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Generalstabens Litografiska Anstalt, Stockholm. 1958. 132 s. + planscher. (29,5 x 22,5 cm). Klotryggband. Pärmpappret något mörktonade vid yttre marginalen. 61 illustrationer i färg och svartvitt varav några utvikbara. Med register.

Grant Richards Ltd., London. 1914. xxviii, 122, (2) pages. Cloth spine, gilt spine label partly missing, corners bumped, mild foxing on end paper, top edge trimmed others uncut. Book plate inside front board (Lars Laurentii). Printed by D. B. Updike at the Merrymount Press, Boston. Title page by T. M. Cleland. Set in Montallegro Type, designed by Herbert P. Horne and cut by E.P. Prince custom made for the Merrymount Press. Printed in black & red on handmade paper with Merrymount Press’ watermark. Introduction by J. E. Springarn.The Humanist Library, Vol VIII. (Smith No. 408).

Verlag Robert & Bruno Schultz, Berlin 1931-32. Opag. 1932; 8 s. följt av 180 planschsidor med svartvita fotografier; Roman Schmehlik: "Von der Gehirnorgel" 3 s. + 4 planscher; Robert & Bruno Schultz: "Rückblick" 2 s.; "Autorenverzeichnis und technische angaben" 25 s. 1933; 20 s. med bl.a. ett förord följt av 160 planschsidor med svartvita fotografier och 2 med färgfotografier; "Was will Das Deutsche Lichtbild?" 1 s.; "Autorenverzeichnis und technische angaben" 24 s.; "Anzeigen" 5 s.Två årgångar i ett rejält handbundet klotband med röd ryggskylt i skinn. (26 x 21 cm).

Otto Baumgärtel, Berlin, 1910. xiv, 275 pages + plates + 7 folding plans of Köln, Hampstead Garden Suburb, Letchworth, Rothenburg, Karlsruhe and Nürnberg. Cloth binding. Previous owner's signature inside front cover and on title page, dated 1919, front inner hinge cracked, top of spine worn. 342 illustrations. “Town Planning in Practice” translated into German by L. MacLean. Sir Raymond Unwin lived between 1863 and 1940. He worked with his brother-in-law, Barry Parker and together they formed “First Garden City Ltd” in 1903, after which they were appointed architects of 16 km² of land outside Hitchin, purchased for designing a new garden suburb, Letchworth Garden City. Unwin was then asked to design Hampstead Garden Suburb in 1905, where he utilized the planning principles used at Letchworth. In 1906, he moved from Letchworth and resided in Hampstead and in 1909, five years after the Garden city at Letchworth was completed, he wrote his book of guidance, “Town Planning in Practice”. Unwin started his book by mentioning the problem of the nineteenth century in England, which witnessed an exceedingly rapid growth, not allowing much time for town planning. This was accompanied by the decision on land usage being made by individuals on economic bases. The result of that was the extensive need for town planning. Although Building bye-laws laid a good foundation for healthy conditions of living, they lacked certain amenities such as art and beauty. It is important to attach art and beauty to town planning, which are expressions of community needs, life and aspirations. Studying old towns is useful for town planning because they provide good examples for works which were well done and visually successful. This study might help us to judge but not to copy what is likely to lead to the best outcomes.Unwin mentioned individuality as a quality that characterizes and distinguishes each town from the other and provided examples of historic and even prehistoric cities to prove the existence and development of town planning throughout history. (Eamonn Caniffe).

New York and Penn Pulp and Paper Manufacturers. No date (c. 1959-61). Mini poster, litograph-offset (30,5 x 22,2 cm). Upper right corner with a small folding mark. 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.Sadamitsu "S. Neil" Fujita (1921–2010) was an American graphic designer known for his innovative book cover and record album designs. Fujita joined a prominent Philadelphia ad agency—N. W. Ayer & Son—after completing his studies. He employed an avant-garde style and was noticed by Columbia Records. Columbia hired him in 1954 to build a design department to build on the work of Alex Steinweiss. Columbia felt a particular need to keep up with the cover art of Blue Note Records. Fujita created numerous iconic covers of the period, including that of Time Out, 'Round About Midnight, and Mingus Ah Um. In 1957, Fujita left Columbia in order to broaden his portfolio. He started his own firm, but rejoined the company soon after. In 1963 he joined the public relations firm Ruder & Finn, creating a design division called Ruder, Finn & Fujita (later Fujita Design) where he embarked on a long career of book cover design. He designed the covers for In Cold Blood, The Godfather, and Pigeon Feathers. He taught design at the Philadelphia Museum College of Art, the Pratt Institute, and Parsons School of Design.

Evang. Fosterlandsstiftelsen förlag, Stockholm, 1873-77. 455 s. + 611 s. + 464 s. + 429 s. + 256 s. + 314 s. + 430 s. + 350 s. + 303 s. + 234 s. Klotband. (24 x 17 cm). Bleka ryggar och nötta vid överkanten, pärmarna något nötta och solkiga. Understrykningar i texten med blyerts. 10 delar i fyra volymer.

R. Piper & Co., München. 1919. (6), 157, (1) s. + 25 planscher. Apelsingult pappband med litograferat omslag av E. R. Weiss som också övervakat tryckningen. Ryggkanterna nötta och lätt solkade pärmar. 8 illustrationer i texten samt planscher varav 5 är originallitografier av Rudolf Grossman. Tryckt i 300 numrerade exemplar för sällskapets medlemmar. Detta ex är onumrerat. (Rodenberg 318).

Liljevalchs Konsthall & Märta Måås-Fjetterström AB, Stockholm & Båstad. 2009. 190 s. + 16-sidigt engelskspråkigt supplement. (30 x 25 cm). Dekorerat linneklotband. Välillustrerad, främst i färg. Mycket fint skick. Katalog, nr. 481, till utställningen på Liljevalchs konsthall 3.10 2009 - 6.1 2010. Mycket fint skick!

Hiersemann, Leipzig 1916. (6), 272, (10) s. Grått dekorerat klotband, ett hörn stukat. 18 textillustrationer samt tre utvikbara planscher. Hiersemanns Handbücher Bd. IX.Innehåller en förteckning över de bästa bibliografierna, monografierna och verkförteckningarna följt av ett mycket stort konstnärsregister med förteckning av verk där uppgifter om konstnären och hans verk går att finna. Den bibliografiska avdelningen upptar sid. 177–267.

Liber, Stockholm. Universitetsforlaget, Oslo. 1999. 1 upplagan, 5 tryckningen. 329 s. Kartonnageband. 240 illustrationer i tre färger. Namnteckning på första sidan, annars i nyskick. Anatomisk atlas ger i text och bild en översikt av organens byggnad, förhållandet mellan olika organ och mellan anatomisk struktur och funktion. Boken är utformad så att den kan användas tillsammans med läroboken Människans fysiologi (Haug m.fl). ISBN 9789147000913

Rizzoli, 2006. 176 pages. Folio (36 x 28 cm). Hard cover, dust jacket. Black & white photos. New, unopened copy, still wrapped in publishers protective plastic film.Revised to include new and previously unpublished pieces, a collection of the photographer's seminal sixties classics includes the title collection, a reinvention of the nude genre that is played out by old-west cowgirl subjects.

Maximilian-Gesellschaft, Hamburg. 1982. 184, (5) pages. 4to (30 x 20 cm). Black cloth with title on spine in relief, paper label mounted on front board. Title-, textpages, composition, calligraphy, portraits, facsimiles and other illustrations. A mounted supplement, 34-page booklet, ”...der Hamburger Klopstock-ausgabe mit einigen typographischen modellen”, typography by Sichowsky. With a bibliography and index. Contributions by Henri Friedlaender, Hans Peter Willberg, Karl Ludwig Schneider, Roswitha Quadfliege et al. Text in German. The good example in double sense a presentation of an outstanding typographer in a beautiful volume, printed at the Lehrdruckerei der Technische Hochschule, Darmstadt.

The Harvard College Library, Cambridge. 1967. xiv, (2), 255, (1) s. Folio (37,5x27 cm). Svart klotband med blindpressad främre pärm, för- & eftersättspapper efter Rudolph Ruzicka. Illustrerad med 10 helsidesplanscher i färg och ett stort antal svartvita illustrationer. Formgiven av Roderick Stinehour och satt vid The Stinehour press, tryckt vid The Meriden Gravure.Vackert producerad katalog med förträfflig katalogisering.

Kungl. Järnvägsstyrelsen, Stockholm. 1909. Del I: Historik, tekniska utredningar och kostnadsberäkningar xxii, 436 s. Del II: Ekonomisk-statistiska utredningar (6), 703 s. (25x17,5 cm). Två häftade volymer. Kartbilagan saknas.

Japan Society / Abrams, New York. 2000. 352 pages (30,5 x 26 cm).A Very Fine copy in black linen cloth over thick boards, in a Very fine metallic blue and silver frenchfold dustwrapper. Still in shrink wrapps. With CD inside envelope tucked into rear endpaper. 287 illustrations, 102 in colour. A full-scale large format monograph on the artist's works over time, with documentary essays by several hands.

An original Christmas card with a two-colour abstract engraving of a female figure. No date, but from the 1930s when they lived in Paris. 8vo (20,5 x 23,5 cm). Folded once. Top edge cut. Inscribed on front cover with pencil ”J.v.K.” [Jan van Krimpen].JBW was one to hop on and off the train, experimenting with abstract or surreal styles, while not adopting wholeheartedly the doctrine á la Breton. During 1934 and 1935, he produced a large number of prints, nearly all abstract or surreal, in a style that he claimed was a mix of 'the ' blood' of realism and the 'brains' of the abstract rhythm.' The subject matter - images of women titled Composition or Artist or Model - were sometimes in copper engraving but more often in wood. They were characterised by strong lines, and clear and precise delineation.

Harry N. Abrams, New York. 1990. 396 pages. Large 4to (31,5 x 26,5 cm). Fine in blue cloth in likewise dust jacket. 433 illustrations, including 133 plates in full colour. First American edition. Translated from Russian by Marian Schwartz.Liubov Popova was one of the first female pioneers in Cubo-Futurism. Through a synthesis of styles she worked towards what she termed painterly architectonics. In 1916 she joined the Supremus group with Kazimir Malevich, the founder of Suprematism, Aleksandra Ekster, Ivan Kliun, Nadezhda Udaltsova, Olga Rozanova, Ivan Puni, Nina Genke, Ksenia Boguslavskaya and others who at this time worked in Verbovka Village Folk Centre. The creation of a new kind of painting was part of the revolutionary urge of the Russian avant-garde to remake the world. The term 'supreme' refers to a 'non-objective' or abstract world beyond that of everyday reality. As early as 1917, in parallel with her Suprematist work, the artist had made fabric designs and worked on Agitprop books and posters, In the Tenth State Exhibition: Non Objective Creativity and Suprematism, 1918, she contributed the architectonic series of paintings. She continued painting advanced abstract works until 1921. In the 5x5=25 Exhibition of 1921, Popova and her four fellow Constructivists declared that easel painting was to be abandoned and all creative work was to be for the people and the making of the new society. Popova worked in a broad range of mediums and disciplines, including painting, relief, works on paper, and designs for the theater, textiles, and typography.

Helsingfors 1942. (14), 157 s. 4:o. Klotryggband med förgyllda blindpressningar på främre pärm. Rikt illustrerad. Inklistrat “gåvokort” från tryckeriet. Tryckt med anledning av det Frenckellska tryckeriets 300-års jubileum. Detta är ett ex av den svenska bibliofilutgåvan med ett faksimiltryck av titelsidan till J. C. Frenckells typprov av 1792. Tryckt i 600 numrerade exemplar varav detta är nr 348.

The Whittington Press, Andoversford. 1983. (8), 49 pages + colophon. Small 4to (25,5 x 26,5 cm). Quarter bound by Smith Settle in brown cloth with Whittington marbled paper over boards printed spine label. 345 copies total, this is one of 250 copies (this is no. 17) printed on Sommerville laid paper. Signed by Edward Craig. Tipped-in frontispiece plate. Two wood engravings by John Craig and two by Edward Gordon Craig. (Butcher 65).

Natur & Kultur, Stockholm. 1955. (8), 1234 s. + planscher. Dekorerade halvklotband. (26 x 19,5 cm). Rikt illustrerade. Med sakregister. Två volymer i mycket gott skick.

Max Hettler Verlag, Stuttgart. 1951. Front portrait, 169, (2) pages. 4to (25,5 x 18,5 cm). Privately bound, in the style of William Barkell, in light brown cloth spine, light gray cloth over boards, gilt lettered leather spine label, top & fore edges cut, original paper wrappers bound in. The covers slightly bowed. (Albert Bonniers Privatbokbinderi). Third edition. Foreword by Hans Loubier.

Verlag Hermann Schmidt, Mainz. 2004. Second edition. 332 pages. 4to (30 x 22 cm). Blind stamped cloth in great condition. Illustrated in colour and b/w. Text in German.This book is a treasure! Friedrich Forssman and Ralf de Jong have accumulated all the typesetter's knowledge of the centuries and have processed it for everyday needs and access. ”Detailtypografie” is not a textbook [which is usually read cover to cover and then either memorised or forgotten] but a loyal companion for all sorts of typographic situations, a book you have to hand to refer to when needed. A book that answers all questions: From font selection to font editing, from punctuation to record marks, from line break to paragraph, ... up to the foreign-language typesetting and to the mathematical formula typesetting. The reference work for all questions about fonts and typesetting!

Malmö Konsthall. 1989. Screentryckt affisch. (70 x 100 cm). Foto: Gunnar Smoliansky. Formgiven av John Melin (Screentryckt form s. 34).

Svenska Teknologföreningens afdelning för husbyggnadskonst, Stockholm. 1908-30. Del 1: Text och register till hela verket. Del 2: Planscher Götaland. Del 3: Planscher Svealand och Norrland. Sammanlagt c. 1500 sidor. Illustrerade med c. 800 dokumenterade fotografier, planritningar och teckningar. Illustrerade i texten med med äldre stadsvyer, stadskartor och planer. (28 x 22 cm). Mörkblåa skinnband med ryggtitlar i guld och gulddekorerade pärmar, övre guldsnitt. Ena bandet med något nött och blek rygg, skadad vid ryggfoten hörnstött. Det andra bandet skadat vid ryggfoten och liten skinnförlust, pärmkanterna nötta. Tre delar i två volymer. Praktupplagan tryckt för namngiven ägare.