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(London 1901-13) Facsimile reprint, London 1976. 21x14. A total of 418 pp. including ca 170 pages with photos of more than 4000 objects. Publisher's printed boards. A complete facsimile of the auction catalogues 1-130 published 1901-1913 by the British collector and dealer of ethnographic art and artefacts from Oceania, Africa, North and South America, Asia, etc.

Eine praehistorische Metropole in Südamerika. Mit 88 Tafeln, zahlreichen Textbildern und einem kraniologischen Beobachtungsblatt. Berlin 1914. xi,184 pages + 84 plates. Folio. Original decorated cloth, one hinge partly cracked. One plate torn in margin. Parallel German and Spanish text.

Accedunt selectæ lectiones dilucidando poëmati appositæ. Paris, Ant. Coustelier 1764. Frontispiece, xxxvi, 288 pages + 6 plates. Large copy printed on thick paper. Slightly worn contemporary full calf.

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.

Chez Seurre-Lacam, Crosnes 1935. 2me Édition. XXI, 836 pp. Decorated cloth. Illustrated. Fine condition.

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."

Hjalmar Linnströms Förlag, Stockholm 1883-84. (4), 504; 505-995, (1); (4), 512; 513-906 sidor. 4 volymer, gedigna bruna halvskinnband, marmorerade pärmpapper och snitt (Alfr.Lundins Bokbinderi, Stockholm).

Wien & Köln & Graz 1985-90. 31x23. X+422; + X+423-812; + XVI+592 pp. 1087 reproductions of elevations, perspectives, plans, etc. in volumes 1-2; 1111 reproductions in vol. 3. Publisher's cloth, dust jackets. (Schriften des Instituts für Kunstgeschichte, Akademie für bildenden Künste, Wien: 2,1 - 2,3). First three volumes of the massive six-volume work on Otto Wagner, the first two volumes being the standard Catalogue Raisonné of his architectural oeuvre.

Stuttgart, Engelhorn, 1890-93. 45x32. IV+XXXVI; + VI+LVI pp. + 200 plates with ca 260 drawings. Loose as issued in printed cloth-backed portfolios with tie-strings. First portfolio slightly worn and darkened, spine neatly repaired. Second portfolio lightly stained and neatly supplied with a new cloth spine and new interior flaps. The contents of both in fine condition. A comprehensive collection of elaborate measured drawings of façades, portals, doors, windows, and other decorative elements of German buildings from 16th-century Renaissance to 18th-century Rococo. Vol. 1: Frü- und Hochrenaissance 1500-1650. Vol 2: Barock und Rococo 1650-1800.

Berlin 1893. 33x25. VI+96 pp. + 83 heliogravure plates + 5 portraits + large folding coloured plan. Publisher's pictorial, gilt-lettered cloth, all edges gilt. Binding slightly darkened and extremities rubbed, some light thumbing in lower right corner of the first leaves. A history and description of the garden waterworks of Frederick the Great's Sans-Souci and the adjacent Potsdam palaces, written by the engineer in charge of the waterworks, with photographic plates providing a record of the fountains and basins as they appeared in the early 1890s.

Zurich 2014. 30x22. 240 pp. More than 200 photos (30 in colour; 60 full-page), and ca 40 drawings and plans, including seven double-page in colour. Publisher's printed cloth with front plate.

Frankfurt a.M., Keller, 1907. 40x32. 12 pp. + 45 plates with ca 75 photos and 15 elevations, drawings of façade details and doors, etc; + 10 pp. + 30 plates with ca 75 photos. Loose as issued in a two gilt-lettered half cloth portfolios, slightly externally worn and text leaves lightly thumbed. A documentation of Louis Seize-style architecture in Frankfurt, the first volume showing exterior views and drawings of buildings, the second covering interiors.

Stockholm, Joh. Hellsten Arkitekturbokhandel, (1887). 43x30. 4 s. + 30 planscher med 19 fasad- och perspektivritningarritningar (18 helsides), samt planritningar och några sektioner. Lösa så som de utgavs i tryckt klotryggsmapp. Försedd med ny klotrygg och nya knytband; pärmkanterna prydligt förstärkta Första och enda samlingen i denna planerade serie om moderna svenska villor presenterade i ritningar av Ferdinand Boberg. Samlingen omfattar åtta villor (samt fyra trädgårdsbyggnader etc.), däribland Carl Curmans bostad på Floragatan i Östermalms villastad och liknande villor ritade av Magnus Isaeus, Ernst Jacobsson, Gustaf Sjöberg, Wilhelm von Gegerfeldt, med flera.

Stockholm 1879. XXVI+LXXII+II+156 s. text (med 35 illustrationer) + II+88 s. katalog (med reproduktioner af signaturer) + 12 färglitografiska planscher. Ett av få exemplar tryckta på tjockt papper. Halvklotband, tryckt främre omslag medbundet. Bandet något nött med några yttre fläckar. (Rörstrands samling af fajans och porslin, 1).

Prefatio Salomonis Pfisteri. Utrecht, J. Broedelet 1725. (20),488,278,(50) ppagers. Small 4:o. In old vellum binding with darkened spine. Most of the book water-stained in lower outer corner. Otherwise a fine copy.

Ludolph Henrich Lillie. Kjöbenhavn. 1755. Bundet i ett senare mycket fint halvskinnband [1850]. 5 upphöjda bind och riklig fin förgylld dekor på rygg. (4), 44 sidor. Mycket gott skick, exlibris.

Almqvist & Wiksells Boktryckeri A.-B. Upsala. 1914-17. 4 volymer. Bundna i förlagets fina halvskinnband med marmorerade pärmpapper [Bokbindaretikett från Nordiska Bokhandeln]. 5 markerade svartfärgade bind. Främre omslag medbundna. 558 sidor och 569 sidor och 586 sidor och 566 sidor. Mycket gott skick. Lätt blekta ryggar. Exlibris. Af detta arbete är tryckt en numrerad upplaga af tvåhundra exemplar, af hvilka detta är N:r 132. Ovanlig i detta välbundna och fina skick.

J. J. Flodins förlag. Stockholm. 1870. 11,5 x 17,5 cm folded. 11 x 265 cm unfolded. 16 folded views + 20 pp. (including title page) + folding map. Cased boards. Cloth spine. Ties missing. Text and map with a few small stains and spots. Ink spots on the back of the map. Small split in map fold. Nice condition. charming colour litographic views of the newly constructed railway through central Stockholm. Showing trains, bridges, tunnels, ships and views of the city and the new Central Station. Title pasted on front cover reading "16 utsigter i färgtryck af sammanbindningsbanan genom Stockholm och dess utsträckning till Liljeholmen med plan och profilkarta samt text.

Wahlström & Widstrand, Stockholm 1951. Första upplagan. Häftad. 61, (3) sidor. Gott skick. Dedikation till Johannes Edfelt på smutstitelbladet: Hej på er-/ här jag ger!/ Diktonius Det finns en blyertnotering (sid. 14) på smutstitelbladet.

Västerås. [1942]. Bunden i ett fint blått helskinnband. Anonym rygg med förgyllda upphöjda bind. 24 x 19 cm. [36] sidor. Mycket gott skick. Illustrerat manuskript i privat ägo från 1867-1875. Tryckt i någon slags fotografisk teknik 1942. I Herr Arosins Album har Bankdirektören Rudolf Gagge med sin tuschpenna lämnat en serie i många avseenden intressanta och belysande bidrag till skildringen av förhållandena i västrås under 1870-talet. Albumet tillkom under tiden 1867-1875. Troligtvis tryckt i en väldigt liten upplaga.

Holger Schildts Förlagsaktiebolag, Helsingfors 1919. Första upplagan. Bunden i ett fint sentida halvskinnband [Lars Eriksson]. Bandet går i rött. Bägge omslagen medbundna. 65, (3) sidor. Mycket gott skick. Mycket fint och välbevarat exemplar av denna sköra bok.

Ecksteinska boktryckeriet. Stockholm. 1844. Bunden i ett fint halvskinnband (1920). Bägge dekorerade omslagen medbundna. Litograferat titelblad. (4), 92 (2) sidor + 3 utvikbara litograferade kartor & 3 litograferade planscher, varav 2 utvikbara,. Ovanlig med de fina bägge omslagen medbundna.

Wahlström & Widstrand. Stockholm. 1964. Bunden i förlagets illustrerade klotryggsband. 147 (3) sidor. Gott skick. Fläck på främre pärm. Dedikation till skådespelaren Sven Lindberg: Till lille Sven/ på myndighetsdagen/ den 20 november 1983/ med varm tillönskan/ om ett långt och/ lyckligt liv med/ barnasinnet i/ behåll!/ Svens vän/ Tage