= Profusely illustrated (sale) catalogue.
AND 2 others, i.a. B.J. VAN BENTHEM, Twee eeuwen tafelzilver. De Amsterdamse zilversmeden Helweg 1753-1965 (Zwolle, 1993, num. (full-p.) ills., orig. cl. w. dustwr., large 4to).
- Pastedowns and endpapers sl. browned. Dustwrs. sl. soiled/ w. a few sm. tears.
= Arntzen/ Rainwater P522: "The definitive history of Dutch silver; indispensable for work in the field."
= No.IX of The Nasser D. Khalili collection of Islamic art.
Pijzel-Dommisse, J. Haags goud en zilver. Edelsmeedkunst uit de Hofstad. The Hague/ Zwolle, Gemeentemus./ Waanders, 2005, 447,(1)p., num. ills., orig. cl. w. dustwr., folio. - AND 7 others on precious metals and applied arts, i.a. T.G. TE DUITS, Kunstnijverheid en Industriële Vormgeving 1800-heden (Rott., 1996, num. (full-p. col.) ills., orig. boards w. dustwr., 4to) and T.M. ELIËNS a.o., Dutch Decorative Arts (Bussum, 1997, richly illustrated, orig. boards w. dustwr., 4to).
- All (but a few) plates w. sm. pinhole in corners; occas. trifle soiled; one plate sl. (water)stained. Lacks orig. paper portfolio.
= From the series Quadrat-Print/ Kwadraat-Blad.
AND 12 other kwadraat bladen (incl. one duplicate), i.a. PHILOMENE (1906), MUZIEKPAPIER (1970), CIJFER (1971) and A. MAGALHÃES, Topografische analyse van een bedrukt oppervlak (1974).
= With catalogue raisonné.
Wandrey, P. and Lenneman, J. Die Idee vom Haus im Grünen. Max Liebermann am Wannsee. Berlin, Reiter-Druck, 2010, 208p., num. (col.) ills., orig. boards, large 4to. - AND 4 others, all richly illustrated, all (near) fine, i.a. A. WERNER, Utrillo (New York, 1981, orig. cl. w. dustwr., folio) and G. FINCKH (ed)., Alfred Sisley (Wuppertal, 2011, orig. boards w. dustwr., 4to).
- Some foxed spots; otherwise fine.
- A few sm. tears in dustwrs. Otherwise fine.
- Title-p. w. brown offsetting. Dustwr. yellowed, sl. brittle and w. num. (marginal) tears and dam. spots, partly rather crudely repaired w. sellotape.
= Lissitzky-Küppers 168. Contains chapters on i.a. Le Corbusier, Moholy-Nagy, J.J.P. Oud and Frank Lloyd Wright.
- Frontwr. w. sm. additions in pen and ink; spine and fore-edge frontwr. restored/ strengthened.
- Title-p. and a few lvs. at the beginning w. restorations (mostly) in upper margin. Lacks orig. backwr. and backstrip (neatly replaced w. matching col. paper); frontcover sl. creased and w. restoration in lower corner.
= Rowell/ Wye 106; Compton, Russian futurist books 1912-16, p.126. With literary contributions by i.a. V. Aseev, V. Mayakovsky, B. Pasternak and V. Khlebnikov. SEE ILLUSTRATION PLATE XII.
- Sl. creased; some sm. annots. on frontwr.
= Khan-Magomedov p.142f; Rowell/ Wye 852 and ills. p.237. SEE ILLUSTRATION PLATE XIII.
- Wr. chipped and restored along edges; vague stamp on backwr.
= Khan-Magomedov p.121 and 125; Compton, Russian Avant-Garde Books 1917-34 p.82, 86 and 157 note 50: "Rodchenko's fascination with film continued to inspire many of his book covers, including a scheme capable of variation for a series of popular detective stories - Mess Mend or the Yankee in Petrograd (...) - written by Marietta Shaginian under the pseudonym Jim Dollar. For all ten volumes Rodchenko devised a complicated geometric layout combining colour with black and white, by dividing the cover into alternating coloured and black fields carrying white lettering. The central areas vary from cover to cover: they include cleverly cut photographs, including close-ups, reflecting the description to be found on the title page of volume one: 'cinematographic novel'. He chose a different colour for each cover and the series, which came out in 1924, remains most effective, though cheaply produced" (p.82).
- Spine and edges of wrapper restored. Stamp on backwr.
= Khan-Magomedov p.121 and 125; Compton, Russian Avant-Garde Books 1917-34 p.82, 86 and 157 note 50: "Rodchenko's fascination with film continued to inspire many of his book covers, including a scheme capable of variation for a series of popular detective stories - Mess Mend or the Yankee in Petrograd (...) - written by Marietta Shaginian under the pseudonym Jim Dollar. For all ten volumes Rodchenko devised a complicated geometric layout combining colour with black and white, by dividing the cover into alternating coloured and black fields carrying white lettering. The central areas vary from cover to cover: they include cleverly cut photographs, including close-ups, reflecting the description to be found on the title page of volume one: 'cinematographic novel'. He chose a different colour for each cover and the series, which came out in 1924, remains most effective, though cheaply produced" (p.82). SEE ILLUSTRATION PLATE XII.