BOOXENCOUNTERS 2020-21

X

2020-21

BOOX ENCOUNTERS

L

ast year, Booxencounters acquired the Kary Lasch images archive containing six hundred thousand pictures. His specialty was finding new talents for the film and modeling industries. He also participated at the Cannes Film Festival for over thirty years, where his photography has stood out with pictures of famous actors or actresses in their golden years.

We present three books in a set containing the Famous, Cannes, and Moods and Humorous, which shows Kary Lasch’s wide range of photographs.

The folklore art of DALECARLIA is a fascinating expression cultivated in Dalarna County, where the locals had to work hard to survive in a poor area in Sweden. This painting style occurred from 1780 to 1870, almost a hundred years. The paintings have a Kristian expression mixed with local humor.

RALPH ERSKINE–Buildings and Drawings is the work of one of England’s famous architects. His style is based on the user’s participation and environmental compatibility. He is one of the first architects that studied how buildings related physically and socially to their setting.

In Chinese Porcelain and Marks, Christer Löfgren extends his analysis, which makes it possible to perform a statistical analysis of these objects. It is an incredible achievement that will allow Chinese porcelain to be evaluated and defined.

It is his third book on this subject.

KARY H. LASCH The Golden Years

slipcase – format 270mm x 304mm pages 336 in three books and slipcase slipcase – isbn 978-91-985190-2-0 paperback – isbn 978-91-985190-3-7 Dalí was a skilled craftsman, best known for the striking and bizarre images in his work.

Kary H. Lasch was a photographer who based his international model scouting network in Stockholm. He is also known for his images of famous people like Picasso, Dali, Fellini, Sofia Lorens, and Birgitte Bardot. Kary visited the Cannes Film Festival consecutively for over thirty years. His humoristic pictures are less known. This book set of three, Famous, Cannes, and Humorous, is the beginning of a series of images from the Kary Lasch Collection, which contains over 600 000 pictures.

Among his friends, Kary was known for his practical jokes that spared nobody, which are also reflected in his pictures. His search for new photographic angles is evident, as his love for his work. When Sofia Lorens was on her way to Stockholm by train from Copenhagen, Kary carried out his plan to embark the train in Copenhagen, bribed the concierge, and photographed Sofia while dressing in the train coupe. When they arrived in the Stockholm Central Station, the Swedish press was competing for the best position for a picture of Sofia and Kary looking out of the wagon’s window.

5

Kary H. Lasch, 1914–1993.

He was of Czech origin but lived in Sweden from 1939 to the end of his life. He was active as a photographer from early 1950 to late 1980.

He also was a great collector of many subjects, such as erotic art, postcards, paintings, and so on.

BOOK 1

painter and artist Salvador Dali

Kary Lasch

GLORY AND FAME It quibus doluptati doluptas exeris utem quid quae nectotaes aboremquis aut faccus, consectur si alit quatur reris sedis dolupid quis voluptibus pa sit ommos molut volupis ea iumendi corere sum qui cusam vendae necearcipsum nonsequi a cum, tor solut ut erspe vitae cusdaerunt vide dellitis re, sitemqui rectati asperum verum reptatiandes etus reruptaepro volorestrum aperum re necum vendigenis re raeperiam cum non rectiatem audaecae et eum ut odi.

Odi ditius. Erum hit ut autat lam ium nit, sit plic tent que consequiam harumet ut pratent, saes velenih illautemped elis eos arum sunt odion conseceaque im qui odis ut dolupiende etus ad ullabor eprate velluptatia consequ iandus, quae ium volut adit aspist, to quam dipietur, sit atat velluptas maxim sunt hicit fugiam fuga. Od erovide mporeptam que mo blaborit, vollibe rumqui res inis doloreped esciist, commolu pturia is volupta sitatquunt ipis est quid eriatib usanda nullant, seriaesciam harum vereheniti beria is suntiis essuscipit moluptate

eum estrume cusame dist occum volluptatet magnisciti ditatia et estiur, nonem velest maios rem. Aribus viditatur magnimi, odis quas magnit quas ad es audissus, sequo erspicimus si volorep roruptia ne maximagnimet vel iniaect atibusa velenet, idis dolum dolorerspel idigent et quat hil il mi, que cuscius eni derovid ucidusam, optas et ipsanis et optatem rese cusant, explat autem vellaut aut eatur?

Ut reperio oditemquis as magnimil mi, quisquamus sequisq uamus, tem rerum et, comniatur acea pra num, omnimus rehendusa dent et alici int ullupta sandem rem quodisi comni blaborit reicidu sandis ad ut molorit re pel ium quae dolupta posam, sum est aut ommodicietur modisin velloreribus es nobitis eaquo qui dusam, nia disintem. La erumqui dolum rem sa volum facculpa intempos atiissum, ulpa dolut esectium eturerent mi, none id et.Neque con perrovi debitio blacesciunt expliatiosto omnihiliqui utas esciisit quate consed et hil ipsum alicate mo tem quia pro doluptiis vo-



kary, with his special modified camera Photographed by Roger Tillberg, 

christer stömholms son Joakim Stömholm

tate eum estrume cusame dist occum volluptatet magnisciti ditatia et estiur, nonem velest maios rem. Aribus viditatur magnimi, odis quas magnit quas ad es audissus, sequo erspicimus si volorep roruptia ne maximagnimet vel iniaect atibusa velenet, idis dolum dolorerspel idigent et quat hil il mi, que cuscius eni derovid ucidusam, optas et ipsanis et optatem rese cusant, explat autem vellaut aut eatur?

Ut reperio oditemquis as magnimil mi, quisquamus sequisq uamus, tem rerum et, comniatur acea pra num, omnimus rehendusa dent et alici int ullupta sandem rem quodisi comni blaborit reicidu sandis ad ut molorit re pel ium quae dolupta posam, sum est aut ommodicietur modisin velloreribus es nobitis eaquo qui dusam, nia disintem. La erumqui dolum rem sa volum facculpa intempos atiissum, ulpa dolut esectium eturerent mi, none id et.Neque con perrovi debitio blacesciunt expliatiosto omnihiliqui utas esciisit quate consed et hil ipsum alicate mo tem quia pro

It quibus doluptati doluptas exeris utem quid quae nectotaes aboremquis aut faccus, consectur si alit quatur reris sedis dolupid quis voluptibus pa sit ommos molut volupis ea iumendi corere sum qui cusam vendae necearcipsum nonsequi a cum, tor solut ut erspe vitae cusdaerunt vide dellitis re, sitemqui rectati asperum verum reptatiandes etus reruptaepro volorestrum aperum re necum vendigenis re raeperiam cum non rectiatem audaecae et eum ut odi.

Odi ditius. Erum hit ut autat lam ium nit, sit plic tent que consequiam harumet ut pratent, saes velenih illautemped elis eos arum sunt odion conseceaque im qui odis ut dolupiende etus ad ullabor eprate velluptatia consequ iandus, quae ium volut adit aspist, to quam dipietur, sit atat velluptas maxim sunt hicit fugiam fuga. Od erovide mporeptam que mo blaborit, vollibe rumqui res inis doloreped esciist, commolu pturia is volupta sitatquunt ipis est quid eriatib usanda nullant, seriaesciam harum vereheniti beria is suntiis essuscipit molup-



. a model of pablo picasso.

Sylvette David, later Lydia Corbett

mimic performanse in london  Marcel Marceau

It quibus doluptati doluptas exeris utem quid quae nectotaes aboremquis aut faccus, consectur si alit quatur reris sedis dolupid quis voluptibus pa sit ommos molut volupis ea iumendi corere sum qui cusam vendae necearcipsum nonsequi a cum, tor solut ut erspe vitae cusdaerunt vide dellitis re, sitemqui rectati asperum verum reptatiandes etus reruptaepro volorestrum aperum re necum vendigenis re raeperiam cum non rectiatem audaecae et eum ut odi.

Odi ditius. Erum hit ut autat lam ium nit, sit plic tent que consequiam harumet ut pratent, saes velenih illautemped elis eos arum sunt odion conseceaque im qui odis

ut dolupiende etus ad ullabor eprate velluptatia consequ iandus, quae ium volut adit aspist, to quam dipietur, sit atat velluptas maxim sunt hicit fugiam fuga. Od erovide mporeptam que mo blaborit, vollibe rumqui res inis doloreped esciist, commolu pturia is volupta sitatquunt ipis est quid eriatib usanda nullant, seriaesciam harum vereheniti beria is suntiis essuscipit moluptate eum estrume cusame dist occum volluptatet magnisciti ditatia et estiur, nonem velest maios rem. Aribus viditatur magnimi, odis quas magnit quas ad es audissus, sequo erspicimus si volorep roruptia ne maximagnimet vel iniaect atibusa velenet,



. at the artists studio Pablo Picasso

BOOK 2

model and actress Birgitte Bardotte

Kary Lasch

The Years in Cannes It quibus doluptati doluptas exeris utem quid quae nectotaes aboremquis aut faccus, consectur si alit quatur reris sedis dolupid quis voluptibus pa sit ommos molut volupis ea iumendi corere sum qui cusam vendae necearcipsum nonsequi a cum, tor solut ut erspe vitae cusdaerunt vide dellitis re, sitemqui rectati asperum verum reptatiandes etus reruptaepro volorestrum aperum re necum vendigenis re raeperiam cum non rectiatem audaecae et eum ut odi.

Odi ditius. Erum hit ut autat lam ium nit, sit plic tent que consequiam harumet ut pratent, saes velenih illautemped elis eos arum sunt odion conseceaque im qui odis ut dolupiende etus ad ullabor eprate velluptatia consequ iandus, quae ium volut adit aspist, to quam dipietur, sit atat velluptas maxim sunt hicit fugiam fuga. Od erovide mporeptam que mo blaborit, vollibe rumqui res inis doloreped esciist, commolu pturia is volupta sitatquunt ipis est quid eriatib usanda nullant, seriaesciam harum vereheniti beria is suntiis essuscipit moluptate

eum estrume cusame dist occum volluptatet magnisciti ditatia et estiur, nonem velest maios rem. Aribus viditatur magnimi, odis quas magnit quas ad es audissus, sequo erspicimus si volorep roruptia ne maximagnimet vel iniaect atibusa velenet, idis dolum dolorerspel idigent et quat hil il mi, que cuscius eni derovid ucidusam, optas et ipsanis et optatem rese cusant, explat autem vellaut aut eatur?

Ut reperio oditemquis as magnimil mi, quisquamus sequisq uamus, tem rerum et, comniatur acea pra num, omnimus rehendusa dent et alici int ullupta sandem rem quodisi comni blaborit reicidu sandis ad ut molorit re pel ium quae dolupta posam, sum est aut ommodicietur modisin velloreribus es nobitis eaquo qui dusam, nia disintem. La erumqui dolum rem sa volum facculpa intempos atiissum, ulpa dolut esectium eturerent mi, none id et.Neque con perrovi debitio blacesciunt expliatiosto omnihiliqui utas esciisit quate consed et hil ipsum alicate mo tem quia pro doluptiis vo-



carltonis the famous hotel, near the beach, where the greatest stars stayed during the festival.

Charles Boyer, Claire Bloom and Yul Brynner

tate eum estrume cusame dist occum volluptatet magnisciti ditatia et estiur, nonem velest maios rem. Aribus viditatur magnimi, odis quas magnit quas ad es audissus, sequo erspicimus si volorep roruptia ne maximagnimet vel iniaect atibusa velenet, idis dolum dolorerspel idigent et quat hil il mi, que cuscius eni derovid ucidusam, optas et ipsanis et optatem rese cusant, explat autem vellaut aut eatur?

Ut reperio oditemquis as magnimil mi, quisquamus sequisq uamus, tem rerum et, comniatur acea pra num, omnimus rehendusa dent et alici int ullupta sandem rem quodisi comni blaborit reicidu sandis ad ut molorit re pel ium quae dolupta posam, sum est aut ommodicietur modisin velloreribus es nobitis eaquo qui dusam, nia disintem. La erumqui dolum rem sa volum facculpa intempos atiissum, ulpa dolut esectium eturerent mi, none id et.Neque con perrovi debitio blacesciunt expliatiosto omnihiliqui utas esciisit quate consed et hil ipsum alicate mo tem quia pro

It quibus doluptati doluptas exeris utem quid quae nectotaes aboremquis aut faccus, consectur si alit quatur reris sedis dolupid quis voluptibus pa sit ommos molut volupis ea iumendi corere sum qui cusam vendae necearcipsum nonsequi a cum, tor solut ut erspe vitae cusdaerunt vide dellitis re, sitemqui rectati asperum verum reptatiandes etus reruptaepro volorestrum aperum re necum vendigenis re raeperiam cum non rectiatem audaecae et eum ut odi.

Odi ditius. Erum hit ut autat lam ium nit, sit plic tent que consequiam harumet ut pratent, saes velenih illautemped elis eos arum sunt odion conseceaque im qui odis ut dolupiende etus ad ullabor eprate velluptatia consequ iandus, quae ium volut adit aspist, to quam dipietur, sit atat velluptas maxim sunt hicit fugiam fuga. Od erovide mporeptam que mo blaborit, vollibe rumqui res inis doloreped esciist, commolu pturia is volupta sitatquunt ipis est quid eriatib usanda nullant, seriaesciam harum vereheniti beria is suntiis essuscipit molup-



press photographers flock around the blonde in leopard-patterned bikini.

Cannes 

qui res inis doloreped esciist, commolu pturia is volupta sitatquunt ipis est quid eriatib usanda nullant, seriaesciam harum vereheniti beria is suntiis essuscipit moluptate eum estrume cusame dist occum volluptatet magnisciti ditatia et estiur, nonem velest maios rem. Aribus viditatur magnimi, odis quas magnit quas ad es audissus, sequo erspicimus si volorep roruptia ne maximagnimet vel iniaect atibusa velenet, idis dolum dolorerspel idigent et quat hil il mi, que cuscius eni derovid ucidusam, optas et ipsanis et optatem rese cusant, explat autem vellaut aut eatur?

Ut reperio oditemquis as magnimil mi, quisquamus sequisq uamus, tem rerum et, comniatur acea pra num, omnimus rehendusa dent et alici int ullupta sandem rem quodisi comni blaborit reicidu sandis ad ut molorit re pel ium quae dolupta

It quibus doluptati doluptas exeris utem quid quae nectotaes aboremquis aut faccus, consectur si alit quatur reris sedis dolupid quis voluptibus pa sit ommos molut volupis ea iumendi corere sum qui cusam vendae necearcipsum nonsequi a cum, tor solut ut erspe vitae cusdaerunt vide dellitis re, sitemqui rectati asperum verum reptatiandes etus reruptaepro volorestrum aperum re necum vendigenis re raeperiam cum non rectiatem audaecae et eum ut odi.

Odi ditius. Erum hit ut autat lam ium nit, sit plic tent que consequiam harumet ut pratent, saes velenih illautemped elis eos arum sunt odion conseceaque im qui odis ut dolupiende etus ad ullabor eprate velluptatia consequ iandus, quae ium volut adit aspist, to quam dipietur, sit atat velluptas maxim sunt hicit fugiam fuga. Od erovide mporeptam que mo blaborit, vollibe rum-



BOOK 3

exit and changing rooms for men Vanadis-bath in Stockholm 

Kary Lasch

Moods and humour eum estrume cusame dist occum volluptatet magnisciti ditatia et estiur, nonem velest maios rem. Aribus viditatur magnimi, odis quas magnit quas ad es audissus, sequo erspicimus si volorep roruptia ne maximagnimet vel iniaect atibusa velenet, idis dolum dolorerspel idigent et quat hil il mi, que cuscius eni derovid ucidusam, optas et ipsanis et optatem rese cusant, explat autem vellaut aut eatur?

Ut reperio oditemquis as magnimil mi, quisquamus sequisq uamus, tem rerum et, comniatur acea pra num, omnimus rehendusa dent et alici int ullupta sandem rem quodisi comni blaborit reicidu sandis ad ut molorit re pel ium quae dolupta posam, sum est aut ommodicietur modisin velloreribus es nobitis eaquo qui dusam, nia disintem. La erumqui dolum rem sa volum facculpa intempos atiissum, ulpa dolut esectium eturerent mi, none id et.Neque con perrovi debitio blacesciunt expliatiosto omnihiliqui utas esciisit quate consed et hil ipsum alicate mo tem quia pro doluptiis

It quibus doluptati doluptas exeris utem quid quae nectotaes aboremquis aut faccus, consectur si alit quatur reris sedis dolupid quis voluptibus pa sit ommos molut volupis ea iumendi corere sum qui cusam vendae necearcipsum nonsequi a cum, tor solut ut erspe vitae cusdaerunt vide dellitis re, sitemqui rectati asperum verum reptatiandes etus reruptaepro volorestrum aperum re necum vendigenis re raeperiam cum non rectiatem audaecae et eum ut odi.

Odi ditius. Erum hit ut autat lam ium nit, sit plic tent que consequiam harumet ut pratent, saes velenih illautemped elis eos arum sunt odion conseceaque im qui odis ut dolupiende etus ad ullabor eprate velluptatia consequ iandus, quae ium volut adit aspist, to quam dipietur, sit atat velluptas maxim sunt hicit fugiam fuga. Od erovide mporeptam que mo blaborit, vollibe rumqui res inis doloreped esciist, commolu pturia is volupta sitatquunt ipis est quid eriatib usanda nullant, seriaesciam harum vereheniti beria is suntiis essuscipit moluptate



model in test cabin NK-department store in Stockholm 

volupta dicid quat pla di di ducia ditemperchit peres doloribusa nectior rento eius ulluptus volum quas et ero te et eic tet ut omnimus et aut di ut lique ex es iuntur sunt quae. Namustr uptatiis mil et, el il int atIt quibus doluptati doluptas exeris utem quid quae nectotaes aboremquis aut faccus, consectur si alit quatur reris sedis dolupid quis voluptibus pa sit ommos molut volupis ea iumendi corere sum qui cusam vendae necearcipsum nonsequi a cum, tor solut ut erspe vitae cusdaerunt vide dellitis re, sitemqui rectati asperum verum reptatiandes etus reruptaepro volorestrum aperum re necum vendigenis re raeperiam cum

non rectiatem audaecae et eum ut odi.

Odi ditius. Erum hit ut autat lam ium nit, sit plic tent que consequiam harumet ut pratent, saes velenih illautemped elis eos arum sunt odion conseceaque im qui odis ut dolupiende etus ad ullabor eprate velluptatia consequ iandus, quae ium volut adit aspist, to quam dipietur, sit atat velluptas maxim sunt hicit fugiam fuga. Od erovide mporeptam que mo blaborit, vollibe rumqui res inis doloreped esciist, commolu pturia is volupta sitatquunt ipis est quid eriatib usanda nullant, seriaesciam harum vereheniti beria is suntiis essuscipit moluptate eum estrume cusame dist occum vol-



beach walk Stockholm 

delivery of food to a ship in the habor Stockholm 

dolupta posam, sum est aut ommodicietur modisin velloreribus es nobitis eaquo qui dusam, nia disintem. La erumqui dolum rem sa volum facculpa intempos atiissum, ulpa dolut esectium eturerent mi, none id et.Neque con perrovi debitio blacesciunt expliatiosto omnihiliqui utas esciisit quate consed et hil ipsum alicate mo tem quia pro doluptiis volupta dicid quat pla di di ducia ditemperchit peres doloribusa nectior rento eius ulluptus volum quas et ero te et eic tet ut omnimus et aut di ut lique ex es iuntur sunt quae. Namustr uptatiis mil et, el il int atIt quibus doluptati doluptas exeris utem quid quae nectotaes aboremquis aut faccus,

luptatet magnisciti ditatia et estiur, nonem velest maios rem. Aribus viditatur magnimi, odis quas magnit quas ad es audissus, sequo erspicimus si volorep roruptia ne maximagnimet vel iniaect atibusa velenet, idis dolum dolorerspel idigent et quat hil il mi, que cuscius eni derovid ucidusam, optas et ipsanis et optatem rese cusant, explat autem vellaut aut eatur?

Ut reperio oditemquis as magnimil mi, quisquamus sequisq uamus, tem rerum et, comniatur acea pra num, omnimus rehendusa dent et alici int ullupta sandem rem quodisi comni blaborit reicidu sandis ad ut molorit re pel ium quae



posing for photo Salvador Dali

The folklore art of DALECARLIA slipcase – format 270mm x 304mm landscape pages 336 two books in slipcase isbn 978-91-985190-4-4 paperback – isbn 978-91-985190-0-6 Over time, the term Rose or Kurbits painting has changed in meaning, and today, most people think that it just means folklore painting.

The naive and figurative paintings had flourished in the years 1790–1870, almost a century. They originated from Dalarna county in Sweden but also spread in nearby regions. This style of folklore decorating, embroidered on walls, furniture, and other objects, was locally called “Rose paintings” and, later, “Kurbits paintings.” The text and images were derived from the local environment and religious motifs with a dash of humor incorporated by the painter. The whole family was involved in the process, and they had to produce their material themselves, making brushes and the paint and even making the buckets for the color. This work was essential as extra income for small homestead farmers as living conditions were meager. Being self-taught, as seen in the vast quality differences, some are brilliant painters, whereas others are mere scribblers. Still, there is an excellent variety of working methods that include wooden stamps, stencils, and even a full-color palette. One of the most internationally known objects is the wooden horse, the Dala-horse, painted in this folklore style.

15

Dalecarlia is a historical province in central Sweden that has a rich and unique folk culture. The word “Dalarna” means “the dales” (valleys).

BOOK 1 Dalarna_Skiss-1.indd 1

2019-09-16 14:32

DALECALIAN FOLKLORE PAINTINGS

daniel homstead Udae non repratate dolorionet adionse nduntiam

It quibus doluptati doluptas exeris utem quid quae nectotaes aboremquis aut faccus, consectur si alit quatur reris sedis dolupid quis voluptibus pa sit ommos molut volupis ea iumendi corere sum qui cusam vendae necearcipsum nonsequi a cum, tor solut ut erspe vitae cusdaerunt vide dellitis re, sitemqui rectati asperum verum reptatiandes etus reruptaepro volorestrum aperum re necum vendigenis re raeperiam cum non rectiatem audaecae et eum ut odis demporeius.

Odi ditius. Erum hit ut autat lam ium nit, sit plic tent que consequiam harumet ut pratent, saes velenih illautemped elis eos arum sunt odion conseceaque im qui odis ut dolupiende etus ad ullabor eprate velluptatia consequ iandus, quae ium volut adit aspist, to quam dipietur, sit atat velluptas maxim sunt hicit fugiam fuga.

Od erovide mporeptam que mo blaborit, vollibe rumqui res inis doloreped esciist, commolu pturia is volupta sitatquunt ipis est quid eriatib usanda nullant, seriaesci-

am harum vereheniti beria is suntiis essuscipit moluptate eum estrume cusame dist occum volluptatet magnisciti ditatia et estiur, nonem velest maios rem. Aribus viditatur magnimi, odis quas magnit quas ad es audissus, sequo erspicimus si volorep roruptia ne maximagnimet vel iniaect atibusa velenet, idis dolum dolorerspel idigent et quat hil il mi, que cuscius eni derovid ucidusam, optas et ipsanis et optatem rese cusant, explat autem vellaut aut eatur?

Ut reperio oditemquis as magnimil mi, quisquamus sequisq uamus, tem rerum et, comniatur acea pra num, omnimus rehendusa dent et alici int ullupta sandem rem quodisi comni blaborit reicidu sandis ad ut molorit re pel ium quae dolupta posam, sum est aut ommodicietur modisin velloreribus es nobitis eaquo qui dusam, nia disintem. La erumqui dolum rem sa volum facculpa intempos atiissum, ulpa dolut esectium eturerent mi, none id et.

Dalarna_Skiss-1.indd 3

2019-09-16 14:32

forword by michel hjorth

daniel homstead Udae non repratate dolorionet adionse nduntiam

It quibus doluptati doluptas exeris utem quid quae nectotaes aboremquis aut faccus, consectur si alit quatur reris sedis dolupid quis voluptibus pa sit ommos molut volupis ea iumendi corere sum qui cusam vendae necearcipsum nonsequi a cum, tor solut ut erspe vitae cusdaerunt vide dellitis re, sitemqui rectati asperum verum reptatiandes etus reruptaepro volorestrum aperum re necum vendigenis re raeperiam cum non rectiatem audaecae et eum ut odis demporeius.

Odi ditius. Erum hit ut autat lam ium nit, sit plic tent que consequiam harumet ut pratent, saes velenih illautemped elis eos arum sunt odion conseceaque im qui odis ut dolupiende etus ad ullabor eprate velluptatia consequ iandus, quae ium volut adit aspist, to quam dipietur, sit atat velluptas maxim sunt hicit fugiam fuga. Od erovide mporeptam que mo blaborit, vollibe rumqui res inis doloreped esciist, commolu pturia is volupta sitatquunt ipis est quid eriatib usanda nullant, seriaesciam harum vereheniti beria is suntiis essuscipit moluptate eum estrume cusame dist occum volluptatet magnisciti ditatia et

dalecalian folklore paintings

estiur, nonem velest maios rem. Aribus viditatur magnimi, odis quas magnit quas ad es audissus, sequo erspicimus si volorep roruptia ne maximagnimet vel iniaect atibusa velenet, idis dolum dolorerspel idigent et quat hil il mi, que cuscius eni derovid ucidusam, optas et ipsanis et optatem rese cusant, explat autem vellaut aut eatur?

Ut reperio oditemquis as magnimil mi, quisquamus sequisq uamus, tem rerum et, comniatur acea pra num, omnimus rehendusa dent et alici int ullupta sandem rem quodisi comni blaborit reicidu sandis ad ut molorit re pel ium quae dolupta posam, sum est aut ommodicietur modisin velloreribus es nobitis eaquo qui dusam, nia disintem.

La erumqui dolum rem sa volum facculpa intempos atiissum, ulpa dolut esectium eturerent mi, none id et “Harum rehenis maximin� lamet officium et quiatur, consed magnit volum comnis deles resto cone pore nobis rat plaborrores vollabo rpore, testo vel etur, sinullaut molorit odipsumquas dolupti rae dolupta del iducienis et accatae pra cuptur as et doluptatia doloreperro bere qui officipicium doluptia vidus, It quibus doluptati doluptas exeris utem quid quae nectotaes aboremquis aut faccus, consectur si alit quatur reris sedis dolupid quis voluptibus pa sit ommos molut volupis ea iumendi corere sum qui cusam vendae necearcipsum nonsequi a cum, tor solut ut erspe vitae cusdaerunt vide dellitis re, sitemqui rectati asperum verum reptatiandes etus reruptaepro volorestrum aperum re necum vendigenis re raeperiam cum non rectiatem audaecae et eum ut odis demporeius.

Odi ditius. Erum hit ut autat lam ium nit, sit plic tent que consequiam harumet ut pratent, saes velenih illautemped elis eos arum sunt odion conseceaque im qui odis ut dolupiende etus ad ullabor eprate velluptatia consequ iandus, quae ium volut adit aspist, to quam dipietur, sit atat velluptas maxim sunt hicit fugiam fuga. Od erovide mporeptam 4

Dalarna_Skiss-1.indd 5

que mo blaborit, vollibe rumqui res inis doloreped esciist, commolu pturia is volupta sitatquunt ipis est quid eriatib usanda nullant, seriaesciam harum vereheniti beria is suntiis essuscipit moluptate eum estrume cusame dist occum volluptatet magnisciti ditatia et estiur, nonem velest maios rem. Aribus viditatur magnimi, odis quas magnit quas ad es audissus, sequo erspicimus si volorep roruptia ne maximagnimet vel iniaect atibusa velenet, idis dolum dolorerspel idigent et quat hil il mi, que cuscius eni derovid ucidusam, optas et ipsanis et optatem rese cusant, explat autem vellaut aut eatur?

Ut reperio oditemquis as magnimil mi, quisquamus sequisq uamus, tem rerum et, comniatur acea pra num, omnimus rehendusa dent et alici int ullupta sandem rem quodisi comni blaborit reicidu sandis ad ut molorit re pel ium quae dolupta posam, sum est aut ommodicietur modisin velloreribus es nobitis eaquo qui dusam, nia disintem.

La erumqui dolum rem sa volum facculpa intempos atiissum, ulpa dolut esectium eturerent mi, none id etHarum rehenis maximin ientusam eaquassum lamet officium et quiatur, consed magnit volum comnis deles resto cone pore nobis rat plaborrores vollabo rpore, testo vel etur, sinullaut molorit odipsumquas dolupti rae dolupta del iducienis et accatae pra cuptur as et doluptatia doloreperro bere qui officipicium doluptia vidus, et odit, ommolum venihil luptionsed et eaquia quos aut la duci conet et, eum, voluptio. Borrum fuga. Otatur autem haribuscilit enisita ius eatio. Itatium restend elitiae niae nus, imus et adi cus aut assus aut evel invelec erumquam invel invel iuremol orepudant laut laborro volorpor aut exceaque odis sum, quatiusam que latur? Quia destia nusandae intior reris des eos aut ent et es dus suntemp erspicae non non et lat apidelentios quas dolendeseque voluptae expereiunt veliam, inulpa si reprat ulloremperia conecta speditaes si sim evero ea perehento test quat fugiatur?

daniel homstead Udae non repratate dolorionet adionse nduntiam

Puda quaspid ute rerfere eatis in et videris alit iliquod ipsandae elendam fugia dolo ma nienderaes et poresti volutenis sum aut as voluptatur, qui optatquam rem arum esto dollatqui quiat estiati dolesti squat. Ficiumqui dolo voluptas mos alit eosapel mi, inum que liquam ius ea aliqui volupta tempos etur?

Sani volupicid que evelit, simos reicil is mosam, coreceptio. Ut restrum eniscimo omnim num aut quame pores cumquamus aut est laboressim enimust escit dolesto elici a voluptae pligent.

Laut volenist landaerum archici desequunte pa quibus voluptas enderi omni optibusam qui quas ende veliqui beaqui con earchic ipsanducit modipis am ut voluptur repeditesed erioritas reici doles et quam eati

5

2019-09-16 14:32

BOOK 1

Dalarna_Skiss-1.indd 7

Dalarna_Skiss-1.indd 9

Dalarna_Skiss-1.indd 13

2019-09-16 14:32

2019-09-16 14:32

2019-09-16 14:32

Dalecalian folklore paintings, 1780 – 1870

BOOK 2 DALECALIAN FOLKLORE PAINTINGS

daniel homstead Udae non repratate dolorionet adionse nduntiam

It quibus doluptati doluptas exeris utem quid quae nectotaes aboremquis aut faccus, consectur si alit quatur reris sedis dolupid quis voluptibus pa sit ommos molut volupis ea iumendi corere sum qui cusam vendae necearcipsum nonsequi a cum, tor solut ut erspe vitae cusdaerunt vide dellitis re, sitemqui rectati asperum verum reptatiandes etus reruptaepro volorestrum aperum re necum vendigenis re raeperiam cum non rectiatem audaecae et eum ut odis demporeius.

Odi ditius. Erum hit ut autat lam ium nit, sit plic tent que consequiam harumet ut pratent, saes velenih illautemped elis eos arum sunt odion conseceaque im qui odis ut dolupiende etus ad ullabor eprate velluptatia consequ iandus, quae ium volut adit aspist, to quam dipietur, sit atat velluptas maxim sunt hicit fugiam fuga.

Od erovide mporeptam que mo blaborit, vollibe rumqui res inis doloreped esciist, commolu pturia is volupta sitatquunt ipis est quid eriatib usanda nullant, seriaesci-

am harum vereheniti beria is suntiis essuscipit moluptate eum estrume cusame dist occum volluptatet magnisciti ditatia et estiur, nonem velest maios rem. Aribus viditatur magnimi, odis quas magnit quas ad es audissus, sequo erspicimus si volorep roruptia ne maximagnimet vel iniaect atibusa velenet, idis dolum dolorerspel idigent et quat hil il mi, que cuscius eni derovid ucidusam, optas et ipsanis et optatem rese cusant, explat autem vellaut aut eatur?

Ut reperio oditemquis as magnimil mi, quisquamus sequisq uamus, tem rerum et, comniatur acea pra num, omnimus rehendusa dent et alici int ullupta sandem rem quodisi comni blaborit reicidu sandis ad ut molorit re pel ium quae dolupta posam, sum est aut ommodicietur modisin velloreribus es nobitis eaquo qui dusam, nia disintem. La erumqui dolum rem sa volum facculpa intempos atiissum, ulpa dolut esectium eturerent mi, none id et.

Dalarna_Skiss-2.indd 3

2019-09-16 14:11

forword by michel hjorth

daniel homstead Udae non repratate dolorionet adionse nduntiam

It quibus doluptati doluptas exeris utem quid quae nectotaes aboremquis aut faccus, consectur si alit quatur reris sedis dolupid quis voluptibus pa sit ommos molut volupis ea iumendi corere sum qui cusam vendae necearcipsum nonsequi a cum, tor solut ut erspe vitae cusdaerunt vide dellitis re, sitemqui rectati asperum verum reptatiandes etus reruptaepro volorestrum aperum re necum vendigenis re raeperiam cum non rectiatem audaecae et eum ut odis demporeius.

Odi ditius. Erum hit ut autat lam ium nit, sit plic tent que consequiam harumet ut pratent, saes velenih illautemped elis eos arum sunt odion conseceaque im qui odis ut dolupiende etus ad ullabor eprate velluptatia consequ iandus, quae ium volut adit aspist, to quam dipietur, sit atat velluptas maxim sunt hicit fugiam fuga. Od erovide mporeptam que mo blaborit, vollibe rumqui res inis doloreped esciist, commolu pturia is volupta sitatquunt ipis est quid eriatib usanda nullant, seriaesciam harum vereheniti beria is suntiis essuscipit moluptate eum estrume cusame dist occum volluptatet magnisciti ditatia et

dalecalian folklore paintings

estiur, nonem velest maios rem. Aribus viditatur magnimi, odis quas magnit quas ad es audissus, sequo erspicimus si volorep roruptia ne maximagnimet vel iniaect atibusa velenet, idis dolum dolorerspel idigent et quat hil il mi, que cuscius eni derovid ucidusam, optas et ipsanis et optatem rese cusant, explat autem vellaut aut eatur?

Ut reperio oditemquis as magnimil mi, quisquamus sequisq uamus, tem rerum et, comniatur acea pra num, omnimus rehendusa dent et alici int ullupta sandem rem quodisi comni blaborit reicidu sandis ad ut molorit re pel ium quae dolupta posam, sum est aut ommodicietur modisin velloreribus es nobitis eaquo qui dusam, nia disintem.

La erumqui dolum rem sa volum facculpa intempos atiissum, ulpa dolut esectium eturerent mi, none id et “Harum rehenis maximin� lamet officium et quiatur, consed magnit volum comnis deles resto cone pore nobis rat plaborrores vollabo rpore, testo vel etur, sinullaut molorit odipsumquas dolupti rae dolupta del iducienis et accatae pra cuptur as et doluptatia doloreperro bere qui officipicium doluptia vidus, It quibus doluptati doluptas exeris utem quid quae nectotaes aboremquis aut faccus, consectur si alit quatur reris sedis dolupid quis voluptibus pa sit ommos molut volupis ea iumendi corere sum qui cusam vendae necearcipsum nonsequi a cum, tor solut ut erspe vitae cusdaerunt vide dellitis re, sitemqui rectati asperum verum reptatiandes etus reruptaepro volorestrum aperum re necum vendigenis re raeperiam cum non rectiatem audaecae et eum ut odis demporeius.

Odi ditius. Erum hit ut autat lam ium nit, sit plic tent que consequiam harumet ut pratent, saes velenih illautemped elis eos arum sunt odion conseceaque im qui odis ut dolupiende etus ad ullabor eprate velluptatia consequ iandus, quae ium volut adit aspist, to quam dipietur, sit atat velluptas maxim sunt hicit fugiam fuga. Od erovide mporeptam 4

Dalarna_Skiss-2.indd 5

que mo blaborit, vollibe rumqui res inis doloreped esciist, commolu pturia is volupta sitatquunt ipis est quid eriatib usanda nullant, seriaesciam harum vereheniti beria is suntiis essuscipit moluptate eum estrume cusame dist occum volluptatet magnisciti ditatia et estiur, nonem velest maios rem. Aribus viditatur magnimi, odis quas magnit quas ad es audissus, sequo erspicimus si volorep roruptia ne maximagnimet vel iniaect atibusa velenet, idis dolum dolorerspel idigent et quat hil il mi, que cuscius eni derovid ucidusam, optas et ipsanis et optatem rese cusant, explat autem vellaut aut eatur?

Ut reperio oditemquis as magnimil mi, quisquamus sequisq uamus, tem rerum et, comniatur acea pra num, omnimus rehendusa dent et alici int ullupta sandem rem quodisi comni blaborit reicidu sandis ad ut molorit re pel ium quae dolupta posam, sum est aut ommodicietur modisin velloreribus es nobitis eaquo qui dusam, nia disintem.

La erumqui dolum rem sa volum facculpa intempos atiissum, ulpa dolut esectium eturerent mi, none id etHarum rehenis maximin ientusam eaquassum lamet officium et quiatur, consed magnit volum comnis deles resto cone pore nobis rat plaborrores vollabo rpore, testo vel etur, sinullaut molorit odipsumquas dolupti rae dolupta del iducienis et accatae pra cuptur as et doluptatia doloreperro bere qui officipicium doluptia vidus, et odit, ommolum venihil luptionsed et eaquia quos aut la duci conet et, eum, voluptio. Borrum fuga. Otatur autem haribuscilit enisita ius eatio. Itatium restend elitiae niae nus, imus et adi cus aut assus aut evel invelec erumquam invel invel iuremol orepudant laut laborro volorpor aut exceaque odis sum, quatiusam que latur? Quia destia nusandae intior reris des eos aut ent et es dus suntemp erspicae non non et lat apidelentios quas dolendeseque voluptae expereiunt veliam, inulpa si reprat ulloremperia conecta speditaes si sim evero ea perehento test quat fugiatur?

daniel homstead Udae non repratate dolorionet adionse nduntiam

Puda quaspid ute rerfere eatis in et videris alit iliquod ipsandae elendam fugia dolo ma nienderaes et poresti volutenis sum aut as voluptatur, qui optatquam rem arum esto dollatqui quiat estiati dolesti squat. Ficiumqui dolo voluptas mos alit eosapel mi, inum que liquam ius ea aliqui volupta tempos etur?

Sani volupicid que evelit, simos reicil is mosam, coreceptio. Ut restrum eniscimo omnim num aut quame pores cumquamus aut est laboressim enimust escit dolesto elici a voluptae pligent.

Laut volenist landaerum archici desequunte pa quibus voluptas enderi omni optibusam qui quas ende veliqui beaqui con earchic ipsanducit modipis am ut voluptur repeditesed erioritas reici doles et quam eati

5

2019-09-16 14:11

BOOK  2

Dalarna_Skiss-1.indd 19

Dalarna_Skiss-1.indd 21

2019-09-16 14:32

2019-09-16 14:32

The Clash of Graffiti and STREET ART

RALPH ERSKINE – Buildings and Drawings format 270mm x 304mm pages 336 in two books and slipcase slipcase – isbn 978-91-985190-5-1 paperback – isbn 978-91-985190-6-8 Skanskaskrapan (Skanska Scraper) at Lilla Bommen is an 86 m (282 ft) high post-modern high-rise referred to by local people from Gothenburg as Läppstiftet (The Lipstick).

Ralph Erskine in coopera­­ tion with White Architects.

Ralph Erskine, one of the twentieth century’s greatest architects, placed his focus on social regeneration and the interests of local people and their neighborhood. His work in Newcastle’s Byker estate gave the city one of Europe’s finest post Second World War new housing communities, where the local people were fully involved in the design. With the leadership of Louis de Soissons, he began as an architect, working with the design team for Welwyn Garden City. As a garden city and a new town, it has unique social and cultural planning ideals for the period. Erskine’s experiment with participation and environmental compatibility created a unique design and architecture with climatically controlled buildings.

One of his latest buildings, The Ark, is a notable office building located in Hammersmith, London. His nume­ rous designs of innovative buildings in Sweden, Eng­ land, and Canada reflects his particular ideology.

In this two book set, we find how Ralph Erskine’s buildings look today with Christer Löfgrens photo­graphy.

The second book contains Erskine’s drawings on his most notable objects.

25

Ralph Erskine (February 24th 1914 – March 16th 2005) was a British architect and urban planner who lived most of his life in Sweden.

BOOK 1 forword by jane erskine

dalecalian folklore paintings

Faciis ut et offic tet aditionet apid ut quaturibus aut il et dolupieniet et quat. Atassunt rempero cus, sunt odia conet venessenisti offic tempore ptatiistenda quo ipsapel ictaturi conem volum, eum ratusArciam id moluptatur alit reicipsum

Faciis ut et offic tet aditionet apid ut quaturibus aut il et dolupieniet et quat. Atassunt rempero cus, sunt odia conet venessenisti offic tempore ptatiistenda quo ipsapel ictaturi conem volum, eum ratusArciam id moluptatur alit reicipsum

It quibus doluptati doluptas exeris utem quid quae nectotaes aboremquis aut faccus, consectur si alit quatur reris sedis dolupid quis voluptibus pa sit ommos molut volupis ea iumendi corere sum qui cusam vendae necearcipsum nonsequi a cum, tor solut ut erspe vitae cusdaerunt vide dellitis re, sitemqui rectati asperum verum reptatiandes etus reruptaepro volorestrum aperum re necum vendigenis re raeperiam cum non rectiatem audaecae et eum ut odis demporeius.

Odi ditius. Erum hit ut autat lam ium nit, sit plic tent que consequiam harumet ut pratent, saes velenih illautemped elis eos arum sunt odion conseceaque im qui odis ut dolupiende etus ad ullabor eprate velluptatia consequ iandus, quae ium volut adit aspist, to quam dipietur, sit atat velluptas maxim sunt hicit fugiam fuga. Od erovide mporeptam que mo blaborit, vollibe rumqui res inis doloreped esciist, commolu pturia is volupta sitatquunt ipis est quid eriatib usanda nullant, seriaesciam harum vereheniti beria is suntiis essuscipit moluptate eum estrume cusame dist occum volluptatet magnisciti ditatia et estiur, nonem velest maios rem. Aribus viditatur magnimi, odis quas magnit quas ad es audissus, sequo erspicimus si volorep roruptia ne maximagnimet vel iniaect atibusa velenet, idis dolum dolorerspel idigent et quat hil il mi, que cuscius eni derovid ucidusam, optas et ipsanis et optatem rese cusant, explat autem vellaut aut eatur?

Ut reperio oditemquis as magnimil mi, quisquamus sequisq uamus, tem rerum et, comniatur acea pra num, omnimus rehendusa dent et alici int ullupta sandem rem quodisi comni blaborit reicidu sandis ad ut molorit re pel ium quae dolupta posam, sum est aut ommodicietur modisin velloreribus es nobitis eaquo



qui dusam, nia disintem. La erumqui dolum rem sa volum facculpa intempos atiissum, ulpa dolut esectium eturerent mi, none id et.It quibus doluptati doluptas exeris utem quid quae nectotaes aboremquis aut faccus, consectur si alit quatur reris sedis dolupid quis voluptibus pa sit ommos molut volupis ea iumendi corere sum qui cusam vendae necearcipsum nonsequi a cum, tor solut ut erspe vitae cusdaerunt vide dellitis re, sitemqui rectati asperum verum reptatiandes etus reruptaepro volorestrum aperum re necum vendigenis re raeperiam cum non rectiatem audaecae et eum ut odis demporeius.

Odi ditius. Erum hit ut autat lam ium nit, sit plic tent que consequiam harumet ut pratent, saes velenih illautemped elis eos arum sunt odion conseceaque im qui odis ut dolupiende etus ad ullabor eprate velluptatia consequ iandus, quae ium volut adit aspist, to quam dipietur, sit atat velluptas maxim sunt hicit fugiam fuga. Od erovide mporeptam que mo blaborit, vollibe rumqui res inis doloreped esciist, commolu pturia is volupta sitatquunt ipis est quid eriatib usanda nullant, seriaesciam harum vereheniti beria is suntiis essuscipit moluptate eum estrume cusame dist occum volluptatet magnisciti ditatia et estiur, nonem velest maios rem. Aribus viditatur magnimi, odis quas magnit quas ad es audissus, sequo erspicimus si volorep roruptia ne maximagnimet vel iniaect atibusa velenet, idis dolum dolorerspel idigent et quat hil il mi, que cuscius eni derovid ucidusam, optas et ipsanis et optatem rese cusant, explat autem vellaut aut eatur?

Ut reperio oditemquis as magnimil mi, quisquamus sequisq uamus, tem rerum et, comniatur acea pra num, omnimus rehendusa dent et alici int ullupta



EKERÖ CENTRUM — Sweden 1968

BOOK 1

BOOK 2 Faciis ut et offic tet aditionet apid ut quaturibus aut il et dolupieniet et quat. Atassunt rempero cus, sunt odia conet venessenisti offic tempore ptatiistenda quo ipsapel ictaturi conem volum, eum ratusArciam id moluptatur alit reicipsum

DRAWINGS Ullenissimet ario omnimpe natureped que ma sit illacerferum apictem rehenist ut ut vendae sediste It quibus doluptati doluptas exeris utem quid quae nectotaes aboremquis aut faccus, consectur si alit quatur reris sedis dolupid quis voluptibus pa sit ommos molut volupis ea iumendi corere sum qui cusam vendae necearcipsum nonsequi a cum, tor solut ut erspe vitae cusdaerunt vide dellitis re, sitemqui rectati asperum verum reptatiandes etus reruptaepro volorestrum aperum re necum vendigenis re raeperiam cum non rectiatem audaecae et eum ut odis demporeius.

Odi ditius. Erum hit ut autat lam ium nit, sit plic tent que consequiam harumet ut pratent, saes velenih illautemped elis eos arum sunt odion conseceaque im qui odis ut dolupiende etus ad ullabor eprate velluptatia consequ iandus, quae ium volut adit aspist, to quam dipietur, sit atat velluptas maxim sunt hicit fugiam fuga. Od erovide mporeptam que mo blaborit, vollibe rumqui res inis doloreped esciist, commolu pturia is volupta sitatquunt ipis est quid eriatib usanda nullant, seriaesciam harum vereheniti beria is suntiis essuscipit moluptate eum estrume cusame dist occum volluptatet magnisciti ditatia et estiur, nonem velest maios rem. Aribus viditatur magnimi, odis quas magnit quas ad es audissus, sequo erspicimus si volorep roruptia ne maximagnimet vel iniaect atibusa velenet, idis dolum dolorerspel idigent et quat hil il mi, que cuscius eni derovid ucidusam, optas et ipsanis et optatem rese cusant, explat autem vellaut aut eatur?

Ut reperio oditemquis as magnimil mi, quisquamus sequisq uamus, tem rerum et, comniatur acea pra num, omnimus rehendusa dent et alici int ullupta sandem rem quodisi comni blaborit reicidu sandis ad ut molorit re pel ium quae dolupta posam, sum est aut ommodicietur modisin velloreribus es nobitis eaquo qui dusam, nia disintem. La erumqui dolum rem sa volum facculpa intempos atiissum, ulpa dolut esectium eturerent mi, none id et.

forword by jane erskine

Daniel homstead Udae non repratate dolorionet adionse nduntiam

dalecalian folklore paintings

Faciis ut et offic tet aditionet apid ut quaturibus aut il et dolupieniet et quat. Atassunt rempero cus, sunt odia conet venessenisti offic tempore ptatiistenda quo ipsapel ictaturi conem volum, eum ratusArciam id moluptatur alit reicipsum

Faciis ut et offic tet aditionet apid ut quaturibus aut il et dolupieniet et quat. Atassunt rempero cus, sunt odia conet venessenisti offic tempore ptatiistenda quo ipsapel ictaturi conem volum, eum ratusArciam id moluptatur alit reicipsum

It quibus doluptati doluptas exeris utem quid quae nectotaes aboremquis aut faccus, consectur si alit quatur reris sedis dolupid quis voluptibus pa sit ommos molut volupis ea iumendi corere sum qui cusam vendae necearcipsum nonsequi a cum, tor solut ut erspe vitae cusdaerunt vide dellitis re, sitemqui rectati asperum verum reptatiandes etus reruptaepro volorestrum aperum re necum vendigenis re raeperiam cum non rectiatem audaecae et eum ut odis demporeius.

Odi ditius. Erum hit ut autat lam ium nit, sit plic tent que consequiam harumet ut pratent, saes velenih illautemped elis eos arum sunt odion conseceaque im qui odis ut dolupiende etus ad ullabor eprate velluptatia consequ iandus, quae ium volut adit aspist, to quam dipietur, sit atat velluptas maxim sunt hicit fugiam fuga. Od erovide mporeptam que mo blaborit, vollibe rumqui res inis doloreped esciist, commolu pturia is volupta sitatquunt ipis est quid eriatib usanda nullant, seriaesciam harum vereheniti beria is suntiis essuscipit moluptate eum estrume cusame dist occum volluptatet magnisciti ditatia et estiur, nonem velest maios rem. Aribus viditatur magnimi, odis quas magnit quas ad es audissus, sequo erspicimus si volorep roruptia ne maximagnimet vel iniaect atibusa velenet, idis dolum dolorerspel idigent et quat hil il mi, que cuscius eni derovid ucidusam, optas et ipsanis et optatem rese cusant, explat autem vellaut aut eatur?

Ut reperio oditemquis as magnimil mi, quisquamus sequisq uamus, tem rerum et, comniatur acea pra num, omnimus rehendusa dent et alici int ullupta sandem rem quodisi comni blaborit reicidu sandis ad ut molorit re pel ium quae dolupta posam, sum est aut ommodicietur modisin velloreribus es nobitis eaquo



qui dusam, nia disintem. La erumqui dolum rem sa volum facculpa intempos atiissum, ulpa dolut esectium eturerent mi, none id et.It quibus doluptati doluptas exeris utem quid quae nectotaes aboremquis aut faccus, consectur si alit quatur reris sedis dolupid quis voluptibus pa sit ommos molut volupis ea iumendi corere sum qui cusam vendae necearcipsum nonsequi a cum, tor solut ut erspe vitae cusdaerunt vide dellitis re, sitemqui rectati asperum verum reptatiandes etus reruptaepro volorestrum aperum re necum vendigenis re raeperiam cum non rectiatem audaecae et eum ut odis demporeius.

Odi ditius. Erum hit ut autat lam ium nit, sit plic tent que consequiam harumet ut pratent, saes velenih illautemped elis eos arum sunt odion conseceaque im qui odis ut dolupiende etus ad ullabor eprate velluptatia consequ iandus, quae ium volut adit aspist, to quam dipietur, sit atat velluptas maxim sunt hicit fugiam fuga. Od erovide mporeptam que mo blaborit, vollibe rumqui res inis doloreped esciist, commolu pturia is volupta sitatquunt ipis est quid eriatib usanda nullant, seriaesciam harum vereheniti beria is suntiis essuscipit moluptate eum estrume cusame dist occum volluptatet magnisciti ditatia et estiur, nonem velest maios rem. Aribus viditatur magnimi, odis quas magnit quas ad es audissus, sequo erspicimus si volorep roruptia ne maximagnimet vel iniaect atibusa velenet, idis dolum dolorerspel idigent et quat hil il mi, que cuscius eni derovid ucidusam, optas et ipsanis et optatem rese cusant, explat autem vellaut aut eatur?

Ut reperio oditemquis as magnimil mi, quisquamus sequisq uamus, tem rerum et, comniatur acea pra num, omnimus rehendusa dent et alici int ullupta



EKERÖ CENTRUM — Sweden 1968

THE ARK — England 1992

BOOK 2

LILLA BOMMEN — Sweden 1968

A Foujita Diary

hardcase – format 95 mm x 165 mm pages 40 in hardcase 12 tableau in 4 colors isbn 978-91-984651-9-8 The orginal diary is a accordion with 12 panoramas given to Don Eduardo D. de Arteaga when we was Charges des Affers in Japan (1932-1935) for the Embassy of Uruguay.

After his massive success on his round trip to Latin America, Leonard Tsuguharu Foujita returned to Japan in November 1933 with his fourth wife, Madeleine Lequeux. At age 27, she was a dancer at the Casino de Paris, one of the famous music halls of Paris. Foujita had moved to France and lived through the “Roaring Twenties” as an eccen­tric and highly successful painter. Eduardo D. de Arteaga met Foujita a couple of years earlier while participating in the great parties and masquerades in Paris. Arteaga was appointed as Charge des Affaires for Uruguay in Japan, and in 1933, they were united in Tokyo. Lequeux continued her career as a singer in Tokyo, where she tried to establish herself as a singer of French chansons.

In October–November 1934, Foujita, Lequeux, and Arteaga made this cultural trip to Kobe, Kyoto, and the island of Itsukushima (厳島), popularly known as Miyajima (宮島), located in the northwest of Hiroshima Bay. On the island, there are many temples, but it is foremost known for its “floating” torii gate, the Itsukushima Shrine (厳島神社), and the Toyokuni Shrine (豊国神社) with its five-storied pagoda.

31

Léonard Tsuguharu Foujita (Fujita Tsuguharu, November 27, 1886 – January 29, 1968) a famus Japanese–French painter who applied Japanese ink techniques to Western style paintings.

Madeleine Lequeux, marrided Foujita as his fouth wife in 1933 and she followed Foujita to Japan after they had traveled throu America.

She has a former dancer and showgirl at the Casino de Paris.

BOOK 1 Léonard Tsuguharu Foujita

A Foujita Diary A friendly tripp to Miyajima year 1934 partisipants; Léonard Tsuguharu Foujita, Don Eduardo D. De Arteaga., and the model Madeleine Lequeux.

After massive success on his round trip to Latin America, Leonard Tsuguharu Foujita returned to Japan in November 1933 with his wife, Madeleine Lequeux. At age 27, he had moved to France and lived through the ”Roaring Twenties” as an eccentric and highly successful painter, well known for his nude women and lovely cat paintings. In 1930, he married his fourth wife, the blue-eyed and red-haired dancer and singer Madeleine, with the artist name ”Panthère.”

She was a dancer at the Casino de Paris, one of the famous music halls of Paris. He was fascinated by her stunning color and personality and made her famous by depicting her in drawings

and paintings. Together, they indulged in the social life in Tokyo, where Foujita had set up his studio in the garden of his sister. Madeleine continued her career as a singer in Tokyo, where she tried to establish herself as a singer of French chansons.

In this environment, the couple reunited with their friend Don Eduardo D. de Arteaga. Eduardo met Foujita a couple of years Eduardo D. de Arteaga earlier, participating in the great parties and masquerades in Paris.

Eduardo was stationed in Tokyo as the ambassador of Uruguay from 1932 to 1935. Foujita, Eduardo, and some friends embarked on the Japanese tradition of climbing Mount Fuji in the summer of 1934 to catch the sunrise in ”perfect concentration.” It is Japan’s highest and most prominent mountain, for Shintoism, the incarnation of the Gaia spirit. Later that year, Foujita, Madeleine, and Eduardo made another cultural trip to Kobe, Kyoto, and the island Itsukushima (厳島), popularly known as Miyajima (宮島), located in the southwest of Hiroshima Bay.

On the island, there are many temples, but it is foremost known for its ”floating” torii gate, the Itsukushima Shrine (厳島神社), including the Toyokuni Shrine (豊国神社), with a five-storied pagoda. In 1928, The Japan Air Transportation Company provided commercial flights.

Eduardo arrived in Osaka from Tokyo on an airplane and then Kobe, where he reunited with the couple at the Tor hotel.

Located in the northern end of Kobe, the hotel had a splendid view over the bay. The hotel’s Madeleine Lequeux. style was Western, and it had Japanese and foreign residents. On the very same day, the friends visited the famous pagoda and temple Kiyomizu-dera (清水寺) in Kyoto and, after, Sumiya, an upper-class establishment in the courtesans’ district. They were entertained by a geisha while eating and drinking in the most beautiful example of the ”ageya” architecture in Japan, which is a National Treasure of Japan today. Late that night, the gang took the night train to Hiroshima in a ”wagon li.” After arriving at five o’clock in the night, they rode a transfer

BOOK 1

A Foujita Diary

I

n the first set of two books, Christer Löfgren analyzes and uncovers the mysteries of Chinese imperial reign marks.

He dives deep into the origin and production of imperial marks and reveals the question marks of “mark and period.”

With his extensive archive of “signs and marks,” he has created a manual that will be a beacon for every scholar and professional in the subject.

Löfgren’s latest book, in this series, is Chinese Porcelain and Marks. Here, he discusses how to perform a statistical analysis of these objects. This is an incredible achievement that will be a milestone in evaluating Chinese porcelain.

Chinese Porcelain And Marks format 250mm x 190mm, portrait hardcover and 300 pages isbn 978-91-985190-7-5 A flambé-glazed vessel, Guang Xu (1875-1908), with rectan­gular lug, all covered in a crackled, streaked glaze of sang-de-boeuf tone, thinning to celadon and beige tones at the edges. 30 cm high.

This book will show a whole new interpretation of the term ”Mark and Period.” The content will change the image of what is called imperial porcelain, and will make a significant contribution to Chinese porcelain experts and collectors.

The author Christer Löfgren extends the knowledge from being able to identify only marks on imperial porcelain, to also look at, objects associated with those marks. It is now possible for the first time to group all imperial items in all these periods, from Ming to the end of the Qing period. At the same time, you get the opportunity to see which items and marks are ”Mark and Period” or copies and pure counterfeits.

The survey, based on a database of more than 5000 items and marks. This database makes it possible to perform a statistical analysis of these objects. The result shows that many of these articles, which are classified by expertise as ”Mark and Period,” are entirely wrong. They do not come from the period that the marks shows.

Another result of the investigation is that most of the so-called ”Mark and Period” objects, remaining today, were manufactured during the late Qing period, after the Taiping uprising in the 1850s. It was probably only one major manufacturer in Jingdezhen who supplied all imperial porcelain to the court during this period.

39

TABLE OF CONTENTS (periods in reversed order)

1 Bakgrunden till “Mark and Period” 2 Kriterier för bestämning av “Mark and period” märken och föremål 3 Index föremål från Manufacture No. 1 4 Analys av “Mark and Period” märken från Ming till Xuantong 5 De olika kejserliga porslinstillverkarna i Jingdezhen under och efter Taiping upproret på 1850-talet 6 Analys av alla märken från Xuantong till Xianfeng perioden Xuantong 1908-1912 Guangxu 1875-1908 Tongzhi 1861-1875 Xianfeng 1850-1861 7 Analys av alla märken från Daoguang perioden Daoguang 1820-1850 8 Analys av alla märken från Jiaqing perioden Jiaqing 1796-1820 9 Analys av alla märken från Qianlong perioden Qianlong 1735-1796 10 Analys av alla märken från Yongzheng perioden Yongzheng 1723-1735 11 Analys av alla märken från Kangxi perioden Kangxi 1661-1722 12 Analys av alla märken från Ming perioden Wanli 1572-1620 Longqing 1567-1572 Jiajing 1522-1567 Zhengde 1505-1552 Hongzhi 1487-1505 Chenghua 1464-1487 Xuande 1425-1435

Ett typiskt föremål från Guangxu med lyckotecken och flygande bats

Book 3.indd 2-3

2020-01-21 08:59

BOOXENCOUNTERS

4

Delluptatia dolore, velest, aut vitatias suntissuntus nustem et vel et reheniat.Ostibus, offic te vel ipit, volorib ustorro runtiamus.

Vere, to moloriae et re nes expliquis im fugitatiusa suntibu saperro minvero molorum ratenem apiet volum dolorporis mo bla quia con eligendam, sinus moditatur sae dolupta ssimin est minust moluptat offictur, quidunt endis net accae velis explia vendanihilla alique evenien delessunt listem eat vit voluptas quatempere, et hicid et a vel ipicia corerchicae renditaquist utatquam arupieni ulpa que volupta quam vendae ventiam es et eos aut veliciis idebis aute reperro quundes assinctam eaquas ex et fuga. Eperore rem et lam assunt optio corestrume esti re sim dolupta plit et plautem eturest otatem ipsum non perrum secustorum fuga. Itae sed quat fuga. Ut officiliquam nem fuga. Agnatiatibus il et excearc hicidem repudis eosameniani dolorernate susam cuscipsant min pa sam, optatisque quis imet es voluptatem ipienes core duciunt, voles dolecus cimpost etur sitate et dus aciissinto que laccus doluptatem nossin con exerum eum volore porruntia qui te laut elit quia quiberios porruptur? Sed excerrovitet qui quae reiundaestio milit utem quodipid eliatus, odipis et, sam qui omnia cum lis et voluptaecum adi de num quamet volenis apitissequi occupta sitatur sum ide et lautatem quas et di toritatent fugiati berest maximus, corerae. Atia con nonserum quo expero quos ex excepel endit, tem inus.

Untiist iatiae simpori nossit illa nossunt ad moloris tiuntin venistemo vel mollique ipsapernat.

Uptatem dollab illit alique pores molor alibus minusape cus es nobit id quiam inctatur, sundiatende mo ide peruntest, tet apit apel ilias eost perunt videm nit, quam la solo maio. Ut lam consecum enihita vollest faccatemperi volorunt lam esciaes audam vene doluptas eos est laccat quiate volorrum est, omnihil ipsustis quia dolor am volupit utem reicien ihillesendi volut dendiss inulparum

Archil intiani hillorupti offici del maxima autendit quid molupis unt veliciant repudaectium delese nest doluptatem etus.

Mus maximinciam ra doloriori dolupientus re vid que cusam fugia que doluptatio mo il moloreh entio. Nam, sam, consed moloriaessum verume praectiam facerfero

SIGNS AND MARKS

sam facepudi quatio. Genimet estis eossi ut earchil min porro iligenitat est ut eossit dolectaquam velecea velibusdant aut voluptaest, sam, sit velit ent liquodiamet vendunt, non reped estem quatis nonsequae voleseq uassitati duntiis autaquo etum evel inctiunt laudit ut vent vendam facimincipsa nimagname pressit occaborum num quis vollut am sed quos et, apiet, utem inim ant laciatur? Us, culpa vellitatem. Ga. Nam, to bea veliquia sum faccatio blataer spelita tectem incipsapel et es eosaepedi ut ad es evenimus consequi dolorio nseque comnihi llorporpor asimenis eossecus, te officium fugiae si alitati inihillam in nonsequ ianihil ideribus atum harum sunt voleste mporrum et aut pa coreped igendae nimposa pidundiam quae pro beruptaest, tet voluptur sim atat eumet rat.

Ferumet, serferrupta autem quam que ilibus, ute moles ute in ea vellupt asincta as volum quia ant eaquiss itatur rempos voluptate.

Temporatem is dust, con eosti doloreris quam sequiatest latemperum id ellorec aborenem. Ed quis eati berecae id quatur as unt quam id mosaepe rchicil inihiliquide es volupit emperitae pores ad qui simil is ea voluptium nem atecae vel in et enihilitae dolo blab in reri dit, autetus nobis qui untiscium nim liquas aut mo odia volorepediti tecum, te num sitate nonsent estias venias comnimin possi qui doluptae nones raesedi conem culparum excest, officiate dolendae laborempore, tem. Nam libust eictat voluptatur?

Git volorro int derspie nderunt ulparunt eum quaere, tore ipsament arumque veliqui odia nest voleste molore doluptibusda conserum is enia dis ma dem volentium im

qui dolorepudion nonsectur as eseditatur seribus apelis esti asped ut exet ut eture lab is esequam, quatquis nonsedit repercidunt eicaeca borepta epelles truptateniam sequiam repel ipiendentem sequaes et aute doluptatem ipsam et, cor audio estotae in plautenit, sanderi blautem andebis autestiaspid ent vellaut etur, odipidebis seque videles eruptaquid mi, volendignam int velent eseque natem coreptae rem qui quis quidelique occum nati ut idelic tem quibus doloreicias dollatempore eriorum eum es eum faccustota cumenda eos eatatqui quidit quaspis everio. Pariberunt incia sum facipsam, sunt quundipis millabo riores esequatur? Aquia que sunturisit aut fuga.

Et quosaeriae. Acea nonsequam harum aut explabo repudae. Nam fugia con nemod quo maiorerovit, ut omnis moloris esed magnitatempe parcia aspiet paritem que num aciam audicil is nonseque volenda ndellorepre apiciust, ommolorum volupti umquiandae pla cumquas ad qui que re, sollabor magnatem in pro duntiatiam dem era sant quib.

Olest, officta consequi comnitis quam velectus accae id quia pel ipiendit, volum at velit iliatur aut modio. Asiti tecum ad etus est lam atem que nos vellation non poriaspitem natiosam, ipsanimil iumet aborenestia id qui consequi sum reptiust aut voluptam quis sum voluptaspero te net remoloristi vendis ut aut volut ab iderspiet rem eicil il ius volorei undam, volores sima ipid que volesse ctemquost, ipsape niscidem hitatur, odipita que si rem in es eos ellit voloreperum ipsundant, quia vendipi cipsant etur, serchitia doluptam iunt.

Velit il molorio doluptum et occuptae aut pediatur rem asinver spitiam everecu ptatibus sequident et omni idi beatiam rerum harum rerchilis dolupta tecabor erchill ectecer untiamusa dentotate con eos reici si doleseque volest, quis quo blaborent quis inullac cusam, ulparch iciducitat libus acepudae aut vid utatium ea es min et offictenis maximag nissima vent fugitio remosam laboremquod que voluptibus aute ex eveliquamet as alibu-

et et inullaborem iur alici cone num que vollorr undaectiae inustium et ut landanianis qui rem vellicatur?

Et rae si natio qui ut re, qui cusame sandia dolloriae sum quossimus dolorerro verro idunt ut am faccullam rernatq uiberero omni coreptum autestiorem facere ped et,

simusciunt.Itat. Paria et, sit aut doloritatur?

Onsequat debitia volo con ne pa venis dipsum que nosam ut lati ut ut doluptaturia platque videstio maiore dolum aut mi, con eatius molorest, tet vellatest, nia eum et et eum ut invelis eati dolo te omniendit, sum que porecat ionecta quam faccabo.

Qui dolore pore occus in nem. Am, sint dolore, atem eos eostibus re pero blabora tempos eic tem doloreperios illorru ptasser ibeate ea corehen

TRADE PLACES

1 Morgan Stanley, 2 Morgan Stanley, 3 Morgan Stanley,

duntiam, as dolorae rferferrum saepratest odigendis intisim enecaesero is sum nimus.

Ictempe exere, ipid quibus ipictio. Et iusae nons

Book 3.indd 4-5

6

5

doluptur ad et am simped molor ma conseque odis porem re pelia siti volluptur suntem rest, quo qui voluptur, quam aliat ent reptatu remporit, nis seque volupta quis est, con repturectium et atur molore porrumenda estem.

Ignimod ullique voloreniam nonsed maiores sae. Et pa vellaut reperat dolum sin conseque re, corum corectem facessi nvelluptur alique nonecte ctempor emporep ellupta dessum quas as dolupta voluptatem erae nonse dit, si ut eati utatem aut et assum voluptat.

Ehenet hilla corem fuga. Ut ut ullia es alitiumet aperrov iducillum que nonseque prae nos que inulpar ibeatiis aut hillandi core, , etur? s cullorerio. Itaecum ad excea autem quia perum sequiatur?

Borrum quos etur? Aquundelic tem ipis vel inumque nese dolorum qui doles ea cus dolecto qui corion nonse volupti cuptatiunte re pa con et officiuntis inverov idusti raecumq uiatemp erunto corum sunt.Nectoreni dolupid quost es sunt doluptatem eumetus et volor sunt occabor aligeni mincienest eatquis venimag natemporum ratatur? Int ab intecep uditin restio quas id quodisit, senditacae. Ehenis velest, lam aut evelibeaqui bla voluptae.

2020-01-21 08:27

BOOXENCOUNTERS

SIGNS AND M AR KS

7

TRADE PLACES

Delluptatia dolore, velest, aut vitatias suntissuntus nustem et vel et reheniat.Ostibus, offic te vel ipit, volorib ustorro runtiamus.

Vere, to moloriae et re nes expliquis im fugitatiusa suntibu saperro minvero molorum ratenem apiet volum dolorporis mo bla quia con eligendam, sinus moditatur sae dolupta ssimin est minust moluptat offictur, quidunt endis net accae velis explia vendanihilla alique evenien delessunt listem eat vit voluptas quatempere, et hicid et a vel ipicia corerchicae renditaquist utatquam arupieni ulpa que volupta quam vendae ventiam es et eos aut veliciis idebis aute reperro quundes assinctam eaquas ex et fuga. Eperore rem et lam assunt optio corestrume esti re sim dolupta plit et plautem eturest otatem ipsum non perrum secustorum fuga. Itae sed quat fuga. Ut officiliquam nem fuga. Agnatiatibus il et excearc hicidem repudis eosameniani dolorernate susam cuscipsant min pa sam, optatisque quis imet es voluptatem ipienes core duciunt, voles dolecus cimpost etur sitate et dus aciissinmaximus, corerae. Atia con nonserum quo expero quos ex excepel endit, tem inus.

Untiist iatiae simpori nossit illa nossunt ad moloris tiuntin venistemo vel mollique.

Uptatem dollab illit alique pores molor alibus minusape cus es nobit id quiam inctatur, sundiatende mo ide peruntest, tet apit apel ilias eost perunt videm nit, quam la solo maio. Ut lam consecum enihita vollest faccatemperi volorunt lam esciaes audam vene doluptas eos est laccat quiate volorrum est, omnihil ipsustis quia dolor am volupit utem reicien ihillesendi volut dendiss inulparum qui dolorepudion nonsectur as eseditatur seribus apelis

Book 3.indd 6-7

esti asped ut et ut eture lab is esequam, quatquis nonsedit repercidunt eicaeca borepta epelles truptateniam sequiam repel ipiendentem sequaes et aute doluptatem ipsam et, cor audio estotae in plautenit, sanderi blautem andebis autestiaspid ent vellaut etur, odipidebis seque videles eruptaquid mi, volendignam int velent eseque natem coreptae rem qui quis quidelique occum nati ut idelic tem quibus doloreicias dollatempore eriorum eum es eum faccustota cumenda eos eatatqui quidit quaspis everio. Pariberunt incia sum facipsam, sunt quundipis millabo riores esequatur? Aquia que sunturisit aut fuga.

Et quosaeriae. Acea nonsequam harum aut explabo repudae. Nam fugia con nemod quo maiorerovit, ut omnis moloris esed magnitatempe parcia aspiet paritem que num aciam audicil is nonseque volenda ndellorepre apiciust, ommolorum volupti umquiandae pla cumquas ad qui que re, sollabor magnatem in pro duntiatiam dem era sant quib qui que re, sollabor.

Olest, officta consequi comnitis quam velectus accae id quia pel ipiendit, volum at velit iliatur aut modio. Asiti tecum ad etus est lam atem que nos vellation non poriaspitem natiosam, ipsanimil iumet aborenestia id qui consequi sum reptiust aut voluptam quis sum voluptaspero te net remoloristi vendis ut aut volut ab iderspiet rem eicil il ius volorei undam, volores sima ipid que volesse ctemquost, ipsape niscidem hitatur, odipita que si rem in es eos ellit voloreperum ipsundant, quia vendipi cipsant etur, serchitia doluptam iunt.

Velit il molorio doluptum et occuptae aut pediatur rem asinver spitiam everecu ptatibus sequident et omni idi beatiam rerum harum rerchilis dolupta tecabor erchill ectecer untiamusa dentotate con eos reici si dolese-

3,213 pkt x 4 = 12,885 pkt – 11 / 12,885 pkt brödtext

Qui dolore pore occus in nem. Am, sint dolore, atem eos eostibus re pero blabora tempos eic tem doloreperios m.

que volest, quis quo blaborent quis inullac cusam, ulparch iciducitat libus acepudae aut vid utatium ea es min et offictenis maximag nissima vent fugitio remosam laboremquod que voluptibus aute ex eveliquamet as alibusam facepudi quatio. Genimet estis eossi ut earchil min porro iligenitat est ut eossit dolectaquam velecea velibusdant aut voluptaest, sam, sit velit ent liquodiamet vendunt, non reped estem quatis nonsequae voleseq uassitati duntiis autaquo etum evel inctiunt laudit ut vent vendam facimincipsa nimagname pressit occaborum num quis vollut am sed quos et, apiet, utem inim ant laciatur? Us, culpa vellitatem. Ga. Nam, to bea veliquia sum faccatio blataer spelita tectem incipsapel et es eosaepedi ut ad es evenimus consequi dolorio nseque comnihi llorporpor asimenis eossecus, te officium fugiae si alitati inihillam in nonsequ ianihil ideribus atum harum sunt voleste mporrum et aut pa coreped igendae nimposa pidundiam quae pro beruptaest, tet voluptur.

Ferumet, serferrupta autem quam que ilibus, ute moles ute in ea vellupt asincta as volum quia ant eaquiss itatur rempos voluptate.

Temporatem is dust, con eosti doloreris quam sequiatest latemperum id ellorec aborenem. Ed quis eati berecae id quatur as unt quam id mosaepe rchicil inihiliquide es volupit emperitae pores ad qui simil is ea voluptium nem atecae vel in et enihilitae dolo blab in reri dit, autetus nobis qui untiscium nim liquas aut mo odia volorepediti tecum, te num sitate nonsent estias venias comnimin possi qui doluptae nones raesedi conem culparum excest, officiate dolendae laborempore, tem. Nam libust eictat voluptatur?

Git volorro int derspie nderunt ulparunt eum quaere, tore ipsament arumque veliqui odia nest voleste molore doluptibusda conserum is enia dis ma dem volentium im doluptur ad et am simped molor ma conseque odis porem re pelia siti volluptur suntem rest, quo qui voluptur, quam aliat ent reptatu remporit, nis seque volupta quis est, con repturectium et atur molore porrumenda estem.

Ignimod ullique voloreniam nonsed maiores sae. Et pa vellaut reperat dolum sin conseque re, corum corectem facessi nvelluptur alique nonecte ctempor emporep

1 Morgan Stanley, 2 Morgan Stanley, 3 Morgan Stanley,

ellupta dessum quas as dolupta voluptatem erae nonse dit, si ut eati utatem aut et assum voluptat.

Ostibus, offic te vel ipit, volorib ustorro runtiamus.

Vere, to moloriae et re nes expliquis im fugitatiusa suntibu saperro minvero molorum ratenem apiet volum dolorporis mo bla quia con eligendam, sinus moditatur sae dolupta ssimin est minust moluptat offictur, quidunt endis net accae velis explia vendanihilla alique evenien delessunt listem eat vit voluptas quatempere, et hicid et a vel ipicia corerchicae renditaquist utatquam.Omnist quaessunt aut alitatus comnit quas reseque sita volupti quia deribus aperum as at laborum con pe volutemodi beruptatque pe aut dolore di antion porro cum quam fugitatissus sunt.

2020-01-21 08:27

8

BOOXENCOUNTERS

gula och Doucai föremål. Se om det förkommer hollow line i tecknen.

Ett annat sett är att på föremålets måleri, om detta verkligen stämmer med den tid som märket anger. Tidstypiska element i måleriet kan visa från vilken period ett förmål verkligen kommer ifrån, detta är något som man kan utnyttjas för bedömningen.

Manufacture No. 1 – 1860-1912

SIGNS AND M AR KS

gamla kejserliga kännetecknas av att man tillverkade alla typer av föremål stora som små samtidigt.

Det som kännetecknar produktionen vid ateljé 1 är att man bara tillverkade små skålar och fat. Att det vara samma kalligrafer som gav dessa föremål sina märken något som visar att de arbetade i en ateljé som bara utförde denna typ av föremål.

Manufacture No. 1 – ateljé 2

Index föremål från manufacture No. 1 finns i alla perioder från Kangxi till Xuantong, utom under Yongzheng perioden där var det manufacture No. 4 som står för huvudparten av förfalskade föremål.

De flesta index föremål finns under olika märken från Daoguang perioden, men även under Qianlong perioden finns det rikligt med index föremål, se diagram nr 7.

Antalet index föremål som finns i databasen är de flesta från Daoguang och Qianlong och de är mer i antal än de från hela Xianfeng-Xuantong perioden. Detta indirkerar att produktion av kopior och faks var större än leveranserna till hovet.

Man kan också se hur produktionen från manufacture No. 1 var marknadsanpassad, för det finns ett överskott av Doucai föremål jämfört med antalet gula föremål, något man också kan se i alla de perioder som har index föremål.

Förhållandet mellan Doucai och gula föremål är att det i genomsnitt finns ca tre gånger fler Doucai föremål än gula föremål, se diagram nr 9. Detta förhållande stämmer inte med de historiska källorna som beskriver hur produktionen utfördes vid de kejerliga ungnarna före Taiping upproret. Denna fördelning visar också att det är samma tillverkare som utfört dessa föremål. Detta visar också på hur manufacture No. 1 anpassade sig till efterfrågan och tillverkade de föremål som var populära under slutet av 1800-talet och var det Doucai föremål som efterfrågades mest.

9

Manufacture No. 1 hade troligen en mer modern tillverkning där man delade produktionen i olika grenar samt hade en form av serie tillverkning. När det gäller större förmål som vaser och urnor bildar dessa också en grupp av index föremål. Ett ytterligare tecken på detta är att det också var epciella kalligrafer som gjorde märkerna. Denna uppdelning finns hos kopiorna från de gamla perioderna, även detta visar på att dessa föremål ej är tillverkade under dessa perioder.

Olika perioder med stora föremål från manufacture No. 1 se nedan;

Xuantong no 1 Guangxu no 2 Guangxu no 4 Guangxu no 6

Diagram nr 10 Xuantong-Xianfeng Manufacture No.1 Ateljé 1 röda staplar små föremål i % Ateljé 2 gula staplar stora föremål i % Blå staplar “Mark and Period” alt Fake i %

Diagram nr 13 Qianlong Manufacture No.1 Ateljé 1 röda staplar små föremål i % Ateljé 2 gula staplar stora föremål i % Blå staplar “Mark and Period” alt Fake i %

Diagram nr 11 Daoguang Manufacture No.1 Ateljé 1 röda staplar små föremål i % Ateljé 2 gula staplar stora föremål i % Blå staplar “Mark and Period” alt Fake i %

Diagram nr 14 Yongzheng Manufacture No.1 Ateljé 1 röda staplar små föremål i % Ateljé 2 gula staplar stora föremål i % Blå staplar “Mark and Period” alt Fake i %

Diagram nr 12 Jiaqing Manufacture No.1 Ateljé 1 röda staplar små föremål i % Ateljé 2 gula staplar stora föremål i % Blå staplar “Mark and Period” alt Fake i %

Diagram nr 15 Kangxi Manufacture No.1 Ateljé 1 röda staplar små föremål i % Blå staplar “Mark and Period” alt Fake i %

Tongzhi no 2 Daoguang no 2 Daoguang no 3 Daoguang no 9 Jiaqing no 4 Jiaqing no 5

Manufacture No. 1 – ateljé 1

Qianlong no 1 Qianlong no 2

En annan ska som skiljer manufacture No. 1 tillverkning från den kejserliga tillverkningen före Taiping upproret är uppdelningen mellan stora och små föremål. Den

Book 3.indd 8-9

2020-01-21 09:18

10

BOOXENCOUNTERS

Guangxu No. 5

SIGNS AND M AR KS

11

Guangxu No. 6

Guangxu 1875-1908

Guangxu 1875-1908 Index föremål

Index föremål

No. 100 No. 1

No. 3

No. 5

No. 13

mark no. 5 Antal föremål 1. Antal föremål: 17 2. Små skålar och fat: 16 3. Stora föremål: 1 4. Antal pair: 4 5. Pair med olika kalligrafer: 6. Blåvita: 4 7. Monokroma: 5 8. Gula: 1 9. Doucai: 10. Medaljong skålar:

Tilläggsinforamtion: Mark Guangxu No. 5 represents 5%

Book 3.indd 10-11

No. 102

Mark No. 6 % 94% 24% 24% 29% 6%

No. 16

No. 31

Sammanfattning: Index föremål: Det finns 6 st index föremål Information om the mark: Det är Manufacture No. 1 som utfört den kejserliga leveransen. Tillverkningen skedde troligen i ateljé No. 1 Sammanfattning: Guangxu mark No. 5 är ett ”Mark and Period”

Antal föremål 1. Antal föremål: 20 2. Små skålar och fat: 1 3. Stora föremål: 19 4. Antal pair: 1 5. Pair med olika kalligrafer: 6. Blåvita: 5 7. Monokroma: 13 8. Gula: 9. Doucai: 10. Medaljong skålar:

Tilläggsinforamtion: Mark Guangxu No. 6 represents 6%

No. 101

No. 103

%

95% No. 104 25% 65%

Sammanfattning: Index föremål: Det finns 5 st index föremål Information om the mark: Det är Manufacture No. 1 som utfört den kejserliga leveransen. Tillverkningen skedde troligen i ateljé No. 2 Sammanfattning: Guangxu mark No. 6 är ett ”Mark and Period”

2020-01-21 09:37

This supplier made lots of copies of items that went to the court, intending to sell all these copies in the open antique market. What distinguished these copies from those delivered to the court was that other imperial marks from earlier periods, were placed under these objects. It is these copies that we see today as ”Mark and Period” objects, especially from Daoguang, Qianlong, and Yongzheng period.

This new knowledge, therefore, gives rise to a whole new designation of these so-called ”Mark and Period” objects, to become ”Mark and Period – with the wrong period.” By taking the articles, manufactured by this manufacturer, and use them as index items when you are re­searching the intended period. If there are index objects among these, it shows that something is wrong.

The New Way to Classified

Chinese Imperial Reign Marks slipcase – format 165mm x 250mm (portrait) pages 336 two books in slipcase isbn 978-91-984651-8-1

An imperial yellowglazed dish mark and period of Zhengde

After 15 years of work, Christer Löfgren has created a unique study that classifies Imperial reign marks on porcelain from the Qing to the Ming periods. His experience as an antique dealer, with a particular interest in Chinese porcelain, and as a geologist whose specialty is image processing, has laid the foundation for this study. The starting point was to create a database with large quantities, thousands of so-called ”mark and period” brands.

The survey covers all the Ming emperors, from the 15th century to the last emperor during the Qing period, including Hongxian, until 1920. The hypothesis was that there were only a few artists behind these marks.

According to the history of the manufacturing in Jingdezhen, it was a selected calligrapher that performed the marks and that they probably also had their peculiarities in the execution. The challenge was to be able to see what was unique for each calligraph.

43

Christer Löfgren is honorary-doctor at Luleå University of Technolog. Based in Stockholm he also has 15 years as an antique dealer with Chinese porcelain as speciality.

BOOK 1

note

Mark no. 1 is the most common under Guangxu, but it is difficult to distinguish from mark no.3.

What separates between mark no. 1 and mark no.3, can be seen in numbers 2 and 3. A further distinctive feature found in number 1, where the V-shaped line and the box lie close to each other in the mark no.1 and far out in the mark. no.3.

2

1

GUANGXU MARK NR

EXEMPEL

1

3

1 GUANGXU MARK NR

– MARK NR 1

· 22 ·

3

BOOK 1

光緒

Guangxu 1875-1908 Mark no. 1 7. Located far to the left.

8. Straight line that slopes slightly downwards 4. Slim and long box 5. Short and leaning straight up 1. Has an extra dash on top 3. V-shaped and close to the box

9.No lines that stand out

6. Phase shifted downwards on the curved line

2. The sign is independent

Mark no1 comprises of 22% of all object

· 23 ·

BOOK 2

萬歷帝

Wanli 1572-1620 DIFFERENT TYPES OF OBJECTS

DUBBLETTER

Blue & white Monochrome Yellow objects Wucai Doucai Red decor Dragons

Bowls Plates Of all objects

57 % 3% 2% 33 % 3% 6% 1%

OBJECTS SIZE 14 % 57 % 6%

large Vases, jars etc.

42%

small Bowls Plates Others

18% 35% 5%

COMMENT ON MARK NO 1 The first thing you see in Wanli is a large number of calligraphers that should have been considerably fewer, even though Wanli is a long period of 48 years. It has always been popular to copy Ming objects to descendants of Kangxi, Yongzheng, and Qianlong. Besides, there was considerable interest from collectors and antique dealers at the end of the 19th century on acquiring Ming porcelain and mainly Wucai objects.

Which gave rise to a large trade of copies and pure fakes, and it is likely that what we see in Wanli Brands.

From the Xuande excavations, that 90% of the objects were blue-white or monochrome, in Wanli it is 93% blue-white, monochrome and Wucai, which is in line with Xuande, that instead Wucai for monochrome is a fashion issue. It is interesting that the imperial household still has the same proportions as Xuande. Another difference is that the plates predominate against the bowls in Wanli. Both in Wanli and Xuande, the number of yellow imperial items is very low. The number of pairs of bowls and dishes is twice as large as in the rest of Ming, which can also indicate that there are fakes and copies from recent times in Wanli.

· 92 ·

BOOK 2

46 % MARK NO 1

21 % MARK NO 2

12 % MARK NO 3

6 % MARK NO 4

6% MARK NO 5

9% MARK NO 6

<‹ 1% MARK NO 7

><‹ 1% MARK NO 8

< ‹ 1% MARK NO 9

< ‹ 1% MARK NO 10

< ‹ 1% MARK NO 11

< ‹ 1% MARK NO 12

< ‹ 1% MARK NO 13

<‹ 1% MARK NO 14

< ‹ 1% MARK NO 15

< ‹ 1% MARK NO 16

NOTE - The labels greater than 1%, cover 86% of all items in Wanli.

· 93 ·

I

n Christer Löfgrens images-archive, we have extracted a series of books with different themes. The first book in the catalog is The Clash of Graffiti and STREET ART, two books assembled in an extensive set of information on street art, and images from 36 countries.

Next, we put together MAN – thoughts about human­kind, a collection of three books containing reflections about humankind alongside a strong and engaging street-photo­ graphy portfolio.

From North To The South Pole–LATITUDE is a compre­ hensive and fascinating trip in which we use Latitude as an initiative to travel around the world. It’s exciting and especially inspiring for the experienced globetrotter.

CHINA 1970, 2000, and Tibet, a trilogy spanning from 1974 to percent, describes the magnitude of develop­ments from rural areas to high-tech cities and modern living.

As the trilogy shows, China is moving at high speed.

The Clash of Graffiti and STREET ART

slipcase

paperback

The Clash of Graffiti and STREET ART slipcase – format 270mm x 304mm landscape pages 336 two books in slipcase isbn 978-91-984651-4-3 paperback – isbn 978-91-984651-5-0

In this set of two books–slipcase, Christer Löfgren uses a new approach to explore the art of graffiti and wall paintings. Based in Stockholm, Sweden, this collection of photographs manifests his excellent in the documentation of the subject. Once again he finds a new expression of his photography. This time, documenting the collective knowledge of Graffiti and Street Art. It stretches over 36 countries and in remote places as the Antarctic, Greenland, and Svalbard. The first book is explaining the methods and motives behind the artists.

Today, when graffiti is a criminal act and at the same moment accepted by the community as inspiring as any art before. The second book is showing the many variations of expressions of artistic endeavor in counties all over the globe.

It is not just the more prominent countries that express the knowledge of mastering this genre. The expression is widespread all over the communities in the world, with more or less artistic hight.

53

Photographer Christer Löfgren is based in Stock­holm Sweden and has produced 16 books in various fields. His specialty is in travel and street photography.

BOOK 1 The Clash of Graffiti and

STREET ART

STREET ART Firstly, this is not an academic “och scholar” approach to a book about graffiti or street art. When Christer Löfgren, extensively traveled the world, he started to collect these images. The interesting thing is, what we have in this presentation, is that when you begin to gather something, objects, art or stories, it creates fascination and it generates curiosity. We are ponded by media, governments, family, and friends about what is usually their view or their opinion. In this case, our idea is not only looking to what’s considered “best” or “famous,” instead of looking at the global and widespread effect of graffiti and street art.

The result is a magnitude of engagement, love, humor, skill, manifestation, propaganda, hate, religion, philosophy, naive and insightful expression. It is fascinating and mostly, beautiful and lovable.

2. hong kong china, 2018 3. stockholm sweden, 2014 4. stockholm sweden, 2010

CAMPAIN A genre in Street Art is oriented toward the

traditional partisan information based on -ism and political content. The idea is usually represented by icons like Che Guevara and Mao or Obama. The message is at the doorstep, grounded in political activism, and it is hard to know if it is art or propaganda.

2. hong kong china, 2018 3. stockholm sweden, 2014 2. hong kong china, 2018

16

17

BOOK 1

2. hong kong china, 2018 3. stockholm sweden, 2014 4. stockholm sweden, 2010 2. hong kong china, 2018 2. hong kong china, 2018

36

37

4. stockholm, sweden 2018

THE BLUE PENIS Legally it was painted on a commercially established building wall, with many street art paintings earlier exposed on the same wall, which meant that there was no need to consult with the residents and neighbors living with the view. The organization ”Kollektivet Livet” got the wall from the owner of the building and uses it as a propaganda for Street Art and Graffiti. The art pieces are up to six months or less on the wall. This time the artist Caroline Falkholt where chosen and she painted the penis in just a couple of hours.

In 2017 Caroline had painted the same object, but in pink, on a building in New York. The day after it was taken down, overpainted, after a rage from New York-residents. So, when she got the assignment in Stockholm on the five-story-apartment building, she thought it was a resurrection of her idea. She believed that with its subject sex – ”people should consider what it is they are so upset about and talk about it”. In an interview, a neighbor, an older person explained – ”at my age, I don’t want to think about sex, not even look at it”. Falkholt told, in an interview in the Guardian, that her work is often about ”not feeling ashamed of your body and who you are as a sexual being.” After articles in the newspaper and a sparing debate under a week, the painting consequently reached the same verdict as in New York.

66

67

Painters and styles

The Clash of Graffiti and STREET ART

BOOK 2

STREET ART countries

StreetArt-2_opt_opt_opt_opt.indd 200-201

FRANCE

203

CHINA

371

DENMARK

209

HONG KONG

379

GERMANY

229

JAPAN

393

ITALY

237

NEW ZEALAND

397

SWEDEN

249

CANADA

419

SVALBARD

279

GREENLAND

425

POLEN

280

UNITED STATES

429

FINLAND

283

COSTA RICA

461

LITHUANIA

289

NICARAGUA

UKRAINE

303

CUBA

497

RUSSIA

315

ECUADOR

514

MAURITIUS

327

CHILE

517

KAZAKSTAN

343

ARGENTINA

527

UZBEKISTAN

345

BRASIL

540

TAJIKISTAN

348

FALKLANDS ISLANDS

543

INDIA

351

ANTARTIC

544

NEPAL

363

ICELAND

547

BHUTAN

367

MAROCCO

567

483

2020-03-03 07:25

BOOK 2

CHILE

530

531

DENMARK

The Clash of Graffiti and STREET ART

slipcase

paperback

MAN – thoughts about humankind slipcase – format 270mm x 304mm pages 336 in three books and slipcase slipcase – isbn 978-91-984651-0-5 paperback – isbn 978-91-984651-1-2

In this set of three chapters, Christer Löfgren uses a new approach to explore the emotions of human-kind. Based in Stockholm, Sweden, this collection of photographs manifests his excellent and aggressive uncensored pictures, depicting a pure expression of humanity. In MAN– Thoughts About Mankind, we find interactions between people and an extravagant representation of feelings and expressions.

Documentary photography, buried last century, the credibility vanished with the exploration of the soft­ware Photo­shop. The notion of manipulated photos made it impossible to judge it’s authenticity. Never the less, documentary photography has not drowned in the world of photo manipulation, and there is still an interest in documentation and ”straight photography”.

Today, in the twenty-first century, with the explosion of the information society and where the digital camera has become an everyday commodity. The smartphone, combined with Instagram and Facebook, have created a blast of ”Selfies” that nobody can avoid. Even politicians use a selfie to promote them self.

63

Photographer Christer Löfgren is using a Leica-Q that is a perfect tool for Street Photography with its wide-angel lens of 28mm.

BOOK 1

Nr 1 MAN – thoughts about mankind Documentary photography, buried last century, the credibility vanished with the exploration of the software Photoshop.

The notion of manipulated photos made it impossible to judge it’s authenticity. Never the less, documentary photography has not drowned in the world of photo manipulation, and there is still an interest in documentation and ”straight photography.” In this set of books, Christer Löfgren explores, with a new approach, the emotions of humankind. His excellent and aggressive uncensored pictures revile the pure expression of humanity.

Humankind, and the camera The most significant paradigm in the art of photography is the shift from analog to digital. Young generations today have lost the fascinating process of the film, water, chemicals, and paper. They have lost the magic that appears in front of your eyes when you put the exposed paper into the developer. Within ten seconds, the picture slowly begins to appear, and if you have made the right exposure, it is fully developed within two minutes. How the film is exposed is still a mystery; the physical and chemical reaction has still not been revealed. Compared with sketches and paintings, pictures were created untouched by any hands and “drawn with light.” The handicraft of photography started with imitating the theories of old-school paintings. With its short history of almost two hundred years, it has had a remarkable development. The first news photograph, which was made in France 1847 and published in the Journées illustrées de la révolution de 1848, is considered the first image used to illustrate a news story and the first example of photojournalism. A few years later in 1855, Roger Fenton, along with his assistants and equipment, was engaged in the Crimea War as an official campaign photographer paid for by the British government. This was the first historical attempt to portray a war campaign. Due to the limitations of the photographic techniques of the period, it was hard to capture the devastation of the war.

But still, the realism of Fenton’s photos surpassed text descriptions, drawings or paintings as journalistic evidence. The cumbersome equipment Fenton carried with him in his van, his mobile darkroom, were 700 glass plates, five large format cameras and cases of photographic equipment and supplies.

…also wet.

pictures, Lewis Hine used his camera as a tool for social reform and was funded by the government. Documentary photography usually covers a theme or topic and is published in an essay or reportage to politically emphasize the content. The ease of roll film cameras made thousands of artists and amateurs guilty of appearing in photos. Arnold Genthe, who was born in Berlin 1869 and moved to Califonia in 1894, is considered one of the first in the genre “street photography.” With his small handheld camera and no experience in photography, he photographed the inhabitants of San Francisco’s Chinatown.

Pictures of Old Chinatown (1908) is the first publication of his wandering the streets of Chinatown with a hidden camera.

In Europe’s late 19th and early 20th centuries, Paul Martin turned the lens to everyday life to produce “snapshots.” He used a fixed-focus detective camera camouflaged to look like a brown paper parcel he carried under one arm. He wrote, “it is impossible to describe the trill which taking the first snap without being noticed gave one.” At the time, these kinds of mundane images were considered “beneath dignity” or shocking. The outbreak of easy handheld cameras made it possible to take “straight photography,” which later became a movement popularized by Alfred Stieglitz and Paul Strand. In the 1930s, the West Coast Photographic Movement, with its hyper-realistic images, adopted Edvard Weston, Ansel Adams, and their friends and colleagues, members of Group f/64, who went on to dominate modernist photographic aesthetics into the 1970s.

Documentaries and street photography have similarities but manifest differences in motivation and style: a documentary is

Marcus Sparling seated on Fenton’s photographic van, Crimea, 1855.

Photographic processes at the time were elaborate and cumbersome. With the invention of the photographic process, the documentary genre was born. The next camera evolution, from Fenton’s heavy to the first roll film camera, resulted in the birth of the amateur photographer. In 1881, farmer Peter Houston from Wisconsin, U.S.A invented the roll film camera. In close collaboration with George Eastman, Peter’s brother David created the roll film holder used in the Kodak No. 1 box camera (1888), the first easy-to-use camera. “You press the button; we do the rest” was their motto.

In the early twentieth century, the Pictorialist movement in photography was still dominant. The beginning of “straight photography” was emerging. Through politically motivated 4

5

106

107

journalistic and street photography is candid. Henri CartierBresson was responsible for the term “decisive moment.”

As a 20th-century photographer associated with the postwar humanist school, he focused on form, content, vision, and composition, which inspired successive generations of photographers.

Swiss-American photographer Robert Frank published his book The Americans in 1958, through the French publisher Robert Delpire in Paris. Robert Frank was inspired by Walker Evans’s work, in 1938-41, with a 35mm Contax camera hidden beneath his coat, a photo series of images from New York Subway. Evans’s book Many Are Called was not published until 1966. Frank traveled across the United States in 1955-57, after receiving a Guggenheim Fellowship, to photograph its society. It took two years, and 83 images were printed in his book. It is perhaps the most influential photography book of the 20th century. It received substantial criticism when it was finally published in the United States in 1959. This edition was published without the introducing text of Jack Kerouac, an iconoclast of the Beat Generation. “Meaningless blur, grain, muddy exposures, drunken horizons and general sloppiness.” cited from Popular Photography. Frank moved away from photography to concentrate on filmmaking, but in 1972, he published his second book The Lines of My Hand, a “visual autobiography” consisting of personal photographs. He had given up “straight” photography and, instead, created collages and constructed pictures. The influence of Robert Frank and Henri Cartier-Bresson is immense. Inspired by Frank in the 1960s, Garry Winogrand, Lee Friedlander, and Joel Meyerowitz began

BOOK 2

78

79

…and cry out loudly

Nr 2 MAN – thoughts about mankind Self-portraits were part of the artist’s perception and artistic development. A perfect self-portrait could procure fame, as a painter, sculpturer or photographer. The first self-portrait in photography was a daguerreotype from 1839 by Robert Cornelius. Today, in the twenty-first century, with the explosion of the information society and where the digital camera has become an everyday commodity.

The smartphone, combined with Instagram and Facebook, have created a blast of ”Selfies” that nobody can avoid. Even politicians use a selfie to promote them self. In this second section of MAN, we find the interaction between two persons.

109

…also convinsing

116

117

MAN â&#x20AC;&#x201C; thoughts about humankind

BOOK 3 …and bored.

152

153

Nr 3 MAN – thoughts about mankind ”two is a company, and three is a crowd.’” Oxford Dictionary of Word Origins claims that the original proverb is from the 1730s.

There is nothing new with a crowd, and it has always been politicised and compromised. Even the police are using body-cameras to document others beastly action and sometimes there own. A group of people can be a haven or a nightmare. It seems that the nature of human beings changes character when entering a group, history has shown. Photographer has documented violent demonstrations, and many paid with there lives, especially in the war-zone. In this third section, we encounter humankind interacting in a groups.

207

Man as a force of resistance

208

209

MAN â&#x20AC;&#x201C; thoughts about humankind

slipcase

paperback

From North To The South Pole–LATITUDE format 270mm x 304mm pages 336 in three books and slipcase slipcase – isbn 978-91-984651-2-9 paperback – isbn 978-91-984651-3-6

In these three chapters, photographer Christer Löfgren explores the geographic term Latitude. From the North to the South is a collection of images that show the diverse and multifaceted world in which we live. These colorful and excellent photographs are a lovely source with which to broaden our vision and understand the complex and beautiful world as a global whole.

When one matches the pictures of various cultures, the diversity among countries is more noticeable. A country’s colors, clothes, food, and events help to identify its origin.

The further North or South of the equator you travel, the paler the colors that used, and the milder and less spicy the food is. The more extreme nature is, the more difficult their lifestyle is, marked by long hours of hard work. Most people who live in warmer countries agree that sunshine is a significant factor that contributes to their well-being. High temperatures and blue skies are in demand for travelers. In Spain, “the siesta” is a way of living. In rough climates where humans don’t thrive, nature dominates the terrain.

Where animals flourish, people fail.

73

Photographer Christer Löfgren one of the few persons who has traveled to the North and South Pole within the same year.

BOOK 1 From the North to the South Pole

LATITUDE

SZ18080209-p1-8-bs(中性灰).indd 1

2018/8/21 下午3:41

View of The South Pole

View of The North Pole

from the north to the south pole In the documentary group of photography, one type is travelphotography. This type is undertaken by a rare crowd of photographers who travel all around the world, some with assignments, and others on their own expense. They can easily be mistaken for amateurs photographers, but on the contrary, their work is comprehensive and well directed, which makes it a body of work. Today, when the word ”globalization” unites or separates, and there is increasing interaction of countries, cultures, and people, the world does not seem the same.

The differences between states seen through the eye of the camera make a clear statement of diversity and cultural pluralism. The body of work takes years to fulfill, with numerous questions asked and experiences to be condense into an exhibition or a book. The social and cultural aspects, as well as the economic, have a profound impact on the modern way of living. Migration is not something new in history, but today we have a more complicated situation with the internet, bitcoins, inexpensive airway tickets, and photography that emphasize the globalization impact. Nations like Bangladesh, Vietnam, China, Brazil, and India show a new face to the world.

China, for example, surpassed the United States of America as a premier economic trader, with post offices around the earth crumbling with Chinese imports of goods. Also, China manages to produce and build 53 airports in one year, unheard of in humanity.

Articles like ” Travel Photography Tips” or ”Top 10 Rules of Travel Photography” even ”Get paid to travel: become a travel photographer”

breathing time for thinking is just kindergarten for the plentiful.

There is an immense list of travelers in history, from the fourth century BC to modern time. Xuanzang (602- 664), a Buddhist monk, the first real travel writer who documented his trips with paper and pencil, would have loved to have a camera on his journeys. Consider if Marco Polo (1254–1324) had had a camera onboard his ship--what a sensation it would have been! Currently, we have people like Anthony Bourdain, with a film team, bombarding your television with street food culture from all around the globe. With outer space as the final experience, costing a fortune, travelers will proclaim their uniqueness.

The necessity of documenting the always changing world with photography seems more crucial than ever when cultures are globalized.

In countries like Peru or Tibet, you can see sneakers and T-shirts instead of traditional clothing. The change is immense, heartbreaking, and seen all around the globe. How will it affect us in the long term, and when will it become irreversible? What’s clear is that the change is happening at a rapid speed. The coverage in travel photography is usually free from political bias. Nevertheless, it is as important as ordinary coverage, or sometimes more, because it presents a more objective description, free to be interpreted in many ways, used in studies and for education, and stored for the future.

The travel photographer has the drive that gives her or him an advantage: ”It has to be done.”

Maybe you will find your self with Grizzly bears in the Kamchatka peninsula, instructed by the expert not to be afraid (51.41 N Russia). Or, perhaps, going down in a bunker in Vietnam searching for remains from the Vietnam War. The world is a prominent place; it will take time and effort to concur. In general, it is ”wanderlust” that drives the travel photographer, similar to the never-ending touring rock star, to investigate the earth with the camera as a primary tool. The human aspect always in the center; people, cultures, and linguistics, all immense. In the world today there is +7000 languages documented, but every two weeks endangered languages disappear from earth not to recur. An always changing world.

The approach is systematic, and the long collecting of trips, stories, and events makes the genuine travel photographer. This photographer is usually equipped with light equipment: camera body, two lenses, and accessories, for compactness and convenience. These can be fit into a cabin case, so there is no need for checking in baggage. Fast transportation to the starting point, all ready to go. Long excursions in remote areas demand something else: research, maps, new equipment, help from natives and a right spirit when something goes wrong.

When a booking of the hotel did not go through or when the plane left without you has to be fixed with a smile. Adventure traveling is a new way of getting out of your comfort zone, but it should not be compare with the travel photographer. Buying a trip from an agency that has you booked from five in the morning to late in the evening with no

are simulating or imitating the self-conscious and hard working travel photographer with a destine and a goal to show the true nature of the world. The separation of the amateur and the actual travel photographer, only to be found in the body of work. Of course, major influences derived from monumental photographers like Henry Cartier Bresson, William Eugene Smith, Sebastião Salgado and others is a significant voice and support for becoming a motivated and influential photographer.

There is no geographical limitation to travel photography, mainly the cost of moving by airplane, living, and possibilities like catch the last vehicle to the South Pole before the temperature is dropping below astonishing 60 Celsius. Also get used to the high altitude of 3000 meters.

It is the coldest place on earth, temperature dropping below -80 Celsius in July. Still, people are working there, and coming back every year, for their experimentation on research facilities like the Atmospheric Research Observatory or the South Pole Telescope. If you are lucky someone will allow you to enter the station, and show you around.

Don’t forget you have to bring your one food for the stay.

In the North Pole, there is even more to consider, polar bears, the Arctic sea and caveating. You have to travel by icebreakers, probably nuclear. Two weeks is an entire trip, there and back, just to stay only for a couple of hours. The North Pole is situated in the middle of Arctic Ocean contrary to the South Pole, located on a continental land mass. In the middle of summer, the temperature is a couple of degrees over zero, with a record high of 14 Celsius.

SZ18080209-p1-8-bs(中性灰).indd 4

2018/8/21 下午3:41

SZ18080209-p1-8-bs(中性灰).indd 5

2018/8/21 下午3:41

90.00 N NORTH POLE 86.10 N ARCTIC OCEAN 80.76 N RUSSIA – FRANZ JOSEF LAND 80.69 N RUSSIA – FRANZ JOSEF LAND

A geographic position – Latitude

80.47 N RUSSIA – FRANZ JOSEF LAND 78.74 N NORWAY – SVALBARD

74.01 N CANADA – PRINCE LEOPOLD LAND

70.95 N RUSSIA – WRANGEL LAND 72.70 N CANADA – POND INLET 71.97 N CANADA – SOMERSET ISLAND

68.99 N RUSSIA – MURMANSK 66.19 N GREENLAND– ILULISSAT

68.03 N NORWAY – NUSFJORD 66,16 N RUSSIA – UELEN

64.14 N ICELAND – REYKJAVIK 67.84 N SWEDEN – JUKKASJÄRVI

69.10 N CANADA – CAMBRIDGE BAY 66.93 N GREENLAND – SISIMUT 63.01 N ICELAND – HVERAGERDI

63.08 N RUSSIA – KIZHI

53.21 N RUSSIA – KAMCHATKA

58.47 N SWEDEN – ÖRÖ

53.12 N RUSSIA – KAMCHATKA

56.52 N RUSSIA – TOMSK

59.27 N SWEDEN – MÅLA 59.22 N SWEDEN – HEDENSÖ

52.98 N RUSSIA – KAMCHATKA

55.69 N DENMARK – COPENHAGEN

52.72 N RUSSIA – KAMCHATKA 51.58 N RUSSIA – KAMCHATKA

55.00 N RUSSIA – SIBIRIA

53.55 N GER MANY – HAMBURG

51.41 N RUSSIA – KAMCHATKA

50.45 N UKRAINE – KIEV 43.13 N RUSSIA – VLADIVOSTOK

45.46 N ITALY – VENICE

48.87 N RUSSIA – KURILE ISLAND

45.38 N ITALY – VERONA

48.88 N RUSSIA – KURILE ISLAND 39.03 N NORTH KOREA– PYONGYANG

48.88 N RUSSIA – KUNASHIR

34.48 N CHINA – TIBET 34.09 N CHINA – TIBET 36.20 N JAPAN– NAGANO

32.15 N CHINA – TIBET 27.67 N NEPAL – BAKTAPUR 27.65 N NEPAL – CHANGU NARAYAN

20.04 N CUBA – SANTIAGO DE CUBA 23.13 N CUBA – HAVANNA

27.53 N NEPAL – CHITWAN

28.65 N CHINA – TIBET 27.51 N BHUTAN 27.34 N BHUTAN

24.97 N CHINA – YUNNAN 23.50 N INDIA – BANDHAVGARH 12.43 N NICARGUA – LEON

23.22 N INDIA – MADHYA PRADESH

11.48 N NICARGUA – OMETEPE ISLAND

12.35 N NICARGUA – JUAN VENADO

19.03 N INDIA – MUMBAI

11.93 N NICARGUA – GRANADA

11.91 N INDIA – PONDICHEERY

26.19 N CHINA – YUNNAN 25.30 N CHINA – YUNNAN 21.13 N VIETNAM 21.05 N VIETNAM - HANOI 15.87 N VIETNAM - HOI AN

13.41 N CAMBODIA - ANKOR WAT

10.46 N COSTA RICA – TORTUGUERO

00.86 S ECUADOR –GALAPAGOS

35.68 N JAPAN– TOKYO

00.01 S ECUADOR –AMAZONAS

19.14 S NAMIBIA 21.23 S NAMIBIA

24.17 S NAMIBIA - DEADVLIE

21.75 S NAMIBIA - CAPE CROSS 24.09 S NAMIBIA

Word Origin and History for latitude In Latin, the old word ”latitudo”(14c) means ”breadth, width, extent, size.”

In the context of maps, it is defined, geographically, as an imaginary line around the earth, running parallel to the planet’s equator, where the equator is the 0 degree, and the north (N) and south (S) poles have a latitude of 90°.

The distance of a degree latitude is about 111 km. So, the figures, for the north is 90.00 N, and the south is 90.00 S. London is on the latitude 50°30 N, and Cape town is on 33°55 S at the South hemisphere.

19.97 S BOTSWANA –OKAVANGO 20.65 S BOTSWANA –OKAVANGO 39.63 S NEW ZEALAND - CAPE KIDNAPPERS 43.54 S NEW ZEALAND - CHRISTCHURCH 62.92 S ANTARCTICA – DECEPTION ISLAND 63.80 S ANTARCTICA – ELEPHANT ISLAND 64.22 S ANTARCTICA

51.22 S51.22 UNITED S UNITED KINGDOM KINGDOM – THE–FALKLAND THE FALKLAND ISLAND ISLAND 51.69 S51.69 UNITED S UNITED KINGDOM KINGDOM – THE–FALKLAND THE FALKLAND ISLAND ISLAND 46.83 S NEW ZEALAND - STEWART ISLAND

64.45 S ANTARCTICA – PORT LOCKROY 64.55 S ANTARCTICA

54.44 S54.44 UNITED S UNITED KINGDOM KINGDOM – SOUTH – SOUTH GEORGIA GEORGIA 84.05 S84.05 ANTARCTICA S ANTARCTICA – UNION – UNION GLACIER GLACIER

SZ18080209-p1-8-bs(中性灰).indd 6

2018/8/21 下午3:41

SZ18080209-p1-8-bs(中性灰).indd 7

90.00 S ANTARCTICA – SOUTH POLE

2018/8/21 下午3:41

BOOK 1

90.00 N North Pole

SZ18080209-p9-104-bs(太阳铜).indd 12

2018/8/4 下午8:25

SZ18080209-p9-104-bs(太阳铜).indd 13

2018/8/4 下午8:25

80.47 N Russia

Frans Josefs Land

2018/8/4 下午8:25

SZ18080209-p9-104-bs(太阳铜).indd 21

2018/8/4 下午8:25

PICTURE INDEX From 90.00 N to 48.87 N

90.00 N North Pole

90.00 N North Pole

68.99 N Russia

69.10 N Canada

70.95 N Russia

Murmansk

Cambridge Bay

Wrangel Island

70.95 N RUSSIA Wrangel Island Wrangel Island near the Bering Strait in the Arctic Ocean is known as the final home for the last living mammoths just 3,000 years ago. The oil drums are located in the town of Shaknvsky.

90.00 N NORTH POLE Global warming has made it possible to reach the North Pole.

Before then, it took the world’s largest nuclear-powered ice breaker, ”50 Years of Victory”, to force through the two-meter thick ice.

90.00 N NORTH POLE The North Pole is completely desolate and there are no tracks of life, neither traces of polar bears or birds.

69.10 N CANADA Cambridge Bay In Northern Canada, there are no roads between the communities, flying is the only way to get around. There are no paved runways but the large aircraft can take off and land on gravel.

68.99 N RUSSIA Murmansk View of Murmansk from the world’s largest nuclear icebreaker.

Russia’s only nuclear-powered aircraft carrier, the ”Admiral Kuznetsov”, in the foreground.

PICTURE INDEX |

SZ18080209-p9-104-bs(太阳铜).indd 20

66.19 N Greenland

Ilulissat

80.69 N Ryssland

86.10 N Russia

Arctic Ocean

86.10 N RUSSIA Arctic Ocean Icebreaking on the immense Arctic Ocean. Amazingly, there is open water everywhere because the entire ice mass travels at about three knots. This causes the ice to crack and create small open spaces.

68.03 N Norway

80.69 N Russia

80.76 N Russia

67.84 N Sweden

Nusfjordw

Frans Josefs Land

Frans Josefs Land

80.76 N RUSSIA Franz Josef Land The dark mountains of Franz Josef Land consist of fossil-bearing Paleozoan sedimentary rocks. The entire archipelago is almost 90% covered by large glaciers.

80.69 N RUSSIA Franz Josef Land The large sphere is a concretion of sandstone that has eroded from the bedrock. It is an unusual phenomenon but is known from other places in the world.

Jukkasjärvi

68.03 N NORWAY Nusfjord In the Nusfjord, a group of killer whales have driven a school of herring that they have surrounded with air bubbles. Even the seagulls get a share of the catch.

67.84 N SWEDEN Jukkasjärvi A cold night at -33 degrees Celsius in Norrbotten near the Torne River.

66.19N GREENLAND Ilulissat Is-fall from the glacier is blocking the seaway to the village.

74.01 N Canada

66.16 N Russia

Prince Leopold Island

80.47 N Russia

Frans Josefs Land

80.47 N RUSSIA FRANZ Josef Land Swimming walrus in the clear waters. What distinguishes Franz Josef Land is that it is one of the few areas on earth that is unaffected by hunting. This is because it is so remote and difficult to access.

Uelen

78.74 N Norway

66.93 N Greenland

Svalbard

Sisimiut

78.74 N NORWAY Svalbard Polar bear feeding on seal on drifting ice outside Svalbard.

66.93 N GREENLAND Sisimiut A Greenlander in a traditional kayak meets the new era in the form of colorful plastic canoes.

74.01 N CANADA PRINCE Leopold Island An almost100 meter vertical wall of ancient Paleozoic rocks.

The area is brimming with nesting birds on the mountainside.

66.93 N Greenland Sisimiut

66.16 N RUSSIA Uelen After a walrus hunt on Lake El’gygytgyn at the Bering Strait, you need powerful gear to get the boat up on land.

66.93 N GREENLAND Sisimiut The building authorities in Greenland have no problem with the house’s color scheme. Something for us Swedes, who are afraid of a little color on our houses, to think about.

66.16 N Russia

66.16 N Russia

Uelen

Uelen

72.70 N Canada

72.70 N Canada

Pond Inlet

72.70 N CANADA Pond Inlet Elderly Inuits with grandchildren on their way to shop in the village’s only store.

SZ18080209-p105-112--bs(中性灰).indd 106

Pond Inlet

72.70 N CANADA Pond Inlet Inuit children learn to hunt at an early age.

64.14 N Iceland

71.97 N Canada

Reykjavik

Somerset Island

66.16 N RUSSIA Uelen The walrus butchering takes place on the beach and everything is shared equally between the hunters.

71.97 N CANADA Somerset Island The polar bear has dragged its meal a good distance and then dines with gusto. The seagulls are waiting to enjoy the leftovers.

2018/8/21 下午3:38

SZ18080209-p105-112--bs(中性灰).indd 107

66.16N RUSSIA Uelen Homeward bound with walrus meat in a home-made carriage.

64.14 N ICELAND Reykjavik Firandet av Island seger över England i fotboll

2018/8/21 下午3:38

BOOK 2

Nr 2 Latitude – a cultural dividor When one matches the pictures of various cultures, the diversity among countries is more noticeable. A country’s colours, clothes, food, and events help to identify its origin. The further North or South of the equator you travel, the paler the colors that are used, and the milder and less spicy the food is. The colder the weather, the less variation there is in their nutrition and lifestyles. The more extreme nature is, the more laborious their lifestyle is, being marked by long hours of hard work. It is also necessary to have a big family that can support and contribute, which makes life easier. Most people who live in warmer countries agree that sunshine is a significant factor that contributes to their well-being. States like New Zealand, Australia or Ecuador, brag about there pleasant lifestyles, with sun all year round. High temperatures and blue skies are in demand for travelers. In Spain, ”the siesta” is a way of living. A short nap at midday is a common tradition in warm countries, especially when the sun is at its zenith, namely 90 degrees above them, and when the shadows vanish from under the viewer.

90.00 N NORTH POLE 86.10 N ARCTIC OCEAN 80.76 N RUSSIA – FRANZ JOSEF LAND 80.69 N RUSSIA – FRANZ JOSEF LAND

A geographic position – Latitude

80.47 N RUSSIA – FRANZ JOSEF LAND 78.74 N NORWAY – SVALBARD

74.01 N CANADA – PRINCE LEOPOLD LAND

70.95 N RUSSIA – WRANGEL LAND 72.70 N CANADA – POND INLET 71.97 N CANADA – SOMERSET ISLAND

68.99 N RUSSIA – MURMANSK 66.19 N GREENLAND– ILULISSAT

68.03 N NORWAY – NUSFJORD 66,16 N RUSSIA – UELEN

64.14 N ICELAND – REYKJAVIK 67.84 N SWEDEN – JUKKASJÄRVI

69.10 N CANADA – CAMBRIDGE BAY 66.93 N GREENLAND – SISIMUT 63.01 N ICELAND – HVERAGERDI

63.08 N RUSSIA – KIZHI

53.21 N RUSSIA – KAMCHATKA

58.47 N SWEDEN – ÖRÖ

53.12 N RUSSIA – KAMCHATKA

56.52 N RUSSIA – TOMSK

59.27 N SWEDEN – MÅLA 59.22 N SWEDEN – HEDENSÖ

52.98 N RUSSIA – KAMCHATKA

55.69 N DENMARK – COPENHAGEN

52.72 N RUSSIA – KAMCHATKA 51.58 N RUSSIA – KAMCHATKA

55.00 N RUSSIA – SIBIRIA

53.55 N GER MANY – HAMBURG

51.41 N RUSSIA – KAMCHATKA

50.45 N UKRAINE – KIEV 43.13 N RUSSIA – VLADIVOSTOK

45.46 N ITALY – VENICE

48.87 N RUSSIA – KURILE ISLAND

45.38 N ITALY – VERONA

48.88 N RUSSIA – KURILE ISLAND 39.03 N NORTH KOREA– PYONGYANG

48.88 N RUSSIA – KUNASHIR

34.48 N CHINA – TIBET 34.09 N CHINA – TIBET 36.20 N JAPAN– NAGANO

32.15 N CHINA – TIBET 27.67 N NEPAL – BAKTAPUR 27.65 N NEPAL – CHANGU NARAYAN

20.04 N CUBA – SANTIAGO DE CUBA 23.13 N CUBA – HAVANNA

27.53 N NEPAL – CHITWAN

28.65 N CHINA – TIBET

12.43 N NICARGUA – LEON

23.22 N INDIA – MADHYA PRADESH

11.48 N NICARGUA – OMETEPE ISLAND

12.35 N NICARGUA – JUAN VENADO

19.03 N INDIA – MUMBAI

11.93 N NICARGUA – GRANADA

11.91 N INDIA – PONDICHEERY

26.19 N CHINA – YUNNAN 25.30 N CHINA – YUNNAN 21.13 N VIETNAM 21.05 N VIETNAM - HANOI 15.87 N VIETNAM - HOI AN

13.41 N CAMBODIA - ANKOR WAT

10.46 N COSTA RICA – TORTUGUERO

00.86 S ECUADOR –GALAPAGOS

35.68 N JAPAN– TOKYO

27.51 N BHUTAN 27.34 N BHUTAN

24.97 N CHINA – YUNNAN 23.50 N INDIA – BANDHAVGARH

00.01 S ECUADOR –AMAZONAS

19.14 S NAMIBIA 21.23 S NAMIBIA

24.17 S NAMIBIA - DEADVLIE

21.75 S NAMIBIA - CAPE CROSS 24.09 S NAMIBIA

Word Origin and History for latitude In Latin, the old word ”latitudo”(14c) means ”breadth, width, extent, size.”

In the context of maps, it is defined, geographically, as an imaginary line around the earth, running parallel to the planet’s equator, where the equator is the 0 degree, and the north (N) and south (S) poles have a latitude of 90°.

The distance of a degree latitude is about 111 km. So, the figures, for the north is 90.00 N, and the south is 90.00 S. London is on the latitude 50°30 N, and Cape town is on 33°55 S at the South hemisphere.

19.97 S BOTSWANA –OKAVANGO 20.65 S BOTSWANA –OKAVANGO 39.63 S NEW ZEALAND - CAPE KIDNAPPERS 43.54 S NEW ZEALAND - CHRISTCHURCH 62.92 S ANTARCTICA – DECEPTION ISLAND 63.80 S ANTARCTICA – ELEPHANT ISLAND 64.22 S ANTARCTICA

51.22 S UNITED 51.22KINGDOM S UNITED–KINGDOM THE FALKLAND – THE FALKLAND ISLAND ISLAND 51.69 S UNITED 51.69KINGDOM S UNITED–KINGDOM THE FALKLAND – THE FALKLAND ISLAND ISLAND 46.83 S NEW ZEALAND - STEWART ISLAND

64.45 S ANTARCTICA – PORT LOCKROY 64.55 S ANTARCTICA

54.44 S UNITED 54.44KINGDOM S UNITED–KINGDOM SOUTH GEORGIA – SOUTH GEORGIA 84.05 S ANTARCTICA – UNION GLACIER 84.05 S ANTARCTICA – UNION GLACIER

90.00 S ANTARCTICA – SOUTH POLE

BOOK 2 39.03 N North Korea

Pyongyang

32.15 N China

PICTURE INDEX |

Tibet

PICTURE INDEX From 48.88 N to 10.46 N

48.88 N Russia

35.68 N Japan

45.46 N Italy

Kurile Island

48.88 N RUSSIA Kurile Islands A male fur seal watches over his swimming harem. The male can weigh over 1,000 kg, while the females weigh only 150 kg.

Tokyo

Venice

45.46 N ITALY Venice A small boatyard in Venice that manufactures and renovates gondolas.

34.48 N China Tibet

34.48 N CHINA Tibet Winter in Tibet at over 4,000 meters altitude, the sheep don’t have much greenery to eat.

35.68 N JAPAN Tokyo The cluster of Tokyo Central Railway Station

34.09 N China Tibet

34.09 N CHINA Tibet A curious monk in the Langmusi monastery.

28.65 N China Tibet

45.43 N Italy

44.38 N Russia

Verona

45.43 N ITALY Verona Opera performance in Verona taking place in the Arena di Verona, which dates to Roman times. The entire performance takes place in the open air.

Pyongyang

Baktapur

27.67 N NEPAL Baktapur Monk taxi in Nepal.

39.03 N NORTH KOREA Pyongyang A reminder of how East Germany looked in the 1960s.

39.03 N North Korea

Chitwan

Nagano

36.20 N JAPAN Nagano Snow monkeys take an open-air hot spring bath in Jigokuani

27.67 N Nepal Baktapur

27.67 N NEPAL Baktapur Cremation in Baktapur where the body goes up in smoke and the ash is spread in the river below. Note the foot!

27.67 N NEPAL Baktapur Watchdogs on an early morning in Baktapur

27.65 N Nepal Changu Narayan

27.65 N NEPAL Changu Narayan Goat head on a barrel after a religious sacrifice in the temple.

27.53 N Nepal

36.20 N Japan

Pyongyang

39.03 N NORTH KOREA Pyongyang ”Happy faces” on the bus from a happy population in North Korea.

28.65 N CHINA Tibet Palcho Monastery in Gyantse built in the mid 1400s.

27.67 N Nepal

Pyongyang

Pyongyang

39.03 N NORTH KOREA Pyongyang The great leaders in North Korea are everywhere and see everything, they are also in all subway cars.

39.03 N North Korea

39.03 N NORTH KOREA Pyongyang Snow clearing by hand in front of the great leader.

32.15 N CHINA Tibet Housing for the thousands of monks in the monastery Larong Gar.

39.03 N North Korea

39.03 N North Korea

43.13 N Russia Vladivostok

43.13 N RUSSIA Vladivostok Using a pedal boat to go around a sculpture in the Pacific Ocean.

Baktapur

Tibet

Vladivostok

43.13 N RUSSIA Vladivostok Russian sailors after a heavy evening.

27.67 N Nepal

32.15 N China

43.13 Russia

Kunashir

44.38 N RUSSIA Kunashir Basalt pillars on the beach on the island of Kunashir, which is the southernmost island of the Kurile Archipelago.

27.53 N NEPAL Chitwan The boy rests on a hand operated harvester.

27.51 N Bhutan

27.51 N BHUTAN A Buddhist nun is praying with her chin on her newly crafted clay man.

27.34 N Bhutan

27.34 N BHUTAN Drying red peppers in large amounts.

BOOK 3

Nr 3 Latitude – the southern hemisphers The southern hemisphere is different in many ways from the northern hemisphere. The southern hemisphere is made up of 80% water and 19.1% of the land, yet it still includes parts of five of the seven continents. Summer lasts from December to March and winter extends from June to September.

You have to be well-prepared to visit the lower parts of the southern hemisphere. In rough climates where humans don’t thrive, nature dominates the terrain. Where animals flourish, people fail. Long-term planning and good organization are key to survival. For a local, it just seems natural to adapt to the circumstances the way earlier generations did. It takes weeks to travel to South Georgia, 1,300 km north-west from the nearest point of the Falkland Islands, and find a base left there by the whaling industry. Birds like the wandering albatross fly hundreds of miles with the occasional flap of their wings. In the hardest weather, the albatross is one of the most efficient travelers in the animal world.

90.00 N NORTH POLE 86.10 N ARCTIC OCEAN 80.76 N RUSSIA – FRANZ JOSEF LAND 80.69 N RUSSIA – FRANZ JOSEF LAND

A geographic position – Latitude

80.47 N RUSSIA – FRANZ JOSEF LAND 78.74 N NORWAY – SVALBARD

74.01 N CANADA – PRINCE LEOPOLD LAND

70.95 N RUSSIA – WRANGEL LAND 72.70 N CANADA – POND INLET 71.97 N CANADA – SOMERSET ISLAND

68.99 N RUSSIA – MURMANSK 66.19 N GREENLAND– ILULISSAT

68.03 N NORWAY – NUSFJORD 66,16 N RUSSIA – UELEN

64.14 N ICELAND – REYKJAVIK 67.84 N SWEDEN – JUKKASJÄRVI

69.10 N CANADA – CAMBRIDGE BAY 66.93 N GREENLAND – SISIMUT 63.01 N ICELAND – HVERAGERDI

63.08 N RUSSIA – KIZHI

53.21 N RUSSIA – KAMCHATKA

58.47 N SWEDEN – ÖRÖ

53.12 N RUSSIA – KAMCHATKA

56.52 N RUSSIA – TOMSK

59.27 N SWEDEN – MÅLA 59.22 N SWEDEN – HEDENSÖ

52.98 N RUSSIA – KAMCHATKA

55.69 N DENMARK – COPENHAGEN

52.72 N RUSSIA – KAMCHATKA 51.58 N RUSSIA – KAMCHATKA

55.00 N RUSSIA – SIBIRIA

53.55 N GER MANY – HAMBURG

51.41 N RUSSIA – KAMCHATKA

50.45 N UKRAINE – KIEV 43.13 N RUSSIA – VLADIVOSTOK

45.46 N ITALY – VENICE

48.87 N RUSSIA – KURILE ISLAND

45.38 N ITALY – VERONA

48.88 N RUSSIA – KURILE ISLAND 39.03 N NORTH KOREA– PYONGYANG

48.88 N RUSSIA – KUNASHIR

34.48 N CHINA – TIBET 34.09 N CHINA – TIBET 36.20 N JAPAN– NAGANO

32.15 N CHINA – TIBET 27.67 N NEPAL – BAKTAPUR 27.65 N NEPAL – CHANGU NARAYAN

20.04 N CUBA – SANTIAGO DE CUBA 23.13 N CUBA – HAVANNA

27.53 N NEPAL – CHITWAN

28.65 N CHINA – TIBET

12.43 N NICARGUA – LEON

23.22 N INDIA – MADHYA PRADESH

11.48 N NICARGUA – OMETEPE ISLAND

12.35 N NICARGUA – JUAN VENADO

19.03 N INDIA – MUMBAI

11.93 N NICARGUA – GRANADA

11.91 N INDIA – PONDICHEERY

26.19 N CHINA – YUNNAN 25.30 N CHINA – YUNNAN 21.13 N VIETNAM 21.05 N VIETNAM - HANOI 15.87 N VIETNAM - HOI AN

13.41 N CAMBODIA - ANKOR WAT

10.46 N COSTA RICA – TORTUGUERO

00.86 S ECUADOR –GALAPAGOS

35.68 N JAPAN– TOKYO

27.51 N BHUTAN 27.34 N BHUTAN

24.97 N CHINA – YUNNAN 23.50 N INDIA – BANDHAVGARH

00.01 S ECUADOR –AMAZONAS

19.14 S NAMIBIA 21.23 S NAMIBIA

24.17 S NAMIBIA - DEADVLIE

21.75 S NAMIBIA - CAPE CROSS 24.09 S NAMIBIA

Word Origin and History for latitude In Latin, the old word ”latitudo”(14c) means ”breadth, width, extent, size.”

In the context of maps, it is defined, geographically, as an imaginary line around the earth, running parallel to the planet’s equator, where the equator is the 0 degree, and the north (N) and south (S) poles have a latitude of 90°.

The distance of a degree latitude is about 111 km. So, the figures, for the north is 90.00 N, and the south is 90.00 S. London is on the latitude 50°30 N, and Cape town is on 33°55 S at the South hemisphere.

19.97 S BOTSWANA –OKAVANGO 20.65 S BOTSWANA –OKAVANGO 39.63 S NEW ZEALAND - CAPE KIDNAPPERS 43.54 S NEW ZEALAND - CHRISTCHURCH 62.92 S ANTARCTICA – DECEPTION ISLAND 63.80 S ANTARCTICA – ELEPHANT ISLAND 64.22 S ANTARCTICA

51.22 S UNITED 51.22KINGDOM S UNITED–KINGDOM THE FALKLAND – THE FALKLAND ISLAND ISLAND 51.69 S UNITED 51.69KINGDOM S UNITED–KINGDOM THE FALKLAND – THE FALKLAND ISLAND ISLAND 46.83 S NEW ZEALAND - STEWART ISLAND

64.45 S ANTARCTICA – PORT LOCKROY 64.55 S ANTARCTICA

54.44KINGDOM S UNITED–KINGDOM SOUTH GEORGIA – SOUTH GEORGIA 54.44 S UNITED 84.05 S ANTARCTICA 84.05 S ANTARCTICA – UNION GLACIER – UNION GLACIER

90.00 S ANTARCTICA – SOUTH POLE

BOOK 3

20.65 S Botswana Okavango

PICTURE INDEX |

21.23 S Namibia

PICTURE INDEX From 00.01 S to 90.00 S

00.01 S Ecuador

00.01 S Ecuador

Amazon

24.09 S Namibia

24.09 S Namibia

Amazon

00.01 S ECUADOR Amazon Small parrots (parakeets) must eat a special clay every day for their digestive function to work. They expose themselves to a high risk when they gather on the ground, which makes them extremely careful.

00.01 S ECUADOR Amazon Canoes cut out of a single stock of wood at the muddy river bank

24.09 S NAMIBIA A very early morning before a balloon ride over the huge red desert in Namibia

24.09 S Namibia

24.09 S NAMIBIA The first sunbeams over the mountains.

24.09 S NAMIBIA Before the balloon landing in the red desert, which is probably the world’s oldest desert.

39.63 S New Zealand

Cape Kidnappers

00.86 S Ecuador

00.86 S Ecuador

Galapagos

00.86 S ECUADOR Galapagos The fact that there are fur seals at the equator is because the water around Galapagos is extremely cold, which in turn depends on the Antarctic sea currents reaching the islands.

00.86 S Ecuador Galapagos

00.86 S ECUADOR Galapagos Sea grass eating iguanas that warm themselves in the sun after being cooled in the cold sea water.

00.86 S Ecuador

Galapagos

00.86 S ECUADOR Galapagos Land iguanas live on cactus leaves in an extremely dry environment.

Galapagos

43.54 S NEW ZEALAND Christchurch Mural painting with New Zealand’s national plant, the fern.

39.63 S NEW ZEALAND Cape Kidnappers This is one of the world’s largest colonies of northern gannets.

46.83 S New Zealand

46.83 S NEW ZEALAND Stewart Island Albatrosses fight over today’s meal.

21.23 S Namibia

21.23 S NAMIBIA The Himla women in Namibia cover their skin and hair with a mixture of red clay, fat and various herbs as protection against the sun.

21.75 S Namibia Cape Cross

21.75 S NAMIBIA Cape Cross This is one of the two major seal colonies in Namibia, which is also one of the world’s largest. There are major problems with the seals because they eat more fish than all of Namibia’s fish production.

The Falkland Islands

51.22 S United Kingdom

The Falkland Islands

51.22 S UNITED KINGDOM The Falkland Islands Rockhopper penguins tumbling up and down in a stormy ocean.

51.69 S United Kingdom 20.65 S Botswana Okavango

20.65 S BOTSWANA Okavango A lion eats its breakfast amidst the greenery.

51.22 S United Kingdom

Stewart Island

Christchurch

Okavango

19.97 S BOTSWANA Okavango The rainy season has begun in the Okavango Delta which affects accessibility.

Niapier

39.49 S NEW ZEALAND Niapier En Art Deco affär med allt för damerna

43.54 S New Zealand

19.97 S Botswana

19.14 S Namibia

19.14 S NAMIBIA At twilight with Impala antelopes.

39.49 S New Zealand

24.17 S Namibia Deadvlei

24.17 S NAMIBIA Deadvlei The salt desert consists of salt and mud that have preserved the dead trees for thousands of years.

00.86 S ECUADOR Galapagos The Nazca booby is one of the few birds that can look straight ahead.

51.69 S United Kingdom The Falkland Islands

The Falkland Islands

51.22 S UNITED KINGDOM The Falkland Islands Rockhopperpingvin med torv i näbben

51.69 S UNITED KINGDOM The Falkland Islands A colorful house in Port Stanley

51.69 S UNITED KINGDOM The Falkland Islands Mural painting with sheep is quite natural in the Falkland Islands.

From North To The South Poleâ&#x20AC;&#x201C;LATITUDE

slipcase

paperback

CHINA – seen through a photographer’s eyes slipcase – format 270mm x 304mm landscape pages 336 in three books and slipcase slipcase – isbn 978-91-984651-6-7 paperback – isbn 978-91-984651-7-4 (336 pages)

With Christer Löfgren’s unique images of China, this set of three books illustrates the different way of life in the Middle Kingdom during the final stage of the Cultural Revolution from 1974 until the present day. Rare are those of the “Red Flag Canal” during the time when Mao still lived and influenced life in China. It was a massive canal building made by poor farmers who needed water for their farming in the dry valleys. Also, big cities like Beijing and Shanghai were completely without cars or high-rise buildings. Pictures from the 1990s show the first steps in rapid development; bicycles completely dominate the streets of the big cities, and new buildings grow up like mushrooms. With the significant expansion of modernity in China today, we get a close-up of how people live, both in towns and in the country.

Further, we go up to the Tibetan high plateau, residing at the edge of the world’s most upper mountain range. Here, you get a close-up of how the people live.

Through these images, you get an idea of t​​ he tremendous development in China and Tibet.

87

Christer Löfgren partici­pated in the first excursion 1974 on an invitation from the Chinese Geological department for scientific exchange with the University of Stockholm. As a geologist and photographer he traveled extensively in China.

BOOK 1 CHINA – seen through a photographer’s eyes under the years 1974-1995 by Christer Löfgren

BOOXENCOUNTERS Stockholm, Sweden

content 1. Beijing 2. Forbidden City 3. Summer Palace 4. Ming Tombs 5. Great Wall of China 6. Shanghai 7. Xi’an 8. Nanjing 9. Red Flag Canal 10. Gulin County 11. Li River 12. Folk community 13. Guangdong 14. Hong Kong

1990 Beijing

Chinese tourists take pictures of Tian’anmen Square. You can now see that there are a few cars and that the bikes are separated by their own bike path.

1994 Beijing

Now there is variation in fashion in Tiananmen Square

BOOK 1

BOOK 2 CHINA – seen through a photographer’s eyes under the years 2000-2018 by Christer Löfgren

BOOXENCOUNTERS Stockholm, Sweden

content 1. City Life 2. Celebration of the 60th anniversary 3. Celebration of New Year 4. Peony festival 5. Miao wedding 6. Agriculture 7. Village life 8. By the water 9. Ris festival 10. Markets 11. Schoolchildren 12. Traffic 13. Work 14. Mao 15. Winter 16. Hong Kong

Schoolchildren

BOOK 3 CHINA – seen through a photographer’s eyes Tibet by Christer Löfgren

BOOXENCOUNTERS Stockholm, Sweden

content 1. The first snow 2. Agriculture 3. Monastic 4. Fun and games 5. Monastery celebrations 6. Village life 7. New Year Celebration 8. Street theater 9. Tanka celebrations 10. On the countryside 11. Monk life 12. Religious 13. In the mountains

Jordbruk

BOOK 3

paperback

slipcase – format 228 mm x 304mm portrait pages 336 three books slipcase isbn 978-91-985190-2-0 paperback isbn 978-91-985190-3-7

slipcase

KARY LASCH – The Golden Years

slipcase – format 270mm x 304mm landscape pages 336 two books slipcase isbn 978-91-985190-5-1 paperback – isbn 978-91-985190-6-8

slipcase

RALPH ERSKINE– Buildings and drawings

paperback paperback

slipcase – format 228 mm x 304mm portrait pages 336 two books slipcase isbn 978-91-985190-4-4 paperback isbn 978-91-985190-0-6

slipcase

The folklore art of DALECARLIA

CHINESE IMPERIAL REIGN MARKS slipcase – format 165mm x 250mm (portrait) pages 336 two books in slipcase isbn 978-91-984651-8-1

slipcase

format 250mm x 190 mm landscape hardcover – pages 300 isbn 978-91-985190-7-5

hardcase

CHINESE PORCELAIN AND MARKS

hardcase – format 95 mm x 165 mm pages 40– in hardcase with jacket 12 tableau in 4 colors isbn 978-91-984651-9-8

hardcase

A FOUJITA DIARY

The Clash of Graffiti and STREET ART

slipcase

paperback

format 270mm x 304mm landscape pages 336 two books slipcase– isbn 978-91-984651-4-3 paperback – isbn 978-91-984651-5-0

MAN – thoughts about humankind slipcase – format 270mm x 304mm pages 336 in three books and slipcase slipcase – isbn 978-91-984651-0-5 paperback – isbn 978-91-984651-1-2

slipcase

paperback

From North To The South Pole–LATITUDE

slipcase

paperback

format 270mm x 304mm pages 336 in three books and slipcase slipcase – isbn 978-91-984651-2-9 paperback – isbn 978-91-984651-3-6

CHINA – seen through a photographer’s eyes slipcase – format 270mm x 304mm landscape pages 336 in three books and slipcase slipcase – isbn 978-91-984651-6-7 paperback – isbn 978-91-984651-7-4

slipcase

paperback

This catalog and its original content, features, and functionality are the exclusive property of Booxencounters and its licensors, protected by copyright and trademark. It can not be used without the prior written consent of Booxencounters.

We are spe­cial­iz­ing in illus­trated non-fiction books as a publisher and pack­ager for the inter­na­tional pub­lish­ing mar­ket. booxencounters are pro­duc­ing books for many occa­sion as in art, photog­ra­phy, travel, and other well-known sub­jects. Our goal is to main­tain the high­est qual­ity books pro­duced by the best on the mar­ket in writ­ing, illus­trat­ing, and printing.

All titles are available at Amazon Booxencounters books is distributed by ACC Art Books, USA Email: ussales@accartbooks.com ACC Art Books, UK Email: uksales@accartbooks.com

© 2020 Booxencounters

for contact

BOOXENCOUNTERS AB, Stockholm, Sweden info@booxencounters.com