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New Haven & London, Yale University Press for the Paul Mellon Centre for Studies in British Art, 2000. 30x25. VIII+612+IV; + VIII+630+II pp. 1478 reproductions including 136 full-page in colour. Publisher's cloth, dust jackets, a fine set kept in the original sturdy pictorial slipcase.

Paris, Floury & Pellet, (1910). 26x20. IV+276 pp. + 12 original etchings (six prints, each in two states) + 22 plates with fine heliogravure reproductions of etchings (11 prints, each in two states) + six colour plates. All plates provided with guard-tissues. Ca 120 reproductions in the text (30 full-page) as well as 20 vignettes by Legrand. No. 56 of the 'Édition de luxe' in 100 copies with the print plates in two states. Contemporary full green morocco, spine with five raised bands, gilt cover borders, all edges gilt, pictorial wrappers bound in. Spine evenly sunned, otherwise excellent; kept in a flannel-lined slipcase. (Études sur quelques artistes originaux).

(Stuttgart, Wittwer) impressum cancelled with new label of Kanter & Mohr, Berlin, 1885/86. 50x35. Title leaf + 60 plates comprising 40 colour lithographs, each with one coloured elevation, and 20 plates with a total of 99 plans. Loose as issued in a printed half clothportfolio with tie-strings. The boards slightly worn, with an oval stamp on front removed by scratching, spine expertly repaired. Contents very fine apart from light browning in margins of some plates.

Berlin, Der Sturm, 1918. 31x24. 144 pp. + 4 leaves, each with one tipped-in colour plate. Ca 100 reproductions in the text including 35 full-page. Publisher's pictorial boards, neat later cloth spine. A good copy with minor external wear, one corner mildly scuffed, and some stains on reverse of one of the leaves with tipped-in plate. First edition of this anthology published by the important discoverer, sponsor and promoter of German avant-garde art. To Walden, Expressionism was a Kunstwende - a turning point in art. He bridged the gap between the futurists' cult of technology and the spirituality of artists like Kandinsky and Franz Marc, by paralleling the concepts of futurism, expressionism and cubism while at the same time making Expressionism the inclusive concept - a new spiritual and intellectual movement with ramifications for all art forms. Text contributions by i.a. Walden, Kandinsky, Franz Marc, and Blaise Cendrars, and reproduced works by Gösta Adrian-Nilsson, Archipenko, Rudolf Bauer, Boccioni, Campendonk, Carra, Chagall, Robert Delauney, Max Ernst, Gleizes, van Heemskerck, Jawlensky, Kandinsky, Klee, Kokoschka, Kubin, Léger, Macke, Franz Marc, Metzinger, Gabriele Münter, Picasso, Severini, and others.

Berlin, Wasmuth, 1909-17. 48x32. 46; + IV+47-86; + IV+87-102; + 103-134 pp. + 300 heliogravure plates with photographs (and some drawings). 538 plans, drawings and photos in the text. Loose as issued in printed portfolios with cloth spines and tie-strings. Very light wear to two spines, contents in excellent condition. Studies and large-format pictorial documentations of mediaeval Italian castles, covering 1-2. Oberitalien, 3. Mittelitalien, 4. Unteritalien. A portfolio on South Italy and an Index were published as parts 5 and 6, not present on this set.

Milano, Galleria Apollinaire, 1966. 48x33. 78 pp. on heavy paper, including an 8-page colour facsimile of the original 1946 manifesto, and 27 photos (22 full-page including five in colour and 11 in monocolour). Publisher's printed, cloth-backed boards; title on spine MANIFIESTO BIANCO 1946 - SPAZIALISMO. Covers slightly warped, very light exterior foxing, contents immaculate, a very good copy. Edition limited to 2000 copies. (Documenti e personaggi, 1). A reproduction and commemoration of the Manifiesto Blanco (White Manifesto), the first introduction of Spazialismo (Spatialism), published in 1946 by Lucio Fontana in Buenos Aires where he founded the Altamira academy the same year. This publication also includes translations of the manifesto into French, English, and German, a full-page facsimile of a letter by Fontana (1966), and texts by Alain Jouffroy, Michel Fougères, Raffaele Carrieri, and Leonardo Sinisgalli.

Råsunda, Handpresstryckeriets Förlag, 1917. 31x25. 38 pp. + 13 original woodcut plates with printed guard-tissues. Woodcut title leaf (printed in brown, green and black) and vignettes by Brunius. Entirely untrimmed as issued in publisher's printed, decorated boards; minor foxing to a few text leaves. No. 12 of 200 copies only. A handsomely produced study of modern woodcut art, with original woodcuts by thirteen Swedish artists including Siri Derkert and Isaac Grünewald. The book was printed in a hand-press in 200 copies, and the editions of the woodcuts were limited to 200 copies for the book and additional 50 copies for each artist.

Paris, Bernard, 1902. 37x27. IV+48 pp. text + 48 plates with more than 360 photographs of nude women, men, children, and couples. Contemporary maroon cloth, the twelve pictorial front wrappers preserved, the first one with a printed dedication A Mon Vénéré Maître et Ami William BOUGUEREAU de l'Institut, the others bound at end of the volume. A rare complete copy of this publication, originally sold by subscription in twelve monthly issues. Preface by Jean-Léon Gérome.

Stockholm, Almqvist & Wiksell, 1928-29. 44x32. 134+XXVI; + 108+XXX pp. + a total of 220 plates (40 in colour, most of which are leaves with tipped-in plates). 160 photos and drawings in the text including four smaller tipped-in colour plates. Publisher's gilt-lettered cloth with gilt cover ornaments, top edges gilt, the other edges untrimmed, a very fine set. No. 75 of an edition limited to 100 numbered copies. A classic, sumptuosly produced work on mediaeval woven and embroidered fabrics in Sweden, mostly ecclestiacal; the two volumes covering Swedish and foreign works respectively.

Bottrop, der Stadt Bottrop, 1973. 22x25. 24 pp. + seven card leaves, each with one original colour serigraph by Albers. 20 reproductions in the catalogue. Black card covers with white lettering. Introduction by Jürgen Wissmann.

Tokyo, Asahi Shimbun, 1969. 33x26. II+20 pp. with English text. + 20 pp. with Japanese text + one leaf with a photograph of Hamada at his Mashoku Kiln + 98 pp. with 127 colour photos (72 full-page) of ceramic works, with captions in Japanese and English + two leaves with Japanese title + one blank leaf. Presentation copy with the blank leaf inscribed in Japanese calligraphy by Shoji Hamada to Lindkvist sama (Lennart Lindkvist, editor 1963-73 of the Swedish magazine FORM, and director 1973-95 of the Swedish design association Svenska Slöjdföreningen / Svensk Form). A very fine copy in the cloth-backed binding designed by Hiromu Hara, covers with handmade paper dyed especially for the occasion; protected with plastic jacket, and housed in the original cloth box with printed title label.

Palm Beach, The House of Jade, 1940. 31x23. XXIV+188 pp. including 44 leaves, each with one full-page photo; the text printed on rather heavy stock, the photos on glossy paper. Publisher's green cloth, printed cover title faded as usual, a very good copy with tiny unobtrusive corner scuffing. No. 104 of an unspecified edition. Extensively descriptive catalogue of 162 objects, 44 of which are presented in the large photographs.

Berlin, Wasmuth, (1880-83). 55x40. IV; + VIII; + VI pp. + a total of 122 plates with ca 275 elevations, sections, perspectives, etc. and 75 plans. Loose as issued in slightly worn gilt-lettered portfolio with tie-strings, neatly rebacked. Title leaves of vol. 3 chipped in margin, otherwise fine. A complete set of these measured drawings of German mediaeval architecture comprising churches, castles, rectories, and other residential buildings as well as bridges and other structures.

Torino: Pozzo / Paris: Le Prat (1961 or -62). 27x29. 220 pp. including 60 pages with large tipped-in colour plate; 122 full-page black and white reproductions (some monocolour), and four pages with full reproduction of the 1946 Manfiesto Blanco. Publisher's black cloth, in silvercoloured dust jacket with die-cut holes and slit (the slit slightly defective with small tape repairs on inside, binding and contents very fine). Includes, in addition to the reproduction of the Manifiesto Blanco, a French translation of its text.

London, Architectural Association, 1989. 34x27. 88 pp. More than 350 photos, drawings and plans including 25 full-page. Printed wrappers, in patterned and printed thick sandpaper dustjacket; an excellent copy.

London, Country Life, & New York (ca 1902-08). 36x24. XXIV+300; + XLVI+286; + XL+348 pp. Ca 1165 photos including 400 full-page. Publisher's blue gilt-decorated cloth, top edges gilt. Volume 1 in forth edition. A fine set of this classic, richly illustrated work on British Country House gardens.

Leningrad, Gosudarstvennoe Izdatelstvo / Édition de l'État, 1924. 30x23. 168 pp. + 32 plates (11 coloured) with 43 photos (14 in colour) + errata slip. In the text there are 45 photos with captions in Russian and French, and five full-page charts of 79 porcelain marks. Publisher's cloth with gilt front title and hammer & sickle. A very good copy, with very light external wear, and spine and top of front cover sunned. Early documentation of the work of the Soviet State Porcelain Factory. After the 1917 Revolution the Russian Imperial Porcelain Factory was renamed the State Porcelain Factory, and it was placed under the authority of the Narkompros (Commissariat for Enlightenment), largely through the efforts of Sergei Chekhonin who was appointed director of the factory's Art Section. The volume contains articles in Russian with summaries in French, three by Gollerbach on the manufactory before 1917, on the activities 1917-1922, and on the subjects and character of porcelain painting; one by Farmakovski on porcelain sculpture; one by Sergei Chekhonin on porcelain painting; and two by M.L. Egorov-Kotaubai on the Porcelain Manufactory Museum etc. Photos include Suprematist porcelain by Nikolai Suetin, propaganda porcelain including portrayals of Lenin and Rosa Luxemburg, and works by Chekhonin, Natalya Danko, Elena Danko, Zinaida Kobyletskaya, Mikhail Adamovich, Maria Lebedeva, Tamara Karsavina, Rudolf Vilde, Alisa Golenkina, and others.

Santpoort, C.A. Mees, (1925-)1926. 33x32. II+166 pp. (printed Japanese-style on folded leaves) including decorative title page designed by Frank Lloyd Wright. Ca 105 photos (25 full-page), 30 perspective renderings, and 65 plans and drawings. A very good copy in publisher's cloth with gilt-lettered red spine label, exterior a tad grubby with wear to extreme cover corners, endpapers browned and the last folding leaf opened; contents fine. The renowned seven 1925 issues of the monthly art magazine Wendingen devoted to Frank Lloyd Wright which were combined into one volume published in 1926, with extensive text by the architect (In the Cause of Architecture) running from page 8 to 64, an introduction by Hendrik Theodorus Wijdeveld, and contributions by J.J.P. Oud, H.P. Berlage, Robert Mallet-Stevens, Eric Mendelsohn, Louis Sullivan, and Lewis Mumford. All text in English except Mallet-Stevens's which is in French.

Milano, Edizioni Futuriste di Poesia, 1915. 26x19. 36+116 pp. including 12 plates (one folding) with war paintings and a foldout Futurist diagram + portrait photo frontispiece. Printed, designed wrappers, these a little soiled/worn, front wrapper and initial leaves nibbled; front portion of the book has traces of damp in lower margin. '3.o migliaio' (3rd thousand). Guerrapittura (Warpainting) was published under the name of Carrrà, Futurista with a fierce extra R, perhaps as a counterblast to Boccioni's 'Futurist Painting and Sculpture' in which Carrà's contribution to Futurism was dismissed to a couple of pages. The War-painting collages show Carrà's increasing interest in the Cubist approach as opposed to Boccioni's Dynamism. Pure Futurist dynamism, however, is displayed in the foldout Futurist Synthesis of War - a witty line-up of the eight poet-peoples against the bigot and constipated Austrians and Germans - and in the seven pages of words and typography strung into words-in-freedom poetry. Despite its mix of old and new ideas including articles from 'Lacerba', manifestoes, and texts foreshadowing Carràs defection in favour of Metaphysical Painting, 'Guerrapittura' remains one of the major Futurist books - which earned its author a stay in a mental hospital during the war: on perusing it, the medical officer concluded that it could only be the work of a madman!

Berlin, Wasmuth, (1877). 36x53. 2 (title leaf) + 5-24 (Allgemeine Einleitung; Geschichtliches; Erklaerung der Tafeln) pp. + 30 fine chromolithographed colour plates. Loose as issued in cloth-backed printed boards with tie-strings. Exterior with insignificant edgewear and slightly unevenly darkened, contents very fine. Enay / Azadi 361: 'Das früheste Teppichbuch überhaupt'. First edition of the first publication on oriental carpets, that inititated serious modern study of the subject.