L'Architecture, 1932. Hardcover. Includes all twelve issues from 1932. Ex-library with stamps to title page and some interior pages. Bound in black cloth with brown leather title label to spine. Rubbing and chipping to title label. Fraying and wear to book cloth along both hinges, corners, and edges of boards. Front hinge is starting. Browning and chipping to edges of some pages. Clean overall aside from library stamps. Includes many black and white photographic illustrations. 384 pages plus 468 pages. ARCH/050619. Very Good.
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L'Architecture, 1933. Hardcover. Includes all twelve issues from 1933. Ex-library with stamps to title page and some interior pages. Bound in black cloth with brown leather title label to spine. Rubbing to title label and wear / fraying to corners of boards. Minor rubbing and wear to boards. Browning and chipping to edges of some pages. Clean overall aside from library stamps. Includes many black and white photographic illustrations. One page of contents is detached but present and laid in. 380 pages plus 464 pages. ARCH/050619. Very Good.
Paris: Societe des Pieux Franki, 1928. Hardcover. 12 issues bound together with supplement / table of contents for the year. Includes articles about architects and construction projects worldwide. Marbled paper covered boards with maroon cloth spine titled in gilt. Wear to edges of boards and corners. Rubbing and scuffing to boards. Occasional pencil markings to margins, but clean and bright overall. Original paper wrappers are bound in. Minor browning to wrappers and to margins of some pages. Many photographic illustrations, diagrams, and plans. Page edges trimmed slightly when rebound into this thick book. Text in French. 756 pages. ARCH/050619. Very Good.
Venetiis [Venice]: Typis Francisci ex Nicolao Pezzana, 1772. Hardcover. In Latin. In an early full dark brown full leather binding with raised bands and decoration to spine. One (of two) clasps remains; however, the corresponding latch is no longer present and the leather is torn. Heavy wear to leather on spine ends, corners, edges, and bands. Rubbing to boards. Chipping and minor loss to leather on spine ends and edges of boards. Printed in black and red with musical scores, one full page illustration, and decorated initials. Ribbon page markers affixed to margins of five pages. Spots of foxing and soiling throughout including evidence of dampstaining, mostly in margins. Textblock is interspersed with printed text from the 1860s, some of which is tipped-in and some is sewn in to rear. A few splits to interior binding. Loss to corners of several pages. Handwritten note in pen to rear free endpaper. 412 pages, Commune Sanctorum - cxvi pages, In Festo S. Fidelis A Sigmaringa Martyris - 4 pages, Missae Propriae Sanctorum - (4), Missae Propriae Mysteriorum Passionis (8), Die VII Decembris i Vigilia Immaculatae Conceptionis Beatae Mariae Virgins (4), In Festo Sancti Eliae Prophatae (3). REL/072423. Very Good.
1812. A leaf from The History of the Abbey Church or St. Peter's Westminster: Its Antiques and Monuments, by Rudolph Ackermann. In 1795 Ackermann set up a lithographic press and opened a business in copper lithographs. Ackermann was a creative and efficient publisher, who brought innovative techniques to the commercial production of color plate books as well as an uncompromising attention to detail which ensured uniform high quality. Print method is Engraving-Aquatint on India paper, measuring 343 x 278 mm. or approximately 13 1/2 x 11 inches. Archivally matted. #48642. Very Good.
1812. A leaf from The History of the Abbey Church or St. Peter's Westminster: Its Antiques and Monuments, by Rudolph Ackermann. In 1795 Ackermann set up a lithographic press and opened a business in copper lithographs. Ackermann was a creative and efficient publisher, who brought innovative techniques to the commercial production of color plate books as well as an uncompromising attention to detail which ensured uniform high quality. Print method is Engraving-Aquatint on India paper, measuring 343 x 278 mm. or approximately 13 1/2 x 11 inches. Archivally matted. #48672. Very Good.
Riverside, CA: Bo Press Miniature Books, 2022. Pat Sweet describes herself as creating illuminated miniature books of curiosity, humor, and delight. She creates both miniature (under 3 inches) and macro-miniature (under 1 inch) books. This book is from a small open edition, which is signed by the artist. According to the book artist: "The Eiffel Tower was the main entrance for the Exposition Universelle, organized to celebrate the anniversary of the French Revolution. A competition was held for the design of the tower, which was won by Maurice Koechlin and Emile Nougier. Gustave Eiffel got the construction commission for a very small fee in return for a portion of the gate for the length of the Exposition plus twenty years. In 1890, Sir Edward Watkin, a British MP, held a design competition for a ”Great Tower of London” that would have rivaled or surpassed Eiffel’s tower in Paris. Sixty-eight designs were submitted. The Great Tower of London was, of course, meant to be taller than the Eiffel Tower, and like the Eiffel Tower, temporary. It was meant to be the centerpiece of an amusement park in Wembley, easily reachable by train (Watkin was Chairman of the Metropolitan Railway). As with the Eiffel Tower, the design would be decided by a competition. In spite of many of the designs being slightly loony, or VERY similar to Eiffel’s design, Stewart, McLaren and Dunn’s practical design, number 37, was eventually chosen to be awarded the 500 guinea prize. Construction began, but the funding slowly petered out. The full extent of the building, called the London Stump or Watkin’s Folly, is shown on the title page - all 154 feet. The remains were eventually dynamited and buried under Wembley Stadium" Printed on Mohawk superfine paper in Garamond 1911, and bound in a gold-on-black Art Nouveau paper. The slipcase is bound in matching paper. 85 pages. Size: Book - 2 1/2 x 1 5/8 inches; Case - 2 3/4 x 1 3/4 inches. ARTB/091123. Fine.
New York: Architectural Book Publishing Co., Inc., 1929. Hardcover. Folio. Dark brown cloth boards with gilt title to spine and front board. Minor fraying to spine ends, bumping to top front and rear bottom corners, and light scuff mark to front board. The interior is very clean overall with a few smudge marks. Illustrated with sketches in pen, pencil and drypoint, and photographs by the author. Includes beautiful engraved frontispiece. 246 pages. ARCH/092707. Very Good Plus.
Santa Cruz: Foolscap Press, 2002. One of 200 copies. This is an unusual and lovely scroll book, which, according to the Press, follows the written record of a wondrous monument standing in Athens. The Tower has been explained by scholars from antiquity to the present, yet the Tower of the Winds was and still is a mystery to those who study it. The work is original to the Foolscap Press both in content and exterior form, and was created as a biblio-artifact, both a book and an object. The book is in a pre-codex form, allowing the reader to scroll through history viewing the subject along a panorama 25 feet in length. In addition to reproducing historic texts, there are illustrations of the Tower by James Stuart and Nicolas Revett, two important early British architects. The work is printed in Adobe Herculanum type on Zerkall Book and hand made papyrus from Egypt. It is housed in a formed sculptural / architectural case. Each case is a rigid cylinder hinged with cloth and lined with a map of ancient Athens. Issued with handling instructions. It is a stunning and inventive work from this press. Scroll is in fine condition. PRI/102022. Fine.
New York: Wittenborn Schultz, 1952. Hardcover. Number 65 of 250 copies. Inscribed by the publisher in ink on the front free endpaper, dated December 14, 1952. Bound in salmon pink paper covered boards with black title to spine. Clean and bright with unopened pages. Slight browning to pastedowns due to glue from covers. Letterpress printed with hand-set type by Victor Hammer and printing by Jacob Hammer at his press in Lexington, KY. In cream dust jacket with black title to spine and a lengthy text excerpt to the front panel. Minor browning to edges of jacket and spine panel. A few small chips to spine ends of jacket. 94 pages. PRI/012323. Near Fine / Very Good.
Glenview, IL: Karen Hanmer, 2010. Hardcover. Number 21 of 30 copies. Signed and numbered by the book artist. This book was one of six winners of the “Building by the Book” competition sponsored by the Philadelphia Athenaeum and Philadelphia Center for the Book. This work by noted book artist Karen Hanmer is based on Samuel Sloan's 1852 collection of house plans and instructions to contractors titled The Model Architect. Hanmer juxtaposes Sloan's historical text and illustrations with modern text from the U.S. Department of Housing and Urban Development's online "Guide to Avoiding Foreclosure." The artist provides commentary in the colophon reflecting on the effects of the 2008 financial collapse in her own neighborhood. She states: "Samuel Sloan's The Model Architect was published at the mid point of a century marked by cycles of rampant speculation followed by financial collapse. The Panic of 1857 came on the heels of publication of Sloan's work, and put a halt to the most active portion of his career. This milieu mirrors what has happened in my own neighborhood of modest homes over the past fifteen years. The transformation began with some owners remodeling their kitchen, or adding a family room or bedroom. Then larger additions came. Ultimately, the houses commanded high prices to be sold as teardowns. Huge new houses were built in their places. The construction proceeded with increasingly grandiose features; portions of the facade faced with thin sheets of stone, wooden garage doors with cast iron-like fittings, decorative copper accents on the roofs, turrets, lions flanking the brick driveways. Now the house across the street, the house next door, and the house next door to that are all in foreclosure, and soon will be uninhabitable. The lawns grow without interruption. Without electricity and heat the basements fill with water, the pipes burst, the mechanicals are destroyed. Few modest, affordable homes remain in the neighborhood." Bound in marbled paper covered boards with black leather spine and red leather title label, titled and ruled in gilt. Bound using the modern drum leaf structure but replicating the look of a 19th century book. Housed in an archival paper case with the edition number and artist's contact information stamped on the front panel. Measures 14 x 11 x .5 inches. 48 pages. ARTB/121212. Fine.
Baltimore: The Johns Hopkins Press, 1953. Hard Cover. 4to. First Edition. Signed by both authors. Includes over 100 selected prints, drawing, paintings, and early and modern photographs. Beige cloth boards with brown title to spine. Browning to spine and edges of boards. Minor toning to margins, but clean interior overall with bright text and many photographic illustrations and architectural plans. Tight binding. In black and white illustrated dust jacket with white title to spine panel and yellow title to front panel. Wear to edges and spine of jacket including a few large chips, creases, and tears. Rubbing to panels of jacket and minor foxing. Jacket is protected from further damage with a removable plastic cover. 149 pages. BALT/062922. Very Good / Very Good.
Rotterdam: Nai Publishers, 2000. Hardcover. 4to. SCARCE. "The architecture and architectural culture of the Netherlands have been causing quite a stir in recent years: a great many remarkable new buildings and projects testify to the current flowering in Dutch architecture, urban planning, and landscaping that's so exciting to so many in and out of the field. Artificial Landscape illustrates the results of this late twentieth century surge of creativity and traces the background of its success, examining both the 'Dutch phenomenon' and its socio-historical context to find out what makes it work so well. What we find is that even in a period of globalization there is still such a thing as a Dutch 'climate, ' yet despite this culture's specific national character we have much to learn from it, particularly where its unique synthesis of architecture, urbanism, and landscaping is concerned. This exciting movement is represented by a selection of designs, built works, ideas, plans and manifestoes from such architects and firms as OMA/Rem Koolhaas, Neutelings Riedijk, MVRDV, Maunce Nio, and Max 1, to name only a few. Apart from recording the state of things in Dutch architecture, Artificial Landscape also serves as a survey of contemporary architectural criticism, collecting the most important critiques of Dutch architecture, urban planning, and landscape architecture to have appeared in recent years." White cloth boards with yellow title to spine. Clean, bright interior filled with illustrations. White illustrated dust jacket with black title to spine. Small closed tear along top edge of jacket. 299 pages. ARCH/092507. Fine in Near Fine dust jacket.
Hammersmith: Kelmscott Press, 1893. Hardcover. One of 1500 copies. This copy is in an exquisite binding from master Chicago binder Alfred J. Cox (1835-1909). Cox founded a bindery in Chicago in the 1860s that became the largest commercial bindery west of the Mississippi River. Cox was also a serious book collector who bound many books in his personal collection in sumptuous designer bindings. His philosophy was that "books of the imagination...demand rich morocco, fanciful ornaments, and gilding. This binding exemplifies his philosophy. It is in brown morocco with a beautiful gilt flower design on the front and rear covers, with gilt ruling around the edges. The spine has five raised bands with title, author, and ornaments in the compartments. The dentelles also have a lovely gilt floral design. With marbled endpapers. The book's colophon states that Gothic Architecture, first given as a lecture for the Arts & Crafts Exhibition Society in the year 1889, was printed by the Kelmscott Press during the Society’s exhibition in 1893. It is printed in Golden type on Flower paper, and was the first book printed in 16mo. by the press. According to William Peterson's A Bibliography of the Kelmscott Press (p. 48-51), “there were three impressions of the book, presumably of 500 copies each.” There were two misspellings in the first impression. “Van Eyck “ was misspelled “Van Eyk” (p. 45, l.1.), and “guilds was spelled “gilds” (p. 41, l. 16). This copy has the correct spellings of these two words and is from the second or third impression. There are four and six line initials and red shoulder notes throughout. Light paper aging along fore-edge otherwise near fine. MOR/052223. Near Fine.
London: John Murray, (1840). First edition of this impressively beautiful folio of thirty plates illustrating the author's theories about Norman architecture in Sicily. Henry Gally Knight (1786-1846) was a member of parliament, traveler, and writer. After early unsuccessful attempts to write poetry, he studied and wrote about architecture. He made tours of Sicily and Normandy to study the architecture of those regions. Knight wrote in his preface: "It is the object of this Work to afford a view of the Architecture of the Normans in Sicily, of the singular difference of the style which they employed in Sicily from that which they employed in any other country, and to explain how that difference arose. The Drawings were taken from the buildings themselves by a professional architect and have, at least, the merit of exact fidelity." He believed that the Normans adopted the pointed arches of Sicily rather than building the round arches of France. The stunning lithographic plates include illustrations of landscapes, buildings, details of exteriors and interiors and doors. Three of the plates are hand-colored. Bound in contemporary three quarter black leather with multi-colored marble boards. Leather is chipped, rubbed, and bumped. Gilt ruling and titling to spine. Marbled boards are scuffed and rubbed. Evidence of label having been removed from spine and glue remains from signout card on rear free endpaper. Light spotting to interior pages generally not affecting images. The front pastedown provides some provenance information. Bookplate of Frances Mary R Richardson Currer (1785-1861), A British heiress and important book collector in her time. She died at Eshton Hall [Wikipedia]. There is a handwritten note affixed under her bookplate saying the book was bought by Sir John Horsfall at the sale of the Eshton Hall collection at Christie's London 1916. Given by Sir John to Mr. FW Petty, Given by Mr. Petty to Geo Turner Conoley (?) in 1916. A very good copy. Measures 15 x 22 inches. Pages 1-6 with preface, list and description of plates. All plates present without original tissue guards. ARCH/042021.
Washington DC: The Catholic University of America Press, . Hardcover. Inscribed and Signed by the Author on the title page. "As Washington's mother church, St. Patrick's has transcended the usual responsibilities of an American parish to assume a sometimes crucial role in church-state relations, in both national and local affairs. Its diverse congregation has provided clear-cut and measurable reactions to issues - such as immigration, race relations, and universal education - that have been pivotal in shaping both national policies and the history of the Catholic church in the United States" (jacket). Ex-library with red pen notations on both endpapers and occasional tick marks to margins. (No other library markings, no pockets, and no stickers.) Maroon cloth boards with gilt title to spine. In illustrated jacket with red spine panel titled in white. Minor wear and rubbing to edges and panels of jacket. 463 pages. REL/070820. Very Good / Very Good.
New York: John Wiley and Sons, 1900. Hardcover. Very Good brown cloth covered boards with gilt lettering on spine. Slight wear to spine ends. Light yellowing to pages and light damp stain to bottom edges of first 15 pages. Includes numerous fold-outs. Third Edition. Index, 234 pages plus ads. Architecture. ARCHI/4283. Very Good.
1950. Hardcover. Title, publishing information, and all text in Russian. Very good with tan cloth spine decorated with gilt designs and raised bands. Beige paper covered boards with gilt title (in Russian) to front cover and embossed illustration. Chipping and wear to edges of boards and corners. Browning to edges of boards. Clean, bright interior which includes 150 black and white plates of Russian architecture and 77 pages of description. Quarto. 232 pages. ARCHI/072611. Very Good.
London: George Allen, 1893. Hardcover. This text is substantially a reprint of essays originally published in London's Architectural Magazine beginning in 1837. The essays are in two parts: the first describing the cottages of England, France, Switzerland, and Italy. The second part is on the villas of Italy and England. The illustrations are taken from drawings by Ruskin, done as a series of plates "executed in the best possible style of photogravure" [Introduction]. There are fourteen plates, a color frontispiece, and fourteen text illustrations. Bound in full dark blue leather with raised bands on spine with gilt titling and fleurs de lis. On the cover is a gilt oval seal with a figure in the middle and the words "Deo Dante Dedi" [I have given to God] encircling it. The leather is somewhat worn and the spine has faded . Marbled endpapers and paper edges. The front hinge is cracked and weak, and a previous owner used non-archival tape along the hinge to strengthen it. Rear joint and hinge are also tender. Interior pages are quite clean. Save for binding issues in very good condition. Measures 8.5 x 11 inches. viii; 261 pages. ARCHITECT/092821. Very Good.
Shaftsbury and London: by the author / Charles Knight and Co., Longman, Hurst, and Co., et. al. 1823. Hardcover. Fonthill Abbey was an extravagant neo-gothic country home built on William Beckford's Fonthill Gifford estate in Wiltshire between 1796 and 1813. In 1771, the 10 year old Beckford inherited a vast sum of money from his father and once he reached his majority, began to pursue a lavish lifestyle. Following a scandal involving William Courtenay in 1784, Beckford fled into exile in Europe. Upon his return to Britain, Beckford hired the renowned architect James Wyatt, uncle of Jeffry Wyatville to design his new home. The house was arranged in a cruciform pattern with a large octagonal space in the center which supported an enormous cathedral-like tower. Following numerous delays and tower collapses, in 1813, Beckford declared the house complete. In paying for the venture, Beckford squandered vast sums of money and the haste with which the construction was finally completed meant that the building was incredibly unstable. In 1822, the house and estate was sold to the Scottish arms dealer James Farquhar and Beckford settled in Bath where he died in 1844. The central tower collapsed for a third time in 1825 and badly damaged part of the building. Following this, the house was abandoned and eventually demolished. This book, printed shortly after Farquhar's purchase of the estate describes the house as it was before the collapse. It is apparent from the text that the building was an impressive structure and contained several valuable works of art. [Royal Collection Trust]. In an attractive modern binding of three quarter tan leather over marbled paper covered boards with black and gilt title label to spine. Rubbing and a few small chips to leather on spine ends, edges, and corners. Bookplate of Lothar Strauss to front pastedown. Ex-library embossed stamp to title page, partially removed / debossed. Evidence of removed bookplate to rear free endpaper. Includes chapters on the interior of the abbey (with notes on paintings and furniture), exterior, a walk within the barrier, a walk without the barrier, and a ride through the domain; as well as, three appendices covering: historical notices, memoranda on the origin and progress of the abbey, and genealogical tables of William Beckford, Esq. A list of subscribers is also included. Illustrated with 13 plates including color frontis, color half-title page, one additional color plate, folding map of Fonthill, and 10 uncolored plates as well as numerous wood cut vignettes. Creasing to bottom corners of several pages. Occasional small spots of soiling / smudge marks to margins and very light foxing, but clean and bright overall. Folio. 127 pages plus plates. ARCH/010721. Very Good.
Paris: Librarie de la Construction Moderne, 1929-1930. Hardcover. Volume 45 of this weekly journal on all things architectural - theoretical, applied, practical, civil engineering, and legal issues. The issues date from 10/6/1929 to 9/28/1930. They have continuous pagination. The issues are filled with striking black and white photographs of hotels, public buildings, private homes, apartments. Many of the photos show the popularity of Art Deco architecture and design during that period. The coverage is mostly of French architecture although there are occasionally buildings in other European cities. Bound is brown quarter leather and marbled paper covered boards. Light rubbing and bumping to exterior but still very nice. Interior pages very good with occasional mark or closed tear to margins. Measures 9.5 x 12.25 inches. 820 pages. Heavy book that may require extra postage. ARCH/050319. Very Good.
Madrid: Arquitectura, 1932. Hardcover. Includes all 10 issues from 1932, bound together. Ex-library with stamps to first page. Includes a special number in memory of Gustavo Fernandez Balbuena. Brown cloth boards with leather spine labeled in gilt on spine with raised bands and floral deviceds. Minor wear to spine ends and corners. Rubbing to title labels. Front free endpaper is present but detached. Minor foxing to some pages, but clean and bright overall. Includes many black and white photographic illustrations, diagrams, and floorplans. An attractively bound volume. IN SPANISH. 366 pages. ARCH/050619. Very Good.