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Nordiska Museéts handlingar 31, Stockholm. 1949. 200 s. följt av en planschavdelning med 126 avbildade möbler. (28,5 x 20 cm). Privatbundet, mörkrött halvmarokäng-band med stramt pärmpapper, stilfull ryggdekor, övre guldsnitt, övriga snitt endast hyvlade, främre & bakre omslag liksom rygg medbundna, i flanellskodd klotkassett. Praktband! Signerat Lars Wahlström, 1982.

Stockholm, 1947. lii, 636 s. Dekorerat linneband med mjuka pärmar. (29,5 x 20,5 cm). Diiskret namnteckning på främre pärms insida. Rikt illustrerad i svartvitt men även färgbilder och monterade prover. Fylliga produkt- och firmaregister.

Maximilian-Gesellschaft, Hamburg. 1979. lxii, 289 pages + colophon. 4:o (31 x 21 cm). Cloth binding, gilt title on red label spine, gilt ornament front cover.One of 500 copies in German of a total of 1500, printed at Stamperia Valdonega, Verona. Illustrated in colour and b/w. With an introduction by Hans Schmoller. Lists the books, the type-faces, and devices. Indexes with titles, authors, illustrators, type designers, editors, translators, publishers, type-faces, and list of reproductions. The definitive bibliography of this important press.

Kunstakademiet. 1979. 96 pages. 4to (27,5 x 20,5 cm). 45 photos and 7 measured drawings. Publisher's blind-lettered cloth. Text in Danish. Introduction by Gunnar Biilmann and Bent Salicath. Nice copy.A survey of furniture designed by Kaare Klint 1914-1936 and a Klint bibliography. The edition was limited to 500 copies for sale.

Charles Hindley, London. 1887. xliv, 308 pages. 8vo. Cloth binding, fore edge and lower edge untrimmed. Spine label mostly rubbed off, scuffed at top and bottom, boards somewhat soiled, corners bumped, inner hinges are a little bit weak. Many illustrations coloured by hand. "A collection of juvenile books. Printed and published by James Catnach," p. [95-212]. Includes reprints of texts of songs, catchpennies, etc.It was from the little shop and parlour at 2 Monmouth Court, Seven Dials that James Catnach set up his printing business c. 1813 using only his father’s old wooden printing press. He was now supporting his mother and family and so had even more incentive to succeed, and so by very careful management he gradually built up a very solid yet lucrative business. His main-stay was small histories, ballad poetry, broadsides, catch-pennies, and penny awfuls. And the customers who were connected with the catchpenny trade and who frequented his place of business were, in the main, vagrants, miscreants, and the underclasses of society. Business improved and c1820 James was running 3 presses, all working flat out. By the end of the 1830s James Catnach was at the height of his power, influence and wealth, never employing more than 4 and with only 6 presses, he had a phenomenal turnover, sometimes not even having time to count the number of copies coming of the presses.

Lowndes & Hobbs Printers, Marquis Court, Drury Lane, London. 1812. Glazed with corner clips. H 32 x W 21,5 cm. Small spot at lower left margin, minor paper loss at lower margin.

Thames & Hudson, London. 1986. 320 s. 4:o (31,5 x 26,2 cm.) Svart klotband med guldpräglad ryggtitel, naggat och nött skyddsomslag. Etikett på främre pärms insida. Eftersom inlagan är så tung hänger den framåt, dock utan falsskador. 476 illustrationer varav 248 i fyrfärg.“Here is the first major book on the dynamic graphic design created in the three decades before Worl War II /.../ The book covers in depth the style’s sources and explores the decorative ‘fine arts’ that formed a bridge between the radical movements and Deco commercial art. There are chapters on posters, magazines, commercial design, books, and fashion and costume - each with an illustrated introductory text followed by a portfolio of stunning illustrations of work...”

Harvard University Press,Cambridge. Reprint 2013. ISBN 9780674436992. 283 pages. Card boards. Illustrated in black and white. Copy as new! Mass production of clay and papyrus records by the ancient Near Eastern civilizations created problems of preservation similar to those confronting the archivist in the age of paper. The temple economies and emerging empires of Mesopotamia could not have functioned without the records they created for purposes of social control. Land records were vital in Pharaonic Egypt because of the annual inundations of the Nile. Aristotle thought of the archives as an indispensable unit of city government. An important contribution of Republican Rome was a quasi-central archival repository. The evolving bureaucratic government of Imperial Rome created archival institutions at its seat and in the provinces. Drawing on the findings of assyriologists, papyrologists, and classicists Ernst Posner has created for the first time a sound historical basis for the archivist’s understanding of the genesis of his profession. His work throws light on the considerable archival accomplishments and sophistication of the cultures of the ancient world from the days of the Sumerians to the death of Justinian and also on the societies in which they played such a significant part.

Harvard University Press, Cambridge (Mass.) 1959. xiv, 166 + 64 planschsidor med 136 illustrationer. Gulddekorerat klotband med slitet och missfärgat skyddsomslag. Martin Classical Lectures, Volume XVI.“This book presents what is known or may be surmised about the use and type of illustrations in the works of classical antiquity. Kurt Weitzmann has spent more than thirty years in this field - originally roving the existence of ancient book illumination, and now outlining, for the first time, its history.”

Menno Hertzberger & co., Amsterdam. 1968. 478, (1) s. + 75 planscher. Rött klotband med skyddsomslag. Planscher och illustrationer i texten. Sammanställd utgåva med anledning av att Herman de la Fontaine Verway firade ‘silverjubileum’ som bibliotikarie vid Universitetbiblioteket i Amsterdam. Bland bidragande författare finns Bruno Becker, L. Brummel, Robert Brun, Harry Carter, Eugénie Droz, I. H. van Heeghen, Bob de Graaf, Wytze & Lotte Hellinga, Abraham Horodisch, Luc Indestege, M.E. Kroonenberg, André Jammes, Herman Liebaers, Leon Voet, S. van der Woude. 28 bidrag varav 13 på engelska, 13 franska och 2 tyska.

The MIT Press, Cambridge (Mass.) 1989. xvi, 179 pages. 4to (31 x 22,5 cm). Blue cloth binding with dust jacket. Foreword by Massimo Vignelli. More than 300 illustrations, 55 in colour, are drawn from almost every medium of graphic expression, including posters, advertising, magazines, book jackets, business graphics, and signage. This is a comprehensive look at these pioneering designers: Mehemed Fehmy Agha, Alexey Brodovitch, Charles Coiner, William Golden, Lester Beall, Will Burton, Alvin Lustig, Ladislav Sutnar, Bradbury Thompson.

Albert Bonniers Förlag, Stockholm, 1934. 62, (2) s. 4:o (26,3 x 20,3 cm). Klotryggband med tryckta kartongpärmar. Aningen nött rygg, nedre pärmkanter obetydligt nötta, yttre hörnen med stötmärken, försättsbladet med svagt vikmärke vid nedre hörnet, 1 blad (s. 15-16) med en reva vid nedre marginalen (c. 10 mm). Trots beskrivna brister är det ett mycket rent och fint exemplar av den första svenska utgåvan. Illustrerad i färg och svartvitt.

Forum, 1978, fjärde tryckningen, artonde - tjugoandra tusendet. 296 s. Vitt kartonnageband med tryckta pärmar. Omslag (tryckt i silkscreen), 13 halvsides- och 13 helsidesillustrationer av Stig, "Slas", Claesson. Med över 300 recept för alla tillfällen. Diffus, och diskret, namnteckning på främre pärms insida, annars i mycket fint skick.

Alfred Hufelands Verlag, Minden i. W. 1911. iv, 172 s. (s. 165-172 är annonssidor). 8:o. Privatbundet grönt klotband med skinnryggsetikett och tätfärgat övre snitt. Med illustratuiner av B. Héroug. Dritte durchgesehene Auflage.

Svenska Läkaresällskapet, Stockholm 1989. 176 s. 4:o (28x19 cm). Pappband med tätfärgat övre snitt. Tejpremsa på bakre pärms insida. 100 illustrationer varav 17 i färg.

Lazy Dog, Milan. 2012. 221, (3) pages. 4to (28 x 20 cm). Clothbound with poster jacket. Text in English and Italian. Over 400 full-colour illustrations. Copy as new!For Luca Barcellona, Italian graphic designer and calligrapher, letters are the building blocks of his creations. From Carolingian to tags, from the quill to the spray can, Barcellona takes the age-old craft of lettering to new heights with the inventiveness and talent of a contemporary virtuoso. His striking, expressive, and original letterforms and compositions open onto uncharted territory, laying the foundations of a new writing style.Contributors: Charles “Chaz” Bojórquez legendary urban artist from Los Angeles, began his career in the Chicano scene of the late 1960s and over the years shifted successfully from street to gallery artist.Giovanni De Faccio is a professional calligrapher, typeface designer (his most well-known is Rialto DF), and founding member of the Italian Calligraphic Association. He is internationally renowned for his teaching and dedication to the promotion of calligraphy. He teaches calligraphy and type design at the New Design University in St. Pölten, Austria.Nicola “Dee Mo” Peressoni debuted in the late eighties as an illustrator of European hardcore punk covers, posters, and fanzines, and went on to work in hip hop, becoming a pioneering figure in Italian graffiti and rap. His writing has been published in Max, Rumore, and Rolling Stone Italy.

Oxford University Press, London 1946. xii, 212 s. + 20 planscher. 4:o (28,5x20 cm). Blått ryggklotband med brunpappersöverdragna pärmar. Stötmärken vid hörnen. Endast övre snitt skuret.Bok- & boktryckerihistorisk studie utförd i förnämlig Fell-typografi.

Gesellschaft der Bibliophilen, Weimar. 1934. (6), 190, (2) s. Gulddekorerat pergamentryggband med ryggtitel på skinn och marmorerat pärmöverdrag. Endast övre snitt skuret. Band bundet av Otto Herfurth, Berlin Mariendorf. Exlibris på främre pärms insida. 13 röda initialer tecknade av Else Marcks. Handsatt med Elisabeth-Antiqua och tryckt vid Officina Serpentis på obestruket Zerkall-Bütten Papier. Typsnittet ritades av Elisabeth Friedlaender för Bauer och skulle heta Friedlaender-Antiqua, men det nazistiska maktövertagandet gjorde det judiska namnet omöjligt. Den raka varianten var färdig för marknaden 1937 och kursiven året efter. Detta är alltså första tryckningen med Elisabeth-Antiqua som inte riktigt ännu var färdigt för kommersiellt bruk.12 noveller som alla berör bibliofiler och boksamlande.

Dast förlag, 1986. (10), 473 s. + 3 s. annonser. 4:o (30x21,5 cm). Gulddekorerat svart klotband. Omfattande bildmaterial i form av fotografier, författarporträtt, bokomslag, dokument, manuskript, filmbilder etc. DAST Dossier nr 8.Bibliografin är resultatet av 25 års arbete och uppställd alfabetiskt med författarens namn, eventuella pseudonymer, födelse- respektive dödsår, huvudperson, svensk titel, ev. utländsk titel, förlag, utgivningsår resp. ev. filmår plus ev. övriga uppgifter av värde.

Jonathan Cape, London. 1931. (6), (2), 3-196, (4, last blank) pp. 8vo. 10 wood engravings by the author. Original green cloth, faded on spine, gilt title, green upper edge, otherwise uncut, lacks dust wrapper. First edition. Printed by Walter Lewis at the University Press, Cambridge. Printed from 13 pt Perpetua. (Evan Gill no. 22).Provenance: Lars Hall (1938-2018), prominent in Swedish public relations, designer and art collector, who studied at Konstfack in Stockholm. Hall was an Art Director and one of the founders of the advertising agency Hall & Cederquist AB in 1973. He also started Gallery Camera Obscura and later Lars Hall AB, (art direction and design). He was also an avid collector of books and Fine Art photography.

Privatdruck der Bauerschen Giesserei, Frankfurt am Main 1940. 437, (3) s. + planscher. Stor 4:o (33,5 x 25 cm). Rikt illustrerad i färg och svartvitt med bl.a. utvikbara planscher och andra illustrationer. Imiterat halvpergamentband. Yttre falssprickor. Exlibris. Bandtitel och typsnitt, Weiss-Rundgotisch, av E. R. Weiss. Denna boktryckerihistoriska krönika är Konrad Bauers främsta verk och utgavs i samband med firandet av 500-årsminnet av boktryckarkonstens uppfinning.

Apparition, New York. 1999. First edition. Not paginated. (c. 128 pages 60 full-page colour plates). Fine cloth-bound hardcover in a fine dust jacket. Condition as new. Many of the drawings collected here have not been shown before, and were done privately and intermittently.

Nordisk Rotogravyr, Stockholm, 1963. 792 s. (30 x 22,5 cm). Svart gulddekorerat klotband. Något svag vid inre falsen. Rikt illustrerad med bilder av stämplar. Alfabetiskt uppställd efter städer med användbara register över stads- och mästarstämplar. Standardverket om svenska silverstämplar.

Bonniers, Stockholm. 1966. 43 s. Häftad. Signerad av Tomas Tranströmer på förtitelsidan. Omslag av Jan Biberg. Originalupplagan.

Bokförlaget Forum, Stockholm, 2008. Femte tryckningen. (25 x 20 cm). Klotryggband mer tryckta kartonnagepärmar. Minimala fläckar på främre snittet, annars i mycket fint skick. Illustrerad av Stig Claesson - Slas. Med över 300 recept för alla tillfällen.