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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.

München between 1908 and 1917. 21x16. XIV+204; + VIII+308; + 10+IV pp. + 120 plates; + X+256; + XIV+486; + IV+6+IV pp. + 150 plates; + XII+304; + II+324 pp. + 3 folding plates; + II+356 pp. + 3 folding plates; + VIII+340 pp. + 7 plates (5 folding). A total of more than 2000 photographs of houses, villages, gardens, pavilions, doors, gates, porticoes, stairways, etc. Uniformly bound in publishers printed green cloth (I-VI) and printed green cloth-backed boards (VII-IX), all edges red. A very good set with a few unobtrusive flaws - occasional light foxing in volume 2, partial rubbing of front board of volume VII (with some loss of lettering) and rear board of volume IX. Light red Chinese-character stamps on half title pages. Volumes I and II:1 are in the fourth and third edition respectively, vols. II:2 - V in the second edition, and vols. VI - IX in the first edition. A complete set of this impressive photographic archive of German domestic architecture and town building, also including didactic examples contrasting good with bad housing. I: Domestic architecture; II:1-2: Gardens; III: Villages; IV: Town building; V: Urban middle-class homes; VI: Castles; VII-IX: Landscape architecture and planning etc.

Stockholm 1930-31. 44x29. II+158; + 180 s. + 123 planscher med ca 200 fotografier av C.G. Rosenberg. 164 planer, ritningar etc. i texten, flera utvikbara planer inkluderade i pagineringen. Två eleganta gröna halvskinnband med grönt marmorerat pärmpapper, i utmärkt fint skick. Upplagan begränsad till 510 ex. varav dessa bär nummer 297. Vackert producerad dokumentation av de detaljerade uppmätningar och avbildningar av svenska slotts- och herrgårdsträdgårdar som utfördes under en period av tolv år av Svenska Arkitekturminnesföreningen under överinseende av Hakon Ahlberg och Harald Wadsjö.

Stockholm, Verlag der lithographischen Anstalt des Generalstabs, 1909-10. 40x30. VIII+76; + VIII+100; + XII+112+II+24; + XIV+32 pp. + a total of 118 plates (comprising 33 tissue-guarded heliogravure plates with mostly full-page photos, 75 tipped-in plates with photos of more than 350 objects, and 10 plates with detailed measured drawings of the cabinet, introduced with a printed slip) + erratum slip. 51 additional photos and reproductions in volume 3. Printed wrappers, a fine set. Edition limited to 200 copies. An historical study and full description of the Hainhofer Kunstschrank (curiosity cabinet) in Uppsala. Philipp Hainhofer (1578-1647), the Augsburg merchant, banker, diplomat and art collector, created a number of Kunstschränke with the assistance of Augsburg artisans. The best preserved of them is the one that was presented on behalf of the city of Augsburg to the Swedish King Gustav II Adolph; today it is kept in the Museum Gustavianum of the University of Uppsala.

Stockholm 1879-80. 28x20. Vol. 1: RÖRSTRANDS HISTORIA OCH TILLVERKNINGAR 1726-1850. XXVI+LXXII+II+156+II+88 s. + 12 färglitografiska planscher. Vol. 2: MARIEBERGS HISTORIA OCH TILLVERKNINGAR 1758-1788. XII+172+II+76 s. + 12 färglitografiska planscher. Inbundna, med bevarade tryckta originalomslag, i ett grönt och ett rött men i övrigt uniforma, vackra hfrbd.

New York, Privately printed for A. W. Bahr, 1937. 26x19. II+54 pp. + 20 leaves with photos (7 in colour) of ca 135 objects. Publisher's cloth-backed, gilt-lettered boards, extreme corner tips slightly nicked.

Paris, Librairie Orientaliste Paul Geuthner, 1941. 28x22. XLII+302 pp. text +II+IV pp. + 70 plates (one folding) comprising 22 plates with plans and drawings and 48 heliogravure plates with ca 125 photographs. 62 plans and drawings in the text. Bound in one volume, contemporary blue cloth, first printed front wrapper bound in. (Université de Paris - Faculté des Lettres). Classic scholarly thesis on the development and architecture of the Syrian city Aleppo, based on the explorations and research of a leading French orientalist and historian. Sauvaget was appointed General Secretary of the French Institute of Damascus in 1929, and elected to the School of Advanced Studies, Director of Studies of History of Islamic East, in 1937.

London, Yamanaka, 1916. 25x32. VIII+48+II+49-92 + IV (blank); + IV+93-214 + X (table of contents, colophon, and two blank leaves) pp. + a total of 170 plates (eight coloured) with a total of ca 1280 photos and reproductions (30 coloured); printed guard-leaves to all plates. One leaf with 42 drawings of tsubas included in pagination. Bound in one volume, contemporary half leather, marbled endpapers, top edge gilt. A fine copy with minor rubbing of extreme cover corner tips. No. 65 of an edition limited to 175 numbered copies.

London / New York / Toronto & Melbourne, Cassell, 1911. 25x17. VIII+162 pp. + 121 photo plates (including frontispiece), twelve of which are colour plates with guard-tissues. Publisher's gilt-lettered cloth with English and Chinese titles on front cover and spine; top edge gilt, the other edges untrimmed. A very good copy with minor external wear including a small, superficial and unobtrusive abrasion at rear exterior joint, and mild foxing to the free endpapers. Yuan 275. The author claims that the original exhibition of which this catalogue is a record was the first of its kind. Organised by the North-China Branch of the Royal Asiatic Society, the 1908 art exhibition was also, Bahr claims, representative of China's artistic legacy as it was then known. The organizing committee included Chinese representatives, and a significant number of Chinese collectors and dealers lent items, giving further credence to Bahr's claims of the exhibition's originality and compass. (Cf. Nick Pearce, Shanghai 1908: A. W. Bahr and China's First Art Exhibition, in: 'West 86th. A Journal of Decorative Arts, Design History, and Material Culture', vol 18: no. 1: 4-25).

London, The Robin Garton Gallery / Scolar Press, 1990. 35x24. 512 pp. + erratum leaf loosely inserted at page 450. Ca 385 reproductions (more than 100 full-page including 50 in colour) plus 48 photos and reproductions in the biography. Publisher's cloth, in the original pictorial slipcase, an excellent copy. Edition limited to 750 copies. The sumptuous, heavily annotated oeuvre catalogue of paintings by the Victorian artist, including a biography supplied with notes and index.

Bologna, Giovanni ZecchI, 1827. 20x27. Engraved title leaf + printed dedication leaf + 76 engraved plates + one leaf with list of the plates. Cloth binding (Nils Bernard Andersson 1949) with gilt-lettered leather label on spine. Some very light unobtrusive foxing mainly in margins, and some light stains in lower right corner. Gift inscription in Italian dated 1839. Rare album with engraved renderings of architectural ornaments in Bologna. From the little known about Magazzari, he can be identified as a multifaceted figure, dedicated to restoration, architectural design, and engraving. Born around 1796, he studied between 1815 and 1824 at the Academy of Fine Art in Bologna, and was later made an honorary member of the Academy. It may be presumed that the incentive behind this album documenting the choicest ornaments of Bologna was the radical urban transformations undertaken in the city in the early 19th century.

Paris, Ducher & Daly, ca 1883. 45x32. 4 pp. (title leaf and list of plates) +80 fine chromolithograph plates. Loose as issued in a gilt-lettered red cloth portfolio with tie-strings. The two last pages chipped in margin, outside the plate,otherwise a fine set. Second volume (mainly depicting large villas and houses in Paris, all identified) of this extraordinary work on brick architecture depicted in beautiful colour lithographs.

Berlin, Wasmuth, 1904-05. 31x22. XVI+220; + VIII+238; + VIII+240 pp. + 26 pp. index. 762 photos, drawings and plans. A very good set uniformly bound in contemporary cloth. The scarce first edition. The first real history, in any language, of English domestic architecture in the latter half of the 19th century. Muthesius was stationed as an architect at the German embassy in London from 1896 to 1903 to study English housing and architecture. He returned full of enthusiasm for the current movement and praised architects such as Norman Shaw, Webb, Baillie Scott, Voysey and Mackintosh at a time that many in Britain did not. Hermann Muthesius sought to promote the qualities of English design in his own work as an architect and as a protagonist of the Deutsche Werkbund which was founded at his instigation in 1907. The success and influence of the lavishly illustrated three-volume work can hardly be exaggerated. A new edition was published by Wasmuth 1908-11.

Paris, Pissot / Herrisant, 1750. 17x10. XXIV pp. + 612 pages paginated 1-575, 596-632 (last page blank). Complete. Although the collation of this edition is often recorded as XXIV+631 pp., the last leaf in the Aa sheet is erroneously paginated 575/596 instead of 575/576, and thence the error continues, so numbers 576-595 are omitted in pagination (cf. e.g. the digitalised copy in the British Library). A nice copy in a neatly restored contemporary full calf, spine gilt. Spine and boards repaired with some loss of the gilt title lettering, and provided with new hinges but retaining the original marbled endpapers. Contents free from foxing, the first sheets lightly stained in outer margin; some other occasional marginal stains. First edition of this important treatise on the dyeing of wool and woolen fabrics. Jean Hellot, a renowned industrial chemist, was appointed inspector-general of the French kingdom's dye-works in 1740, and the treatise codifies his observations, detailing the preparations and discussing the techniques. Hellot's treatise enjoyed a huge success and was translated into a number of other languages, remaining a standard work on the subject throughout the 18th century.

Berlin, Der Sturm, (1922). 23x15. 32 pp. First edition. Printed wrappers designed by Schwitters. A fine copy with minimal age wear including some light marginal browning of the green wrappers. Schwitters' first Anna Blume poem was printed in Der Sturm magazine in 1919, and 'Anna Blume: Dichtungen' appeared the same year as no. 39/40 of 'Die Silbergäule'. The present book incorporates new material including Klang-Gedichte, a full-page typographical ''Bildgedicht'', etc. On the title leaf, but not on front wrapper, there is a heading ''Elemantar'' in smaller type, sometimes regarded as part of the title, and the notice ''Einbecker Politurausgabe von Kurt Merz Schwitters''. A milestone of dada ingenuity.

Paris, Éditions de L'Effort Moderne, 1920. 32x25. 14 pp. + 20 heavy cardboard leaves, each with one tipped-in tissue-guarded plate. Loose as issued in printed portfolio with tie-strings. The portfolio lightly discoloured and neatly repaired with new inner protective flaps, contents very fine. No. 91 of an edition limited to 100 copies. (Les maitres de Cubisme). Rare album of paintings by Juan Gris from 1916-1920 with introduction by Raynal.

(Kristiania 1918). 16x13. II (blank leaf) + 4+9+16 pp. + 5 leaves with 10 reproductions (8 full-page). Pictorial wrappers. The artist's own account of the genesis and development of his suite of paintings The Frieze of Life, published in conjunction with a new exhibition of the suite at the Blomqvist art dealer's gallery in Oslo. Although some of the paintings had been exhibited in Berlin in 1893 and in Stockholm in 1894, the first show of the Frieze of Life as a suite of 22 paintings occurred at the 1902 Secession exhibition in Berlin. Since then some of the paintings, including The Scream, had been sold and replaced with new versions, and the artist writes in the present publication that he has been working on the Frieze, including lengthy interludes, for approximately 30 years. Munch refutes some critics' attempts to demonstrate that the Frieze was influenced by German thinking and by his association with Strindberg; rather the atmospheric content of the various panels of the Frieze stem directly from the upheavals of the 80s and constitute a reaction to the prevailing realism of the time. In addition to Munch's two texts, he has included four reviews of his work, from 1895, 1897, and 1902.

Berlin, Baumgärtel, (ca 1902-14 ). 35x25. 4;+4;+8;+4;+4;+4 pp. + a total of 252 photogravure plates. Loose as issued, kept in one quarter cloth and five cloth portfolios, in fine condition albeit lacking tie-strings. A comprehensive photographic archive of modern tombstones and other sepulchral art by contemporary German architects and sculptors including i.a. Martin Dülfer, Max Klinger, Bernhard Pankok, Fritz Schumacher, Gabriel von Seidl, and Paul Wallot. The first volume in this set has the subtitle 'Grabdenkmäler, Stelen, Figuren und Reliefs ausgeführt von hervorragenden Künstlern unserer Zeit' and is designated 1. Sammlung. Berliner Friedhöfe. This is published in printed/pictorial cloth-backed boards, without editor's name but Richard Henker is credited with the design of the front cover. The other volumes are designated Zweite-Sechste Folge (with a different, uniform typographic design), published with Henker as editor and the subtitle 'Eine Sammlung von Meisterwerken erschaffen zum Gedächtnis der Toten von Künstlern unserer Tage' - with the exception of the third Folge which is an exhibition documentation edited by a Dr. von Grolman, entitled 'Das moderne Grabmal auf der Wiesbaden Ausstellung zur Hebung der Friedhofs- und Grabmalskunst 1905'.

München 1930. 23x18. 224 pp. + errata slip. 268 photos (including many full-page) and 35 plans and drawings. Publisher's yellow cloth with red lettering on covers and spine. Very fine apart from small loss from uppermost top of spine. (Bauhausbücher, 12). A pictorial document of the Bauhaus buildings at Dessau, exterior and interior, with text by Gropius. The majority of the photos taken by Lucia Moholy-Nagy; typography by Laszlo Moholy-Nagy.

Tokyo, Galerie Watari, 1980. 30x12. 16 pages including fifteen full-page renderings. Printed white card covers with printed titles in English on front and in Japanese on back.