- Portfolio worn along extremities. Contents fine.
- Covers foxed.
- Lacks plate 71; occas. sl. soiled.
- Partly waterstained/ sl. foxed. Lacks part of ties; partly worn along extremities.
- Lacks plates 29 and 30; sl. foxed; sm. tear in title-p. Portfolio sl. worn.
- Upper hinge weakening. Sl. worn along extremities.
= With loosely inserted "Tarif de l'Album 1864". Rare.
- Vol. 1 plates 45, 51 and 52 added from another ed. (sl. smaller size); textlvs. vol. 1 partly waterst. in outer margin and first three lvs. foxed. Both vols. owner's ticket on frontcover; second portfolio frontcover stained and soiled.
= Very rare complete copy. SEE ILLUSTRATION PLATE XII.
- Plates occas. sl. fingersoiled/ frayed/ foxed in blank margin and w. pencil sketches on verso. Portfolio worn.
= Beautiful plates in art nouveau style with designs for walls, borders etc. SEE ILLUSTRATION PLATE X.
- Sl. yellowed. Fine copy.
= Odd volume of this rare modernist Flemish periodical. Also contains contributions by F. Berckelaers, Victor J. Brunclair, Paul van Ostayen, Josef Peeters and Geert Pynenburg.
- Occas. inevitable trifle fraying; sl. yellowed and some sl. occas. dustsoiling; no.17 spine pasted over w. paper tape; no.18/19 first and last leaf loose; no.20 vague vertical fold throughout and spine splitting at foot; no. 21 spine partly splitting. A very good/ fine set.
= Good run of this modernist Flemish periodical. From no.13 on, when Jozef Peeters replaced Geert Pynenburg as editor, the wrappers have striking modernist designs by JOZEF PEETERS (no.13 and no.22/23/24), KAREL MAES, (no.14), VICTOR SEVRANKS (no.15), MOHOLY-NAGY (no.16), SONIA DELAUNAY (no.17), JOS LEONARD (no.18/19), CAREL WILLINK (no.20) and J.P. OUD (no.21). Apart from (full-p.) (wood- and linocut) illustrations by Jozef Peeters, Karel Maes, Vilmos Huszar, Paul Joostens, Jos. Leonard, Ludwig Kassak, L. Peri, A.C. Willink, L. Moholy-Nagy and Sonia Delaunay, also containing the 2 (often lacking) loosely inserted plates by Jozef Peeters (a col. lithogr. plate and a (sl. frayed) linocut printed on gold ground). Andel p.210-211; cf. Bolliger II, 112. SEE ILLUSTRATION PLATE X.
- Vol. 1 (of 2) only. Dustwr. sl. yellowed and w. some dam. spots.
- No. 3 lacks the lithograph by Hundertwasser.
= No. 6 with the fold. plate by VASARELY, No.9 with the linocuts by VAN DYKEN und LALOY.
- A few w. owner's entry.
= Special issue of the leading periodical of the thirties on functional architecture and related subjects, published 1932-1943. In 1932 Paul Schuitema, who was a member of the architect-group "De Opbouw", created a basic design for the magazine and other designers could then fill in the rest of the cover. Fanelli 231; Maan, Paul Schuitema, p.64.
- Title-p. partly browned; dog-eared. Dustwr. sl. frayed/ dam.; repaired on verso.
AND 9 others, i.a. P. FEIERABEND, Nudes Index I (Cologne, 2000, col. ills., orig. cl. w. dustwr., large 4to) and G. DE ROOS, Playboy Fotografie (Vianen, 2002, col. ills., orig. pict. boards, large 4to).
= One of the 40 SIGNED copies.
AND 2 others, i.a. G. SCIME, Women in the Magic Mirror (Milan, 1981, num. (col.) ills., orig. boards w. dustwr., obl. 4to).
- Spine dropback box sl. worn.
= One of 25 SIGNED copies with a loosely inserted original c-print by Anrakuji (21,3x28 cm., signed and num. "16/25" in pencil on verso).
= Nobuyoshi Araki is primarily known for his erotic and kinbaku (Japanese bondage) photography. SEE ILLUSTRATION PLATE XI.
- Fine.
Mapplethorpe, R. Altars. London, J. Cape, 1995, 139p., 127 (fold.) (col.) photogr. ills. ROBERT MAPPLETHORPE, orig. cl. w. dustwr., cl. slipcase, sq. folio.
- Dustwr. trifle worn at top of spine. Fine copy.
Meyer, R. and Guzman, G. de. Warhol's Jews. Ten Portraits Reconsidered. New York, The Jewish Museum a.o., 2010, 63,(1)p., (col.) ills., orig. boards, 4to. - AND 3 others, i.a. NADAR WARHOL: PARIS NEW YORK (Los Angeles, 1999, num. (full-p.) (col.) ills., orig. cl. w. dustwr., 4to. Fine).
= The first vol. has an orig. gelatin silver print by FONS BRASSER mounted on the first leaf and is titled and dated in pencil below the print: "Miekkálä Finland 1988", and has an autograph dedication to Armando on the first blank.
Idem. Alles is getal. Text A. Petersen. N.pl., Kunstcentrum Delft, 1988, (7) textp., 30 plates by F. BRASSER, printed in 100 numb. and signed copies (90), orig. cl. - AND 2 others by the same, i.a. Launch Pads (n.pl., 2011, num. col. ills., printed in 10 numb. and signed copies, orig. cl.).
= SIGNED on first free endpaper.
- Title-page foxed; upper hinge weak. Upper left corner frontwr. bumped.
- First and last few pages sl. foxed. Top of spine sl. worn and 2 chips from (browned) title-piece; corners showing.
= Parr/ Badger I, p.114f and passim.
- Spine-ends sl. rubbed.
- Covers sl. rubbed along edges.
= Arnold Fanck was a pioneering director in the mountain film genre, who helped launch the career of, among others, Leni Riefenstahl (her portrait on p.55). Contains striking images of the filming process at high altitudes.
- Sm. rectangle cut from title; (sl.) foxed; first few lvs. bumped in lower corner. Binding soiled/ sl. stained; slipcase worn and badly (water)stainedl and partly split/ dam. on edges.
- Covers sl. soiled.
= With AUTOGRAPH DEDICATION "Voor Armando en Tony" by Cees Nooteboom on first free endpaper.
Brasser, F. Water Towers. Watertorens. Wassertürme. Rott., 010, 2005, 152p., full-p. ills., orig. cl. w. dustwr., 4to.
= With AUTOGRAPH DEDICATION "Für Armando uw Fonsenman! 4/05" on htitle.
Diepraam, W. Foto's. Photographs. Text G. van Westerloo. Amst., Fragment, 1985, 119,(2)p., full-p. ills., printed in 2000 copies, orig. cl. w. mounted photogr. plate, 4to.
- Spine sunned.
= With AUTOGRAPH SIGNED DEDICATION by the photographer "Voor Armando Dank!" on first free endpaper.
AND 7 others, i.a. A. CORBIJN, Inwards and onwards. Text F. Hodgson (Munich, 2011, ills., orig. boards w. dustwr.) and M. COPPENS, Land van stilte (Eindh., n.d., ills., printed in 500 numb. copies, orig. cl. w. dustwr., 4to. Owner's entry of ARMANDO on first free endpaper).
- Frontcover partly sunned.
- Owner's entry on upper pastedown. Wrapper trifle worn along extremities; sm. dent in backcover.
= Parr/ Badger I, p.244: "In 1955, the 17-year old Joan van der Keuken caused a stir in Dutch publishing with his book Wij zijn 17 (We are 17), prefiguring the even greater furore that would greet the publication of Ed van der Elsken's Een liefdesgeschiedenis in Saint Germain des Prés (Love on the Left Bank) a year leater. Van der Keuken's book was as innovative as Van der Elsken's in its treatment of a section of society - not a class exactly, but a societal group - that was beginning to be regarded as a class apart. (...) The Beat Generation, the Beatnik movement, James Dean - the original rebel without a cause - and a pouting, gyrating phenomenon called Elvis Presley, drew the world's attention to the fact that, since the war, a new alien species seemed to have been dropped on to the planet - the teenager. Van der Keuken's two books, Wij zijn 17 and Achter Glas (Behind Glass, 1957), caught this mood perfectly. Whilst perhaps not stream-of-consciousness in style, they certainly are in terms of attitude, capturing a moment's experience in which nothing much happens except for the moment itself (...)."