, frequently omitting even the names of well-known subjects. He offers a picture book, with a minimum of text, and perhaps in this regard it is moderately successful, because the illustrations, of which there are 88, seem generally superior (a bit snappier and richer) to those in Sun Pictures. However, Bruce reproduces 130 pictures and therefore has much more information, both verbal and visual. Sun Pictures is a superb, immensely useful publication.

Form and Texture: A Photographic Portfolio. Ned Harris. Van Nostrand Reinhold, New York, 1975. 144 pp., illus. Paper, ?6.95. Reviewed by Michael Thompson+

Ned Harris is a beachcomber whose camera focus passes from beach to river, forest, junkyard and city. The camera permits him to collect not just objects and textures but often situations. In a context, be it sand, sea or factory yard, he looks for unusual objects. Particularly fascinating to him are modern manufac- tured products such as bottles, paperboards boxes, tyres, etc., either as incongruous elements in scenes in nature or in close-up views of them after they have undergone transformation in the sea. The forms and textures of physical geography, astronomy and built landscape are not treated.

The book is probably intended for those already committed to the subject and for students, for he includes the maximum number of photographs in the available space. The book is not beautiful but it and the book by P. Brodatz [ Textures (New York: Dover, 1966); Book Review, Leonardo 8, 264 (1975)] complement each other and are useful for reference.

The Grammar of Television Production. 3rd ed. Desmond Davis. Revised by Mike Wooller. Barrie & Jenkins, London, 1974.

David Octavius Hill and Robert Adamson were the first photographic artists to be studied seriously by the art historian Heinrich Schwartz. Indeed, many critics consider them the first artists of the medium, so it is altogether fitting that their work has experienced a resurgence of interest and acclaim during the last several years. Not only have prints by Hill and Adamson appeared on the auction block and in galleries with some regularity, but a number of articles and monographs have begun to enrich the previously rather paltry available literature. Sun Pictures is an excellent publication, against which the second book suffers by comparison.

The remarkable partnership between the painter Hill and the chemist and photographic technician Adamson lasted only from 1843 until Adamson's early death in 1848. They produced calotypes (paper negatives yielding paper prints) of a style and quality that reflect an aesthetic sensibility to the technical limitations of the medium. The posing of their portrait subjects was managed in such an ingenious manner that a calculated but convincing casualness emerged, despite the lengthy exposure times, which contrasted with the quaint, predictable rigidity found in the majority of the daguerreotypes of the period. In only 19 pages of introductory text, Bruce gracefully and concisely discusses their artistic achievement, places it in the context of the Scottish art and culture of the period, denotes the technical background of the then-new photographic inventions, assesses the apparent relative contributions of each of the partners to the work, provides biographical data, describes the circumstances (a gigantic painterly problem) that led Hill into photography and collaboration with Adamson and suggests the sociological and documentary value of the work beyond its visual impact. Fairly thorough captions accompany the reproductions, describing scenes and indicating circumstances under which they were photographed and identifying portrait subjects with some biographical detail.

In Ovenden's book, Marina Henderson's Introduction is far too brief and a lack of attention to detail, such as the incorrect hyphenation of William Henry Fox Talbot's name, gives the impression of an unduly hasty compilation. For the repro- ductions, Ovenden provides titles of only very few words, frequently omitting even the names of well-known subjects. He offers a picture book, with a minimum of text, and perhaps in this regard it is moderately successful, because the illustrations, of which there are 88, seem generally superior (a bit snappier and richer) to those in Sun Pictures. However, Bruce reproduces 130 pictures and therefore has much more information, both verbal and visual. Sun Pictures is a superb, immensely useful publication.

Form and Texture: A Photographic Portfolio. Ned Harris. Van Nostrand Reinhold, New York, 1975. 144 pp., illus. Paper, ?6.95. Reviewed by Michael Thompson+

Ned Harris is a beachcomber whose camera focus passes from beach to river, forest, junkyard and city. The camera permits him to collect not just objects and textures but often situations. In a context, be it sand, sea or factory yard, he looks for unusual objects. Particularly fascinating to him are modern manufac- tured products such as bottles, paperboards boxes, tyres, etc., either as incongruous elements in scenes in nature or in close-up views of them after they have undergone transformation in the sea. The forms and textures of physical geography, astronomy and built landscape are not treated.

The book is probably intended for those already committed to the subject and for students, for he includes the maximum number of photographs in the available space. The book is not beautiful but it and the book by P. Brodatz [ Textures (New York: Dover, 1966); Book Review, Leonardo 8, 264 (1975)] complement each other and are useful for reference.

The Grammar of Television Production. 3rd ed. Desmond Davis. Revised by Mike Wooller. Barrie & Jenkins, London, 1974.

David Octavius Hill and Robert Adamson were the first photographic artists to be studied seriously by the art historian Heinrich Schwartz. Indeed, many critics consider them the first artists of the medium, so it is altogether fitting that their work has experienced a resurgence of interest and acclaim during the last several years. Not only have prints by Hill and Adamson appeared on the auction block and in galleries with some regularity, but a number of articles and monographs have begun to enrich the previously rather paltry available literature. Sun Pictures is an excellent publication, against which the second book suffers by comparison.

The remarkable partnership between the painter Hill and the chemist and photographic technician Adamson lasted only from 1843 until Adamson's early death in 1848. They produced calotypes (paper negatives yielding paper prints) of a style and quality that reflect an aesthetic sensibility to the technical limitations of the medium. The posing of their portrait subjects was managed in such an ingenious manner that a calculated but convincing casualness emerged, despite the lengthy exposure times, which contrasted with the quaint, predictable rigidity found in the majority of the daguerreotypes of the period. In only 19 pages of introductory text, Bruce gracefully and concisely discusses their artistic achievement, places it in the context of the Scottish art and culture of the period, denotes the technical background of the then-new photographic inventions, assesses the apparent relative contributions of each of the partners to the work, provides biographical data, describes the circumstances (a gigantic painterly problem) that led Hill into photography and collaboration with Adamson and suggests the sociological and documentary value of the work beyond its visual impact. Fairly thorough captions accompany the reproductions, describing scenes and indicating circumstances under which they were photographed and identifying portrait subjects with some biographical detail.

In Ovenden's book, Marina Henderson's Introduction is far too brief and a lack of attention to detail, such as the incorrect hyphenation of William Henry Fox Talbot's name, gives the impression of an unduly hasty compilation. For the repro- ductions, Ovenden provides titles of only very few words, frequently omitting even the names of well-known subjects. He offers a picture book, with a minimum of text, and perhaps in this regard it is moderately successful, because the illustrations, of which there are 88, seem generally superior (a bit snappier and richer) to those in Sun Pictures. However, Bruce reproduces 130 pictures and therefore has much more information, both verbal and visual. Sun Pictures is a superb, immensely useful publication.

Form and Texture: A Photographic Portfolio. Ned Harris. Van Nostrand Reinhold, New York, 1975. 144 pp., illus. Paper, ?6.95. Reviewed by Michael Thompson+

Ned Harris is a beachcomber whose camera focus passes from beach to river, forest, junkyard and city. The camera permits him to collect not just objects and textures but often situations. In a context, be it sand, sea or factory yard, he looks for unusual objects. Particularly fascinating to him are modern manufac- tured products such as bottles, paperboards boxes, tyres, etc., either as incongruous elements in scenes in nature or in close-up views of them after they have undergone transformation in the sea. The forms and textures of physical geography, astronomy and built landscape are not treated.

The book is probably intended for those already committed to the subject and for students, for he includes the maximum number of photographs in the available space. The book is not beautiful but it and the book by P. Brodatz [ Textures (New York: Dover, 1966); Book Review, Leonardo 8, 264 (1975)] complement each other and are useful for reference.

The Grammar of Television Production. 3rd ed. Desmond Davis. Revised by Mike Wooller. Barrie & Jenkins, London, 1974.

David Octavius Hill and Robert Adamson were the first photographic artists to be studied seriously by the art historian Heinrich Schwartz. Indeed, many critics consider them the first artists of the medium, so it is altogether fitting that their work has experienced a resurgence of interest and acclaim during the last several years. Not only have prints by Hill and Adamson appeared on the auction block and in galleries with some regularity, but a number of articles and monographs have begun to enrich the previously rather paltry available literature. Sun Pictures is an excellent publication, against which the second book suffers by comparison.

The remarkable partnership between the painter Hill and the chemist and photographic technician Adamson lasted only from 1843 until Adamson's early death in 1848. They produced calotypes (paper negatives yielding paper prints) of a style and quality that reflect an aesthetic sensibility to the technical limitations of the medium. The posing of their portrait subjects was managed in such an ingenious manner that a calculated but convincing casualness emerged, despite the lengthy exposure times, which contrasted with the quaint, predictable rigidity found in the majority of the daguerreotypes of the period. In only 19 pages of introductory text, Bruce gracefully and concisely discusses their artistic achievement, places it in the context of the Scottish art and culture of the period, denotes the technical background of the then-new photographic inventions, assesses the apparent relative contributions of each of the partners to the work, provides biographical data, describes the circumstances (a gigantic painterly problem) that led Hill into photography and collaboration with Adamson and suggests the sociological and documentary value of the work beyond its visual impact. Fairly thorough captions accompany the reproductions, describing scenes and indicating circumstances under which they were photographed and identifying portrait subjects with some biographical detail.

In Ovenden's book, Marina Henderson's Introduction is far too brief and a lack of attention to detail, such as the incorrect hyphenation of William Henry Fox Talbot's name, gives the impression of an unduly hasty compilation. For the repro- ductions, Ovenden provides titles of only very few words, frequently omitting even the names of well-known subjects. He offers a picture book, with a minimum of text, and perhaps in this regard it is moderately successful, because the illustrations, of which there are 88, seem generally superior (a bit snappier and richer) to those in Sun Pictures. However, Bruce reproduces 130 pictures and therefore has much more information, both verbal and visual. Sun Pictures is a superb, immensely useful publication.

Form and Texture: A Photographic Portfolio. Ned Harris. Van Nostrand Reinhold, New York, 1975. 144 pp., illus. Paper, ?6.95. Reviewed by Michael Thompson+

Ned Harris is a beachcomber whose camera focus passes from beach to river, forest, junkyard and city. The camera permits him to collect not just objects and textures but often situations. In a context, be it sand, sea or factory yard, he looks for unusual objects. Particularly fascinating to him are modern manufac- tured products such as bottles, paperboards boxes, tyres, etc., either as incongruous elements in scenes in nature or in close-up views of them after they have undergone transformation in the sea. The forms and textures of physical geography, astronomy and built landscape are not treated.

The book is probably intended for those already committed to the subject and for students, for he includes the maximum number of photographs in the available space. The book is not beautiful but it and the book by P. Brodatz [ Textures (New York: Dover, 1966); Book Review, Leonardo 8, 264 (1975)] complement each other and are useful for reference.

The Grammar of Television Production. 3rd ed. Desmond Davis. Revised by Mike Wooller. Barrie & Jenkins, London, 1974.

of colour photography to illustrate the author's designs is excellent, highlighting the harmonious rhythms possible in string designs. In contrast, Fig. 68 shows a poor design for the method and certainly does not merit full page treatment. Similarly, the book jacket design is weak, giving an experienced eye the feeling that various parts have been brought together without considering the overall effect.

Shell Carving: History and Technique. Carson I. A. Ritchie. Barnes, Cranbury, N. J., Thomas Yoseloff, London, 1974. 298 pp., illus. $10.00, ?4.00. Reviewed by Winefride Wilson*

Ritchie can always be relied upon to ferret out most of the relevant information about his chosen subjects and, when he describes techniques, he has usually practised them himself or watched other craftsmen at work. One cannot help wondering if such industrious research might not be better employed in a more worthy cause than shell-carving. Although I have throughout my career fought against the disparaging epithet of 'minor' as applied to any art form other than painting and sculpture, I think that it can fairly be used of the crafts described and illustrated in this book. It seems a waste that so much time and consummate skill should have been squandered on such fussy and restless elaboration. Untampered with, the forms of shells are beautiful and mother-of-pearl is a perfect lining for an oyster shell; but no more hideous form of decoration was ever devised than a papier- mache tray or a lacquer screen inlaid with nacre. It is astonishing to learn what risks men have incurred in diving for this meretricious material.

The book may be lacking in aesthetic appeal, but its sidelights on history, geography, anthropology and zoology are enthralling. Shells have performed utilitarian functions as razors, scrapers, polishers, surgical instruments, cups and other utensils; they have been prized as fertility symbols; they have been burned to make lime and they have been used as money. Shell carving developed around 3000 B.C , but as a material for inlays it seems to have been superseded by ivory from about 1600 B.C. and did not really regain favour in the West until the late Middle Ages. I was interested in the microscopic examination of the so-called Royal Standard of Ur and of a gaming board from the same site.

Tortoise-shell is the noblest of shells and seems to have inspired better taste in the craftsmen who worked with it, perhaps because its comparatively large scale offers fewer temptations to 'Lord's Prayer on a sixpence' feats of virtuosity. As examples of popular art, the Dutch folk carvings (p. 140) have a rather endearing charm quite lacking in the convict work from New Caledonia, which is nevertheless an interesting rediscovery on Ritchie's part. I was surprised to find no mention of the use of nautilus shells in nefs and incense-boats, but perhaps these were omitted because they usually owed their decoration less to carving than to their precious metal mounts.

The 'Entry into Jerusalem' is not one of the iconographical series known as the Stations of the Cross, as stated in the caption facing p. 124. Boules de verre were used by other craftsmen besides ivory carvers and lace makers, as can be seen from many late medieval and Renaissance woodcuts and engravings. My husband once tested this device, using a brandy balloon, and found it quite effective. The semi-circular bench recess, called a grelle by the Dieppe ivory carvers, is not peculiar to them; it is used by goldsmiths and silversmiths who traditionally make a three-legged stool from the cut-out lunette of wood. The taquet is called a board-pin in England and a skin stretched underneath collects filings and sawings of precious metal.

The textual errors in this book are so numerous that I began to wonder if the proofs had ever seen a reader.

Sun Pictures: The Hill-Adamson Calotypes, David Bruce. Studio Vista, London, 1973. 247 pp., illus. Paper, ?2.95. Hill and Adamson Photographs. Graham Ovenden, ed. Academy Editions, London, 1973. illus. ?3.50. Reviewed by David Haberstich**

of colour photography to illustrate the author's designs is excellent, highlighting the harmonious rhythms possible in string designs. In contrast, Fig. 68 shows a poor design for the method and certainly does not merit full page treatment. Similarly, the book jacket design is weak, giving an experienced eye the feeling that various parts have been brought together without considering the overall effect.

Shell Carving: History and Technique. Carson I. A. Ritchie. Barnes, Cranbury, N. J., Thomas Yoseloff, London, 1974. 298 pp., illus. $10.00, ?4.00. Reviewed by Winefride Wilson*

Ritchie can always be relied upon to ferret out most of the relevant information about his chosen subjects and, when he describes techniques, he has usually practised them himself or watched other craftsmen at work. One cannot help wondering if such industrious research might not be better employed in a more worthy cause than shell-carving. Although I have throughout my career fought against the disparaging epithet of 'minor' as applied to any art form other than painting and sculpture, I think that it can fairly be used of the crafts described and illustrated in this book. It seems a waste that so much time and consummate skill should have been squandered on such fussy and restless elaboration. Untampered with, the forms of shells are beautiful and mother-of-pearl is a perfect lining for an oyster shell; but no more hideous form of decoration was ever devised than a papier- mache tray or a lacquer screen inlaid with nacre. It is astonishing to learn what risks men have incurred in diving for this meretricious material.

The book may be lacking in aesthetic appeal, but its sidelights on history, geography, anthropology and zoology are enthralling. Shells have performed utilitarian functions as razors, scrapers, polishers, surgical instruments, cups and other utensils; they have been prized as fertility symbols; they have been burned to make lime and they have been used as money. Shell carving developed around 3000 B.C , but as a material for inlays it seems to have been superseded by ivory from about 1600 B.C. and did not really regain favour in the West until the late Middle Ages. I was interested in the microscopic examination of the so-called Royal Standard of Ur and of a gaming board from the same site.

Tortoise-shell is the noblest of shells and seems to have inspired better taste in the craftsmen who worked with it, perhaps because its comparatively large scale offers fewer temptations to 'Lord's Prayer on a sixpence' feats of virtuosity. As examples of popular art, the Dutch folk carvings (p. 140) have a rather endearing charm quite lacking in the convict work from New Caledonia, which is nevertheless an interesting rediscovery on Ritchie's part. I was surprised to find no mention of the use of nautilus shells in nefs and incense-boats, but perhaps these were omitted because they usually owed their decoration less to carving than to their precious metal mounts.

The 'Entry into Jerusalem' is not one of the iconographical series known as the Stations of the Cross, as stated in the caption facing p. 124. Boules de verre were used by other craftsmen besides ivory carvers and lace makers, as can be seen from many late medieval and Renaissance woodcuts and engravings. My husband once tested this device, using a brandy balloon, and found it quite effective. The semi-circular bench recess, called a grelle by the Dieppe ivory carvers, is not peculiar to them; it is used by goldsmiths and silversmiths who traditionally make a three-legged stool from the cut-out lunette of wood. The taquet is called a board-pin in England and a skin stretched underneath collects filings and sawings of precious metal.

The textual errors in this book are so numerous that I began to wonder if the proofs had ever seen a reader.

Sun Pictures: The Hill-Adamson Calotypes, David Bruce. Studio Vista, London, 1973. 247 pp., illus. Paper, ?2.95. Hill and Adamson Photographs. Graham Ovenden, ed. Academy Editions, London, 1973. illus. ?3.50. Reviewed by David Haberstich**

of colour photography to illustrate the author's designs is excellent, highlighting the harmonious rhythms possible in string designs. In contrast, Fig. 68 shows a poor design for the method and certainly does not merit full page treatment. Similarly, the book jacket design is weak, giving an experienced eye the feeling that various parts have been brought together without considering the overall effect.

Shell Carving: History and Technique. Carson I. A. Ritchie. Barnes, Cranbury, N. J., Thomas Yoseloff, London, 1974. 298 pp., illus. $10.00, ?4.00. Reviewed by Winefride Wilson*

Ritchie can always be relied upon to ferret out most of the relevant information about his chosen subjects and, when he describes techniques, he has usually practised them himself or watched other craftsmen at work. One cannot help wondering if such industrious research might not be better employed in a more worthy cause than shell-carving. Although I have throughout my career fought against the disparaging epithet of 'minor' as applied to any art form other than painting and sculpture, I think that it can fairly be used of the crafts described and illustrated in this book. It seems a waste that so much time and consummate skill should have been squandered on such fussy and restless elaboration. Untampered with, the forms of shells are beautiful and mother-of-pearl is a perfect lining for an oyster shell; but no more hideous form of decoration was ever devised than a papier- mache tray or a lacquer screen inlaid with nacre. It is astonishing to learn what risks men have incurred in diving for this meretricious material.

The book may be lacking in aesthetic appeal, but its sidelights on history, geography, anthropology and zoology are enthralling. Shells have performed utilitarian functions as razors, scrapers, polishers, surgical instruments, cups and other utensils; they have been prized as fertility symbols; they have been burned to make lime and they have been used as money. Shell carving developed around 3000 B.C , but as a material for inlays it seems to have been superseded by ivory from about 1600 B.C. and did not really regain favour in the West until the late Middle Ages. I was interested in the microscopic examination of the so-called Royal Standard of Ur and of a gaming board from the same site.

Tortoise-shell is the noblest of shells and seems to have inspired better taste in the craftsmen who worked with it, perhaps because its comparatively large scale offers fewer temptations to 'Lord's Prayer on a sixpence' feats of virtuosity. As examples of popular art, the Dutch folk carvings (p. 140) have a rather endearing charm quite lacking in the convict work from New Caledonia, which is nevertheless an interesting rediscovery on Ritchie's part. I was surprised to find no mention of the use of nautilus shells in nefs and incense-boats, but perhaps these were omitted because they usually owed their decoration less to carving than to their precious metal mounts.

The 'Entry into Jerusalem' is not one of the iconographical series known as the Stations of the Cross, as stated in the caption facing p. 124. Boules de verre were used by other craftsmen besides ivory carvers and lace makers, as can be seen from many late medieval and Renaissance woodcuts and engravings. My husband once tested this device, using a brandy balloon, and found it quite effective. The semi-circular bench recess, called a grelle by the Dieppe ivory carvers, is not peculiar to them; it is used by goldsmiths and silversmiths who traditionally make a three-legged stool from the cut-out lunette of wood. The taquet is called a board-pin in England and a skin stretched underneath collects filings and sawings of precious metal.

The textual errors in this book are so numerous that I began to wonder if the proofs had ever seen a reader.

Sun Pictures: The Hill-Adamson Calotypes, David Bruce. Studio Vista, London, 1973. 247 pp., illus. Paper, ?2.95. Hill and Adamson Photographs. Graham Ovenden, ed. Academy Editions, London, 1973. illus. ?3.50. Reviewed by David Haberstich**

of colour photography to illustrate the author's designs is excellent, highlighting the harmonious rhythms possible in string designs. In contrast, Fig. 68 shows a poor design for the method and certainly does not merit full page treatment. Similarly, the book jacket design is weak, giving an experienced eye the feeling that various parts have been brought together without considering the overall effect.

Shell Carving: History and Technique. Carson I. A. Ritchie. Barnes, Cranbury, N. J., Thomas Yoseloff, London, 1974. 298 pp., illus. $10.00, ?4.00. Reviewed by Winefride Wilson*

Ritchie can always be relied upon to ferret out most of the relevant information about his chosen subjects and, when he describes techniques, he has usually practised them himself or watched other craftsmen at work. One cannot help wondering if such industrious research might not be better employed in a more worthy cause than shell-carving. Although I have throughout my career fought against the disparaging epithet of 'minor' as applied to any art form other than painting and sculpture, I think that it can fairly be used of the crafts described and illustrated in this book. It seems a waste that so much time and consummate skill should have been squandered on such fussy and restless elaboration. Untampered with, the forms of shells are beautiful and mother-of-pearl is a perfect lining for an oyster shell; but no more hideous form of decoration was ever devised than a papier- mache tray or a lacquer screen inlaid with nacre. It is astonishing to learn what risks men have incurred in diving for this meretricious material.

The book may be lacking in aesthetic appeal, but its sidelights on history, geography, anthropology and zoology are enthralling. Shells have performed utilitarian functions as razors, scrapers, polishers, surgical instruments, cups and other utensils; they have been prized as fertility symbols; they have been burned to make lime and they have been used as money. Shell carving developed around 3000 B.C , but as a material for inlays it seems to have been superseded by ivory from about 1600 B.C. and did not really regain favour in the West until the late Middle Ages. I was interested in the microscopic examination of the so-called Royal Standard of Ur and of a gaming board from the same site.

Tortoise-shell is the noblest of shells and seems to have inspired better taste in the craftsmen who worked with it, perhaps because its comparatively large scale offers fewer temptations to 'Lord's Prayer on a sixpence' feats of virtuosity. As examples of popular art, the Dutch folk carvings (p. 140) have a rather endearing charm quite lacking in the convict work from New Caledonia, which is nevertheless an interesting rediscovery on Ritchie's part. I was surprised to find no mention of the use of nautilus shells in nefs and incense-boats, but perhaps these were omitted because they usually owed their decoration less to carving than to their precious metal mounts.

The 'Entry into Jerusalem' is not one of the iconographical series known as the Stations of the Cross, as stated in the caption facing p. 124. Boules de verre were used by other craftsmen besides ivory carvers and lace makers, as can be seen from many late medieval and Renaissance woodcuts and engravings. My husband once tested this device, using a brandy balloon, and found it quite effective. The semi-circular bench recess, called a grelle by the Dieppe ivory carvers, is not peculiar to them; it is used by goldsmiths and silversmiths who traditionally make a three-legged stool from the cut-out lunette of wood. The taquet is called a board-pin in England and a skin stretched underneath collects filings and sawings of precious metal.

The textual errors in this book are so numerous that I began to wonder if the proofs had ever seen a reader.

Sun Pictures: The Hill-Adamson Calotypes, David Bruce. Studio Vista, London, 1973. 247 pp., illus. Paper, ?2.95. Hill and Adamson Photographs. Graham Ovenden, ed. Academy Editions, London, 1973. illus. ?3.50. Reviewed by David Haberstich**

of colour photography to illustrate the author's designs is excellent, highlighting the harmonious rhythms possible in string designs. In contrast, Fig. 68 shows a poor design for the method and certainly does not merit full page treatment. Similarly, the book jacket design is weak, giving an experienced eye the feeling that various parts have been brought together without considering the overall effect.

Shell Carving: History and Technique. Carson I. A. Ritchie. Barnes, Cranbury, N. J., Thomas Yoseloff, London, 1974. 298 pp., illus. $10.00, ?4.00. Reviewed by Winefride Wilson*

Ritchie can always be relied upon to ferret out most of the relevant information about his chosen subjects and, when he describes techniques, he has usually practised them himself or watched other craftsmen at work. One cannot help wondering if such industrious research might not be better employed in a more worthy cause than shell-carving. Although I have throughout my career fought against the disparaging epithet of 'minor' as applied to any art form other than painting and sculpture, I think that it can fairly be used of the crafts described and illustrated in this book. It seems a waste that so much time and consummate skill should have been squandered on such fussy and restless elaboration. Untampered with, the forms of shells are beautiful and mother-of-pearl is a perfect lining for an oyster shell; but no more hideous form of decoration was ever devised than a papier- mache tray or a lacquer screen inlaid with nacre. It is astonishing to learn what risks men have incurred in diving for this meretricious material.

The book may be lacking in aesthetic appeal, but its sidelights on history, geography, anthropology and zoology are enthralling. Shells have performed utilitarian functions as razors, scrapers, polishers, surgical instruments, cups and other utensils; they have been prized as fertility symbols; they have been burned to make lime and they have been used as money. Shell carving developed around 3000 B.C , but as a material for inlays it seems to have been superseded by ivory from about 1600 B.C. and did not really regain favour in the West until the late Middle Ages. I was interested in the microscopic examination of the so-called Royal Standard of Ur and of a gaming board from the same site.

Tortoise-shell is the noblest of shells and seems to have inspired better taste in the craftsmen who worked with it, perhaps because its comparatively large scale offers fewer temptations to 'Lord's Prayer on a sixpence' feats of virtuosity. As examples of popular art, the Dutch folk carvings (p. 140) have a rather endearing charm quite lacking in the convict work from New Caledonia, which is nevertheless an interesting rediscovery on Ritchie's part. I was surprised to find no mention of the use of nautilus shells in nefs and incense-boats, but perhaps these were omitted because they usually owed their decoration less to carving than to their precious metal mounts.

The 'Entry into Jerusalem' is not one of the iconographical series known as the Stations of the Cross, as stated in the caption facing p. 124. Boules de verre were used by other craftsmen besides ivory carvers and lace makers, as can be seen from many late medieval and Renaissance woodcuts and engravings. My husband once tested this device, using a brandy balloon, and found it quite effective. The semi-circular bench recess, called a grelle by the Dieppe ivory carvers, is not peculiar to them; it is used by goldsmiths and silversmiths who traditionally make a three-legged stool from the cut-out lunette of wood. The taquet is called a board-pin in England and a skin stretched underneath collects filings and sawings of precious metal.

The textual errors in this book are so numerous that I began to wonder if the proofs had ever seen a reader.

Sun Pictures: The Hill-Adamson Calotypes, David Bruce. Studio Vista, London, 1973. 247 pp., illus. Paper, ?2.95. Hill and Adamson Photographs. Graham Ovenden, ed. Academy Editions, London, 1973. illus. ?3.50. Reviewed by David Haberstich**

*2 West St., Ditchling, Sussex, England. **Div. of Photographic History, Smithsonian Institution, United States National Museum, Washington, DC 20560, U.S.A.

*2 West St., Ditchling, Sussex, England. **Div. of Photographic History, Smithsonian Institution, United States National Museum, Washington, DC 20560, U.S.A.

*2 West St., Ditchling, Sussex, England. **Div. of Photographic History, Smithsonian Institution, United States National Museum, Washington, DC 20560, U.S.A.

*2 West St., Ditchling, Sussex, England. **Div. of Photographic History, Smithsonian Institution, United States National Museum, Washington, DC 20560, U.S.A.

*2 West St., Ditchling, Sussex, England. **Div. of Photographic History, Smithsonian Institution, United States National Museum, Washington, DC 20560, U.S.A.

80 pp., illus. ?1.75. Reviewed by Ray E. Knight?

17 Liebovitz Rd., Gedera, Israel. ?59 Shaef Way, Teddington TW11 ODQ, England.

80 pp., illus. ?1.75. Reviewed by Ray E. Knight?

17 Liebovitz Rd., Gedera, Israel. ?59 Shaef Way, Teddington TW11 ODQ, England.

80 pp., illus. ?1.75. Reviewed by Ray E. Knight?

17 Liebovitz Rd., Gedera, Israel. ?59 Shaef Way, Teddington TW11 ODQ, England.

80 pp., illus. ?1.75. Reviewed by Ray E. Knight?

17 Liebovitz Rd., Gedera, Israel. ?59 Shaef Way, Teddington TW11 ODQ, England.

80 pp., illus. ?1.75. Reviewed by Ray E. Knight?

17 Liebovitz Rd., Gedera, Israel. ?59 Shaef Way, Teddington TW11 ODQ, England.

Books Books Books Books Books 171 171 171 171 171

This content downloaded from 188.72.126.88 on Sat, 14 Jun 2014 21:47:10 PMAll use subject to JSTOR Terms and Conditions

This book is concerned with the assembly of television pictures from the studio floor as directed from the television control room. The central aspect treated is the visual work of directors, vision-mixers and cameramen. Problems of lighting, sound and scenery design are touched upon and the last chapter briefly treats the essentials of video-tape recording and filming.

The book is written as a code of practice, commencing with four conventions to do with the Cut, Mix, Fade and the meaning of Left and Right: these the author sees as inviolate. There follow 63 concisely written Rules, Hints and Tips, each printed in bold type and accompanied by a good explanation and diagram.

It is an excellent reference book for those contemplating or studying for a career in TV production. The author, aware of the dangers of prescribing rules to artists, promotes a basically good technique, which he treats as a 'grammar' for use by aspiring producers or directors to adapt into an individualized language of expressive values. Speaking about a Code for Television Production, the author says that 'content is conditioned by presentation and cannot exist independently' and concludes that 'the television producer must never allow his mind to become so filled with considerations of method and technique that those of content and interpretation are forgotten'.

The book is physically small enough to carry as a guide. Although the Rules, etc. are printed in bold type and are sequentially numbered, the inclusion of an index or the printing of the subject heading at the top of each page would greatly facilitate its use.

Health Hazards Manual for Artists. Michael McCann. The Foundation for the Community of Artists, New York, 1975. 27 pp., illus. Paper, $2.00. Reviewed by George A. Agoston*

McCann's Manual opens with: 'Are the materials you are working with slowly killing you? Or maybe they are just going to make you chronically ill. Scarey? I hope so, because many of the materials artists are working with are much more dangerous than is commonly believed.' With this said, he proceeds to outline how chemicals in artists' materials can harm the human body.

The hazardous products discussed include: solvents; aerosol sprays; acids and alkalis; paint pigments and vehicles; ceramic clays, pigments and glazes; lithograph chemicals and photo- graphic processing chemicals. Dangers are pointed out in connection with the grinding of stone, the sanding of wood, metal casting, welding, soldering, brazing, the casting and laminating of synthetic resins, silk screening, photo litho, photo etching, and photo silk screening. The hazard in using ultraviolet lamps is not specified, but the dangers of ultraviolet exposure are mentioned in the discussions of welding and the photo techniques.

Helpful information is provided on preventative measures, such as studio ventilation, solvent storage, the use of respirators and the protection of skin, face, eyes and ears. Included are recommended sources (U.S.A.) of supply of protective equipment. Also given is a list of recommended books and articles.

The National Safety Council, the American Industrial Hygiene Association and the Manufacturing Chemists' Association offer, at nominal cost, data sheets for a host of hazardous materials [1]. McCann cites only three data sheets. I believe that a listing of all the available data sheets on hazardous materials used by artists would be helpful.

I object to several of McCann's statements. He states: 'An important safety rule with acids is to add the acid to the water, not the other way around.' Yes, this rule applies to concentrated sulfuric acid, whose density exceeds that of water and which has a high heat release on mixing with water. But there are scores of other acids and I doubt that the rule applies to many of them.

He writes: 'Cobalt linoleate is the safest drier.' The use of the word 'safest' seems inadvisable in a safety manual, unless an authority is cited or the driers with which cobalt linoleate is compared are indicated with sufficient clarity.

He claims: 'The resins [acrylic, acrylic/vinyl and vinyl]

This book is concerned with the assembly of television pictures from the studio floor as directed from the television control room. The central aspect treated is the visual work of directors, vision-mixers and cameramen. Problems of lighting, sound and scenery design are touched upon and the last chapter briefly treats the essentials of video-tape recording and filming.

The book is written as a code of practice, commencing with four conventions to do with the Cut, Mix, Fade and the meaning of Left and Right: these the author sees as inviolate. There follow 63 concisely written Rules, Hints and Tips, each printed in bold type and accompanied by a good explanation and diagram.

It is an excellent reference book for those contemplating or studying for a career in TV production. The author, aware of the dangers of prescribing rules to artists, promotes a basically good technique, which he treats as a 'grammar' for use by aspiring producers or directors to adapt into an individualized language of expressive values. Speaking about a Code for Television Production, the author says that 'content is conditioned by presentation and cannot exist independently' and concludes that 'the television producer must never allow his mind to become so filled with considerations of method and technique that those of content and interpretation are forgotten'.

The book is physically small enough to carry as a guide. Although the Rules, etc. are printed in bold type and are sequentially numbered, the inclusion of an index or the printing of the subject heading at the top of each page would greatly facilitate its use.

Health Hazards Manual for Artists. Michael McCann. The Foundation for the Community of Artists, New York, 1975. 27 pp., illus. Paper, $2.00. Reviewed by George A. Agoston*

McCann's Manual opens with: 'Are the materials you are working with slowly killing you? Or maybe they are just going to make you chronically ill. Scarey? I hope so, because many of the materials artists are working with are much more dangerous than is commonly believed.' With this said, he proceeds to outline how chemicals in artists' materials can harm the human body.

The hazardous products discussed include: solvents; aerosol sprays; acids and alkalis; paint pigments and vehicles; ceramic clays, pigments and glazes; lithograph chemicals and photo- graphic processing chemicals. Dangers are pointed out in connection with the grinding of stone, the sanding of wood, metal casting, welding, soldering, brazing, the casting and laminating of synthetic resins, silk screening, photo litho, photo etching, and photo silk screening. The hazard in using ultraviolet lamps is not specified, but the dangers of ultraviolet exposure are mentioned in the discussions of welding and the photo techniques.

Helpful information is provided on preventative measures, such as studio ventilation, solvent storage, the use of respirators and the protection of skin, face, eyes and ears. Included are recommended sources (U.S.A.) of supply of protective equipment. Also given is a list of recommended books and articles.

The National Safety Council, the American Industrial Hygiene Association and the Manufacturing Chemists' Association offer, at nominal cost, data sheets for a host of hazardous materials [1]. McCann cites only three data sheets. I believe that a listing of all the available data sheets on hazardous materials used by artists would be helpful.

I object to several of McCann's statements. He states: 'An important safety rule with acids is to add the acid to the water, not the other way around.' Yes, this rule applies to concentrated sulfuric acid, whose density exceeds that of water and which has a high heat release on mixing with water. But there are scores of other acids and I doubt that the rule applies to many of them.

He writes: 'Cobalt linoleate is the safest drier.' The use of the word 'safest' seems inadvisable in a safety manual, unless an authority is cited or the driers with which cobalt linoleate is compared are indicated with sufficient clarity.

He claims: 'The resins [acrylic, acrylic/vinyl and vinyl]

This book is concerned with the assembly of television pictures from the studio floor as directed from the television control room. The central aspect treated is the visual work of directors, vision-mixers and cameramen. Problems of lighting, sound and scenery design are touched upon and the last chapter briefly treats the essentials of video-tape recording and filming.

The book is written as a code of practice, commencing with four conventions to do with the Cut, Mix, Fade and the meaning of Left and Right: these the author sees as inviolate. There follow 63 concisely written Rules, Hints and Tips, each printed in bold type and accompanied by a good explanation and diagram.

It is an excellent reference book for those contemplating or studying for a career in TV production. The author, aware of the dangers of prescribing rules to artists, promotes a basically good technique, which he treats as a 'grammar' for use by aspiring producers or directors to adapt into an individualized language of expressive values. Speaking about a Code for Television Production, the author says that 'content is conditioned by presentation and cannot exist independently' and concludes that 'the television producer must never allow his mind to become so filled with considerations of method and technique that those of content and interpretation are forgotten'.

The book is physically small enough to carry as a guide. Although the Rules, etc. are printed in bold type and are sequentially numbered, the inclusion of an index or the printing of the subject heading at the top of each page would greatly facilitate its use.

Health Hazards Manual for Artists. Michael McCann. The Foundation for the Community of Artists, New York, 1975. 27 pp., illus. Paper, $2.00. Reviewed by George A. Agoston*

McCann's Manual opens with: 'Are the materials you are working with slowly killing you? Or maybe they are just going to make you chronically ill. Scarey? I hope so, because many of the materials artists are working with are much more dangerous than is commonly believed.' With this said, he proceeds to outline how chemicals in artists' materials can harm the human body.

The hazardous products discussed include: solvents; aerosol sprays; acids and alkalis; paint pigments and vehicles; ceramic clays, pigments and glazes; lithograph chemicals and photo- graphic processing chemicals. Dangers are pointed out in connection with the grinding of stone, the sanding of wood, metal casting, welding, soldering, brazing, the casting and laminating of synthetic resins, silk screening, photo litho, photo etching, and photo silk screening. The hazard in using ultraviolet lamps is not specified, but the dangers of ultraviolet exposure are mentioned in the discussions of welding and the photo techniques.

Helpful information is provided on preventative measures, such as studio ventilation, solvent storage, the use of respirators and the protection of skin, face, eyes and ears. Included are recommended sources (U.S.A.) of supply of protective equipment. Also given is a list of recommended books and articles.

The National Safety Council, the American Industrial Hygiene Association and the Manufacturing Chemists' Association offer, at nominal cost, data sheets for a host of hazardous materials [1]. McCann cites only three data sheets. I believe that a listing of all the available data sheets on hazardous materials used by artists would be helpful.

I object to several of McCann's statements. He states: 'An important safety rule with acids is to add the acid to the water, not the other way around.' Yes, this rule applies to concentrated sulfuric acid, whose density exceeds that of water and which has a high heat release on mixing with water. But there are scores of other acids and I doubt that the rule applies to many of them.

He writes: 'Cobalt linoleate is the safest drier.' The use of the word 'safest' seems inadvisable in a safety manual, unless an authority is cited or the driers with which cobalt linoleate is compared are indicated with sufficient clarity.

He claims: 'The resins [acrylic, acrylic/vinyl and vinyl] themselves are nontoxic and, except for the pigments, so are the themselves are nontoxic and, except for the pigments, so are the themselves are nontoxic and, except for the pigments, so are the

*4 rue Rambuteau, 75003 Paris, France. *4 rue Rambuteau, 75003 Paris, France. *4 rue Rambuteau, 75003 Paris, France.

ready-to-use polymer colors (water emulsions).' In a letter to the editor of Leonardo, I have questioned whether all artist polymer colors (water emulsions) are nontoxic [2]. The use of preservatives, which are poisonous substances, is recommended in small amounts (say 1 percent) in the formulation of artists' polymer emulsion paints to prevent microbiological growth [3]. Piper has pointed to hazards of exposure to emulsion paints containing aryl mercurial preservatives in low concentrations [4].

In spite of these objections, I feel that McCann has done a commendable job in pointing to the many potential hazards. This inexpensive book should be required reading for art students.

References

1. G. A. Agoston, Health and Safety Hazards of Art Materials, Leonardo 2, 373 (1969).

2. G. A. Agoston, Letters, Leonardo 5, 381 (1972). 3. Acrylic Paints for the Arts, Resin Review 16, 6 (1966). 4. R. Piper, Paint Hazards, Chemistry and Industry, p. 201

(Feb., 1968).

ART Bibliographies MODERN, Vol. 5, No. 2, 1974. Peter Fitzgerald, ed. American Bibliographical Center-Clio Press, Santa Barbara, California and Oxford, England, 1974. 390 pp. Art Design Photo, No. 2, 1973. Alexander Davis. The Art Book Co., London, 1974. 256 pp., illus. ?20-00, $50.00. (The Literature of Modern Art: An Annual Bibliography (LOMA) 1969 was reviewed in: Books, Leonardo 4, 399 (1971). Only two further issues were published under the same title: LOMA 1970 and LOMA 1971. Soon thereafter, two new separate series were begun: (1) ART Bibliographies MODERN and (2) Art Design Photo.)

ART Bibliographies MODERN follows in the pattern set by LOMA documenting periodicals, books and exhibition catalogues. The scope, however, is broader, including 19th- and 20th-century art. The material cited in this semi-annual number (over 3500 items) has been published since the beginning of 1972 under about 250 periodical titles. Departing from the arrangement in LOMA, this series contains subjects and persons (artists, artist groups, collectors and critics) in one alphabetical listing. There are now about 200 subject classification headings (examples: Art and Music, The Bauhaus, Calligraphy, Kinetic Art, Perception, Watercolour Painting).

Much of the value of documenting services such as these rests on the thoroughness of the cross-referencing. An idea of the adequacy of the cross-referencing in a service is best gained through the extensive use of it. Thus a spot check such as the observation reported in the following two sentences for the heading 'Materials and Techniques' can serve only as a warning: It was noted that only seven items were listed under 'Materials and Techniques' for the period from 1972 to 1974. One wonders whether certain publications were missed, for example cross references to items 4259 and 4519.

The book concludes with an Author Index for Nos. 1 and 2 of Vol. 5 and a Museum and Gallery Index to aid in locating entries for exhibition catalogues.

The scope of Art Design Photo is much broader: 'late nineteenth and twentieth century art and artists, photography and graphic design-including the decorative arts, ceramics, textiles, jewellery, fashion.' About 6300 entries are included in the annual that were published under more than 200 different periodical titles surveyed for 1973, including those of about a dozen daily and weekly general newspapers.

The book is divided into two sections as was done in LOMA. The first, entitled 'Artists A-Z', lists in alphabetical sequence artists' names and gives reference citations and cross references to the second section. The term 'artist' here includes graphic designers, illustrators, fashion designers and craftsmen. The second section, 'Subjects A-Z', lists alphabetically the names of movements and styles, and categories such as 'Art: Writers and Criticism', 'Crafts: Latin America', 'France: General Exhi- bitions', 'Posters: Annuals'. Incidentally, the section entitled 'Materials and Techniques' lists 15 items and cross references for

ready-to-use polymer colors (water emulsions).' In a letter to the editor of Leonardo, I have questioned whether all artist polymer colors (water emulsions) are nontoxic [2]. The use of preservatives, which are poisonous substances, is recommended in small amounts (say 1 percent) in the formulation of artists' polymer emulsion paints to prevent microbiological growth [3]. Piper has pointed to hazards of exposure to emulsion paints containing aryl mercurial preservatives in low concentrations [4].

In spite of these objections, I feel that McCann has done a commendable job in pointing to the many potential hazards. This inexpensive book should be required reading for art students.

References

1. G. A. Agoston, Health and Safety Hazards of Art Materials, Leonardo 2, 373 (1969).

2. G. A. Agoston, Letters, Leonardo 5, 381 (1972). 3. Acrylic Paints for the Arts, Resin Review 16, 6 (1966). 4. R. Piper, Paint Hazards, Chemistry and Industry, p. 201

(Feb., 1968).

ART Bibliographies MODERN, Vol. 5, No. 2, 1974. Peter Fitzgerald, ed. American Bibliographical Center-Clio Press, Santa Barbara, California and Oxford, England, 1974. 390 pp. Art Design Photo, No. 2, 1973. Alexander Davis. The Art Book Co., London, 1974. 256 pp., illus. ?20-00, $50.00. (The Literature of Modern Art: An Annual Bibliography (LOMA) 1969 was reviewed in: Books, Leonardo 4, 399 (1971). Only two further issues were published under the same title: LOMA 1970 and LOMA 1971. Soon thereafter, two new separate series were begun: (1) ART Bibliographies MODERN and (2) Art Design Photo.)

ART Bibliographies MODERN follows in the pattern set by LOMA documenting periodicals, books and exhibition catalogues. The scope, however, is broader, including 19th- and 20th-century art. The material cited in this semi-annual number (over 3500 items) has been published since the beginning of 1972 under about 250 periodical titles. Departing from the arrangement in LOMA, this series contains subjects and persons (artists, artist groups, collectors and critics) in one alphabetical listing. There are now about 200 subject classification headings (examples: Art and Music, The Bauhaus, Calligraphy, Kinetic Art, Perception, Watercolour Painting).

Much of the value of documenting services such as these rests on the thoroughness of the cross-referencing. An idea of the adequacy of the cross-referencing in a service is best gained through the extensive use of it. Thus a spot check such as the observation reported in the following two sentences for the heading 'Materials and Techniques' can serve only as a warning: It was noted that only seven items were listed under 'Materials and Techniques' for the period from 1972 to 1974. One wonders whether certain publications were missed, for example cross references to items 4259 and 4519.

The book concludes with an Author Index for Nos. 1 and 2 of Vol. 5 and a Museum and Gallery Index to aid in locating entries for exhibition catalogues.

The scope of Art Design Photo is much broader: 'late nineteenth and twentieth century art and artists, photography and graphic design-including the decorative arts, ceramics, textiles, jewellery, fashion.' About 6300 entries are included in the annual that were published under more than 200 different periodical titles surveyed for 1973, including those of about a dozen daily and weekly general newspapers.

The book is divided into two sections as was done in LOMA. The first, entitled 'Artists A-Z', lists in alphabetical sequence artists' names and gives reference citations and cross references to the second section. The term 'artist' here includes graphic designers, illustrators, fashion designers and craftsmen. The second section, 'Subjects A-Z', lists alphabetically the names of movements and styles, and categories such as 'Art: Writers and Criticism', 'Crafts: Latin America', 'France: General Exhi- bitions', 'Posters: Annuals'. Incidentally, the section entitled 'Materials and Techniques' lists 15 items and cross references for

ready-to-use polymer colors (water emulsions).' In a letter to the editor of Leonardo, I have questioned whether all artist polymer colors (water emulsions) are nontoxic [2]. The use of preservatives, which are poisonous substances, is recommended in small amounts (say 1 percent) in the formulation of artists' polymer emulsion paints to prevent microbiological growth [3]. Piper has pointed to hazards of exposure to emulsion paints containing aryl mercurial preservatives in low concentrations [4].

In spite of these objections, I feel that McCann has done a commendable job in pointing to the many potential hazards. This inexpensive book should be required reading for art students.

References

1. G. A. Agoston, Health and Safety Hazards of Art Materials, Leonardo 2, 373 (1969).

2. G. A. Agoston, Letters, Leonardo 5, 381 (1972). 3. Acrylic Paints for the Arts, Resin Review 16, 6 (1966). 4. R. Piper, Paint Hazards, Chemistry and Industry, p. 201

(Feb., 1968).

ART Bibliographies MODERN, Vol. 5, No. 2, 1974. Peter Fitzgerald, ed. American Bibliographical Center-Clio Press, Santa Barbara, California and Oxford, England, 1974. 390 pp. Art Design Photo, No. 2, 1973. Alexander Davis. The Art Book Co., London, 1974. 256 pp., illus. ?20-00, $50.00. (The Literature of Modern Art: An Annual Bibliography (LOMA) 1969 was reviewed in: Books, Leonardo 4, 399 (1971). Only two further issues were published under the same title: LOMA 1970 and LOMA 1971. Soon thereafter, two new separate series were begun: (1) ART Bibliographies MODERN and (2) Art Design Photo.)

ART Bibliographies MODERN follows in the pattern set by LOMA documenting periodicals, books and exhibition catalogues. The scope, however, is broader, including 19th- and 20th-century art. The material cited in this semi-annual number (over 3500 items) has been published since the beginning of 1972 under about 250 periodical titles. Departing from the arrangement in LOMA, this series contains subjects and persons (artists, artist groups, collectors and critics) in one alphabetical listing. There are now about 200 subject classification headings (examples: Art and Music, The Bauhaus, Calligraphy, Kinetic Art, Perception, Watercolour Painting).

Much of the value of documenting services such as these rests on the thoroughness of the cross-referencing. An idea of the adequacy of the cross-referencing in a service is best gained through the extensive use of it. Thus a spot check such as the observation reported in the following two sentences for the heading 'Materials and Techniques' can serve only as a warning: It was noted that only seven items were listed under 'Materials and Techniques' for the period from 1972 to 1974. One wonders whether certain publications were missed, for example cross references to items 4259 and 4519.

The book concludes with an Author Index for Nos. 1 and 2 of Vol. 5 and a Museum and Gallery Index to aid in locating entries for exhibition catalogues.

The scope of Art Design Photo is much broader: 'late nineteenth and twentieth century art and artists, photography and graphic design-including the decorative arts, ceramics, textiles, jewellery, fashion.' About 6300 entries are included in the annual that were published under more than 200 different periodical titles surveyed for 1973, including those of about a dozen daily and weekly general newspapers.

The book is divided into two sections as was done in LOMA. The first, entitled 'Artists A-Z', lists in alphabetical sequence artists' names and gives reference citations and cross references to the second section. The term 'artist' here includes graphic designers, illustrators, fashion designers and craftsmen. The second section, 'Subjects A-Z', lists alphabetically the names of movements and styles, and categories such as 'Art: Writers and Criticism', 'Crafts: Latin America', 'France: General Exhi- bitions', 'Posters: Annuals'. Incidentally, the section entitled 'Materials and Techniques' lists 15 items and cross references for a one-year period-again a seemingly small number for a service that includes crafts. The 19-page index at the end of the book is an indispensible aid in utilizing the Subjects section.

a one-year period-again a seemingly small number for a service that includes crafts. The 19-page index at the end of the book is an indispensible aid in utilizing the Subjects section.

a one-year period-again a seemingly small number for a service that includes crafts. The 19-page index at the end of the book is an indispensible aid in utilizing the Subjects section.

172 172 172 Books Books Books

This content downloaded from 188.72.126.88 on Sat, 14 Jun 2014 21:47:10 PMAll use subject to JSTOR Terms and Conditions