Anyone who cares about French antiques knows that there are many good deals to be unearthed at the marche aux Puces, but the place was always somewhat intimidating to me because it's known to be an "insider's" market. It's hard to know where to go and who to trust. I was delighted to come across this book because it demystifies the process very effectively and is written in a no-nonsense, discerning and user-friendly manner. It is not designed as a comprehensive guide to the Puces but rather as a "short list" of the stands that the authors have found to be most worthwhile (be it in terms of selection, quality, price and/or reliability). It's a bit like having a Zagat's guide to the Puces. I also liked the format, which is compact and practical to carry around Paris, as well as the design and graphics, which are tasteful and up-scale. As a result, I've also found it to be a very appropriate gift for friends who share my interest in French antiques.

I've been to the Marchee aux Puces many times in Paris and wish I'd had this book with me before! The photos are gorgeous and helped identify different parts of the huge market and types of furniture. I've enjoyed reading through it over and over since my return. It's so interesting and there's so much to learn. Not just what to buy and where, but how to ship it home and how to recognize value or ... non-value. This book is a real treasure for those serious about antiques or just browsing the market for interesting finds.

Stuart Hough saved me thousands of hours of research with his incredibly efficient reviews. I was able to save a ton of time at le marche des Puces by carrying this handy pocketguide with me while touring - and saved some money by knowing who to talk to and how to approach them. It is written with both style and efficiency - if you are into antiques, this is a MUST READ.

My sister, the unstoppable Codemaster Talon, gave this book to read as part of our literary exchange program (she gives me books to read, and I give her books to read). When I first glanced at this book, I thought it would be an easy read (it's just over 200 pages). Then, when I started reading it, I found myself stumbling over some of the old-fashioned English phrases. I asked her when it was written. "The 70s." she said. "The 1970s?" I asked? "No, the 1870s", she joked. I honestly wasn't sure which one was the real date when until she told me. Yes, this book is indeed authentic in it's language. But for me it was hard. My sister told me to stick with it. Boy am I glad I did.

The story starts out with the giant Black Jack being executed, and then procedes to tell the story of a poor good-natured youngster who finds himself in this terrifying scoundral's strange company. The strange thing is that for some reason, this terrible man finds that he likes the young lad, and won't let him go.

When the boy finds himself suddenly and strangely abandoned by the giant after starting (and ending) his search for an escaped lunatic young girl, he folows the road till he finds (and joins) a traveling carnival. The that's where our story begins.

As Black Jack struggles with his fear of lunatics (can you believe it?) and growing admiration for his young friend, Tolly (the young fellow) gains maturity and learns about life as he helps the poor lunatic (her name's Belle) regain her sanity. It's really engaging, because all the characters are so very HUMAN, and as Tolly continually tries to help the girl while at the same time keeping her from getting to close (she loves him you know) he starts to find that he cares for her too.

When Belle becomes convinced that she really is insane and has herself commited, and Tolly can't get the people imprisoning her to let him see her (despite his growing love for her), and Black Jack won't let anything get in the way of his friend's happiness... Well, let's just say it makes for one of the greatest climaxes I've ever seen in a book (especially when you consider the world is ending at the same time).

What really addicted me to this book was one thing. Love. When I read the passages about how Tolly and Belle found their feelings for each other grow, it gave me a simply wonderful feeling. The author of this book has managed to perfectly describe the feeling of being in love. I haven't felt this way while reading a book in a long time. This feeling the book gave me grew stronger and stronger as it progressed, but the very, very end made it shoot to the sky. Because what Belle kept describing in her wild rants of insanity turned out not to be mere dreams after all, but visions of a future more wonderful than she could have imagined.

If anything I have said connected with you in any way, READ THIS BOOK.

Leon Garfield is one of the best writers for older children ever; no, make that for anyone! His gorgeous language, fabulous, gripping plots, vivid characters and Shakespearean understanding of humanity put him in the very top class of that golden age of children's books of the 60s and 70's--and some of the best of today's golden age, such as Philip Pullman, cite him as an importantinfluence. Back Jack is one of his best books, a wild, terrifying, exciting, romantic and mysterious adventure story that left me reeling as a kid, and still thrills me to bits! Don't miss it!

The wonderful Leon Garfield spent the 1970's writing wildly inventive litaterature for children, and "Black Jack" is his masterpiece. Funny, frightening, and ultimately a deeply touching love story, this terrific little novel is perfect for young adults or intelligent pre-teens.

The plot, such as it can be described, concerns a young boy named Tolly who inadvertently revives a notorious murderer who has just been hanged in the village gallows. The criminal, a fearsome giant nick-named Black Jack, promptly coerces Tolly into a life of crime, very much against the will of the decently noble young man.

Thereafter the novel builds steam as Jack and Tolly meet up with an escaped asylum inmate, join a carinval troupe, encounter various eccentrics and villians and finally witness the end of the world (well, sort off). The final thunder-bolt of an ending is almost unbearingly suspenseful and leaves the reader breathless.

As always, the fun of Garfield's writing is his ability to stack surprise after surprise without loosing credibilty. Despite the crazy goings-on , Garfield always makes his characters seem like real people and their development over the course of the book is complex and moving. If you enjoy intriguing stories with superb dialogue and wild plot twists, don't hesitate to buy "Black Jack". If you like this novel I also recommend Garfield's "The Strange Affair of Adelaide Harris" (which introduces one of his finest literary creations, best friends Bostock and Harris) and "John Diamond".

Every serious reader (and especially writers!) owe it to themselves to discover the genius of Leon Garfield, and "Black Jack" is a great place to start.

This is the best non-fiction I have ever seen. The liberal use of personal histories and stories along with illustrations from periodicals reporting the situation make this compelling and fascinating.

The potato blight that struck Ireland in the mid 1800s produced a nation-wide famine, resulting in "one million dead and two million who fled" to other countries, predominately the US and Canada. Countless other Irishmen, with no food, money or homes, simply disappeared. Susan Campbell Bartoletti's "Black Potatoes" recreates the era year by year from haunting contemporary newspaper illustrations, government records and first hand survivor stories, told to their children and grandchildren.

Bartoletti provides a balanced account of the economic, political and social repercussions of the blight and the ensuing famine. Food was available but the poor did not have the means to acquire it. The British government was slow to react to the devastation. Irish government officials, landowners, and shopkeepers worked to protect their own interests but, finally, in the end, contributed the greatest amount of financial support to the poor. The Friends Church, operating local soup kitchens, and American relatives, sending millions of dollars in financial support, were allies of the Irish poor during these times.

This book is a wonderful historical recounting of the time and is compelling reading for those of all ages interested in their Irish heritage. Bartoletti brings the horrors of famine and poverty to life. The 150-year old drawings, originally published in the "Illustrated London News", will stay with the reader long after the book is finished. The six-page narrative bibliography is as interesting as the story itself, and provides students and researchers with numerous sources for further study.

Susan Campbell Bartoletti, already well known for her award-winning fiction and nonfiction, has reached new heights with this book. It is clearly impeccably researched, yet never reads like a dry compilation of facts. It is by turns moving, horrifying, hopeful, and depressing. Although she points out the general indifference and (often) hostility of some government officials who could have provided some relief, she never falls into the easy trap of making anyone the villain of the terrible story of the Irish potato famine. Instead, she details the general ignorance of the cause of the blight and the sometimes well-meaning but misguided attempts of different people to remedy the situation.

Most importantly, the reader leaves feeling that this is not some strange thing that happened to unknown people a long time ago. The feeling of immediacy, and the way the reader is led to empathize with the sufferers, make it fresh and real.

Readers of "Nory Ryan's Song" who want to get the real history of this terrible time should be encouraged to read "Black Potatoes."

If you really want to see Tuscany, this it: this book will take you to places you wouldn't find any other way, from charming villages that are way off the beaten track, down colorful streets and staircases to hidden piazzi that you would have walked right past, into courtyards, and out to ancient country churches with masterpieces on the altar. The Blue Guide to Tuscany is 510 pages long, plus two indexes: the author, Alta Macadam, has apparently combed every city, town and hamlet in Tuscany, traveled every road and lane, wangled her way into every locked church and described its treasures, and surveyed every provincial museum. She includes practically everything of any interest at all in the entire province of Tuscany, including the provenance of every work of art and the programs of the frescoes and carvings in every church and abbey, and notes on the contents of every museum. She gives extensive information on the architecture of Tuscany's buildings, including many floor plans, and good notes on local history. It is organized geographically, with town and city tours, and lots of maps. I heard many guides giving their talks on our visit, and very few of them had more to say about anything that Ms. Macadam or were more informative; many of the places she described exhaustively had neither guides nor tourists besides ourselves, which in Tuscany is unusual.

Her directions can be a bit cryptic at times, but if you read carefully, you'll get used to them. As in all of the Blue Guides, she is prone to understatement: when, for example, speaking of the old town in Certaldo, she says that "the upper town has considerable charm", what she means is that it is ravishingly beautiful, will charm your senses and lift your spirit, and your friends and family will envy your photos and your vacation forever.

Caveats: some people will find this guide to be overwhelming. Because it is so dense and exhaustive, use it to plan your trip before you leave or you'll be buried in minutiae and miss things you'll have wanted very much to see.

I just returned from a trip to Italy which included 4 days in Umbria and 8 days in Tuscany. I found the Blue Guides for both regions outstanding. Not surprisingly, both are quite worn (the best sign of a useful guidebook).

What makes this guidebook stand out is the incredible breadth of coverage of all tourist sites in Tuscany, making it quite thick, but not particularly heavy. (The only guide that I have seen that even comes close in terms of coverage is the Michelin Green Guide for Tuscany.) Each chapter represents a tour which covers either a town and its vicinity or a driving circuit. Within each tour, every conceivable tourist destination is identified, including small towns, churches, squares, public buildings, museums, archeological sites, etc. For significant museums and churches, the guide directs you through the works in a logical order. For the most part, individual works/objects are listed but not discussed, but notable works are identified with asterisks. Particularly remarkable works, such as Cathedrals and great fresco cycles, are discussed in more detail.

If you are interested in Italian art, architecture, and ancient history, then this book tells you where to find it in Tuscany, and provides brief descriptions. The guidebook does not teach you the history of art and architecture in Tuscany, nor should it. For this, you will need to do some additional reading.

Fine maps and a brief history are provided for each significant town. Parking advise is provided for most towns, and I strongly suggest you follow this advise. (I learned this the hard way.) Also pay close attention to the opening hours, which are quite accurate. The guide's hotel and restaurant recommendations seem quite good; they overlap significantly with the Michelin Red Guide and Frommers. Unfortunately, no descriptions or prices are provided, so most people will want another guidebook for this use. Some of the site closure information was out of date, but I expect this to be updated with the 2000 edition.

The Blue Guide series focuses on art. If you are looking for hotels, shopping, restaurants, or for entertaining reading, rely on something else. If you're looking for a serious guide to history, art, and architecture, both the well-known and the quietly tucked away, a list of hours and days open for musuems, holidays (often to be avoided!), as well as addresses of libraries and research insitutions, the Blue Guides are for you. They cover almost every artwork in the various regions, and do so accurately. The books guide the reader systematically through churches and museums and include accurate floor plans. Towns are grouped into touring areas, as are neighborhoods in the large cities. Town maps, even for little places, are plentiful and precise, even for the winding streets of Siena. City maps, such as Florence, are equally precise and inclusive, but they are split among several pages, which can make them harder to follow --- a minor flaw. I use Blue Guides as a textbook for my college students, and I never go to Italy without at least one!

London was our 5th trip with Suzy: as usual she directed us to all the right places and with her usual wit and flair, to boot. You know you have a great source when the husband of the group (who has to carry everything) says that the only guide book for the day will be by Suzy.

The book has been and continues to be an excellent resource for shopping needs. London can be overwhelming -- after all it is the city of shopkeepers -- but following the recommendations in the book have proven successful everytime. I have sent a copy to each of my guests planning to visit London and all have been able to highlight areas of shopping to save time and get what they want. The helpful tips, shortcuts and general information about the markets is fabulous. If planning a trip to London and shopping is on your list of things to do -- don't be caught without the ulitimate shopping guide.

This book alone is worth a ticket to London. Whether you're a power shopper or just want to pick up a few souvenirs, Suzy Gershman has insider secrets for the perfect item at the perfect shop. And she's great fun to read (even if you're not ready to plan a trip yet.) I've used her books in 3 countries, and she's never steered me wrong. In this edition: don't miss Jo Malone, Lush, and tea at Stafford's.

I never knew how grand the bakeries of Paris where until I read Boulangerie! I wish we had a similar tradition in my home town. I love bread and soup above all other foods! Some day, when I visit Paris, I'll search the city with a copy of this pocket guide in my hand.
I also enjoyed the pictures of the boulangeries of Paris on the authors Web site: Dorseybooks.com

Let's face it, whether you are visiting Paris for the first or the fifth time, there never seems to be enough time to squeeze everything in. Everyone should take at least one evening or one afternoon for a 3-star dinner or lunch; but, when you are busily going from sight to sight, who has that kind of time? This book is perfect for letting you find bakeries with a wonderful range of foods you can carry away with you. I found that the descriptions of each bakery carried their specialities and any unusual items they carried. The first time you find a conveniently located establishment when you are trying to get from point A to point B, you will know what a treasure it is. The size makes it very convenient to take with you as well.

This book is a jewel. It made our first Paris trip that much more special by introducing us to some exceptionally fine bakeries. This pocket-sized book not only gives you a listing of the fine Boulangeries (organized by arrondisements, includes the address & phone number, closest metro or bus stop, when they are open, and what's special about each) but tells you where to go (nearby picnic spots) and eat the bread and goodies that you buy at these Boulangeries -- this is what truly made the book special. We tried "Robineau" in the 7th and "Gerard Beufort" in the 5th as listed in this book and we were not disappointed. Both had wonderful baked goods, the former within a short walk to the Champ de Mars and Eiffel, and the latter, a 3-minute walk away from Arenes de Lutece, the ancient Roman amphitheater which is a perfect picnic spot. You could use this book to plan your breakfasts and picnic lunches as a nice balance to the Bistro-dining in Paris.

Tremendous book. Beautifully researched and filled with staggering illustrations. I bought it as a reference as I collect lamps. As a reference and piece of scholarship it ranks with the work of Florence Montgomery, John Bivens and Catherine Lynn. What was the most pleasant surprise is that it is beautifully and compellingly written. A truly fascinating story of a fascinating man who lived during a fascinating era. No serious collector of lighting or 18-19th century decorative object should be without this work. Any major decArts library would be remiss not to own it. At $59.95 it is probably underpriced.

John Wolfe portrays the poignant story of a brilliant, gentle, and naive 18th century inventor, Ami Argand. Wolfe's exhaustive research rewards the reader with an intimate view into the life and thinking of Argand and other 18th century luminaries. This book engages your sense of histroy, science, intrigue, and lighting. I really enjoyed it.

An invention of an oil lamp has revolutionized the world. Finally, a lamp has been created that produced a good light without the annoying smoke that has plagued the social life of people over thousands of years. The value of the inventions is immediately recognized and the demand for the new lamp is overwhelming. A commercial opportunity of enormous proportion has emerged. Can a single person protect his invention and satisfy the demand for the new light against the competitive spirit of free market? It is the year 1784, the rumblings of the French Revolution, of the Napoleon wars, and of restructuring of the social systems are not yet heard. It is the time of technical innovations. The steam engine has already advanced manufacturing industry and the dream to conquer the air has just become a reality, the balloon of the Montgolfier brothers graces the sky. John J. Wolfe's book provides an initiate picture of Ami Argand, the Genevese citizen who perfected distilleries for Brandy, invented the two-air draft burner for oil lamps, and assisted the Montgolfiers in flying balloons. Its is a also the story of greed, deceit and unhappiness, and a story of an unfortunate hero and of successful villains. For the first time, an authoritative account is given for the life of Argand; a brilliant scientist who is immortalized by his invention, the Argand lamp, but also a person who sought recognition and wished to persevere in business. The combination of a spell binding story and never published pictures of early lighting promotes this book as a must for students of history, technology and lighting.

This book deserves more than five stars.

Before going further, let me mention that Brassai's images contain many sinners and show the seamier side of Paris. For example, there are many photographs of prostitutes here. If such subjects upset you, do avoid this volume.

The collection of Brassai's work at the Musee National d'Art Moderne at the Pompidou Centre in Paris was recently expanded from 300 to 500 items due to a large deposit by Mme. Gilberte Brassai, his widow. This monograph greatly benefits from these additions. The monograph also commemorates the 100th anniversary of his birth in 1899.

Best known for his photography, Brassai had many other dimensions: collector, scholar, sketcher, sculptor, and writer. His self description was as "a creator of images." This book does an excellent job of capturing all of these elements so we can better understand the entire man and his work.

As Brassai said, "The meaning of art is not authenticity . . . but the expression of authenticity." Why does he say that? Well, his method of photography required careful staging because of the bulkiness of his equipment and its slow speed. So, although an image may seem like something taken by a news photographer from the Daily Blurb, Brassai's techniques required that subjects hold their poses for long periods of time. Much like Cindy Sherman does today using herself as the model, those in the photographs were often friends of Brassai's who were posing as someone else. So what is remarkable about these "candid" photos is his "use of re-creation and reconstruction" to produce them.

Taking the photograph was really just the beginning. Using darkness as his ally, it is the print that makes the difference to his representations. "A negative means nothing for my kind of photographer." "It's the artist's proof that counts."

Here are my favorite photographic images in the book:

Notre-Dame, c. 1930-32

The Pont Neuf, c. 1932

The Viaduc d'Auteiul, 1932

The Baker, c. 1930-32

Public Urinals, c. 1932

For a Detective Story, 1931-32

The Big Night at Longchamp, July 1937

False Sky, 1934-35

Nudes of 1934

Matches, c. 1930

Picasso, His Studio and Works, 1932-46

Montmartre, c. 1935-37

Metro Pillar, 1934 (you will see a man's face in the shadow of the pillar)

Odalisque Transmutation, 1934/1967 (this is clearly influenced by Picasso)

The essays in the book are excellent. I especially liked Alain Sayag's comparison of his work to Chinese painting.

I also learned a lot about his life. Like many famous photographers he had to earn a living by doing more commercial work. These images often were done on his own time, late at night. Interestingly, many great photographic images were created in only 1-3 takes. In part, this reflected his poverty.

Actually, he had earlier earned a living from writing about France for German newspapers. The Depression began to cut off that source of funds, and photography was taken up in part to supplement his income. By selling the story and the images, he could get paid a little more. He also worked for Harper's Bazaar taking photographs by day for many years.

The text also contains many selections from what Henry Miller and he had to say about each other and their long-term friendship. This emphasizes "seeing only what is."

My appreciation of the photography was improved by seeing his drawings and sculptures. Clearly influenced by prehistoric and primitive art, many of these images look like fertility gods. His women are all bottom. From these, I could understand his graffiti photographs of images that could literally have come from the caves at Lescaux. So in looking for the "reality" Brassai was reaching deeper into our ancient psyches than other photographers before and since.

I came away very much more interested in Brassai, as I am sure you will be.

After you finish consider Brassai, I suggest you ask yourself how you could add more dimensions of expression to your personal life. What can you share that is both "real" and important for others? How can you best accomplish that?

Au revoir.

It was only several years ago that I had noticed the brilliant work of Brassai. The Chicago Institute of Art was having a special exhibit featuring his work. I stood before each photograph for what seemed like an eternity. The way that he captures the essence of the human life, the laughter along with the tears, brings a flood of emotions to any observer. My interest in Brassai only grew from this exhibit. I then started to hunt out books on him, his life, his work but I wound up a little disappointed due to most of his work is out-of-print. When I had been scanning Amazon.com and found a new book, Brassai, I was highly interested. I awaited the day that it would finally be published. That day came. As I turned the pages of the book, I felt as if I am back in the Art Institute. The quality of the photographs, the meaning of the words, by close friends, and from Brassai himself add to the pleasure and overall joy of the book. He depicts a time in history that is meant and needed to be cherished. Brassai reaches into the human heart and soul and brings out strength, determiniation, and a smile. These feelings are only emphasized on the pages of this magnificant book. I only hope that more will follow so that Brassai can touch more lives, touch more hearts, and bring emotions to the forefront of everyone's lives.

When Abrams released their long-delayed book on Brassai last December, THE EYE OF PARIS, I was very critical of the entire piece. The images weren't well-printed, the selection was mundane, and the whole thing had an oddly slapped together quality, especially for such a major publisher. Now we have Bullfinch's answer to the recent Brassai gap, and it is a clear success, head and shoulders above this earlier release. After only a relatively cursory look at the book, it is clear that this is what we've been waiting for. The selction of images is deep and varied, mixing both the iconic with the lesser known, the printing is lustrous and dimensional, and the layout is both attractive and compelling. The production may not match the incredible PARIS BY NIGHT reissue of the late 80's, but nothing probably ever will. That said, this book looks very good indeed. I haven't read the impressively credited text yet, but the visuals are certainly terrific, the most important thing, obviously, in a photography book. It is hard to imagine a superior monograph on this seminal figure forthcoming anytime soon. Grab it and feast.

This work is a splendid example of the new emphasis of the publisher on producing comprehensive works in a handy cheap format compared with the earlier broad brush treatments which covered too much in too little detail.
The new emphasis is on sets covering various national armed forces in as much detail as is available, consistent with the current purpose of the works in the series, which have evolved from an original emphasis on serving the military miniature maker market into works intended to enlighten the general reader in enough detail to satisfy the merely curious and to point the way to further reading.
Most of us, including myself, have little need for, or the patience to read, voluminous studies, often in foreign languages, covering many eras and nations. My main interest is in the US forces, their allies and their enemies in the twentieth century.
That said, these works should be purchased as presented, in sets within the series. Since they are produced as a set, the volumes cover only relevent parts of the general history and the clothing and individual equipment is covered as it appears in each period. The French Army, US Army, British Army, and Italian Army series all have three volumes, covering the major theatres and time periods of the war. The German set has five.
This should be read along with the volumes on Battle Dress and British Infantry Equipments in this series.
If you want an introduction to the fascinating variety of clothing and equipment of the forces covered, this set is for you.

This work is a splendid example of the new emphasis of the publisher on producing comprehensive works in a handy cheap format compared with the earlier broad brush treatments which covered too much in too little detail.
The new emphasis is on sets covering various national armed forces in as much detail as is available, consistent with the current purpose of the works in the series, which have evolved from an original emphasis on serving the military miniature maker market into works intended to enlighten the general reader in enough detail to satisfy the merely curious and to point the way to further reading.
Most of us, including myself, have little need for, or the patience to read, voluminous studies, often in foreign languages, covering many eras and nations. My main interest is in the US forces, their allies and their enemies in the twentieth century.
That said, these works should be purchased as presented, in sets within the series. Since they are produced as a set, the volumes cover only relevent parts of the general history and the clothing and individual equipment is covered as it appears in each period. The French Army, US Army, British Army, and Italian Army series all have three volumes, covering the major theatres and time periods of the war. The German set has five.
The British Army set should be read in conjunction with Mike Chappell's work on British Infantry equipment and the volume on Battle Dress.
If you want an introduction to the fascinating variety of clothing and equipment of the forces covered, this set is for you.

This work is a splendid example of the new emphasis of the publisher on producing comprehensive works in a handy cheap format compared with the earlier broad brush treatments which covered too much in too little detail.
The new emphasis is on sets covering various national armed forces in as much detail as is available, consistent with the current purpose of the works in the series, which have evolved from an original emphasis on serving the military miniature maker market into works intended to enlighten the general reader in enough detail to satisfy the merely curious and to point the way to further reading.
Most of us, including myself, have little need for, or the patience to read, voluminous studies, often in foreign languages, covering many eras and nations. My main interest is in the US forces, their allies and their enemies in the twentieth century.
That said, these works should be purchased as presented, in sets within the series. Since they are produced as a set, the volumes cover only relevent parts of the general history and the clothing and individual equipment is covered as it appears in each period. The French Army, US Army, British Army, and Italian Army series all have three volumes, covering the major theatres and time periods of the war. The German set has five.
The German Army set should be read in conjunction with many other individual volumes covering their allies and opponents and the other German fighting forces such as the Waffen SS, and the Parachute units, which were part of the German Air Force, the Luftwaffe.
If you want an introduction to the fascinating variety of clothing and equipment of the forces covered, this set is for you.

Bouchery's two volume set on the Late War British Army is very useful for wargamers, historians and reenactors.

Volume 1 is especially good, with its mind-boggling number of full colour photographs of artefacts from world war 2. Ever want to know what a British Soldier's cigarette lighter looked like in 1944? - well, you can find that here. Want to know what the cap-badge of the 43rd (Wessex) Infantry Division looked like? You can find a full-colour photograph in here.

Volume 2 is a little disappointing. I wasd expecting modern photographs of surviving British tanks, but the book is instead full of black-and-white photgraphs. Layout is much more haphazard and unprofessional than the previous book, with much of the space wasted. This is unlike the previous volume, which was incredibly compressed and filled with information on every page. Given these flaws, it is still useful, especially the section on British armoured formation markings, which is information that is devilishly hard to get hold of. Also the unit formation guides are quite good, if you can get past the excessive colouring-in.

Bear in mind that these volumes are hastily translated from the French, and contain many errors. Their layout generally is not very professional.

Given all that, these are still valuable books, on a subject that is rarely dealt with. Most such books talk about the German army, never the late-war British.

Volume 2 of Bouchery's very broad and deep look at the British Army in Europe from the Normandy invasion to the surrender of the Nazis has a typo on every page, and the translation is embarassingly bad. Still, its worth the [PRICE] I laid out for it, because, of its 144 pages, almost every one has a very cool photo, diagram, or chart of some British small arm, vehicle, gun, insignia, organization, or unit, and most have more than one such illustration. If you want to know what regiments were in some particular UK division in 1944 or '45, and want to see detailed photos of the weapons and vehicles those regiments were equipped with and know how many were issued to them, this book is for you.

I have for some time noticed that a large number of specialist World War Two books are published in France and only in French. I have even purchased some of these and spent hours translating them page by page. It is therefore good to see that this book has been published in English.

From the opening chapter, on headgear, onwards the level of detail is superb. Each page is filled with colour photographs of equipment and detailed diagrams. By way of example four pages are devoted to the different colours of field service cap for almost every regiment in the British Army. Badges, medals, uniforms, food, webbing, even underwear are all illustrated and detailed. A chapter is devoted to Airborne uniform and equipment.

Very occasionally the translation from French can be seen in the text but the detail and otherwise excellent production quality allow the reader to ignore these small foibles.

The book covers all aspects of British army dress, individual equipment and insignia for the period from D-day to the end of the war. It stops short of including the order of battle and detailed organisation of the Army but the author assures us that these will be the subject of Volume Two in a series that I hope continues.

I recommend this book to anyone with an interest in the British Army of this period.