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W. W. Norton & Company, New York. 1996. 144 pages. 4to (30,5 x 22 cm). Cloth in fine dust jacket. 231 illustrations in colour and b/w.Lester Beall (1903-1969) was the first graphic designer to be honored by a one-man exhibition at the Museum of Modern Art (in 1937) and was awarded the 1993 Lifetime Achievement Award by the American Institute of Graphic Arts.Deeply influenced by the European avant-garde in the 1930s, Beall synthesized its forms for the American business community and was a pioneer in the development of advertising, corporate identity design, packaging, and print media during the post-war decades.

A. S. Barnes & Company, San Diego & New York 1980. 183 s. + 16 planschsidor. 4:o (28,6 x 21,8 cm.) Brunt klotband. Rikt illustrerad i svartvitt med en 16-sidig färgbilaga tryckt på bestruket papper.Samlarområden, lista med förläggare, illustratörer och författare, terminologi, bibliografi och index.

George Braziller, New York. 1977. (10), 222 s. 4:o (32,8 x 24,7 cm.) Klotband med nött och naggat skyddsomslag. 42 planschillustrationer, varav 14 dubbelsidiga, av Marc Chagall, tryckta i sju färger.Chagall illustrerade ursprungligen ‘Daphnis and Chlou’ med originallitografier 1961. Översättningen är densamma som gjordes av George Moore för en upplaga publiserad 1934 av The Limited Editions Club.

New York and Penn Pulp and Paper Manufacturers. No date (c. 1959-61). Mini poster, litograph-offset (30,5 x 12,7 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.Celestino Piatti (1922-2007) was a Swiss graphic designer and painter. Starting from 1937 he studied at the college of arts and crafts in Zurich and afterwards completed an apprenticeship as a graphic designer. Since 1948 he was active as an independent graphic designer. Piatti became particularly famous for his work for Deutscher Taschenbuch Verlag (dtv). Beside the covers he was responsible for typografie, logos, letterheads, announcements and posters, creating a uniform corporate identity. The salient, uniformly white dtv volumes with Piatti's characteristic illustrations are considered a milestone of elegant and high-quality book-art in the world of paperbacks.

The Typophiles, New York 1967. 85 s. Rött skinnryggband med linoliumtryckt pärmpapper efter ett italienskt 1800-talsmönster. Rygg aningen nött. Illustrerad. Tryckt i rött och svart.Nordlundes biografi som tryckare med exempel på hans arbeten och typprover på tryckeriets typsnitt. Formgiven av författaren och tryckt med Dante vid Nordlundes Bogtrykkeri i 500 ex. (Rathé 46).

Moderna Museet, Stockholm. 1963. (Moderna Museets utställningskatalog. Nr. 27). 34 pages, no pagination. 22 black and white, 3 pasted-in colour illustrations. Biography, bibliography, catalogue in the appendix. 24 x 20 cm, perfect-bound cardboard brochure, gauze still visible on the spine, glued-on spine label "Pollock". Unusually fine copy of a fragile catalogue. Cover using photos of Hans Namouth Pollock in his studio (front) and portrait (back). Catalogue section on red canton. Exhibition: Stockholm, Moderna Museet, 27 Feb. - 15 Apr. 1963 (27000 visitors). (Lutz Jahre 11 - 1963).Seven years after Pollock’s death, 106 works from his collection were wife, Lee Krasner, in Stockholm. The Moderna Museet had been trying for a long time to organize a Pollock exhibition. The exhibition was then arranged in 1963 with the help of F. L. Lloyd of the Marlborough Fine Art Gallery, London. It was the first time that Pollock's paintings had been shown on such a large scale in Scandinavia. Pollock's short creative period, which was limited by his early death, was represented by works from 1933 to 1956, including some large formats such as No. 32 (1950, 269 x 457 cm).The design of the catalogue is rather unusual: the illustrations on the front cover are arranged in a landscape format sequence, against the reading direction. With only 34 pages, the spine is only one centimetre wide. The use of cardboard pages with a solid structure is comparable to the design of picture books for children; a few plates with illustrations are put together to form a solid book.

Teknikdalen, Borlänge. 1996. Screentryckt affisch. (70 x 100 cm). Formgiven av HC Ericson. (Screentryckt form s. 39, se även Ur arkivet)

Svenska Slöjdföreningen, Stockholm, 1961. Nr. 1-10. Löpande paginering, s. 1-632. Privatinbundna i ett gediget linneklotband med skinnryggsetikett. Samtliga, främre & bakre, omslag medbundna. Melin & Österlin har formgivit omslaget till nr. 2. Genomgående illustrerade i färg och svartvitt. Komplett årgång.Nordisk storhetstid på formgivarområdet återges här i artiklar och fotoavbildningar. Reklamen har också ett oerhört stort informationsvärde.

Galerie A. Maeght, Paris. 1971. 24 pages + cover. Folio (38 x 28 cm). 6 folded sheets inserted into stiff, printed cover, as issued. 1 double page colour lithograph and 1 double page b/w lithograph and photomechanic reproductions in colour and b/w. Text in French and English.

Skansen, (Stockholm. 1941). Opaginerad (c. 250 s.) Vitt privatbundet aningen nött halvklotband med grön och brun titeletikett i oasis. Titeletiketten med minimal skada, ryggen med liten brun limfläck vid titeletikettens nederkant. Endast övre snitt skuret. William Barkells eget exemplar och signerat av W.B. Med svartvita illustrationer.

Typografen1, Stockholm, 1988. 310, (1) s. 4:o (30 x 22 cm). Trådbundet halvklotband, pappersöverdrag av 120 g gråbeige van Gelder, tryckt pärmetikett i 120 g något ljusare gråbeige Grandee, svart rygg i Durabel buckram med guldtryck (Åhnbergs Bokbinderi). Vita kapitälband, ett grönt och ett blått bokmärkesband. Det transparenta skyddsomslaget med skador som vanligt. Inleds med ‘Typreda’ av CFH och följs av Typografens typsnitt. Alla typsnitt redovisas men CFH har också gjort urvalsdelar av text- och rubriktypsnitt. Design, text & redigering av Carl Fredrik Hultenheim.“En i alla delar genomtänkt och föredömlig bok. Den kraftiga kvaliteten på mellanbladen och paginan som visar var varje avsnitt börjar gör det lätt att orientera sig. Den inledande historiska och didaktiska exposén uppvisar ett rytmiskt samspel mellan text och bildelement som är omväxlande utan att någonsin kännas splittrat.” Svensk Bokkonst 1988.

Riksmuseet, Stockholm. 1912. 149 s. Halvklotband med obetydligt nött pärmpapper. Namnteckning på främre pärms insida. 15 illustrationer. Med en resumé på franska.Populära etnologiska skrifter nr 8, utgivna under redaktion av professor C. V. Hartman, intendent vid Riksmuseets etnografiska avdelning.

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).

Spring Books, London 1964. xvi, 263 s. 4:o (25,3 x 19 cm.) Rött klotband. 120 illustrationer. Utkom första gången 1928. Bibliografi och index.

Bröderna Lagerström, Stockholm 1915. 4:o (35x23,5 cm). (6), viii, 84, (1) s. Häftad, omslag nötta med smårevor och en tejplagning. Namnteckning (Anders Billow). 42 faksimilillustrationer varav en är en utvikbar karta. Tryckt i 350 numrerade ex, detta ex är onumrerat.

Hans-H. Wallier, Lüneburg Deutsch-Evern. No date. Not paginated (c. 32 pages). Card boards. Hand written an illustrated in colour by Barbara Krokisius. Printed in 500 numbered copies, this is in no. 199.

R. Piper Verlag, München & Leipzig 1912. 152, (4) s. 4:o (26,5 x 19 cm). Ryggklotband. Ryggen fläckad, mörk och lätt nött. Handkolorerat träsnitt på främre pärm. Endast övre snitt skuret. 105 avbildningar efter träsnitt. Första upplagan.“Klassische Illustratoren IX”

Nordisk Familjeboks förlag, Stockholm, 1941. iv, 353, (1) s. + planscher. 4:o (32,5 x 25,5 cm). Rött halvskinnband med fyra upphöjda bind, handmarmorerat pärmpapper, samtliga snitt marmorerade. Ett ark loss med två planscher, nr. 47 & 48. Plansch 47 med tejpreparerad reva (syrafri tejp!). 50 färgplanscher efter originalmålningar av David Ljungdahl. 435 bilder och 12 kartor i texten. För övrigt i fint skick.

Moderna Museum, Stockholm. 1962 ((Moderna Museets utställningskatalog. Nr 22). 88 pages, 52 b/w & 2 colour illustrations. (25 x 18 cm). English brochure. Cover printed in grey and red with hand-painted lettering by P. Hultén. Top of spine is chipped. Text and illustrations on art paper. This catalogue, which was lavishly produced for the time contains numerous statements by the artists involved and texts by art critics. The covers were folded by employees of the Moderna Museet themselves in a special campaign and glued into the catalogues. (Lutz Jahre 10 - 1962).Pontus Hultén prepared the Swedish contribution to the São Paulo Biennale in 1959 and travelled to New York for the occasion, where he met Rauschenberg, Johns, Leslie, Stankiewicz and other artists. At that time, New York was considered the liveliest art metropolis. Abstract expressionism had established itself there and pop art was emerging. Hultén wanted to show these young developments in Europe. The exhibitions ”4 amerikanare” (1962) and ”Amerikansk pop-konst” (1964) were held.The Swedish public reacted with dismay and amusement to the works on display. The show was discussed lively in the press. Rauschenberg's assemblage ”Monogram”, a stuffed goat wearing a car tire around its body, provoked outrage. In a radio broadcast, a professor from Lund even protested against the fact that a live goat was being exhibited. Pontus Hultén asked the artist to keep the work for the museum until he had enough money to buy it. Three years later, the Moderna Museet was able to buy ”Monogram” for its collection. Also on display was Rauschenberg's ”Bed”, which was removed from the exhibition at documenta II in 1959 shortly before the opening because it seemed too aggressive and direct and was also difficult to integrate into the hanging. Just a few years later, in 1964, Rauschenberg was awarded the Grand Prize at the Venice Biennale and was thus widely recognized as an artist.

Malmö Konsthall. 1989. Screentryckt affisch (70 x 100 cm). Formgiven av John Melin.

C.A. Reitzels Forlag, København. 1853. viii, 367, (1) s. + viii, 458 s. Gröna klotband med guldtryckta ryggar. Del 1 med en svag fuktrand vi övre marginalen på de nio första sidorna. Enstaka sidor med svaga lagerfläckar. Illustrerad med 12 litografier och 2 utvikbara kartor.

Barrie & Jenkins, London. 1989. Second edition, updated and revised. xvi, 213 pages. Large 4to (30,5 x 25 cm.). Cloth binding in fine dust jacket. Copy as new. A biographical study of this important member of the Pre-Raphelite Brotherhood. Richly illustrated with 280 black and white plates and 50 colour plates. Includes a select bibliography, a list of stained-glass windows designed by Edward Burne-Jones, and a list of public collections containing his work.

The Studio, London. 1951. x, 214 s. Grönt klotband med veckat och nött skyddsomslag. 4:o. 215 illustrationer, många helsides och i färg. Exlibris (Nils Nordqvist).Internationell översikt av typsnitt, boktryck, illustrering, kommersiell- och privatbokbindning. (The Studio 239).

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.