- Yellowed. Wrappers some very vague foxing.
Zea Ruano, R. Cactos (Estampas orientales). Ibid., idem, 1943, 92p., ills. and orig. wr. des. by C. SIERRA FRANCO.
- Yellowed; first few lvs. lack tiny portion of upper blank corner. Foot of spine sl. dam.
Monteforte Toledo, M. Anaité. Ibid., El Libro de Guatemala, 1948, 320,(4)p., orig. wr. w. anonymous design.
- Yellowed. Foot of spine dam.; backstrip w. sm. waterstain.
- Three tiny portions cut from spine; owner's entry on frontwr.
Ylioppilaslehti. Year 14, no.10. Helsinki, n.publ., 1934, 165-184p., ills., orig. wr. w. anonymous design, 4to.
- Small ruststains from staples and paper ticket on backwr.
- A few words and portraits blotted out in pen and ink. Backstrip and wr. sl. dam. and worn.
= With the Rustaveli Theatre's logo designed by Gamrekeli on frontcover. Cf. Chepyzhov 74.
= "Kinder, es wird wieder fabelhaft (...) Heitere Zwischenfälle, Bauhaus- u. Rettberg-Kapelle, Kostum (nicht historisch), schwarze Larve (...)".
AND 1 similar invitation card by Akademischen Architekten-Verein for the "Sommerfest" 1929, monogrammed "SCH".
= Both rare.
- Fine copy. = Ilk H8; Global Avantgarde Germany 41.
- Trife yellowed. = Global Avantgarde France 3.
- Upper corner cut from first leaf, touching the text on verso. Wrappers sl. yellowed and vaguely foxed.
= Rare programme booklet for the Dutch première of this piece for puppet-theatre.
- Yellowed; one sm. tear.
= Czech interior designer and architect Jan Vaněk founded housing company S.B.S. in 1925.
- A few tiny rubbed spots at extremities.
- Yellowed as usual; corners and spine-ends trifle worn; backwr. w. traces of sm. ticket in upper blank corner. A fine copy.
= Rattemeyer/ Helms no.27b (variant w. "links auf dem Titelblatt in eigenwilliger Satzanordnung Typo-Vermerk, Verlagsname und -ort anders wiedergegeben"; also cf. Rattemeyer/ Helms 30); Schmalenbach p.179; Hoek 749; Schwarz 91; Futurisms in the World p.533ff; Lang p.126ff; Bolliger II, 71: "Neue Wege gehende Gestaltung eines Kinderbuches. Von Schwitters, Steinitz und Van Doesburg mit rein typografischen Mitteln illustriertes Märchen. Sehr reizvoll, besonders für "grosse Kinder" und sehr selten".
- Lower corner frontwr. cut off and restored in facsimile; edges wrappers strengthened on verso.
= Global Avantgarde Turkey 24.
- Owner's entry on title-p.; some underlining in pen and ink; final lvs. sl. dam. in inner margin due to staples.
= Description of modern Turkey.
- Wrappers reattached; spine restored.
= Chepyzhov 37: "This book is by one of the founders of Georgian modernist poetry, Demna Shengelaia. The first realistic Georgian story, "Sanavardo", established the culture of the modernist novel in Georgian prose (...)".
- Small stamp on title-p. Wrapper trifle spotted.
Shtimon, B. Mashiach Ben Yosef. Jerusalem, Mesor, 1927, 16p., orig. wr. w. anonymous design, sm. 8vo.
- Dedication(?) in pen and ink on title-p. Flattened fold in backwr.
- Spine-ends sl. worn/ dam.; wr. trifle creased.
- Without content. Sl. dustsoiled and some (vague) foxing and wear.
= Nobis p.208f; Rössler/ Brodbeck p.172. Originally designed in 1924.
- (Vaguely) waterstained in blank margins, not visible on wr.; yellowed, but fine.
= Global Avantgarde Latvia 18; Fraser L297. Left-leaning periodical published between 1928-1930. "The first two years of Signāls were characterized by plodding content but out-of-the-ordinary covers by different hands (...). Zandersone's color linocut design for the first issue echoed the Czech Devětsil-style in its linocut typography - a commendable start toward introducing a fresh, although short-lived, design concept." (Fraser).
- Sl. yellowed, but fine.
= Global Avantgarde Latvia 19; Fraser L296. Left-leaning periodical published between 1928-1930. "The first two years of Signāls were characterized by plodding content but out-of-the-ordinary covers by different hands, e.g., V. Leimanis (...)" (Fraser).
- First and last leaf sl. foxed; yellowed, but fine.
= Global Avantgarde Latvia 21; cf. Fraser L296-304. Left-leaning periodical published between 1928-1930. "The first two years of Signāls were characterized by plodding content but out-of-the-ordinary covers by different hands (...)" (Fraser).