Søkeresultat

New York; Multiples, Inc., 1980. First edition. 26x26 cm. (127, 1 blank) pp. Original printed wrappers with pictorial dustjacket. Foot of spine is insignificantly worn, and three leaves have a minimal crease in outer margin. A very fine copy of the book, which consists of LeWitt's photographical documentation of every object in his home and studio in New York. ""The book moves sequentially from the general to the specific, building up a very personal and revealing account of the artist and his involvements. It provides interesting clues to LeWitt, what he thinks, what he does and how he lives. Each of the nine photographs on every page is arranged in a grid format, LeWitt's method of organizing information. Every reference is the same size with no object in his space more important than another."" (rear panel). The Open Book pp. 322-323.

Paris; Mercure de France, 1899. First edition of Philoctète and El Hadj. 19,5x15 cm. (1, 1 blank), 176, (2, 2 blanks) pp. Contemporary decorated boards with green leather label on spine, uncut edges. Both wrappers are preserved. The spine is slightly faded and the top edge a bit dusty. The wrappers are insignificantly soiled. Contents are clean and bright. No. 77 of 300 copies printed on Vergé d'Arches. Inscribed by the author on the half title to the author and friend, member of the French Academy René Boylesve (1867-1926): ""à René Boylesve / en cordial souvenir / André Gide."" Naville XIII.

Paris, 1899. [61,5x45,5 cm]. 4 pages. Folded twice. Slightly yellowed and with some light creases. A very well-preserved copy. Zola's text covers 4 of the 6 columns on the front page. Le Cinquième Acte, published in september 1899, was the fourth of altogether seven articles and open letters published by Zola in l’Aurore between 1898 and 1900 in favour of the French Army captain of Jewish and Alsatian descent Alfred Dreyfus, charged with treason in 1894 in a much-publicized affaire. In the article Zola expresses his outrage with the military tribunal in Rennes where Dreyfus, repatriated from his imprisonment on the Devil’s Island, was tried again only to be re-condemned despite clear evidence in favour of his innocence. The anger and disappointment of Zola, who had spent almost a year in exile in London in the aftermath of his 1898 open letter “J’Accuse...!” is quite palpable in the text. The Rennes trial was, says Zola, supposed to be the fifth act of the play that was the Dreyfus affair -- a happy ending where the wronged party is redeemed -- but it turned out to be only the ”fourth act”: ”When, Oh dear God, will there be the Fifth?” Zola did not have to wait for very long for the ”fifth act”, as Dreyfus was pardoned later that same year on the grounds of feeble health. The finale of the affair was however not enacted until 1906, when Dreyfus was formally acquitted and his honour restored, something Zola himself sadly never lived to see.

Paris; Gabriel de Gonet, 1847. First edition, first printing. 4:o. 28x20 cm. 262 pp. + 29 plates & 263-364 pp. + 21 plates & iv, 62, (1, 1 blank) pp. + 2 plates & iv, 65-132 pp. Contemporary green full leather, raised bands on spine, gilt borders in compartments, gilt edges. The binding is worn at extremities, and there are two short tears at foot of spine. The spine is a bit faded. Paste-downs and endpapers have offsetting from the binder's glue. Main part of the text leaves are stained, as should be expected, and some of the plates have light stains in margins. The plate ""Pervenche desséchée"" has been placed between pp. i and ii in the concluding chapter ""Botanique des dames"". The plates were engraved by Ch. Geoffroy after Grandville's drawings, 50 of them are hand-coloured, as are the two title leaves. All plates but one have tissue-guards. A second printing was made the same year as the first, but without continued pagination in the second part. Vicaire III:133. Ray, The Art of the French Illustrated Book 198.

Stockholm; Moderna museet, 1972. First edition. 31x22 cm. 363, (1 blank) pp. + gramophone record in pocket at end of the volume + a signed original print: ""Métamatic N:o 8"". Original pictorial cloth designed as a portfolio with handle. The boards are insignificantly soiled. A very fine copy of this richly illustrated Swedish monograph on Tinguely. There are three variants of the first edition: one ordinary binding without the gramophone record, one ordinary binding with enclosed record, and the present one. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

New York; The Library Fellows of the Whitney Museum of American Art, 1992. (Artists and Writers Series Vol. 10). 33x24,5 cm. 24 pp. + colophon and an original watercolour and an etching by Therrien. Bound in limp vellum by Claudia Cohen, with gilt title on front board. Housed in a purple linen box with a vellum label on spine. No. 66 of 150 printed copies, signed by both the author and the artist on the colophon page. 105 copies are bound in vellum and include both the watercolour and the etching, the remaining 45 copies are paper-bound and include only the etching. There is a small crease on the spine-label, and the box is partly faded. The book is very fine. Connell's text is an essay on the discovery and exploration of the ancient Indian ruins of Mesa Verde. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

Stockholm; Förlag Gummesons konsthandel, 1916. 16,5x12,5 cm. 29, (1 blank) s. Klammerhäftad med en originallitografi av Kandinsky på främre omslag. Främre omslaget aningen solkat. Mycket fint ex. Första upplagan av skriften som utgavs i samband med Kandinskys första utställning i Sverige, anordnad av Gummesons i samarbete med Der Sturm i Berlin. Stapled wrappers with an original colour litograph by Kandinsky on front wrapper. The front wrapper is slightly soiled. A fine copy. Contains the first publication of Kandinsky's essay ""On the Artist"" in Swedish translation from the original German, written during his 3-month stay in Stockholm in connection with the exhibition there.

Paris; J. Hetzel, 1842. First edition. 8:o. 26,5x19 cm. (7, 1 blank), 386, (6) pp. + 96 wood-engraved plates & (3, 1 blank), 390, (6) pp. + 105 wood-engraved plates. With numerous head- and tailpieces, initials and vignettes, engraved by Brévière, Godard, and others after drawings by Grandville. Two volumes in contemporary black full leather, raised band son spine, gilt in compartments, gilt edges and marbled endpapers. The bindings are slightly worn at extremities and have small losses at head of spine. The frontispiece in Vol. I has a vertical folding mark in the inner margin, close to the gutter, and the last two leaves in the register have a small rift in outer margin. Contents are clean and bright, with occasional light foxing. A well-preserved set. The publisher Hetzel, who also contributed with texts to this publication under the pen name P.-L. Stahl, states in the preface that the primary objective with this work was ""to give words to Grandville's marvellous animals, and to join our pen with his pencil, thereby coming to his assistance in criticizing the abberrations of our epoch, and by preference among these abberrations, those which are of every period and every country."" (Ray, The Art of the Illustrated French Book 1700 to 1914, 194). Vicaire VII:405-406.

Köpenhamn; Nyt Nordisk Forlag / Arnold Busck, 1935. Originalets titel: De knutna händerna (Stockholm, 1930). 20,5x15 cm. 304 s. Häftad med tryckt omslag. Det överdimensionerade omslaget är veckat samt har några riss vid ryggfoten och i yttre och nedre marginalerna. Två blad med liten hörnförlust upptill, annars en fin inlaga. Första danska utgåvan. Dedikation: ""Till Kristina, min älskade! / Vilhelm"". Mottagaren Kristina Odelberg/Hedenblad (1917-2005) hade under 40-talet och möjligen även senare en kärleksaffär med Moberg, som döpte Kristina i Utvandrarserien efter henne. Kärleksaffären upptäcktes via en svit om 30 böcker som Moberg dedicerat till henne. I exemplaret av Utvandrarna (1949) skriver han: ”Till Kristina, min älskade, som lånat sitt namn åt den kvinnliga huvudpersonen i denna bok, med tacksamhet och kärlek från Författaren”, ett intyg som upprepas så sent som 1969 i pocketupplagan av Utvandrarserien: ” Den 29/3 1969. / Till Kristina -- hon som givit sitt namn åt den kvinnliga huvudpersonen i utvandrarromanen och till Minnet / med innerlig tillgivenhet från Författaren”, vilket visar att hon var fullt närvarande i hans tankevärld under hela denna tid och därmed mycket väl kan ha påverkat hans senare litterära produktion. Vad som ytterligare talar för detta är exemplaret av Vår ofödde son, en pjäs från 1945 som behandlar abort-problematik. Detta är den enda av böckerna som Kristina låtit binda in i ett påkostat rött skinnband, med en pärmficka längst bak där hon samlat tidningsartiklar om boken och dess författare. I Kristinas exemplar av den danska utgåvan av samma bok, utgiven 1947, finns en dedikation från översättaren: ”Kaera Kristina! / Denne Bog, den til Dels handler om dig, sendes dig til Erindring -- ikke om Forfattaren, men om Oversatteren. / Din Carl Erik"".

Paris; The Olympia Press, 1956. First edition, stated on titlepage. 17,5x11 cm. 171, (1) pp. + 29 photographic plates (2 double spread). Original stiff wrappers, designed by T. [Shinkichi] Tajiri. Spine has a few light vertical creases and is a little worn along the joints. There is a small dampstain on front wrapper, and a few insignificant specks on the fore-edge. Pp. 169/170 has a small speck in outer margin, contents are otherwise bright and clean. A fine copy. First state, where the photos have a matt finish. They were glossy in the second state (cf. Shifreen & Jackson A100b). Shifreen & Jackson A100a.

Stockholm; Sandbergs Bokhandel, 1954. 44x32,5 cm. 4-sidigt textblad + 6 litografier (37x27,5 cm) i passe-partout, samtliga numrerade och signerade i blyerts. I den tryckta originalportföljen med klotrygg. Portföljen är aningen nött, delvis mörknad, lätt solkad och har en kort reva i klotet vid övre framfals. Fint ex. Verket utgavs i 50 numrerade exemplar samt 10 signerade exemplar avsedda för pressen. Detta är det signerade exemplaret nr I. Med en dedikation från konstnären till verkets utgivare Gunnar Josephson, VD för Sandbergs Bokhandel: ""Pour Gunnar Josephson, qui à libéré un autre prisonnier du nain[?] / avec toutes les sentiments blaues ou bien dorées. / Avigdor / Sthlm, le 18.5.54."" / 6 lithographs in passe-partout, housed in the original clothbacked portfolio. With a 4-page leaflet. The portfolio is slightly worn, partly toned, and has a short tear in the cloth at top front folding. A fine copy. Issued in 50 numbered copies with an additional 10 copies for the press. This is the signed no. I, additionally inscribed by Arikha to the publisher of this work, Gunnar Josephson.

New York; Multiples, Inc., 1980. First edition. 26x26 cm. (127, 1 blank) pp. Original printed wrappers with pictorial dustjacket. The jacket has a hint of toning to spine and a pair of insignificant specks. A very fine copy of the book, which consists of LeWitt's photographical documentation of every object in his home and studio in New York. ""The book moves sequentially from the general to the specific, building up a very personal and revealing account of the artist and his involvements. It provides interesting clues to LeWitt, what he thinks, what he does and how he lives. Each of the nine photographs on every page is arranged in a grid format, LeWitt's method of organizing information. Every reference is the same size with no object in his space more important than another."" (rear panel). The Open Book pp. 322-323. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

Växjö, 1923. Originalupplaga. 21x14 cm. 126 s. Samtida brunt halvklotband med förgylld ryggtitel, mönstrade pärmpapper och marmorerade försättsblad. Omslag ej medbundet. Ryggändar och pärmhörn något nötta. Fläckat titelblad samt spridda fläckar och fingeravtryck i marginalerna. Kort reva i nedre marginalen på s. 115/116. ""Carl Moberg / Moshult!"" skrivet med blyerts på titelbladet; sannolikt Mobergs fars signatur. Dedikation: ""Till Kristina -- en bok som är i behov av kärleksfullt bemötande -- från Författaren som minne av den 22 juli 1954"". Mottagaren Kristina Odelberg/Hedenblad (1917-2005) hade under 40-talet och möjligen även senare en kärleksaffär med Moberg, som döpte Kristina i Utvandrarserien efter henne. Kärleksaffären upptäcktes via en svit om 30 böcker som Moberg dedicerat till henne. I exemplaret av Utvandrarna (1949) skriver han: ”Till Kristina, min älskade, som lånat sitt namn åt den kvinnliga huvudpersonen i denna bok, med tacksamhet och kärlek från Författaren”, ett intyg som upprepas så sent som 1969 i pocketupplagan av Utvandrarserien: ” Den 29/3 1969. / Till Kristina -- hon som givit sitt namn åt den kvinnliga huvudpersonen i utvandrarromanen och till Minnet / med innerlig tillgivenhet från Författaren”, vilket visar att hon var fullt närvarande i hans tankevärld under hela denna tid och därmed mycket väl kan ha påverkat hans senare litterära produktion. Vad som ytterligare talar för detta är exemplaret av Vår ofödde son, en pjäs från 1945 som behandlar abort-problematik. Detta är den enda av böckerna som Kristina låtit binda in i ett påkostat rött skinnband, med en pärmficka längst bak där hon samlat tidningsartiklar om boken och dess författare. I Kristinas exemplar av den danska utgåvan av samma bok, utgiven 1947, finns en dedikation från översättaren: ”Kaera Kristina! / Denne Bog, den til Dels handler om dig, sendes dig til Erindring -- ikke om Forfattaren, men om Oversatteren. / Din Carl Erik"".

[Åhus; Kalejdoskop], 1986. First edition. 18,5x22 cm. (62, 2 blanks) pp. + original drawing. Printed stiff cardboard wrappers, housed in the original slipcase. Very fine. Artist's book with texts and drawings by Nonas, based on the first flight of the aviation pioneers Orville and Wilbur Wright and the sculptural works of Brancusi. Published in conjunction with Nonas's exhibition at Anders Tornberg Gallery in Lund, Sweden, and issued in 500 copies, of which 50 copies are numbered and signed, and contain an original drawing by the artist. This is an artist's proof, with a signed original drawing. Inscribed by Nonas to gallery owner Anders Tornberg: ""For Anders [drawn arrow] / (STURM UND DRANG; LOVE & KISSES.) / RN / - my FRIEND and COLLABORATOR; where would we be without? / RN"".

Köln; Verlag der Buchhandlung Walther König, 1992. 30x21 cm. (3, 1 blank) pp. + 245 plates. Original printed wrappers. Spine and margins of the wrappers are slightly toned. A very fine copy. Contains reproductions of 245 drawings by Kippenberger on hotel stationery. The volume was followed by ""Hotel-Hotel-Hotel"" (1995), and the posthumously published ""No Drawing No Cry"" (2000). Colophon: ""This book was published in a limited edition of 950 numbered copies. Except for a few all of the drawings are reproduced in their original size. Copies numbered 1-100 are signed by the artist. A polaroid-photograph and a signed drawing are enclosed with copies numbered from 1-30. Copies numbered 28-30 are not for the trade"". This is copy no. 468. Koch, Annotated catalogue raisonné of the books by Martin Kippenberger 1977-1997, no. 109.

New York; Castelli Graphics, 1990. 29,5x22 cm. 37, (2, 1 blank) pp. Original printed wrappers. The book contains 26 lithographs with hand-colouring, and is housed in the original finished cypress box. Very fine. Colophon: ""… a hand-colored letterpress book in an edition of twenty-five copies with eight artists' proofs. The book is printed in Walbaum type on Penhurst Barcham Green paper by Peter Kruty and hand-colored by Cinda Sparling. Each book is signed by the artist"". This is the signed no. 17. With a laid-in invitation to a private view at Björn Olsson Gallery in Stockholm, in September of 1990, together with the hand-coloured reliefprint with collage, called ""Detail August 1988"", produced on this occasion in 500 signed copies of which this is no. 210. Petersen started making monthly inspired journal sketches in the early 70's, inspired by the nature of Captiva Island, Florida, where he lived and worked with Robert Rauschenberg, by combining his sketches with photos, illustrations from magazines, postcard and other found objects. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

Stockholm, 1968. 24x18 cm. Contemporary print. Insignificant cornerfolds. With Özkök's signature and stamp on verso, and his initials below the image. Duras and Özkök met for the first time in Florence in 1962, when he also took his first photo of her. They were close friends and frequent visitors to each other's homes in Paris and Stockholm, and some of the well-known portraits of Duras are taken in Özkök's flat, like the one offered here.

Gothenburg, 1991. Original b&w photo. 24x17 cm. Contemporary print. Fine. With Özkök's signature, stamp, and address label on verso. In 1991 Özkök was commissioned to photograph Auster at the Göteborg Book fair. Offered here is the wide-spread photo where Auster holds a pen as a cigarette.

New York; Vrej Baghoomian, Inc., 1989. First edition. 25x19,5 cm. 25 leaves, printed on the recto + colophon. Publisher's printed boards. Spine ends are insignificantly worn. A fine copy. A facsimile of Basquiat's notebook, issued in 1000 copies the year after the artist's death. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

[Williamstown, Mass.]; Williams College, 1979. 28x22 cm. (52) pp. Illustrated, and with a mounted plate, a muslin-mounted rag paper rubbed with earth from an archaeological site. Signed by the artist below the plate. Original printed wrappers, stapled. A few light fingerprints on the wrappers. A fine copy. ""Stuart pioneered the utilization of organic mediums such as earth, wax, seeds, and plants to the vertical surface experience. These works that go beyond the bounds of traditional artistic resources articulate the complex processes through a language of exploration of both the physicality of materials and cultural and scientific issues not generally thought of in the vocabulary of art. The changes that take place in organic matter, the extinction series and the series on genetic variation, explore scientific issues that provide a new art vocabulary. [...] Her work references a range of influences, from history, astronomy, botany and her extensive travels to ancient archaeological sites."" (from the artist's homepage). From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

New York; ZG Publications & Brooke Alexander, 1989. 34x25 cm. (7, 7 blanks) pp. + 20 photographic plates (several double-spread) & an original silver gelatin print in separate folder. Two volumes in black quarter leather with brown cloth over boards, housed in the original clamshell box. The book and the print have been signed by the artist in pencil. There are some light stains on the lid of the box. A fine copy. No. 50/50 of the deluxe limited edition, which was also issued in 20 AP copies, lettered A to T. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

Helsinki; Galerie Artek, 1989. 23x15,5 cm. (47, (3 blanks) pp. Illustrated. Original blue cloth with the artist's name blindstamped on front board. Very fine. Exhibition catalogue with text in Finnish and Swedish. With chronology and list of exhibitions. 15 of the exhibited acrylic paintings, inspired by the bathroom tiling of the Paradise View Hotel, are reproduced in full colour. Inscribed by the artist in pencil to gallery owner Anders Tornberg in both Swedish and English: ""Till Anders som har vidgat my views / om natten 9.11. -89 / Paul"" [For Anders who has broadened my horizons / at night 9.11. -89 / Paul]. Laid-in is an original acrylic painting on thick paper, 19x14,5 cm, also inscribed to Anders Tornberg, signed and dated 1989.

Lund; Anders Tornberg Gallery, 1991. 41,5x31,5 cm. Opaginerad. 13 textblad + 10 etsningar. Svart skinnband (Leonard Gustafssons Bokbinderi) med konstnärens namn och titeln blindpressade på ryggen resp. främre pärm. Placerad i en svart pappkassett. Etsningarna är tryckta på 250-gramspapper hos Niels Borch Jensen. Mycket fint ex. Nr. 24 av 30 exemplar, signerad av konstnären i kolofonen. Svenungssons första utställning på galleriet, där han även ställde ut 1994 och 1999. Han beskriver själv processen på sin hemsida: ""JS, having got to know Anders some, realized he was a lover of fine books. This was an interesting observation, especially since JS had become acquintated with Niels Borch Jensen in Copenhagen, one of the world's best etching printers - and wanted to make a project with him. Would Anders be interested in publishing a book of etchings? Yes, of course he would! A project was developed and a maquette produced. Work began. JS decided to use a series of years as the backbone of the book: each year would be coupled with an image, taken form the existing production - but processed first through different photo-reproductive processes, then through the printing technique. The idea for the maquette was only to show how it could look like, but when in Copenhagen: a quick decision was taken to use the maquette as an exact model that would have to be followed, even though the technique used was handcoloured b/w photographs, and the prints would be acquatints with photoetching. With the help of an extensive proofing process the work was carried out. The years were printed in lead type, and the whole book bound in leather in Stockholm. It became the centerpiece of the exhibition in the gallery. Resting on a specially designed bookshelf, white gloves were provided for the visitor who wanted to leafle through the book. There was no extra set of the etchings to be framed and hung on the wall. Sequence was everything. The book was named ""PARAD""."" (from the homepage of Svenungsson). From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

New York; The New American Library, 1968. First edition, stated first printing. 21,5x14,5 cm. (6, 2 blanks), 53, (1, 2 blanks) pp. Recently bound by Hannah Morrissey, Stockholm, in red and black marbled boards with silver lettering on spine, and red top edge. Wrappers are not preserved. A very fine copy of the author's first book, written under the influence of Sylvia Plath. Contains, for instance, the poems ""The Egg"", ""Early December in Croton-on-Hudson"", and ""Cottonmouth Country"". Inscribed: ""For Marsha with best wishes / Louise Glück"".

New York; Vincent FitzGerald & Co., 1987. 27x16,5 cm. (23, 1 blank) pp. Leporello binding with black cloth-boards and paper-label, by Gérard Charrière and Zahra Partovi, placed in a red card folder. Very fine. The text was printed by Daniel Keleher at the Wild Carrot Letterpress on Moulin du Gue paper, and the etchings by Marjorie Van Dyke at Bob Blackburn's Printmaking Workshop. The etchings are printed as a continuum at the top of the pages, and measure approximately 3,3 meters when unfolded. No. 24 of 100 copies printed, signed by the artist and translator. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on rear inner board.