- Occas. sl. foxed/ stained. Upper joint split; covers w. a few scratches/ dam. spots.
Collection of transcripts, late 17th cent., pen and ink on paper, recto and verso, 184[=149] (2x blank) lvs., contemp. hvellum, folio.
- Lacks 35 lvs.
= I.a. copies/ extracts of resolutions by the States of Zeeland, regulations for assigning various offices, the continuation of the charter for the VOC, instructions for various types of civil servants ("Secretarissen", "Advocaet fiscael", "Controlleurs"), the 1433 privilege of Middelburg and the "ordonnantie vande harincktonnen".
- Both vols. final lvs. loose(ning) and mouldstained in upper inner corner. Bindings sl. soiled.
= Ad 1. Army expenses for the years 1595, 1597-1599 and 1603-1605 for Holland, Zeeland, Utrecht, Friesland, Groningen and Ommelanden, Gelderland, Overijssel, Drenthe, Lingen, Buren, Culemborg and Flanders, listing i.a. "Ruijteren", "Voetknechten", "Commissarissen vande Monsteringe", "Capiteijnen geappointeert buijten de Compagnies", "Sergeant Majors", "Chirurgijns", "Wachtmeesters", "Officiers vande Justitie", "Minister ende Doctor", "Artillerije ende Vivres", "Ingenieurs" and "Andere Oncosten vander Oorloge". Ad 2. The same for the years 1609, 1610, 1613, 1617 and 1621 for Holland, Zeeland, Utrecht, Friesland, Groningen and Ommelanden, Gelderland, Overijssel, Drenthe and Brabant, listing i.a. "Canonniers", "Wacht ende Quartiermeesters" and "Tractementen". SEE ILLUSTRATION PLATE LVIII.
- Cut in leaf affecting "h" of "Johan"; partly sl. browned; w. facsimile signature tipped onto mount and later annot. in pen in lower corner mount.
= Rare. SEE ILLUSTRATION PLATE LVIII.
= Important collection of Dutch politicians, i.a. by J.R. THORBECKE (1798-1872), autograph fold. manuscript doctor's degree. Signed by J.R. Thorbecke as "Minister van Binnenlandsche Zaken"; H. COLIJN (1869-1944), autograph signed letter to "Geachte heer Kieft", fold. leaf; W. DREES (1886-1988), autograph signed card, recto only, w. orig. envelope; J.C. TERLOUW (b.1931), autograph signed dedication card, recto only; A. PECHTOLD (b.1965), autograph signed dedication card, recto only; F. BOLKESTEIN (b.1933), signature on a type-script card, recto only; W. KOK (1938-2018), autograph signed type-script letter and signature on an orig. photograph; E. BORST-EILERS (1932-2014), signature on verso of an orig. photograph, recto only; A. MELKERT (b.1956), signature on an orig. photograph; J.P. BALKENENDE (b.1956), signature on an orig. photograph and W.K.N. SCHMELZER (1921-2008), autograph signed dedication on card, recto only.
- Fine.
= Agatha van Poll (1704-1777) was the widow of Jan Trip (1702-1772), the director of the West India Company.
AND 3 others concerning the Trip and the Van de Poll family, with i.a. a letterpress "Contract van Overleeving" for Harmen Hendrick van der Poll and Jacoba Bregetta van der Poll (1768, 8p.) and a letterpress and manuscript proof of attendance at the baptism of "Sara Maria", the daughter of Jacobus van der Poll and Cornelia Jacoba Wolters (1748, 1 leaf, recto only).
- One leaf part of blank margin cut off; a few foxed spots.
= Noordhoorn and Temminck were members of the Amsterdam nobility, they were once portrayed by Cornelis Troost.
AND 1 other: Huwelykszangen voor den Heere Jan van Eik en Jongkvrouwe Leonora de Vogel (Amst., 1729, (56)p., orig. wr., a.e.g., 4to).
- Blank margins sl. yellowed/ parlty waterst. and w. a few repaired sections; a few sm. foxed spots.
= A delicately calligraphed and illuminated leaf.
- Final few lvs. (w. miniatures) wrinkled; occas. sl. smudged; a few lvs. w. small holes.
- Margins frayed, soiled and spotted; sl. affecting the text.
= A delicately calligraphed and illuminated leaf prob. w. verses from Al-Baqarah and Ali 'Imran.
- Occas. lvs. sl. worn/ w. sm. stains. Covers trifle rubbed.
- Mounted under passepartout; w. a few smudged/ soiled spots in textblock (corrections?). SEE ILLUSTRATION PLATE LIX.
= Cf. Harvard Art Museum "1958.183 Verses on the Behavior of Sufis", a similar folio from a manuscript of the Gulistan by Sa'di.
ADDED: 1 other Persian manuscript leaf, 17-18th(?) cent., 11,5x5,5 cm. (text only), calligraphy in pen and black ink, w. gold and col. gouache borders, on recto and verso, w. col. gouache calligraphic ornament in textblock on recto, text surrounded by sprinkled goldleaf (mounted under passepartout, num. tiny wormholes).
- Partly formerly rolled; some lvs. dam./ lacking portions and/ or w. creases and tears (mainly in blank margins, but occas. penetrating the image) and a few lvs. stained.
= A rich archive of miscellaneous drawings, varying from rough sketches to very detailed designs, inlcuding façades, floorplans, cross sections, bird's eye views and artist's impressions, dating from approximately 1913 to 1963 (but mainly undated), thus covering almost the complete career of J.J.P. Oud.
The drawings including i.a. [the numbering and pages referring to the projects as described in E. Taverne/ C. Wagenaar/ M. de Vletter J.J.P. Oud. Poetic Functionalist 1890-1963 - The Complete Works (Rott., 2001)]:
10. "Dwarsdoorsnede woonhuis voor den heer C.L.J. van Lent te Heemstede" (pen and ink, 25x22,5 cm., dated "Leiden 25.11.13").
37. "Ontwerp v/e dubbele arbeiderswoning in gewapend beton", Rott. (pen and ink, 26,5x53,5 cm.).
44. Hoek van Holland Housing Scheme (pen and ink, 15x70,5 cm.).
53. "Graf voor mevrouw N.T. Oud-Janszen", Driehuis (pen and ink, signed "Oud", 41x62 cm.).
56. Hotel Stiassni (pencil, 21x23 cm.); "Entwurf für ein Stadthotel in Brünn" (2 floorplans, pen and ink, each 27x42,5 cm., dated "Febr. 1926".).
87. Grebbeberg National Army Memorial, Rhenen (sketches, pencil and pen and blue ink, 34x39 cm.).
90. "Poldertoren Emmeloord, Motto E"/ "Poldertoren Emmeloord, Motto E (variant)"/ (untitled) (3 drawings, pencil, ±92x119 cm. and (the untitled drawing) 41,5x17 cm.; cf. p.465).
95. "Portierswoning Hoge Veluwe", Otterlo (pencil and pen and ink, 50x92 cm., dated "Dec/ '57"); and 2 untitled sketches in blue pen and ink and col. crayon (dated "18/11 '57" and "19/11 '57", each ±21x30 cm.).
96. Design for Plate House (3 drawings: pen and ink, 29,5x42 cm. and pencil, 13x28 and 27x27 cm.).
105. Almelo Town Hall (sketch, pencil and col. crayon, 24x37 cm.).
106. Bio Convalescent Centre for Children, Arnhem (4 artist's impressions, pen and black ink w. grey wash, mainly ±55x75 cm.: Main building (cf. p.510), Sports buidling (id.), Children's pavilion (cf. p.511) and Boiler house with caretaker's dwelling (cf. p.512)).
111. Netherlands Congresscentre, i.a. 2 diff. stylized bird's eye views (pen and ink, 59x77 cm., titled "Vogelvlucht Congresgebouw 's Gravenhage") and 34,5x30 cm. (pen and ink, untitled; cf. p.548).
(unrec.). (Designs for a chair) (2 drawings, pencil, 24x38 cm. and 38x28 cm., resp. dated "12-2-47" and "13-2-47". Cf. cat. The Original Drawings of J.J.P. Oud 1890-1963 (London, n.d.), p.17).
Beside more drawings for the projects above, the collection also includes (multiple) drawings for i.a. [21] Housing Leiderdorp; [57] Rotterdam Exchange; [82] Hofplein Project, Rott. (i.a. "Schets Café aan viaduct"); [83] Spaarbank, Rott.; [84] Olveh, Rott.; [85] Meddens & Zoon, Rott.; [86] Monument for De Nederlanden van 1845; [91] Vredenburg, Utr.; [97] Nederlandse Hoogovens, IJmuiden; [?] "Verenigingsgebouw van de Hersteld Apostolische Zendingsgemeente te Rotterdam". SEE ILLUSTRATION PLATE LIX.
AND ±30 diazotypes etc. (incl. 3 blueprints) after the same.
= I.a. of [30] "Vakantiehuis in Noordwijkerhout", [49] Project for the Kallenbach House and [81] Head Office of the Bataafsche Import Maatschappij (Shell).
- Creased and w. sm. tears in left and right margins.
= "(...) Your letter of February 7th. was a great pleasure to me. You know how much I admire you and your work and to take from your letter that my work also has some value to you is a satisfaction to me I highly appraise. (...)".
= [Theo van Doesburg/ Hoofdredacteur: De Stijl] "recommende le plus vivement son ami l'architecte cubiste J.J.P. Oud, collaborateur du "De Stijl", artiste de grand intérèt. Leyde-Hollande". Not traced in Hoek. SEE ILLUSTRATION PLATE LX.
= SEE ILLUSTRATION PLATE LIX.
= Answering a request by Oud to write a memorial article about Theo van Doesburg and i.a. complaining about the lack of work. "(...) für die aufgabe, die sie mir zudenken, einen artikel über doesburg zu schreiben, fühle ich mich nicht geeignet. (...) ich müsste erst eingehend wieder mit doesberg's [sic] werk befassen, um etwas zu schreiben, was hand und fuss hat. hierfür fehlt mir aber in den kommenden wochen die zeit, da am 9.mai die bauausstellung eröffnet wird und ich umfangreiche arbeiten hierfür auf mein risiko übernommen habe. (...) hier sieht es trostlos mit den bauaufgaben aus. ich habe nun seit 1½ jahren nichts zu tun und anderen geht es nicht besser (...)". SEE ILLUSTRATION PLATE LX.
= Very intimate and interesting letters, i.a. extensively on colleague architects, on the Bauhaus, on the archtecture in Frankfurt, Switzerland and Czechoslovakia, on the conflictual views on architecture, on the (pictures of) projects that Oud sent to Johnson for a publication/ exhibition, on a possible teaching position in America, on American architects and architecture, on buying a car abroad, on books Oud wishes to be sent to him etc.
"(...) Incidentally it is most interesting to see how the different architects with whom you are acquainted react to the mention of your name. Your dear friend Mendelsohn for instance, admitted to knowing you but was most unenthusiastic. (...). [Mies van der Rohe] speaks of you with such enthusiasm as one of his most honored acquaintances. And Mies is vey seldom enthusiastic about other architects. In fact you and Corbusier are the only ones that receive praise from him. (...) Especially Mies hates this Zweckmassigkeit carried to extreme as it was in the Bauhaus before he came. He says Zweckmässigkeit is more subjective than rein Ästhetik. He has closed the Bauhaus for a month because the students were so politically minded after the regime of Hannes Meyer that they thought they could continue to run the school along their programmatic lines. Mies says he has no interest whatsoever in politics or programs but only in beautiful buildings, so he closed the school. (...) The Czechs lack discipline and direction. They have taken over modern architecture as a national thing, and have really no idea of architecture at all not to mention modern (,,,)" [17/09/(1930)]. "(...) It is very interesting that you and Miës van der Rohe should be the European architects to have received the most acclaim in our Exhibion. (...) I invariably recommend you to any interested people as I am sure that Mies would not fit in with our American way of doing things. Le Corbusier is rather disliked as he is considered too outré, and people instinctively dislike houses on stilts. (...) The Americans, as you can see by the catalogue, show up very badly. Frank Lloyd Wright was included only from courtesy and in recognition of his past contributions; Raymond Hood because some day he may be attracted into the fold by his opportunism; the Bowman Brothers because they are primarily steel engineers and might some day ardize a half-way decent steel hous; Neutra and Howe & Lescaze because they are the only successful modern architects in America (...)" [16/04/1932]. "(...) Mies has been in town for a week and we have had long discussions about Berlage and you and modern architecture. He has put up two more buildings since the one you saw illustrated in Built in USA which are still more "negative" than that one, if negative is the right word. Most architects and critics think that his slogan of "beinahe nichts" has now gone so far that there is really nichts. I don't know. I very much enjoy the rationale of it all, the lack of indeterminate dimensions and shapes, the clean, brushed-hair effecf of the cornice, the symmetry of the facade. (...) The detailing of the steel with the brick is clean and pleasing. History will tell us and tell us no doubt very soon (...)" [27/04/1946].
- Ruststain in upper left corner from paperclip.
= Intimate letter in which Kiesler i.a. extensively writes about his experiences in the US, to which he moved in 1926. "(...) You must understand that there has not been a chance of doing anything in contemporary architecture , because everything here is twenty five years behind our advanced groups in Europe. (...) Philip Johnson (...) told me (...) that he wanted to bring you over to this country, but you refused his offer. Very wise of you. If at all, one should come at the age of ten. It is not another continent, it is another planet. (...) The death of Van Doesburg, three years ago, was a very blow to me. Het was my only real friend in Europe, and the only one who understood my strivings. Unfortunately, he was very unhappy. In my opinion, it was because he couldn't find his way between painting, architecture and literature (...). After his death I hope that you, Esteeren [sic] and Arp and I would keep in touch with each other, and, including Mondrian naturally, would actually continue the friendship that, in my opinion, could be for all of us of great importance (...)." With an AUTOGRAPH POSTSCRIPT (pen and ink): "Do send me some pictures of your work, especially of furniture. I might be able to sell it for you to some manufacturer."
= Interesting and moving letter on the hostiliy Mendelsohn met after his publication of Neues Haus - neue Welt (Berlin, Rudolf Mosse, 1932), a monograph on his newly built private villa. "(...) Die Publikation traf in den Höhepunkt der Wirtschaftskrise, d.h. sie erschien in dem Moment, als Deutschland wirklich merkte, das es den Krieg verloren hat und ein armes Volk geworden ist. Nichts leichter also, als aus der Not, dem Nichtbeschäftigtsein und der Verärgerung Hässliches, Taktloses und Unwahres über den Eigentümer zu schreiben. Angerührt durch ein Pamphlet Hegemanns melden mindere Geist ihre moralisierenden und antisemitischen Tiraden an. Alle diese Schimpfereien sprechen nicht über den architektonischen Wert des Hauses (...). Aber sehen Sie das Buch selbst an, vor allem aber sehen sie das Haus an. Ich bin gerade bei Ihnen überzeugt, dass Sie vom Haus, vom Eigentümer und vom Architekten keine schlechte Meinung bekommen werde (...)". SEE ILLUSTRATION PLATE LXI.