Search Results

Frankfurt a.M., S. Fischer Verlag, 1959. 8vo. 64 pp. + plates. Sewn as issued, pictorial wrappers. Very fine. Provenance: the joint book collection of Peter Weiss (1916-1982) & Gunilla Palmstierna-Weiss (1928-2022), neatly stamped in 2023. German translation of Bazaine's "Notes sur la peinture d'aujourd'hui" (1953).

Särtryck ur Från Skåne, 3 (1904), s. 1-19. Talrika vinjetter av Ernst Norlind. Klammerhft. i otryckt omslag, främre omslaget med författarnamnet påskrivet. Omtrycktes i Idéer och makter (1908).

Göteborg, Acta Universitatis Gothoburgensis, 2003. Diss. 8:o. 372 sid. + Abstract. Illustrerad. / Summary in English (6 pp.). Häftad, dek. omslag med flikar. Dedikation. Fint skick. (Gothenburg Studies in Art and Architecture, 14.) - - - (Abstract:) This thesis is about the Mexican artist Frida Kahlo (1907-1954) and her works, with emphasis on her painted self-portraits. The objective is to place Frida Kahlo's pictorial production in relation to a place and time specific context and test the theory of Frida Kahlo's self-portraits as a project connected to a gene ral striving towards a new formulation of national identity. The majority of Frida Kahlos pictorial production coincides with a historically delimited era in which there was a break from earlier role models and ideals, politically, culturally and ideologically. This phase was an artistically dynamic period with a redefining view of art and the history of the nation, a visualisation of the mythology and symbolism of theIndian cultures of origin, and an emphasis on the Indian ethnicity of the nation. Two chapters describe the ideological context in which Frida Kahlo's works were created. The visual markers around which the post-revolutionary national discourse came to revolve are identified and certain concepts related to race are examined. The subsequent chapters are devoted to Frida Kahlo's pictures. One chapter examines how her pictorial production in the 1920's emerged in a dialogue with contemporary art theory. One chapter deals with body thematics based on the naked female body, and elements of sex education are put in relation to an ongoing debate on sex education in Mexican schools. Thereafter new features are explored that are introduced in her self-portraits during the late 1930's and that came to be consistent features in her continued production of self-portraits. In the concluding section of the thesis, the self-portraits are discussed from a more general perspective. Some of the myths upon which earlier biographical interpretations were based are questioned. Instead, the thematics of suffering found in the self-portraits are related to the reconstruction of the nation's ethnic identity and problematic issues based on the 16th centurySpanish Conquest of the indigenous Indian population. In her complex imagery, Frida Kahlo refers to a broad spectrum of disparate pictorial traditions, stylistic epochs, categories of motifs and symbolic imagery, and to historical, religious and mythical female personages such as Malintzfn, la Chingada, Sor Juana, and the Virgin of Guadalupe. These references from different epochs represent the two fundamental components of Mexico's cultural heritage - the Spanish and the Indian - and these are mergedin Frida Kahlo self-portraits so that they thereby communicate a construction of identity based on a national heritage. The time perspective of the discussion reaches backwards to before the Spanish Conquest in the 16th century and forwards to the contemporary Chicana / Chicano movement north of the border to the United States.

London 1986. 4to. 29,7 x 21 cms. 84 pp. Illustrated in colour. Pictorial wrappers, fine. Small ownership inscription. Essays about "Basic Principles in the Conservation of Wallpainting" and about wallpaintings in Czechoslovakia, Denmark (incl. constructional drawings for wallpaintings at Slaglille), England (incl. Bradley Manor, Newton Abbot, Devon; Eton College Chapel), Finland, France, Germany (incl. ceiling paintings in Oberndorf), Italy (incl. "Effects of Technical Developments on the History of Italian Wallpainting of the 14th and 15th Centuries"), Roumania, Sweden (by Åke Nisbeth) and Switzerland.

Milano, Silvana, 2008. 8vo. 192 pp. Illustrated. Sewn as issued, pictorial wrappers with flaps. Very fine. The castle of malpaga is one of the major monuments of the Bergamo high plain. The complex is located on the western border of the Serio park, in a strip of Lombardy worthy of the protection policy that the authorities in charge are designing. - - - "II castello colleonesco di Malpaga non solo è uno dei maggiori monumenti dell'alta pianura bergamasca, ma anche una significativa testimonianza del processo di formazione del paesaggio agrario. II complesso è sito sul confine occidentale del parco del Serio, in un lembo della Lombardia meritevole dell'accorta politica di tutela che gli enti preposti stanno disegnando. II singolare palinsesto architettonico del castello, delle pertinenze e del borgo è originato dalla trasformazione in prestigiosa residenza signorile del fortilizio trecentesco acquistato nel 1456 da Bartolomeo Colleoni. La pubblicazione del volume mira a ricomporre in un disegno unitario i diversi contributi disciplinari, le ricerche condotte da ricercatori e docenti di tre università, di un centro di ricerceche CNR e le esercitazioni dei loro allievi che hanno interessato il castello dal 1996. Organizzato attorno ad alcuni capisaldi (i dati documentali, i rilievi e le indagini diagnostiche, i problemi conservativi e di tutela, le ipotesi di utilizzo compatibile), risultato delle indagini già compiute sul castello, la pubblicazione è stata arricchita di ulteriori materiali e soprattutto di una parte conclusiva dedicata alla valorizzazione del complesso e agli aspetti gestionali di un suo possibile riuso".

Stockholm, tryckt hos direct. Lars Salvius, 1772. 8:o. [4] s. Med graverad vinjett klistrad på titelsidan. Tagen ur band. Sista bladet rivet med smärre pappersförlust i nedermarginalen.

Stockholm, Albert Bonniers förlag, 1999. 4:o. x + 242 sid. Rikt illustrerad i färg. Med kronologi, bibliografi, verkförteckning, noter och register. Dek. förlagsband. Fint skick. Proveniens: Jeanette Bonnier. Andra upplagan. Utkom först på engelska, "Carl and Karin Larsson. Creators of the Swedish style" (1997) i samband med en utställning på Victoria and Albert Museum. - - - Innehåll: "Fasader och planer av Lilla Hyttnäs", "Sverige på 1890-talet" (av Eva Eriksson), "Carl Larssons liv och verk" (av Torsten Gunnarsson), "Ett hem av sin tid - fast alldeles annorlunda" (av Elisabet Stavenow-Hidemark), "Hemkänsla och designform: Det europeiska sammanhanget" (av Gillian Naylor), "Välkommen till Lilla Hyttnäs" av Michael Snodin, "Karin Larsson" (av Lena Rydin), "Carl Larsson och möblerna på Lilla Hyttnäs" (av Elisabet Stavenow-Hidemark), "Carl Larssons böcker i Europa" (av Cecilia Lengefeld), "Carl Larssons bilder - massupplaga spridning och effekt" (av Elisabet Stavenow-Hidemark), "Arvet efter Carl Larsson. Minnen och synpunkter" (av Lena Larsson).

Uppsala, Uppsala univerrsitet, 1984. Diss. 8vo. [ii] + 34; + 28; + 24; + 12; + 12; + 24; + [x]; + [viii]; + 10; + 34; + 130 pp. + abstract leaf. Sewn as issued, printed wrappers, fine. With a few neat library stamps. This dissertation consists of eight separate studies [...]. A first group of three studies describes various techniques for determining the physical measurements of woodwind instruments, including a discussion of methodological considerations in the analysis of these measurements. [...] A second group of two papers deals with the characteristics of an environment suitable for the storage of older musical instruments. [...] A third group of papers discusses musical consequences of both the bridge and soundboard design of strung keyboard instruments, and the significance of the various metal alloys uses in the manufacture of strings. In the first of these papers it is shown that the inharmonic aspect of the sound produced by 18th century harpsichords and wooden frame pianos differs substantially from what would be expected on the basis of previous studies of the modern piano. A second paper presents a number of 18th century source excerpts dealing with the absolute pitches of the keyboard instruments of that day, and relates this material to both 18th cenury and contemporary work in determining the mechanical properties of the type of wire used to string these instruments. The maximum pitch levels to which they can have been tuned are discussed on the besis of this material.

Lund, typis Berlingianis / C. W. K. Gleerup, 1858. 8vo. [iv] + 212 pp. Publisher's cloth-backed boards, printed covers. Worn but sound, inscription on front cover. Medicine.

Stockholm, Moderna Museet, 1968. 4to. 92 pp. Richly illustrated with photos. / Text fully bilingual in Swedish and English. Captions also in Russian. Stapled as issued in pictorial wrappers. As new. From the Foreword: "Troels Andersen has compiled this catalogue, which takes the form of a book on Tatlin, the first comprehensive presentation of Tatlin's work. In the continuous reassessment of 20th century art that is now taking place, Tatlin emerges ever more clearly as one of the few really great figures. Malevich and Tatlin and their ideas mean more at present for many of the younger artists than Picasso or the Surrealists. I have a feeling that they will long retain a great influence. It was originally our intention to attempt a Tatlin Exhibition showing him 'full-length', with not only the tower but also his paintings, reliefs, theatre designs, flying machines etc. Unfortunately we have been unable to loan any work by Tatlin from museums in the Soviet Union. The exhibition is thus restricted to the reconstruction of the tower and accompanying documentary material in the form of other reconstructions, photographs, documents, films etc. In compiling this material we have been assisted by Ronald Hunt, Department of Fine Art, University of Newcastle-upon-Tyne, by whose good offices we have been able to loan the reconstructions of one of Tatlin's reliefs and the chair (by one of Tatlin's pupils); these were made, in 1966, independently of the present exhibition, on the initiative of Mr. Hunt. Szymon Boiko, of the Lenin Museum in Warsaw, has assisted us with documentation. The reconstruction of Tatlin's monument for the Third International, from 1920, is the results of many united efforts. The project has been based on Troels Andersen's research on Tatlin. The interview with T. M. Shapiro (Tatlin's assistant in building the tower in Petrograd in 1919-20) that Troels Andersen obtained in Leningrad in 1967 threw light on several obscure points in the construction of the tower, and gave us the courage to continue work. We entertained for some time a hope that Shapiro himself would come to Stockholm to assist us, as he had promised. During months of patient work in trying to build a model on the scale of 1:10, during the winter 1967-68, Professors Ulf Linde and Per Olof Ultvedt of the Stockholm Academy of Art came to know every lath on the four photo- graphs that were the sole material available to work on. In time, they pronounced on this chaos of lines on the retouched photographs with a certainty that was amazing to the less initiated. The preparatory model they constructed was in itself a masterpiece. Carpenters Arne Holm and Eskil Nandorf have built the actual tower, on the basis of this model. They have worked with a knowledge, initiative, inventiveness and devotion that were overwhelming. Henrik Östberg has cut the metal fittings that we can see I. Meyerzon cutting on the old photograph. They are very beautifully done. On behalf of Moderna Museet, I should like with all my heart to thank all those who have realized this extremely difficult project. K.G.P.H." - - - (Moderna museets utställningskatalog 75.)

Bahlmond Publishers 2010. 8vo. 144 pp. Richly illustrated in colour. Text in Dutch. Publisher's pictorial boards. As new. "The Egmond School. George Hitchcock and his Art Summer School 1890-1905", in Dutch. - - - George Hitchcock (1850-1913) was an American painter, born in Providence, Rhode Island, and was mostly active in Europe, notably in the Netherlands. For years he had a studio in that country near Egmond aan Zee, where he started his 'Art Summer School' that later resulted in a group of returning summer artists, including Gari Melchers, that informally became the Egmondse School (1890-1905). After marrying Cecil Jay in 1905, Hitchcock and his wife moved to Paris, effectively ending the summer school.

Stuttgart, Karl Krämer Verlag, 1968. 8vo. 60 pp. Illustrated with 15 photos and 183 drawings & plans. Stapled as issued, pictorial wrappers. Fine. The Weissenhof Estate (Weissenhofsiedlung) is a housing estate built for the 1927 Deutscher Werkbund exhibition in Stuttgart, Germany. It was an international showcase of modern architecture's aspiration to provide cheap, simple, efficient, and good-quality housing. Of the original twenty-one buildings, eleven survive. Two buildings designed by Le Corbusier were designated a World Heritage Site in 2016 as part of The Architectural Work of Le Corbusier. The remainder of the Estate, and some adjacent streets and buildings, are a part of the Site's buffer zone. - - - (Stuttgarter Beiträge 4, 1968.)

Stockholm, Bonniers, 2004. 4:o. 256 sid. Slösande rikt fotoillustrerad i färg av Jan Tham. Med flera register. Dek. förlagsband med skyddsomslag i färg. Fint skick. Om bl. a. Västkustens havsbadorter (Gustafsberg och Uddevalla, Marstrand, Särö och Askim, Lysekil, Göteborgs södra skärgård - Styrsö, Lyckorna och Stenungsön, Fiskebäckskil), "En plats för förströelser och lantliv - villan", Vid skånska stränder (Båstad och Malen, Torekov, Arild och Mölle, Falsterbo), "Det nyttiga och prydliga - träbyggandet", Brunns- och badorter - Östersjökusten (Karön, Kallvik), "Historiska stilar och ny estetik - villans inredning och möblering", Sommarnöjen med havsutsikt (Visby, Ljugarn, Borgholm, Stora Rör och Ytterör), "Månens glitter och naturen förskönad - villans trädgård", Stilla vatten - Stockholms närhet (Lovön och Klubben, Södra Djurgården, Kummelnäs, Velamsund, Edlunda, Södernäs, Höganäs, Skarpö, Stegesund), "Smultronställen och abborrgrund - vardagsliv på sommarnöjet", Saltsjöns öppna fjärdar (Norra skärgården, Södra skärgården), "Mässingsorkestrar och fyrverkerier - festdagar och utflykter", Till Siljan står vår håg (Sjurberg, Noret, Tällberg och Ullvi), "Som en enda lång solig dag - barn på sommarnöje", Norrlandskustens pärlor (Norrlandet, Gävle, Sundsvall, Härnösand, Örnsköldsvik, Piteå och Luleå, Boden), Tjänstefolk och bofasta, Vid sjö och älv på fjället. - - - "Summer Houses by the Sea", in Swedish, richly illustrated. About the classic Swedish summer house from the 1860s to c. 1930. Hardbound with dustjacket, very fine.

Stockholm, Almqvist & Wiksell, 1968. 4:o. 184; + 196 sid. Med register. Två volymer i svarta förlagsklotband, tillsammans i förlagets dek. skjutfodral. Fint skick. Andra delen består uteslutande av bilder med korta bildtexter.

New York & London, Abbeville Press, 2006. 4to. 30,5 x 25,5 cms. 216 pp. 197 illustrations in colour. Bibliography and index. Publisher's cloth, pictorial dustjacket. As new. Contents: "Domestic Life and the Viennese Interior", "Biedermeier Design", "Centers of Production", "Furniture Categories", "Decorative Objects", "Painting". - - - "Current between 1815 and 1848, Biedermeier furniture, painting, textiles, and decorative arts have once again risen to the realm of high fashion, with their sunburst veneers and intricate inlays attracting the attention of twenty-first Century collectors, designers, and museum curators. Biedermeier furniture earns its timeless sophistication through its architectural simplicity and the use of light-colored fruitwoods offset by contrasting bands of ebony and maple inlay. Biedermeier serves as an unrivaled sourcebook for the furniture and décor of this period, and this second edition features a newly revised introduction as well as an updated conclusion and bibliography. Angus Wilkie traces the era's complex history, giving a broad cultural and social background to the work itself. Wilkie explains how and why this period of tranquility following the devastation of the Napoleonic Wars was a fertile time for the design and production of household furniture, while also providing an overview of the astonishing variety of furniture produced by local cabinetmakers from Germany to Scandinavia and Russia. Wilkie's pioneering research is accompanied by over 160 specially commissioned color photographs, as well as watercolors of Biedermeier interiors, sketches, original textile designs, and original drawings of furniture and draperies reproduced from the Imperial Archives in Vienna. With the aid of photographs of actual pieces and previously unpublished drawings, the regional designs are compared to one another, giving a rare view of the world of the nineteenth-century craftsman and of the design philosophy underlying the elegant aesthetics of the Biedermeier style. This wealth of illustration reveals that Biedermeier examples and the itself con be integrated into almost Any decorative style, from period to contemporary, With its eye-catching collection of beds ond birdcages, settees and spittoons, Ormoires ond étogéres, Bledermeier is an book for all who ore passionate nineteenth-century design".

Stockholm, Ludvig Öbergs förlag, 1842. 8:o. [viii] + 224 s. + graverad frontispis (Leonardo da Vinci, "Sista Nattvarden"). Samtida brunt halvfranskt band, ryggen med fyra upphöjda bind, marmorerade pärmpapper och snitt. Gott skick.

Göteborg, Göteborgs universitet / Institutionen för kulturvård / Institute for Conservation, 1992. A4-format. [8] + 78 sid. Illustrerad med teckningar och fotografier. Stencilupplaga, textil ryggremsa. Fint skick. Lienshyttan är ett tidigare järnbruk i Riddarhyttan som ingår i Ekomuseum Bergslagen. Lienshyttan omnämns för första gången redan 1539. - - - "The scope of the essay has been mainly restricted to Concentrating on the remaining buildings of the blast-furnace at Lienshyttan. The methodical approach to this task has been determined by definitions of Cultural-historical value. A broad outline of the development of iron-ore manufacturing on a national scale is also included for Comparison. The primary aim Of the essay is to put forward guidelines for future use of the blast-furnace and its site. The conclusion arrived at in the essay is that there are several different aspects of Cultural-historical value linked with the remaining buildings at Lienshyttan. These aspects should be taken into consideration for future re-use and renovation".

Stockholm, Nils Gleerups Förlagsexpedition, 1880. 8:o. 544 s. Illustrerad. Senare rött halvfranskt band, guldornerad slät rygg, marmorerade pärmpapper, stänkta snitt. Mycket fint exemplar. (Vald samling af Walter Scotts romaner, 12. Illustrerad upplaga utgifven af M. A. Goldschmidt.)

Stockholm, Statens Offentliga Utredningar, 2002. 8:o. 656 sid. Med litteraturförteckning. Häftad, tryckta omslag i gult och svart. Svaga bruksspår, gott skick. SOU 2002:87.

Stockholm, Albert Bonniers förlag, 1936-46. Liten 4:o. 148 s. resp. 8:o. 144 s. Illustrationer av Stig Åsberg. Två volymer, häftade i dek. originalomslag. Gott skick. Första upplagan. Proveniens: Per Kjellander (1912-2013), Lidingö. Han hade ett särskilt intresse för svensk skönlitteratur och skrev bl. a. ett par av uppsatserna i Berömda böcker: om Bellmans "Fredmans epistlar" i andra samlingen (1958) och om Snoilskys "Svenska bilder" i tredje samlingen (1964). Kjellander byggde själv upp en ambitiös vitterhetssamling och lade stor vikt vid vackra exemplar i originalskick.

Stockholm, P. A. Norstedt & Söners förlag, 1916. 8:o. [ii] + xii + 160 s. + frontispis; + [iv] + 196 s. Brunt halvmarokängband, marmorerade pärmpapper, snitt, för- och eftersättsblad (Sixten Sandberg Bokbindare Stockholm), ryggen ngt blekt. Fint exemplar. Exlibris. Jubileumsupplaga.

Stockholm, Nils Gleerups Förlags-Expedition, 1883. 8:o. 236; + 172 s. En volym. Senare rött halvfranskt band, guldornerad slät rygg, marmorerade pärmpapper, stänkta snitt. Mycket fint exemplar. (Walter Scotts romaner, 15. Utgifne af [...] M. A. Goldschmidt och [...] C. F. Bagge.)

Stockholm, Nationalmuseum, 1978. 8:o. [16] sid. Med 14 illustrationer. Klammmerhft., dek. omslag. Fint skick. Sammanlagt 114 teckningar förtecknas under olika kronologiska och geografiska rubriker.Utställning på Nationalmuseum 30/11 1978-18/3 1979. (Nationalmusei utställningskatalog, 416.) - - - "Sven Hedins teckningar blev kända för en stor allmänhet som illustrationer i hans böcker. När teckningarna själva ställdes ut i Stockholm 1920, hyllades han av kritiken som konstnär. Sedan dess har det stormat mycket kring Hedin, och det är betecknande att det dröjde till 1964 innan teckningar av honom ånyo presenterades. Det skedde i boken 'Sven Hedin som tecknare', utgiven under medverkan av Gösta Montell och Folke Holmér. År 1975 ställdes ett antal teckningar [ut] på Läckö slott. Den nu öppnade utställningen har kommit till stånd under medverkan av Etnografiska museet, som ställt teckningarna till förfogande, och Bonniers förlag, som åtagit sig tryckningen av katalogen. - - - Få har väl så effektivt som Sven Hedin skapat sitt eget rykte. En ständig ström av böcker, populära och vetenskapliga, var instrumentet. En inte oväsentlig roll spelade de bilder, teckningar och fotografier, som illustrerade texten. Deras funktioner var mångskiftande: berättande, förtydligande, bekräftande eller enbart avsedda att stimulera fantasin. Det överraskar knappast att Hedin, när ett stort urval av hans teckningar visades i Stockholm 1920, själv kommenterade dem i boken 'En levnads teckning', som utgjorde katalog till utställningen. Om teckningarna uttrycker han sig med milt överseende, men samtidigt sakligt och träffande. Som naturligt är framhäver han reseskisserna, dock inte så ensidigt som de sedermera kommit att prägla synen på hans teckningskonst. Förmågan att snabbt och exakt fånga ett synintryck var Hedins styrka som tecknare, men en hel del av tecknandet ägde rum hemma vid skrivbordet. Det arbetet bestod av renritning och bearbetande av bildmaterialet, och hängde intimt samman med författandet och redigeringen av reseböckema."