This section is from the book "Arts & Crafts Magazine Vol1-2", by Hutchinson & Company.
This is the sub-title of " English Pottery and Porcelain," by Edward A. Downman, whose trustworthy records of the characteristics of the chief fictile wares of the kingdom produced from the 16th to the 19th century is supplemented by much valuable information by Aubrey D. Gunn, "Pottery and Porcelain expert to The Bazaar." Those familiar with that excellent journal will regard his name as sufficient guarantee that the chief object of the book has been attained, which is to " enable even a novice to identify the ware that he meets and to avoid some of the pitfalls that beset the young collector." This is the fourth edition, and an attractive feature is the record of prices obtained for ordinary pieces that find their way on the market, which, as the editor says, will help the collector to form at least a useful idea of the true value of any similar pieces that may be offered him. The volume is fully illustrated, and the different Factory marks are given. (L. Upcott Gill, Publisher, Bazaar Buildings, Drury Lane, W.C. Price 6d. net.)
The Liverpool School of Painters. By H. C. Marillier. London: John Murray. Albemarle Street. (Ios. 6d. net.)
To many this title will cause some surprise. It has been questioned by so eminent and friendly a critic as Ernest Chesneau whether there is an English school of painting at all. "No trace is to be found of any uniformity of method or of teaching, none of systematic instruction by the State, the Academy, or the Fine Art School," he remarks; "English art is free, and on that very account is infinitely varied, full of surprises and unexpected originality." To what degree the last clause may apply to the group of painters comprised by the present volume, we have not space to consider. It may suffice to say that it gives some account of the Liverpool Academy from 1810 to 1867, with memoirs of the principal artists, and that its publication adds a new link-in the chain of artist biography of the first half of the nineteenth century. Alfred W. Hunt, R. W. S. Richard Ansdell, R.A., W. L. Windus, Huggins (the animal painter), William Collingwood, W. J. J. C. Bond "Alphabet Bond" they called him in Liverpool, Robert Tonge, J. W. Oakes, A.R.A., and William Davis - to mention no others - are not names to be ignored. Several pages are devoted to Thomas Crane (father of Mr. Walter Crane), of whose genial personality we get a pleasant glimpse. As the writer observes, a little oblong child's book, called "The Adventures of Mr. P. G. and Miss Crane," with verses and illustrations by himself, " foreshadow the admirable work in this direction of his more famous son. He painted in oil and water colour, and was an excellent architect and draughtsman. In addition to this, he was of a mechanical turn, and constructed, among other thine-, a model velocipede, with a little figure which worked the pedals, of clockwork. Accomplishments of this kind were the delight of his children." The book is well printed and abundantly illustrated.