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Stockholm 1997. 30x24. 184; + 128 pp. Ca 550 reproductions of sketches & drawings and photos, 250 in colour. Publisher's attractive pictorial boards, kept in a quarter cloth slipcase. Excellent pictorial documentation of Lewerentz's works, with an essay by Wilfried Wang. 1: Photographs of the work. 2: Drawings.

Berlin 1905-22. 35x25. A total of XXXVI pp. + 6484 pages with 12768 columns (including 902 pages with Statistiche Nachweisungen) + 794 pp. Drawings, plans and photos throughout the text. Together with: ATLAS ZUR ZEITSCHRIFT FÜR BAUWESEN. Vols. 61, 1911 - 70, 1920. A total of 40 pp. + 528 plates (51 folding) with ca 320 heliogravure photos, 650 elevations, sections and building plans, 215 drawings of doors, portals, windows and building details, and 1500 site plans, maps, construction drawings, diagrams, etc. Uniformly bound in 27 brown cloth volumes. One text leaf (columns 405-8) missing in volume 67, one leaf in the same volume torn in lower corner with some loss of text. Stamps and labels of Stockholm Town Building / Harbour Office. Leather title labels on spines worn, otherwise a very good set.

Paris 1960. 56x38. 4 pp. printed on newsprint paper. Illustrated with three photos, two drawings, and a graphic rendering entitled L'Espace, lui-même. Folded once across, as it was distributed. A well-preserved copy of this rare publication. The famous faux newspaper produced by Yves Klein in conjunction with the Festival d'Art d'Avant-garde in Paris. On November 27, 1960, the image of Yves Klein's leap into the void appeared on the front page of 'Dimanche - Le journal d'un seul jour'. It was sold at newsstands around the city (and often appeared side by side with the real French newspaper 'Le journal du Dimanche') as well as being handed out at a press conference held by Klein at the Galerie Rive Droite at 11.00 am on the same day. 'Dimanche' consists of texts and illustrations by Klein, including his pioneering manifesto Theatre du Vide (Theatre of the Void) prefiguring a number of scores of a kind that would later come to be known as happenings, but it is arguably most famous for the photo montage on the front page, captioned 'Un homme dans l'espace! Le peintre de l'espace se jette dans le vide!', showing the artist leaping from his art dealer's second-story window into the void.

Düsseldorf, Schwann, 1888-1913. 28x20. An average of ca 200 pages, plus a total of 288 plates (including 22 folding and six coloured), in vols. 1-14 supplied with guard-tissues. Numerous illustrations throughout the text. Uniformly bound in publisher's half black leather, spines with gilt lettering and ornamentation. Lacks two plates (14:3, 15:1/2), otherwise complete. Volume 10 includes a 50-page General Index to the ten first volumes. An attractive set, with the library stamps of the renowned Swedish art scholar Johnny Roosval, arguably best known for his studies of mediaeval ecclesiastical art and architecture.

Berlin 1825(-29). 39x29. 6 pp. + 24 engraved plates with ca 100 elevations, plans, perspectives, and other drawings. Contemporary half cloth with printed title label on front cover: Neues Ideen-Magazin zur Verschönerung der Gärten. Extremities slightly rubbed and the yellow covers slightly stained, text leaves foxed and some minor foxing in margins of plates not affecting the engravings. Rare, attractive publication with designs for grandiose garden buildings and pavilions as well as bridges, fountains, pergolas, pleasure-boats, furniture, etc. Berlin cat. 3384.

Parmae, Ex Regio Topographeo, 1786. 31x22. VIII+136 pp. + engraved frontispiece. A very nice copy, untrimmed in contemporary half maroon calf, spine with gilt borders and title; exterior lightly worn and inner hinges slightly weakened, contents in excellent condition. An attractive Bodini imprint of the 'Characters' of Aristotle's pupil Theophrastus edited by Amaduzzi; beautifully printed by Iohanni Bapt. Bodonio Typographo Caroli III Hisp. Regis, et Praesidi Typogr. Regiae Parmensis.

London ... Oxford University Press, 1940. 39x30. XVI+280 pp. + 57 plates: 48 plates with reproductions of paintings, ten folding, five coloured (including two folding); 5 plates with reproductions of calligraphy; and 3 plates with 115 photos of seals. Publisher's green cloth with gilt chinese characters on cover. A fine copy with some light wear to extremities of the binding. Very scarce. A sumptuously produced study and catalogue of Ada Small Moore's remarkable collection of Chinese paintings, prepared by the renowned scholar who most likely had served as Mrs. Moore's curator of Chinese art. Includes biographical notes, translations and index of the Seals, bibliography, index of names in Chinese characters, and indices of proper names and miscellaneous subjects.

Hannover, Apossverlag, 1925. 24x15. 32 pp. 20 perspective renderings, and 11 plans etc. Pictorial wrappers. This rare, pioneering book on modern city architecture by the former member of the Arbeitsrat für Kunst and the Novembergruppe, was the only publication on architecture to emanate from Kurt Schwitters' Apossverlag. Schwitters issued it again in 1926, then designating it no. 18/19 of Merz (in at least two versions, one with the Merz statement printed on the cover, and one with Merz stickers pasted on). The present issue is the first edition, prior to the Merz publication.

Leningrad 1931. 30x21. 102 pp. + 46 plates with 144 perspective renderings (6 full-page in colour). 134 designs in the text. Publisher's printed boards; some rubbing, chipping and repairs; interior very fine. Senkevich 207. Second edition of Chernikhov's first major work, the 'Fundamentals of Contemporary Architecture' first published in 1929. Chernikhov's message is based upon a profound, singular rethinking of central architectural concepts. The 'rythms of repetition' characterizing classical architecture must be replaced in 20th-century architecture by a 'rythm of relationships'. In its fullest implications, this would be the vital factor of the architectural revolution. In its publication, 'Fundamentals' was extremely timely, appearing as it did when investigations toward a new style had essentially only just begun /.../ It served not only as a declaration about the proper path; it was also a textbook for achieving it (Cooke 1983: p. 69). Senkevitch 207.

(Stuttgart, Hoffmann) but impressum cancelled with labels reading Berlin, Kanter & Mohr 1902-05. 37x30. IV + VIII; +VI+98; VI+142 pp. + 96 plates in each volume, i.e. a total of 384 plates. In the text of vols. 3 and 4 there are ca 230 photos, 135 plans, and 130 elevations, perspectives etc. Loose as issued in printed half cloth portfolios. A very fine set although volume 1 lacks plates no. 22 and 79. The first four volumes of these beautiful collections of plates with renderings, most of them coloured, of modern architecture and interiors. The first two volumes contained plates only and were published with subtitle Eine Sammlung von Details, Interieurs und Façaden für Architekten und Bauhandwerker, in the following volumes the plates are preceded by extensive illustrated text. Among the architects featured on the colour plates are Charles Robert Ashbee, Leopold Bauer, René Beauclair, Hermann Billing, Guy Dawber, Wunibald Deininger, Maurice Dufrène, Martin Dülfer, Albert Eitel, Gesellius-Lindgren-Saarinen, Alfred Grenander, Emil Hoppe, Friedrich Wilhelm Jochem, Marcel Kammerer, Wilhelm Kreis, Alphonse Laverrière, Bruno Möhring, Eliel Saarinen, Henri Sauvage & Charles Sarrazin, Jan Stuyt, Bruno Taut, C.F.A. Voysey, George Walton, and Edgar Wood. The text includes articles on Voysey, A.N. Prentice, Grenander, Jan Stuyt, Fritz Schumacher, and the Gartenbau-Austellung in Darmstadt 1905, the highlight of wich was the Colour Gardens with pavilions designed by Joseph Olbrich.

Paris, Bernheim-Jeune, 1968. 27x22. 500 pp. + 22 tipped-in colour plates. 602 black and white reproductions, plus six photos of signatures. Publisher's cloth, dust jacket, a fine copy. Edition limited to 1000 copies.

Wien: Schroll & Lepizig: Hiersemann 1926-28. 59x45. 24; + 44 pp. + a total of 120 collotype plates (67 in colour, and seven folding), each with one leaf with descriptive text (or caption on 23 plates that show parts and details of carpets only). On sixteen text leaves there is a drawing facing the plate. Publisher's gilt-lettered cloth, top edges slightly darkened. Enay / Azadi 517. A fine set of this magnificent imperial folio publication produced by two highly regarded authorities of Islamic art. The first volume, unique in the quality of its of reproductions, contains only carpets in the world-renowned collection of the Österreichisches Museum in Vienna, while volume II is dedicated to important carpets in the rest of the world including prominent private collections.

Leipzig, Baumgärtner, 1836-(1843). 26x22. 172 engraved plates (3 of which are folding) with ca 1000 measured drawings. Half cloth (extremities of marbled boards rubbed), printed front wrapper of first fascicle bound in. A rare, comprehensive collection of meticulous furniture designs, covering many varieties of pieces, largely in Neoclassicist styles. The collection first appeared in 29 fascicles (the German Catalogue of Books announced a fascicle number 30 to contain 6 plates - not present in this set nor in the copy listed in the Ornamentstichsammlung Berlin).

Paris, Ducher 1878 & Daly (1883?). 45x32. VI+20; + II+21-46 pp. + 160 fine chromolithograph plates. 189 small-size line drawings in the text. Loose as issued in two gilt-lettered red cloth portfolios, lacking the tie-strings. (Constructions en Briques), An extraordinary work on brick architecture and a beautiful collection of chromolithographs. The colour renderings on the plates include ca 300 elaborate decorative brick patterns, 140 examples of their application around windows, in chimneys etc., and ca 120 elevations and perspectives of buildings, gathered mainly in the second volume subtitled Application pratiques. Hôtels privés, maisons de campagne, villas, dépendances, etc. - mainly large villas and houses in Paris, all identified, and accompanied by some 70 plans and sections.

Leningrad 1931. 30x21. 234 pp. + 40 plates. 365 designs besides the plates. Parallell titles in French and German. Publisher's printed green boards, wear to covers and spine with some repairs and retouchings, interior very fine. Senkevich 206. 'The Construction of Architectural and Machine Forms' was Chernikov's teoretically most powerful book. He saw the Machine as the embodiment of constructive principles in their purest form, and therefore accorded a central role in modern architecture. He also formulated the fundamental laws of such an approach, illustrated with numerous imaginative designs. But far from idolising the machine, Chernikhov regarded the constructive principle as a natural phenomenon inherent to the organisation of life in all its diverse forms. Unlike many architects, who had vulgarised the art of architecture in their passion for machinery, his way of glorifying the machine was a subordination of it to the laws of art, not the other way around (Cooke 1983: p. 69). Senkevitch 206.

Stockholm 1967. 36x29. 208 pp. on newsprint. Ca 400 photos and drawings including 75 full-page. Pictorial wrappers. No. 90 of 150 copies in portfolio with a piece of the painted canvas that covered HON mounted on front and signed by the three artists. Illustrated documentation of the creation, exhibition / public participation, reception, and subsequent destruction of HON (Swedish for SHE) in Stockholm 1966. The multicoloured giant woman (28 metres long) was created by Niki de Saint Phalle; between her legs was the entrance to an environment created by Jean Tinguely and Per Olov Ultvedt. HON was built and finally dismantled by the artists inside the largest exhibition hall at the Stockholm Museum of Modern Art (Moderna Museet). The signed edition of the documentation with samples is the artists' remaining manifestation of this art process (except for the head which was saved and has been displayed at retrospective exhibitions).

Paris, (Mazo &) Maeght, 1972-92. 32x25. 242; 256; 220; 212; 192; 280 pp. With 36 original colour lithographs by Miró (eight double-page folding), including the jackets of volumes 1-4. Publisher's cloth, dust jackets, the lithographed jackets provided with protective mylar jackets; an excellent set. A beautiful, complete set of the fully illustrated Catalogue Raisonné of Joan Miró's lithographs from the earliest works of 1930 to 1981.

Leipzig, Hiersemann, 1908. 66x50. 18 pp. + 25 leaves, each with one tipped-in colour plate, and printed captions. An excellent copy bound in later full cloth. Originally published in four parts, and the printed wrappers of part 4 are bound in. No. 110 of an edition limited to 370 copies. Enay / Azadi 513. A pioneering work on Oriental carpets, with preface by Arthur von Scala and introduction by Wilhelm von Bode, and designated as a supplement to a three-volume work published in Vienna fifteen years earlier. Bode, who had disliked the mixture of classical and later carpets in the Vienna exhibition in 1891, initiated this undertaking apparently with the intention of stressing their separation. In this monument to Safavid carpets, Sarre grouped them according to design features. He drew on a surprisingly large number of reports by European travelers for his observations on carpet weaving centers and the characteristics of their products, his methodological innovations presenting guidelines for future research.