Sökresultat

Nordisk Rotogravyr, Stockholm, 1963. 792 s. (30 x 22,5 cm). Svart gulddekorerat klotband. Något svag vid inre falsen. Rikt illustrerad med bilder av stämplar. Alfabetiskt uppställd efter städer med användbara register över stads- och mästarstämplar. Standardverket om svenska silverstämplar.

Lazy Dog, Milan. 2012. 221, (3) pages. 4to (28 x 20 cm). Clothbound with poster jacket. Text in English and Italian. Over 400 full-colour illustrations. Copy as new!For Luca Barcellona, Italian graphic designer and calligrapher, letters are the building blocks of his creations. From Carolingian to tags, from the quill to the spray can, Barcellona takes the age-old craft of lettering to new heights with the inventiveness and talent of a contemporary virtuoso. His striking, expressive, and original letterforms and compositions open onto uncharted territory, laying the foundations of a new writing style.Contributors: Charles “Chaz” Bojórquez legendary urban artist from Los Angeles, began his career in the Chicano scene of the late 1960s and over the years shifted successfully from street to gallery artist.Giovanni De Faccio is a professional calligrapher, typeface designer (his most well-known is Rialto DF), and founding member of the Italian Calligraphic Association. He is internationally renowned for his teaching and dedication to the promotion of calligraphy. He teaches calligraphy and type design at the New Design University in St. Pölten, Austria.Nicola “Dee Mo” Peressoni debuted in the late eighties as an illustrator of European hardcore punk covers, posters, and fanzines, and went on to work in hip hop, becoming a pioneering figure in Italian graffiti and rap. His writing has been published in Max, Rumore, and Rolling Stone Italy.

Dast förlag, 1986. (10), 473 s. + 3 s. annonser. 4:o (30x21,5 cm). Gulddekorerat svart klotband. Omfattande bildmaterial i form av fotografier, författarporträtt, bokomslag, dokument, manuskript, filmbilder etc. DAST Dossier nr 8.Bibliografin är resultatet av 25 års arbete och uppställd alfabetiskt med författarens namn, eventuella pseudonymer, födelse- respektive dödsår, huvudperson, svensk titel, ev. utländsk titel, förlag, utgivningsår resp. ev. filmår plus ev. övriga uppgifter av värde.

Jonathan Cape, London. 1931. (6), (2), 3-196, (4, last blank) pp. 8vo. 10 wood engravings by the author. Original green cloth, faded on spine, gilt title, green upper edge, otherwise uncut, lacks dust wrapper. First edition. Printed by Walter Lewis at the University Press, Cambridge. Printed from 13 pt Perpetua. (Evan Gill no. 22).Provenance: Lars Hall (1938-2018), prominent in Swedish public relations, designer and art collector, who studied at Konstfack in Stockholm. Hall was an Art Director and one of the founders of the advertising agency Hall & Cederquist AB in 1973. He also started Gallery Camera Obscura and later Lars Hall AB, (art direction and design). He was also an avid collector of books and Fine Art photography.

Gesellschaft der Bibliophilen, Weimar. 1934. (6), 190, (2) s. Gulddekorerat pergamentryggband med ryggtitel på skinn och marmorerat pärmöverdrag. Endast övre snitt skuret. Band bundet av Otto Herfurth, Berlin Mariendorf. Exlibris på främre pärms insida. 13 röda initialer tecknade av Else Marcks. Handsatt med Elisabeth-Antiqua och tryckt vid Officina Serpentis på obestruket Zerkall-Bütten Papier. Typsnittet ritades av Elisabeth Friedlaender för Bauer och skulle heta Friedlaender-Antiqua, men det nazistiska maktövertagandet gjorde det judiska namnet omöjligt. Den raka varianten var färdig för marknaden 1937 och kursiven året efter. Detta är alltså första tryckningen med Elisabeth-Antiqua som inte riktigt ännu var färdigt för kommersiellt bruk.12 noveller som alla berör bibliofiler och boksamlande.

Privatdruck der Bauerschen Giesserei, Frankfurt am Main 1940. 437, (3) s. + planscher. Stor 4:o (33,5 x 25 cm). Rikt illustrerad i färg och svartvitt med bl.a. utvikbara planscher och andra illustrationer. Imiterat halvpergamentband. Yttre falssprickor. Exlibris. Bandtitel och typsnitt, Weiss-Rundgotisch, av E. R. Weiss. Denna boktryckerihistoriska krönika är Konrad Bauers främsta verk och utgavs i samband med firandet av 500-årsminnet av boktryckarkonstens uppfinning.

Apparition, New York. 1999. First edition. Not paginated. (c. 128 pages 60 full-page colour plates). Fine cloth-bound hardcover in a fine dust jacket. Condition as new. Many of the drawings collected here have not been shown before, and were done privately and intermittently.

Harvard University Press, Cambridge (Mass.) 1959. xiv, 166 + 64 planschsidor med 136 illustrationer. Gulddekorerat klotband med slitet och missfärgat skyddsomslag. Martin Classical Lectures, Volume XVI.“This book presents what is known or may be surmised about the use and type of illustrations in the works of classical antiquity. Kurt Weitzmann has spent more than thirty years in this field - originally roving the existence of ancient book illumination, and now outlining, for the first time, its history.”

Bröderna Lagerströms Förlag, Stockholm 1943. Frontplansch, xii, 518 s. + kolofon. 4:o (28x20 cm). Gulddekorerat klotband med tätfärgat övre snitt. Två exlibris på främre pärms insida. 863 illustrationer. Med en mängd register: Översikt över använda emblem, Ägare av exlibris, märken och signeter, Konstnärsregister, Personregister, Sakregister och källförteckning. Tryckt i 550 ex.

Albert Bonniers Förlag, Stockholm, 1934. 62, (2) s. 4:o (26,3 x 20,3 cm). Klotryggband med tryckta kartongpärmar. Aningen nött rygg, nedre pärmkanter obetydligt nötta, yttre hörnen med stötmärken, försättsbladet med svagt vikmärke vid nedre hörnet, 1 blad (s. 15-16) med en reva vid nedre marginalen (c. 10 mm). Trots beskrivna brister är det ett mycket rent och fint exemplar av den första svenska utgåvan. Illustrerad i färg och svartvitt.

The MIT Press, Cambridge (Mass.) 1989. xvi, 179 pages. 4to (31 x 22,5 cm). Blue cloth binding with dust jacket. Foreword by Massimo Vignelli. More than 300 illustrations, 55 in colour, are drawn from almost every medium of graphic expression, including posters, advertising, magazines, book jackets, business graphics, and signage. This is a comprehensive look at these pioneering designers: Mehemed Fehmy Agha, Alexey Brodovitch, Charles Coiner, William Golden, Lester Beall, Will Burton, Alvin Lustig, Ladislav Sutnar, Bradbury Thompson.

Lowndes & Hobbs Printers, Marquis Court, Drury Lane, London. 1812. Glazed with corner clips. H 32 x W 21,5 cm. Small spot at lower left margin, minor paper loss at lower margin.

Olschki, Firenze. 1973. x, 462 s. Trådhäftad. Planscher och andra illustrationer i texten. Ouppskuren. Nummer 71 i serien ‘Biblioteca di bibliografia Italiana’.

Stockholm, 1947. lii, 636 s. Dekorerat linneband med mjuka pärmar. (29,5 x 20,5 cm). Diiskret namnteckning på främre pärms insida. Rikt illustrerad i svartvitt men även färgbilder och monterade prover. Fylliga produkt- och firmaregister.

Charles Hindley, London. 1887. xliv, 308 pages. 8vo. Cloth binding, fore edge and lower edge untrimmed. Spine label mostly rubbed off, scuffed at top and bottom, boards somewhat soiled, corners bumped, inner hinges are a little bit weak. Many illustrations coloured by hand. "A collection of juvenile books. Printed and published by James Catnach," p. [95-212]. Includes reprints of texts of songs, catchpennies, etc.It was from the little shop and parlour at 2 Monmouth Court, Seven Dials that James Catnach set up his printing business c. 1813 using only his father’s old wooden printing press. He was now supporting his mother and family and so had even more incentive to succeed, and so by very careful management he gradually built up a very solid yet lucrative business. His main-stay was small histories, ballad poetry, broadsides, catch-pennies, and penny awfuls. And the customers who were connected with the catchpenny trade and who frequented his place of business were, in the main, vagrants, miscreants, and the underclasses of society. Business improved and c1820 James was running 3 presses, all working flat out. By the end of the 1830s James Catnach was at the height of his power, influence and wealth, never employing more than 4 and with only 6 presses, he had a phenomenal turnover, sometimes not even having time to count the number of copies coming of the presses.

Norstedts, Stockholm. 1833. (2),149 s. + (2) 136 s. Samtida halvskinnband med guldornerad rygg och marmorerat pärmpapper. Samtliga snitt infärgade. Ryggen nött och blekt, pärmsidorna aningen nötta. Namnteckning på främre pärms insida. Första fribladet och sista sidan med lagerfläckade hörn. Inlagan ren och fin. Två delar i en volym.

Thames & Hudson, London. 1986. 320 s. 4:o (31,5 x 26,2 cm.) Svart klotband med guldpräglad ryggtitel, naggat och nött skyddsomslag. Etikett på främre pärms insida. Eftersom inlagan är så tung hänger den framåt, dock utan falsskador. 476 illustrationer varav 248 i fyrfärg.“Here is the first major book on the dynamic graphic design created in the three decades before Worl War II /.../ The book covers in depth the style’s sources and explores the decorative ‘fine arts’ that formed a bridge between the radical movements and Deco commercial art. There are chapters on posters, magazines, commercial design, books, and fashion and costume - each with an illustrated introductory text followed by a portfolio of stunning illustrations of work...”

Harvard University Press,Cambridge. Reprint 2013. ISBN 9780674436992. 283 pages. Card boards. Illustrated in black and white. Copy as new! Mass production of clay and papyrus records by the ancient Near Eastern civilizations created problems of preservation similar to those confronting the archivist in the age of paper. The temple economies and emerging empires of Mesopotamia could not have functioned without the records they created for purposes of social control. Land records were vital in Pharaonic Egypt because of the annual inundations of the Nile. Aristotle thought of the archives as an indispensable unit of city government. An important contribution of Republican Rome was a quasi-central archival repository. The evolving bureaucratic government of Imperial Rome created archival institutions at its seat and in the provinces. Drawing on the findings of assyriologists, papyrologists, and classicists Ernst Posner has created for the first time a sound historical basis for the archivist’s understanding of the genesis of his profession. His work throws light on the considerable archival accomplishments and sophistication of the cultures of the ancient world from the days of the Sumerians to the death of Justinian and also on the societies in which they played such a significant part.

Something Else Press, New York. 1965. (10), 145 pages. Red cloth binding. Dust jacket worn and torn, water stained to spine. Illustrated in black and white. Inscribed by the artist " for lovely Lin. Fondly Al Hansen. Your New York Fjord dealer 1966 NY City".Born in New York City, Al Hansen was a friend to Yoko Ono and John Cage. While serving in Germany in World War II, Hansen pushed a piano off the roof of a five-story building. This act became the foundation of one of his most recognized performance pieces, the Yoko Ono Piano Drop. Many artists have also destroyed or altered pianos including John Cage, Joseph Beuys, Nam June Pai and Raphael Montañez Ortiz. Hansen studied with composer John Cage at the now famous 1958 Composition Class at the New School for Social Research in New York City along with fellow students, Dick Higgins, George Brecht, and Allan Kaprow amongst others. Hansen was a frequent visitor to The Factory, Andy Warhol's studio in New York. Hansen was perhaps best known for his performance pieces, his participation in Happenings, and for his collages in which he often used cigarette butts and candy bar wrappers as the raw materials, among them numerous variations of a sculpture referring to the Venus of Willendorf.He wrote an important book about performance art, A Primer of Happenings and Time Space Art published by Something Else Press in 1965.In 1966 he attended the Destruction in Art Symposium in London organized by Gustav Metzger, where he met and befriended many of the Viennese Action Artists. In October 1966 Otto Muhl organized an event called "Action Concert for Al Hansen" in Vienna.He was an art professor at Rutgers College in Newark, New Jersey, into the 1970s.In 1977 Hansen managed Los Angeles punk bands the Controllers and the Screamers in Hollywood. In the 1980s Hansen moved to Cologne, Germany, where he established an art school, the Ultimate Akademie. Inspired among others by the Final Academy of Genesis P-Orridge it became a meeting point for local and international performers of the time-based arts.He died in Cologne, Germany, in 1995, with a number of friends celebrating a fluxus funeral according to his plan. (WP)

Bonniers, Stockholm. 1984. 93 s. Vitt kartonnageband med välbevarat skyddsomslag. Svag recensionsstämpel på blank sida i slutet, annars fint skick. Originalupplagan av Mare Kandres debutbok. "Mare Kandre fick internationell uppmärksamhet med sina romaner. Dessa och hennes noveller och prosastycken handlar ofta om barns, särskilt flickors, utveckling till vuxna människor, om kvinnoroller och om traumatiserade människor som marginaliserats och som väljer att bryta mot samhällets förväntningar. Berättelserna har en metafysisk dimension, vilket förstärks av Kandres poetiska språk och framställning, med existentiella frågeställningar som anknyter till den samtida samhällsdebattens huvudfrågor. I sitt författarskap återkommer hon ofta till ämnen som anpassningen till kvinnorollen, hur ett inre främlingskap (alienation) grundläggs och drifternas betydelse." (WP)

Nordiska Museéts handlingar 31, Stockholm. 1949. 200 s. följt av en planschavdelning med 126 avbildade möbler. (28,5 x 20 cm). Privatbundet, mörkrött halvmarokäng-band med stramt pärmpapper, stilfull ryggdekor, övre guldsnitt, övriga snitt endast hyvlade, främre & bakre omslag liksom rygg medbundna, i flanellskodd klotkassett. Praktband! Signerat Lars Wahlström, 1982.

Omega. Utan år men skiftet 1970/80-tal. Screentryckt affisch på glanskartong. Liggande format (b 79,5 x h 51,5 cm). Tryckt i 350 numrerade och signerad exemplar, detta är nr. 253. (Jmf. Rolex Screentryckt form s. 29).

Åhnbergs Bokbinderi AB, Stockholm, 2000. 27 blad. Stor 4:o (34 x 24 cm). Ringpärm med nedstockad ruta och inklistrad etikett i Goya. Pärmpapper 1,8 mm Feinpappe Macro. Inlaga: 300 g Goya och 250 g Imperial Vit Gloss. Tryck: offset Arne Löfgren och boktryck av Norrbacka Tryckeri AB, Stockholm. Svartvita fotografier av Otmar Thormann. Grafisk form av Henrik Nygren. Tryckt i 750 exemplar. ”Ett märkvärdigt foto som uttrycker både surrealism och Östtyskland anno 1954! En verkligt radikal, funktionalistisk och klart profilerad produkt med en härlig materialkänsla. Utmärkt pappersval och repro. Inspirerande.” Svensk Bokkonst 2000 s. 28-29.

Kunstakademiet. 1979. 96 pages. 4to (27,5 x 20,5 cm). 45 photos and 7 measured drawings. Publisher's blind-lettered cloth. Text in Danish. Introduction by Gunnar Biilmann and Bent Salicath. Nice copy.A survey of furniture designed by Kaare Klint 1914-1936 and a Klint bibliography. The edition was limited to 500 copies for sale.

Kriminalvetenskapliga Institutionen vid Stockholms Universitet. Mars 1972. (1), 260 s., endast tryck på höger sida. A4 format. Skrivmaskinstext. Några tabeller i texten. Häftad med vävtejpad rygg. Dedikation på titelsidan: "med hälsning från förf." Leif G. W. Perssons "debutbok". Ovanlig.