Studio: international art (57.1913)

Reviews and Notices

only very little larger should be thought sufficient
for the whole of that vast agglomeration of princi-
palities, states, and kingdoms which are consolidated
under the name of the German Empire. The
Moscow book contains, besides its interesting
historical and descriptive letterpress written by Mr.
Grove, the British Consul at Moscow, a map of the
city and sixteen illustrations in colour and a like
number in half-tone. Mr. F. de Haenen’s pictures
are attractive but at the same time one would have
liked to see a more characteristic selection of
subjects. Certain of the pictures given in colour
seem to call less for this treatment than some of
the subjects which are treated in black and white.
To write a book under the title “Germany” must
have been a somewhat imposing task and naturally
the Rev. J. F. Dickie’s account cannot do more
than afford a very cursory survey of the subject.
He takes the reader, however, for a rapid tour of
the Fatherland from east to west, from north to
south, but it is the series of seventy-five reproduc-
tions all in colour which form the feature of the
book. These, reproduced from water-colours by
E. T. and E. H. Compton, give an excellent idea
of the scenery and town architecture in different
parts of Germany; and besides being, as far as one
can judge from personal knowledge of a good many
of the places depicted, topographically accurate,
the artists have given proof of a very pleasant gift
of colour and of composition.

Whitman's Print- Collector's Handbook. Revised
by Malcolm C. Salaman. (London: G. Bell
and Sons, Ltd.) ioj. 6d. net.—The appearance
of this new and greatly amplified edition of “Whit-
man’s Handbook ” will be warmly welcomed by all
collectors and connoisseurs of prints, among whom
the work has always been held in high esteem not-
withstanding the limited scope of its five earlier
editions. The need for amplifying it and making
its scope commensurate with the expansion which
has taken place in print-collecting in recent years
was, indeed, recognised by Whitman, but his death
necessitated the delegation of the task of revision
to other hands, and we do not think that any one
who peruses the new edition will doubt the wisdom
of the publishers in entrusting the work to Mr.
Salaman. So thoroughly and conscientiously has
he done his work that the usefulness and authority
of the handbook will henceforth be far greater than
hitherto. What he has done goes much beyond
what one usually expects in a “new edition,” and
is, indeed, almost sufficient to constitute the book
a new work. Nearly every chapter has been ex-
tended ; new chapters on the old colour-prints,

on French line engravings, and on contem-
porary etchings have been added ; aquatint, wood-
engraving, and lithography are treated in separate
chapters instead of in brief sections ; and, what is
of special importance to the man who spends his
money on buying prints, the chapter on “ The
Money Value of Prints ” has undergone very con-
siderable extension, and Mr. Salaman’s wide know-
ledge is here placed at the service of collectors
in the shape of trustworthy guidance. The new
edition contains sixty full-page reproductions, well
chosen, and like the rest of the book well printed.

La Decima Esposizione d’Arte a Venezia, 1912.
By Ugo Ojetti. (Bergamo: Istituto Italiano
d’Arte Grafiche). 12 lire.—As one biennial ex-
hibition succeeds another at Venice the event is
always marked by the issue of a volume in which
are reproduced a large number of the works
exhibited in the various sections, Italian and
foreign, and thus the series as a whole forms a
valuable document in the history of modern art.
The present volume, dealing with this year’s
exhibition which has just come to a close, contains
over four hundred illustrations, and the admirable
way in which they are here presented reflects the
highest credit on the Italian Institute of Graphic
Arts. Until two years ago the task of reviewing
this international assemblage of works of art was
discharged by Sgr. Vittorio Pica, who now holds
an official position in connection with the exhibi-
tion, but an able successor has been forthcoming
in Sgr. Ojetti, who now, for the second time,
assumes the role of historian of this notable event.
Sgr. Ojetti is quite candid in his criticisms, and is
especially outspoken in regard to the work of the
painters of his own country, which, in his opinion,
shows a general falling off this year by comparison
with former years. It is interesting to note that,
while he also considers the display of British
paintings unequal to those of past years, he devotes
special attention to the collection of lithographs
sent over from England by the Senefelder Club.

Messrs. George Pulman and Sons, Fine Art
Publishers, of Thayer Street, Manchester Square,
London, are issuing a series of excellent colour
reproductions of pictures exhibited in the Paris
Salons this year. The prints with their mounts
measure 14 by 11| inches, and the series comprises
twenty-four subjects of a popular character. They
are sold at ir. 6d. each.

[A number oj reviews of recent publications are
unavoidably held over until next month.—Editor.]

179