Thanks both.
And I have to agree that the 1917 and 1918 catalogues for de Bazel and de Lorm are particularly beautifully engraved.
This is the beginning of the 'industrial art' period in Holland ('kunstnijverheid'). The creative forces in the glass factory comprised people who had trained in typography, graphics and architecture, as well as in glass design.
This first attempt at 'designer glass' shows most strongly the 'arts and crafts' ethic with the 'hand-printed' feel of the covers.
The paper is thin and fine, the sort of thing you might find in book of original engravings, and the quality of the plates is honoured by the quality of the printing.
The customer almost has the feeling that the catalogue comes from a small art exhibition, rather than an industrial producer.
When Leerdam's most-famous son, AD Copier came into his first real job at the factory (1919) this was the 'state of mind' as well as 'state of the art'.