Søkeresultat

Kbh., 1890. Indbundet i et samtidigt halvlæder med rygtitel i guld. 206 pp.

Boston: Houghton Mifflin and Company, (1977). Publishers bright green clothed decorated hardcover with red topedge and a somewhat worn but now protected jacket. 365 pp. Complete with map at end. The map has a marginal tear but overall a good to very good clean copy. First US edition (stated), 3rd printing.

Kbh., Gyldendalske Boghandel, 1868. Original komponeret, rødbrunt, helshirt med forgyldt helsnit. 271 pp. En del brugsspor, svage false men stadig solid og overvejende ren.

Ecco, 2002. Large paperback. 406 pp. Very good copy.

Kunstforeningen Gl. Strand, 2017. Stort format. Hardcover, med omslag. 116 sider, rigt illustreret i farver. Som nyt eksemplar. Første oplag.

New York & London: w. w. Norton and Company, 2004. Hardcover, w jacket. XVI, 336 pp. Very good clean copy. First edition. - "The most absorbing, wide-ranging and stimulating body of writing about the mighty Bob that's ever been assembled."

Forlaget Bebop, 2006. 46 pp. Hft. Omslag af Kirkeby. Første danske udgave.

New York: Doubleday and Co., 1964. 8vo. Hardcover with unclipped slightly worn and sunned orange dustjacket. 95 pages. Clean and overall very good copy. First edition.

München : Hanser Verlag, 2008. Gebunden, mit Schutzumschlag. 470 Seiten. Gut erhalten.  "Eine Jugend in Hessen, ein Leben in vielen Sprachen und Ländern: Seit vier Jahrzehnten gehört Volker Schlöndorff zu den wenigen deutschen Filmemachern, die Weltgeltung haben. In dieser Autobiographie erzählt er anschaulich von seiner Kindheit im Nachkriegsdeutschland; von seinem politischen Engagement um 1968; von der Entstehung seiner "Blechtrommel", für die er den ersten deutschen Nachkriegs-Oscar erhielt; von seinem Leben in Deutschland, Frankreich, Italien und Amerika; von Regisseuren wie Jean-Pierre Melville und Rainer Werner Fassbinder; und von Schauspielern wie Alain Delon und Jeanne Moreau".

Aarhus Universitetsforlag, 2005. 274 pp. Hft. Pænt eksemplar.

Copenhagen: Forlagt af H. Aschehoug & Co, 1920. 8vo (24x17). Publisher's printed half vellum (hardcover).174 pp. w. 40 photos (24 full-page) and 19 plans, elevations, perspectives, etc. Well preserved copy. First Danish edition of "Den nya arkitekturen" (The New Architecture) with a new preface by the author, and a new selection of illustrations made by the translator Henning Bröchner in collaboration with Kay Fisker. In addition to examples of Danish architecture by Kay Fisker, Ivar Bentsen, Aage Rafn, and Povl Baumann, furniture by Kaare Klint, ceramic ware by Svend Hammershøj, etc., there are illustrations of work by i.a. Gunnar Asplund, Elis Benckert, Baillie Scott, Josef Hoffmann, Richard Riemerschmid, and Hans Poelzig, not to be found in the 1916 Swedish edition.

Gyldendal, 2009. Stort format. Hardcover. 52 sider. Illustreret af Ilon Wikland i farver. Pænt eksemplar. Dansk udgave.

Louisiana Museum of Modern Art, 1970. Folio. 48 pp. Illustrated in b/w and color, several full page. Text in Danish. Excellent copy.  First printing.

London: Thames & Hudson, 2000. Heavy 4to hardcover with somewhat worn but protected jacket. 240 pages, richly illustrated. First published on the occasion of the exhibition, "Print, power and persuasion: graphic design in Germany 1890-1945", presented at The Wolfsonian-Florida International University, 27 September 2000. German graphic and typographic design in the first half of the twentieth century represents an extraordinarily rich and diverse aspect of the history of visual culture. It marks the moment of recognition that the world was becoming increasingly dependent on a modern and commercialized system of communication in which the designer was to play a major role. An unprecedented scale of attention was devoted to printed matter, whether as designs for graphic ornament, typefaces and logos in books and advertisements, or magazines, posters, signage, and exhibitions. Jeremy Aynsley has written the first account in English of the emergence of German graphic design between 1890 and 1945. Based on many years of research and original material, this handsome book is lavishly illustrated with examples from across a stylistically varied field. There were many good reasons for Germany to lead in the field of print culture. Historically it was a country that had been associated since the Middle Ages with the arts of the book and printing, and many of the new design developments in the twentieth century grew from that base. The spectacular industrial and commercial boom following the Franco-Prussian War, when the Germans became world competitors, stimulated interest in the field of advertising, whether in newspapers, journals, or on sidewalk kiosks. Perhaps borrowing in the beginning from the Arts and Crafts movement in Britain, Art Nouveau in France, and the advanced advertising designers in the U.S., the German artists soon developed a style of their own that was aggressive, aesthetically adventurous, and well constructed to attract customers. While some of the individual designers such as Peter Behrens, Lucian Bernhard, Jan Tschichold, Herbert Bayer, and John Heartfield are well known, many others have not received such attention. Aynsley provides an amazingly well-rounded picture of this burst of innovation that changed the face of modern life, as well as of the politically and socially turbulent era that spawned it."

Duke University Press Books, 2016. Paperback. XII, 326 pp. Fine clean, unread copy.

Forlaget Multivers, København 2015. 502 sider. Orig. omslag. Lidt ydre brugsspor. Doktorafhandling fra Lunds Universitet.

Aarhus University Press, 2015. Hardcover. 302 pages. With illustrations. As new. 1. edition.

Cambridge, MA: MIT Press, 2002 (2000). Heavy 8vo in SOFTCOVER. XVI,. 368 pages. With illustrations. Name to inner cover else clean. Very good copy. Developing the notion of dreamworld as both a poetic description of a collective mental state and an analytical concept, Susan Buck-Morss attempts to come to terms with mass dreamworlds at the moment of their passing. The dream of the twentieth century was the construction of mass utopia. As the century closes, this dream is being left behind; the belief that industrial modernization can bring about the good society by overcoming material scarcity for all has been challenged by the disintegration of European socialism, capitalist restructuring, and ecological constraints. The larger social vision has given way to private dreams of material happiness and to political cynicism. Developing the notion of dreamworld as both a poetic description of a collective mental state and an analytical concept, Susan Buck-Morss attempts to come to terms with mass dreamworlds at the moment of their passing. She shows how dreamworlds became dangerous when their energy was used by the structures of power as an instrument of force against the masses. Stressing the similarities between the East and West and using the end of the Cold War as her point of departure, she examines both extremes of mass utopia, dreamworld and catastrophe. The book is in four parts. "Dreamworlds of Democracy" asks whether collective sovereignty can ever be democratic. "Dreamworlds of History" calls for a rethinking of revolution by political and artistic avant-gardes. "Dreamworlds of Mass Culture" explores the affinities between mass culture's socialist and capitalist forms. An "Afterward" places the book in the historical context of the author's collaboration with a group of Moscow philosophers and artists over the past two tumultuous decades. The book is an experiment in visual culture, using images as philosophy, presenting, literally, a way of seeing the past. Its pictorial narratives rescue historical data that with the end of the Cold War are threatened with oblivion and challenge common conceptions of what this century was all about." - Susan Buck-Morss is known for Dialectics of Seeing (1989). "This earlier text brilliantly reconstructed Walter Benjamin's unfinished "Arcades" project (on the consumer culture of Baudelaire's Paris), and established Buck-Morss both as an authoritative commentator on Benjamin and as a major cultural thinker in her own right. Dreamworld and Catastrophe seeks, in effect, to extend Benjamin's dialectical investigations into the imaginary of modern culture to another time and place

Errant Bodies Press, 2006. Large 8vo in wraps as issued. Unpaginated, around 90 pages, text in English. COMPLETE with CD. Fine copy. 1st edition.

Suhrkamp Taschenbücher, 1988-89 (1976 - 1977). Taschenbücher. 417 und 543 Seiten. Einzelne Bleistiftsnotizen sonst gut erhalten.

London: The Bodley Head, 2022. Large softcover. 260 pages. Very good well preserved and clean copy. 1st UK printing.

Arena, 1967. 160 pp. Hft. Godt eksemplar. 1. oplag."Teatret - en igle på din krop".

New York: McGraw-Hill Book Company, 1971. 8vo in original publisher's purple cloth, black cloth spine with gilt lettering, purple endpapers, with the original, albeit very worn jacket, now protected. Clean inside and overall a good solid copy. First US edition, first impression. "A cornerstone title in feminist literature, Greer's best-known work reflects her present status as one of the most outspoken, controversial and challenging writers in her field."

Serpentine Gallery, London, UK, 2004. 8vo ion wraps as sissued. 17 x 23cm. 63 pages. Exhibition catalogue featuring works by Maurizio Cattelan, Martin Creed, Tony Feher,Christian Jankowski, Gabriel Kuri, Bjorn Melhus, Aleksandra Mir, Tim Noble and Sue Webster, Pipilotti Rist, David Shrigley, Andreas Slominski, Sarah Sze. Also included are loosely inserted postcards relating to the various artists. Complete and very good copy.

Copenhagen, 1949. 113 pp. Illustreret. Hft. Omslag som oftest noget slidt / As usual somewhat edgeworn and torn wraps. Overall an acceptable good clean copy. First edition. Herlöw (1913 - 1991) architect and designer, educated at The Danish academy of arts in 1941. Herløw co-founded the Society for Industrial Design in 1954 and in 1955 was named the first professor of industrial design at the Academy of Fine Arts. He received the Eckersberg Medal in 1958.