Antiques Collectibles Books

anticipating the release of Roberto Brunalti's set translated into English. The photos of high end items shown are lovely, making the set a coffee table show piece. I was extremely disappointed in finding no prices included. As a dealer I am already aware of what is high quality. What I needed was up to date information on pricing them.

I recently received both books (A-M and N-Z) in this series and they are truly an outstanding set of books! I also own Brunialti's "Tribute To America" and "American Costume Jewelry 1935-1950" books but this series with newly updated and researched information along with 300 new photos is a collector's dream! Besides glorious photos, it provides patent information, detailed descriptions, along with any advertisement information these pieces were featured in. Anyone familiar with Brunialti's books, know they are not pricing value guides, but informative books designed to showcase the most highly sought-after collectible jewelry desired by a beginning collector to a seasoned experienced collector. Any true collector will appreciate having these books in their reference library.

Do you remember Golden Books as a child. Do you still read them to your children? Then you won't want to miss this fascinating history.

If the names Poky Little Puppy, Tawny Scrawny Lion and Tootle bring a smile to your face, than this book might just be for you. Golden Legacy is extensively illustrated with a detailed history of the writers, artists and publishers of the Golden Book series. As a Disney fan, I especially appreciated the piece on Mary Blair's Golden Book work. I would have given this book 3-4 stars if I were just interested in the illustrations, but it is definitely a 5 star book because of the extensive history of the books.

I ordered this book because I worked for the company for 5 years and so I had a special interest in the subject. Honestly, I can't imagine why anyone else would have a burning interest in the subject. Too bad I wasn't able to read the book before I went to work for the company...I would have known who was most important there and why. In any case, I liked the book but am not sure I would recommend it.

If you grew up reading Little Golden Books, you will likely find this book very worthwhile. Along with it being an enjoyable trip down memory lane, it's full of interesting "behind the scenes" information. 2 things prevent me from giving it 5 stars: narrative is not the author's strong suit, so it's often difficult to keep track of the various people and logistics of the company, and the book ends rather abruptly. The other minor aggravation is that the captions for all the pictures on any 2 facing pages all appear under one picture. Nevertheless, I'm glad to have this volume in my library.

For the last 65 years, children have grown up on The Poky Little Puppy, The Color Kittens, The Saggy Baggy Elephant, Richard Scarry's Best Word Book Ever, dozens of other Golden Books titles. To celebrate the legacy of this innovative publishing venture, Leonard S. Marcus has released the art book "Golden Legacy: How Golden Books Won Children's Hearts, Changed Publishing Forever, and Became an American Icon Along the Way." The collection is not only an exquisitely beautiful celebration of our collective childhood, but the rich history of the publishing company that changed the face of literacy in America.

The first Golden Books, published in 1942, were distributed through supermarket chains at a retail price of 25 cents. At the time, paper shortages had increased the average cost of children's picture books to $2, putting them financially out of reach for many consumers. Librarians initially resisted the mass-produced books with a place to draw your name inside, but parents could purchase a title a week, children could devour the books on the go like any other toy, and television and cartoon marketers quickly seized cross-promotional opportunities. Golden Books succeeded at their goal of democratizing reading and personal book ownership for families across America.

Given that this title was published by Golden Books, the overall tone is rather celebratory, but author Marcus does not censor all detractors. He covers the controversial flat fee payments to the creative talents behind early titles. Those authors and illustrators have received no residuals from books which are still bestsellers today, 65 years later.

A 2007 copy of The Poky Little Puppy is nearly identical to the original 1942 edition that launched a publishing empire. After reading Golden Legacy, the reader may well be inspired to seek out copies of both for his or her personal library.

I bought this book at the same time as Timeless Halloween Collectibles. They're definitely companions.

This book is larger. The colors are less vivid than "Timeless" but there are so many more of them. I couldn't be more delighted with the volume and the clarity of the images.

I like the detail of the old time decorations that I remember but find them unaffordable. This book easily satisfies the joy of reliving times gone bye. There's something for everyone.

This book tells you what to look for (and what to avoid) in the facinating world of vintage Halloween collecting. The photography is great, and the prose is informative and entertaining. Even if you're not an avid Halloween collector, the "haunting" images from these bygone days are truly works of art, full of whimsy & fun. For the serious collector, the price guide is an absolute must have.

So far this is the best book I've found on Vintage Halloween in the sense of information, layout and the broad spectrum of items covered. It is evident that Mark Ledenbach is truly passionate about his collection. The photos are high quality and well laid out. The information is thought provoking and facsinating to any Halloween enthusiast. I do wish there were more item information regarding usage or other interesting tidbits, however this book does give the reader what it promises.
A must have for the Halloween aficionado.

Another Halloween has come and gone but for some people like myself, the Halloween holiday lives on 365 days a year due to my love of the holiday and my passion for Halloween décor. When I was a kid, I used to be rather afraid of the old decorations in my grandmother's house. These were quite a bit scarier than those jointed cardboard skeletons and plastic light-up pumpkins that I was used to...Little did I know then just how valuable those pieces were. When she passed away about ten years ago my wife and I scoured her house for those trinkets but alas, they were nowhere to be found, most likely tossed in the trash years ago.

Vintage Halloween Collectibles from Krause Publications is yet another outstanding edition to their library of collectibles books. When I first received the book I literally sat down for a couple of hours and just browsed through the book from cover-to-cover, looking for the items my Grandmother used to have as well as finding the few items that I've been able to collect. Collecting vintage Halloween decorations is no easy task Halloween wasn't nearly as big and commercialized decades ago as it is today. Vintage Christmas items show up endlessly at flea markets and garage sales but vintage Halloween items are much harder to come by because there just wasn't as much made, not too mention that much of it was made out of paper and simply didn't last as long.

This 256 page trade paperback book covers some 1600 items and features over 1100 full-color photos. The book lists the item with country of origin, manufacturer, date of manufacture, dimensions, current value, and, perhaps most importantly, a scarcity index on a scale of 1 to 5 with 1 being the rarest and 5 being the most common. Naturally, the items my grandmother had fell into the common arena but still were fairly valuable, all things considered. The items are broken down into eight different category chapters including games, candy containers and figures, noisemakers, and decorations.

I found it interesting that there were so many games that involved fortune telling that were made in the 30's and 40's. This is certainly a sign of that era's infatuation with mysticism. One motif that seemed so common back in the first half of the 20the century that you don't see much today is devil and demon décor. The stereotypical red horned devil was a very common theme that has nearly disappeared from modern décor...I guess that's' a sign of OUR times. The other overwhelming common theme was the black cat. The book contains hundreds of black cat items from figurines to paper lanterns. The lanterns are things I remember distinctly from my youth and I am still amazed at the intricate detail of these rather delicate Halloween decorations. The book has dozens of examples of paper lanterns adorned by witches, black cats, pumpkins, and skeletons. These items are beautiful and Krause has done a great job with clear, beautiful photography of these rarities.

One of the most interesting chapters is simply called "A Nice Variety" because the items didn't fit into any of the other categories. These feature items such as paper aprons, candy boxes, candles and candleholders, books and magazines. The covers to the books published by Dennison's in the 20's and 30's are gorgeous. These books were geared towards the woman of the house with ideas for recipes, decorations, and Halloween games. I also loved the die-cut chapter because those are the decorations I remember my mother having as a young kid and still fondly remember. But again, those red devil die-cuts, circa the 1930's are just wonderful. These items may not be easy to find anymore, but if you do, there is simply no better resource than this book from Krause Publications.

REVIEWED BY TIM JANSON

When I started discovering vintage Halloween items, I came upon Mark Ledenbach's book. It became my leading guide while investigating on eBay. On his web site I could contact him an ask for advice. He was very friendly and helpful. The photos and lay out of his book are fantastic and it is better organized then other books I own. I could not have enjoyed the beautiful graphics and usual, rare items if it were not for this book. You must purchase this whether you are a serious collector or not. Have fun!

I have just begun engraving wood and found this book to be extremely helpful. It describes the differences between carving and engraving and gives ample information on tools and printing processes for a beginner.

How any book claiming to cover woodcut prints could fail to mention the works of Antonio Frasconi and Leonard Baskin, yet show half-baked attempts at wood engraving, or champion Barry Moser's soul-less technique as "mastery" is fundamentally lacking. While I thought the love of the medium did show through, and the coverage of the tools and techniques was sound, I think many lesser artists were mentioned, and without these two, it yields an anemic visual source for the interested artist.

Walker has taken woodcut, arguably the oldest of printing techniques, and brought it into the twenty-first century. Albrecht Durer would certainly recognize everything that goes on in a woodcut artist's shop. It's the tools, inks, papers, and especially subject matter that have changed. This book steps clearly through every step, combining very readable text, illustration, and samples of original prints.

The book starts with the block itself. That can be something as homely as a cut slab of potato for a child's effort. It can also be linoleum, a wood plank, or a piece of plywood for regular woodcut. Wood engraving, which differs mainly in the fineness of the cut marks, requires fine, hard surfaces: end-grain boxwood, maple, or cherry in traditional technique, or man-made materials that may be lest costly and more predictable. The rest of the book continues in equally exacting detail: tools and especially their sharpening, cutting with hand or power tools, papers, classic and modern inks, taking the impression with simple or complex presses, and deciding on the edition. Although specimens appear thoughout the book, the last chapter is a gallery that shows the variety of people, techniques, and subjects in contemporary woodcut. Back matter is very helpful: glossary, artists' biographies, bibliography, access to resources, and a helpful index. The resource list may age quickly, as art suppliers come and go, but everything else has lasting value.

There are a few oddities. For example, Walker uses the term "monoprint" to describe images from uniquely inked cut blocks. I can't argue that usage, even though the term is more widely understood to describe prints from inked but uncut surfaces. And, despite otherwise complete coverage of multi-block printing, he omitted the idea of the counterproof. That technique inks the key block and prints it on paper, then uses the paper to transfer wet ink to the blocks to be used for other colors. Although traditional, the technique may lack the precision needed for wood engraving, and may have been overtaken by photocopying and other modern techniques.

I recommend this to anyone who appreciates woodcut, as an observer or as an active printmaker. It's beautifully printed and bound, and, despite the antiquity of the technique, completely up to date.

//wiredweird

This is in response to the Jeffery C. Chase review in which he incorrectly states that the work of Antonio Frasconi and Leonard Baskin were not mentioned in the Woodcut Artist's Handbook. They were mentioned and their work would have been reproduced in the book as well if the publisher had been granted reproduction rights. Frasconi's work is referred to on page 20 and The Complete Prints of Leonard Baskin by Alan Fern and Judith O'Sullivan (1984) is suggested reading on page 150. We tried to include as many artists as possible but because of copyright restrictions and limited resources we could not include everyone. Thank you for your comments.

I found the previous reviews to be helpful and true. I read it cover to cover immediately and can't wait to try some of the tips and to find a couple of tools I found quite interesting.

Great Marble book. Informative with detailed photos. This book is for collectors old and new.

Easier to use than some of the other marble "standards." It is well organized and the values, based on the condition of the marble, are with the marbles. Some of the other books have you constantly flipping from back to front to find a value. The different types of antique handmade marbles are logically grouped for the most part and the machine made marbles are divided by manufacturer.There is even a section with examples from contemporary marble artists. My one complaint would be that there should be an index to make finding of the great many types of machine made marbles easier. Until something better comes along, I carry this with me to auctions, flea markets, antique shows or anywhere else I think there might be an opportunity to buy, sell or trade marbles.

Page 56 begins in the middle of the sentence. It might be that this book was printed in China.
Great photos for people interested in this type of jewelry. Some nice information.

What a fabulous book. Well written and great photography. A quality reference and also a breathtaking coffee table book. You will enjoy this!

This review was written and published for the Yahoo online group Jewel Collect.

Title: Brooches: Timeless Adornment
Author: Lori Ettinger Gross
Type of Book: Hard Cover
Retail Price: $45.00
Pages: 192
Rizzoli 2008

Brief Description: Brooches: Timeless Adornment is a shiny new picture book that focus's on vintage, antique and contemporary brooches. Most of the pieces are fine jewelry but there are a few costume pieces. Many of the fine jewelry designs will be quite familiar to costume jewelry collectors since there has historically been so much overlap between the fine jewelry world and costume. For example there are fruit salad pieces, blinding deco clips, fabulous florals and charming figurals. There are examples from Van Cleef and Arpels, David Webb, Seaman Schepps, Suzanne Belperron, Schiaparelli, Alexis Bittar, and many unmarked treasures. There are some silly parts in this book but the nice layouts and high quality pieces make up for it in my opinion.

Quantity of Illustrations: At least one piece per page and often times many more. According to the press materials there are 175 photos. All are in color.

Comments: The photos are artistic. Brooches: Timeless Adornment is a book to ooh-and-aah over not a catalog of hundreds and hundreds of pins. The brooches are not all shot the same way some are on white backgrounds and others on clothing, fabric, wallpaper, etc.
Score: 8

Quality of Illustrations: All color photos. All are very clear, clean, professional and very detailed. Again this is an artistic coffee table type book from a very fine publishing house.
Score: 8

Quantity of Information: Nice breezy easy to read chapters on History, Craft, Collecting, Style Pin-ology and Care. You may ask yourself what is pin-ology? It seemed to be a chapter on the themes generally seen in pins, figural, floral, whimsical etc. I did learn things reading this book and you might too. For example, I know about the Victorian language of flowers and pieces with multicolored stones that spell out acronyms but did you know, there is also a secret language of Georgian Sevirgne or Ribbon Bow Brooches? Described as a flirtatious ornament, the placement of a bow brooch indicated if you had found true love, or were actively looking and all points in between.
There is also a nice little section on Milicent Rogers a collector/designer/rich lady who lived in Taos, NM post WWII. As a sidebar, for those traveling in the southwest the Millicent Rogers museum is a great small local museum. She was a huge collector of Native American jewelry and her collection is prominently displayed in her namesake museum.
Is the information thorough? Yes
Score: 7

Quality of Information: Good interesting details, nothing groundbreaking but an interesting read for jewelry fans.
Comments: This book treats each piece as an individual little piece of art. Each photo is captioned with details about the maker, materials, date of production etc.
Score: 7

Values Listed (Prices) No

User Friendly: Yes
Is information easy to find? Table of contents no index.
Most of the information is visual so yes it is easy to find
Score:

Average score: 7

Is this book a must have? Yes for devoted jewelry fans. Again those who are only interested in costume jewelry there is very little included and I believe you will be disappointed.

Overall comments: I really liked this it was beautiful to look at and I think I will use it to track down the origins of costume pieces. And a shout out to Julie Levine from Joolbait Jewels who has a piece included.

For a Rizzoli book the photography of the brooches is terrible. The pieces chosen for the book are interesting and beautiful. When I opened the book, the binding broke. It is printed in China so I suppose that explains the overall poor quality. I returned this book.

A concise, informative, well-researched book on brooches with wonderful photographs by David Behl. Ms. Gross has certainly authored a book which gives a broad historical overview of brooches. The book includes many fabulous, meaningful, and accurately categorized pieces as illustrations. Obviously, Ms. Gross spent much time in selecting the appropriate pieces to be illustrated and much research in preparing the corresponding information with the pieces. The book covers the history of brooches to the care of brooches, and is one of the best overviews of this very important jewelry form that has been published. Also, I might add, that the Rizzoli Publishing Company, as always, did a masterful job in publishing the book.

At first that is not colour catalog, so all pictures of banknotes are black and white, but in description for this book there is no such information (minus for AMAZON) - only information is that catalog is paperback...
There is very little or almost no information about some countries (SLOVENIA, CROATIA, YUGOSLAVIA...), but some countries have too much information (USA...). Won't mention that all informations (facts) about some countries are not truth (example: SLOVENIA never had money named LIPA, first money was named BON, second money issued was named TOLAR - which was till the 2005, when we took EURO)...
There is a lot of banknotes for some countries that are missing, and I think that collectors for all arund the world send pictures of banknote to the author (Cuhaj), but I think KRAUSE PUBLICATIONS have very little interest about publishing good book - catalog for world paper money. Hope there will be some other publication company that will publish better catalog will real and good information about worl banknotes...

I think this catalog will be better (because of publishing company and also author), but find out that this is just wasting my money.

Also have doubt about author knowing world paper money so good he is saying????????

Hello to all reputable collectors!!!
I am very thankful to authors for this great book!
It is very useful thing to valuate banknotes.
Greetings from Ukraine!!!
Sergey Trushin
http://www.wezom.com.ua
http://www.lacrysil.com

It was a pleasure to work with you. The catalog is very useful and it was delivered in no time. Thank you

As a beginning collector, I didn't really know very much about this subject, and the book helped me immensly. I highly recommend this book both for novice collectors like me, and for those lucky individuals who have been doing it for years. An excellent source!

If you collect modern banknotes, you must own the Standard Catalog of World Paper Money, Volume III: Modern Issues (US$50, Krause Publications, ISBN 0-89689-502-5). The simple fact is that there is no other omnibus catalog that covers post-1960 issues in such detail. Now in its 13th edition, Volume III contains 12,000 illustrations of notes from over 200 issuing authorities, most with valuations in three different conditions. The SCWPM is our collector community's bible, and its "Pick" numbers are the lingua franca used worldwide to identify types and varieties. However, anyone who spends more than a few minutes examining the SCWPM soon discovers its many flaws.
Let me begin by stating that I realize it is a gargantuan task trying to ensure the accuracy of so much detailed data on a subject that is sometimes obscured by intentional secrecy. With 1,048 pages, it's inevitable that minor typos creep in and omissions are made. Many errors I had spotted in previous editions have been corrected, yet new ones have cropped up. But the problems I have with the SCWPM are not minor, they are systemic. According to the back cover blurb, editor George Cuhaj compiles input from "more than 80 experts around the world." This alone probably explains many of the catalog's flaws. These unpaid contributors are anonymous, and they bring different levels of dedication to the task of updating their areas of expertise. As a result, the SCWPM is often inconsistent.
For example, sometimes a note with a new date or signature combination gets a new type number, other times it warrants only a new variety letter, and other times it's just grouped together with several other dates. Australia, Switzerland, and West African States all have listings with extremely detailed varieties, while most other countries list only an issued note and specimen. Speaking of specimens, often they are listed without description or price. Does this mean they are unconfirmed or rare? And why is it that the introduction claims the variety letter "r" is used to indicate remainders, though Biafra's notes lacking serial numbers are given "b" variety letters and Cayman Islands uses "r" to indicate replacements? Rather than being systematic and predictable, the numbering scheme is arbitrary and subjective. Fortunately, renumbering has been held to an "absolute minimum" in this edition, but unexplained gaps from previous renumberings exist, as do new discoveries shoehorned into the inflexible scheme with numbers followed by capital letters to distinguish them from lower-case variety letters.
The problem with inconsistencies extends beyond the pervasive numbering scheme to the issue of signatures. If a country's note varieties are clearly distinguishable from one another based upon other attributes--such as date or overall design--I understand there is no need to publish a signature table. However, it is unforgiveable to omit same if the note descriptions make specific references to signatures either by number or name. For example, Argentina SCWPM 275-282 refer to signature titles by letters, but the accompanying table from the 12th edition has been dropped. Likewise, Belgium SCWPM 134-152 refer to signature numbers that have never been documented in any edition. Unfortunately, the signature tables which do appear don't always include the signatory's full name, title, and term of service. In fact, Bhutan's signature table lacks numbers altogether, so references are confusing, to say the least.
I'm happy to report that the list of banknote printers and their abbreviations has returned after being dropped since the 10th edition, but good luck finding it since it doesn't appear in the table of contents (hint: it's in the back of the book, sandwiched between full-page advertisements).
Though it bears a copyright of 2007 and claims to cover modern issues from "1961-present," the 13th edition fails to include many recent releases one would expect. For example, there's no mention of the new families of notes from Azerbaijan and Mozambique introduced in 2006, nor of the European Union notes bearing Jean-Claude Trichet's signature, and these have been out for years. Nonetheless, I would recommend the 13th edition if for no other reason than its black-and-white images are much clearer overall than the muddy illustrations of the previous edition. While the front and back of most notes are shown, not all notes are depicted, and the images are just big enough to aid in identification, but not to savor the details. Inexplicably, all recent editions have also included eight pages in color of randomly selected notes without any commentary or obvious purpose. This costly insert should be put to better use--highlighting new color varieties or particularly attractive new issues--or dropped entirely.
Aside from identification of note varieties, the other purpose of a catalog is to provide accurate values of notes. Here, too, the SCWPM provides questionable guidance. Many countries have not seen any valuation changes whatsoever over the course of several editions. This is simply impossible given the fact that all values are expressed in US dollars, and this currency has experienced a significant drop in exchange rates across the board over the past few years. For example, the high-denomination Haitian notes printed on Tyvek remain listed at relatively accessible prices, despite the fact that I have never seen these rarities offered for sale at any price. Even in those countries which have been updated, the new valuations are unreliable. For example, Romania's notes dated 2005 are all still priced below face value, though not as severely as in the previous edition. On the other hand, the prices of common recent issue Australian notes have spiked beyond reason. And some countries--such as France, Italy, and Qatar--have some VG and VF notes priced at face, despite being demonetized.
If you collect the entire world, the SCWPM is the only game in town, and is a necessary reference well worth the price, even in light of its shortcomings. But if you focus on particular countries or regions, you'll want specialized catalogs instead.

This review first appeared in print in the International Bank Note Society (IBNS) Journal 46.3.

This is a good book but a bad manual. It has a great history of M16s and a bit of bias about how great they are. I was disappointed at the lack of technical information in the book as I was looking for a bit more detail on the specifics of parts and internal upgrade options.

Nice history and overview of the rifles development, but weak on assembly instruction, maintenance, cleaning etc. A nice historical reference book really.

I enjoyed and found the information useful. If your new to the AR15, this is
a great way to get up to speed on the subject. The author knows his subject
and communicates it well. There's a lot more that could have been covered
but for that, one is well advised to visit www.ar15.com
You'll find answers there to questions you probably haven't even thought of.

I was new to the AR-15 pattern rifle. This book was informative and still a great read. Provides a full history of the design with info about competing rifles. It could use some updating to cover newer accessories.

The Complete AR-15/M16 Sourcebook: What Every Shooter Needs to Know keeps with its title. Well, somewhat. The book is a very detailed SOURCEBOOK. Do not buy this book to find out what you can do to accessorize your rifle. This book goes into detail about the origins of the AR-15/M16 beginning with the early years and including some photos and text on early models and models that did not make it. The book talks about some of the larger companies that make the AR-15/M16, and has pictures of most of the variants by company. It is a worthwhile read if you desire to learn about the history of the rifle, but is by no means what every reader needs to know.