Sökresultat

Eggebrecht-Presse, Mainz 1951. 61 s. + kolofon. 4:o (27 x 19,5 cm.) Klotryggband med blindpressade och guldförgyllda pärmar. Med något marginalnött skyddsomslag. 27 avbildade bok- och titelsidor av berömda boktryckare. Kommentar på versosidan och helsidesillustrationer på rectosidan. Tryckt i rött, svart och blått med Marathon på Zerkall-Bütten. Endast övre snitt skuret.Helmut Presser från Gutenberg Museet samarbetade i flera bokprojekt med Eggebrecht-Presse.

Olkos, Athens. 1985. 264 pages. 4to (29 x 22 cm). Cloth binding, spine lettered gilt, front board with gilt decoration, dust jacket worn and with tape (acid free) repaired tears. 166 depicted and commented maps. Illustrations printed in colour and b/w. With an index.

Berliner Bibliophilen Abend, Berlin. 1959. Opag. (c. 20 s.) 4:o (30x21 cm). Blått pappband, blek rygg och kanter, liten skada vid rygghuvud. Illustrerad med originalfärgträsnitt av expressionisten Hans Orlowski (1894–1967). Typograferad av Günther Gerhard Lange och tryckt med Brudi-Mediaeval vid typgjuteriet Bertholds hustryckeri. Tryckt för Berliner Bibliophilen Abend i 180 exemplar och är signerade och numrerade av Hans Orlowski. Detta ex bär nr 161.

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.

New Castle, DE: Oak Knoll Press, 2001, 8vo., paperback. 1088 pages.Third edition, reprinted with new introduction by Martin Hutner. This extraordinary work explores the art of typography from the dawn of printing to the twentieth century. By tracing the development of type design, Updike discusses the importance of each historic period and the lessons they contain for todays designers.  The original two volume set has been bound in paperback and containing the original 367 typographical illustrations selected from rare and beautiful books. Updikes well-written text constitutes a running commentary on the historical and artistic significance of these illustrations, which exemplify the best work of printers and type founders from Gutenberg to Bruce Rogers. In Volume I, Mr. Updike discusses the Latin alphabet, the invention of printing, the cutting and casting of types, fifteenth-century types in Germany, Italy, France, Spain, and England as well as German, Italian and French types of sixteenth, seventeenth and eighteenth centuries. Volume II continues the discussion of types to the beginning of the nineteenth century and then describes American types and nineteenth-century types in general. The closing chapters on choice of type and the industrial conditions of the past and their relationship to problems printers face are very informative. This work is the third edition, reprinted with new introduction by Martin Hutner. Co-published with The British Library.

Moderna Museet, Stockholm. 1956. (Nationalmusei Nr 237), (Moderna Museets utställningskatalog. Nr 1). (21 x 17 cm), paperback, saddle stitched. 6-page cover, 21-page fold-out on the back, cover motif (unfolded): Picasso's Guernica. The title and last page are printed in red. Somewhat worn, a small hole at the lower staple.Director of the exhibition and ed.: B. Wennberg, in collab. with: K. G. Hultén. (Foreword:) Otte Sköld. (Introduction:) Daniel-Henry Kahnweiler. Stockholm, 52 pages, without pagination, 56 black-and-white illustrations. Text in Swedish and English, partly in French. (Lutz Jahre 5 - 1956).The Moderna Museet was not opened until one and a half years after this exhibition, on May 9, 1958. The newly founded museum was to be housed as a separate department of the Swedish National Museum in a former naval building on the island of Skeppsholmen. The renovations to the building were in full swing when the special opportunity arose to show Picasso's Guernica, which was then being exhibited in several European museums, in Stockholm. The first exhibition of the Moderna Museet took place in provisionally prepared rooms - the roof was still unfinished and only covered with a tarpaulin. On this tour, in addition to the much-discussed painting Guernica, 63 preliminary studies and sketches were also on display for the first time in Europe. Picasso had deposited the painting and the works in the Museum of Modern Art in New York shortly after the outbreak of war, with the wish to keep them there until democracy was restored in Spain. The first exhibition stop was Paris, where the work had been commissioned for the Spanish pavilion at the 1937 World Exhibition. The historical background of the picture was made clear in the Stockholm catalogue by newspaper clippings reporting on the bombing and destruction of the Basque town of Guernica on April 27, 1937. Films by Buñuel, Franju and Ivens were shown in an accompanying programme. Buñuel was responsible for the film programme in the Spanish pavilion at the 1937 World Exhibition and, together with Picasso, Miró and other artists, signed the manifesto against the German air raids.Exhibitions: Paris, Musée des Arts Décoratifs, May/Sept. 1955; Munich, Haus der Kunst, 1955; Cologne, Rheinisches Museum, 1955; Hamburg, Kunsthalle, 1955/56; Brussels, Palais des Beaux-Arts, 1956; Amsterdam, Stedelijk Museum, 1956; Stockholm, Moderna Museet, Oct. 19 - Dec. 2, 1956 (26,000 visitors).

ETC - Förlags AB Radikal, 1982. Opaginerad (c. 128 s.) Vitt kartonnageband med tryckta pärmar. Kvadratiskt format (23 x 23 cm). Förord och urval av Johan Ehrenberg & Timo Sundberg. Bland fotograferna märks bl.a.: Christer Strömholm, Jefferik Stocklassa, Gunnar Smoliansky, Anders Petersen, Jean Hermansson, Hans Gedda, Walter Hirsch, Micke Berg, Tuija Lindström, Henri Cartier Bresson. Fint skick.

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.

Lars Hökerbergs bokförlag, Stockholm. 1954. 296 s. Elegant skinnband med helt guldsnitt, inre denteller, fyra upphöjda bind och främre pärm med sirligt guldmonogram. Illustrerad med teckningar och fotografier. Bibliofilupplagan med ett signerat förord av kabinettskammarherre Rolf von Heidenstam. Tryckt i 500 numrerade ex varav detta är nr 345.

Könemann, Köln. 1998. 592 pages. Large 4to (31 x 25 cm). Black cloth, fine condition in dust-wrapper, one small tear. Over 2000 illustrations, most in colour, in this book graphically show that typography plays an influential role in society and make it a dictionary of the designed word. English, German and French parallel text.“The main section presents over 700 typographers, type designers, calligraphers, designers and artists, as well as schools, institutions, teachers and theorists, who have left their distinctive mark on typography.” From the front flap.

Fredr. Wagner, Stockholm. 1923-25. 1923 jan-dec, nr 253-264; s. 1-96. 1924 jan-dec, nr 265-275; s. 1-112. 1925 jan-dec, nr 276-287; s. 1-128. 1926 jan-dec, nr 288-299; s. 1-112. Komplett. Feltryckt ryggtitel, boken innehåller även 1926 års utgåvor.4:o (30,5x23,5 cm). Privatbundet mörkgrönt halvklotband, obetydligt nött. Exlibris på främre pärms insida. Illustrationer i texten samt stora avdelningar med annonser. Artiklar främst av teknisk natur men även estetiska bedömningar av nya typsnitt och bokanmälningar.

C. Fabritius & Sønner, Kristiania 1910. x, 288 s. 4:o (29x20,5 cm). Förlagets rikt blindpressade och förgyllda klotband med marmorerade snitt. 138 illustrationer varav flera i färg.

The Golden Cockerel Press, London, [1947] 36 pages. Narrow 8vo. Half red cloth with blue cloth sides, gilt insignia and 'GCP' on front cover, top edge gilt. Collotype reproductions of paintings by Francois Boucher. Set in Garamond 11 pt type with Fournier titling. Printed on Anold’s mould-made paper in 750 numbered copies, this is No. 603, one of 650 copies bound in cloth."A biography of the Irish imp who fascinated Louis XV, and was model to the painter, Boucher /.../ Readers of this bibliography will no doubt concede that I am captiously critical of most of my ‘cockerels’, but I admit that I can find no fault with this little ‘coquette’.” (Cockalorum 173).

Ernest Benn, London 1929. 240 s. 4:o. Brunt klotband. Namnteckning pärminsidan. Lagerfläckad. Inventiöst och handfast om annonstypografi med typprovsavdelning (s. 59–168) och engelska och amerikanska annonsexempel (s. 169–240).

Särtryck ur Svensk bokbindaretidning, Stockholm. 1910. (2), 21 s. + 44 planscher. Grönt gulddekorerat klotband. Obetydligt nött, svag ljus fläck på främre pärm. Planscherna med avbildade samtida band utförda i England och Frankrike. Tryckt i 50 numrerade exemplar. Detta är nr. 33 och med inskriven dedikation: ”Bokbindar-Mästar-Föreningen i Stockholm från Arvid Hedberg”. (Rudbeck s. 13).

The Grolier Club, New York. 1959. (16), 240, (3) pages. Small 4to (27 x 17,5 cm). Buckram binding in two colours, with leather label. Title lettering ”75” drawn by Philip Grushkin. In slipcase with design of repeated Grolier crest. Book plate inside front board (Nils Nordqvist). Set in Linotype Baskerville, with Bulmer and Perpetua, printed in 1000 copies on Curtis Rag paper at the Spiral Press. Half-title: "The Grolier Club, 1884-1959". Biographies of noted printers, type designers, scholars and collectors.

Åhlén & Åkerlund, Göteborg. 1912. 384 s. Tvärformat. (24 x 31 cm). Rött dekorerat klotband. Namnteckning på försättsbladet. De två första blanka bladen "skrynkliga" och med lagerfläckar. Även sista blanka bladet lagerprickat. Artur Sjögrens häftesomslag nr 4-24 medbundna. Mycket rikt illustrerad i svartvitt.

Stedelijk Museum, Amsterdam. 1989. Catalogue number 727. 280 pages. 4to (28,5 x 22,5 cm). Stiff, printed wrappers with deep folding flaps. 215 illustrations, many in colour. Text in English and Russian. Important catalogue of exhibition bringing together the two largest collections of Malevich's works: the Russian State Museums and The Stedelijk in Amsterdam. In great condition!Kazimir Severinovich Malevich 1879–1935) was a Russian avant-garde artist and art theorist, whose pioneering work and writing influenced the development of abstract art in the 20th century. He was born in Kiev, to an ethnic Polish family. His concept of Suprematism sought to develop a form of expression that moved as far as possible from the world of natural forms (objectivity) and subject matter in order to access "the supremacy of pure feeling" and spirituality. Malevich is also sometimes considered to be part of the Ukrainian avant-garde (together with Alexander Archipenko, Sonia Delaunay, Aleksandra Ekster and David Burliuk) that was shaped by Ukrainian-born artists who worked first in Ukraine and later over a geographical span between Europe and America.Early on, Malevich worked in a variety of styles, quickly assimilating the movements of Impressionism, Symbolism and Fauvism and, after visiting Paris in 1912, Cubism. Gradually simplifying his style, he developed an approach with key works consisting of pure geometric forms and their relationships to one another, set against minimal grounds. His Black Square (1915), a black square on white, represented the most radically abstract painting known to have been created so far and drew "an uncrossable line (…) between old art and new art"; Suprematist Composition: White on White (1918), a barely differentiated off-white square superimposed on an off-white ground, would take his ideal of pure abstraction to its logical conclusion. In addition to his paintings, Malevich laid down his theories in writing, such as "From Cubism and Futurism to Suprematism" (1915) and The Non-Objective World: The Manifesto of Suprematism (1926).

GDP-Verlag, Bern. 1997-98. Band 1: Typografische Grundlagen; 53 s. Band 2: Satztechnik; 58 s. Band 3: Avor Text. Avor DTP; 88 s. Band 4: Formlehre; 1-5, 5.1-5.7, 6-6.15. 7-7.8, 8-8.7, 9-9.7, 10-10.7, 11-11.10, 12-12.6, 13-13.6, 14 s. A4-format (29,7 x 21 cm). Häftade med tryckta kartongomslag. Del 1 andra omarbetade upplagan. Namnteckning, Leif Thollander, som också gjort en typografisk skiss i del 1 på eftersättsbladet. Illustrerade. Komplett i fyra volymer.Avancerade typografiska manualer för klassisk typografi.

Fredr. Wagner, Stockholm. 1914-18. 1914 april-dec, nr 148-156; s. 49-172. 1916 febr-dec, nr 170-180; s. 13-164. 1917 jan-dec, nr 181-192; s. 1-144. 1918 jan-dec, nr 193-204; s.1-144. De tre första numren 1914 samt årgång 1915 saknas.4:o (30,5x23,5 cm). Privatbundet svart halvklotband med marmorerat pärmpapper. Exlibris på främre pärms insida. Spår efter bortriven etikett på sista sidan. Illustrationer i texten samt stora avdelningar med annonser. Artiklar främst av teknisk natur men även estetiska bedömningar av nya typsnitt och bokanmälningar.

Gordon Fraser, London. 1973. 224 pages. 4to (30,5 x 21,5 cm). Red cloth, minor rubbing and a few small chips to jacket. Name & address of the previous owner in blind on free endpaper (Lars Hall). Over 200 illustrations printed in two colours throughout. With glossary,bibliographical references and index.You can see the book as a supplement to Stanley Morison’s “The English Newspaper” which stops 1932. Allen Hutt also discusses American newspaper design. Stanley Morison and Allen Hutt cooperated in the redesign of Reynolds News 1936. There are, as it to be expected, many references to Stanley Morison, for example six pages are devoted to SM's typographic transformation of The Times. (Appleton 387).

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.

Leipzig 1922. (4), 71, (1) s. 4:o (31 x 23 cm). Halvklotband. 98 illustrationer i texten. Med litteraturlista.

Bokförlaget Natur och Kultur, Stockholm. 1948. 608 s. (30,5 x 22,5 cm). Förlagets ljusgröna halvskinnband med guldornerad rygg, övre guldsnitt, marmorerat pärmpapper. Ryggen obetydligt nött och blekt, fläckat övre snitt, diskret stämpel på bakre pärms insida. Illusterad med färgplanscher, planer och svartvita fotografier. Fint skick.

Norstedts, 1982. 320 s. Klotryggband med samtliga snitt tätfärgade i rött. Illustrerad med fotografier och teckningar. Bibliofilupplagan med en dubbelsidig färglitografi av Acke Oldenburg. Boken utgiven i 150 numrerade exemplar, detta ex onumrerat, litografin är numrerad 54/150 och signerad av konstnären. Mycket fint skick.(Dramatens skriftserie nr 4.)