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Särtryck ur Svenska Linnésällskapets Årsskrift. Årgång 1970-1971. Uppsala 1973. 8:o. Sid. 13-35. Illustrerad. Med Summary på engelska: Linneaus as a schoolboy. Klammerhäftad, tryckta röda omslag. Fint exemplar. Dedikation av Fredbärj.

Västerås, Ica-förlaget, 1993. 8:o. 128 sid. Rikligt illustrerad, huvudsakligen i färg. Dek. förlagsband i mycket fint skick. Proveniens: Gunilla Palmstierna-Weiss (1928-2022), med prydlig proveniensstämpel (2023).

Stockholm, Albert Bonniers Förlag, 2010. 8:o. 592 sid. Dek. mjukband i färg. Nyskick. Proveniens: Gunilla Palmstierna-Weiss (1928-2022), med prydlig proveniensstämpel (2023).

Stockholm 1978. 8:o. 56 s. Illustrerad. Klammerhft., dek. omslag. Gott skick. Texter av Birgitta Rapp, Georg Nordensvan, prins Eugen och Richard Bergh själv. Katalogdelen upptar 47 nummer.

Helsingfors, Holger Schildts förlag, 1935. Stor 8:o. xii + 492 s. + ett porträtt. Häftad, tryckta omslag. Ouppskuren. Gott skick. (Skrifter från Svenska Litteraturssällskapet i Finland, 248.)

Uppsala, Uppsala University / Institutionen för arkeologi och antik historia, 2000. Diss. A4-format. [viii] + 4 + 91-126 + [ii] + 118-154 + [ii] + 1-28 + [ii] + 20 pp. Illustrated. With Summary and Abstract leaf. Pictorial wrappers with flaps, fine. (Summary:) "This thesis has described the Tuscan, Doric, Ionic and Corinthian orders as subsystems, which were configured according to the desired effect of the system, i.e. the architecture. This follows what Vitruvius termed decor and was dependent on either physical factors, convention or custom. The most important in this context was convention. Consequently, traditions of adorning buildings with certain columns and beams have been explored here. A major point has been to emphasize the postdepositional processes, mainly in the form of the Renaissance studies of ancient Roman architecture, which through an unbroken tradition, have set the standards for many modern handbooks on the subject and thus have formed our own perception of it. The main objective has therefore been to treat principally archaeology, i.e. the monuments. A large amount of archaeological data has been collected and patterns of use in, among and between the orders have been explored. The first case study ('The Roman Blattkelch capital: typology, origin and aspects of employment') dealt with modifications of the Corinthian order, in which an alien element (the Blattkelch capital) was adopted to express qualities that the conventional Corinthian order failed to do - probably due to its gradually more extensive use. These qualities included cultural identity, and the ability to define architectural space in a milieu with a multiple use of the standard, configured, Corinthian order. 'Superimposed orders: the use of the architectural orders in multi-storeyed structures of the Roman Imperial era' treated the columnar setting with superimposed Tuscan / Doric, Ionic and Corinthian orders, known as the 'theatre motif'. It was argued that this is a Renaissance concept and that an archaeological study reveals quite a different use of orders in superimposed columnar displays. These patterns of modulations (the sequence or replacement of one order with another) are instead dependent on the architectural context. For instance, superimposed Tuscan orders were often used in amphitheatres, while superimposed Corinthian may be seen in theatres. I have further proposed that the few ancient examples of the 'theatre motif' that do exist, were probably influenced by the important Theatre of Pompey in Rome. The third case study ('Rustication and decor in Roman architecture and their reflection in the architecture of the 16th century, with special attention to their use in the classical orders'), which has dealt with rusticated architectural members, further elaborated on the noncanonical modifications of the orders. Here, modifications within the orders in terms of form and manipulation of the stone were described as means of emphasizing the plain and robust qualities of the Tuscan and Doric orders. This made the Tuscan / Doric orders suited mainly for buildings connected with the agroeconomic sector and the spheres of the arena and war, all according to what was considered proper - decor".

Stockholm, Sveriges Allmänna Konstförening, 1978. 8:o. 24 sid. Illustrerad i svartvitt. Med 113 katalognummer. Klammerhft., dek. omslag. Vernissagkort inklistrat på främre omslagets insida.

Särtryck ur bokverket Göteborgskoloristerna. Stockholm, Rabén & Sjögren, 1948 4:o. Sid. 289-316 + planscher. Med 24 illustrationer, varav 2 i färg. Häftad, tr. omslag. Gott skick. Exlibris samt prydlig namnteckning: Karl Söderberg.

Stockholm, P. A. Norstedt & Söners förlag, 1938. 8:o. 408 s. Fint grönt klotband, ryggtiteletikett i skinn. Mycket gott skick.

Norsborg, Wernqvist & Co., 1983. 21 x 12,4 cm. 76 s. Illustrerad i färg. Förlagets grå dek. pappband. Fint exemplar. Tillskrift till [Sten G. och Nenne Lindberg] från Esther och Nils [Bonnier] 26.3.83. med ett bifogat kort: "Stockholm 9.3.83 Kära vänner! Ulla o. Boris har lovat oss, att få sända denna bok till våra vänner som var med på lunchen den 26.3.83 Hälsningar Esther och Nils [Bonnier]". Proveniens: idéhistorikern och bokbandsforskaren Sten G. Lindberg. "Vår lilla Promenade i Nice tillägnas vännen, byggmästaren, murmästaren och timmermansbrodern Nils Bonnier på 75-årsdagen den 24 mars 1983" (s. 7).

St. Martinville, Greg Guirard, 1990. 22,6 x 29 cm. (oblong). ii + 94 s. Richly illustrated with photographs. Publisher's cloth, pictorial dustjacket, fine. Second printing. "A portrait of swampland Cajuns like none other ever published" (quoted review).

New York, Metropolitan Museum of Art / Pierpont Morgan Library, 1965. 8vo. 248 pp. 151 catalogue entries and 151 fine plates in black & white. With index of artists. Publisher's cloth, as new. Without dustjacket. The first in a series of catalogues published jointly by The Metropolitan Museum of Art and The Pierpont Morgan Library to record exhibitions of drawings from the two institutions and from distinguished private collections. The exhibitions and the books that illustrate them will ultimately document the finest traditions of European draughtsmanship, from the Renaissance through the nineteenth century. - - - Drawings by Federico Barocci, Giovanni Bellini, Sandro Botticelli, Michelangelo, Vittore Carpaccio, Benvenuto Cellini, Correggio, Lavinia Fontana, Giorgione, Giulio Romano, Leonardo da Vinci, Lippi, Lorenzo Lotto, Parmigianino, Palma Giovane, Perino del Vaga, Antonio Pollaiuolo, Jacopo Pontormo, Raphael / Raffaello, Andrea del Sarto, Tintoretto, Titian / Tiziano, Giorgio Vasari, Veronese, and many others.

Göteborg, Kino Koszyk, 2003. 8:o. [34] sid., bestående av styva 17 svartvita kort i ringpärm. Gott skick. Proveniens: Bengt Lagerkvist. Gott skick. Innehåller bl. a. porträtt av Wis awa Szymborska, Czes aw Mi osz och Erland Josephson. Utgiven inom ramen för samarbetet mellan Województwo Sl skie och Västra Götalandsregionen. Text på svenska, polska och engelska. - - - Joanna Helander är född Och uppvuxen i Ruda i polska Schlesien. Under sina studier i Krakow fängslades hon efter att ha protesterat mot Warszawapaktens invasion i Tjeckoslovakien. År 1971 emigrerade hon till Sverige och utbildade sig till fotograf. Hon har utgivit ett flertal fotoalbum och tillsammans med Bo Persson gjort internationellt uppmärksammade filmer med anknytning till Polen. / Joanna Helander was born in the town of Ruda in Upper Silesia, Poland. While studying in Cracow she was arrested for having protested against the Warsaw Pact's invasion of Czechoslovakia. In 1971 she emigrated to Sweden where she trained as a photographer. She has published several albums of photography and, together with Bo Persson, has made a series of internationally award-winning films.

Stockholm, Carlssons / Sober, 1996. 8:o. 88 s. Illustrerad. Häftad med skyddsomslag, fint exemplar. Dedikation: "Olof och Martina från Lars - hoppas något här kan tilltala er fast Swedenborg är omilt behandlad s. 64! 28.10.96". Ur Olof Lagercrantz' bibliotek med prydligt insatt tryckt etikett som anger detta.

Stockholm, Våra rum i samarbete med Galleri Engström, [1999]. Stor 8:o. Ca. 100 planschblad, delvis utvikbara. / Text bilingual in English and Swedish. Häftad, dek. omslag.

Stockholm, C. E. Fritzes Bokförlags Aktiebolag, 1931. 8:o. 104 sid. + 1 porträtt. Trevligt halvklotband, omslagen medbundna. Gott skick.

[Stockholm 1969.] 8:o. 96 s. Illustrerad. Texter av Gerhard Bonnier och Ulf Linde. Med katalog över utställningen. Häftad, dek. omslag, obetydligt nött. (Moderna Museets utställningskatalog nr 83.)

Stockholm, Wahlström & Widstrand, 1992. 8:o. 232 s. Illustrerad. Förlagsband, mycket fint exemplar. Ur Olof Lagercrantz' bibliotek med prydligt insatt tryckt etikett som anger detta.

Stockholm, Folkrörelsernas konstfrämjande, 2017. 4:o. 160 sid. Rikt illustrerad i färg. Dek. förlagsband i fint skick. Folksamhuset är ett 27 våningar högt kontorshus vid Skanstull på Södermalm i Stockholm, med adress Bohusgatan 14. Det stod klart 1960 och har sedan dess varit huvudkontor för försäkringsbolaget Folksam. Huset är ritat av arkitekterna Yngve Tegnér och Nils Einar Eriksson. Enligt Stockholms stadsmuseum utgör Folksamhuset en del i riksintresset Stockholms innerstad och är "ett omistligt inslag i Stockholms siluett som ett uttryck för 1950- och 1960-talets val att framhäva samhällsnyttiga institutioner".

Särtryck ur Konsthistorisk Tidskrift. U.o.o.å. 4:o. Sid. 55-72. 13 illustrationer. / Summary in English. Klammerhäftad, tryckta omslag. Gott skick. Dedikation: "Sven Alfons från förf."

Stockholm, Statens konstråd, 2002. 8:o. 96 s. Rikt illustrerad. Förlagets senapsgula pappersband. Mycket gott skick. Proveniens: Bengt Lagerkvist (1926-2013), regissör och manusförfattare, upphovsman till flera serier älskade TV-program om konst i Sveriges Television: Konstalmanackan, Konstverk berättar och Konstpaus. Han var son till Pär och Elaine Lagerkvist, tvillingbror till Ulf. (En liten tryckt etikett längst bak i boken anger proveniensen.)

Geneva, Banque Paribas (Suisse) in cooperation with the Swiss Institute for Art Research, 1993. 4to. 28 x 21 cms. 128 pp. Richly illustrated in colour. With bibliography and index. In English. Pictorial wrappers, very fine. Oskar Reinhart (1885-1965) was a Swiss arts patron and art collector, born in Winterthur. His collection now fills two museums, the Kunst Museum Winterthur Reinhart am Stadtgarten in the centre of Winterthur, and the Oskar Reinhart Collection "am Roemerholz" at his former home in Winterthur. - - - Oskar Reinhart's "Römerholz " collection comprises two main groups, which originally corresponded more or less exactly to the two architectural components of his residence. On the one hand, there were a few Old Master paintings, displayed in the villa of 1915 and visually attuned to their surroundings. On the other, there were works of French Impressionism and its immediate forerunners, which formed the main focus of the collection and which Reinhart juxtaposed with examples of earlier art in the gallery building of 1925. The collection acquired this balance of elements in 1923, when Reinhart purchased some outstanding French nineteenth-century paintings. Pursuing his aim of acquiring only the best works available, he amassed a concise survey of European art that belongs among the finest of its kind anywhere in the world.