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133 bytes removed ,  19:21, 17 September 2017
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[[Category:Art|*]]
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{{newreview
|author=Simon Jenkins
|title=Britain's 100 Best Railway Stations
|rating=5
|genre=Reference
|summary=In the mid twentieth century the railway was something which harked back to the Victorian age with trains being supplanted by cars and planes, but steam was being replaced by oil, even then and in the twenty-first century oil is giving way to electricity. It's cleaner, more environmentally friendly and the stations which we'd all rushed through as quickly as possible, keen to escape their grime, were restored and became places to be admired, possibly even lingered in. Simon Jenkins has chosen his hundred best railway stations.
|amazonuk=<amazonuk>024197898X</amazonuk>
}}
{{newreview
|author=John Hurst
|summary=When did you last read a children's book that absolutely flummoxed you in the way it showed or told you something you didn't know? (And please be an adult when you answer that, or else it won't be quite so impressive.) Back in 2001, Quentin Blake wasn't a Knight yet – he hadn't even got his CBE – but he did get allowed to put on his own show at the National Gallery, with other people's pictures that contain oddities, stories, unexpected detail – sparks on canvas and paper that would inspire anyone looking, of whatever age, to piece things together, work things out, ''form a narrative''. The pictures came with no major labelling, no context – just what they held, and some typically scratched Blake characters discussing the images as a lead-in. They were simply hung in alphabetical order, and probably could not have been more different. This then is a picture book of the most literal kind, with 26 stories.
|amazonuk=<amazonuk>1847806422</amazonuk>
}}
{{newreview
|author=David Esterly
|title=The Lost Carving: A Journey to the Heart of Making
|rating=4
|genre=Autobiography
|summary=Bouncing between his studio in upstate New York and the sites of various English sojourns, woodcarver David Esterly's seems to be an idyllic existence. Yet it's not all cosy cottages in the snow and watching geese and coyotes when he looks up from his workbench. There is an element of hard-won retreat from the trials of life in this memoir, but at the same time there is an argument for the essential difficulty of the artist's life. 'Carvers are starvers,' a wizened English carver once told him. Certainly there is no great fortune to be won from a profession as obscure as limewood carving, but the rewards outweigh the hard graft for Esterly.
|amazonuk=<amazonuk>0715649191</amazonuk>
}}

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