- Trifle yellowed (as usual); otherwise fine. = Raabe 32.3.
= Contains a catalogue raisonné of the graphic art.
Heteren, M. van and Rijdt, R.-J. te. Willem Roelofs 1822-1897. De adem der natuur. Ibid., idem, 2006, 207,(1)p., num. (col.) ills., orig. boards w. dustwr., 4to. Laanstra, W. Andreas Schelfhout 1787-1870. Amst., Rokin Art Press, 1995, 1st ed., 227p., num. (col.) ills., orig. boards w. dustwr., 4to. - AND 4 others, incl. B. VAN EYSSELSTEIJN, Oswald d'Aumerie (Amst., 1953, ills., orig. clothbacked boards. Frontwr. of dustwr. pres.).
- Some tears (affecting image); upper right corner torn off, affecting border.
AND 2 duplicate issues of DE TIJD. No.16882 (w. lithogr. frontwr. by Anton JOLING, folio).
- Dedication on htitle. Fine copy.
Haesaerts, P. Sint-Martens-Latem. Gezegend oord van de Vlaamse kunst. Brussels, Arcade, 1974, 6th ed., 539,(4)p., num. (full-p.) (tipped-in) (col.) ills., orig. cl. w. dustwr., slipcase, 4to. - AND 1 other.
- Spine split. Frontwr. small portion of upper and lower right corner lacking; right margin sunned and some worn spots. Frontwr. left margin sunned an w. small tear; some wrinkling.
= Very rare. E. Brinkman, De Branding 1917-1926, p.44ff: "Of de catalogus klaar was bij de opening van de Amsterdamse tentoonstelling is onduidelijk. Ladage klaagde over tijdnood in zijn brief aan Van Kuik en had bovendien onenigheid met Bieling gekregen: 'Ben niet meer in Amsterdam geweest. Zou volgens afspraak er met de Kerstdagen zijn, doch Bieling kon het, met behulp van zijn vrouw en een paar neefjes, alléén af' (...)". Very rare exhibition catalogue for the tenth anniversary of the art collective "De Branding", with remarkable typography by Herman Bieling. The exhibition was first held in the Stedelijk Museum in Amsterdam. Contains illustrations by Kurt Schwitters, Herman Bieling, Gerlwh (= Ger Ladage), Otto Gleichmann, V. Huszar, Rober and T. van Doesburg. SEE ILLUSTRATION PLATE IV.
AND the (dam.) wr. only of De Branding. Catalogus (Rott., 1922). - AND WITH: E. BRINKMAN, De Branding 1917-1926 (Rott., 1991, ills., orig. cl. w. (sl. dam.) dustwr., 4to).
- La Mandoline sl. yellowed and foxed spot in left blank margin. Offsetting from plates. Chemise sl. browned/ foxed; slipcase sl. dam. and browned.
= Rauch 104. SEE ILLUSTRATION PLATE III.
- Owner's entry on halftitle. Occas. highlighted sections and annots. Bottom of slipcase sl. scuffed.
Potter, F. de (ed.). Savery. Een kunstenaarsfamilie uit Kortrijk. Kortrijk, K.G.O.K.K., 2012, 199p., num. (col.) ills., orig. pict. boards.
= Koninklijke Geschied- en Oudheidkundige Kring van Kortrijk; Handelingen nieuwe reeks LXXVII.
= With AUTOGRAPH SIGNED DEDICATION by the artist on title-p.
Trojanová, E. (ed.). Albín Brunovský. Theatrum Mundi. Ibid., Slovenská Narodná Galerie, 1996, 96p., (col.) ills., orig. wr. w. dustwr., narrow 4to.
= With AUTOGRAPH SIGNED DEDICATION by the artist on htitle.
AND 4 others on the same.
- All fine.
= Comprises: (1), JACQUES LIPCHITZ, Early Stone Carvings and Recent Bronzes (March 23-April 17, 1948); (2). PAUL KLEE (April 20-May 15, 1948); (3). GERHARD MARCKS (October 16-November 10, 1951); (4). LYONEL FEININGER (March 18-April 12, 1952/ "This exhibition has been arranged in celebration of the artist's eightieth birthday which took place on July 17, 1951"); (5). DRAWINGS BY CONTEMPORARY PAINTERS AND SCULPTORS (December 16-January 10, 1953); (6). GRAHAM SUTHERLAND (March 10-28, 1953).
"German Jewish art dealer Curt Valentins promising career in the Berlin art trade was cut short during the Nazi regime, but after emigrating to New York he maintained the business relationships he had established in Europe from the early 1920s on. Henceforth he became an important conduit of European modernism in postwar New York, and helped build some of the most significant collections of modern art in the U.S. (...) [Valentin] opened the Buchholz Gallery in September 1937 (...). From 1951 to 1955 it operated under the name Curt Valentin Gallery, still specializing in modern French and German art. In New York Valentin was a key figure in the dispersal of so-called "degenerate" art (that is, banished modern artworks that were legally removed by the elected government from German state-owned museums in 1937 and sent abroad for sale). (...) Many such works were sold between 1937 and 1941 through Valentins midtown Buchholz Gallery. (...) In the 1940s Valentin mounted solo exhibitions for such artists as Max Beckmann, Lyonel Feininger, Juan Gris, Paul Klee, Jacques Lipchitz, Franz Marc, and Pablo Picasso; and in the 1950s he added the work of Jean Arp, Alexander Calder, Mary Callery, Marc Chagall, Lovis Corinth, Wilhelm Lehmbruck, Marino Marini, and Henry Moore to his roster." (www.metmuseum.org).
- Lacks dustwrapper. = One of 50 numb. and signed copies but without the watercolour.
AND 5 others on i.a. G. VAN DE WOESTYNE, L. BOSSCHKE, L. BUISSERET, F. VAN DEN BERGHE.
= Exhib. cat. Galeries nationales du Grand Palais, Tate Gallery and Philadelphia Museum of Art.
József Rippl-Rónai. Le Nabi hongrois. Paris, Somogy Éditions d'Art, 1999, 263,(1)p., num. (col.) ills., orig. wr., 4to.
= Exhib. cat. Musée départemental Maurice Denis a.o.
AND 3 others, incl. 2 on E. MANET.
- All (near) fine.