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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.

Paris & Brussels, Van Oest, 1927-28. 42x32. IV+40; + IV+41-52; + IV+53-68; + IV+69-84; + IV+85-112 pp + altogether 200 plates with heliogravure reproductions. Title leaves printed in black and red. Loose as issued in five printed covers; kept in a handsome sturdy red cloth box with elegant title lettering. An excellent set apart from some ruptures in the paper cover folds. Bibliographia Sirén 284 / 294. A rare, complete set of the English-language edition of this extensive, beautifully produced collection of large-format reproductions of Chinese paintings selected by Sirén from American collections, with his own text describing and commenting on the works.

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.

(Paris), Internationale Situationniste / printed in Copenhagen by Permild & Rosengreen, 1959. 28x21. 64 pp. Original sandpaper covers, a fine copy kept in a protective black cloth / brown board box with printed front title "MÉMOIRS" copied from the book. In accordance with a statement on the title page, Mémoires is produced according to the practice of 'détournement' established by the Lettrist International founded by Debord and adopted by the Situationists. The book is a collage of cut-ups of text and images printed mostly in black and adorned with Jorn's 'portable structures' - vivid colour shapes reminiscent of Jackson Pollock paint drippings. In 2009, the French government stepped in to prevent Yale University from acquiring Debord's personal archives, continuing almost everything he produced from the 1950s as well as his library, typewriter and spectacles. Andrew Gallix commented in an article in The Guardian, that Debord would be spinning in his grave - had he not been cremated following his suicide in 1994 - at the idea of being officially recognized as a national treasure: "In 1959, Debord and the artist Asger Jorn published Mémoires, which was bound in sandpaper so that it would attack any book placed next to it. For years, this lethal dust jacket served as a perfect symbol of Debord's abrasiveness: he was the ultimate outsider whose ideas could never be assimilated by the mainstream."

Paris, Albert Lévy, (1922). 41x31. XVI+28 pp. + 100 excellent fine-paper photogravure plates, with 115 photographs, including five coloured. 20 plans and sections and 32 photos in the text. Loose as issued in a printed cloth-backed portfolio with tie-strings. A splendid copy of this rare work, with just a couple of plates affected by weak unobtrusive foxing in uppermost margin. (Ouvrage publié sous les auspices de la Résidence Générale de France au Maroc). An important and attractive collection of photographs of madrasas, mosques, mausoleums and other Moorish edifices mainly in Marrakech, Rabat, Salé, Meknes, and Fés. The introduction and the historical-descriptive text to the plates are written by the Orientalist painter Joseph de La Nézière, who travelled extensively in North Africa. He was the official artist for the French Colonial Office, and may well be the photographer behind many of the plates.

Vienna 1908. 65x45. VIII+160 pp. + 33 plates, in colour or with coloured tipped-in overlays over the larger monochrome plate. 393 illustrations in the text (mostly photos) including 16 tipped-in colour plates. This copy lacks four of the 33 plates: nos. 4, 19, 20, and 30. Fine half brown leather. Edition limited to a total of 300 copies. Enay/Azadi 385a. A fine copy - apart from the unfortunate lacking of four plates - of this rare, important and magnificently produced work.

Paris 1960. 35x27. 34 pp. introductory text by Gaston Bachelard + 96 pp. with full-page reproductions + 24 original colour lithographs by Chagall. Publisher's pictorial boards (original lithograph by Chagall). An excellent copy. (Verve, Vol. X: Nos. 37-38). The Bible illustrations were commissioned by Ambroise Vollard in 1931. Although Vollard died eight years later Chagall continued to work obsessively with the Bible series till 1956, melding symbolic motifs and iconographies from the traditions of Jewish Hasidism, eastern Orthodoxy and western Christianity, as well as incorporating elements from his Russian cultural roots, The outcome was published by Verve as Bible (1956) and Dessins pour la Bible (1960).

Romae, Fausto Amideo, 1750. 39x25. Two title leaves + 100 engraved plates. Bound in one volume, contemporary half calf, the boards rubbed especially towards extremities, with some loss of the marbled paper. The free endpapers slightly stained, and the front one slightly torn. Small repaired tear in bottom margin of the first title leaf. Very fine, clean plates, with occasional light foxing in margins not affecting the engravings, which are all in good vigorous imprints. Second issue of the 18th century's finest published collection of secular and eccesiastical designs for silversmiths and goldsmiths, printed from the original copper plates used for the first edition issued in Prague in 1714. Giovanni Giardini (1646-1721) was a draughtsman, silversmith, gem-carver and bronze caster in Rome. After an apprenticeship to the silversmith Marco Gamberucci, he became qualified as a master silversmith and rapidly achieved a position of prestige in the silversmiths' guild. In 1698, he was named bronze-founder for the Papacy, completing important commissions, objects which are today in St. Peter's in Rome as well as in the Victoria and Albert Museum in London and the Kunsthistorische Museum in Vienna. Only a few of his works in silver have survived, most of them church furnishings that escaped the depredations of the Napoleonic army. These show a strong sense of form and a technical mastery that earned him important commissions from the Papal court. When the body of Queen Christina of Sweden was exhumed in 1965 in St Peter's, a set of pieces by Giardini was found: the Queen's silver sceptre, crown and funerary mask of 1689. Giardini's reputation, however, is based on his pattern-book designs for sacred and secular objects published in Prague in 1714 as 'Disegni diversi' and reprinted in Rome in 1750 with the title 'Promptuarium artis argentariae'. The objects are divided into different types, with varied and original decorative designs. They reflect the influence of late Baroque sculpture and architecture, especially the work of Bernini and Francesco Borromini, from which they derive their long curving lines and their repertory of naturalistic ornament. Although many of Giardini's patterns represent pure caprices that would be difficult to execute in precious metal, they were an important source of inspiration for Roman artistic silver production throughout the eighteenth century, and they continued to be influential into the nineteenth.

Venetia, Camillo Borgominiero, 1584. 35x25. 3 leaves (title, dedication, table of chapters) + 137 leaves (numbered 1-96, 95-136). Leaf 34 erroneously numbered "32". More than 200 woodcut illustrations (including 50 more or less full-page, or double-page) and ca 110 ornamental intials and vignettes. An attractive copy in a contemporary full vellum binding; the boards with old, neat repairs (loss of vellum from edges of the boards replaced with newer vellum). An illustrated treatise on military fortification and the ideal fortified city, authored mainly by the military architect Giacomo Fusto Castriotto from Urbino, but edited, annotated and posthumously published (originally in 1564) by Castriotto's friend Giralomo Maggi (also known as Hieronymus Magius), a poet, scholar, urban planner, military engineer, and naturalist, who studied in Bologna under the Renaissance humanist Francesco Robortello. Several passages are devoted to a kind of "insidious fortification", that is, protecting the urban population through a complex street plan with indirect streets and narrow walkways, leading invaders astray from where they actually wanted to go.

Berlin, Wasmuth, (ca 1880). 48x32. 4 pp. (title leaf and list of plates) in each volume; + 45 + 40 + 42 + 42 + 42 + 42 + 42 "plates" i.e. heavy blue-gray card boards with mounted original collotypes of photographs showing elevations, sections and plans; thus a total of 295 plates, each with one collotype except 44 plates which have two, usually elevation and plan. The plates of vols. 2, 3, and 5 have printed numbers and captions; plates of vols, 1, 6 and 7 have printed numbers only (with the exception of eight plates in vol. 1 which have captions also); the plates in volume 4 have no numbers or captions and are identified on the list of plates only. Excellent set kept in seven contemporary uniform cloth-backed portfolios with tie-strings and gilt-lettered spines. A marvellous set of collotype prints from photographs of architectural competition designs for the Prix de Rome, the winners of which were awarded a bursary that allowed them stay in Rome for three to five years at the expense of the state. Pierre Lampué was a prominent member of the French Society of Photography, and the official photographer of the École de Beaux Arts in Paris. The highly sofisticated collotype prints were obviously produced in strictly limited editions, and collections of this scope are of the utmost rarity. A beautiful and valuable pictorial archive of French Beaux-Arts architecture.

Leiden, Sijthoff, (1914). 40x30. 58; + 42 pp. text and 13 photo plates (9 tipped-in) + a total of 153 heavy cardboard leaves with ca 280 tipped-in colour plates (high-quality renderings of painted photographs) + 152 leaves with text to the plates. Original full leather with gilt decoration and lettering, top edges gilt. Minor external wear, otherwise a fine set, from the library of Charles Harold St John Hornby, Chantmarle, Dorset, with his bookplates. Edition limited to 200 copies. The rare and exquisitely illustrated documentation of the most extensive and important collection of Italian majolica that existed at this time.

La Haye, Pierre Gosse, 1726. Folio. 43x27. Four parts in two volumes: VIII+166 pp. + engraved frontispiece + engraved portrait + 92 engraved plates numbered 8-30, 35-36, 38-43 (engravings no. 1-7, 31-34 and 37 appear on text pages), and 1-61; II+48+40+20 pp. + 4 pp. Table des Matières + 112 engraved plates numbered 1-22 and 1-104 (fourteen of these plates are folding double plates, three of them bear triple numbers, and six of them bear double numbers, as do two of the single plates). Contemporary half calf, spines and extremities slightly worn with minor incipient cracking of one joint and small loss of leather from top of one spine. Lacks the engraved frontispiece and the Palladio portrait. This copy is inscribed by Sven Scholander and stems from the library of his father Fredrik Wilhelm Scholander (1816-1881) who held the positions of Architect to the Royal Palace, acting Superintendent, and Professor of Architecture at the Royal Swedish Academy of Arts. The Venetian architect Giacomo (James, Jacques) Leoni was a prominent exponent of the Palladian revival in architecture in England. 1715-20 he published the first complete English edition of Palladio's work provided with his own engraved illustrations interpreting those of Palladio, and trilingual text in Italian, English and French. The present edition was published in Hague with the French text only, and without the notes by Inigo Jones announced on the title page. Berlin cat. 2599-

Shanghai, Watson, 1920. 38x29. VIII+42+IV pp. + 66 leaves, each with one tipped-in plate. Publisher's blue satin cloth, gilt-lettered and decorated with Chinese ciphers, a very fine copy. Edition limited to 1000 numbered copies of which this is no. 331, printed for H[ugo] v. Heidenstam. The Swedish engineer and diplomat Hugo von Heidenstam served as chief engineer at the Chinese International Commission for Shanghai River and Port 1910-1928, and as a member of the Chinese Government's Committee on the Regulation of Yangtsekiang 1917-1928. Most likely of Scottish origin, Donald Mennie arrived in China in 1899 and worked initially for the firm Mactavish & Lehman & Co., one of the first Shanghaiese producers of picture post-cards, before moving to the likewise Shanghai-based company of A.S. Watson & Co. Mennie became a managing director of the firm and a leading entrepreneur in China in the 1920s and 30s, but he also had a passion for photography, and used his position in Watson's to get his photographs published.

Monte-Carlo, Sauret, 1960-86. 33x25. 222; II+210; 182; II+184; 252; 226 pp. With 28 original lithographs by Chagall, 21 in colour including the jackets of volumes 1-4. Publisher's printed cloth, dust jackets with protective mylar jackets; an excellent set. A beautiful, complete set of the fully illustrated Catalogue Raisonné of Marc Chagall's lithographs from the earliest works of 1922/23 to 1985.