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George Braziller, New York. 1990. 320 s. 4:o (29,5x22,5 cm). Gulddekorerat klotband med välbevarat skyddsomslag. 120 avbildningar i färg och 162 i svartvitt. 109 katalogiserade manuskript. Med bibliografi och register med korsreferenser. Utgiven i samarbete med The Pierpont Morgan Library med anledning av en utställning.“During the fifteenth century a large number of the most glorious manuscript illuminations were created in the Dutch artistic centers of Delft, Haarlen and Utrecht.In ‘The Golden Age of Dutch Manuscript Painting’, scholars from The Netherlands and The United States place Dutch manuscript painting in its historical and art historical context, and present new information on these strikingly beautiful works. Now for the first time, we may distinguish the artistic styles of the centers, and discover new attributions for a number of well-known illuminations.” From front flap.

Svenska Slöjdföreningen, 1901. (6), 155 s. + 52 planschblad med avbildade möbler. Brunt halvklotband med enkelt gulddekorerad rygg. Snitten tätfärgade rött. Läsband. Nött titeletikett i brunt skinn. Med värdefulla bilagor och register. Fint skick.Meddelanden från Svenska Slöjdföreningen år 1902.

Hyphen Press, London. Reprinted with minor correction, 1994. 207 pages. Large 8vo. Sewn, flapped paperback, minor wear to cover. Black and white illustrations on glossy paper.Situating the birth of modern typography around 1700, when it started to be distinct from printing, Robin Kinross introduces in Modern Typography a new understanding of the subject: as something larger and more deeply rooted than a modernism of style, echoing Jürgen Habermas’s proposition that modernity is ‘a continuing project’. Starting with the early years of the Enlightenment in France and Britain, different cultures and countries successively become the focus for the discussion as they gain significance. Examining the social, technical and material contexts in which typographers operate, the argument also considers principles and explanations of practice. This essay is seminal in many ways, providing a lively and critical narrative of historical development, a springboard for further investigation, and reproductions of not-often seen items.‘This is a book to read and reread. It is provocative, dense, opinionated, and thoroughly original. […] It deserves to become a classic.’ Alastair Johnston, Bookways.

P. A. Norstedt & Söners förlag, Stockholm. 1883. iv, 654, (1) s. + 2 färgplanscher. Stor 8:o. Privatbundet halvskinnband med guldornerad rygg, marmorerade snitt, handmarmorerat pärmpapper. (Nils Ericsons Bokbinderi, Stockholm). Ryggen blek, med fläckar och delvis nött, pärmkanter något nötta, slitbanorna nötta. Illustrerad.Extrabladet om rörliga typer är medbundet.

Björck & Börjesson, Stockholm. 1915. 97 s. + kolofon. Trådhäftad med slitna omslag. Ryggen till omslagen saknas till större delen. Övre snitt putsat, övriga snitt oskurna. (30 x 23 cm). Privattryckt på handgjort papper i 100 subskriberade exemplar numrerade 1-100 samt 12 exemplar avsedda till arkiv och utgivare, signerade I-XII. Detta ex tillhör arkiv- & utgivarupplagan och bär nummer III.

Gebr. Klingspor, Offenbach a. M. (2 blank), (27), 21, (1 colophon), (1 blank) pages. Small 8vo (16 x 10 cm). Card boards, front cover with drawing printed in colour. Corners bumped. The ”birth-signs” in the Zodiac by Willi Harwerth, printed in colour.Printed at the Klingspor’s printing office in red and black in Rudolf Koch's Marathon on Zerkall-Bütten paper.

Libanus Press, Marlborough, Wiltshire. 2005. 434 pp. 4to (23,5 x 18,5 cm). Soft cover with folding flaps. Signed by Michael Mitchell & Susan Wightman. With over 1000 examples, illustrations and diagrams.”Book Typography: A Designer's Manual” is a comprehensive guide to typography and typesetting. Books depend on good design to communicate. Every type of book, from a poetry collection to an encyclopedia, has its own style of communication. This manual describes the principles of good design, why they exist, and how to put them to practice.”Book Typography” leads the reader from an understanding of what is a readable text, through the construction of books through all their different forms - novels, illustrated books and complex reference works. The organization of text and the handling of images are explained in detail. Advice is also given on work progression and print management.Designing books is a visual task and is best demonstrated with visual examples. ”Book Typography” contains over a thousand examples and illustrations showing typographic principles put into practice - from the smallest detail of punctuation to flat plans of entire books. All the samples come from published works and each is labeled with the font used, its size and leading. Additional information and comment is provided in the side notes.”Book Typography” defines the industry's technical terminology in the chapter, "The Basic Terms of the Trade". An extensive glossary is also included. It is an essential guide for students and recent graduates hoping to work in book design and publishing.”Book Typography” covers every aspect of the book designer's task, providing an invaluable reference to editors, copy-editors, proofreaders, production managers and publishers.

Thames & Hudson, London. 2000. 272 pages. Tall 4to (33,5 x 26 cm) Fine black stamped cloth boards in like dust jacket. Over 500 colour illustrations. First edition. ”Graphic Design, Interiors, Objects and Illustrations” = cover title.”Art is Work is a lavishly illustrated overview of Glaser’s rich and prolific output of the last twenty-five years, from newspaper, magazine and book designs to posters, toys, corporate identity and CD covers.”

P. A. Norstedt & söner, Stockholm. 1833. 8:o. XVI, 508 s. Något nött samtida halvskinnband med blindpressad och guldornerad rygg. Ryggen ganska fläckig. Grönstänkta snitt. Inlagan delvis lite lagerfläckig. Pappersförlust i nedre hörnet på sidan 139. Med omfattande bläckanteckning på frampärmens insida "Johan Horney den 8 oktober 1895. Denna bok har tillhört Presidenten Ehrenborgh".

AB Svenska Industrien, Centraltryckeriet, Stockholm. 1906. Första årgången. (6), 448 s. + annonsavdelning 16 s. Dekorerat klotband. Aningen nötta pärmar. Med värdefulla uppgifter om tillverkning, varor, försäljning, ägarlängder, omsättning, anställda, adresser och mycket mer. Med ett omfattande register.

Ernst Siegfried Mittler und Sohn, Berlin 1903. x, 313 s. + atlasband med 65 kartor. (25 x 17 cm). Röda klotband med rikt guldornerade skinnryggar. Ryggarna något nötta, pärmkanterna med mindre stötmärken. Textdelen med vissa förstrykningar i blyerts. Exlibris på främre pärms insida. Namnteckning. Smutstitelsidorna utrivna. Två volymer.Del III i serien Studien zur Kriegsgeschichte und Taktik.

Norstedts, 2007. Stockholm. 422 s. + dubbelsidig karta över Gustavsberg. (31, 5 x 24,5 cm). Blått katonnageband med silverdekor, bevarat skyddsomslag. Fint skick. Mycket rikt illustrerad, främst i färg. Utförliga register såsom: namngivna servisdekorer med avbildningar, nummerdekorer, allmänna serier, konstnärer och målare med signaturer, stämplar, VDN-märkning, färger i glasyrer och dekorer, från lera till kopp, smeknamn, keramisk ordlista). Med person- och sakregister.Gustavsbergs porslinsfabrik var folkhemmets stora leverantör av funktionellt, vackert och starkt porslin. Många köpte också konstgods av Gustavsbergs ledande formgivare som Wilhelm Kåge, Stig Lindberg, Berndt Friberg och Lisa Larsson. I denna rikt illustrerade och initierade bok skildras porslinet, konstnärerna och samhället. Här finns också en fyllig faktadel för alla som vill veta mer om keramiken med den kända ankarstämpeln i botten.

Verlag Der Goldene Brunnen, Bauersche Gießerei, Frankfurt am Main. 1955. 183 pp. Cloth with spine lettered gilt in. Front cover decorated in blind. Spine giltprinted title on one band. Extensively illustrated with wood engravings by Karl Rössing. Unsplit, double printed pages. Original card slipcase. With a dedication dated 1958 from the Bauersche Gießereis Director Ernst Vicher, who took over the company from Georg Hartmann in 1954.This is an art book based on the exquisite wood engravings by Karl Rößing. Rößing Karl Rössing (1897–1987 in Wels) was an Austrian painter, graphic artist and illustrator. He for many years also taught in Essen, Berlin and Stuttgart. This book is set in Antiqua Imprimatur, a typeface produced by Bauer in 1952–55. Most likely this handsome book was designed to present the new typeface.

Buchbinder-Verlag, Stuttgart. 1954-55. pp. 145-192, 1-192, 1-144. The format is 5 mm broader from the April issue, 1955. Privately bound in full green cloth, gilt lettered leather spine label. (Hansfr. Frostells Bokbinderi, Stockholm). Black and white illustrations. Two years bound together in one volume.

The Museum of Modern Art, New York. 1998. First edition. 336 pages. 4to (29,5 x 24,5 cm). Stiff, printed wrappers. 431 illustrations (221 colour, 114 duotone). With essays by Aleksandr Lavrent’ev and Varvara Rodchenko.The catalogue presents for the first time a full and coherent overview of Rodchenko’s diverse achievement. An illustrated chronology outlines the story of the artist’s life.Aleksander Mikhailovich Rodchenko (5 December 1891–3 December 1956) was a Russian and Soviet artist, sculptor, photographer, and graphic designer. He was one of the founders of constructivism and Russian design; he was married to the artist Varvara Stepanova.Rodchenko was one of the most versatile constructivist and productivist artists to emerge after the Russian Revolution. He worked as a painter and graphic designer before turning to photomontage and photography. His photography was socially engaged, formally innovative, and opposed to a painterly aesthetic. Concerned with the need for analytical-documentary photo series, he often shot his subjects from odd angles—usually high above or down below—to shock the viewer and to postpone recognition. He wrote: "One has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hole again and again."

Verlag Lars Müller, Baden. 1990. 223, (1) pages. 4to (30 x 22,5 cm). Black cloth spine with thick card boards. The transparent printed jacket torn and worn. Name of the previous owner in ink on half title (Lars Hall). Profusely illustrated in colour and monochrome. Text in German. First edition.Spirale was an international artists’ magazine for young art and is now one of the most important records of how art developed in the 50s. It marks the change of generations in post-war art and documents the development of abstract and constructive/concrete art in Europe. The Spirale was edited by Marcel Wyss, Dieter Roth, and Eugen Gromringer, other contributors were Max Bill, Richard Paul Lohse, Karl Gerstner, Mr Bremer, Helmut Heissenbuttel and other.

New York and Penn Pulp and Paper Manufacturers. No date (c. 1959-61). Mini poster, litograph-offset (30,5 x 22,2 cm). Lower left corner with foldmark. 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.Henry Wolf (1925-2005) was an Austrian-born, American graphic designer, photographer and art director. He influenced and energized magazine design during the 1950s and 1960s with his bold layouts, elegant typography, and whimsical cover photographs while serving as art director at Esquire, Bazaar, and Show magazines. Wolf opened his own photography studio, Henry Wolf Productions, in 1971, while also teaching magazine design and photography classes. In 1976 Wolf was awarded the American Institute of Graphic Arts Medal for Lifetime Achievement, and in 1980 he was inducted into the Art Directors Club Hall of Fame.

Cambridge University Press, Cambridge. 1932. xii, 335 s. + 6 planscher, varav en utvikbar. Stor 4:o. Tegelfärgat och gulddekorerat klotband. Början, slutet och snitten med lagerfärgade prickar. Planscher och 156 fototypier.En utvidgning av ‘The Sandars Lectures in Bibliography 1931–32’. Första historiken om den engelska dagstidningen. The English Newspaper är första boken som trycktes med Monotype Bell. (Appleton 120)

Sveriges Ornitologiska Förening, ArtDatabanken (Sveriges lantbruksuniversitet), Ekologiska institutionen (Lunds universitet). 552 s. (31,5 x 24 cm). Kartonnageband med tryckta pärmar. Kartor, fotografier, vinjetter och andra illustrationer, huvudsakligen i färg. Innehållsförteckning: Förord av Jens Wahlstedt, Sveriges Ornitologiska Förening 6. Förord av Torleif Ingelög, ArtDatabanken 7. Inledning 9. Artkartor och arttexter 22. Registrerade arter i alfabetisk ordning 536. Registrerade arter i antalsordning 541. Tillfälliga häckfåglar 546. Artregister, svenska namn 549. Artregister, vetenskapliga namn 550. Vår Fågelvärd, supplement nr 31, Stockholm. Mycket fint skick!

De Buitenkant, Amsterdam. 2003. 255 pages + colophon. Card boards. Illustrated in colour and b/w, 1 fold out specimen sheet. New copy.Bram de Does (19 July, 1934 – 28 December, 2015) was a graphic and type designer. De Does studied at the Amsterdamse Grafische School in the 1950s. De Does came into contact with the printing trade at an early age, as his father had a printing office in the east of Amsterdam. From 1958 to 1988 he worked, with several intervals, at Joh. Enschedé, a printing office in Haarlem. He worked there primarily as a book designer. One of the most perfected is the book Typefoundries in the Netherlands. It was published in 1978, and is a prime example of fine Dutch printing and publishing. Incidentally, it was also the last book Enschedé published that was printed entirely by letterpress. De Does is known for his attention for detail and perfectionism for the Typefoundries in the Netherlands, he personally supervised the production of the paper (produced with his own recipe) and he insisted that the book should be printed by one person in a specially equipped room. De Does designed Trinité and Lexicon, two useful typefaces.

R. R. Bowker Co., New York 1936. xvi, (2), 462 s. Rött buckramband med blek rygg. Namnteckning (Anders Billow). Illustrerad. Tryckt i 1000 ex.Del II var den enda som utkom eftersom McMurtrie dog strax efter publiceringen. Ett viktigt verk om amerikansk boktryckerihistoria.

Helsingfors Grafiska Klubb, 1948. xxiv, färgplansch, 396 s. + kolofon. 4:o (30 x 21 cm). Brunt halvskinnband med tätfärgat övre snitt och vackert pärmpapper. Ryggskylten blekt och nötmärken på ryggen. 122 illustrationer. Verket har i denna utstyrsel tryckts för namngiven ägare (August Sandberg) i 100 numrerade exemplar varav detta är nr 22.

Lockwood, New York 1929. 982 s. Klotband. Bakre inre falsen helt loss.Register och innehållsförteckning i kombination ger utmärkta sökfunktioner.

Neville & Spearman, London. 1954. First edition. Not paginated (c. 55 pages). Introduction by Sir John Rothenstein (3 pages) followed by 24 female and male, nude drawings by Eric Gill, printed on the rectos only. Text printed in 14 point Linotype Pilgrim based on a design by Gill. Small 4to (25 x 17,5 cm). Red cloth, with gilt-lettered spine and Gill's monogram on upper cover stamped in gilt. Dust jacket with tape repaired shorter tears, endpapers have some offset from jacket. A printed note states: ”Paris 1926 May (Sketch book No. I) for Gordian Gill (because it was begun on his birthday & it’s the first time I did any life drawing.) (Gill, Corey, Mackenzie 636.10).

Nyköping 1923-27. 108 + 120 + 96 + 100 + 216 s. Gediget privatbundet halvskinnband med fyra upphöjda bind. Samtliga snitt marmorerade. Första häftesomslaget medbundet. Ryggen hårt nött. Illustrerad med svartvita fotografier. Fem häften inbundna i en volym (femte och sjätte delen i ett häfte).