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Eggebrecht-Presse, Mainz 1951. 61 s. + kolofon. 4:o (27 x 19,5 cm.) Klotryggband med blindpressade och guldförgyllda pärmar. Med något marginalnött skyddsomslag. 27 avbildade bok- och titelsidor av berömda boktryckare. Kommentar på versosidan och helsidesillustrationer på rectosidan. Tryckt i rött, svart och blått med Marathon på Zerkall-Bütten. Endast övre snitt skuret.Helmut Presser från Gutenberg Museet samarbetade i flera bokprojekt med Eggebrecht-Presse.

Olkos, Athens. 1985. 264 pages. 4to (29 x 22 cm). Cloth binding, spine lettered gilt, front board with gilt decoration, dust jacket worn and with tape (acid free) repaired tears. 166 depicted and commented maps. Illustrations printed in colour and b/w. With an index.

Berliner Bibliophilen Abend, Berlin. 1959. Opag. (c. 20 s.) 4:o (30x21 cm). Blått pappband, blek rygg och kanter, liten skada vid rygghuvud. Illustrerad med originalfärgträsnitt av expressionisten Hans Orlowski (1894–1967). Typograferad av Günther Gerhard Lange och tryckt med Brudi-Mediaeval vid typgjuteriet Bertholds hustryckeri. Tryckt för Berliner Bibliophilen Abend i 180 exemplar och är signerade och numrerade av Hans Orlowski. Detta ex bär nr 161.

W. W. Norton & Company, New York. 1996. 144 pages. 4to (30,5 x 22 cm). Cloth in fine dust jacket. 231 illustrations in colour and b/w.Lester Beall (1903-1969) was the first graphic designer to be honored by a one-man exhibition at the Museum of Modern Art (in 1937) and was awarded the 1993 Lifetime Achievement Award by the American Institute of Graphic Arts.Deeply influenced by the European avant-garde in the 1930s, Beall synthesized its forms for the American business community and was a pioneer in the development of advertising, corporate identity design, packaging, and print media during the post-war decades.

New Castle, DE: Oak Knoll Press, 2001, 8vo., paperback. 1088 pages.Third edition, reprinted with new introduction by Martin Hutner. This extraordinary work explores the art of typography from the dawn of printing to the twentieth century. By tracing the development of type design, Updike discusses the importance of each historic period and the lessons they contain for todays designers.  The original two volume set has been bound in paperback and containing the original 367 typographical illustrations selected from rare and beautiful books. Updikes well-written text constitutes a running commentary on the historical and artistic significance of these illustrations, which exemplify the best work of printers and type founders from Gutenberg to Bruce Rogers. In Volume I, Mr. Updike discusses the Latin alphabet, the invention of printing, the cutting and casting of types, fifteenth-century types in Germany, Italy, France, Spain, and England as well as German, Italian and French types of sixteenth, seventeenth and eighteenth centuries. Volume II continues the discussion of types to the beginning of the nineteenth century and then describes American types and nineteenth-century types in general. The closing chapters on choice of type and the industrial conditions of the past and their relationship to problems printers face are very informative. This work is the third edition, reprinted with new introduction by Martin Hutner. Co-published with The British Library.

Moderna Museet, Stockholm. 1956. (Nationalmusei Nr 237), (Moderna Museets utställningskatalog. Nr 1). (21 x 17 cm), paperback, saddle stitched. 6-page cover, 21-page fold-out on the back, cover motif (unfolded): Picasso's Guernica. The title and last page are printed in red. Somewhat worn, a small hole at the lower staple.Director of the exhibition and ed.: B. Wennberg, in collab. with: K. G. Hultén. (Foreword:) Otte Sköld. (Introduction:) Daniel-Henry Kahnweiler. Stockholm, 52 pages, without pagination, 56 black-and-white illustrations. Text in Swedish and English, partly in French. (Lutz Jahre 5 - 1956).The Moderna Museet was not opened until one and a half years after this exhibition, on May 9, 1958. The newly founded museum was to be housed as a separate department of the Swedish National Museum in a former naval building on the island of Skeppsholmen. The renovations to the building were in full swing when the special opportunity arose to show Picasso's Guernica, which was then being exhibited in several European museums, in Stockholm. The first exhibition of the Moderna Museet took place in provisionally prepared rooms - the roof was still unfinished and only covered with a tarpaulin. On this tour, in addition to the much-discussed painting Guernica, 63 preliminary studies and sketches were also on display for the first time in Europe. Picasso had deposited the painting and the works in the Museum of Modern Art in New York shortly after the outbreak of war, with the wish to keep them there until democracy was restored in Spain. The first exhibition stop was Paris, where the work had been commissioned for the Spanish pavilion at the 1937 World Exhibition. The historical background of the picture was made clear in the Stockholm catalogue by newspaper clippings reporting on the bombing and destruction of the Basque town of Guernica on April 27, 1937. Films by Buñuel, Franju and Ivens were shown in an accompanying programme. Buñuel was responsible for the film programme in the Spanish pavilion at the 1937 World Exhibition and, together with Picasso, Miró and other artists, signed the manifesto against the German air raids.Exhibitions: Paris, Musée des Arts Décoratifs, May/Sept. 1955; Munich, Haus der Kunst, 1955; Cologne, Rheinisches Museum, 1955; Hamburg, Kunsthalle, 1955/56; Brussels, Palais des Beaux-Arts, 1956; Amsterdam, Stedelijk Museum, 1956; Stockholm, Moderna Museet, Oct. 19 - Dec. 2, 1956 (26,000 visitors).

ETC - Förlags AB Radikal, 1982. Opaginerad (c. 128 s.) Vitt kartonnageband med tryckta pärmar. Kvadratiskt format (23 x 23 cm). Förord och urval av Johan Ehrenberg & Timo Sundberg. Bland fotograferna märks bl.a.: Christer Strömholm, Jefferik Stocklassa, Gunnar Smoliansky, Anders Petersen, Jean Hermansson, Hans Gedda, Walter Hirsch, Micke Berg, Tuija Lindström, Henri Cartier Bresson. Fint skick.

George Braziller, New York. 1977. (10), 222 s. 4:o (32,8 x 24,7 cm.) Klotband med nött och naggat skyddsomslag. 42 planschillustrationer, varav 14 dubbelsidiga, av Marc Chagall, tryckta i sju färger.Chagall illustrerade ursprungligen ‘Daphnis and Chlou’ med originallitografier 1961. Översättningen är densamma som gjordes av George Moore för en upplaga publiserad 1934 av The Limited Editions Club.

Lars Hökerbergs bokförlag, Stockholm. 1954. 296 s. Elegant skinnband med helt guldsnitt, inre denteller, fyra upphöjda bind och främre pärm med sirligt guldmonogram. Illustrerad med teckningar och fotografier. Bibliofilupplagan med ett signerat förord av kabinettskammarherre Rolf von Heidenstam. Tryckt i 500 numrerade ex varav detta är nr 345.

Könemann, Köln. 1998. 592 pages. Large 4to (31 x 25 cm). Black cloth, fine condition in dust-wrapper, one small tear. Over 2000 illustrations, most in colour, in this book graphically show that typography plays an influential role in society and make it a dictionary of the designed word. English, German and French parallel text.“The main section presents over 700 typographers, type designers, calligraphers, designers and artists, as well as schools, institutions, teachers and theorists, who have left their distinctive mark on typography.” From the front flap.

Fredr. Wagner, Stockholm. 1923-25. 1923 jan-dec, nr 253-264; s. 1-96. 1924 jan-dec, nr 265-275; s. 1-112. 1925 jan-dec, nr 276-287; s. 1-128. 1926 jan-dec, nr 288-299; s. 1-112. Komplett. Feltryckt ryggtitel, boken innehåller även 1926 års utgåvor.4:o (30,5x23,5 cm). Privatbundet mörkgrönt halvklotband, obetydligt nött. Exlibris på främre pärms insida. Illustrationer i texten samt stora avdelningar med annonser. Artiklar främst av teknisk natur men även estetiska bedömningar av nya typsnitt och bokanmälningar.

C. Fabritius & Sønner, Kristiania 1910. x, 288 s. 4:o (29x20,5 cm). Förlagets rikt blindpressade och förgyllda klotband med marmorerade snitt. 138 illustrationer varav flera i färg.

Leipzig 1922. (4), 71, (1) s. 4:o (31 x 23 cm). Halvklotband. 98 illustrationer i texten. Med litteraturlista.

New York and Penn Pulp and Paper Manufacturers. No date (c. 1959-61). Mini poster, litograph-offset (30,5 x 22,2 cm). Upper corners with foldmarks. Trade advertisements: one-page two-sided full colour promotion on Penn/Brite paper. Very rare.”These advertisements for Penn/Brite Offset paper are joyful examples of graphic style.” Steven Heller.George Giusti (1908-1990) trained at the Reale Accademia e Belle Arti in Milan. He worked in Lugano before opening his own studio in Zurich. In 1938 he emigrated to the United States, beginning a long and productive career as a designer His style changes regualrly to adapt to the tenor of the times, later loosing some of his simple directness kin modish flourish. For more than four decades in America George Giusti’s graphic designs have graced the covers of Time, Fortune, Holiday and other major magazines. He has done advertising and graphic designs, illustrations, trademarks, client and employee publications, and package designs for major corporations. He served for ten years as art consultant to Geigy Pharmaceuticals in the United States and Switzerland.

The Typophiles, New York. 1946. viii, 150 s. + planscher. Liten 8:o. Rött buckramband. Illustrerad.Bruce Rogers varianter på emblem. Uppsatser av: H. W. Kent, J. M. Bowles, Carl Purington Rollins, David Pottinger, Christopher Morley, James Hendrickson & Frederic Warde. Design av Joseph Blumenthal och tryckt vid The Spiral Press med Monotype Emerson i en upplaga av 805 numrerade ex varav detta är nr 481. Typophile Chap Book: XV. “The idea was to collect in this book various printer’s marks used by Bruce Rogers and make a seventy-fifth birthday book of them. It grew beyond that, as chap book ideas often do. The eight bio-essays flesh out 46 BR marks (plus one for the Typophiles) and a few irreverent re-marks.” (Rathé 15).“When B.R. was asked when he might write his memoirs, he replied that he found ‘BR Marks & Remarks’ an adequate substitute.” (A Life in Letters s. 177–78).

Spring Books, London 1964. xvi, 263 s. 4:o (25,3 x 19 cm.) Rött klotband. 120 illustrationer. Utkom första gången 1928. Bibliografi och index.

Bröderna Lagerström, Stockholm 1915. 4:o (35x23,5 cm). (6), viii, 84, (1) s. Häftad, omslag nötta med smårevor och en tejplagning. Namnteckning (Anders Billow). 42 faksimilillustrationer varav en är en utvikbar karta. Tryckt i 350 numrerade ex, detta ex är onumrerat.

Hans-H. Wallier, Lüneburg Deutsch-Evern. No date. Not paginated (c. 32 pages). Card boards. Hand written an illustrated in colour by Barbara Krokisius. Printed in 500 numbered copies, this is in no. 199.

R. Piper Verlag, München & Leipzig 1912. 152, (4) s. 4:o (26,5 x 19 cm). Ryggklotband. Ryggen fläckad, mörk och lätt nött. Handkolorerat träsnitt på främre pärm. Endast övre snitt skuret. 105 avbildningar efter träsnitt. Första upplagan.“Klassische Illustratoren IX”

Nordisk Familjeboks förlag, Stockholm, 1941. iv, 353, (1) s. + planscher. 4:o (32,5 x 25,5 cm). Rött halvskinnband med fyra upphöjda bind, handmarmorerat pärmpapper, samtliga snitt marmorerade. Ett ark loss med två planscher, nr. 47 & 48. Plansch 47 med tejpreparerad reva (syrafri tejp!). 50 färgplanscher efter originalmålningar av David Ljungdahl. 435 bilder och 12 kartor i texten. För övrigt i fint skick.

Moderna Museum, Stockholm. 1962 ((Moderna Museets utställningskatalog. Nr 22). 88 pages, 52 b/w & 2 colour illustrations. (25 x 18 cm). English brochure. Cover printed in grey and red with hand-painted lettering by P. Hultén. Top of spine is chipped. Text and illustrations on art paper. This catalogue, which was lavishly produced for the time contains numerous statements by the artists involved and texts by art critics. The covers were folded by employees of the Moderna Museet themselves in a special campaign and glued into the catalogues. (Lutz Jahre 10 - 1962).Pontus Hultén prepared the Swedish contribution to the São Paulo Biennale in 1959 and travelled to New York for the occasion, where he met Rauschenberg, Johns, Leslie, Stankiewicz and other artists. At that time, New York was considered the liveliest art metropolis. Abstract expressionism had established itself there and pop art was emerging. Hultén wanted to show these young developments in Europe. The exhibitions ”4 amerikanare” (1962) and ”Amerikansk pop-konst” (1964) were held.The Swedish public reacted with dismay and amusement to the works on display. The show was discussed lively in the press. Rauschenberg's assemblage ”Monogram”, a stuffed goat wearing a car tire around its body, provoked outrage. In a radio broadcast, a professor from Lund even protested against the fact that a live goat was being exhibited. Pontus Hultén asked the artist to keep the work for the museum until he had enough money to buy it. Three years later, the Moderna Museet was able to buy ”Monogram” for its collection. Also on display was Rauschenberg's ”Bed”, which was removed from the exhibition at documenta II in 1959 shortly before the opening because it seemed too aggressive and direct and was also difficult to integrate into the hanging. Just a few years later, in 1964, Rauschenberg was awarded the Grand Prize at the Venice Biennale and was thus widely recognized as an artist.

Malmö Konsthall. 1989. Screentryckt affisch (70 x 100 cm). Formgiven av John Melin.

C.A. Reitzels Forlag, København. 1853. viii, 367, (1) s. + viii, 458 s. Gröna klotband med guldtryckta ryggar. Del 1 med en svag fuktrand vi övre marginalen på de nio första sidorna. Enstaka sidor med svaga lagerfläckar. Illustrerad med 12 litografier och 2 utvikbara kartor.

Barrie & Jenkins, London. 1989. Second edition, updated and revised. xvi, 213 pages. Large 4to (30,5 x 25 cm.). Cloth binding in fine dust jacket. Copy as new. A biographical study of this important member of the Pre-Raphelite Brotherhood. Richly illustrated with 280 black and white plates and 50 colour plates. Includes a select bibliography, a list of stained-glass windows designed by Edward Burne-Jones, and a list of public collections containing his work.

The Studio, London. 1951. x, 214 s. Grönt klotband med veckat och nött skyddsomslag. 4:o. 215 illustrationer, många helsides och i färg. Exlibris (Nils Nordqvist).Internationell översikt av typsnitt, boktryck, illustrering, kommersiell- och privatbokbindning. (The Studio 239).