Page 85 - Studio International - July/August 1967

Embroidery and treat embroidery both as embellishment for clothes and soft
furnishings and as a fine art in hangings and church vest­
ments. Modern techniques such as machine embroidery and
Fabric Collage collage are explored, while above all the book teaches the
principles of design, composition and colour theory in a sec­
tion that could read with profit by an-y serieus student of
design.
Elrian Short 63s net
Eirian Short is Head of the Department of Embroidery at Homsey
College of Art, and also lectures at Goldsmiths' College. Her
own work has been exhibited nationally.

New Dimensions in

PAPER CRAFT

S. Yamada and K. Ito 84s net

The creative possibilities of paper are enormous, and the
spread of origami to the West has revealed only a fraction of the
East's skill with the medium. Bend it, cut it, fold it, tear it-the
variations are endless, but a multitude of them are described
and illustrated in this sumptuous book, which will delight the
amateur craftsman and provide a fund of stimulating ideas for
the craft teacher and indeed the professional designer.
Professor Sadami Yamada is chief instructor in the arts division
9f Tamagawa University, Japan, and a leading Japanese authority
A knowledge of the basic principles of design and colour theory on handicraft. His co-author, Kiyotada Ito, is a lecturer at Tama­
can transform embroidery from a mere geometrical exercise in gawa University.
stitching into work of great beauty. Eirian Short shows how such
a transformation can be within the capacity of anyone with a
knowledge of basic embroidery. Her fully illustrated Instructions Pitman 39 Parker Street London WC2

DAVID BOMBERG A CRITICAL STUDY OF HIS LIFE AND WORK

Until this year.'s Retrospective at the Tate Gallery Bomberg was one of England's most neglected twentieth-century
artists. He was perhaps the only artist of this century whose work, continuously experimental yet completely realized,
encompassed the finest achievements In the past six decades oi British art. Although he won critical acclaim before
World War 1 as the most avant garde artist lo England and had considerably influenced the Vortlcist movement,
it was not until 1958-one year after his death-that he was heralded as a master.
As a philosopher of art Bomberg left In his writings perceptive and original statements about his methods, his contem•
poraries, and the relation of art to society: much of this valuable and Interesting material is now published for the first
time.
'a sympathetic and moving study ... In keeping with the very high standards of the publishers.' SCOTSMAN
Illustrated with 32 pages of monochrome reproductions and fourteen plates In colour. 63s.

Evelyn, Adams & Mackay 9 Fitzroy Square London W1

'Josef Herman is more certain of the direction he Is taking than any other painter I know. His refusal to be distracted
from that single purpose, his lack of curiosity to experiment for experiment's sake, his lack of Interest in surprising us
with the unexpected, and above all the consistent, barely-perceptible pace at which his art has been developing during
the past twenty-two years: tbese•are the conditions which have won Herman a place as far removed from.the rough­
aod-tumble of contemporary art fashions as that of, say, Daumler during the France of the Impressionists or of Morandi
In the Italy of Burri and Fontana.' So writes Edwin Mullins In his Introduction to this book, which demonstrates so clearly
the certainty that has established Herman as a painter of great seriousness and wide popularity.
The Illustrations In this book cover a time-span of some 20 years-from the drawings of miners In 1945 to those made In
Suffolk In 1965: there are 80 pages of monochrome reproductions (Including 24 pages of drawings) and ten plates In
colour. 70s.
JOSEF HERMAN PAINTINGS AND DRAWINGS

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