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Books (continued)

ing material, glossary, even addresses of conservators and conservation centers. But the most valuable item is the complete code of ethics and standards of practice of the AIC. It says it all.

My main complaint with this book is its poor photography. Fortunately the very descriptive text allows you to avoid puzzling over confusing black-and-white plates. The book is well worth the price, and is a must for anyone concerned with the philosophy of historical preservation, and who cares about the physical integrity of our cultural heritage.

—Michael Sandor Podmaniczky

How to COTve Wildfowl by Roger Schroeder. Stackpole Books, Cameron & Kelker Sts, PO Box 1831, Harrisburg, Pa. 17105, 1984. $39.95, hardcover; 255 pp.

With 800 black-and-white photos and 16 pages in color, this book is a tour of the workshops, methods and work of nine of the leading decorative-wildfowl carvers of the day, practically every major carver who enters competitions and hasn't yet written a book of his own. Author Schroeder compares and contrasts the work of Eldridge Arnold, Larry Barth, Lynn Forehand, Larry Hayden, Ernest Muehlmatt, Anthony Rudisill, John Scheeler, James Sprankle, and Gary Yoder, who between them have won an estimated 700-plus ribbons, at least 80 of which are for the coveted Best-in-Show.

Although these men have some techniques in common, the main lesson of the book is how different their approaches often are. An aspiring carver will get the idea right away: There is no one right way to achieve quality; what is required is the urge to do excellent work, by whatever means the imagination provides. Schroeder's text, although rich in practical ideas, is not merely a how-to. It is also an inspiration in the way that it illuminates the prime motive in decorative carving today: It is no longer enough to carve a pretty replica of a bird; the masters are aiming to capture the bird's living essence, and the flavor of its environment, too. —Jim Cummins

Waterfowl Carving, Blue Ribbon Techniques by William Veasey with Cary Schuler Hull. Schiffer Publishing, Box E, Exton, Pa. 19341, 1982. $35 00, hardcover; 272 pp.

Bill Veasey gave a series of carving seminars to 20 beginning students two years ago, then encouraged them to enter their work in six Eastern competitions. The result was a total of 97 ribbons, more than a few of them blue. There is no such thing as the last word in the snowballing world of wildlife art, but Veasey's book, which proceeds through 11 projects by means of 500 black-and-white photographs, nearly 300 drawings and 65 color plates, will certainly get anybody well on their way. Perhaps on their way to a ribbon or two of their own—the book has a chapter on how to enter competitions, and even lists addresses for the major ones.

Companion volumes are Veasey's book on waterfowl painting, and his daughter Tricia Veasey's photographic reference book of wildfowl in typical poses, which also has many detail shots of live birds and stuffed ones. These volumes are available from the same publisher. —Jim Cummins

Michael Sandor Podmaniczky is a boatbuilder and furniture-maker in Thomaston, Maine. Jim Cummins is an associate editor of this magazine.

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