Search Results

Victor Gollancz, London. 1928. First edition. (4), 26, (2) pages followed by 152 collotype plates printed red & black. Folio (46 x 33 cm). Black buckram with device designed by David Jones in gilt on upper cover, title gilt on spine, only top edge cut. Corners bumped, spine slightly worn at top and bottom, some foxing. This work is limited to an edition of 398 copies with English text, printed on Basingwerk Parchment (the paper rather prone to foxing). The text was printed at the University Press, Cambridge the collotypes by Charles Whittingham and Griggs. The third of Morison’s magnificent trio of folios published in the 1920s. (Appleton 72, Baudin 56).

The Museum of Modern Art, New York. 1968. Distr. by New York Graphic Society. 216 pages. 154 black and white illustrations, some in blue & white. Notes, bibliography, index. (25 x 22 cm), book object, perfect binding, riveted together, the folding box is missing. Book cover is made of embossed sheet metal, hinged and pop revied at spine printed in colour with a photograph of the facade of the Museum of Modern Art, designed by Anders Österlin after a photo by Alicia Legg. (Lutz Jahre 23 - 1968). Book design by John Melin and Gösta Svensson. (John Melin till exempel pp. 80-81).Exhibitions: The Museum of Modern Art, November 25, 1968-February 9, 1969 Houston, University of St. Thomas, March 25 - May 18, 1969, San Francisco Museum of Art, June 23 - August 24, 1969The Museum of Modern Art had originally planned an exhibition of kinetic art. Hulten developed the idea into a concept for a comprehensive show about the aesthetic and iconographic presence of the machine in art. Over 200 sculptures, constructions, pictures and collages were on display, and a film program was also organized. In addition to works of art, numerous constructions (including four cars, e.g. the Bugatti Royale and R. Buckminster Fuller's Dymaxion Car) and reconstructions (including Tatlin's monument for the Third International) and inventions (e.g. the Lumière brothers' Cinématographe) were shown. Introduced by a historical prologue and beginning with Leonardo's drawings of flying machines, the exhibition mainly featured works from the 20th century (Futurists, Dada, Surrealists, Constructivists). Marcel Duchamp, Francis Picabia and Jean Tinguely were particularly well represented. To avoid misunderstandings among the public in view of the unusual arrangement, the exhibits in the exhibition and catalogue were provided with graphic symbols that indicated whether they were an invention, a construction, a document, a work of art or something else. In a conversation, Pontus Hultén emphasized that as a curator in New York, he found excellent conditions and that he was hardly restricted in terms of concept and costs. However, it was a practical problem to find a workshop that could carry out embossing in sheet metal. At that time, tin toys had already been replaced by plastic products. The embossed and printed cover was then produced by a Swedish company (PLM AB Plåtmanufaktur) that normally made beer cans. Due to its special design, this catalogue attracted many buyers. Today it is a sought-after item among collectors and is rarely traded.

Verlag Seldwyla, Bern. 1920. 23 s. Svart pappband med klot överst och nederst på ryggen samt på pärmhörnen. Bakre pärmen med mycket små skador i pärmpappret. Med tio inklistrade färgillustrationer i texten. Tryckt i en numrerad upplaga om 1000 exemplar, detta är nummer 942.

Upsala, Johan Edman, 1776. Förra delen: (28), 308, (2) s. Senare delen: (2), 326, (6) s. Samtida halvfranska band med senare renoverade pärmar. 8:o. Del 1 med hårt nött rygg, yttre falsspricka, pärmpappret fuktskadat, de tre första bladen delvis loss i häftningen. Kartan saknas. Del 2 med hårt nött rygg, antydan till yttre falssprickor, titelsidan småfläckad, sidorna 29-36 marginalfläckade. Två volymer.Översatt av Mårten Eklund.

Typografen 1, Stockhom. 1981-86. 24 stycken fyrsidiga häften löst liggande i en svart solanderlåda med titeletiketter på rygg och framsida. Vänster innersida med innehållsförteckning. CFH & undertecknad har utformat boxen. Formatet på Typflora är ett enkelfalsat A3-ark. Komplett, allt som utkom. Se Biblis nr. 1, april 1998 sid. 50-51, Biblis nr. 26, 2004 sid. 10 och Bogvennen 2001–2003 (2006) sid. 97.Innehåll: 1. Cloister Black 2. Centaur 3. Bembo 4. Dante &c. 5/6. »Garamond« 7. Sabon 8. Berling 9. Aldus 10. Galliard 11. Caslon 12. Times 13. Perpetua 14. Baskerville 15. Bodoni 16. Clarendon 17. Bookman 18. Cheltenham 19. Century Expanded 20. Dwiggins &c. 21. Stymie 22. Franklin 23. Futura/Gill 24. Experiment.Enligt Olle Eksells devis “Design=Ekonomi” sände Typografen 1 ut Typflora till sina kunder för att visa upp sina typsnitt och sitt kunnande. Stor omsorg lades också ned på formgivningen och illustreringen. CFH skrev här sina bästa texter om typsnitt och typografi.

Phaidon Press, London. 2008, reprint. 240 pages. 4to (30 x 26 cm). Cloth binding in fine dust jacket. Former owner’s signature, Henrik [Nygren], on first end paper. Book with extensive illustrations from private archives, museums, and Aicher’s estate. Book in great condition.Otto "Otl" Aicher (1922-91) was a prominent German graphic designer and typographer. Aicher co-founded and taught at the influential Ulm School of Design. He is known for having led the design team of the 1972 Summer Olympics in Munich, and for overseeing the creation of its prominently used system of pictograms. Aicher also developed the Rotis typeface.

Cambridge University Press, London 1927. Del I; viii, 198 s., del II; Fyrsidig planschförteckning, 44 planschblad (i-xliv) + 5 onumrerade planschblad med 20 alfabet. Folio. Del I brunt, gulddekorerat klotband med skyddsomslag, endast övre snitt skuret. Del II är en enkel ‘portfölj’ med planscher löst liggande. Text- och planschdel i kassett. Textdelen med 66 illustrationer i texten, planscher med manuskript i faksimil. Tryckt av Walter Lewis vid CUP. Första upplagan. Två volymer.Med sitt bildmaterial och transskriberingar är detta ett av de grundligaste referensverken om 14-1600-talets handskrift.

Avalun-Verlag, Leipzig / Wien. 1921. 44 pages + colophon + 10 plates. Privately bound quarter marocco binding, top edge gilt (Olew Olsen). Inscribed by Hugo Steiner-Prag. 10 coloured woodcuts printed on Japan paper, all signed by the artist Hans Alexander Müller. Set in Alte Schwabacher. Printed in 400 numbered copies, this is no. 129. Colophon signed by the illustrator. (Rodenberg 332).

Typografen 1, Stockhom. 1987-90. 16 stycken fyrsidiga häften löst liggande i en svart solanderlåda med handrivna titeletiketter på rygg och framsida. Pärmetiketten är nedsänkt i klotet. CFH & undertecknad har utformat boxen. Formatet på Fotnot är ett enkelfalsat A3-ark. Komplett, allt som utkom. Se Biblis nr. 1, april 1998 sid. 50-51, Biblis nr. 26, 2004 sid. 10 och Bogvennen 2001–2003 [2006] sid. 97.Innehåll: 1. Skrift 2. Boldsnitt 3. Ornament 4. Ligaturen 5. Artondelar 6. Boktryckarmärket & kolofonen 7. Gyllene snittet 8. Rundserifer 9. Variantbokstäver 10. Anfangen 11. Paragrafen 12. Formspråk 13. Typframställning 14. Serifen 15. Siffror 16. Papper.Enligt Olle Eksells devis “Design=Ekonomi” sände Typografen 1 ut Fotnot till sina kunder för att visa upp sina typsnitt och sitt kunnande. Stor omsorg lades också ned på formgivningen och illustreringen. CFH skrev här sina bästa texter om typsnitt och typografi.

Anton Hiersemann, Stuttgart. 1966. Second, and best edition. A reviewed and improved reprint of the first edition with a supplement. x, 264, 316, 97 pages. 4:o (30 x 21 cm.). Original gilt lettered green linen cloth, mildly worn and faded. Three parts in one volume: I. Geschichte; II. Bibliographie; III. Supplement. Standard reference work!

Howell Press, Charlottesville. 1997. 288 s. + färgplanscher. 4:o (25 x 19,5 cm). Klotband med bevarat skyddsomslag. Fint skick. Rikt illustrerad i färg och svartvitt. Eftersökt standardverk.This essential reference covers both military and civil Japanese swords and dirks from 1868 to 1945. Comprehensively illustrated with drawings and photographs of individual swords and their details, the book also includes period photographs of the weapons as they were worn. 20 color and 340 b&w photos and illustrations."This book is the best Japanese reference book you can own! It identifies swords, dirks, tassels, belt buckles, civilian swords, and pretty much anything else you can think of. This book is a must have for any Japanese sword collector! In fact this book itself is very hard to find and is skyrocking in value. Whatever you have to pay for this book it is worth it."

PM Typography, Campbell, CA. 1984. 19 posters printed on different stocks in a printed envelope. (w. 43 x h. 56 cm). Some of the posters with mildly wrinkled paper surface at the right margin. Never before have so many of the world’s top graphic designers, creative directors, art directors, photographers and type designers collaborated on a single project. Front page ’84 by Tony DiSpigna. January: Bradbury Thompson. February: Allan Peckolick. March: Mo Lebowitz. April & introduction ’84: Gene Federico. May: Ivan Chermayeff. June: Seymour Chwast. July: Henry Wolf. August: Tony Stan. September: Joseph Essex. October: Bill Taubin. November: Hermann Zapf. December: John Peter. Introduction ’85 by Tim Girvin. January ’85 by Rudolph de Harak. February: Aldo Novarese. March: Milton Glaser. Closing back page by Herbert Spencer.”We are proud to present our 1984/85 Graphic Design and Typographic Calendar - A Monumental Tribute to the Graphic Arts, designed by some of the World’s Finest Graphic Designers. Each of the designers is immediately recognized as leader in the field. They all have won the highest honors and awards from the various art and graphic design organizations throughout the world. /.../ When we conceive the idea for this project, we thought it would be a simple twelve month calendar, but the response was so overwhelming, we just couldn’t stop at twelve posters and had to go into the following year - part of 1985. A simple one year calendar turned out to be a spectacular set of 19 posters, plus presentation jacket. We hope you are pleased with our ‘Labor of Love’, and appreciate the efforts of each of the participants. Be inspired!” Patti Morrone, PM Typography.

P.A. Norstedt & Söners Förlag, Stockholm. 1893. vi, 193, (1) pages. With one lithographed map, 5 lithographed plates, 9 heliogravures and 3 plates after photographs. Many textual illustrations. Publisher's green cloth with decorative blind stamped borders decorated in gilt, morocco spine, upper edges gilt. Spine faded, one page with photos loose in binding, otherwise a really nice copy. Text in Swedish. The earliest scholarly monograph on Mesa Verde. Mesa Verde comprises some of the most spectacular American Indian ruins in all of North America. "I shudder to think what Mesa Verde would be today had there been no Gustaf Nordenskiöld. It is through his book that the cliff dwellings of Mesa Verde became known and his volume might well be called the harbinger of Mesa Verde National Park as we know it today." - Robert Heyder, former National Park Superintendent.

Modern Museum, Stockholm. 1961. 33, (7) pp. + a leporello folded spread with six folds. (Moderna Museets utställningskatalog. Nr 18). (57 x 11 cm), paperback, saddle stitched with glued-in leporello. White copy (not dark-yellow as usual) from Björkman’s stock, which we bought a couple of years ago. You will never, ever again find a copy like this! Only three copies left. Cover printed in two colours, lettering in dark blue, graphic motifs, including the silhouette of Duchamp's bicycle wheel, in black. On the title page, a facsimile of a handwritten motif by Willem Sandberg. 34 black and white illustrations. List of the exhibited works. The catalogue is divided into four sections. The first provides quotations about museum ideas and events, from Leibniz's grandiose ideas about the museum as entertainment in 1675 to Tinguely's self-destructing machine in the Museum of Modern Art in New York in 1960. The second section is entitled "Brief Lexicon of some of the artists who worked with kinetic art ". It presents 79 artists. Most of these avant-gardists are also found in the third section, a catalogue of the exhibited works (No. 1-233 of 83 artists). On the back cover, the fourth section is pasted as a six-fold leporello with Hultén's overview of the history of movement art. (Lutz Jahre 9 - 1961).For seven years, Pontus Hultén, is said to have worked on the preparations for this exhibition, which reverberated around the world and became the basis for Moderna Museet's beloved popularity. The text you provided describes a catalogue from the Modern Museum in Stockholm, published in 1961.This presentation of kinetic art, prepared by Hulten in Stockholm, was deliberately shown first in the Stedelijk Museum in Amsterdam to introduce the exhibition to the Swedish public. The catalogue was therefore also published first in Dutch. Even in Amsterdam, which at the time had one of the best museums of modern art and a modern, open-minded public, the exhibition seemed provocative, but was a great success.As expected, criticism was particularly strong in the Stockholm press. One of the harshest critics, the artist Sven Erixson, felt that the exhibition was an insult to the museum and to art. The chief curator of the National Museum, Carl Nordenfalk, even considered closing the exhibition due to the criticism. In an article in Dagens Nyheter, the sculptor Bror Hjorth, at the time the "grand old man" among Swedish artists, sided with the exhibition organizers. He called the selection dignified and discreet, and even compared Tinguely to Delacroix. Both artists involved in the debate, Hjorth and Erixson, were shown in their own retrospectives (1967 and 1969) at the Moderna Museet a few years later.The public came in droves - not least because of the great press coverage. The exhibition was perhaps the young museum's greatest success; over 7,000 catalogues were sold during the exhibition. 233 works by 83 artists were on display, divided into a section for contemporary artists and a historical section in which works up to 1930 were on display. Happenings, light shows, film screenings and concerts took place alongside the exhibition. Large sculptures were in the city and in front of the museum. Artists such as Spoerri, Calder, Tinguely, Rauschenberg and Kaprow were actively involved in the preparations for the exhibition, some with works specially designed for it. For the presentation in Stockholm, Ulf Linde made the world's first replica of the Large Glass, Marcel Duchamp's main work. This copy contributed significantly to the fame that Duchamp's work achieved in Europe in the 1960s. The artist, who was a guest in Stockholm for a week during the exhibition in August 1961, authorized this and other replicas of other works. The exhibition became a first-class event that also helped the new museum gain importance in the international art world. The catalogue (the Swedish edition was expanded) also stood out from the usual framework in terms of its format and presentation. The main part consists of biographical entries on the artists. It is preceded by texts by the artists, manifestos and reports. The enclosed leporello, printed in blue on white, contains an illustrated text by Pontus Hultén on the history of kinetic art in the 20th century.Billy Klüver: Born in Monaco, grew up in Sweden. After completing his doctorate in Berkeley, he worked at Bell Telephone Laboratories. In 1966, he founded Experiments in Art and Technology together with Robert Rauschenberg, Robert Whitman and Fred Waldhauer. Wrote the book Kiki's Paris together with Julie Martin. I met Pontus 50 years ago at the university film club, the only truly independent cultural institution in Stockholm at the time. The first exhibition I worked on with Pontus was "Rörelse i konsten" in 1961. Essentially, Pontus was expanding on the 1955 exhibition Le mouvement at the Galerie Denise René, for which he had written a 32-page statement on kinetic art from the Bugatti brothers to Jean Tinguely (Den ställföreträdande friheten eller om rörelse i konsten och Tinguelys metamekanik). In an interview with Swedish television at the opening of ”Rörelse i konsten”, he expressed his appreciation for Movement or dynamism in art: "Much of modern art is pessimistic, fatalistic, negative and depressing, I think we have made an exhibition that is the opposite. It is cheerful, constructive, dynamic and full of movement."Before ”Rörelse i konsten”, Pontus and I had visited Calder in Roxbury, Connecticut. As we were leaving, Sandy ran after us. "Here," he said, pushing a small model toward a stunned Pontus, "build this." It was a working model of Calder's rejected proposal for the symbol of the 1939 New York World's Fair. At the opening, Calder got out of his taxi in front of the Moderna Museet and was as happy as a child at Christmas to see his Four Seasons, full-size and in flawless motion.Pontus' exhibition catalogue was 57 centimetres long and 11 centimetres wide. He imagined that it would stick out of everyone's pocket like a baguette and that people would discover it on the streets of Stockholm as they went for a walk. A perfect example of Pontus' wishful thinking and his instinctive ability to create propaganda for his exhibitions.For Pontus, the catalogue was always a vehicle for extending the exhibition beyond the confines of the museum. All his catalogues had something abnormal about them, something that challenged the traditions of the printing trade. Only a man with a loyal printer, unimaginable determination and a complete disdain for cost could achieve such a thing.Pontus' solutions were always brilliant in tight situations, as was the case when we had only a few days to lay out and print the publication 9 Evenings: Theatre and Engineering. I asked him to take over. He chose the large format; and rather than getting into the technical details of each artist's project, as I would have been inclined to do, he superimposed all the technical diagrams on the cover. He did the layout for the rest of the catalogue in a few hours and got it to the printer in time. When deadlines approached, Pontus became a mountain of well-concealed impatience, a volcano.

Holland Press, London. 1960. (16), xxviii, lxxvi, 267 + (4) 279 pages including three folding plates of music types. Specimens printed on the rectos only. 4to (32 x 22 cm). Two volumes. Decorated paper covered boards with paper spine labels. While lacking the slipcase, this two volume set is in near pristine condition. Printed in only 500 copies.Bodoni’s widow Margherita Dall’Aglio, together with Bodoni’s foreman Luigi Orsi, completed Bodoni’s projects; in 1818 she printed Bodoni’s final Manuale Tiprografico, a manual in two volumes with a dedication to the new sovereign Marie Louise. Fruit of more than forty years of work, it was composed of 265 pages with roman types, 125 capital letters, 181 Greek and oriental types, 1036 flourishes, 31 contours made with movable components and 20 pages of characters, numbers and musical symbols.”Of all Bodoni’s specimen books none can be compared with Manuale Tipografico 1818, it is outstanding among all other type specimen books too. In Manuale Tipografico 1818 instead of the descriptions of towns, Bodoni follows Caslon’s and Baskerville’s broadside specimens and the texts consist of 142 repetitions of Cicero’s oration against Catiline (Quousque tandem abutere…) with a few lines in italic at the bottom of each leaf plus two final leaves showing the biggest sizes of italics on their own (Imperiale and Papale). Each specimen is enclosed in a frame and with slight variations the column width is about 80 mm.” (James Clough).

Holland Press, London. 1960. (16), xxviii, lxxvi, 267 + (4) 279 pages including three folding plates of music types. Specimens printed on the rectos only. 4to (32 x 22 cm). Two volumes in slipcase. Decorative paper-covered boards with paper spine labels, matching slipcase. Slipcase a little bit worn and both joints partly split at bottom. Printed in only 500 copies.Bodoni’s widow Margherita Dall’Aglio, together with Bodoni’s foreman Luigi Orsi, completed Bodoni’s projects; in 1818 she printed Bodoni’s final Manuale Tiprografico, a manual in two volumes with a dedication to the new sovereign Marie Louise. Fruit of more than forty years of work, it was composed of 265 pages with roman types, 125 capital letters, 181 Greek and oriental types, 1036 flourishes, 31 contours made with movable components and 20 pages of characters, numbers and musical symbols.”Of all Bodoni’s specimen books none can be compared with Manuale Tipografico 1818, it is outstanding among all other type specimen books too. In Manuale Tipografico 1818 instead of the descriptions of towns, Bodoni follows Caslon’s and Baskerville’s broadside specimens and the texts consist of 142 repetitions of Cicero’s oration against Catiline (Quousque tandem abutere…) with a few lines in italic at the bottom of each leaf plus two final leaves showing the biggest sizes of italics on their own (Imperiale and Papale). Each specimen is enclosed in a frame and with slight variations the column width is about 80 mm.” (James Clough).

Edward Jeffery, London. 1797. 8:o. Graverad frontespis, VIII, 152 s. + 10 graverade planscher. Ganska nött men trevligt samtida brunt halvskinnband med upphöjda bind, rikligt guldornerad rygg och marmorerade snitt. Pärmarna med enkelt ramverk i guld och inre denteller. Ryggen lite skadad överst och nederst och med tendens till falssprickor. Inlagan mycket fin! Planschen på Sir Philip Sydney (mellan s. 180-109) med en liten lagning på baksidan.

Birkhäuser Verlag AG, Basel. 2007. 344 pages. Square 4to (24 x 24 cm). Stiff, printed wrapper with deep folding flaps. Extensively illustrated in colour and b/w. English and German text. Loosely inserted a business card (Robert Steiger) and a hand written correspondence card: ”13/3/2007 Dear Henrik [Nygren], May I hope that this Sample of Birkhäuser’s recent production will find your interest... With my best regards! Robert [Steiger]”.A typographer and graphic designer, Helmut Schmid has gained a reputation for an important body of work which he created in Japan predominantly. Having trained with Swiss typographer Emil Ruder at the Schule für Gestaltung Basel, the influence of Ruder and the school has been evident in Schmid’s work, including acknowledgement in many of his publications.Schmid attended the Schule für Gestaltung Basel on two separate occasions. During his second period of study, between 1964 and 65, he was admitted to an exclusive, small class lead by Emil Ruder and Robert Büchler, where he developed a unique personal approach. Following his studies, he became a successful exponent of Swiss typography, sharing his expertise readily with an international audience.Having worked extensively around the world, predominantly in Germany, Sweden, Canada, and Japan, Schmid established himself in Osaka in 1977, where he worked with and collaborated with numerous local designers and companies. His European design approach combined with the influence of Japanese culture lead to the creation of artworks of a harmonious cultural exchange—perhaps due to similar inclinations within the two cultures towards the use of space. However, it was during an earlier visit to Japan that Schmid created one of his most well known works: Katakana Eru, a syllabary face crafted in honor of Ruder between 1967 and 70.

Stamperia Valdonega, Verona. 1991. Two volumes. Folio (38,5 x 26,5 cm). 95 leaves (facsimile) 73 pages (Commentary). Facsimile bound in red leather with gold-tooled borders, gold tooled spine, and black leather spine label with title and author in gold, all edges gilt, ribbon bookmark, and headbands to match the original presented to Napoleon and Marie Louise on the birth of the King of Rome. Accompanying commentary volume is bound in red leather-textured paper covered boards with gold decoration and lettering to match. Slipcase for both volumes is covered in the same textured paper, and decorated with elaborate gold borders and the arms of the parents on the front and back. Forty verses are printed in forty different roman typefaces, surrounded by different borders. Forty copper-engraved emblematic miniatures by the Parmesan artist Antonio Pasini face the verses. The original copy presented to the imperial couple was photographed for this edition, and all details of its production were reproduced. Just as his father had done, Martino enlarged the pages of the original, retouched them letter by letter, and then reduced them back to original size. From these, relief engravings were made. Issued in celebration o the 250th anniversary of the birth of Giambattista Bodoni. Mosley's essay is entitled "Typography in England and France in the Age of Giambattista Bodoni." Martino Mardersteig's technical note is followed by a Bodoni Chronology.“This edition, designed and realized by Stamperia Valdonega in Verona, consist of two volumes: The facsimile, for which Bodoni’s texts were printed in flat bed letterpress with the frames and miniatures printed in nine color offset, on specially-made papers by Cartiere Magnani, Pescia, and the commentary, printed in letterpress and offset on Fedrigoni Bodoni Paper. The binding was carried out at Legatoria Recalcati in Milan.” From the colophon.

Moderna Museet, Stockholm. 1968. First edition. 654 pages, without pagination, 636 mostly full-page black-and-white illustrations. Factory photos by Billy Name, photographs by Stephen Eric Shore. (27 x 20 cm), glued binding, cover (front and back) is printed with flowers in 5 colours. Printed in letterpress on recycled paper. Spine a little bit dark and has minor wear, first page is partly loose. This is a fragile art object. Typography by John Melin and Gösta Svensson, Stig Arbman AB. (John Melin till exempel pages 32-37, Lutz Jahre 21 - 1968). Exhibition: Stockholm, Moderna Museet, 10 February - 17 March 1968.Warhol's first solo exhibition in a museum took place in Stockholm. Four months before the artist was to be shot in the Factory, he was in Stockholm for the exhibition's opening. The facade of the museum building was completely covered with Warhol's cow wallpaper (Cow Wallpaper, 1966). There was snow and it was very cold. Temperatures of minus 20 degrees Celsius were measured on the museum island of Skeppsholmen. Held back by the cold, relatively few visitors came to the five-week exhibition.The catalogue was a huge success, however, with three editions of around 20,000 copies in total. The concept was prepared in New York by Kasper König. The only text was statements by Warhol such as "All is pretty"; the majority of the publication consists of mostly full-page illustrations. Around a third of the illustrations are reproductions of Warhol's works, another third are Factory photos by Billy Name, and the photos in the last third are by Stephen Eric Shore. A catalogue with so many illustrations had rarely been produced before, and at the extremely low price of around one dollar. In the spirit of pop art and less for commercial reasons, T-shirts with Warhol motifs were also offered for sale at the exhibition. The famous Brillo Boxes in Stockholm were not the works printed in the Factory, but came directly from the Brillo soap factory.Kasper König Born in 1945. Exhibition organizer, founding director of the Kunsthalle Portikus, Frankfurt/M., and principal of the Städelschule:"I met Pontus Hulten in the autumn of 1962 at an impromptu dinner in the apartment of Ursula and Rudolf Zwirner, to which the Bremen art dealer Michael Herz was also invited.For Mr. Hultén, it was by no means a given that he would stop in Germany. He later reported that as young men, he and his friends made it a sport not to pee on German soil even once on the way from Stockholm to Paris. Michael Herz, an anti-fascist and man of the resistance, eased the tension in the situation with ironic, casino-like comedy; Erich von Stroheim's spirit was present. The aesthetic attitudes of the random guests were diametrically opposed.Poetic anarchism of the avant-garde versus the world view of the deformed creature, an elitist conservative communist view. I was interested in both poles - the humanistic, from literature, and the artistic, which led to a traineeship at the Zwirner Gallery, then Kolumba Kirchhof. Of course, I knew the Moderna Museet catalogues and was excited to get to know Pontus Hulten as a bystander.The evening, however, had nothing to do with professional insider discussions; it was about Trotsky and Breton, about Bakunin/Kropotkin and the Russian Constructivists. My head was spinning - I spent the next few weeks in the library.A few years later, I landed in New York and foresaw problems with the immigration authorities. The physicist Billy Klüver, the representative of the Moderna Museet in New York and a friend of many artists, gave me the tip to ask Pontus Hulten and the Stockholm Museum for help. My first job was assisting in the preparations for the Claes Oldenburg exhibition for the Moderna Museet. With help from Stockholm, I got a green card, and residence permit for the USA, and this privilege allowed me to propose concrete projects.I saw the opportunity for an Andy Warhol exhibition through a rigorous cost-saving concept. Warhol was in the air, and after the first major Pop Art exhibition in Europe in Stockholm, after the Swedish American Oldenburg Warhol, the timing was right. The mythical Factory had moved from midtown to downtown in Union Square into large offices. The first thing I did was drive to the Brillo Factory in Brooklyn to reserve a small container of folded Brillo boxes; written confirmation from the company was my main argument for Stockholm. Ivan Karp of the Leo Castelli Gallery allowed me to use the photocopier and the archive for the layout design of the catalogue book; this is evident in the book. Everything was to be created especially for the exhibition in the Factory in order to minimize transport and insurance costs; the studio was the sole lender - many flower paintings, large electric chairs and copies of all the early silent films, etc. The package was accepted - my sly, naive suggestion was taken at face value. That was my key moment and the beginning of my work with Pontus Hultén. I used the flight ticket to go to Stockholm to set up and stay in New York - a fitting reward. The conceptual game in the collective was a good start. The Stockholm Warhol book was part of the production and distribution aesthetics, the significance of which only became clear to me later; with Warhol and Hultén, the penny dropped immediately.This generosity and willingness of Pontus Hultén to fully commit to a radical artistic position and to pursue it professionally (and institutionally) was a decisive contribution by Hultén to art, and it always provided inspiration for decades."

Hedlund & Lindskog [respektive] Handelstidningens Bolags Tryckeri, Göteborg 1857-1862. 4:o. (4), 104 + (4), 100 + (4), 96 + (4), 96 + (4), 96 s. + 71 planscher. Nött halvskinnband från samtiden med en skinnförlust nederst på ryggen. Med fyra upphöjda bind, gulddekorerad rygg och marmorerade snitt. Komplett, sånär som på en okolorerad plansch som saknas i den första årgången. Inlagan huvudsakligen i fint skick, nr 11 i första årgången med lite störande brunfläckar, nummer 1 i årgång tre med två små hål i sidorna 7-8, sidorna 3-6 i nr 1 årgång fyra loss från häftningen och de sista bladen i årgång fem något bruntonade. Med en mängd träsnittsillustrationer i den löpande texten.Allt utkommet. "Illustrerad trädgårdstidning" utkom med ett nummer i månaden om åtta sidor, dock med två undantag, nummer 5 årgång I (16 s.) och nummer 12 årgång II (12 s.). Nummer 9-10 och 11-12 i den sista årgången är dubbelnummer om 16 s.

ITC, New York. 1974-87. Ca. 1750 pages. Tall, narrow 4to (30,5 x 15,5 cm). Stapled. A huge lot of ITC type specimens booklets. To be exact; 50 different type specimens. They are amazing!Text blocks plus alphabet showings for sizes 6, 7, 8, 9,10, 11, 12, 14, 16, 18, 20, 24 points. Alphabet length in points for each text point size shown. These relate to an easy-to-use copyfitting chart at the back of the book.The list: American Typewriter, Avant Garde, Avant Garde Gothic Condensed, Barcelona, Bauhaus, Benguiat, Benguiat Condensed, Benguiat Gothic, Berkeley Old Style, Bookman, Caslon No. 224, Century, Cheltenham, Clearface, Cushing, Elan, Eras, Esprit, Fenice, Friz Quadrata, Galliard, Gamma, Garamond, Goudy Sans, Isbell, Italia, Kabel, Korinna, Leawood, Lubalin Graph, Mixage, Modern No. 216, New Baskerville, Newtext, Novarese, Pacella, Quorum, Serif Gothic, Slimbach, Souvenir, Symbol, Tiepolo, Tiffany, Usherwood, Veljovic, Weidemann, Zapf Book, Zapf Chancery, Zapf Dingbats, Zapf International.

Revista de Archivos, Bibliotecas y Museos, Madrid. 1913-16. 453 pages, 101 plates + 347 pages, 101 plates. 4to (27,5 x 21 cm). Near contemporary half calf bindings, raised bands, top edges red, marbled boards, all covers bound in, plus spine, vol. II. Spines worn, corners bumped, inner hinge weak pp. 352-353, vol. I. Two volumes. Second, revised and enlarged edition of this standard work. This biographical and bibliographical dictionary of Spanish calligraphers is one of the quintessential classics. (Bonacini 409).

Moderna Museet, Stockholm. 1963. Screen printed poster (100 x 70 cm). Framed. Somewhat yellowed at the margins, a short stripe of tape at right lower corner. Exceptionally rare original poster for the exhibition at Moderna Museet, 1963, with the same name. (Screentryckt form, page 12). ”Staten gav 5 miljoner till ”Önskemuseet”. Vi bidrog med en affisch.” “The government gave 5 million to the ‘Wish Museum.’ We contributed with a poster.” (1%, AB Svenska Telegrambyrån, Malmö). Only pick up in-store, otherwise we have to unframe it.

Moderna Museet, Stockholm. 1968. First edition. 654 pages, without pagination, 636 mostly full-page black-and-white illustrations. Factory photos by Billy Name, photographs by Stephen Eric Shore. (27 x 20 cm), glued binding, cover (front and back) is printed with flowers in 5 colours. Printed in letterpress on recycled paper. Moderate wear to spine, first page partly loose and with a short tear at bottom. This is a fragile art object. Typography by John Melin and Gösta Svensson, Stig Arbman AB. (John Melin till exempel pages 32-37, Lutz Jahre 21 - 1968). Exhibition: Stockholm, Moderna Museet, 10 February - 17 March 1968.Warhol's first solo exhibition in a museum took place in Stockholm. Four months before the artist was to be shot in the Factory, he was in Stockholm for the exhibition's opening. The facade of the museum building was completely covered with Warhol's cow wallpaper (Cow Wallpaper, 1966). There was snow and it was very cold. Temperatures of minus 20 degrees Celsius were measured on the museum island of Skeppsholmen. Held back by the cold, relatively few visitors came to the five-week exhibition.The catalogue was a huge success, however, with three editions of around 20,000 copies in total. The concept was prepared in New York by Kasper König. The only text was statements by Warhol such as "All is pretty"; the majority of the publication consists of mostly full-page illustrations. Around a third of the illustrations are reproductions of Warhol's works, another third are Factory photos by Billy Name, and the photos in the last third are by Stephen Eric Shore. A catalogue with so many illustrations had rarely been produced before, and at the extremely low price of around one dollar. In the spirit of pop art and less for commercial reasons, T-shirts with Warhol motifs were also offered for sale at the exhibition. The famous Brillo Boxes in Stockholm were not the works printed in the Factory, but came directly from the Brillo soap factory.Kasper König Born in 1945. Exhibition organizer, founding director of the Kunsthalle Portikus, Frankfurt/M., and principal of the Städelschule:"I met Pontus Hulten in the autumn of 1962 at an impromptu dinner in the apartment of Ursula and Rudolf Zwirner, to which the Bremen art dealer Michael Herz was also invited.For Mr. Hultén, it was by no means a given that he would stop in Germany. He later reported that as young men, he and his friends made it a sport not to pee on German soil even once on the way from Stockholm to Paris. Michael Herz, an anti-fascist and man of the resistance, eased the tension in the situation with ironic, casino-like comedy; Erich von Stroheim's spirit was present. The aesthetic attitudes of the random guests were diametrically opposed.Poetic anarchism of the avant-garde versus the world view of the deformed creature, an elitist conservative communist view. I was interested in both poles - the humanistic, from literature, and the artistic, which led to a traineeship at the Zwirner Gallery, then Kolumba Kirchhof. Of course, I knew the Moderna Museet catalogues and was excited to get to know Pontus Hulten as a bystander.The evening, however, had nothing to do with professional insider discussions; it was about Trotsky and Breton, about Bakunin/Kropotkin and the Russian Constructivists. My head was spinning - I spent the next few weeks in the library.A few years later, I landed in New York and foresaw problems with the immigration authorities. The physicist Billy Klüver, the representative of the Moderna Museet in New York and a friend of many artists, gave me the tip to ask Pontus Hulten and the Stockholm Museum for help. My first job was assisting in the preparations for the Claes Oldenburg exhibition for the Moderna Museet. With help from Stockholm, I got a green card, and residence permit for the USA, and this privilege allowed me to propose concrete projects.I saw the opportunity for an Andy Warhol exhibition through a rigorous cost-saving concept. Warhol was in the air, and after the first major Pop Art exhibition in Europe in Stockholm, after the Swedish American Oldenburg Warhol, the timing was right. The mythical Factory had moved from midtown to downtown in Union Square into large offices. The first thing I did was drive to the Brillo Factory in Brooklyn to reserve a small container of folded Brillo boxes; written confirmation from the company was my main argument for Stockholm. Ivan Karp of the Leo Castelli Gallery allowed me to use the photocopier and the archive for the layout design of the catalogue book; this is evident in the book. Everything was to be created especially for the exhibition in the Factory in order to minimize transport and insurance costs; the studio was the sole lender - many flower paintings, large electric chairs and copies of all the early silent films, etc. The package was accepted - my sly, naive suggestion was taken at face value. That was my key moment and the beginning of my work with Pontus Hultén. I used the flight ticket to go to Stockholm to set up and stay in New York - a fitting reward. The conceptual game in the collective was a good start. The Stockholm Warhol book was part of the production and distribution aesthetics, the significance of which only became clear to me later; with Warhol and Hultén, the penny dropped immediately.This generosity and willingness of Pontus Hultén to fully commit to a radical artistic position and to pursue it professionally (and institutionally) was a decisive contribution by Hultén to art, and it always provided inspiration for decades."