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Edited by L.D. Couprie

Art History

The first systematic catalogue in the field of art and art history. The emphasis has been placed on serials and monographs concerning the history of western art. The monographs are divided over 8 different subjects:
• Reference works;
• Individual artists;
• Iconography and iconology;
• Public festivities and splendid ceremonies;
• Practical handbooks;
• Theory of art;
• Descriptions of collections, Catalogues of museums etc.;
• Miscellaneous.

417 monographs and 100 serials.


Various Authors & Editors

Art Sales Catalogues, 1600-1900
Part IV: 1881-1900

Part 4 is based on (the second section of) Volume 3 of the Répertoire des catalogues de ventes publiques intéressant l'art ou la curiosité … by Frits Lugt. The 8,885 auction catalogues in this microfiche collection represent 6,664 different Lugt numbers and 227 items not listed in the Répertoire.

This collection is part of the Art Sales Catalogues, 1600-1900 set.


Various Authors & Editors

Art Sales Catalogues, 1600-1900
Part III: 1861-1880

Part 3 is based on (the first section of) Volume 3 of the Répertoire des catalogues de ventes publiques intéressant l'art ou la curiosité … by Frits Lugt. The 5,655 auction catalogues in this microfiche collection represent 4,614 different Lugt numbers and 153 items not listed in the Répertoire.

This collection is part of the Art Sales Catalogues, 1600-1900 set.


Various Authors & Editors

Early Russian Cinema, Part 3
Russian Cinematographic Press (1907-1918)

Cinema in late-imperial Russia
In a quantitative sense Russia's cinematographic press comprises a modest segment of the general stream of the Russian periodical press at the beginning of the 20th century. However, in the dynamic of its development, the tempo of its reproduction and distribution, it far outstripped publication of all other contemporary genres and directions, and in this fact alone vividly reflected the general popularity of cinema in Russian society. In view of the fact that the documents connected with the history of the early Russian cinema and the overwhelming majority of materials on film have not survived up to this time, these publications constitute a unique collection of testimonials about the general and particular characteristics of the Russian cinematographic press of the 1900s and 1910s.

The art of the new age
The pages of these cinematographic publications have preserved for history not only the first examples of cinema theory, but also a very wide range of reflections of the artistic consciousness of the art of the new age. They chronicled all the variety and individual details of the cinematographic life of the Russian capitals and provinces, recorded consecutively the growth of cinematography in the cultural life of the country. The publications dedicated to the screen carefully documented the dynamic of the development of film production and distribution, traced the actions of the authorities in controlling screenings and noted all other accompanying factors and circumstances affecting the establishment of the new art.

The collection
Examining these sources, the researcher can reconstruct the film repertoire and assemble almost a complete list of domestic and foreign films shown on screens in Russia; he will find in them a detailed description of pictures, reviews by critics, censored materials, etc. In addition, they contain extremely valuable information about other forms of contemporary entertainment culture - the theater of miniatures, cabaret and music hall.
Armenian Architecture
A documented photo-collection for the study of the Early and Late Medieval Christian Architectural Arts of Transcaucasia and the Middle East

The roots of the Western architectural art, including early Christian art, are often to be found at the Transcaucasiasian and Middle east crossroads where the Armenian homeland was frequently meeting ground for both ideologies and conquerers. The conversion of the Armenian nation to Christianity (in AD 301 or soon after that) added a new dimension to the exchanges, particularly because the conversion inspired an Armenian drive for ethnic identity through the archtectural arts and scholarship.

Various Authors & Editors

Early Music from Low Countries Libraries
Part I: Concertos before 1820

Musical compositions, drawings and literature dated from the 16th to the 19th centuries. Compositions include concertos and orchestral music before 1820, church music from 1750-1820, vocal and tutor books (primarily 18th-19th century), technical and decorative drawings of organs, vocal music between 1650 and 1820 and keyboard music between 1620 and 1820.

This collection is also included in the Early Music from Low Countries Libraries collection.

Various Authors & Editors

Early Music from Low Countries Libraries
Part VIII: Music for Solo Instrument, 1600-1820

Musical compositions, drawings and literature dated from the 16th to the 19th centuries. Compositions include concertos and orchestral music before 1820, church music from 1750-1820, vocal and tutor books (primarily 18th-19th century), technical and decorative drawings of organs, vocal music between 1650 and 1820 and keyboard music between 1620 and 1820.

This collection is also included in the Early Music from Low Countries Libraries collection.
The Freya Stark Photograph Collection

This collection of photographs, which this edition is publishing in its entirety for the first time, is a fascinating record of the remarkable travels of Dame Freya Stark, who died in May 1993 at the age of 100. After her death, the entire collection, which documents Freya's many visits to the Middle East and beyond, and consists of nearly 6,000 prints in 42 separate albums, was deposited in the archives of the Middle East Centre at St. Antony's College, Oxford. A point of special interest is that most of the photographs were taken with the same camera: a Leica III, which she bought in 1933 and used on all her travels.
Growing up in a liberal household - her parents were bohemian artists - Freya and her sister Vera enjoyed an unconventional childhood. Their mother Flora had been brought up in Italy, and the two sisters spent part of each year either at their grandmother's house in Genoa, or at the home of a friend of their father in Asolo, near Venice. Although Freya had no formal education until she entered London University's Bedford College at the age of eighteen, by the time she was seven she could already converse in four languages. This unusual accomplishment, and the long walks that she took on Dartmoor and in the Dolomites, made her a natural traveller. She was also a keen mountaineer, and climbed the Matterhorn shortly after the First World War. During the Great War she had worked as a nurse on the Italian-Austrian front.

The Levant
Freya had her first experience of the Middle East in 1927, when she spent three months with the Quaker Mission on the outskirts of Beirut improving the Arabic she had begun learning at home in 1921. In 1928 she moved to Damascus, and travelled on to Amman and Jerusalem before returning to Europe via Cairo. She was to make many return visits to the Levant: in 1977, at the age of 84, she visited it for the last time, when she made her famous journey down the Euphrates on a raft made of reeds.

Iraq and Kuwait
Freya visited Iraq for the first time in March 1929. Three years later she worked for a short time as a sub-editor on the English-language newspaper, The Baghdad Times. She made many subsequent visits to the country before, during and after the Second World War. She made her first visit to Kuwait in 1932 and returned to that country in 1937.

In 1930 she made her first visit to Persia, the present-day Iran. After a month in Hamadan improving her Farsi, she visited Alamut. In September 1931 she returned to Teheran after being informed of her father's death. She was to visit Teheran on one further occasion, in 1943, while she was on leave from her work for the Ministry of Information.

The Arabian Peninsula
It was in 1935 that Freya first visited the Hadrhamaut region of Yemen, returning in 1938 in the company of the archaeologist Gertrude Caton Thompson. In 1939 she was sent to Aden as Stewart Perowne's assistant in the Government Information Department. Freya married Stewart Perowne in 1947, but the marriage was not a success and they divorced in 1952. She visited Sana'a and North Yemen for the last time in 1976.

On her way back to Europe following her first visit to the Middle East in 1927, Freya decided to make a short stay in Egypt. Later, in 1940, she was transferred to Cairo from Aden while working for the Ministry of Information. She visited Egypt for the last time in 1961.

Freya made frequent visits to Turkey between 1952 and 1976, often combining them with side-trips either to Greece or, occasionally, to Syria and Iraq. The Collection includes no fewer than eleven albums of photographs of Turkey by far the largest number of photographs in the Collection to be devoted to a single country.

Libya, Greece and Tunisia
Freya's husband Stewart Perowne was appointed adviser to King Idris of Libya in 1950, and Freya joined him in Libya in March of that year. This was also to be the year that she made her first visit to Greece, a country she was to return to on several further occasions during the fifties and sixties. She visited Tunisia in 1960.
Over the course of her long life, Freya also visited Nepal, Afghanistan, India, Cambodia, China, Kenya and Cyprus. In 1948 she also spent five months in Barbados while her then husband was serving as Deputy Governor.
Freya Stark was the author of numerous travel books and several volumes of autobiography. Her strong personality enabled her to survive in societies that were both male-dominated and suspicious of outsiders. It would no longer be possible for a woman, travelling alone except for native helpers, to make the sort of journeys she made. She was indeed a remarkable character, and these photographs are a fitting testimony to her life, as well as being an invaluable record of a rapidly changing Middle East.

Diane Ring, St. Antony's College, The Middle East Centre

Edited by Joachim Wolschke-Bulmahn

Garden Design, 16th-19th century
The Haupt Collection, Technical University of Hannover

IDC presents an important collection of rare works in the field of garden history: a selection of 100 garden books from the Haupt Collection in the Library of the University of Hannover. The Haupt Collection is comprised of more than 1,500 books and thousands of engravings and drawings dating from the sixteenth to the nineteenth century that deal with architectural history and art history. The present selection by IDC will constitute an indispensible source for garden, art and architectural historians.

Karl Albrecht Haupt
Karl Albrecht Haupt (1852 - 1932), the former owner, was a professor of architecture at the University of Hannover. After having participated in the war between Germany and France in 1870 to 1871, Haupt studied architecture at the technical universities of Karlsruhe and Hannover. From 1880 on he worked as a free-lance architect. In 1879 he was appointed as instructor for German Renaissance studies at the Technical University of Hannover; from 1907 on he also lectured on Spanish and Portuguese architectural history and ancient Germanic architectural history. Haupt received his PhD. in philosophy in 1893. In 1920 he was appointed as a full honorary professor in German Renaissance studies by the Technical University of Hannover. In 1927 he received an honorary PhD. in appreciation of his merits as teacher, architect and collector of graphics in the field of architectural history. In 1927 he became an honorary member of the Sociedade dos Arquitectos Portugueses diplomados pelo governo.
During his professional career Haupt also served from 1903 to 1907 as the first president of the Bund Deutscher Architekten (BDA) (German Association of Architects). In 1922 he became honorary member of the BDA. From 1904 until 1929 he was president of the Hannoverscher Künstlerverein (Art Association of Hannover).

The Haupt Collection
In 1901 Haupt sold major parts of his collection to the Technical University of Hannover, among them about 1,500 books, thousands of engravings and an extensive collection of drawings by Haupt himself, which he used for his lectures. The collection was later complemented with new acquisitions. The books of the Haupt Collection are significant for their coverage of architectural history. There are also numerous titles that deal with interior design, aesthetics, art history, technology, and garden history. The architectural and art historical portions of the collection include such important works as Leon Battista Alberti´s Libri de Re aedificatoria decem (Paris, 1512), Andrea Palladio´s I quattro libri dell ´architettura di Andrea Palladio (Venice, 1570), and Karl Friedrich Schinkel´s Sammlung architektonischer Entwürfe (Berlin, 1819-40). T he collection contains several of such works in various editions or languages. Thus Sebastiano Serlio´s Libro primo (-quinto) d´Architettura (Venice, 1566) is not only available in the original Italian version, but also in a German edition (Basel, 1609), and a Dutch edition (Amsterdam, 1616).
The Haupt Collection covers a broad range of facets of architectural and art history. Haupt also collected books about related issues such as the architecture of churches, theaters, monasteries, fortresses and other military buildings, or such issues as calligraphy and carpentry.

Garden Design
About 100 titles of the Haupt collection are of direct relevance to the study of garden history. They include such watershed works as Salomon de Caus´ Hortus Palatinus (1620), Antoine Joseph Dézaillier d´Argentville´s La theorie et la pratique du jardinage (1739), and Christian Cay Lorenz Hirschfeld´s Theorie der Gartenkunst (1779-85), as well as lesser known but, nevertheless, important works as Heinrich Hesse´s Neue Garten-Lust (1696) and Die Gartenkunst (1797) by J. F. Blotz (pseudonym of F.CH. Touchy). The garden titles included in the IDC microfiche project cover a broad range of subjects regarding the theory and practice of gardening, horticulture and garden design. Technological aspects are as well treated as garden ornaments, garden buildings, plant use, and the construction of green houses. For example, Johann Gottfried Grohmann´s Ideenmagazin für Liebhaber von Gärten (Leipzig, 1796-1802) offers insights into garden ornaments used for well-to-do gardens. The Dutch publication Het vermakelyk land-leven (Amsterdam, 1710-11) includes fascinating views of gardens of the same period in the Netherlands. Such a lesser known publication as Bernhard Christoph Faust´s Zur Sonne nach Mittag sollten alle Häuser der Menschen gerichtet sey (n.p., c. 1824) offers interesting views of the application of the English landscape garden to row houses. The two volumes of Theatri machinarum hydraulicarum by Jacob Leupold (Leipzig, 1724-25) elucidate how to construct water fountains and show, e. g., parts of the water technique used to run the fountains of the Marly garden. Last but not least, numerous titles deal with the most important seventeenth, eigteenth and nineteenth century gardens in Europe such as Stowe, Versailles, and Schwetzingen. These and the other titles included in the IDC project Garden Design, 16th - 19th Century, constitute a rich source for garden, art and architectural historians.

Joachim Wolschke-Bulmahn, University of Hannover
Gerrit Rietveld Archive
Rietveld Schröder Archive of the Centraal Museum Utrecht

The Utrecht furniture designer and architect Gerrit Thomas Rietveld (1888-1964) became a member of De Stijl in 1919. The still uncoloured version of the red blue chair that was later to achieve world fame was published in the group's journal (called simply De Stijl) in September of that year. Rietveld continued to contribute to the journal until it ceased publication in 1932. In his furniture designs, Rietveld lent three-dimensional form to the stylistic principles of the group.
In 1924 he was commissioned by the interior designer Truus Schröder-Schräder to build a house for herself and her three children. The resulting Rietveld Schröderhuis is the only building to have fully incorporated all the architectural concepts of De Stijl.

Mass production
After completing the Rietveld Schröderhuis, Rietveld decided to explore other directions. He became affiliated with the Congres Internationaux d'Architecture Moderne (CIAM). His 1927 design for a garage-cum-house was among the first of its kind, making use of a steel framework with standard, pre-fabricated concrete sheet cladding. In his furniture designs too, Rietveld strove towards inexpensive mass production. For many years he experimented with models which could be constructed from a single sheet of material. The most successful design of this type is the `zig-zag' chair, (although for technical reasons the chair was actually produced using four separate boards).
An important recurrent theme in Rietveld's work is the "core" house, in which the central core comprising hallway, kitchen, bathroom, toilet and stairway would be built in the factory. Extra rooms could then be added on site, to form a four, five or six room house.

Renewed interest
Many of Rietveld's ideas were never actually put into practice. The greater part of his realized work consists of detached private houses. In the 1950s appreciation of his work grew, partly due to a renewed interest in De Stijl. It was then that he was awarded his first prestigious commissions from the Dutch government. In 1953-54, he built the Dutch Pavilion for the Biennale in Venice. His last design was that for the Vincent van Gogh museum in Amsterdam, which was completed in 1973, nine years after Rietveld's death.

The Archive
The Rietveld Schröder Archive is an important supplement to Rietveld's physical work. The conserved drawings, photographs, letters and other documents give a clear picture of his ideas concerning mass production, industrialization and public housing, Rietveld's architectural practice was established on the ground floor of the Rietveld Schröderhuis, in the large room on the Pains Hendriklaan side, from 1924 to 1933. He collaborated with Truus Schröder on various projects during this period. Even after his practice moved to Oudegracht 155, he and Truus Schröder; with whom he also had an intimite relationship, continued to work together regularly. Following the death of his wife in 1957, Rietveld lived on in the Schröderhuis for seven years.

The world's largest Rietveld collection
The Rietveld Schröder Archive consists of Truus Schröder's collection of drawings, photographs, letters, documents and literature by and about Gerrit Rietveld. Some 1,900 drawings, 2,250 photographs, 1,800 letters and 330 texts cover the entire period of his life, with the accent on the early period and the construction of the Schröderhuis. A large part of the collection comprises sketches made by Rietveld himself. In 1987, the Rietveld Schröder Archive, the house and its contents, were given into the trusteeship of the Centraal Museum Utrecht. Together, with the museum's own collection, it forms the largest Rietveld collection in the world.

Ida van Zijl, Centraal Museum Utrecht