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Byggförlaget Kultur, Stockholm. 1998. 256 + 160 s. (32 x 24 cm). Förlagsband med välbevarade skyddsomslag. Med gedigna och informativa register. Två välillustrerade volymer i nyskick!

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.

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.

P. A. Nordstedt & Söners Förlag, Stockholm. 1918. viii, 352 s. + faksimilplansch. (19,5 x 23 cm). Trådhäftad. Veck på främre omslags övre högra hörn och bakre omslags vänstra nedre hörn, reva på bakre omslags yttre marginal och vid ryggens övre del. Exlibris på smutstitelsidan. Tryckt på linnelumppapper i 440 exemplar varav 400 är numrerade. Detta exemplar är nummer 343. Översättningen av Erik A. Hermelin.

C. W. K. Gleerups Förlag, Lund. 1961. xxiii, 1044 s. Förlagets gedigna klotband med tätfärgat övre snitt. Mycket fint skick. Nytryck av upplagan som utkom 1914-1916.

Generalstabens litografiska anstalt, Stockholm. (1908). (163) s. Vitt skinnband med gulddekor och övre guldsnitt. Främre snitt oskuret, nedre snitt endast putsat. Ful lagad reva på s. (113). Tryckt i 200 ex., detta är nr 98. Dedikation till Alfred Mohn.

ABC Edition, Zurich, 1982. First edition. 180 pages. Square 4to (25,5 x 26 cm). Hard bound.Glossy cover boards. Black leather spine with letters stamped in white. Dust jacket is perfect. Extensively illustrated in colour and b/w. Text in English, German, French.After studying logos and the communication process, Diethelm focus on graphic design element use outside the common use. From architectural murals to scientific computer visualization, data graphics or road signs but mostly how designers can think shapes in a new graphic [Swiss] way.”...there has so far been no general survey with examples of practical work. Our intention is to show the activity of visualization, often involving extreme contrasts, within a wider framework. This is followed by notes on technologically-determined developments, with indications of the limits to the possibilities of visualization.” Text from front lap.Creative tendencies in graphic design, fine art, technology and information techniques. “Seeing, viewing, shaping – Life means change, conversion and transformation. Visualization makes it possible to grasp the idea of transformation. The extent and speed of change in a man-made environment are to be seen in urban development and also in the developed landscape, ever more subjected to the needs of traffic, building and industrialisation." From Arkive.

Irish University Press, Shannon 1972. (4), x, 372 s. Blått klotband. Fotografiskt nytryck av 1915 års upplaga, som trycktes i endast 250 ex.Många böcker med värdefulla kommentarer.

Uppsala 1943. 169 s. + planscher och faksimilbilagor, flera utvikbara. 4:o. Dekorerat halvskinnband med övre guldsnitt, främre omslag medbundet. Utgiven med anledning av Boktryckarföreningens 50-åriga tillvaro. Typografi av Karl-Erik Forsberg. Peter Mommas och Adolph Elias Holmerus typprover är tryckta i handpress på Officina Typographica på Skansen. Tryckt i 490 numrerade exemplar varav detta är nummer 472.

Musee du Livre, Bruxelles. (1920). 123, (2) + plates. 4to (32 x 23 cm). Privately bound half leather, reddish morocco binding, spine gilt-lettered in six compartments with raised bands, marbled paper boards, edges untrimmed, all covers bound in. Illustrated, partly in colour. Text in French.With a contribution by Johannes Rudbeck; ”Christophe Plantin Relieur”.

Malmö Museum, 1978. Screentryckt utställningsaffisch. (100 x 70 cm). Tryckt i 9 färger! Text & design av Anders Österlin & Lars Berglund. Ovanlig i detta fina skick. (Screentryckt form s. 25).

Utgiven av vänner / Sundqvist & Emonds Förlag, Lund. 1934. 48 s. Trådhäftad med styva tryckta omslag. Omslagen småfläckade. Dedikation på smutstitelsidan: "Fröken Inga-Brita Lundgren vänligast från GAN". Utdrag ur recensioner över GAN:s arbeten från 1915-1933. En konstessä av GAN: "Rytmen är konstens livsnerv". Illustrerad med konstverk reproducerade i svartvitt.

De Buitenkant, Amsterdam. 1991. Facsimile, 248 pp., is clothbound 116-page introduction in wraps. Two volumes. Both in slipcase. New copy.A facsimile of the famous typeface from 1768 by Lettergieterij Enschedé with the supplement from 1773. The description is included in a separate book.'Proef van Letteren 1768' shows Enschedé's letter foundry in its heyday and gives an almost complete overview of the letters that could be obtained at Enschedé in those days. This concerned not only Latin fonts, but also music, ornaments and some exotic letter forms such as Armenian. In addition to this beautiful collection, this book also contains a number of copper engravings, including portraits of Laurenz Jansz Coster, book printer Joan Michael Fleischmann, maker of many of the letters, and a fold-out page of the type foundry.The introduction places the typespecimen in a historical context. In addition, all fonts are mentioned when and by whom they were created. This publication provides an excellent overview of Dutch literature culture from before 1800.Published in collaboration with Stichting Museum Enschedé and The Enschedé Font Foundry.

Bogbinderlauget i København og Centralforeningen for provinserne, 1933-35. 35. Aargang, 1933-34; (4), 150 s. 36. Aargang, 1934-35; (4), 152 s. + Juniorbladet. Folgeblad til Dansk Bogbindertidende, 1 Aargang, nr 1-5, nov. 1934 - sept.1935; 20 s. 4:o (26 x 20,5 cm). Rött privatbundet halvklotband med skinnryggetikett (P.A. Norstedt & Söner, Stockholm). Ryggen blekt och två mindre skrapmäken på främre pärms överdragspapper. Illustrerad. Med innehållsförteckningarna medbundna.

R. Bergström & L. Höijer, 1880. xxxii, 536 + xvi, 447 + xvi, 216 s. Förlagets rikt dekorerade klotband. Aningen nötta. Exlibris på främre pärms insida och namnteckning på försättsbladet. Välhållen svit i tre volymer. Andra betydligt tillökade upplagan.Två delar text med kommentarer och en musikdel med noter.

Musée des Arts Décoratifs, Paris. 1968. 113 pages, without pagination, 165 black and white, 5 pasted-in colour illustrations. For each artist: catalogue, exhibition list, bibliography. (24 x 21 cm), paperback, thread-stitched, in a double-grooved cover, thumb index on the underside. Cover printed in two colours: star motif and artist name in silver embossing, lettering in black. Design: Hubert Johansson, Björkmans Eftr. (Lutz Jahre 20 - 1968).Olle Bærtling, Öyvind Fahlström, Carl Fredrik Reuterswärd, Max Walter Svanberg, Per Olof Ultvedt. Technical Committee: Yolande Amic, K. G. P. Hultén, Christer Jacobson, François Mathey, Elisabeth Svenstedt. (Preview:) François Mathey. Organized by the National Committee for Contemporary Swedish Foreign Art Exhibitions, Moderna Museet in Stockholm, Institut Suédois in Paris. Exhibition: Paris, Musée des Arts Décoratifs, 18 Jan. - March 31, 1968.The catalogue is very elaborately designed: each artist chapter contains an introductory text with a colour illustration, a comprehensive biography, a list of the works in the museum's possession, an exhibition chronology, a bibliography and the catalogue of works, in which all of the exhibited works are illustrated.The exhibition was organized by François Mathey, who together with Pontus Hultén selected the five contemporary Swedish artists, on the initiative of the Musée des Arts Décoratifs. One criterion was that the artists should have a certain folie, a sense of the fantastic, similar to that of the great Swedish painters Josephson, Hill and Strindberg. In addition to the older artists Svanberg (surrealism) and Bærtling (concrete art), the younger generation of artists was also represented, with Fahlström, Reuterswärd and Ultvedt.Pontus Hulten organized various exhibitions of Swedish Art abroad. He was responsible for the Swedish contribution to the biennials in São Paulo and Venice several times, for example at the 33rd Venice Biennial (1966), where Öyvind Fahlström represented Sweden. Hulten was involved in the organization of L'art suédois, an exhibition of Swedish artists in Paris (where Olle Bærtling was also represented), as early as 1953. In 1970 in Stockholm and in 1971 in the Musée d'Art Moderne de la Ville de Paris, the exhibition ”Svenskt alternativ - alternative suédois” was shown, which introduced the next youngest generation of Swedish artists. In 1982, current Scandinavian art was presented under the title ”Sleeping Beauty”, among other places in the Guggenheim Museum in New York.

Verlags-Anstalt Alexander Koch, Darmstadt u.å. (c. 1910–11). Opag. (8), 30 planschblad, (4) s. 4:o (29,5x21 cm). Privatbundet klotband med främre omslag medbundet (Leonard Gustafsson, Stockholm). Främre omslag och titelsida med lagerfläckar. Ornament, monogram, initialer av tidens stora konstnärer.

Malmö Konsthall. 1992. Screentryckt affisch, (70 x 100 cm). Motivet är ”Fågelmannen”. Formgiven av John Melin som också blev hans sista affisch innan han gick bort. (John Melin till exempel s. 75).

ABC Verlag, Zürich. 1972. 220 pages. 4to (25,5 x 26 cm). Hard bound. Glossy cover boards. Black leather spine with letters stamped in white. A neat copy. Previous owners book plate on inside cover (Tempte & Tempte). The subtitle of this publication ”Handbook of technique and design” gives a hint of its content. Ruedi Rüegg was born in Zurich 1936, educated at the Zürich School of Design. Worked as graphic designer in the Müller-Brockmann studio. 1963-1964 assistant of Paul Rand, Weston, USA. 1964-1965 designer at the Nakamoto International Agency, Osaka, Japan. 19671976 co-owner of the design and advertising agency Müller-Brockmann & Co Zurich. Since 1977 “Büro Ruedi Rüegg” Zurich (1977-1988).

Otto Harrassowitz Verlag, Leipzig. 1940. xii, 207, (1) s. Folio (42 x 29 cm.) Klotrygg med blindpressad främre pärm. Mindre skada vid ryggens övre del. Skyddsomslaget skadat och fläckat. Kopparstucken etikett på främre pärms insidamed texten ”Geschenk des Deutschen Reiches”. Simon Söderstams namnteckning på försättsbladet (Simon Söderstam var tillsammans med Harald Olsen grundaren till Nordisk Rotogravyr). 100 planscher på recto-sidan med kommenterande text på verso-sidan. Tryckt i två färger, rött och svart.

Trelleborgs Gummifabriks AB, Trelleborg. Litograferad, i färg, vid mitten av 1960-talet. 96,5 x 52,5 cm. Knappnålshål i hörnen, yttersta övre vänsta hörnet med liten pappersförlust, mindre repskada mitt i övre marginalen, svag minimal fläck på vita ytan. AB Svenska Telegrambyrån, Malmö hade det reklam-historiskt legendariska uppdraget för Trelleborgs Gummifabriks AB.

Oswald Publishing Co., New York. 1917. xxiv, 202 s. + planscher. Stor 4:o (31,5 x 34,5 cm). Grönt klotband med rygg- & pärmetikett. Övre guldsnitt, övriga snitt oskurna. Pärmarna lätt nötta. Försättsbladet med två blåstämplar. Exlibris på främre pärms insida (Bo Berndal). Välillustrerad med många typografiska exempel. Andra upplagan.Ur innehållet: Synopsis; When books were written; The origin of typography; The spread of typography; Typography in colonial days; Typography in the 19th century; The "layout" man; Harmony and appropriateness; Tone and contrast; Proportion, balance and spacing; Ornamentation; The typography of books; Booklets; Catalogs; Programs; Announcements; Tickets; Letterheads and envelopes; Billheads and statements; Business cards and blotters; Posters; The typography of advertisements; Type-faces; Imprints; The typography of a circular; The typography of a business card; The typography of a blotter.

Generalstabens litografiska anstalts förlag, Stockholm. 1953. 150 kartsidor med beskrivande text. (45,5 x 36 cm). Klotklädd kassett med gulddekor. Kassettens rygg med falsskador. Bakre pärm nött. Böjda långsidor på de första arken. Rikt illustrerad i färg.