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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.

Millesgården in collaboration with Palace Edition. 1999. 450 pp. Large 4to (32.5 x 26 cm). Blind tooled cloth binding with well-preserved dust jacket. Richly illustrated, preferably in colour. Detailed catalogue of paintings, drawings, watercolours, posters, postcards, graphic works, architectons and porcelain. Three fold-out panels. Impressive catalogue, a mammoth monograph of the Russian artist. With list of works. Book design by Joseph Kiblitsky. Catalogue for an exhibition at the Russian Museum in St. Petersburg and Millesgården, Stockholm. Text in Swedish. Great condition!Kazimir Severinovich Malevich 1879–1935) was a Russian avant-garde artist and art theorist, whose pioneering work and writing influenced the development of abstract art in the 20th century. He was born in Kiev, to an ethnic Polish family. His concept of Suprematism sought to develop a form of expression that moved as far as possible from the world of natural forms (objectivity) and subject matter in order to access "the supremacy of pure feeling" and spirituality. Malevich is also sometimes considered to be part of the Ukrainian avant-garde (together with Alexander Archipenko, Sonia Delaunay, Aleksandra Ekster and David Burliuk) that was shaped by Ukrainian-born artists who worked first in Ukraine and later over a geographical span between Europe and America.Early on, Malevich worked in a variety of styles, quickly assimilating the movements of Impressionism, Symbolism and Fauvism and, after visiting Paris in 1912, Cubism. Gradually simplifying his style, he developed an approach with key works consisting of pure geometric forms and their relationships to one another, set against minimal grounds. His Black Square (1915), a black square on white, represented the most radically abstract painting known to have been created so far and drew "an uncrossable line (…) between old art and new art"; Suprematist Composition: White on White (1918), a barely differentiated off-white square superimposed on an off-white ground, would take his ideal of pure abstraction to its logical conclusion. In addition to his paintings, Malevich laid down his theories in writing, such as "From Cubism and Futurism to Suprematism" (1915) and The Non-Objective World: The Manifesto of Suprematism (1926).

Limited Editions Club, 1975. 127 s. + kolofon. 4:o (30 x 22 cm). Klotband dekorerad av Bram de Does med grekisk och engelsk titel i guld på rygg och främre pärm. Åtta helsidesillustrationer i färg och svartvita illustrationer i texten av Harry Bennett. Introduktion av D. S. Carne-Ross. Engelsk och grekisk parallelltext. Översatt till engelska av Elizabeth Wyckoff. Formgiven av Bram de Does och tryckt med Jan van Krimpens ‘Antigone’ för den grekiska texten och ‘Lutetia’ för den engelska. Tryckt i 2000 ex vid Joh. Enschedé en Zonen, Haarlem.

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.

A. S. Barnes & Company, San Diego & New York 1980. 183 s. + 16 planschsidor. 4:o (28,6 x 21,8 cm.) Brunt klotband. Rikt illustrerad i svartvitt med en 16-sidig färgbilaga tryckt på bestruket papper.Samlarområden, lista med förläggare, illustratörer och författare, terminologi, bibliografi och index.

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.

New York and Penn Pulp and Paper Manufacturers. No date (c. 1959-61). Mini poster, litograph-offset (30,5 x 12,7 cm). 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.Celestino Piatti (1922-2007) was a Swiss graphic designer and painter. Starting from 1937 he studied at the college of arts and crafts in Zurich and afterwards completed an apprenticeship as a graphic designer. Since 1948 he was active as an independent graphic designer. Piatti became particularly famous for his work for Deutscher Taschenbuch Verlag (dtv). Beside the covers he was responsible for typografie, logos, letterheads, announcements and posters, creating a uniform corporate identity. The salient, uniformly white dtv volumes with Piatti's characteristic illustrations are considered a milestone of elegant and high-quality book-art in the world of paperbacks.

The Typophiles, New York 1967. 85 s. Rött skinnryggband med linoliumtryckt pärmpapper efter ett italienskt 1800-talsmönster. Rygg aningen nött. Illustrerad. Tryckt i rött och svart.Nordlundes biografi som tryckare med exempel på hans arbeten och typprover på tryckeriets typsnitt. Formgiven av författaren och tryckt med Dante vid Nordlundes Bogtrykkeri i 500 ex. (Rathé 46).

Moderna Museet, Stockholm. 1963. (Moderna Museets utställningskatalog. Nr. 27). 34 pages, no pagination. 22 black and white, 3 pasted-in colour illustrations. Biography, bibliography, catalogue in the appendix. 24 x 20 cm, perfect-bound cardboard brochure, gauze still visible on the spine, glued-on spine label "Pollock". Unusually fine copy of a fragile catalogue. Cover using photos of Hans Namouth Pollock in his studio (front) and portrait (back). Catalogue section on red canton. Exhibition: Stockholm, Moderna Museet, 27 Feb. - 15 Apr. 1963 (27000 visitors). (Lutz Jahre 11 - 1963).Seven years after Pollock’s death, 106 works from his collection were wife, Lee Krasner, in Stockholm. The Moderna Museet had been trying for a long time to organize a Pollock exhibition. The exhibition was then arranged in 1963 with the help of F. L. Lloyd of the Marlborough Fine Art Gallery, London. It was the first time that Pollock's paintings had been shown on such a large scale in Scandinavia. Pollock's short creative period, which was limited by his early death, was represented by works from 1933 to 1956, including some large formats such as No. 32 (1950, 269 x 457 cm).The design of the catalogue is rather unusual: the illustrations on the front cover are arranged in a landscape format sequence, against the reading direction. With only 34 pages, the spine is only one centimetre wide. The use of cardboard pages with a solid structure is comparable to the design of picture books for children; a few plates with illustrations are put together to form a solid book.

Teknikdalen, Borlänge. 1996. Screentryckt affisch. (70 x 100 cm). Formgiven av HC Ericson. (Screentryckt form s. 39, se även Ur arkivet)

Svenska Slöjdföreningen, Stockholm, 1961. Nr. 1-10. Löpande paginering, s. 1-632. Privatinbundna i ett gediget linneklotband med skinnryggsetikett. Samtliga, främre & bakre, omslag medbundna. Melin & Österlin har formgivit omslaget till nr. 2. Genomgående illustrerade i färg och svartvitt. Komplett årgång.Nordisk storhetstid på formgivarområdet återges här i artiklar och fotoavbildningar. Reklamen har också ett oerhört stort informationsvärde.

Galerie A. Maeght, Paris. 1971. 24 pages + cover. Folio (38 x 28 cm). 6 folded sheets inserted into stiff, printed cover, as issued. 1 double page colour lithograph and 1 double page b/w lithograph and photomechanic reproductions in colour and b/w. Text in French and English.

Skansen, (Stockholm. 1941). Opaginerad (c. 250 s.) Vitt privatbundet aningen nött halvklotband med grön och brun titeletikett i oasis. Titeletiketten med minimal skada, ryggen med liten brun limfläck vid titeletikettens nederkant. Endast övre snitt skuret. William Barkells eget exemplar och signerat av W.B. Med svartvita illustrationer.

Typografen1, Stockholm, 1988. 310, (1) s. 4:o (30 x 22 cm). Trådbundet halvklotband, pappersöverdrag av 120 g gråbeige van Gelder, tryckt pärmetikett i 120 g något ljusare gråbeige Grandee, svart rygg i Durabel buckram med guldtryck (Åhnbergs Bokbinderi). Vita kapitälband, ett grönt och ett blått bokmärkesband. Det transparenta skyddsomslaget med skador som vanligt. Inleds med ‘Typreda’ av CFH och följs av Typografens typsnitt. Alla typsnitt redovisas men CFH har också gjort urvalsdelar av text- och rubriktypsnitt. Design, text & redigering av Carl Fredrik Hultenheim.“En i alla delar genomtänkt och föredömlig bok. Den kraftiga kvaliteten på mellanbladen och paginan som visar var varje avsnitt börjar gör det lätt att orientera sig. Den inledande historiska och didaktiska exposén uppvisar ett rytmiskt samspel mellan text och bildelement som är omväxlande utan att någonsin kännas splittrat.” Svensk Bokkonst 1988.

Riksmuseet, Stockholm. 1912. 149 s. Halvklotband med obetydligt nött pärmpapper. Namnteckning på främre pärms insida. 15 illustrationer. Med en resumé på franska.Populära etnologiska skrifter nr 8, utgivna under redaktion av professor C. V. Hartman, intendent vid Riksmuseets etnografiska avdelning.

Hausmitteilungen der Mergenthaler Setzmaschinen-Fabrik GmbH, Berlin. 1927. 10 nummer, varav april/maj & november/december är dubbelnummer, av Mergenthalers månadstidning. 16 + 16 + 16 + 24 + 24 + 24 + 32 s. 4:o (29,5 x 21 cm). Klammerhäftade med dekorativt tryckta kartongomslag. Den svenska generalagentens stämpel på främre omslags insida (Gust. Carlsson, Stockholm). Monterad etikett på främre omslag med texten: ”Varje rad i detta häfte är satt med Linotype”. Illustrerade. Med typprover, personhistoria och teknik. Heft 12, Dezember, med innehållsförteckning för 1927. 7 häften.

Gebr. Klingspor, Offenbach a. M. (c. 36 pages) Small 8vo (16,9 x 10,9 cm). Stiff paper wrappers. Tail edge uncut. Vignettes, headpieces and drawings by Willi Harwerth.Printed at the Klingspor’s printing office in red and black in Walter Tiemann’s type faces; Orpheus, Daphnis and Kleist-Fraktur on Zerkall-Bütten paper.

N. M. Lindh, Örebro. 1853. 8:o. (8), 288 + (4), 223 s. Två Ljusbruna samtida halvfranska band med rikt guldornerade ryggar och blå titeletiketter. Grönsprängda snitt. Försättsbladen saknas. Titeletiketterna något nötta. Inlagorna med några små lagerfläckar och en liten fuktfläck i yttre marginalen i slutet av del I.

W. H. Allen & Co., London 1896. xvi, 240, (4) s. Stor 8:o. Ryggklotband med rygg- och pärmtitel i guld. 95 illustrationer, varav 44 helsides. Andra upplagan.

The University Press, Cambridge. 1950. First edition, second state. 47 pages. Grey paper boards with Reynolds Stone's Bordeaux red “SM” monogram on the upper cover (Murray 39:D). Spine titled in red. Front cover slightly soiled. John Sparrow’s book plate inside front cover. Book plate by Reynolds Stone. (Murray 105:A). The first of three handlists.This book presenting Stanley Morisons extensive authorship was a tribute on his 60th birthday 6 may 1949. It was printed for private distribution by Brooke Crutchley, printer of the University of Cambridge. (Appleton 180).

Harvard University Press, Cambridge 1938. xiii, 314 s. + planscher. Klotband, stötta hörn. Välillustrerad historik från boktryckarkonstens begynnelse till 1900-talet. Med fyllig bibliografi, delvis kommenterad.“His book is a seemingly inexhaustible reservoir of information. It not only surveys the important illustrated books of the various periods and countries but also somehow manages to tell at a glance what other authorities have said or written about them.” Lehmann-Haupt 1949:64.

Bermann-Fischer Verlag, Wien. 1936. Tvär-4:o. 63 s. Dekorerat pappband med en brun fläck på ryggen. I en ljusröd pappkassett med blekt rygg.

Verlagesgesellschaft Rudolf Müller, Köln-Braunsfeld. Utan år. 4:o. 50 övningsblad samt tillhörande undervisningstext. Original-ringpärm med nött rygg. Självstudiekurs för dekoratörer, textare och skyltmålare. Mycket instruktiv.

IGO-Förlaget, Stockholm. 1951. Löpande paginering, 364, 365-712 s. + färgplanscher. (26,5 x 20 cm). Ljusbruna halvskinnband med guldförgyllda rygg- och pärmtitlar. Jämnbleka ryggar. Rikligt illustrerade. Tryckt i numrerad upplaga för namngiven ägare. Två volymer i fint skick.

New Castle, Delaware: Oak Knoll Press, 2000, large 8vo., cloth, dust jacket. 288 pages. Illustrated.First edition. This scholarly work examines the past, present, and future of watermark study, ranging through the disciplines of art history and conservation, bibliography, musicology, and philately. This book is a collection of scholarly essays that were presented at the Roanoke International Conference on Watermarks in 1996. Co-published with The British Library.