Paris: Jean Mariette: 1720. A beautiful copy of this classic of French architecture. 140 fabulous engravings including 2 frontis - many folding. Gilt titles and decoration to spine. Volume II is an explication of the terms of architecture. The boards are a little rubbed and speckled, but still holding well. blank front end paper to the first volume is a touch loose. The rest of the pages and the plates are all in lovely condition. The collation of the plates is very confusing. Frontis, +, A, B, C, 1-12, 14-43, 43b, 43a, 44-51, 51a, 52-59, 59a, 59b, 60-62, 62A-I, 62K-T, 64a, 64b, 65a-65d, 65bb, 66a, 66b, 67-94, 95-98, 98a, 60-62, 99, 99a-99d, 100-103. Plates conform to index. VII frontis. Une belle copie de ce classique de l'architecture française. 140 fabuleuses gravures dont 2 frontis - nombreux dépliants. Titres et décor dorés au dos. Le tome II est une explication des termes de l'architecture. Les planches sont un peu frottées et mouchetées, mais tiennent toujours bien. papier avant vierge pour le premier volume est un peu lâche. Le reste des pages et les planches sont en très bon état. La collation des assiettes est très déroutante. Frontis, +, A, B, C, 1-12, 14-43, 43b, 43a, 44-51, 51a, 52-59, 59a, 59b, 60-62, 62A-I, 62K-T, 64a, 64b, 65a-65d, 65bb, 66a, 66b, 67-94, 95-98, 98a, 60-62, 99, 99a-99d, 100-103. Plaques conformes à l'index. VII frontis.

Paris: aux "edition forces vives", 1966. First Edition. Small soft back. Original paper covers. Printed covers in yellow, red and green. A previous owner has written 1976 in the handwritten style of Le Corbusier, realised they had written the wrong date, and tried to correct it to 1966. Otherwise clean and tidy. To the half title page is a stamp for a Brussels architect. Some underlining and a couple of small annotations to the text. 64 pages. 125 x 125 mm (5 x 5 inches). Première édition. Petit dos souple. Couvertures en papier d'origine. Couvertures imprimées en jaune, rouge et vert. Un ancien propriétaire a écrit 1976 dans le style manuscrit de Le Corbusier, s'est rendu compte qu'ils avaient écrit la mauvaise date et a essayé de la corriger en 1966. Sinon, propre et bien rangé. A la page de faux titre se trouve un cachet pour un architecte bruxellois. Quelques soulignements et quelques petites annotations au texte. 64 pages. 125 x 125 mm

London: Unpublished, 1960. A hardback bound typescript of a report by Lt-Col Shore, on faults and problems with the architecture of Milton Abbey in Dorset. Bound in blue cloth with gilt titles. The typescript itself is unpaginated, but is 11 pages long. printed to one side in red and black. Also bound in are 8 large (30.5cm x 24cm) black and white silver gelatin photographs of detailsl of the Abbey architecture, including one with the members of the Abbey team showing some Saxon stone work. There are two further loose photographs, one of which is a little tatty to the edges. The report is signed in fountain pen by the author. There is also a compliments letter loosely enclosed. In good clean condition, with a touch of darkening to the edges only. 355 by 255mm (14 by 10 inches).

New York: William Salomon, 1912. Three-quarter vellum over paper-covered boards with title in gold on cover. Fore-and bottom page edges untrimmed, as published. The book is a complete photo-documentation of William Salomon's gorgeous mansion (which has since been demolished), located on New York's Fifth Avenue. Profusely illustrated with reproductions of plates in photogravure. Photographs by Lillian Baynes Griffin, who was the wife of the American Impressionist Painter Walter Griffin (1861-1935). Each plate protected by a tissue guard. A little marking to the cream covered boards, but not too much. Internally clean and tidy throughout.
410 x 310 mm (16¼ x 12¼ inches). No Pagination but 56 photogravures each with blank verso. William Salomon was an American financier and one of the managers of the New York firm Speyer & Co. In 1902 he founded the banking-house William Salomon & Co. He was very active in railroad finance and has contributed a number of articles on financial and other topics to the magazines of the day.

France: n/a, 1900. Wonderful French architectural manuscript portfolio on 'Perspective'. This appears to be a student's own manuscript and sketches from an architectural or art course. All of the contents are dealing with perspective in different forms. Some are purely mathematical (such as the design and sketches of cones and other shapes.) Others are examples of sketches drawn in proper perspective. The portfolio contains a large number of loose leaves. Each aspect (text in French) has one or more illustrations following. Many (but not all) of the pages have pencilled numbers to the top edge. In total there are 48 pages of text and 64 pages of illustrations / diagrams. In fact, there are a few more, but we have only counted "significant" pages. The paper is a little darkened, and there are a few very minor closed tears to the page edge. The folder has cracking to the spine edge, and is darkened, and at least one of the ties is still functioning. The front has a tipped on printed illustration with the title. An attractive and fascinating piece. 330 x 255 mm (13 x 10 inches).

Oxford: Parker, 1858. First edition. Original red cloth, decorated in gilt to simulate a door's lock and hinges. Moderate darkening to the spine and there is splitting, cracking and chipping to the spine. Bookplate of Henry, Thomas Ellacombe (vicar and antiquarian) to the inside board. Small stamp shows that this volume belonged to the Assay office of Birmingham. Opposite the title page, an albumen photograph (circa 1870) of a lady stood by an iron gate has been tipped in. 40 lithograph plates tipped in. 127, [ii] pp. 255 x 195 mm (10 x 7¾ inches). Première édition. Tissu rouge d'origine, décoré de dorure pour simuler la serrure et les charnières d'une porte. Assombrissement modéré de la colonne vertébrale et il y a des fissures, des fissures et des éclats de la colonne vertébrale. Ex-libris d'Henry, Thomas Ellacombe (vicaire et antiquaire) au plat intérieur. Un petit cachet montre que ce volume appartenait au bureau d'analyse de Birmingham. En face de la page de titre, une photographie à l'albumine (vers 1870) d'une dame debout près d'une grille de fer a été inclinée. 40 planches de lithographie inclinées. 127, [ii] pp. 255 x 195 mm

Rio de Janeiro: Ediçao da Photo Musso, 1913. First Edition of this beautiful book, with many fascinating photographs taken by Luis Musso. Bound in decorative red fabric with a raised coat of arms for the city, and titles in gold to front and spine. Fabulously extravagant gold decorated end papers. Printed on high quality paper. Text describes the history of the Theatro Municipal and many Brazilian artists. Original cloth shows sign of wear with bumps to corners and spine. Blank free end paper at front has beginning of a small tear to the top, and verso has neat dedication to top right corner. Book is complete. No foxing or other markings inside. Very good condition. 136 pages. 320 x 250 mm (12½ x 9¾ inches).

Features pictures of the history of the theatre with details including furniture, electrical projects, ventilation and cooling, fire safety, details of Eliseu Visconti's drawings, sculptures by Rodolfo Bernadelli and Verlet, and an autographed photo of the builder Francisco de Oliveira Passos.

Text in Portuguese, by João do Rio (pseudonym of the journalist João Paulo Emílio Cristóvão dos Santos Coelho Barreto) with lateral translation in French.

Bruxelles: Wastiau-Jeukens, 1976. Limited edition of 100. Preface in French by Jean Servais. One of the 18 examples where the signed lithographs are in two states: on Japon paper and also on Arduenna (this is # 16 of 18). These are loose in gathers, and uncut. With both an original signed sketch on glassine, and a simple pencil drawing. Enclosed in a light blue portfolio, and inside its original slipcase. Unpaginated. Laure Malcles-Masereel was an accomplished illustrator in her own right, previous to becoming Frans Masereel's second wife. Slipcase has some sun fading, and light wear. Spine of the portfolio has sun fading. Internally the lithographs and original artwork are all in a very good condition. 350 x 255 mm (13¾ x 10 inches). Tirage limité à 100 exemplaires. Préface en français de Jean Servais. Un des 18 exemplaires où les lithographies signées sont en deux états : sur papier Japon et aussi sur Arduenna (il s'agit du # 16 sur 18). Celles-ci sont lâches en fronces et non coupées. Avec à la fois un croquis original signé sur glassine et un simple dessin au crayon. Enfermé dans un portefeuille bleu clair, et à l'intérieur de son étui d'origine. Non paginé. Laure Malcles-Masereel était une illustratrice accomplie, avant de devenir la seconde épouse de Frans Masereel. L'étui a une certaine décoloration au soleil et une légère usure. La colonne vertébrale du portefeuille a une décoloration au soleil. À l'intérieur, les lithographies et les œuvres d'art originales sont toutes en très bon état. 350 x 255 mm