Søkeresultat

Ungsocialistiska partiets förlag, 1915. Två volymer, 143 + 194 s. Häftade. Ouppsprättade. Andra delen med en liten fläck på omslaget och titelsidan, i övrigt är exemplaren i väldigt bra skick.

Kornhuset, 2011. 352 s., fotoillustrerad i svartvitt. Förlagsband. 26 X 21,5 cm. Nyskick.

Rutgers University Press, 1972. 360 p. Hardcover with dust jacket. (The World history of the Jewish people. First Series: Ancient Times. The Hellenistic Age)

The Grolier Club, New York. 1959. (16), 240, (3) pages. Small 4to (27 x 17,5 cm). Buckram binding in two colours, with leather label. Title lettering ”75” drawn by Philip Grushkin. In slipcase with design of repeated Grolier crest. Book plate inside front board (Nils Nordqvist). Set in Linotype Baskerville, with Bulmer and Perpetua, printed in 1000 copies on Curtis Rag paper at the Spiral Press. Half-title: "The Grolier Club, 1884-1959". Biographies of noted printers, type designers, scholars and collectors.

Williams Jackson, London. 1793. 8:o. 232 s. Fint lite nött samtida brunt skinnband med fyra upphöjda bind och guldornerad rygg, röd titeletikett och helt guldsnitt. Pärmarna med enkelt ramverk i guld, pärmkanterna även de med enkel guldornering. Inre denteller. Spricka nederst i bakre falsen. Inlagan bra, med några få småfläckar.

Stedelijk Museum, Amsterdam. 1989. Catalogue number 727. 280 pages. 4to (28,5 x 22,5 cm). Stiff, printed wrappers with deep folding flaps. 215 illustrations, many in colour. Text in English and Russian. Important catalogue of exhibition bringing together the two largest collections of Malevich's works: the Russian State Museums and The Stedelijk in Amsterdam. In great condition!Kazimir Severinovich Malevich 1879–1935) was a Russian avant-garde artist and art theorist, whose pioneering work and writing influenced the development of abstract art in the 20th century. He was born in Kiev, to an ethnic Polish family. His concept of Suprematism sought to develop a form of expression that moved as far as possible from the world of natural forms (objectivity) and subject matter in order to access "the supremacy of pure feeling" and spirituality. Malevich is also sometimes considered to be part of the Ukrainian avant-garde (together with Alexander Archipenko, Sonia Delaunay, Aleksandra Ekster and David Burliuk) that was shaped by Ukrainian-born artists who worked first in Ukraine and later over a geographical span between Europe and America.Early on, Malevich worked in a variety of styles, quickly assimilating the movements of Impressionism, Symbolism and Fauvism and, after visiting Paris in 1912, Cubism. Gradually simplifying his style, he developed an approach with key works consisting of pure geometric forms and their relationships to one another, set against minimal grounds. His Black Square (1915), a black square on white, represented the most radically abstract painting known to have been created so far and drew "an uncrossable line (…) between old art and new art"; Suprematist Composition: White on White (1918), a barely differentiated off-white square superimposed on an off-white ground, would take his ideal of pure abstraction to its logical conclusion. In addition to his paintings, Malevich laid down his theories in writing, such as "From Cubism and Futurism to Suprematism" (1915) and The Non-Objective World: The Manifesto of Suprematism (1926).

The Golden Cockerel Press, London, [1947] 36 pages. Narrow 8vo. Half red cloth with blue cloth sides, gilt insignia and 'GCP' on front cover, top edge gilt. Collotype reproductions of paintings by Francois Boucher. Set in Garamond 11 pt type with Fournier titling. Printed on Anold’s mould-made paper in 750 numbered copies, this is No. 603, one of 650 copies bound in cloth."A biography of the Irish imp who fascinated Louis XV, and was model to the painter, Boucher /.../ Readers of this bibliography will no doubt concede that I am captiously critical of most of my ‘cockerels’, but I admit that I can find no fault with this little ‘coquette’.” (Cockalorum 173).

LTs förlag & Nordiska museet, Stockholm, 1989. 413 s. Kartonnageband med tryckta pärmar. (24,5 x 17,5 cm). Rikt illustrerad med omkring 550 bilder och teckningar. Med ett alfabetiskt hantverkslexikon, fyllig litteraturförteckning och register. Andra reviderade och utökade upplagan. Mycket fint skick.Närmare 300 hantverksyrken beskrivs i boken. Av dessa återfinns 38 i utförliga artiklar där yrkets framväxt skildras liksom arbetsmoment och tillverkningsmetoder, verktyg och redskap. Omkring 250 hantverk beskrivs mer kortfattat i ett hantverkslexikon.

Chilmark Press, New York. 1967. (6), 31, (2) pages. 4to (28,5 x 21 cm). Dark green Fabriano paper-covered boards, spine title gilt, only top edge cut. Spine scuffed at head and foot, upper corner bumped. One of 450 numbered copies, this is no. 428, and signed by the author, designed and printed by Will and Sebastian Carter at the Rampant Lions Press on Saunders Wookey Hole hand-made paper and bound by Mansell. Printed from a rare cutting of Frederic Warde's Vicenza type, his version of Arrighi italic, the subject of the nine-page typographical note by Will Carter. The second of the ”Clover Hill Editions”. Four-pages prospectus laid in.

Zollikofer & Company, St. Gall. 1948. 95 pages. Small 4to (25,5 x 22 cm). Printed card boards, dust jacket with minor worn. Samples on the recto and explaining text in English & German on the verso.“The application of lettering for display work on jackets, title-pages and in the text of books. Traditional forms in relation to present-day tendencies.” ”In a time like ours when we have lost immediate contact with our great predecessors, when we suffer from the rupture between tradition and contemporary effort, still without a stable basis or aim, the old choked-up roadway should be cleared first and a new path struck into.”

Heidruns Förlag.Torsby. 2002. 112 s. (24,5 x 17,5 cm). Kartonnageband med tryckta pärmar. Rikligt illustrerad, företrädesvis i färg, med akvareller av Lerin. Mycket fint skick. "Det är nu många år sedan jag satt i Jonhål bland maskrosorna och målade min första tavla, en oljemålning på masonit. Mötet med Astrid och Arvid blev början på mitt berättande. I Astrids utanförskap kände jag mig hemma. Som vilsen tonåring kunde jag identifiera mig med en människa som var annorlunda och som, liksom jag själv, aldrig passade in i den gängse normen. Fast på ett annat sätt förstås. Det som är svårt att uttrycka med pensel och färg fick istället sin form i skrivboken."

Exlibristen, Frederikshavn 1979. Opaginerad (c. 195 s. + 13 planscher & 1 monterat exlibris). 4:o (29x21 cm). Häftad. 1550 katalogiserade verk och med fylligt index. Svartvita planscher på framförallt titelsidor. 1 originalexlibris av Charles Favet för André Lucy. Tryckt som manuskript.Exlibrispublikation nr 171.

Åhlén & Åkerlund, Göteborg. 1912. 384 s. Tvärformat. (24 x 31 cm). Rött dekorerat klotband. Namnteckning på försättsbladet. De två första blanka bladen "skrynkliga" och med lagerfläckar. Även sista blanka bladet lagerprickat. Artur Sjögrens häftesomslag nr 4-24 medbundna. Mycket rikt illustrerad i svartvitt.

Fredr. Wagner, Stockholm. 1914-18. 1914 april-dec, nr 148-156; s. 49-172. 1916 febr-dec, nr 170-180; s. 13-164. 1917 jan-dec, nr 181-192; s. 1-144. 1918 jan-dec, nr 193-204; s.1-144. De tre första numren 1914 samt årgång 1915 saknas.4:o (30,5x23,5 cm). Privatbundet svart halvklotband med marmorerat pärmpapper. Exlibris på främre pärms insida. Spår efter bortriven etikett på sista sidan. Illustrationer i texten samt stora avdelningar med annonser. Artiklar främst av teknisk natur men även estetiska bedömningar av nya typsnitt och bokanmälningar.

Gordon Fraser, London. 1973. 224 pages. 4to (30,5 x 21,5 cm). Red cloth, minor rubbing and a few small chips to jacket. Name & address of the previous owner in blind on free endpaper (Lars Hall). Over 200 illustrations printed in two colours throughout. With glossary,bibliographical references and index.You can see the book as a supplement to Stanley Morison’s “The English Newspaper” which stops 1932. Allen Hutt also discusses American newspaper design. Stanley Morison and Allen Hutt cooperated in the redesign of Reynolds News 1936. There are, as it to be expected, many references to Stanley Morison, for example six pages are devoted to SM's typographic transformation of The Times. (Appleton 387).

Phaidon, London. 1993. 223 pages. Large 4to (33 x 25,5 cm). Dark blue cloth in fine dust jacket. Fully illustrated with over 400 photographs in colour. With biographies, bibliography and index of names.”Dutch Graphic Design” fully documents this distinguished history, covering all aspect of the discipline. It’s the first comprehensive and authoritative study of Dutch graphic design.

Bokförlaget Natur och Kultur, Stockholm. 1948. 608 s. (30,5 x 22,5 cm). Förlagets ljusgröna halvskinnband med guldornerad rygg, övre guldsnitt, marmorerat pärmpapper. Ryggen obetydligt nött och blekt, fläckat övre snitt, diskret stämpel på bakre pärms insida. Illusterad med färgplanscher, planer och svartvita fotografier. Fint skick.

Ernest Benn, London 1929. 240 s. 4:o. Brunt klotband. Namnteckning pärminsidan. Lagerfläckad. Inventiöst och handfast om annonstypografi med typprovsavdelning (s. 59–168) och engelska och amerikanska annonsexempel (s. 169–240).

New York and Penn Pulp and Paper Manufacturers. No date (c. 1959-61). Mini poster, litograph-offset (30,5 x 22,2 cm). Upper corners with foldmarks. 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.George Giusti (1908-1990) trained at the Reale Accademia e Belle Arti in Milan. He worked in Lugano before opening his own studio in Zurich. In 1938 he emigrated to the United States, beginning a long and productive career as a designer His style changes regualrly to adapt to the tenor of the times, later loosing some of his simple directness kin modish flourish. For more than four decades in America George Giusti’s graphic designs have graced the covers of Time, Fortune, Holiday and other major magazines. He has done advertising and graphic designs, illustrations, trademarks, client and employee publications, and package designs for major corporations. He served for ten years as art consultant to Geigy Pharmaceuticals in the United States and Switzerland.

The Typophiles, New York. 1946. viii, 150 s. + planscher. Liten 8:o. Rött buckramband. Illustrerad.Bruce Rogers varianter på emblem. Uppsatser av: H. W. Kent, J. M. Bowles, Carl Purington Rollins, David Pottinger, Christopher Morley, James Hendrickson & Frederic Warde. Design av Joseph Blumenthal och tryckt vid The Spiral Press med Monotype Emerson i en upplaga av 805 numrerade ex varav detta är nr 481. Typophile Chap Book: XV. “The idea was to collect in this book various printer’s marks used by Bruce Rogers and make a seventy-fifth birthday book of them. It grew beyond that, as chap book ideas often do. The eight bio-essays flesh out 46 BR marks (plus one for the Typophiles) and a few irreverent re-marks.” (Rathé 15).“When B.R. was asked when he might write his memoirs, he replied that he found ‘BR Marks & Remarks’ an adequate substitute.” (A Life in Letters s. 177–78).

Pinner Private Library Association, Pinner 1973. 39, (3) s. Följt av 41 exlibris helsides avbildade på recto-sidan. Duvblått klotband med tätfärgat övre snitt. Med bibliografi. Formgiven av David Chambers och tryckt i 1000 ex.

New Delhi, Printed at the Frontier Exchange Press & Published by the Himalayan Club, 1945. 51 s. Halvklotband, blek rygg och solkiga pärmar, försättsblad och titelsida med pappersförlust i yttre marginalen. Stämpel (Himalayan Club Library). Illustrerad. Utvikbar karta, tre markeringar med röd färgpenna, mindre reva i nedre marginalen. Ej vanlig.

New York and Penn Pulp and Paper Manufacturers. No date (c. 1959-61). Mini poster, litograph-offset (30,5 x 22,2 cm). 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.Roy Kuhlman (1923–2007) was an American graphic designer. Kuhlman was hired to design Grove's book covers and did so until the late 1960s. Kuhlman also got a start in the advertising business from the famed art director Herb Lubalin at Sudler & Hennessy, and became an art director and designer for Columbia Records. Later he was hired by the public relations firm Ruder & Finn to establish an in-house art department, then joined Benton & Bowles, where he designed the award-winning Mathematics Serving Man campaign for IBM, which appeared in Time, Newsweek, and U.S. News & World Report in May 1960. In 1995 he was inducted into the Art Directors Club Hall of Fame.