106 - 571 FINE and APPLIED ARTS, ART REFERENCE
= Comprises i.a. Lee Bontecou (Ileana Sonnabend, 1965); 2x Bernard Buffet (Galerie Maurice Garnier, 1978 and 1981); Fête Garderobe (lithogr. poster recto/ verso, i.a. w. Alechinsky, Baj and De Lussanet, Atelier receuil, 1965); Félix Valloton (Museum Boijmans van Beuningen, 1965); Le Parc (XXXIII Biennale de Venise, 1966); Amado (Kröller-Müller, 1980); Arshile Gorky (Museum Boijmans van Beuningen, 1965); 11+11 Tableaux (Moderna Museet, 1970) and Maryan (Galerie de France, 1960).
- Covers outer edge sl. browned. Contents fine.
Dürer, A. Die Apocalypse. Faksimile der Deutschen Urausgabe von 1498 "Die heimlich Offenbarung Johannis". Munich, Prestel, 1970, 16 facs. lvs., 11,(1)p., ills., orig. cl., large folio.
- Bookplate on upper pastedown; remains of bookplate on lower pastedown. Otherwise fine.
Die Luther-Bibel von 1534. Cologne, Taschen, (2002), 2 vols., without pagination, orig. unif. gilt cl., 4to.
- Lacks the commentary vol. and slipcase.
- Spine-ends sl. worn; slipcase soiled/ dam.
= Facs. reprint of 28 plates of Piranesi's Vedute di Roma. Introductory text by M. Praz, descriptive notes by L. Jannattoni, English transl. by R.H. Boothroyd.
= Monografieën van Nederlandse kunstenaars 8.
AND 3 others, i.a. F. BOOL a.o., Jan Schoonhoven Retrospectief (The Hague, 1984, ills., orig. wr., 4to) and AD DEKKERS. Introd. E. de Wilde (Amst., 1982, ills., orig. wr., 4to).
- Stained from the proces of oxidation: the plate was entirely covered w. rust, but inevitably the rust has started to come off, leaving empty spaces.
= "(...) Jürgen Freund hat jede einzelne Buchseite[sic] mit Rost belegt, indem er Eisenspëne und Salzsäure zusammengebracht hat. Diesen Oxidationsvorgang kann er jedoch nicht beeinflussen, daher entsteht Seite für Seite ein unverwechselbare Bildfläche. Der aufgeklappte Buch- bz. Bildbogen besteht somit aus verschiedenen Rostfeldern; ein Feld erhält einen farblichen Kontrast (...)" (introd.).
Rätz, M. &u.& +&. Text by R. Geissbühler. Bern, Kunsthalle, 1977, (1),LXVI,(1),(9 advert)lvs., ills. by MARKUS RÄTZ, orig. wr. - AND 4 others, i.a. C. ANDRE, (Tischläufer) (fold. table cloth, 400x16 cm., exhibit. cat. Mönchengladbach, 1968. Lacks the textleaf; plastic lid of orig. box dam.) and M.-L. PLESSEN and D. SPOERRI, Heilrituale an bretonischen Quellen (Casti, n.d. (1980), ills., printed in 3000 numb. copies,signed by both authors, orig. cl.).
- Spine dustwr. sunned.
- Htitle sl. foxed.
= Arntzen/ Rainwater P206: "A thorough scholarly treatment of Dutch colonial furniture of the Baroque period."
- Occas. sl. foxed/ creased. Wr. sl. soiled/ frayed; frontcover w. a few sm. tears.
= With: ''Prijscourant behoorende bij het album Woninginrichting'' (ibid., n.d. (1928), 23p., orig. wr., 8vo). Rare.
- Lacks issue 117, 149 and 353; lvs. occas. sl. creased; without the orig. 4 boxes.
- Lacks htitle; occas. sl. foxed. Spine-ends sl. dam.; spine worn/ cracked; frontwr. loose (formerly reattached to bookblock w. gluestains in inner blank margin of title-p).
= The first edition. Salaris p.45.
AND 25 facs. reprints of MANIFESTI FUTURISTA, i.a. ''Manifesto dei Musicisti futuristi'', ''Manifeste du Futurisme'' and ''Manifesto dei Pittori futuristi'', all loose as issued, together in cl. box, 4to.
= Contains a catalogue raisonné.
Haak, B. Das Goldene Zeitalter der holländischen Malerei. Cologne, DuMont, 1984, 535p., num. (col.) (full-p.) ills., orig. cl. w. dustwr., folio.
- Bookblock loose. Wrapper sl. worn. = SIGNED by the artist.
= SIGNED and dated "23 Mrt. 1991" by the artist on first free endpaper.
Temminck, J. and Geurtz, L. Copier compleet. Het oeuvre van A.D. Copier 1901-1991. Ibid., NAi, 2011, 1st ed., 520,(2)p., num. (col.) ills., orig. boards, large 4to. Soetens, J. In glas verpakt. Packaged in glass. European Bottles. Their History and Production. Amst., De Bataafsche Leeuw, 2001, 2nd enl. ed., 464p., richly illustrated, orig. cl. w. dustwr., folio. - AND 3 others.
= DE LUXE edition bound in orig. pict. cl., a.e.g., gilt slipcase, folio. SIGNED on title-p. and w. large AUTOGRAPH SIGNED DEDICATION by the artist on first free endpaper.