- Sl. worn/ scratches; corners bumped and sl. rusty.

- Corners occas. cut off/ dam.; all w. central vertical fold; sl. yellowed; pinholes in corners.

= Designs for the decoration of plates, each drawing showing 4 different designs.

= Showing the offices designed by "Architecten: Dr. H.P. Berlage (...), A.D.N. van Gendt, W.N. van Vliet" (printed on the stone).

- Slightly frayed; lacks a few sm. portions in outer blank margins.

= Comprises "K.L.M. Royal Dutch Air Service Company. Verkeersvliegtuig Fokker F.III (...)" (bromoil print, ±1925, mounted on board w. golden printed title and "Fastest connection between London/ Paris, Rotterdam, Amsterdam, Hamburg, Kopenhagen"); "E.L.T.A. Amsterdam. Eerste luchtverkeer tentoonstelling Amsterdam" (col. lithogr. poster, Amst., Kotting, 1919) and "K.L.M. Royal Dutch Airlines. The flying Dutchman" (tinted lithogr. poster, laid down on board as issued, Amst., K.L.M., ±1950).

= I.a. "The holy family", "Suffer little children, to come unto me", "Mater Dolorosa" and "Jesus appears to Mary Magdalen".

= Biba was an extravagant department store in the center of London that opened its doors in 1964. The designs in the store drew inspiration from Art Nouveau and Victoriana and many of them were made by in-house graphic designer Kasia Charko. Containing i.a. her designs for the Food Hall logo, Household Department logo, Lolita logo, Toddlers logo, Kids Floor logo, Pregnant Mums logo and many drawings of pin-up girls. Also incl. photographs for a Biba editorial and the design for an advertisement in the Daily Mail.

- Lower left corner chipped; some sm. dam. spots.

= Showing the Mother of God as Panagia Portaitissa (the Gatekeeper), in the tradition of Panagia Hodegetria (Our Lady of the Way).

= Nice and large collection.

= Incl. a few drawings, i.a. a watercolour of a parrot (Chinese?), two manuscript birthday wishes on nicely decorated paper, "Notitie der openbare verkooping van grasgewas en etgroen, (...) gelegen in en bij den inlaagpolder, onder Haarlemerliede & Spaarnwoude (26 mei 1899) (...)", an unused checkbook from the Chio bank in Greece, four letterpress invitations for a burial ceremony (all Amsterdam, dated between 1726-1739) and six 19th. century silhouette cut-outs.

= I.a. a view of Berchtesgaden. In the late 1820s, Kings Porcelain Manufactory in Berlin developed a new form of porcelain art. Master carvers created finely detailed scenes and portraits in wax, which were then used to make the moulds for porcelain plaques they called lithophanes. Porcelain becomes translucent when it is kiln fired at very high temperatures, and an impression, cast into porcelain, will produce a remarkably detailed design by only slight variations in its thickness. Soon hundreds of thousands of lithophanes in a variety of intricate designs were produced in Germany, France, Belgium, Ireland, Wales and England. Used as window hangings, fire screens and teapot warmers, some were also placed in the bottoms of steins and cups to delight the eye of the consumer when lifted to the light. Lithophane lamps were given a place of honor in 19th century households. By the turn of the century their popularity had waned and production virtually ceased by 1930. Few of the original lithophanes have survived to the twentieth century. As the true beauty of these translucent images depends on light, many were discarded by heirs of the original owners, unaware of their beauty when properly displayed, and therefore these original lithophanes can be regarded as very rare.