I own a copy of this book and I must say that it makes for a good coffee table book. If you appriciate paper money for the different kinds of artwork, then this book is worth having in your library.

If you are looking for something with a lot of images, that's what you need.
Very nice and fine printed, but it has not so much to say.

Probably not the venue to launch into a tirade against the stultified, diploma/stock certificate-like house design style of the American treasury. But when you see the variety, color, flare and adventuresome spirit of other countries' currency designs, it is enough to make you positively ill. This is an old complaint, of course. This books visuals make a totally convincing case for the plaintiffs, however.

There WAS one brief shining moment when American money designers put something better, a real world-class moolah design, in our wallets. --See the gorgeous 3 bill "Educational" series of the 1890's or the Buffalo dollar from the first decade of the 20th Century (with, yes, a full body engraving of a buffalo in the usual bureaucrat spot on front, and two bonus spots on the left and right bearing likenesses of Lewis and Clark). After this frolicking fist full of dollars, American currency design "went corporate"; there hasn't been a really fun or cool bill in almost a century now.

The US post office has dolled up their issues to the point people accuse them of tackiness or pandering to populist taste. This is how we can see that stamps are alive as a design vehicle. When everything is august and handsome and tasteful, it is precisely as dead as...well, as American money design.

Make no mistake -- this is a very attractive book. Frankly, its Jeremy Stout's design and Joshua Dunn's photography that make this book worth buying. Full color images of hundreds of U.S. and foreign paper currencies delight the eye. The layout itself takes its inspiration from money, with security stripes and microprinting, and even page numbers look like currency serial numbers.

The commentary, however, is another issue. While often containing valuable tidbits of the history of paper currency, especially in the section on the United States, "The Art of Money" suffers from failed attempts at humor and an often joyless condescending tone. In an entry on Queen Elizabeth II she's described as looking a little too much like "Prince Charles in drag." The portraits on the redesigned U.S. currencies are described as looking like characters on "South Park".

For most readers, this is not helpful information. In addition, there are too many explanations of images that include the modifiers "must be", "could be", "it would seem so" and modern interpretations of allegorical scenes. Absent an expert's analysis or first-hand knowledge of the reasons behind the placement of images on currency, the author's speculations do not help the novice currency collector and are likely to annoy the professional.

In the final analysis, its the photos of the currencies, and not the captions, that make this book an enjoyable "read." And, as a former articles editor for "Playboy", Mr. Standish might forgive readers if we pick up his book only to look at the pictures.

Clearly this book is not directed to specialists in the field of world paper money collecting, though many dealers, it seems, are happy just to have something glossy and well-produced to entice people into joining the hobby. Yes, the book is pretty, and yes, it is entertaining. Unfortunately, it ignores an important issue that is at the core of paper money: politics. Why do some paper money designs change while others remain the same? Why do some countries put their leaders' pictures on their money while others would never do such a thing (at least not until they are dead)? Why do pounds become dinars, cruzados become reals, etc.? The book leaves the reader with the impression that the designs on paper money are hardly more than a celebration of a country's cultural and technological accomplishments, but there is more than that...

This is why the book ultimately falls short: By studying the art of money only as an end rather than as a means to an end, a vast -- and fascinating -- dimension of the story is lost. Hopefully there will be other books on the topic that go beyond this initial effort.