[SHOE DESIGN CATALOGUE]Biblio.com
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réf. 88077Leonhard Zeh und Georg Driesch München 1924/25 Winter . Landscape folio 30 x 21 cm.pp 54 25 chromolithographed plates image size 21.5 x 18 cm. all with descriptive text and captions 11 small crayon shoe designs 18.5 x 14 cm on tissue paper and one black and white photograph inserted loose bound in original grey wrappers title lettered in gilt tied with green silk thread slightly stained on lower wrapper; overall a very attractive collection. This unusual album of shoe designs contains designs for both men and women. Leonhard Zeh und Georg Driesch, München 1924/25 Winter unknown
réf. 29745Stockholm: Moderna Museet. 1969. Deluxe edition. Deluxe edition. The catalogue for Andy Warhol's first major European retrospective. Illustrated card covers with a design after Warhol's 'Flowers' silk-screen. All edges gilt. Housed in the original perspex slipcase as issued. 614 black-and-white reproductions divided into three sections: black-and-white reproductions of Warhol's work followed by two sections of photographs of Warhol and his associates by Billy Name and Stephen Shore. A fine copy the binding square and tight without fading loss or tears. The contents are clean throughout and without previous owner's inscriptions or stamps. The notoriously fragile perspex slipcase remains solid and in original condition with only a few light scratches. An exceptional example of this landmark Warhol publication offered here in its most desirable form. The deluxe issue of Warhol's legendary Stockholm Exhibition Catalogue. Some copies were also signed by Warhol this example is not. It is unknown exactly how many were issued in this gilt edged deluxe edition most estimate around 50 copies and others possibly as many as 100. All deluxe issues were made from the second edition. Whatever the number intact examples of this issue in attractive original condition are rare in commerce. Parr & Badger: The Photobook II p.144-145. Further details and images for any of the items listed are available on request. All items are catalogued by humans. Lucius Books welcomes direct contact with our customers. Stockholm: Moderna Museet. 1969 unknown
1926réf. 54867Moscow МоÑква: Kinopechat Кинопечать 1926. First edition. Softcover. Good to very good condition. Octavo. 80pp. Dark blue and white wrappers with constructivist typography on the front cover housed in modern blue heavy paper portfolio with printed typographic design of original cover pasted to cover flap. Publisher's device on title page. This scarce published screenplay for the film adaptation of Sholem Aleichem's novel "Wandering Stars" by the acclaimed Russian-Jewish novelist playwright and journalist Isaac Babel 1894-1940. The film was premiered in Kiev on January 4th 1927 and was directed by Grigori Gritscher-Tscherikower 1883-1945. It was produced by VUFKU studios the national film studios of the Ukrainian SSR. This book contains the entirety of the film's screenplay accompanied by three striking b/w illustrations by Soviet artist and designer Alexander Bykhovskii 1888-1978 who likely also created the striking cover. The final three pages contain publisher's ads listing other work on the topic of cinema. The story tells of the love between Leibel the son of a wealthy shtetl family and Reizel a poor cantor's daughter in Bessarabia. The two run off to join a traveling Yiddish theater group. They are later separated with each becoming successful in their own right only to eventually reunite in America. The work was first serialized and originally appeared in the Warsaw newspapers between 1909 and 1911. It has come to be seen as the third in an unofficial trilogy of novels by the writer centering on musicians or performers preceded by Stempenyu 1888 and The Nightingale 1889. In 1925 the Moscow State Jewish Theater suggested that the Goskino the Soviet State Film Studio produce a film adaptation of Sholem Aleichem's novel. The order was commissioned to Isaac Babel for translation and adaptation from the book's original Yiddish language to Russian for the screenplay. During this period Babel had been working on other translations of Yiddish literature into Russian including the collected works of Sholem Aleichem and work by David Bergelson. According to Babel's foreword printed here he faced a number of difficulties adapting the novel including the modification of petty bourgeoisie motifs as well as the changes of film directors and their differing requirements. Because of certain elements in the script of which the main committee of the Goskino did not approve the film's production had to ultimately be switched to VUFKU studios in Odessa. In a letter during the period of production Babel apparently wrote: "I will have to be present on the set. if I am not there the director will ruin everything" and later upon hearing of further changes made by Gritscher-Tscherikower wrote that "it is more profitable for me not to participate in this shameful production". Regardless of Babel's opinion of the final product the film was well received by Soviet audiences at the time. Text in Russian. Portfolio with minor wear. Wraps partially restored with minor wear. Previous owner's names and date at top of title page one near gutter. Light water staining along right half of bottom edge of first 30 pages reappearing from pages 40 to end though along lower part of foredge more pronounced on pages 75/76 and light fraying along foredge from pages 67 to 76. Block lightly age-toned. Kinopechat (Кинопечать) unknown
réf. 50199Tokyo: Shueisha 集英社 1971. New edition. Hardcover. vg- to near fine. Large oblong folio. 15x21". Unpaginated. All content housed inside the publisher's original cardboard shipping box with printed label pasted on the front. Binding protected in original a white cloth portfolio with red lettering on the front cover and lavishly decorated interior flaps. Black suede-covered boards with mutli-colored illustration mounted on the front cover. Decorative endpapers. Engraved stainless-steel plate showing Mishima's face mounted on black paper preceding the title page. The deluxe and lavishly printed new bilingual edition of the acclaimed and eroticly-charged work also know as "Killed by Roses" by Japanese photographer Eikoh Hosoe b.1933. It gained notoriety and elicited controversy when it was originally released in 1963 and won the Japan Photo Critics Association's writer award. The main photographic subject of the book the acclaimed and controversial writer Yukio Mishima 1925-1970 wrote the preface to the original edition and also writes the preface for this new edition both are included here. Mishima's acclaimed works include the famous and controversial novels "Confessions of a Mask" 1949 and "The Temple of the Golden Pavilion" 1956. Hosoe's striking high-contrast b/w photographs are all printed in high-quality photogravure retaining all the power and atmosphere of his original images. In comparison with the first version of the work this edition features the content having been noticeably re-edited with one image added a few others removed. The images have been thematically re-organized into five new chapters with the names "Sea & Eyes" "Eyes & Sins" "Sins & Dreams" "Dreams & Death" and "Death" respectively. Influential artist and graphic designer Tadanori Yokoo b. 1936 oversaw all of the design and layout aspects of the book and also created its additional illustrated elements most of which comprise the first chapter of this new edition. While Hosoe was still completing work to prepare this new edition of "Ordeal by Roses" the notorious "Mishima Incident" occurred November 25th 1970 which culminated in the ritual suicide of Yukio Mishima by seppuku. The incident shocked the nation and in its wake the photographer was quite unsure of how to proceed regarding the publication of the book. Not wanting to seem like an opportunist taking advantage of the controversy and the publicity surround Mishima's death he contemplated shelving the project but was later persuaded by Mishima's widow Yoko who said that her husband would have wanted it to be released. It was finally release only a few months later on January 30th 1971. Text in Japanese and English throughout. Portfolio with foxing to the white cloth including the front cover and the interior but the illustrations on the flaps are still clean. Suede binding clean and protected in modern mylar. Light foxing to the edges of the book block. Interior with all pages and images clean and vibrant save for a few sporadic instances of the most minor stains or smudges on the blank versos a few pages. The verso of the final photographic plate and the page opposite have a bit more foxing. Portfolio in very good- binding and interior in very good to near fine condition overall. Alternate title: 細江英公写真作å“. Shueisha (集英社) hardcover
1910réf. 891951910. DESIGN Ogino Issui designer. ZUAN HYAKUDAI. 3 Vols. Kyoto Unsodo Meiji 43 1910 An orihon in 3 volumes 27 X 19 cm with woodblock printed covers all in a later fitted clasped cloth chitsu case. Unsodo outdid itself in this early design effort. Dozens of double page horizontal designs which become large prints the paper size being 37.5 x 27 cm as well as circular and fan-shaped and single page designs too. Most in the neo-Rimpa style which Unsodo artists pioneered at the beginning of the last century - bold and lovely. A bit of browning and fading the covers show some wear but overall very good condition a very nice impression of this important set. Complete. One of the very best of the Unsodo design books which is very good indeed. unknown
1890réf. 249781New York 1890. Approximately 34 items on various stock including George D. Thompson letterhead. Various sizes generally 7 x 3 1-2 in to 11 x 8 1/2 in. Some toning some designs show signs of previous mounting on verso generally very good. Approximately 34 items on various stock including George D. Thompson letterhead. Various sizes generally 7 x 3 1-2 in to 11 x 8 1/2 in. Watercolor designs in Classical Romantic and Chinoise styles for leather screens manufactured by George D. Thompson & Co. The company letterhead advertises "Hand tooled and painted chair leathers and wall panels . Period designs still life flower bird & fruit panels hand painted bellows trays humidors book covers." Some designs give dimensions and prices on verso. unknown
1965réf. 013433Philadelphia: Institute of Contemporary Art University of Pennsylvania 1965. 1st Edition. Hardcover. Near Fine. Catalog of Warhol's first museum show with the compliments card of Sam Green who curated it. 8vo illustrated stiff covers black cloth backstrip perfect bound 27 full page illustrations. Housed in a phase box with an enameled medallion - with the Warhol image of Campbell soup cans similar to the cover of the catalog - in a round silver mount on the front slot designed and crafted by Wesley Tanner. Institute of Contemporary Art, University of Pennsylvania hardcover
1938réf. 894341938. DESIGN HAPPODO publisher/printer. KOKUGA OGI. Kyoto Happodo N.D. other sources indicate a date of 1938 Very large oblong brocade porfolio 36.5 x 59.0 cm. Contains an undated Happodo colophon and 50 design prints 49 in color and one as a textual calligraphic introduction to the work A source indicates the designs were done by Yamaoka Chinpei. The prints are extraordinarily lavish with sprinkled metal flakes overprinting metallic inks etc. A wonderfultribute to the Neo-Rimpa and Deco sensibilities of the age. The case has been restored the prints are quite clean. unknown
1963réf. 54664Bratislava: Mladé letá 1963. First edition. Hardcover. Very good to near fine condition. 1/5000. Large quarto. Unpaginated. 72pp. Original off-white cloth with abstract illustration of a human heart on front cover red lettering on spine in original photo-illustrated dustjacket black lettering on spine red on cover protected by modern mylar. Photo-illustrated endpapers. "The book is one of the most unusually edited and designed and also rarest postwar photo books by Karol Kállay." Czech and Slovak Photoo-Publications p. 316 This rare and poignant photo-essay by Slovak photographer Karol Kállay present seventy-two sheet-fed gravures. Divided into two parts: A selection of photographs showing Bratislava children playing together or walking through a neighborhood under construction in part one and part two documents the everyday life of surgeons and nurses dedicated to save lives at the Bratislava Children's University Hospital where children are seen undergoing open-heart surgery while anxious parents wait and hope for a positive outcome. Text in Czech. Dustjacket lightly rubbed along edges slightly more pronounced at top of front foredge and minor chips at tail of spine. Binding age-toned along top and bottom edges. Interior in near fine condition. Karol Kallay 1926-2012 was a citizen of the world a photographer with blue blood running in his veins who in the educational spirit of the First Republic remained a sworn Czechoslovak even after the breakup of Czechoslovakia in 1993. He was born a Hungarian aristocrat on the 26th of April 1926 in Cadca in Czechoslovakia's First Republic where right from the republic's beginnings the use of aristocratic titles - distinguishing those with "blue blood" from the mere mortals - was officially banned. Despite this his distinction conspicuously radiated out of him all his life. He always wanted to be a photographer. Perhaps it was because at the age of sixteen he won a gold medal in a Slovak photo contest. But it was also thanks to the excellent education he got from his older friends in the Trencin amateur photographic club Halasa Hajduch Farkas which was one of the many Slovak photographic societies started after the war by Jiri Jenicek an officer of the Czechoslovak army and a brilliant and enthusiastic amateur photographer. Kallay's wise father didn't want to impede his son's "comedian career" as he regarded the photographic profession but he had one condition - his son had to study something proper first. And so Karol after the end of the Second World War studied commercial engineering and law in Bratislava. He worked for a construction company in Zilina and Sucany and in his free time he devoted himself to photo reportage as an associate of a photo weekly Domov and Svet. That brought him to Prague where he meet two eminent photographers: Karel Hajek the shining star of reportage photography and Jan Lukas whose recently published book Zeme a lide not only impressed him but practically predetermined his future photojournalistic direction in the spirit of humanistic photography. "Through Jan Lucas I discovered magazines - "Life" "Paris Match" "Illustrated London News" including fashion magazines such as "Vogue" and "Harper's Bazaar"; articles and the opinions of the aesthetician Alexander Libermann and the artistic direction of Alexey Brodovitch - it was all important learning for me because we didn't have that in Slovakia" he remembers. And so Kallay's specific bipolarity as an excellent fashion and advertising photographer was basically the source of his income with excellent reporting constantly mapping out the people's lifestyles that he found on his frequent travels all over the world. Thanks to the Bratislava weekly magazine "Moda" to which he was a regular contributor he could leave his regular job in 1956 and become a freelance photographer. That opened the way for him to contribute to the most important foreign fashion magazines - mainly "Jardin des Modes" in Paris and "Saison" and "Sybille" in Berlin. And because of this at home he became forever known as a successful photographer of fashion who brought the freshness and the dynamism of live photography into his work. In other words: he stopped photographing models as stiff coat hangers. In addition he traveled published books and did reportages for prestigious magazines such as "Geo" "Stern" "Spiegel" "Focus" "Merian" "Sports International" "Paris Match" and "Illustré" of which at that time the world behind the iron curtain knew practically nothing about. And thanks to this talent Karol Kallay became a photo reporter like none other in Czechoslovakia. Mladé letá hardcover
1948réf. 9757Paris: Chez Georges Visat 1948. Full Leather. Near Fine binding. Octavo. 52 6 pp. frontis illus. Limited edition number 195 of 225 copies. This copy bound by Monique Lallier in full calf with extensive leather onlay shapes referencing the style of Alanore's illustrations. Textblock is sewn on meeting guards with the original wrappers incorporated in the binding. Silk embroidered endbands and leather doublures and flyleaves. Stamp-signed and dated 2014 by Lallier in gold on the rear pastedown. Light offsetting from the etchings and occasional light foxing but generally an internally clean copy nearly fine in a fine binding housed in clamshell that is slightly bumped at the extremities. An engaging and quirky narrative text in French wonderfully illustrated with 20 drypoint etchings by Alanore some full page but most incorporated around the printing. This binding from Lallier's personal collection is featured in her 2018 retrospective exhibition put on by Guildford College with catalogue published by Oak Knoll Press. In it she remarks how Alanore's etchings all have prominent lips which informed her design of the cover in a leather that looks like horse p. 100. A striking book inside and out bound by one of the most important design binders of the last 50 years. Chez Georges Visat unknown
1960réf. 73749Hamburg: 1960. Superb large-scale poster for the JATP tour of Germany in 1960 featuring Ella Fitzgerald the Jimmy Giuffre Three Paul Smith Quartet Roy Eldridge and the Shelly Manne Quintet. An example of the work of Kieser's early collaborative atelier with typographer Hans Michel 1952-62 which produced some truly remarkable work graphically highly original and imbued with a great sensitivity to the aesthetic of the artists being promoted. Here red black and white typography in lower case sans serif is overlaid on a portrait of Ella in black on red to stunning effect. Produced solely for the German tour this is an uncommon poster particularly so in the A0 format in such sharp condition. Offset lithographic on paper. Vintage outsize A0 format sheet size: 112 x 82.6 cm. Light creases from old folds some very slight cracking of the colour surface and one or two mild scuff minute closed tear to the right-hand edge but overall very good. Presented float mounted in a black museum box-style frame. unknown
réf. 182801Kyoto: Sakuraiya & others early 20th century. Taisho Romanticism" on full display An expressive collection of envelopes skilfully printed with designs based on nature religion traditional Japanese art and fashion and foreign landmarks. Many were produced and sold by Sakuraiya a well-established souvenir and paper shop in Kyoto and designed by some of their most famous artists such as Kobayashi Kaichi and Okamoto Izusu. The Taisho period 1912-1926 was an era of rapid technological and cultural development in Japan. Artists responded to these changes by incorporating a new-found sense of individualism into their works. The popular "Taisho Roman" short for "romanticism" style blended Eastern and Western designs using bright colours dramatic shadows and bold shapes to create an atmosphere that was sometimes glamourous other times melancholic. Sakuraiya was founded in the 1830s as a pottery and book shop. However following the 1923 Great Kanto Earthquake they focused on woodblock prints envelopes and decorative paper until they closed in 2011. They employed artists such as Kobayashi Kaichi 1896-1968 who developed a signature style combining Western motifs like roses playing cards and the Christian cross with Japanese fashion and aesthetics. He became highly popular especially among a new social class of young educated women. This collection includes examples of his designs as well as many unidentified compositions showing musical instruments the Sphinx birds in flight cherubs traditional dancers in kimonos and abstract geometric patterns. 105 oblong envelopes approximately 123 x 78 mm to 182 x 70 mm of which 8 duplicates colour woodblock on one side only. A little toning from age but overall bright and well preserved: a very good collection. unknown
réf. 55248Tokyo: Gyoseikaku 1927. Small octavo 16.5 × 12.5 cm. Original pictorial wrappers illustrated by Tomoyoshi Murayama; 4; 89 5 pp. with 6 plates of illustrations by George Grosz. An uncut copy with wide margins; wrappers and margins somewhat dust-stained and toned; good or better. Rare first Japanese edition of the children's book with illustrations by George Grosz and cover design by Mavo founder Tomoyoshi Murayama. It was first published in 1921 under the title "Was Peterchens Freunde erzählen" What Little Peter's Friends Talk About in 1921 as the first volume in the book series "Märchen der Armen" Fairy Tales of the Poor published by Malik-Verlag which had been founded by John Heartfield and Wieland Herzfelde for the Berlin Dada movement. The little volume was to become one of the most successful proletarian children's books worldwide. In it the "Red Countess" as the communist noblewoman was also known describes how the objects in Peter's room begin to speak while he lies sick and bored in bed. The coals in the stove tell of the miners' hard work the water bottle of the glassblowers and the matchbox of the trees and forest workers. The Japanese translation by Hayashi Fusao featuring illustrations by Grosz played a key role in making Grosz known in China. Surprisingly it was the Japanese edition published between the two wars with Japan and approximately two years after the suspension of the Chinese Civil War between Nationalists and Communists in favor of a united front against Japan that served as the basis for Lu Xun's first Chinese translation in 1929 titled "Xiao Bide." Remarkably Grosz had been known in the Japanese Empire for many years before his illustrations in this book also gained circulation in China which unlike Japan had extensive Communist Party structures. Cf. Paul Bevan. A Modern Miscellany: Shanghai Cartoon Artists Shao Xunmei's Circle and the Travels of Jack Chen 1926-1938 Berlin 2018 pp. 135ff. It was mainly thanks to Tomoyoshi Murayama that the Berlin Dadaist Grosz became known in Japan; Murayama studied in Berlin from 1921 to 1923 and joined the circle associated with the "Der Sturm" gallery run by the communist Herwarth Walden. There he met among others Grosz and Schwitters. He also took part in the Düsseldorf Congress of "Progressive Artists" where Dadaists and Constructivists joined forces. Upon returning to Tokyo he founded "Mavo" as so to speak the Japanese branch of Dada. Like the Berlin group "Mavo's" art actions were not least political protests directed against the military government in Tokyo. Cf. Hanne Bergius Das Lachen Dadas: Die Berliner Dadaisten und ihre Aktionen Berlin 1989 p. 300. It was also Murayama who introduced Mavo member Yanase Masamu to the work of Grosz. The illustrator and cartoonist was also a member of the "Japanese Proletarian Artists' Association" for which he designed several journals posters and books. Furthermore he had been employed as a cartoonist and comic artist at the daily newspaper "Yomiuri Shimbun" since 1920. In 1929 Yanase published a comprehensive monograph on Grosz's work titled "Musan kaikyu no gaka Georuge Gurossu" George Grosz: Painter of the Proletariat. See Bevan ibid. As of March 2026 KVK OCLC lists no copy worldwide. unknown
1819réf. 56897Kyoto Japan: Marubeni Shoten Design Dept. Keimeikai Textile & Dyeing Studio Tanioka Shoten Design Dept. ca. 1918-1945. Folio. 61 original hand-painted inked and pencil designs with a few on a lightly toned but quality semi-translucent paper the majority on thick paper stock and still others with two pieces carefully pasted together with contiguous designs sized from 9 x 15 in. up to 19.25 x 38.5 in. with 13 of the pieces larger the larger size a number of them sized 18 x 32 in. and many in the 14.25 x 15.5 in. size colour painted; the majority feature the design studio chop or crest at lower corners throughout many w/ annotations in margins several w/ change orders neatly annotated or even the title of the design and still many others w/ Roman numeric inventory codes in margins as well two still retaining original small silk samples many with creasing or minor tears & edgewear or creasing to fore-edges a few w/ small & large closed tears while others show some creasing and thumbing from continued use still an exceptional group of manuscripts. This superb archive of 61 original hand-painted kimono designs furnishes an exceptional visual array of Taisho- and early Showa-era Japanese motifs and styles. A number of the designs evoke traditional Japanese Ukiyo-e woodblock prints with deep vivid colours and well rendered illustrations. Many of these designs incorporate floral patterns including Kiku Chrysanthemum Botan Mon Peony Pattern Manju Kiku Marigolds Japanese Irises Morning Glory Cockscomb Ivy Dahlias and many other botanical motifs. In addition there are many illustrating ornately embroidered designs austere bamboo mushrooms and intriguing landscapes some with a small portion fully painted in with brilliant colouring while the outline of the kimono fills out the drawing. Two of the designs still features their original small attached silk kimono sample more reminiscent of Western Design houses which often attached their chosen fabric samples to their clothing designs. A few of the designs are executed on translucent thin paper for the kimono draper to transfer the design to white silk or other fabrics via some type of carbon paper process. Another of the designs has been executed on a stunning silver metallic paper with palm or bamboo leaf fronds executed in vivid blues & browns. Some feature a nearly surrealist quality while several others include illustrations of doves or chickens. Two of the designs incorporate Art Deco representations of Chinese Junks and Japanese sailing vessels typical of the 1930’s prior to World War II. In the Taisho Era a new era opened for textile designers working with Kyoto drapers and department stores with many having trained at new art colleges and then working in the design studios of Marubeni Keimeikai Textile & Dyeing Studio and others. The Tachiki Artist design studio designs on thin translucent paper include one with designer stamp of character embedded within a skull. Some appear to have two different date stamps for the Marubeni Shoten Design and some are unsigned or stamped. The Taisho- and Showa-era kimonos featured brighter colours more groundbreaking designs as Japan’s designers embraced traditional dress and transformed it into a new garment equally appealing to the “Moga” or brazen “Modern Girl.” The designer notes include instructions to “leave a little more space between the fans;” “Drop the little fan crest;” “too much white bush clover” on the pine cones and even that Matsuo Taishichi had ordered a design for “clothes for paying a visit for a young person.” The Marubeni Shoten originated with Chubei Itho who began in 1858 as a salesman for linen cloth and by 1872 had opened his drapery store Benchu in Senba Osaka. By 1918 Chubei Itoh had expanded the business into Osaka and deciced to merge with Itochu Shoten Ltd. becoming Marubeni Shoten with their own drapers shops and many contracts with department stores. Later by the mid-1950s Marubeni merged with the company that operated the Takashimaya Dept. Store Chain all the while preserving their design studio and artists. See: Yuko Fukatsu-Fukuoka The Evolution of Yuzen-dyeing Techniques and Designs After the Meiji Restoration 2004; Arisa Shinko Tomikawa Hand Painted Kyo Yuzen Atelier “Arisa” A Brief Introduction 2020; Annie Van Asche Japanese Kimono Fashion of the Early Twentieth Century Textile Society of America Symposium Proceedings 2000; Our History Our Roots Marubeni Corporation 2020. Marubeni Shoten Design Dept., Keimeikai Textile & Dyeing Studio, Tanioka Shoten Design Dept., hardcover
1519réf. FURNITUR011798Eget F�rlag G�teborg. 1915-1916. First edition. Small quarto. Four volumes: 196 23 adverts; 198 23 adverts; 192 27 adverts; 192 31 adverts. Almost all the pages are devoted to photographs of the hugely prolific Otto Schultz's distinctive furniture designs which seem to take elements from the Arts and Crafts movement and blend them with the latest Art Deco ideas. Each volume has a short introduction by Schultz. Text in Swedish. Original hessian bindings stamped with titles in art deco type. Laid into the third and fourth volumes are eight-page pamphlets giving the dimensions of the various items. Otto Schultz went on to found the Boet interior design store in Gothenburg and ran the influential magazine of the same name.Ownership signatures on front endpapers of first volume. Titles on covers slightly flaking. A very good set indeed. Very scarce. Eget F�rlag, G�teborg. unknown
réf. 000700For consideration: These wall coverings could be framed for display. Newark DE/ Scottsdale AZ: Schumacher Co./ Frank Lloyd Wright Foundation. Frank Lloyd Wright: Wallcoverings title from cover Wright. Trade catalogue.- Newark DE/ Scottsdale AZ. Schumacher Co./ Frank Lloyd Wright Foundation. There are seventy pages that are numbered corresponding to listed samples. There are 17 unpaged samples which are borders that go along with the wallpaper samples. Then there are six interior scenes showing of the wallpaper and other Wright inspired designs. Then there are another eleven pages of textile designs for sheers panels prints wovens and rugs. Extremely rare to find a wright Catalog with actual samples. We did not find a date but it appears based on research that this is from the 1980's. Wright catalogs are EXTREMELY RARE. Condition:The book is in Very Good condition. It measures 9 inches by 12 inches. The covers have minor edge wear. The contents are tightly bound and secured with two metal bolts as issued. The contents are almost Like New. There is a very strong paint and wallpaper odor associated with this book when it is opened. There is no mold. The buyer would do well to let the book sit open. Please write with questions. First Edition. Hard Cover. Near Fine. Folio - over 12" - 15" tall. Schumacher Co./ Frank Lloyd Wright Foundation. hardcover
réf. 10426Provo UT: Tryst Press 2011. Full Leather. Fine binding. Quarto. 32 pp. illus. Limited edition one of 160 copies this copy out of series. Bound by Katy Starr-Baum in tan goatskin; textblock is sewn on meeting guards with hand-embroidered silk endbands; binding with Hebrew lettering made up of hand-tooled gold dots which extend to the top edges of boards and headcaps; edge-to-edge hand-painted doublures and free endpapers. Housed in clamshell box. A fine copy. A lovely book by Robert Buchert at his Tryst Press printed on purpose-made paper by the printer with a barley ear watermark and in Buchert's Psalter type. The colophon reports that this is the first book employing Buchert's typeface. Many in-text woodcuts some full page embellish the book. Here beautifully bound in a meaningful way by Starr-Baum who having over the course of a few years learned of her Jewish roots and converted to Judaism like Ruth that first convert before her. The Hebrew rendered in gold on the binding reads in the King James version: "And Ruth said Intreat me not to leave thee or to return from following after thee; for whither thou goest I will go; and where thou lodgest I will lodge: they people shall be my people and they God my God; Where thou diest will I die and there will I be buried; the Lord do so to me and more also if ought be death part thee and me." Starr-Baum has been binding books for more than 20 years and is among the most recent recipients of the Fine Binding Diploma of the elite American Academy of Bookbinding. Tryst Press unknown
réf. 9379Old Stile Press 2009. Full Leather. Near Fine binding. Folio. 56 pp. illus. Limited edition number 193 of 195 copies signed by Onken at the colophon. A skilled and imaginative design binder and a graduate of the American Academy of Bookbinding fine binding program Brenda Gallagher has engaged with this modern telling of a story that comes from a long tradition of Celtic and Norse selkie stories. Full bound in green goat with onlays in fish leather that capture the movement of the waves in green blue and gray. Gallagher's binding wonderfully complements the tale both thematically and artistically as her bold stylized cover shares a harmony with Onken's woodcuts. But even subtler details bring this text and binding together like her skillfully woven silk endbands and the painted top-edge a lovely sea-green with the suggestion of vegetation as though looking down on the top-edge of the book is to look down into the sea. Housed in clamshell box. A finely printed and illustrated selkie story written by Brown in 1984 and first published here by the Old Stile Press. The cuts by Onken are beautifully done and are indispensable in conveying this story of a selkie who has been separated from her seal skin by a fisherman trapping her in her human form. Perhaps the most striking of Onken's cuts is only found on the publisher-issued binding as a pictorial pastedown on the front board. Gallagher whose engagement with this text is not limited to the binding relays the tale of disappointment when purchasing this book unbound and necessarily without this woodcut—perhaps the woodcut that resonated with her the most. Since the printer had no extra copies of the illustration Gallagher was driven to locate and contact Onken who had neither print nor the block from which the illustration was printed. Instead he offered to lend her a good drawing of the image. From this image Gallagher cut her own linoleum block and printed the illustration remarkably true to the original. That print serves as the front fly leaf in her binding—a one of one lino print. An exceptional designed binding by an American binder coming into her own. Old Stile Press unknown
réf. 009472Teramachi Nijo Kyoto Japan: Yamada Unsodo Book. Very Good. Pictorial Paper Covered Boards. First Edition. Folio - over 12" - 15" tall. 37 pages held together with 2 brads top end. 35 pages with tissue guards over multiple lovely woodblock prints either 96 or 102 depending on how one repeated image is counted. With an additional full page black and silver woodblock print on rice paper 9" x 12 1/2" laid in. No date in English circa 1902-1905. Laid into original folio black paper covered boards printed in silver Art Deco design with title artist and publisher printed in English front and back. Front and back pages printed in Japanese. Very Good cloth at spine torn at top and bottom edges rubbing to boards at edges. Some tissue guards creased or torn the woodblock prints are all bright and Fine. Kamisaka Sekka 1866-1942 was aan important early 20th c. Japanese artist known as the father of modern Japanese design and the last great master of the Rinpa traditional school of art. RARE one copy found in current commerce lacking the additional woodblock print and 8 copies found at WorldCat. Yamada Unsodo Hardcover
réf. 52019Bonlanden/ near Stuttgart: Edition Domberger 1973. First edition. Paperback. Very good- to fine condition. Folio 1971 17 x 11 3/4". 1 12/14pp.; Elephant Folio 1972 1972 19 1/4 x 16 1/2". 1 12/12pp. each. Spiral-bound calendars with original screen prints and black lettering on covers with additional screen printed mylar overlays. All calendars designed by Luitpold Domberger and printed at the Domberger KG Bonlanden Germany. All calendars are limited editions and hand-numbered on title page. The screen-printed mylar overlays create an op-art effect. The 1971 contains prints by Max Bill Herbert Bayer and Robert Indiana. 1971 558/2500: Cover and overlays with screen prints by Herbert W. Kapitzki; January: Max Bill; February: George Van der Sluis; March: Herbert Bayer; April: Robert Indiana; May: Müller-Brittnau; June: Allan d'Arcangelo; July: Horst Scheffler; August: Peter Stroud; September: Josef Levi; October: Sanford Wurmfeld; November: Erich Lethgau; December: Larry Zox. 1972 1754/3000: Cover and overlay with screen prints of Herbert W. Kapitzki; January: Stephen Edlich; February: Robert Indiana; March: Frank Werner; April: Josef Levi; May: Richard Anuszkiewicz; June: Luitpold Domberger; July: Nicholas Krushenick; August: Horst Scheffer; September: Hugo Dietz; October: Edna Andrade; November: Peter Stroud; December: Raimund Gierke. 1973 2107/2500: Cover and overlay with screen prints by Herbert W. Kapitzki; January: Walter Allner; February: Werner Berges; March: Allan d'Arcangelo; April: Julian Stanczak; May: Larry Stark; June: Ingrid Pohl; July: Rinaldo Paluzzi; August: Timo Kw. Heimann; September :Karel Novosad; October: Fritz Ruoff; November: Gerd Winner; December: John Willenbecher. Text in German. Printed overlay of the 1971 calendar partially separated from spiral. 1971 bound with two duplicate pages of calendar January and October without graphic. Front cover of 1972 with three inch crease at bottom right of front cover not affecting screen print. Generally some minor wear. Screen prints in fine condition. Calendars all protected in modern mylar. Luitpold Poldi Domberger was a pioneer of screen-printing in Germany. He established his first printing studio in 1949 in Stuttgart. His neighbor at the time was Willi Baumeister. His son Michael Domberger joined him developed and continued his legacy to the present day. Edition Domberger is at the forefront of screen-printing and continues to develop and promote the medium. Amongst the artists collaborating with Edition Domberger are Josef Albers Josef Beuys Keith Haring Claes Oldenburg Robert Indiana Antoni Tapies Cy Twombly among many others. "For decades the Domberger brand has been synonymous with excellence in screen printing. The print workshop is open to artists and publishers providing a wide range of technical possibilities alongside seasoned expertise. It offers the highest level of craftsmanship in both digital- and screen-printing. The exceptional quality of the prints produced by Domberger have made it one of the leading print workshops in the world" Edition Domberger. Edition Domberger paperback
1934réf. 1653411934. JAPANESE DESIGN. Juraku Cho. 3 volumes illustrated with a total of 90 colour and monochrome woodblock plates. Oblong folio 270 x 390 mm. bound in publisher's silk over boards in a new chitsu case. Kyoto: Unsodo 1934. A spectacular series of designs with superb colour woodblock plates with each volume devoted to a different motif. Volume 1 is Ryu no maki the dragon. Volume 2 is Hoo no maki the phoenix and Volume 3 is Shishi no maki the lion. Both the full colour plates and the monochrome plates facing them are masterpieces of the woodblock maker's art. Unsodo is the name of a large Japanese publishing company with branches in both Tokyo and Kyoto. Founded in 1891 this company is still in existence today. From the 1890s through the 1930s the Unsodo publishing house was involved in printing high quality pattern books for various crafts including textiles and lacquer.Some wear to the boards but otherwise a fine set. Rare with no listing on OCLC. hardcover
1933réf. 900971933. DESIGN FUJII Tatsukichi 藤井é”å‰ designer. SÔSAKU SENSHOKU ZUANSHÛ 創作染色図案集. A Collection of Designs for Dyework Tokyo & Osaka: Bungado Showa 8 1933. Large portfolio 41 x 31 cm. decorative cloth covered clasped chitsu case with a printed decorative label all enclosed in the publisher's folding cardboard outer box. A 4 page fascicle of preliminaries and a table of contents. With the chitsu design the cover design 3 preliminary page designs and 61 designs on the 50 content fascicles. The designs are primarily in color woodcut printed on both paper and occasionally cloth. A beautiful production here in almost perfect condition. Fujii Tatsukichi 1881-1964 was one of the most important reformers of the traditional arts in Japan. His creativity touched nearly every area: lacquer pottery papermaking dyeing - his influence was enormous. This scarce and lovely portfolio of his original designs helps to illustrate why he was so important. This deluxe production cost 25 yen in 1933 - a princely sum during the depths of the Depression in Japan. Complete. unknown
1815réf. 832561815. DESIGN Matsuoka Tokikata; Honma Hyakuri. SHOKUMON ZUE. 7 vols. privately published by Hyakuri apparently from 1815-25 as a completion of work begun by Tokikata in the late 18th very early 19th century. 19.3 x 26.9 cm string-bound Japanese-style fukuro toji with printed paper title labels - all bindings match. Hundreds of beautiful color textile designs reproduced in color woodcut. Nobleman Ladies Ceremonial dress Brocades Imperial costumes all are covered. Important and quite scarce as few sets were produced. Some worming otherwise the overall condition is very good. unknown
1949réf. 3479New York 1949. First edition. Folding prospectus forming a large poster when unfolded central folds. Very good condition. First edition. Folding prospectus forming a large poster when unfolded central folds. Scarce poster-prospectus for the 1949 Kootz Gallery exhibition of the "Intrasubjectives" marking an early formation of Abstract Expressionism. Exhibition prospectus for the Kootz Gallery presentation of the "Intrasubjectives" documenting an early moment in the emergence of what would later be termed Abstract Expressionism. The publication announces and frames the work of artists including Willem de Kooning Arshile Gorky Robert Motherwell Jackson Pollock Ad Reinhardt and Mark Rothko at a stage before the movement had acquired its later critical designation. Texts by Harold Rosenberg accompany the presentation situating the group within a developing discourse of postwar abstraction. The design-by William Baziotes Hans Hofmann and Adolph Gottlieb-reflects the close alignment between artistic production and exhibition graphics characteristic of the New York avant-garde of the late 1940s. . unknown
réf. 55284Magdeburg: Verein für deutsche Werkkunst printed by W. Pfannkuch & Co. 1929. Octavo unfolded: 20.9 × 29.8 cm. Tri-fold prospectus lithographed to recto and verso. Very good; in protective mylar. Original promotional leaflet for the Magdeburg stop of the international exhibition "Fotografie der Gegenwart" Contemporary Photography organized by the Folkwang Museum Essen in conjunction with the Magdeburg exhibition office and curated by Kurt Wilhelm-Kästner. Playing a key role in cementing photography's role within modern art and visual culture the exhibition was originally shown at the Museum Folkwang in Essen and later in Hannover Berlin Dresden Magdeburg and London among other locations. In particular it highlighted the achievements of Neue Sachlichkeit and "Neues Sehen" with its connections to the Bauhaus. Among the contributors were major figures such as Herbert Bayer Karl Blossfeldt Hans Finsler John Heartfield Germaine Krull Man Ray Moholy-Nagy and Lucia Moholy Albert Renger-Patzsch August Sander as well as schools and organizations such as the Voks Soviet-Film-Photo agency among many others. The importance of the Magdeburg location as a regional center for avant-garde design architecture and photography is underscored by the fact that Moholy-Nagy himself opened the Magdeburg leg of the exposition with a lecture cf: Landeshauptstadt Magdeburg Magdeburg: die Stadt des neuen Bauwillens p. 42. Like the poster for the exhibition which was created using linocut the brochure was designed by Walter Dexel "Entwurf Dr. Dexel". A German painter graphic designer and art historian Dexel 1890-1973 . As of January 2026 KVK OCLC trace two copies one in Spain and one in Switzerland with none recorded in North American libraries although MoMA does appear to own a copy as part of the Tschichold Collection. unknown
