Søkeresultat

Stockholm; Sandbergs Bokhandel, 1954. 44x32,5 cm. 4-sidigt textblad + 6 litografier (37x27,5 cm) i passe-partout, samtliga numrerade och signerade i blyerts. I den tryckta originalportföljen med klotrygg. Portföljen är aningen nött, delvis mörknad, lätt solkad och har en kort reva i klotet vid övre framfals. Fint ex. Verket utgavs i 50 numrerade exemplar samt 10 signerade exemplar avsedda för pressen. Detta är det signerade exemplaret nr I. Med en dedikation från konstnären till verkets utgivare Gunnar Josephson, VD för Sandbergs Bokhandel: ""Pour Gunnar Josephson, qui à libéré un autre prisonnier du nain[?] / avec toutes les sentiments blaues ou bien dorées. / Avigdor / Sthlm, le 18.5.54."" / 6 lithographs in passe-partout, housed in the original clothbacked portfolio. With a 4-page leaflet. The portfolio is slightly worn, partly toned, and has a short tear in the cloth at top front folding. A fine copy. Issued in 50 numbered copies with an additional 10 copies for the press. This is the signed no. I, additionally inscribed by Arikha to the publisher of this work, Gunnar Josephson.

New York; Multiples, Inc., 1980. First edition. 26x26 cm. (127, 1 blank) pp. Original printed wrappers with pictorial dustjacket. The jacket has a hint of toning to spine and a pair of insignificant specks. A very fine copy of the book, which consists of LeWitt's photographical documentation of every object in his home and studio in New York. ""The book moves sequentially from the general to the specific, building up a very personal and revealing account of the artist and his involvements. It provides interesting clues to LeWitt, what he thinks, what he does and how he lives. Each of the nine photographs on every page is arranged in a grid format, LeWitt's method of organizing information. Every reference is the same size with no object in his space more important than another."" (rear panel). The Open Book pp. 322-323. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

[Åhus; Kalejdoskop], 1986. First edition. 18,5x22 cm. (62, 2 blanks) pp. + original drawing. Printed stiff cardboard wrappers, housed in the original slipcase. Very fine. Artist's book with texts and drawings by Nonas, based on the first flight of the aviation pioneers Orville and Wilbur Wright and the sculptural works of Brancusi. Published in conjunction with Nonas's exhibition at Anders Tornberg Gallery in Lund, Sweden, and issued in 500 copies, of which 50 copies are numbered and signed, and contain an original drawing by the artist. This is an artist's proof, with a signed original drawing. Inscribed by Nonas to gallery owner Anders Tornberg: ""For Anders [drawn arrow] / (STURM UND DRANG; LOVE & KISSES.) / RN / - my FRIEND and COLLABORATOR; where would we be without? / RN"".

Växjö, 1923. Originalupplaga. 21x14 cm. 126 s. Samtida brunt halvklotband med förgylld ryggtitel, mönstrade pärmpapper och marmorerade försättsblad. Omslag ej medbundet. Ryggändar och pärmhörn något nötta. Fläckat titelblad samt spridda fläckar och fingeravtryck i marginalerna. Kort reva i nedre marginalen på s. 115/116. ""Carl Moberg / Moshult!"" skrivet med blyerts på titelbladet; sannolikt Mobergs fars signatur. Dedikation: ""Till Kristina -- en bok som är i behov av kärleksfullt bemötande -- från Författaren som minne av den 22 juli 1954"". Mottagaren Kristina Odelberg/Hedenblad (1917-2005) hade under 40-talet och möjligen även senare en kärleksaffär med Moberg, som döpte Kristina i Utvandrarserien efter henne. Kärleksaffären upptäcktes via en svit om 30 böcker som Moberg dedicerat till henne. I exemplaret av Utvandrarna (1949) skriver han: ”Till Kristina, min älskade, som lånat sitt namn åt den kvinnliga huvudpersonen i denna bok, med tacksamhet och kärlek från Författaren”, ett intyg som upprepas så sent som 1969 i pocketupplagan av Utvandrarserien: ” Den 29/3 1969. / Till Kristina -- hon som givit sitt namn åt den kvinnliga huvudpersonen i utvandrarromanen och till Minnet / med innerlig tillgivenhet från Författaren”, vilket visar att hon var fullt närvarande i hans tankevärld under hela denna tid och därmed mycket väl kan ha påverkat hans senare litterära produktion. Vad som ytterligare talar för detta är exemplaret av Vår ofödde son, en pjäs från 1945 som behandlar abort-problematik. Detta är den enda av böckerna som Kristina låtit binda in i ett påkostat rött skinnband, med en pärmficka längst bak där hon samlat tidningsartiklar om boken och dess författare. I Kristinas exemplar av den danska utgåvan av samma bok, utgiven 1947, finns en dedikation från översättaren: ”Kaera Kristina! / Denne Bog, den til Dels handler om dig, sendes dig til Erindring -- ikke om Forfattaren, men om Oversatteren. / Din Carl Erik"".

Köln; Verlag der Buchhandlung Walther König, 1992. 30x21 cm. (3, 1 blank) pp. + 245 plates. Original printed wrappers. Spine and margins of the wrappers are slightly toned. A very fine copy. Contains reproductions of 245 drawings by Kippenberger on hotel stationery. The volume was followed by ""Hotel-Hotel-Hotel"" (1995), and the posthumously published ""No Drawing No Cry"" (2000). Colophon: ""This book was published in a limited edition of 950 numbered copies. Except for a few all of the drawings are reproduced in their original size. Copies numbered 1-100 are signed by the artist. A polaroid-photograph and a signed drawing are enclosed with copies numbered from 1-30. Copies numbered 28-30 are not for the trade"". This is copy no. 468. Koch, Annotated catalogue raisonné of the books by Martin Kippenberger 1977-1997, no. 109.

New York; Castelli Graphics, 1990. 29,5x22 cm. 37, (2, 1 blank) pp. Original printed wrappers. The book contains 26 lithographs with hand-colouring, and is housed in the original finished cypress box. Very fine. Colophon: ""… a hand-colored letterpress book in an edition of twenty-five copies with eight artists' proofs. The book is printed in Walbaum type on Penhurst Barcham Green paper by Peter Kruty and hand-colored by Cinda Sparling. Each book is signed by the artist"". This is the signed no. 17. With a laid-in invitation to a private view at Björn Olsson Gallery in Stockholm, in September of 1990, together with the hand-coloured reliefprint with collage, called ""Detail August 1988"", produced on this occasion in 500 signed copies of which this is no. 210. Petersen started making monthly inspired journal sketches in the early 70's, inspired by the nature of Captiva Island, Florida, where he lived and worked with Robert Rauschenberg, by combining his sketches with photos, illustrations from magazines, postcard and other found objects. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

Stockholm, 1968. 24x18 cm. Contemporary print. Insignificant cornerfolds. With Özkök's signature and stamp on verso, and his initials below the image. Duras and Özkök met for the first time in Florence in 1962, when he also took his first photo of her. They were close friends and frequent visitors to each other's homes in Paris and Stockholm, and some of the well-known portraits of Duras are taken in Özkök's flat, like the one offered here.

Gothenburg, 1991. Original b&w photo. 24x17 cm. Contemporary print. Fine. With Özkök's signature, stamp, and address label on verso. In 1991 Özkök was commissioned to photograph Auster at the Göteborg Book fair. Offered here is the wide-spread photo where Auster holds a pen as a cigarette.

New York; Vrej Baghoomian, Inc., 1989. First edition. 25x19,5 cm. 25 leaves, printed on the recto + colophon. Publisher's printed boards. Spine ends are insignificantly worn. A fine copy. A facsimile of Basquiat's notebook, issued in 1000 copies the year after the artist's death. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

Helsinki; Galerie Artek, 1989. 23x15,5 cm. (47, (3 blanks) pp. Illustrated. Original blue cloth with the artist's name blindstamped on front board. Very fine. Exhibition catalogue with text in Finnish and Swedish. With chronology and list of exhibitions. 15 of the exhibited acrylic paintings, inspired by the bathroom tiling of the Paradise View Hotel, are reproduced in full colour. Inscribed by the artist in pencil to gallery owner Anders Tornberg in both Swedish and English: ""Till Anders som har vidgat my views / om natten 9.11. -89 / Paul"" [For Anders who has broadened my horizons / at night 9.11. -89 / Paul]. Laid-in is an original acrylic painting on thick paper, 19x14,5 cm, also inscribed to Anders Tornberg, signed and dated 1989.

[Williamstown, Mass.]; Williams College, 1979. 28x22 cm. (52) pp. Illustrated, and with a mounted plate, a muslin-mounted rag paper rubbed with earth from an archaeological site. Signed by the artist below the plate. Original printed wrappers, stapled. A few light fingerprints on the wrappers. A fine copy. ""Stuart pioneered the utilization of organic mediums such as earth, wax, seeds, and plants to the vertical surface experience. These works that go beyond the bounds of traditional artistic resources articulate the complex processes through a language of exploration of both the physicality of materials and cultural and scientific issues not generally thought of in the vocabulary of art. The changes that take place in organic matter, the extinction series and the series on genetic variation, explore scientific issues that provide a new art vocabulary. [...] Her work references a range of influences, from history, astronomy, botany and her extensive travels to ancient archaeological sites."" (from the artist's homepage). From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

Lund; Anders Tornberg Gallery, 1991. 41,5x31,5 cm. Opaginerad. 13 textblad + 10 etsningar. Svart skinnband (Leonard Gustafssons Bokbinderi) med konstnärens namn och titeln blindpressade på ryggen resp. främre pärm. Placerad i en svart pappkassett. Etsningarna är tryckta på 250-gramspapper hos Niels Borch Jensen. Mycket fint ex. Nr. 24 av 30 exemplar, signerad av konstnären i kolofonen. Svenungssons första utställning på galleriet, där han även ställde ut 1994 och 1999. Han beskriver själv processen på sin hemsida: ""JS, having got to know Anders some, realized he was a lover of fine books. This was an interesting observation, especially since JS had become acquintated with Niels Borch Jensen in Copenhagen, one of the world's best etching printers - and wanted to make a project with him. Would Anders be interested in publishing a book of etchings? Yes, of course he would! A project was developed and a maquette produced. Work began. JS decided to use a series of years as the backbone of the book: each year would be coupled with an image, taken form the existing production - but processed first through different photo-reproductive processes, then through the printing technique. The idea for the maquette was only to show how it could look like, but when in Copenhagen: a quick decision was taken to use the maquette as an exact model that would have to be followed, even though the technique used was handcoloured b/w photographs, and the prints would be acquatints with photoetching. With the help of an extensive proofing process the work was carried out. The years were printed in lead type, and the whole book bound in leather in Stockholm. It became the centerpiece of the exhibition in the gallery. Resting on a specially designed bookshelf, white gloves were provided for the visitor who wanted to leafle through the book. There was no extra set of the etchings to be framed and hung on the wall. Sequence was everything. The book was named ""PARAD""."" (from the homepage of Svenungsson). From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

New York; ZG Publications & Brooke Alexander, 1989. 34x25 cm. (7, 7 blanks) pp. + 20 photographic plates (several double-spread) & an original silver gelatin print in separate folder. Two volumes in black quarter leather with brown cloth over boards, housed in the original clamshell box. The book and the print have been signed by the artist in pencil. There are some light stains on the lid of the box. A fine copy. No. 50/50 of the deluxe limited edition, which was also issued in 20 AP copies, lettered A to T. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

New York; The New American Library, 1968. First edition, stated first printing. 21,5x14,5 cm. (6, 2 blanks), 53, (1, 2 blanks) pp. Recently bound by Hannah Morrissey, Stockholm, in red and black marbled boards with silver lettering on spine, and red top edge. Wrappers are not preserved. A very fine copy of the author's first book, written under the influence of Sylvia Plath. Contains, for instance, the poems ""The Egg"", ""Early December in Croton-on-Hudson"", and ""Cottonmouth Country"". Inscribed: ""For Marsha with best wishes / Louise Glück"".

New York; Vincent FitzGerald & Co., 1987. 27x16,5 cm. (23, 1 blank) pp. Leporello binding with black cloth-boards and paper-label, by Gérard Charrière and Zahra Partovi, placed in a red card folder. Very fine. The text was printed by Daniel Keleher at the Wild Carrot Letterpress on Moulin du Gue paper, and the etchings by Marjorie Van Dyke at Bob Blackburn's Printmaking Workshop. The etchings are printed as a continuum at the top of the pages, and measure approximately 3,3 meters when unfolded. No. 24 of 100 copies printed, signed by the artist and translator. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on rear inner board.

New York; Vincent FitzGerald & Co., 1989. 17x24 cm. (32) pp. + 2 blank leaves on maroon luxury paper. Bound in black silk by Zahra Partovi, and housed in a black silk clamshell box (David Bourbeau, Thistle Bindery) with steel plates inserted on the boards. Both the book and the box are shaped as trapezoids. Very fine. The text was printed by Allethaire Press and the Wild Carrot Letterpress, and the etchings by Marjorie Van Dyke and M'Lis Bartlett at The Printmaking Workshop on Rives Johannot and Dieu Donné paper. The etchings are printed as a continuous line throughout the book. The text, Rumi's parable on the Chinese painters versus the Greek painters, comes from the Mathnawi, translated and calligraphed by Partovi. No. 3 of 50 copies printed, signed by both the artist and translator on the colophon. From the library of Anders Tornberg Gallery in Lund, Sweden.

Santa Monica; Jacob Samuel, 1988. 27,5x21 cm. (2, 6 blanks) pp. + 8 plates of original etchings and aquatints with tissue-guards. Bound in black cloth and housed in the original black cloth slipcase. The slipcase is slightly faded. Very fine. Colophon: ""This book was printed by Jacob Samuel at the Litho Shop Inc. in Santa Monica, California, assisted by Shimone Samuel. The plates were made by the artist between October 1987 and February 1988 using the soft ground method. Aquatint was added later. Book design by Jacob Samuel and Jene Highstein; letterpress by Les Ferriss. Bookbinding by Klaus-Ullrich S. Rötscher."" Issued in 10 numbered and signed copies. This is no. 8. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

New York; Exit Art, 1982. 28x21,5 cm. 27 folded sheets in a brown cardboard box. The box has been sealed with a dollar bill, and has been opened. There is a small crack in onr of the foldings. A fine copy. Published on the occasion of Exit Art's first event, a group exhibition at Franklin Furnace in New York. The exhibiting artists were Vito Acconci, Gempei, Akasegawa, Louis Aragon, Scott Billingsley, Marc Blane, Gunther Brus, Barry Bryant, Chris Burden, Papo Colo, Bogomir Ecker, William Farley, John Fekner, Lou Forgione, John Giorno, John Halpern Gaag, Abbie Hoffman, Sam Hsieh, Jay Jaroslov, Komar & Melamid, George Maciunas, Gordon Matta-Clark, Ann Messner, Richard Mock, Peter Monnig, Charlotte Moorman, Otto Muehl, Hermann Nitsch, Dennis Oppenheim, Peoples Flag Show, Jan Van Ray, and Real Estate Show. ""The show explored the ways in which the practice of art had occasionally run afoul of the law, from Charlotte Moorman playing cello in the nude to Chris Burden ordering his assistant to shoot him in his arm. The catalogue consisted of a series of artists’ statements housed in a box, which was sealed shut. In order to open it, you had to tear through a dollar bill glued across the flaps—an illegal act, albeit of the mildest kind."" (Hua Hsu, ""Exit Art 1982-2012"", in The Paris Review, April 12, 2012). From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on inside of the box.

Köln; Galerie Engels, 1986. 26x20 cm. 35 leaves, printed on the recto. Original grey linen, printed in black on front board. A fine copy. Contains the text ""Carioca sein"" by Kippenberger and Albert Oehlen, and 23 plates in silkscreen. One of 75 issued copies. ""23 Four-grey-tone-proposals for the Modernization of the Backstroke Swimmer"", referring to the statue Christ the Redeemer in Rio de Janeiro, was published to accompany the exhibition at Galerie Engels. Signed by Kippenberger in pencil. Koch, Annotated catalogue raisonné of the books by Martin Kippenberger 1977-1997, no. 32. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

Albuquerque; Tamarind Institute, 1991. 31x31 cm. 8 lithographs on Somerset satin paper, each one within a portfolio of black Arches paper, a lithographed title page, and a colophon. On the inside of the portfolios, text from letters sent to Benes by his aunt Evelyn is printed. All pages are dusted with metallic powder. Hand printed by Sarah Amos. Housed in a black cloth box, bound by Portfoliobox Inc. in Providence, Rhode island, which also includes a fastened paintbrush made from shredded dollar bills. This suite of lithographs was issued in 29 copies: 20 of which were numbered from 1-20, 5 artist's proofs, 3 Tamarind impressions, and the bon à tirer. This copy is No. 3 of the artist's proofs, signed by Benes, and additionally inscribed by him to the gallery owners Inger and Anders Tornberg on the title page: ""for Inger and Anders -- Christmas 1993. Thanks for being there for me during dark times / I love you -- Barton"". From the library of Anders Tornberg Gallery in Lund, Sweden.

Paris; Atelier Franck Bordas, 1993. 20,5x15,5 cm. 13 leaves + 50 original lithographs. Loose leaves in blank wrappers, housed in the original printed grey cloth chemise and slipcase, made by Bernard Duval. Very fine. Issued in 100 copies numbered 1-100, plus 25 copies HC, numbered I-XXV, all of them signed by the artist. This is number IV/XXV. In a short preface, entitled ""Mannerism Origins"", Brown states: ""Let us begin with Dana and Alexandra who walked with me through mannerism in all the subtleties contained and all the grandeurs offered. For what this reactionary movement has spun I admire and embrace. For Rome as it is. As it inspired."" Additionally inscribed by the artist to gallery owners Inger and Anders Tornberg on the first blank leaf: ""Inger + Anders / James / 1995"". Brown exhibited at Anders Tornberg Gallery on three occasions between 1985 and 1991. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank leaf.

New York; Vincent FitzGerald & Co., 1993. 23x23 cm. 14 leaves, printed on Rives BFK and Dieu Donné Papermill by Daniel Keleher at the Wild Carrot Letterpress. Coptic binding with wooden boards, by Zahra Partovi, with a Japanese paper-label on front board. Housed in a grey cloth Solander box (BookLab) with red leather-label on spine. Very fine. Issued in 50 copies, all of them signed and numbered by the artist on the colophon. This is the artist proof no. 2. Additionally inscribed by Kurahara to Swedish gallery owner Anders Tornberg in 1993.

Rome; Il Ponte editrice d'arte, 1991. 23,5x17 cm. (36) pp. + colophon. Original printed boards. The boards are insignificantly bowed. Very fine. A facsimile reprint of Longobardi's sketchbook, printed in litho-offset in 1000 copies, of which the first 100 are signed by the artist and contain a loosely inserted original etching. This is the signed no. 18, with a laid-in original etching, signed in pencil and numbered 47/50. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

Lund; Anders Tornberg Gallery, 1985. 26x26,5 cm. A portfolio of 10 etchings, with tissue-guards and loosely placed in printed wrappers. Housed in the original grey Solander box, made by Gerhard Larsson, Malmö. Very fine. The etchings were printed by Marjorie van Dyke, assisted by Julie D'Amario, at the Printmaking Workshop in New York. The portfolio was issued in 50 copies, plus 10 artist's proofs. This copy is ""A. P."" but not numbered, and signed by Susan Weil on the colophon. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on rear inner board of the box.

[No place]; Edition Erling Neby, 1996. 2 text leaves + 24 serigraphs with tissue-guards, housed in the original red cloth box, bound at N-G Nilssons Bookbindery. Printed on Arches 300 gram paper measuring 38x28 cm, with an image size of 15x12 cm. No. 74 of 95 sets. All leaves are numbered and signed by the artist. The box has two faint stains on front panel, and one of the sides has a crack. The leaves are all very fine. Inscribed by Osipow in Swedish to Anders and Inger Tornberg, congratulating them on their marriage in 1996. The Norwegian entrepreneur Erling Neby, born 1950, started purchasing constructivist and geometric art in the early 70s, and is now the owner of one of the world's foremost collections in this field. The collection focuses mainly on Scandinavian artists, such as Olle Bærtling, Gunnar S. Gundersen, Robert Jacobsen and Paul Osipow, but includes also the works by international artists such as Jean Dewasne, Victor Vasarely, Ludwig Sander and Horia Damian. The collection was exhibited at Henie Onstad Kunstsenter in 2011, and a major catalogue was published by Skira at this occasion. The Finnish artist Paul Osipow, born 1939, was first recognized for his pop-art paintings, but later turned to constructivism. In a laid-in letter, two full A4-sheets in handwriting, Osipow gives the story behind this publication, and explains the structure of the work in detail. The letter is undated and without recipient; it was probably just handed to Anders Tornberg or sent together with the book. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the inner board of the box.