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Selbstverlag, Nürnberg u.å. (c. 1910) viii, 500 s. med planscher, följt av 16 s. planschförteckning och källor. Stor 4:o (34 x 25 cm.) Dekorerat ryggklotband, nötta pärmar och kanter, inlagan mycket fräsch. Photolithographie und druck von E. Nister, Nürnberg.Stilhistoriskt bildverk från c. 3000 f.kr. till mitten av 1800-talet.

Privately printed for Douglas C. McMurtrie, New York. 1924. vii, (introduction by Douglas C. McMurtrie) followed by 15 leaves, printed on the rectos only. Facsimile print of the 1567 edition of Index Sive Specimen Characterum Christophori Plantini. Antverpiæ, M.D.LXVII. Parchment-backed boards, gilt spine title, only top edge cut. Spine has slightly darkened. (4to (28,5 x 19,5 cm). Printed in only 300 copies. This copy is number 137. The type specimen reproduced by Argentographica. The introduction set and printed by the Pynson Printers.

The Whittington Press, Manor Farm, Andoversford, Gloucestershire. 1989. 230 pages + 41 pp. plates. 4to (27,5 x 19 cm). Bound in Hahnemühle light amber laid paper-covered stiff boards, Strathmore Americana Mesquite endpapers and Strathmore Americana Desert Rose wrapper. Spine somewhat faded. Machine-set in 12 point Monotype Caslon and printed in 960 copies. Twenty original wood-engravings, woodblock print, a mezzotint, line-block reproductions, two plans, specimen pages &c. (The Whittington Press, A Bibliography 103).This issue includes twenty-five articles. The centenary of the birth of Robert Gibbings is celebrated in ten articles. More from the contents: Brooke Crutchley & David Mc Kitterick: Remembering Stanley Morison, Mark Arman: A Collection of Printer’s Flowers, Sebastian Carter: Stanley Morison and Jan van Krimpen: a Survey of their Correspondence, Charles Antin: Jan Tschichold and Chinese Woodblock Printing etc.

Union syndicale des maîtres imprimeurs, Paris 1927. 200 s. + planscher & 56 s. annonsbilaga. 4:o (32x24 cm). Halvskinnband med guldornerad rygg och övre guldsnitt, båda omslag medbundna. Fläckig och skadad rygg, övre och nedre del av ryggen med fula skinnskador. Bortsett från nämnda ryggskador är denna ovanliga bok komplett och med inlaga i fint skick. 444 illustrationer i texten samt drygt 80 planscher med trägravyrer, sten- & chromlitografier, reproduktioner, faksimiltryck, monterade planscher, relief- & guldtryck etc.Förutom det intressanta bildmaterialet och den höga tryckkvaliteten är den tidstypiska typografin mycket tilltalande.

Francis Hart & Co., New York, 1876. First edition. (2), frontispiece, 556 pages. Large & thick 8vo. Quarter leather binding, marbled boards, spine with four compartments. Spine faded an, boards and spine edges somewhat worn but overall a nice copy. Provenance: From the library of the prominent Swedish book designer Christer Hellmark. (Saint Bride 20437).Standard work by a respected New York printer and publisher of which Bigmore and Wyman (p. 167) say: ”A most useful work, and gives evidence of the utmost care and painstaking on the part of the author.” The illustrations are chiefly automatic reproductions in reduced size, direct from the originals, and are very well executed.””Very few copies of the the first edition exist today, for the book was issued in parts and then bound by the subscribers.” Hart 92.

Wahlström & Widstrand, Stockholm. 1928. (8), 325, (3) s. Folio (35 x 26 cm). Blindpressat pergamentband och övre guldsnitt, främre omslag medbundet (Isaac Marcus Bokbinderi). Illustrerad med ritningar, planer, detaljer och andra illustrationer. Översättning från italienska originalets första upplaga av Ebba Atterbom. Med biträde i tekniska frågor av Anna Mohr Branzell. Inledande förord av Martin Olsson. Mycket fint skick.

Antoine-Augustin Renouard, Paris 1812. xx, 514 s. Halvskinnband med ny skinnrygg, nötta och slitna pärmar, hörn och kanter. Inlagan genomgående med lagerfläckar. Heraldiskt exlibris.(Saint Bride 8565)‘Repertoire bibliographique universel’ betraktas som den första riktiga bibliografin över bibliografier.Étienne Gabriel Peignot, the great bibliographer was born at Arc-en-Barrois, 15th May 1767. Originally a bookseller he later became librarian. No man has done more than he to foster in France a love of bibliography. Every leisure moment he gave to book and pen; he noted everything he read or heard in commonplace books under proper heads - authors, titles, subjects, words, thoughts, references to kindred subjects. (Bigmore & Wyman, II, s.151).

Brockhaus., Leipzig. 1849. Zweite Abtheilung: Geographie. Mit 44 Tafeln. Dritte Abtheilung: Geschichte und Bölterfunde. Mit 39 Tafeln. Vierte Abtheilung: Völkerkunde der Gegenwart. Mit 42 Tafeln. Oblong 4to. (24 x 31 cm). Later, privately bound, black quarter leather with marbled boards. All title pages and indexes present. Some foxing, mainly to the margins. The plates are numbered by hand in ink. 125 steel engraved plates, some folding. Two plates are missing in the first part. Three parts in one volume.

Typprovsplansch av Monotype Albertus Capitals i sex storlekar. 1936. Tryckt i rött och svart. Typograferad av S.M. Bladmått 390 x 600 mm. Ram med guldfront och svarta sidor, syrafri baksida och svart passpartout. (Appleton Appendix 2 k, James Moran ‘Stanley Morison. His Typographic Achievement’ avbildad s. 145, Berthold Wolpe. A Retrospective Survey 43).

Bra Böcker, Malmö. 2006-09. 1. Revolvermannen. 221 s. + färgplanscher. 2. De tre blir dragna. 415 s. + färgplanscher. 3. De öde landen. 512 s. + färgplanscher. 4. Magiker och glas. 729 s. + färgplanscher. 5. Vargarna i Calla. 685 s. + färgplanscher. 6. Sången om Susannah. 413 s. + färgplanscher. 7. Det mörka tornet. 784 s. + färgplanscher. Inbundna med välbevarade skyddsomslag. Första svenska upplagan. Romansviten Det mörka tornet är Stephen Kings livsverk - ett myllrande rikt fantasiepos som för oss in i världar fulla av skönhet och grymhet, mod och förräderi, magi och stor berättarkonst. Sju volymer i nyskick!

Oxfor University Press, New York. 2012. Fifth edition. xxv, 1161 pages + 16 colour plates. 4to (28,5 x 22,5 cm). Hardcover (printed, laminated card board cover). Colour plates plus b/w text illustrations. Copy as new!The long-awaited new edition of this time-honored classic has arrived. Now in its Fifth Edition, the text includes fully updated testing references and a neuroimaging primer. "Neuropsychological Assessment" represents a monumental achievement by the authors and remains the most important text on clinical neuropsychological assessment. No practitioner or researcher should be without it.

Cambridge University Press, Cambridge 1932. xii, 335 s. + 6 planscher, varav en utvikbar. Stor 4:o. Tegelfärgat och gulddekorerat klotband. Rygghuvud skadat. Solkigt klot. Svaga inre falsar. Exlibris (City of Westminster Public Library). Stämpel ‘Withdrawn from Westminster City Libraries’. Planscher och 156 fototypier. En utvidgning av ‘The Sandars Lectures in Bibliography 1931–32’. Första historiken om den engelska dagstidningen. The English Newspaper är första boken som trycktes med Monotype Bell. (Appleton 120)

Niggli Publishers, Sulgen. 2014. First edition. 256 pages. Folio (35,5 x 22 cm). Printed, soft covers. Illustrated. Text in English. Limited edition. First edition (large format), September 2014. 200 signed and numbered copies. Signed by hand, ”HC B. Kuchenbeiser for Henrik [Nygren]”. Loosely inserted a postcard dated by hand and with a address: ”20 / III / 15 Dear Henrik, here comes the real thing - hope you’ll like it! All the best from Munich, B.”A "good book" and whatever it is that makes a book beautiful are not easy to define - the details of a design may well suit one book to perfection, but be very much out of place with another publication. With this in mind the author and designer Bernd Kuchenbeiser launched his website "A good book", where publications of many different genres are presented and discussed especially in the context of their creative design. He was quick to notice how many of these fine books had a simple design combination of black text on a white background. This observation is why "61 books with black type on white cover" came into being as an "analog" selection from the website: each book here is presented with the cover, a bibliography and a short text, anecdote, or even a quotation to initiate discussion.

B.G. Teubner, Leipzig. 1840. (vi), 16, vii-xiv, 406 pages with 35 plates, of which 7 are folding and 8 in colours, at the end 10 plates of specimens of Oriental types, and numerous illustrations in the text. Blindstamped cloth, spine title gilt. edges marbled. Spine faded and worn, head & foot chipped and with loss. Boards are rubbed, stained and faded, corners bumped, foxing more or less throughout. (Saint Bride p. 315). ”Falkenstein’s ʻHistory of the art of printingʼ is the most important of the works published in Germany, on the occasion of the 4th centenary of its invention. Its many facsimiles, well cut and printed in the tints of the originals, give it a high value.” (Bigmore and Wyman, A bibliography of printing vol. I p. 211).

ETC Förlag / Kalejdoskop. 1991. Opaginerad (c. 54 s.) Folio (36 x 27,5 cm). Rostrött, blindstämplat pappband. Tryckt skyddsomslag violett satinerad pergamyn. Det känsliga skyddsomslaget nött, skrynklat och smårevat. 49 svartvita fotografier. Texter av Folke Isaksson och Sune Nordgren. Bildurval av Johan Ehrenberg. Fantastisk hög kvalitet på repro och tryck. Inskriven på större delen av förtitelsidan av Anders Petersen "10/10/91 Helt O.K. hälsn. Anders."

George Allen & Unwin Ltd., London. 1962. 368 pages. With 213 plates in half-tone and 39 plates in colour, and many diagrams in the text. Folding map, at rear, of the horse breeding regions of Arabia. 4to (28,5 x 23 cm). Original blue cloth binding with gilt lettering to spine, worn and tape repaired (acid free) dust jacket, in worn slipcase. Inscribed name by former owner at both end papers. Second revised edition.The book has long been regarded as an essential volume for every bibliophile interested in the noble Arabian steed. Few would argue that her famous book contains an enormous amount of valuable insight about practically every facet of the Arabian horse. Throughout its nearly 400 pages, the author overwhelms the reader with her penetrating knowledge of their history, origin, breeding, family strains, care, and maintenance.

Pegasus Press, Paris. 1927. Första boken: Introduktion av Dr. Ottokar Smital, 24 s. + kolofon som lyder “This text of the facsimile edition of the Symbolum Apostolicum was printed for the Pegasus Press by Messrs Bishop and Garrett in an edition of 150 copies numbered by hand. The reproductions in coloured collotype were executed by the firm of Briuckmann. The binding was executed by Messrs. Hubel and Denk. This is copy no. 75.” Blått pappband med tryckt titelskylt på främre pärm. Pappersförlust vid ryggens övre del (c. 10 mm) samt minimal skada vid ryggens nedre del. Tryckt med Monotype Fournier.Andra boken: 12 färgplanscher i faksimil bundet i ett rött klotband med guldtryckt titel på rygg och främre pärm.(Will Ransom “Private Presses and their Books” s. 380 #3).

Alfred A. Knopf / Callaway, New York. 1991. 300 pages. 4to (32,5 x 28 cm). Grey cloth in fine dust jacket. Gift inscription on first end paper, otherwise in great condition. The book brings out 468 images, of which 71 are in colour. First edition.

Wald. Zachrisson, Göteborg. 1902. 96 s. + planscher & bilagor. Första årgången i ett senapsgult privatbundet klotband med ryggskylt av skinn. Ryggen aningen nött. Samtliga omslag medbundna utom bakre omslag till nr 1 och fämre omslag till nr 2. Prydlig etikett på främre omslags insida (Allmänna Svenska Boktryckareföreningen Stockholm). Artiklarna rikt illustrerade men också med mängder av tryckprover som exponent för tryckeriets kunnande och kapacitet som vid den här tiden inte hade någon motsvarighet i Skandinavien. Tryckt med olika typsnitt på olika papperskvaliteter. 12 månadshäften i en volym.”Wezätas Månadshäfte” utkom 1902-12 med sammanlagt 49 nummer och utkom månadsvis 1902-04 därefter kvartalsvis. Såvitt man vet var detta första representanten i Sverige för de numera vanliga företagstidningarna. Hela årgånger, ja även lösa häften är ovanliga. (Se Bondeson s. 146-155).

Bijutsu Shuppan-sha. 1971. 200 pages. Square 4to (25 x 27 cm). Printed blue card boards, black cloth spine, lettered in white. Slipcase somewhat soiled and cracked. 238 illustrated examples, many in colour and printed on glossy stock. Inscribed by Yusaku Kamekura: ”To Mr. Olle Eksell from Y. Kamekura”. And in Japanese, from top to bottom: ”Olle Eksell - Yusaku Kamekura”. Olle Eksell was a prominent Swedish graphic designer. Foreword by Herbert Bayer in English & Japanese, otherwise text in Japanese. First edition.Born in the Niigata prefecture in Japan and a student of the Institute of New Architecture and Industrial Arts, Yusaku Kamekura was more than acquainted with the Bauhaus principles and sense of design. Starting his design career at the publishing company Nippon Kaupapu, Kamekura has more than half a decade of experience in the design world. Combining the influences of the Bauhaus with insight to his traditional heritage, his work is recognized for its colourfully minimalist approach.Perhaps most well known for his work for the Tokyo 1964 Olympics, he combined modernist principles and typography with the Japanese cultural heritage through the simplistic combination of the words "Tokyo 1964", the Olympic rings and the sun from the Japanese flag. His work for the Olympics also marked the first time that photography was used to promote the event. Another success of equal magnitude was his poster design for the 1970 Expo in Osaka, which won several national and international design awards.

DDB, New York. 1965. An original master proof-sheet from DDB. (45,8 x 28,6 cm). Marked at the bottom: ”Dealer Ad–Newspapers–1000 lines / This advertisement prepared by DOYLE DANE BERNBACH, Inc. for / VOLKSWAGEN–Job No. VWSP-4104” The copy text alters a little bit from the published ad and the copy text is in two columns instead of three as it appears in the original ad. A little bit wrinkly at the bottom of the sheet. (Abbott & Marcantonio p. 47, Holmgren p. 60).Original proof-sheets were printed by the Agency to verify that the ads were accurate. Those who did proof prints made them as a specimen sheet against the purchaser. They were also used when the ad is sent to the newspaper would publish it, and worked then as a kind of proof that the newspaper could use that benchmark for how the print result would look like. Customers also got these proofs and the ad agency used them for the archive. The edition was often small, maybe 50-100 copies, and most were thrown away after use. Think Small was an advertising campaign for the Volkswagen Beetle, created by Julian Koenig at the Doyle Dane Bernbach (DDB) agency in the 1950s. It was ranked as the best advertising campaign of the twentieth century by Ad Age, in a survey of North American advertisements. The campaign has been considered so successful that it "did much more than boost sales and build a lifetime of brand loyalty [...] The ad, and the work of the ad agency behind it, changed the very nature of advertising—from the way it's created to what you see as a consumer today.Julian Koenig, who originated many famous advertising campaigns, teamed with Helmut Krone to create the "Think Small" and "Lemon" ads for Volkswagen under the supervision of William Bernbach. DDB built a print campaign that focused on the Beetle's form, which was smaller than most of the cars being sold at the time. This unique focus in an automobile advertisement brought wide attention to the Beetle. DDB had "simplicity in mind, contradicting the traditional association of automobiles with luxury". Print advertisements for the campaign were filled mostly with white space, with a small image of the Beetle shown, which was meant to emphasize the simplicity and minimalism of the vehicle and the text and fine print that appeared at the bottom of the page, which listed the advantages of owning a small car.

AB Propexus, Lund. 1990. 320 pages. Book and globe in a polystyrene box stored in a cardboard cassette with the title and artist's name printed on a white strip. The book (large 8vo), is rich in reproductions of Eric Orrs' art, with blue steel covers, all edges black. The blue steel on the cover was manufactured by Meko Bandstål AB, Halmstad, and laser-cut by AB Laserstans, Vellinge. The white box with some blue fingerprints, also on page 13, p. 25-6 with a long tear. This work was published with Eric Orr's exhibition at Anders Tornberg Gallery in Lund, October-November, 1990, and attached multiple in the form of a ceramic sphere by James Lee Byars; ”The Sphere of Generosity” was handmade by Keramikgruppen, Lund. ”The Matter of O” was rubber-stamped with Eric Orr’s blood. The ”Skull Page” paper was handmade by Yoshio Ikezaki. The artist's book was designed by Gert Fors, John Melin and Anders Tornberg. (John Melin till exempel pp.88-89, Anders Tornberg 364).

Verlag Gerlach & Wiedling, Wien & Leipzig u.å. (c. 1915–1918). 148, (8) s. 4:o. (29,5 x 26 cm). Mycket fint privatbundet grönbrunt halvmarokängband med sex upphöjda bind. Ryggen gulddekorerad och med dekor i svart, marmorerade snitt. Med små skador i skinnet på några ställen, bakre pärmen även med ett litet stötmärke. William Barkells eget exemplar och signerat av W.B.Förord av Dr. Heinrich Röttinger. 1376 avbildningar i ljus- & boktryck. Tredje upplagan. ‘Die Quelle’, Mappe XIII.

H. K. Frenzel, Berlin, 1935. 9 (of twelve) issues bound in two cloth volumes. Ca. 650 pages + a lot of ads, insets, fold-outs, tipped-in-pages &c. 4to (31 x 24 cm). Hand bound, red cloth bindings. All covers bound in. (A. K. Aronzons Bokbinderi, Stockholm). Stamp and book plate front covers’ inside. Boards with scratch marks, corners moderate bumped, wear at spine ends. No. 1, pp. 25-26 with a bottom edge tear (c. 40 mm). No. 2, back cover loose. No. 4, front cover loose. Text in English & German.”Professor H. K. Frensel founded Gebrauchsgraphik in 1923 and it became one of the most popular international advertising design journals of that time. Published in both German and English, it followed Dr. Frenzel’s concept that advertising should be a positive force in society and he followed what was developing with work influenced by Futurism, Constructivism, DeStijl and the Bauhaus, as well as other innovative graphics. The magazine never espoused any specific philosophy but was open to all design directions that related to the highest standards.” Maryellen McFadden. ”Gebrauchsgraphik, Monatschrift zur Förderung künst­lerischer Reklame (Commercial Graphics, Monthly Magazine for Promoting Art in Advertising), which was published in Berlin from 1924 until 1944, was one of the first-generation graphic design journals in Europe. It followed the poster movement and typo­graphic reforms associated with German Jugendstil and their respective literature in the pre-1924 years and developed them in new directions. Gebrauchs­graphik published some of the first reviews of an activity still to be termed ‘graphic design, together with articles on book design, advertising, publicity and packaging. In the years before the Second World War, Gebrauchsgraphik established itself as a suc­cessful bilingual (German-English) publication, with a hiatus between 1944 and 1950. Then it was relaunched from Munich where it is still published under the revised title of novuni Gebrauchsgraphik.” Questia.