82 1264 Wijdeveld H Th 
- Dustwr. trifle worn and yellowed (backstrip browned).
Idem. Gedeelten uit mijn voordracht voor de studenten van de Universiteit van Amsterdam 21 Febr: 1973. N.pl., the author, 1973, 7,4,(5) photostat lvs., w. autograph title-p., signed and "Febr. 1973" on last leaf, blank wr., spiral bound A4.
= Last leaf also w. autograph annotation. Produced in a (very) small number of copies. Rare.
AND 5 others by/ on H.Th. Wijdeveld and on Wendingen (1x bookblock loose).
82 1265 Wijdeveld H Th 
- Sm. owner's entry on first free endpaper. Covers partly sl. yellowed; spine pasted over w. Scotch tape.
= Rare.
Doesburg, Th. van. Drie voordrachten over de nieuwe beeldende kunst. Haar ontwikkeling, aesthetisch beginsel en toekomstigen stijl. Amst., Maatschappij voor Goede en Goedkoope Lectuur, 1919, 1st ed., 104p., 39 ills., orig. clothbacked boards by A.C. BERLAGE, sm. 8vo.
- Sl. yellowed as usual; sm. owner's stamp on first free endpaper.
Loghem, J.B. van. Bouwen, Bauen, Bâtir, Building, Holland nieuwe zakelijkheid, neues bauen, vers une architecture réelle, built to live in. Ibid., Kosmos, (1932), 144p., ills., typography, photomontage frontisp. and orig. blindst. cl. by P. SCHUITEMA, sm. 4to.
- Backstrip sl. browned and trifle worn at ends.
82 1266 Wildenstein D 
= One of 80 numb. copies. With a signed autograph dedication by the author.
AND 5 others in 6 vols. on late 19th cent. artists, i.a. I.F. WALTHER and R. METZGER, Vincent van Gogh. L'oeuvre complète - peinture (Cologne, 1990, 2 vols., richly illustrated, orig. gilt cl. w. pict. slipcase, folio) and C. JULHIET (ed.), Nabis 1888-1900 (...) (Paris, 1993, richly illustrated, orig. cl. w. dustwr., large 4to).
82 1267 Witkovsky M S and Fore D ed 
82 1268 Wolff P Ehrhardt P G 
82 1268 Wolff P Ehrhardt P G 
82 1268 Wolff P Ehrhardt P G 
- Cloth sl. foxed; dustwr. trifle rubbed along extremities.
= Interesting publication on "Flox-Zellwolle", which is also shown on the (rare) photomontage dustwr.
82 1269 Wright F L 
- Partly yellowed; waterstain in upper margin (also sl. affecting the letterhead) and a few pinholes in upper left corner. Used, with a typescript letter signed by W.E. Martin to "Ianelli Studios", on returning a "colored sketch left with you, at once".
= "Brothers William E. and Darwin D. Martin were captains of industry in the early 1900s, but its not entirely disrespectful to say that theyre remembered today not for their "E-Z" line of chemical polishes, but as supporting characters in the grander life story of Americas most celebrated architect, Frank Lloyd Wright. While Wright built the homes of more than a few well-to-do tycoons in the 20th century, his relationship with the Martin family went beyond a one-off contract job. The Martins were early devotees of the Prairie School and vocal believers in the genius of Wright, sending a series of high-profile commissions his way and helping him establish his national reputation. Wright built homes for both brothers (Williams in Oak Park, Illinois, and Darwins in Buffalo, New York), and in 1905, he started work on a new factory building for their E-Z Polish business on Chicagos west side. That building, which is still standing today (albeit in a form the architect wouldnt recognize), was Wrights first and last foray into factory design. It was such an unusual project, in fact, that its connection to Wright was temporarily (or intentionally) forgotten for many years, until a researcher "rediscovered" it in the late 1930s (...)" (https://www.madeinchicagomuseum.com).
82 1270 Wtewael J A Lowenthal A W 
= Aetas Aurea VI.
- Sm. stamp on first free endpaper. = Aetas Aurea VI.
82 1272 Zbinden E Magnuaguagno G and Häsler A A 
= Contains the catalogue raisonné of the graphic work.
AND 2 others on the same.
82 1273 Zilcken Ph Pit A 
- Spine worn (and partly restored); frontwr. reattached. = Rare.
82 1274 Zubeil F 
= Provenance: the collection of Johan Deumens.
82 1275 Zwart P 
= The wooden box and one of the board boxes w. use of the Bruynzeel vignette des. by VILMOS HÚSZAR. Comprising a flat wooden box w. sliding lid w. 3 cut-out circles, for 12 col. pencils (19x10,5x1,3 cm., giltlettered "Bruynzeel"); board box w. 6 ident. unused ("1009 Copiëer Medium") pencils (18,3x5x1,9 cm., w. dec. (incl. Huszar vignette) and lettering "Bruynzeel Pencils" in brown and purple. Lid sl. stained); board box w. 6 ident. unused ("1605 HB") pencils (18,3x5x1,9 cm., w. dec. and lettering "Bruynzeel School-tekenpotloden" in black and olive green. Box trifle soiled). Brentjens p.288; see at large Huygen '83.
82 1276 Zwart P Graadt van Roggen C J ed 
- Lacks vol.7 and 8. All wr. (sl.) yellowed and read out of shape; worn/ rubbed along extremities; some spine-ends (sl.) dam. and wr. loose(ning).
= Of this set 12 vols. were announced, only 10 were published. 1. C.J. GRAADT VAN ROGGEN, Het linnen venster (wr. loose and dam.); 2. L.J. JORDAAN, Dertig jaar film (supplied in 2 copies); 3. H. SCHOLTE, Nederlandsche filmkunst; 4. Th.B.F. HOYER, Russische filmkunst; 5. S. COSTER, Duitsche filmkunst; 6. E. DE ROOS, Fransche filmkunst; 9. C. VAN WESSEM, De komische film (wr. loose and dam.) and 10. L. LICHTVELD, De geluidsfilm (wr. and spine w. sellotape). Broos/ Hefting, Grafische vormgeving p.82; Brentjens p.228f; W.L. & J. Brusse p.46 and 207; Andel p.304; Purvis p.155f.
"Fotomontage was een techniek die Piet Zwart ook toepaste bij het ontwerpen van boekomslagen, waarvan de meest bekende wel die voor de 'filmboekjes' zijn. Bij W.L. & J. Brusse's Uitgeversmaatschappij te Rotterdam verschenen tussen 1931 en 1933 tien deeltjes in de serie "Monografieën over Filmkunst", onder redactie van de jeugdige Mr. C.J. Graadt van Roggen. (...) Piet Zwart maakte zijn omslagen in twee kleuren, rood en blauw, maar verhoogde het effect door vaak ingewikkelde combinaties van fotomontage en dubbeldruk. Een vast terugkerend element is het woord 'film' en de titel van het boekje in een witte strook (...)" (Broos p.72). "Zwart's most important work for the publisher W.L. & J. Brusse of Rotterdam was a ten-part series of monographs on the film arts (...). These rank among his finest work, and bring into focus many of the earlier experiments. Montage and multiple layers of ink are used throughout. (...) The play factor reigns, and all stops are pulled out with every conceivable contrast - size, color, direction, shape, and number, as the images almost reach the realm of film itself" (Purvis p.77f). "Piet Zwart utilises a spectrum of cinematic imagery in his design for a series of ten monographs on new directions in cinema published by W.L. & J. Brusse in Rotterdam between 1931 and 1933. Zwart employed images of film-strips, movie cameras, and projectors, formal devices such as multiple exposures and overprinting, and frames from slapstick comedy to documentary films. He therefore summarized the cinematic and photographic ideas that influenced avant-garde page design during the 1920s and 1930s" (Andel p.299).
82 1277 Zybok O ed 
82 1278 Zyl I van Peters M Zyl I van a o 
82 1279 Bernlef J 
82/1280 Biographies Lot of 19 vols 
= I.a. on Gerrit Achterberg (SIGNED by Wim Hazeu), Boudewijn Büch, Guido Gezelle (SIGNED by Michel van der Plas), Jan Greshoff, Willem Frederik Hermans (SIGNED by Willem Otterspeer), Jan van Nijlen, Geert van Oorschot (SIGNED by Arjen Fortuin), Johan Polak, Annie M.G. Schmidt and Gerard Walschap (SIGNED by Jos Borré).
82 1281 Bloem J C 
82 1281 Bloem J C 
- Backstrip and margins of covers (sl.) yellowed; backstrip partly dam.
= With AUTOGRAPH SIGNED DEDICATION: "Aan Puck [= Irene Vorrink] van Jacques. Warnsveld Aug.'43". Van Dijk 560.
82 1282 Bloem J C 
- Wr. sl. discoloured and lacking sm. part.
= Van Dijk 856. "Voor 'De Vrienden van J.C. Bloem' in den Zomer van 1950 gedrukt in een oplage van 75 exemplaren op de Ando-Pers te 's-Gravenhage onder leiding van F. Tamminga en A.A.M. Stols". SIGNED by the author.
82 1283 Bloem J C 
- Backstrip trifle discol. A (very) fine, nicely bound copy. = One of 20 copies on Japanese paper.