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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.

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.

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.

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."

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.

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.

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".

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.”

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.

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.

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.

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.

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.

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.

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.

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.

Lunds Konsthall. 1982. Screentryckt affisch. (70 x 100 cm). Formgiven av Gert Fors & John Melin. (Se John Melin till exempel s. 59, spektakulär katalog!).

F. Tilgmann, Helsingfors 1931. 66 s. + 73 planscher varav en del i färg. Liten folio. Halvklotband med blindpressad pärmstämpel efter en teckning av Albert Edelfelt. Tryckt för namngiven ägare (Martha Lundholm) i en numrerad upplaga om 1500 ex. Detta exemplar är nr 1085. Utomordentligt tryck av titelsidor, bokuppslag och illustrationer.

The Pioneer Associates, New York. 1935. xx, 172 s. + 19 planscher med Timothy Cole’s bästa trägravyrer. Stor 8:o. Havsblå klotband med guldtryckt ryggtitel och förgylld främre pärm. Endast övre snitt skuret. Tillskrift på smutstitelsidan från William T. Dewart. William T. Dewart var ägare av New York Evening Sun och Timothy Cole graverade både Mr. och Mrs. Dewart’s porträtt. Frontplanschen föreställer Timothy Cole under arbete med Mrs. Dewart’s gravyrporträtt. Formgiven av D. B. Updike och tryckt med Monotype Caslon vid The Merrymount Press i 750 numrerade ex varav detta är nr 91 och signerade av författarna. (Smith 786).

The Lion and Unicorn Press, London 1961. 175, (1) s. 4:o (28,5x21,5 cm). Skinnryggband, fläck på ryggens nedre del, främre pärm dekorerat med rött sigill. Planschillustrerad. Tryckt i 400 numrerade ex, detta är nr 35.

Kejserliga Senatens tryckeri, Helsingfors. 1867. (1), 46 s. + 1 plansch. Stor 8:o (24,5 x 19,5 cm). Häftad med blå ryggremsa. Yttre hörnen med vikmärken. Planschen, med två figurer, har en lång reva och pappersförlust vid övre och nedre marginalen, bildytorna berörs dock inte. Det tunna planschpappret är också "skrynklat". En enkel figur i texten. Namnteckning på omslaget Edvard Åberg, alltså Johans son och far till poeten Gunnar Björling.

The Graphis Press, Zurich. 1968. 156 pages + 3 bound-in original woodcuts with sun imagery. 4to (30,5 x 24 cm). Grey cloth, titled and decorated in gilt on the front cover & the spine, fine dust jacket with minor edge wear. Extensively illustrated in colour and b/w. Fourth printing. Text in English, German and French.The subtitles are: Sun Symbolism of the Past and the Present in Pagan and Christian Art, Folk Art, Fine Art and Applied Art / Sonnensymbole aus Vergangenheit und Gegenwart in der vorchristlichen und christlichen - in der freien und angewandten Kunst / Symboles du Soleil du passe a nos jour, paiens ou chretiens, tires du folklore, des beaux-arts et des arts appliques.