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108 items found:

ZENKER, Rudolf. Farbiger Decken- und Wandschmuck im Geiste Fruhgermanischer Kunst Plauen, Stoll [190-?]. Folio (48cm) publisher gilt decorated portfolio (somewhat knocked about but solid); two preliminary leaves including title; 22 chromolithograph plates. Signs of use, one plate trimmed and repaired along the edges; a perfectly decent copy. Au$750

A handsome pattern book of designs for interior colour schemes and elaborate decoration with an avowedly nationalist spirit looking for inspiration in a distant past. So who can resist pointing out the remarkable similarities between some of Zenker's designs and those of Maoris?
Zenker was a Plauen based designer and painter whose Germanic pride led to his most reproduced work being the medieval pageantry of a Nazi warrior of 1939.


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Ornament. Biedermeier-Zierat. Plauen, Christian Stoll [190-?]. Smallish folio (33x27cm) contemporary half morocco (spine worn and chipped at ends but solid enough); [4]pp, 24 colour litho plates. Au$400

Actually an often appealing pattern book of jugendstil ornamental designs for printed fabrics, papers and suchlike. The Biedermeier period is used as inspiration resulting in some mawkish designs but many of the stylised patterns are quite smart and the whole is colourful and cheerful. This is the ‘kleine ausgabe' which suggests a larger version of some sort exists and indeed the other version, with same number of plates, is three inches taller and square in format.


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Catalogue - Guns. Fs Dumoulin & Cie. Liege. Catalogue. Fabrique d'Armes. Liege [c1900?]. Oblong quarto printed wrapper (bit marked & used); 88pp, numerous photo illustrations & wood engravings. Au$200

Revolvers, shotguns, rifles, double barrelled muskets and pistols, some flintlocks designed for the African coast.


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Textile sample book. [cover title] [Sawa Shirushi - Kyozome Gofuku Oroshisho]. Kyoto, Sawada Shoten [190-?]. 23x16cm publisher's cloth (discoloured) with bone clasp; 100 silk samples in accordian folding heavy printed card mounts. With another defective sample book with 30 of 32 samples of dyed cottons. Au$225

Finely grained, creped and patterned silks for kimonos. The name Sawada is still connected with kimonos in Kyoto but I can't trace any relationship. The current Sawada Shoten in Kyoto sells work clothes and was founded in 1968.


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Textiles. - [Shokumon Zue - Miyuki]. Tokyo, Yoshikawa 1901. Two volumes, 25x18cm, publishers patterned wrappers with printed labels; 23 and 26 double folded leaves, being a leaf of text in each, 44 and 50 pages of coloured woodblock prints, each page with one or two designs. Some surface blemishes to wrappers. Au$300

Something of a masterpiece of woodblock printing, but not for the usual reasons. These are designs for woven rather than printed patterns, and in many cases one needs to hold the plate at the right angle to see that a design, or the particular texture of a cloth, has been overprinted, embossed or burnished into what seems a monochromatic square.
Part of a fairly large series, the Kojitsu Sosho or Library of Ancient Customs, these two cover textile designs for costumes for imperial visits.


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HOLME, Charles [ed]. Modern Design in Jewellery and Fans. London, The Studio 1902. Quarto publisher's printed wrapper (some wear to the spine); numerous illustrations (17 colour plates including one printed on silk). Au$150

A very useful survey of all that is new and beautiful in modern design in Europe and England: high art nouveau in France - Aubert, Bing, Grasset, Lalique, Mucha, &c; and national substrata such as arts and crafts in Britain - Ashbee, Jesse King; Mackintosh, &c; the Seccesion and Werkstatte in Austria and Germany - Olbrich, Mesmer, Anna Wagner, Mohring &c.
As with all of The Studio's efforts, the aim is education and advance; Holme says in his preliminary note, 'So long as a public is to be found that will purchase trinketry in imitation of wheel-barrows, cocks and hens, flower-pots, and moons and stars, so long will the advance in art be retarded'.


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BINET, Rene. Esquisses Decoratives. Paris, Librairie Centrale des Beaux-Arts [c1905]. Folio, loose as issued in four fascicules in illustrated wrappers, all in publisher's portfolio of cloth backed illustrated boards; [2],14pp and 60 plates, 13 pochoir and a few others with a second colour added, b/w illustrations through the text. A rather good copy. Au$2000

Binet, like many architects and designers, followed Haeckel into the microscopic world for grotesque and fantastic inspiration but married such modernity with historicism in a singular way. Durant (in 'Ornament') calls Binet 'in many respects the typical French Art Nouveau designer' which, apart from being too dismissive, is just not right. Many of his designs, particularly the coloured graphics, are ultra modern high art nouveau but much of his work has an oddly arcane, recherche effect - in which something as modern as an electric light switch modelled on the forms of diatomes or radiolaria and treated with Beaux Arts tradition becomes a mysterious if not menacing almost gothic artifact. Without claiming anything of the same stature, or even similar results, for Binet he could probably be more usefully likened to Gaudi. This is an exposition of ideas for every school of design that Binet could encompass - from architectural detail to pochoir graphics; shop fronts to tapestry; stained glass to gardens; jewellery to mosaics.


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Furuya Korin. [Take Zukushi]. Kyoto, Unsodo 1906 (Meiji 39). 18x25cm publisher's boards; 50 colour woodcut designs on 25 double leaves, accordian folding. Light signs of use, a rather good copy. Au$1650

Exquisite printing, with metallic inks and dustings of mica, of often exquisite designs by the foremost of neo-Rimpa designers. One of three independent portfolios of designs by Korin each devoted to one plant. This one is bamboo. The others are pines and plums. Korin, whose name is taken from the original master, started as a gifted but unsurprising designer - prolific and workmanlike in ambition compared to Sekka. But come the twentieth century - the final years of his life; he died young in 1910 - his albums of designs (rather than art) need no apology.


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Catalogue - Garden Furniture. John P. White, Bedford. A Complete Catalogue of Garden Furniture and Garden Ornament. By John P. White, The Pyghtle Works, Bedford ... Xmas, 1906. Bedford 1906. Quarto publisher's printed wrapper (a missing piece from the back wrapper expertly replaced); 112pp illustrated in line and photo throughout. A couple of related flyers loosely inserted, quite a good copy. Au$875

From pots to bridges and greenhouses; an extensive range, essential for the chic but thoroughly English - ie Arts & Crafts - garden. White made furniture designed by Baillie Scott and some of this stuff may well be his but the designs here are, with two exceptions, uncredited except by inference from a passing remark to White himself. The two credited are by The Hon. Mrs. Anstruther. You don't withold credit from someone like her.
Many of the drawings are signed and while it isn't clear that the artist was also the designer those signed 'J.C.' are likely by James Crossland who designed furniture for White at about this time.


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Kameda Yoshiro (or Kichirobei). [Wayo Kenchiku Shin Hinagata]. Osaka, Seikado 1907 (Meiji 40). Six volumes 22x15cm, publisher's wrappers with title labels; illustrated throughout with plans, elevations, measured drawings etc. Wrappers with some surface rubbing or insect grazing; a pretty good set. Au$850

I'm not sure whether this should be described as Japanese principles applied to western design or the other way round. I think both, if it matters. An excellent builder's pattern book that was certainly put to wide use.
There is a 2008 learned paper by Yanigasawa and Mizoguchi that shows how Kameda introduced Japanese carpentry and the modular system into western design but all except the precis of their paper is in Japanese so I have no idea how they go about proving their point. They do tell us that Kameda was a master carpenter in Fukuoka.


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NICHOLSON, Charles A. & Hubert C. CORLETTE. Modern Church Building. London 1907. Quarto publisher's printed wrapper; pp241-284, numerous illustrations and plans. Au$50

An offprint from the Journal of the R.I.B.A. An attempt to re-ignite some interest in the subject, given that 'ecclesiology was talked to death fifty years ago' and the 'last contribution to our subject which is of any considerable value was J.T. Micklethwaite's racy little book on modern parish churches'. This possibly refers to Micklethwaite's 'Parish Churches in the Year 1548' published in the Journal of the Royal Archaeological Institute, 1878. At least I hope it does.


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Palace of Peace. International Competition of the Carnegie Foundation. The Palace of Peace at The Hague. The 6 premiated and 40 other designs chosen by the society of architecture ... London, Jack 1907. Folio (49x38cm); eight parts loose as issued in publisher's printed wrappers and cloth portfolio (the portfolio a bit marked and bumped); 76 plates (eight colour) - elevations and plans. An excellent set. Au$600

A luxurious production. According to the report judging took several days, votes were close and there was some argument before Cordonnier's baroque wedding cake was given first prize, largely, the report suggests, due to its sympathy with surrounding buildings. Of the now revered competitors, Otto Wagner got fourth prize and Berlage and Saarinen were further down the lists. Despite stylish aspects of their designs and the idiosyncratic splendour of Debat's Indo-Mayan stupa - which looks to me like it could have inspired Burley Griffin's parliament house for Canberra - it does seem, from this distance, that the judges got it right. I'm sure they'll all sleep easier in their graves knowing that.
Cordonnier's building has a joyous optimism that matches the crusading zeal for world peace of patron Carnegie and any number of seemingly sensible exponents of world unity at the time. Wagner's building is an opulent museum or theatre, Saarinen's ideal for a mausoleum, Berlage's a Byzantine basilica, and most of the others studied lumps of classical monumentalism. Cordonnier's building did suffer paring down to meet budget and lost some of its airy charm but still ended up closer to the original design than many winners of other competitions.


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WALTON, Thomas. Present-Day Shipbuilding. London, Griffin 1907. Octavo publisher's cloth; xii,224pp, 162 illustrations (many folding). Some spotting but a rather good copy. Au$150

A reworking of sections of his "Steel Ships", a reasonable amount on some new types of vessels: the Lusitania, Mauretania, Campania and Lucania.


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HADDON, Robert J. Australian Architecture. A technical manual .. Melbourne, Robertson [1908]. Octavo untrimmed in dark green morocco (spine now a dark brown) by Margaret Chapman, lettered in gilt on the spine and blocked in blind on the sides; [6],544pp, 94 plates (one colour). A very good copy. Au$2500

A special presentation copy bound in a credible (despite some typically clunky lettering) craft binding signed 'MC' on the rear dentelle - Margaret Chapman, one of the first professional craft binders in Australia; she established the Craftsman Bindery and won exhibition prizes in 1907 - with on heavy endpapers, a carefully calligraphed inscription from Haddon to Frank Templeman Mew "with the affectionate greetings of his one time pupil ... inscribed in Melbourne in the year 1909". and a mounted photograph of Haddon facing the caption "The author at work in the study at 'Anselm' Caulfield". Haddon served his articles with Mew in London from 1881.
Mew's architectural career was brief; born the second son in a family given to brewing for the eldest son and architecture for the rest, he was still young and unknown in the mid eighties when he was called back to brewing, so becoming a rich and successful businessman.
For generations this was the first true Australian architecture book. Before this we have some trade and technical literature, some government reports and scattered papers and, recently discovered, a pattern book printed but probably not published in Melbourne in 1885. So Mr Haddon is now moved down to second place. This is a matter of precedence rather than importance as no-one ever saw the pattern book. Despite Haddon's approach (a textbook rather than pattern book), his examples can easily be traced to his own projects - domestic, commercial, churches, hospitals and shearing sheds. His city office in this book, for example, is a close relative to his Fourth Victoria building in Collins Street, Melbourne.
His work was modern, very much Arts & Crafts (or Federation if you like) at this period and he argues for a specific response to local conditions and materials and demands a modern, honest use of materials. Not all his designs hark back to English antecedents; the colour plate here shows a city building owing a dramatic debt to Moorish Spain (and some fairytale castle) and his design for the Swinburne College building appears to be part Spanish mission and part Mesopotamian.


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BRADSHAW, Lewis. Modern Mansions. A solution of the housing, the servant, and the drink problems, by a rational, an evolutionary, and a scientific method of housing reform. Kettering, Northamptonshire Printing [1908]. Octavo publisher's illustrated wrapper (spine ends neatly repaired); 80pp, six plates (five folding). Au$500

Bradshaw has, with good judgment, seeded sensible British calm through his title - rational, evolutionary, scientific - but this is, for England, a radical little book. Bradshaw proposes housing along lines not just co-operative but communal - he goes so far as to use the term 'collective'. He diverges from the high density urban solutions and the Garden City ideals then predominant among pioneering town planners. Proposed here are short rows of villas or terrace houses - possibly built using Edison's prefabricated concrete system - radiating out from a central amenities hall, these in turn radiating out from a circular town centre of markets and shops.
There are some intriguing parallels here with Garnier's schemes, worked out at about the same time but not published for another decade - given we leave out the epic grandeur of Garnier.


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SPARROW, Walter Shaw. Our Homes and How to Make the Best of Them. London, Hodder & Stoughton 1909. Large stout octavo publisher's cloth; xii,280pp, 30 colour plates (six double page), numerous b/w photo illustrations, plans &c. A bit of spotting and a couple of minor flaws but quite a good copy of a book that didn't wear well. Au$100

A solid survey of what's up to date and fashionable, illustrating the work of Ashbee, Lutyens, Voysey, Newton, Brangwyn, Baillie Scott, Gimson, and others.


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Ogino Issui. [Zuan Hyakudai]. Kyoto, Unsodo 1910 (Meiji 43). Three volumes 27x20cm publisher's boards with colour woodcuts (some marks and scrapes); colour woodcuts on 158 pages, accordian folding. Some spots and minor signs of use inside, the first inner hinge strengthened; a rather good set. Au$1800

First edition. This is called a hundred designs but I count a hundred and thirty. I guess several pairs or trios count as one design. Ogino was one of the more beguiling and inventive of the Korin-Sekka-neo-Rimpa group of designers who took back some art nouveau that had been pinched from Japan by Europe. But of course the inspiration owes more to the original 17th century Korin: Ogata.


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DAVISON, Ralph C. Concrete Pottery and Garden Furniture. NY, Munn 1910. Octavo, very good in publisher's decorated cloth; xiv,196p and publisher's list, 140 photo illustrations, diagrams and line drawings. Au$75

First edition. Exactly the sort of information which, in the wrong hands, leads to unspeakable evil. In general I'm in favour of knowledge for the masses and the unveiling of secrets held within cabalistic trades but this steps over the line. There isn't anything in here to take exception to, the examples are unremarkable, sometimes handsome, but I've seen too much of what happens when just anyone is given access to concrete and the means to knock up a mold.


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JONES, Owen. The Grammar of Ornament ... illustrated by examples ... London, Quaritch 1910 [reprinted 1928]. Small folio publisher's gilt decorated cloth; 112 colour plates including the extra title, illustrations through the text. Inner front hinge cracked but firm; cracking is common with this heavy book. A rather good copy. Au$450

The last proper edition, it can still stand comparison with the 1865 edition.


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Nosatsu - Senjafuda. Ichikawa. A printer's sample album of woodcut senjafuda or nosatsu. n.p. [Kyoto c1910-30?]. 22x32cm handmade album titled in ink on the front; 130 colour woodcut examples 18x6cm, seven 18x11cm, a couple of small and one longer folding examples at the end. The album somewhat dishevelled but solid and the woodcuts in good shape. Au$750

A printer's album of senjafuda with the name Ichikawa of Kyoto and what may be an address on the cover - the writing defeats me. Their block stamp appears throughout.
Nosatsu - votive slips left at temples and shrines - are a thousand odd years old tradition but in the last couple of hundred years they evolved into elaborate prints made more to be swapped and traded than pasted on temple gates. The tens and twenties maybe represent the peak years before lithography and then self adhesive mass produced stickers took over. Afficiandos commisioned them, companies used them as advertisements and business cards. Designers and printers made them a speciality and typographers loved them.
This is high class Kyoto printing, bright and strong with the occasional touch of added embossing.


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Hospitals. Rigshospitalet i Kjobenhavn. Copenhagen, Kommission Hos G.E.C. Gad 1911. Quarto half morocco; [4],128pp, 8 folding colour plans, numerous photo illustrations, plans &c through the text. A handsome copy. Au$125

An exemplary monograph on the new state hospital. The history is traced from its inception in the mid 18th century as the free Frederiks Hospital to its opening at the end of 1910 in its present site - though these buildings themselves have not survived - one of the first major 20th century hospitals. Planning, building, equipment, management, functions and purpose - all are well covered down to things like sinks and the bedside lamps for patients. There is a resume in French at the end and French captions are provided for the illustrations.


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QUENIOUX, Gaston. Elements de Composition Decorative. Cent themes de decoration plane. Paris, Hachette, 1912. Quarto publisher's decorated cloth blocked in green and red (back hinge partly split, a bit marked); [8],318pp, 543 illustrations including 25 colour plates. Natural browning of the text paper, still a rather good copy. Au$60

A thorough grounding in design in one hundred parts, each focussed on a particular form of pattern or field of design: printing, ceramics, textiles, etc. The examples come from everywhere and all times but all somehow sit well with the stylish Art Nouveau forms of modern design that Quenioux espouses.


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New York Architecture. Competition for the New York Court House MCMXIII. Edited by authority of the Court House Board. NY, Architectural Book Publishing [1913]. Hefty folio, 52x36cm, loose as issued in publisher's portfolio (rubbed and worn but solid); five leaves of preliminary text and 88 plates: plans elevations and perspectives. Ex library with small stamps on the preliminary pages and the back of the plates; a couple of marginal tears; used but decent enough. Au$475

Twelve major architects were invited and a preliminary competition selected another ten to enter the competition for a new New York Supreme Court. Ten were originally invited and the New York Times complained about the regulations and about missing names like Cass Gilbert, George B. Post, Cram Goodhue & Ferguson and a couple of others. Whatever effect this complaint had, Gilbert and Post were included but the competition remained firmly unpublic. Guy Lowell won with a grand circular mass that was then revised, by the time it was built, into a completely different building.
The first critics of note were the Supreme Court Justices who said they preferred the old Tweed building to Lowell's design. And the Justices remained critics of note. Despite resiting and revisions over the next few years they remained implacably opposed to a circular court building. But it was economics that killed it in the end.
All the entries are included - a fair division of four plates each - and as to be expected the temple is predominant, more or less adapted or added to. McKim Mead and White's design looks they had a hotel in mind and of the few that went upwards, as New York was meant to go, some have put an awkward (or picturesque depending on taste) tower on a temple. George and Edward Blum's tower is the only building that truly looks modern in the New York of 1913 but modernity and elegance don't personify the weight and dignity of the law.


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Design. An album of designs for textiles and/or paper. c1913-1920's? Large folio cloth [620x430mm]; 24 card leaves with 39 mounted original colour block prints (3 double page). Expected signs of use but nothing drastic; one print removed. Au$1200

Doubtless the designer's album of designs, these are proof prints from the blocks, each show the shape where the repeat pattern fits. The first pages are annotated with details of the client ('Achete a George. 9 Rue St Fiacre Paris' - in earlier decades this was the home of a calico manufacturer, which makes sense, and now houses a public relations firm and Ella Bache, which is neither here nor there) and the engraver (Gillet, sometimes in concert with someone else); the details dwindle as the album proceeds until we reach the large and dramatic geometric design in black and white which was "vendu a Mrs Bosset".
Dating these designs to 1913 would seem foolish but for the first few leaves being dated 1913 in the top corner; two or three are dull, traditional floral patterns but the rest, while by no means radical avant garde, would sit more happily in the next decade or two - some are really quite stylish. The theme is floral, or at least botanical although one is based on a Chinese cloud pattern; several are oriental in style or inspiration and one is a very stylish piece of Japanese abstraction.
I'm pretty sure this is the work of a Japanese designer in Paris, partly because it most recently came from Tokyo and partly because of the modern simplicity of several designs.


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SAARINEN, Eliel. Munksnas-Haga och Stor-Helsingfors - Stadsplansstudier och forslag. Helsinki, Lilius & Hertzberg 1915. Quarto publisher's wrapper with mounted colour illustration; [6],163pp, photo illustrations, plans and drawings, 10 folding colour plans. Signs of use, some creasing of the long plans. Au$650

Even without skipping by the monumental grandeur at the official centre of Saarinen's almost winning design for Canberra you can easily recognise the same hand in his plan for Munkkiniemi and Haaga on the outskirts of Helsinki. Saarinen worked on this from 1910 so the two projects overlap.
This, Saarinen's first book - published in Swedish and Finnish versions - is divided between a survey of planning with particular attention to Unwin and the garden city, Helsinki, and this scheme, presented with a five metre long model made by his wife Loja in 1915. Photographic aerial views in the book are of the model. His client was land developer M.G. Stenius - a company whose wealth was built on gardens appropriately enough. Not a lot of this scheme was built but the first stages were built to his plans with one street of - then an innovation too radical for Finland - Saarinen's row houses. Probably a better batting average than Griffin's with Canberra. Trove finds only the Sydney University copy in Australia.


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