RAFFAELLO FIORENTIN

Felice Nava [Editor], Raffaello Fiorentin [Designer]

Felice Nava [Editor], Raffaello Fiorentin [Designer]: 2DIMENSIONI no. 24: RAFFAELLO FIORENTIN. Milan: Grafiche A. Nava spa, December 1983. Text in Italian. Printed stapled thick wrappers. 20 pp. Elaborate black and white graphic design throughout by Raffaello Fiorentin. Wrappers lightly worn, but a nearly fine copy.

8.25 x 11.75 softcover Italian Graphic Design Journal subtitled “rassegna di grafica pubblicitaria diretta alle industrie e alle aziende commerciali [survey of advertising design industries and commercial companies]” published by the Milan printing house Grafiche A. Nava spa.

Each issue of 2DIMENSIONI was devoted to a single designer and essentially functioned as a monograph for a variety of Italian Artists, Designers and Photographers between 1968 and 1985.

Artist profiled in this journal included Salvatore Gregorietti, Renato Romiti, Gisela Tobler, Silvio Coppola, Max Huber, Giancarlo Iliprandi, Pino Tovaglia, Vito Cima, Walter Del Frate, Giovanna Graf, Giorgio Marcandalli, Valeriano Piozzi, Unimark International, Domenico Chiaudrero, Giuseppe Colombo, Piero Ottinetti, Silvio Russo, Giulio Confalonieri, G & R Associati, Armando Milani, Heinz Waibi, Giulio Cittato, Go Creative Group, Tomás Gonda, Walter Ballmer, Mario Cresci, Antonio Tabet,  Carlo Cattaneo, Ferdinand Alexander Porsche, Roberto Guissani, Gavino Sanna, Lelo Cremonesi, Raffaello Fiorentin, Ettore Mariani, Sergio Privitera and Fulvio Ronchi.

Nava Design was founded in 1970, at the time Nava decided working with leading international designers. The success of these partnerships has allowed Nava to create a very strong link between design and its products. The study and the development of the products find the right balance between functionality and aesthetic sensitivity, which is the base for Nava philosophy. Refined materials, quality and innovation characterize all products, translating a design that goes beyond vain fashion. Through the years some products have become icons in the graphic worldwide, and are still today available in a Museums and Design Foundations in the world. Currently the world’s Nava is declined in three catalogues, Bags and Accessories, Stationery, Design watches that communicate through a single language “The Design.” [from the Nava website]

Ed. and Cl. Neuenschwander

Ed[uard] and Cl[audia] Neuenschwander: FINNISH ARCHITECTURE AND ALVAR AALTO. New York: Praeger, 1954. First English-language edition [parallel texts in German, French and English]. Octavo. Cream cloth decorated and titled in gilt. Photo illustrated dust jacket. 192 pp. 300 black and white photographs, plans and detailed layouts. Lower corners gently pushed, otherwise a fine copy in a fine dust jacket. Scarce.

7.25 x 10.75 hardcover book with 192 pages and 300 black and white photographs, plans and detailed layouts. Titled on spine: Atelier Alvar Aalto 1950/1951, and originally published by Verlag für Architektur Erlenbach, Zürich (1954).

Aalto said "We should work for simple, good, undecorated things but things which are in harmony with the human being and organically suited to the little man in the street." His visionary glassware, furniture, and architecture whether residential, corporate, or cultural remain humane. Not something to be said about all great modernist architects.

Finnish architect Alvar Aalto (1898 – 1976) was not only influenced by the landscape of his native country, but by the political struggle over Finland's place within European culture. After early neoclassical buildings, Alvar Aalto turned to ideas based on Functionalism, subsequently moving toward more organic structures, with brick and wood replacing plaster and steel. In addition to designing buildings, furniture, lamps, and glass objects with his wife Aino, he painted and was an avid traveler. A firm believer that buildings have a crucial role in shaping society, Aalto once said, “The duty of the architect is to give life a more sensitive structure.”

”Modern architecture does not mean using immature new materials; the main thing is to work with materials towards a more human line.” - Alvar Aalto

François Burkhardt [introduction]

François Burkhardt [introduction], Göran Schildt, Alvar Aalto et al.: ALVAR AALTO, DE L’OEUVRE AUX ECRITS. Paris: Centre National D'art Et De Culture Georges Pompidou, September 1988. First edition. Text in French. Quarto. Black cloth decorated and titled in white. Photo illustrated dust jacket. Black endpapers. 190 pp. Illustrated essays with 24 pages of color photography. Glossy black jacket lightly rubbed with trivial edgewear and a sunned spine, so a nearly fine copy in a nearly fine dust jacket.

8.625 x 12 hardcover book with 190 pages fully illustrated in color and black and white with photographs, drawings, diagrams, etc.  Published in conjunction with an exhibition of the same name from October 19, 1988 to January 23, 1989 at the Centre Georges Pompidou. The work of Alvar Aalto was deeply rooted in the culture and the landscape of his native Finland. A Grand Duchy of Russia until the revolution of 1917, the newly independent state promoted architecture as a means of establishing its identity as a social democracy, and in Aalto found an architect with the ambition and talents to meet the challenge. Throughout a long and fertile career his work embraced almost all the key public institutions - town halls, libraries, theatres, churches, universities and government departments - as well as social housing and private dwellings. He brought to buildings of every type and scale a profound concern for the physical and psychological needs of their individual users, as well as sensitivity to natural sites and materials and to the experimental qualities of architecture.

Aalto once said "We should work for simple, good, undecorated things but things which are in harmony with the human being and organically suited to the little man in the street." His visionary glassware, furniture, and architecture whether residential, corporate, or cultural remain humane. Not something to be said about all great modernist architects.

Finnish architect Alvar Aalto (1898 – 1976) was not only influenced by the landscape of his native country, but by the political struggle over Finland's place within European culture. After early neoclassical buildings, Alvar Aalto turned to ideas based on Functionalism, subsequently moving toward more organic structures, with brick and wood replacing plaster and steel. In addition to designing buildings, furniture, lamps, and glass objects with his wife Aino, he painted and was an avid traveler. A firm believer that buildings have a crucial role in shaping society, Aalto once said, “The duty of the architect is to give life a more sensitive structure.”

Göran Schildt [Editor]

Göran Schildt [Editor]: SKETCHES ALVAR AALTO. Cambridge, MA: The MIT Press, 1978. First American Edition of the English Translation. Square quarto. White cloth titled in silver. Printed dust jacket. 172 pp. 80 black and white illustrations. Thirty one essays. Textblock head dust spotted. Silver jacket lightly rubbed and edgeworn, with a crease to the rear panel. A very good or better copy in a very good or better dust jacket.

8.85 x 8.85 hardcover book featuring 31 essays and 80 black and white pencil sketches. Translated by Stuart Wrede. This nearly complete collection of Aalto's literary sketches and lectures from 1922 to 1968 expresses the architect's views on modernism, traditionalism, and functionalism, the design of housing and furnishings, city and regional planning, and technology and the quality of life. These short pieces are enriched by drawings from Aalto's travels in the Mediterranean countries and North Africa.

Aalto said "We should work for simple, good, undecorated things but things which are in harmony with the human being and organically suited to the little man in the street." His visionary glassware, furniture, and architecture whether residential, corporate, or cultural remain humane. Not something to be said about all great modernist architects.

Finnish architect Alvar Aalto (1898 – 1976) was not only influenced by the landscape of his native country, but by the political struggle over Finland's place within European culture. After early neoclassical buildings, Alvar Aalto turned to ideas based on Functionalism, subsequently moving toward more organic structures, with brick and wood replacing plaster and steel. In addition to designing buildings, furniture, lamps, and glass objects with his wife Aino, he painted and was an avid traveler. A firm believer that buildings have a crucial role in shaping society, Aalto once said, “The duty of the architect is to give life a more sensitive structure.”

”Modern architecture does not mean using immature new materials; the main thing is to work with materials towards a more human line.” - Alvar Aalto

Göran Schildt

Göran Schildt: ALVAR AALTO: THE COMPLETE CATALOGUE OF ARCHITECTURE, DESIGN, AND ART. New York: Rizzoli, 1994. Reprinted 1995. Quarto. Gray cloth decorated in black. Photo illustrated dust jacket. 317 pp. 577 black and white and color illustrations. Jacket lightly rubbed, but a nearly fine copy in a nearly fine dust jacket.

9.25 x 11.75 hardcover book with 317 pages and black and white and color illustrations. “One of the masters of modern architecture, Alvar Aalto (1898-1976) was a prolific and influential architect, a gifted painter, and a talented world-renowned designer. In this comprehensive catalogue all his known works from the early 1920s to his final designs in the 1970s are presented and described.”

“With the full cooperation of the Alvar Aalto Foundation, Goran Schildt has explored its archives, and some 20,000 letters, memoranda and contemporary newspaper cuttings as well as many building models, to ensure that every work is included in this volume. It contains full descriptions, accompanied by abundant illustrations, of all of Aalto's realized and unrealized architectural projects: regional and urban plans, churches, theaters, libraries, museums, office and factory buildings, public housing, and private residences. Aalto's design skill is prominently featured in his furniture, light fixtures, glass, objets d'art, textiles, jewelry, graphic design, and stage sets.

“Göran Schildt has previously examined the life and work of Alvar Aalto in his acclaimed, award~winning three volume biography. The present volume catalogues Aalto's vast oeuvre, including many projects never before seen by the public, and uncovers information about Aalto's competition entries, his clients and colleagues, that is crucial to a complete understanding of Aalto's visionary impact on modern architecture, art, and design. Schildt was a personal friend of Aalto's and an interpreter of his works for almost thirty years. He was the Alvar Aalto Foundation's first chairman and has served the Foundation indefatigably for decades. He is uniquely qualified to carry out the Herculean labor of cataloguing Aalto's entire life's work.”

• Planning
• City and District Centers
• Religious Buildings
• Buildings For Physical Health
• Cultural Buildings
• Office Buildings
• Industrial And Commercial Buildings
• Housing
• Interior Design
• Design and Art: Furniture; Lighting; Glass Objects; Textiles; Painting; Sculpture; Jewellery; Stage Design; Book Art, Typography, and Billboards
• Aalto exhibitions
• Bibliographic notes
• Chronological list of Aalto's major works
• Location of Aalto's works
• Employees at Alvar Aalto's office, 1923 – 1992

Aalto said "We should work for simple, good, undecorated things but things which are in harmony with the human being and organically suited to the little man in the street." His visionary glassware, furniture, and architecture whether residential, corporate, or cultural remain humane. Not something to be said about all great modernist architects.

Finnish architect Alvar Aalto (1898 – 1976) was not only influenced by the landscape of his native country, but by the political struggle over Finland's place within European culture. After early neoclassical buildings, Alvar Aalto turned to ideas based on Functionalism, subsequently moving toward more organic structures, with brick and wood replacing plaster and steel. In addition to designing buildings, furniture, lamps, and glass objects with his wife Aino, he painted and was an avid traveler. A firm believer that buildings have a crucial role in shaping society, Aalto once said, “The duty of the architect is to give life a more sensitive structure.”

”Modern architecture does not mean using immature new materials; the main thing is to work with materials towards a more human line.” - Alvar Aalto

Juhani Pallasmaa [Editor]

Juhani Pallasmaa [Editor]: ALVAR AALTO FURNITURE. Cambridge, MA: The MIT Press, 1985. First edition. Square quarto. Brown cloth titled in blue. Printed dust jacket. 179 pp. 279 color and black and white illustrations. Printed vellum sheets. Multiple paper stocks. Dust jacket lightly rubbed and nicked to top edges. A nearly fine copy in a very good or better dust jacket.

8.375 x 9.5 hardcover book with 179 pages and 279 color and black and white illustrations. Published in conjunction with the Museum of Finnish Architecture, the Finnish Society of Arts and Crafts, and Artek. Includes Aalto's statement for an exhibition of his work in 1954; introduction by Pallasmaa; essays by Igor Herier, Goran Schildt, Marja-Liisa Parko; excerpts from Aalto's articles; chronology; selection of Artek's standard models; fixed furniture in Aalto's architecture.

"Modern architecture does not mean using immature new materials; the main thing is to work with materials towards a more human line." - Alvar Aalto

Finnish architect Alvar Aalto (1898 – 1976) was not only influenced by the landscape of his native country, but by the political struggle over Finland's place within European culture. After early neoclassical buildings, Alvar Aalto turned to ideas based on Functionalism, subsequently moving toward more organic structures, with brick and wood replacing plaster and steel. In addition to designing buildings, furniture, lamps, and glass objects with his wife Aino, he painted and was an avid traveler. A firm believer that buildings have a crucial role in shaping society, Aalto once said, “The duty of the architect is to give life a more sensitive structure.”

An eloquent humanist, as well as one of the great architects and designers of the 20th century, Alvar Aalto breathed life and warmth into modernism, placing emphasis on organic geometry, supple, natural materials and respect for the human element. “Architecture,” he said, “must have charm; it is a factor of beauty in society. But real beauty is not a conception of form... it is the result of harmony between several intrinsic factors, not the least, the social.” Aalto’s intention was to create integrated environments to be experienced through all the senses and to design furniture that would be at once modern, human and specifically Finnish.

Using native birch wood and plywood and his own new bentwood techniques, Aalto created his classic Lounge Chair, the curvilinear Wood Screen designed for the Finnish Pavilion and his iconic stacking stool. These pieces represent his virtuosity with form and structure and firmly established Aalto’s genius and fluency with wood, which he described as the “form-inspiring, deeply human material.” Their natural beauty also made waves among the European avant-garde, better known for high-minded austerity than for warmth.

Aalto’s work was enthusiastically received in the United States, and the Museum of Modern Art organized a major exhibition of his work in 1938. A year later, Aalto completed the Finnish Pavilion for the 1939 New York World’s Fair. Frank Lloyd Wright, upon viewing the Pavilion, said simply, “Aalto is a genius.”

For historical reference, here is an article from the July 15, 1940 issue of TIME magazine titled "Furniture by Assembly Line:"

”In 1925 modern tubular furniture was born. Its birthplace was the Bauhaus, famed German school of architecture and design which Nazis later turned into a domestic science school for girls. It had a bony infancy. Fad-hungry interior decorators pounced on its chromium steel chairs and glass-topped tables. But many a buyer found it short on fun, however long on function. Trouble was—and still is—that metal furniture was cold in surface and line, clammy or hot according to the weather.

“Meanwhile, in Finland, a brilliant young architect named Alvar Aalto and his architect wife, Aino, really got somewhere with modern furniture. Influenced by the Bauhaus and Le Corbusier (real name: Charles-Edouard Jeanneret), but experimenting in plywood instead of steel, they smoothed out geometric kinks, turned out chairs which combined the functional with good sense and charm. The Aaltos were the first to make chairs with pliant one-piece backs and resilient seats. They pioneered also in welding together layers of plywood with synthetic cement, cold-pressing them for six weeks into posture-pleasing shapes.

“Exhibited on the Continent, in London, at Manhattan's Museum of Modern Art (in 1938), their light, satiny furniture brought the Aaltos international renown, put them in the front rank of modern furniture designers. (Also well acknowledged by then was stocky, bush-browed Alvar Aalto's high rank among living architects.)

“Last week Alvar and Aino Aalto opened their own furniture store (Artek-Pascoe, Inc.) in Manhattan. The Aaltos' plywood sandwiches of maple and birch are shaped in Wisconsin, shipped East for assembly. Colors of the finished pieces of furniture—many of them Aalto-patented—ranged from natural finish through cellulosed red and blue to black. On display also went Aalto-designed screens and glassware.

“The excellence of the Aalto furniture may help to discourage manufacture of some furniture that now passes for modern. The Aalto purpose is to use U. S. mass production to get their designs into ordinary U. S. homes. Though their simple, substantial furniture is well fitted for mass production, the Aalto assembly line has not yet cut prices to the ordinary buyer's range. In full operation, it will retail an armchair now priced at $29.50 for $19, a $47 chest of drawers for $24, a $15 side table for $9. The Aaltos have already attained space-saving by designing stools that nest into each other, side chairs and even armchairs that can be stacked 20 high to save space."

Alvar Aalto, Finsven Inc.

[Alvar Aalto] Finsven Inc.: AALTO DESIGN COLLECTION FOR MODERN LIVING. New York: Finsven Inc., May 1955 [Catalog number two, copyright, May 1955]. Printed stapled wrappers. 24 pp. Black and white halftones and furniture specifications. Price list laid in. Housed in original mailing envelope with a illegible postage cancellation.  Brochure well handled along the upper edge, and envelope with signs of rough mailing, but a very good set. Rare.

8.5 x 11 stapled sales brochure with 24 pages of Alvar Aalto’s furniture designs available for import by Finsven Inc., 508 East 74th Street, New York 21, N. Y., BUtterfield 8-2442. Laid in price list printed on both sides, and housed in the original Finsven mailing envelope.

"Modern architecture does not mean using immature new materials; the main thing is to work with materials towards a more human line." - Alvar Aalto

Finnish architect Alvar Aalto (1898 – 1976) was not only influenced by the landscape of his native country, but by the political struggle over Finland's place within European culture. After early neoclassical buildings, Alvar Aalto turned to ideas based on Functionalism, subsequently moving toward more organic structures, with brick and wood replacing plaster and steel. In addition to designing buildings, furniture, lamps, and glass objects with his wife Aino, he painted and was an avid traveler. A firm believer that buildings have a crucial role in shaping society, Aalto once said, “The duty of the architect is to give life a more sensitive structure.”

An eloquent humanist, as well as one of the great architects and designers of the 20th century, Alvar Aalto breathed life and warmth into modernism, placing emphasis on organic geometry, supple, natural materials and respect for the human element. “Architecture,” he said, “must have charm; it is a factor of beauty in society. But real beauty is not a conception of form... it is the result of harmony between several intrinsic factors, not the least, the social.” Aalto’s intention was to create integrated environments to be experienced through all the senses and to design furniture that would be at once modern, human and specifically Finnish.

Using native birch wood and plywood and his own new bentwood techniques, Aalto created his classic Lounge Chair, the curvilinear Wood Screen designed for the Finnish Pavilion and his iconic stacking stool. These pieces represent his virtuosity with form and structure and firmly established Aalto’s genius and fluency with wood, which he described as the “form-inspiring, deeply human material.” Their natural beauty also made waves among the European avant-garde, better known for high-minded austerity than for warmth.

Aalto’s work was enthusiastically received in the United States, and the Museum of Modern Art organized a major exhibition of his work in 1938. A year later, Aalto completed the Finnish Pavilion for the 1939 New York World’s Fair. Frank Lloyd Wright, upon viewing the Pavilion, said simply, “Aalto is a genius.”

For historical reference, here is an article from the July 15, 1940 issue of TIME magazine titled "Furniture by Assembly Line:" "In 1925 modern tubular furniture was born. Its birthplace was the Bauhaus, famed German school of architecture and design which Nazis later turned into a domestic science school for girls. It had a bony infancy. Fad-hungry interior decorators pounced on its chromium steel chairs and glass-topped tables. But many a buyer found it short on fun, however long on function. Trouble was—and still is—that metal furniture was cold in surface and line, clammy or hot according to the weather.

“Meanwhile, in Finland, a brilliant young architect named Alvar Aalto and his architect wife, Aino, really got somewhere with modern furniture. Influenced by the Bauhaus and Le Corbusier (real name: Charles-Edouard Jeanneret), but experimenting in plywood instead of steel, they smoothed out geometric kinks, turned out chairs which combined the functional with good sense and charm. The Aaltos were the first to make chairs with pliant one-piece backs and resilient seats. They pioneered also in welding together layers of plywood with synthetic cement, cold-pressing them for six weeks into posture-pleasing shapes.

“Exhibited on the Continent, in London, at Manhattan's Museum of Modern Art (in 1938), their light, satiny furniture brought the Aaltos international renown, put them in the front rank of modern furniture designers. (Also well acknowledged by then was stocky, bush-browed Alvar Aalto's high rank among living architects.)

“Last week Alvar and Aino Aalto opened their own furniture store (Artek-Pascoe, Inc.) in Manhattan. The Aaltos' plywood sandwiches of maple and birch are shaped in Wisconsin, shipped East for assembly. Colors of the finished pieces of furniture—many of them Aalto-patented—ranged from natural finish through cellulosed red and blue to black. On display also went Aalto-designed screens and glassware.

“The excellence of the Aalto furniture may help to discourage manufacture of some furniture that now passes for modern. The Aalto purpose is to use U. S. mass production to get their designs into ordinary U. S. homes. Though their simple, substantial furniture is well fitted for mass production, the Aalto assembly line has not yet cut prices to the ordinary buyer's range. In full operation, it will retail an armchair now priced at $29.50 for $19, a $47 chest of drawers for $24, a $15 side table for $9. The Aaltos have already attained space-saving by designing stools that nest into each other, side chairs and even armchairs that can be stacked 20 high to save space."

John McAndrew [foreword]

John McAndrew [foreword]: AALTO: ARCHITECTURE AND FURNITURE. New York: Museum of Modern Art, March 1938. First edition [3,000 copies]. Octavo. Embossed and decorated paper covered boards. Publishers glassine wrappers. 48 pp. 35 black and white plates and 4 text illustrations. Upper corner lightly bumped. Surprisingly uncommon. A nearly fine copy in a tape repaired and partial example of the fragile Publishers glassine wrappers. Rare thus.

7.75 x 10.25 hardcover book with 48 pages and 35 black and white plates and 4 text illustrations. Foreword by the curator of Architecture and Industrial Art John McAndrew. Architecture section by Simon Brienes and furniture section by A. Lawrence Kocher. The March 1938 publication date marks this volume as the first English-language monograph devoted to a Modern Scandinavian Designer.

Every MoMA publication from the 1930s was designed and produced to the highest standards of the day, with imaginative art direction for the product photography, to contemporary layouts and sensitive typography. AALTO: ARCHITECTURE AND FURNITURE presents a magnificent snapshot of the way the modern movement was blossoming in the final days before the start of World War II.

"Modern architecture does not mean using immature new materials; the main thing is to work with materials towards a more human line." - Alvar Aalto

Alvar Aalto (Finland, 1898 – 1976) was not only influenced by the landscape of his native country, but by the political struggle over Finland's place within European culture. After early neoclassical buildings, Alvar Aalto turned to ideas based on Functionalism, subsequently moving toward more organic structures, with brick and wood replacing plaster and steel. In addition to designing buildings, furniture, lamps, and glass objects with his wife Aino, he painted and was an avid traveler. A firm believer that buildings have a crucial role in shaping society, Aalto once said, “The duty of the architect is to give life a more sensitive structure.”

Here is the MoMA press release from 1938: “The Museum of Modern Art, 14 West 49 Street, announces that on Wednesday, March 16, it will open to the public a new exhibition: Furniture and Architecture by Alvar Aalto. This exhibition will be on view through Monday, April 13.

“The Exhibition of Furniture and Architecture by Alvar Aalto presents the first American survey of the work of the Finnish architect, who is recognized as one of the most important and original modern architects and furniture designers of the past decade. The exhibition includes enlarged photographs, air views, drawings, and models of Aalto's architecture and a detailed study of four of his finest buildings: a sanatorium, a library, the architect's own house in Helsingfors, and the Finnish Pavilion which he designed for the Paris 1937 Exposition.

“The other section of the exhibition is composed of 40 or 50 pieces of furniture, largely in plywood, designed by Aalto and manufactured under his supervision. It includes a variety of chairs designed to meet the specific characteristics of various "types" of sitting. Aalto has made a study of various sitting postures and has designed chairs at different angles and slopes to be particularly suitable for dining, reading, lounging, working and sitting in school, theatre, etc. In addition to chairs, tables, tea trolleys and desks, a complete set of nursery furniture will be shown. The furniture section also includes glassware and lighting fixtures which Aalto designed for the Paris 1937 Exposition and several of his abstract wood designs used as wall decorations.

“In the catalog of the Aalto exhibition, published by the Museum of Modern Art, there is an article by Simon Breines on the architecture of Aalto which gives detailed descriptions and analyses of the architect's four most important buildings. Also included in the catalog is an article by A. Lawrence Kocher, Editor of the Architectural Record, on Aalto's design, theory, and practice in the manufacture of modern wood furniture. The particular features of Aalto's work described and analyzed in the two articles are made visually clear by many illustrations.

“The foreword of the catalog, by John McAndrew, the Museum's Curator of Architecture and Industrial Art, says in part: "Aalto’s designs are the result of the complete reconciliation of a relentless functionalist's conscience with a fresh and personal sensibility. This reconciliation demands tact, imagination and a sure knowledge of technical means; careful study of Aalto's buildings show all three in abundance.... In his furniture, the audacious manipulation of wood might be thought bravura were it not always justified by the physical properties of the material. As in his architecture, Aalto's designs are a result of the same combination of sound construction, suitability to use and sense of style....A major distinction of the furniture is its cheapness. Low-cost housing of good modern design has been produced for the last fifteen years; now, probably for the first time, a whole line of good modern furniture is approaching an inexpensive price level."

“Lenders to the exhibition include the following: Mr. Geoffrey Baker, Mr. and Mrs. Carl F. Brauer, Mr. and Mrs. Allstair Cooke, Mr. Harmon Goldstone, Miss Ruth Goodhue, Mr. and Mrs. A. Lawrence Kocher, Mr. and Mrs. William Lescaze, Mr. and Mrs. John Lincoln, Mr. and Mrs. Joseph K. Louchheim, Mr. and Mrs. Russell Lynes, Mr. Herbert Matter, Mr. Howard Myers, Mr, and Mrs. George Nelson, Mr. and Mrs. Beaumont Newhall, Mr. and Mrs. Laurence Rockefeller, Mrs. William Turnbull, 2nd, The Finnish Travel and Information, Bureau, New York, The Kaufmann Store, Pittsburgh.”

For historical reference, here is an article from the July 15, 1940 issue of TIME magazine titled "Furniture by Assembly Line:"

"In 1925 modern tubular furniture was born. Its birthplace was the Bauhaus, famed German school of architecture and design which Nazis later turned into a domestic science school for girls. It had a bony infancy. Fad-hungry interior decorators pounced on its chromium steel chairs and glass-topped tables. But many a buyer found it short on fun, however long on function. Trouble was—and still is—that metal furniture was cold in surface and line, clammy or hot according to the weather.

“Meanwhile, in Finland, a brilliant young architect named Alvar Aalto and his architect wife, Aino, really got somewhere with modern furniture. Influenced by the Bauhaus and Le Corbusier (real name: Charles-Edouard Jeanneret), but experimenting in plywood instead of steel, they smoothed out geometric kinks, turned out chairs which combined the functional with good sense and charm. The Aaltos were the first to make chairs with pliant one-piece backs and resilient seats. They pioneered also in welding together layers of plywood with synthetic cement, cold-pressing them for six weeks into posture-pleasing shapes.

“Exhibited on the Continent, in London, at Manhattan's Museum of Modern Art (in 1938), their light, satiny furniture brought the Aaltos international renown, put them in the front rank of modern furniture designers. (Also well acknowledged by then was stocky, bush-browed Alvar Aalto's high rank among living architects.)

“Last week Alvar and Aino Aalto opened their own furniture store (Artek-Pascoe, Inc.) in Manhattan. The Aaltos' plywood sandwiches of maple and birch are shaped in Wisconsin, shipped East for assembly. Colors of the finished pieces of furniture—many of them Aalto-patented—ranged from natural finish through cellulosed red and blue to black. On display also went Aalto-designed screens and glassware.

“The excellence of the Aalto furniture may help to discourage manufacture of some furniture that now passes for modern. The Aalto purpose is to use U. S. mass production to get their designs into ordinary U. S. homes. Though their simple, substantial furniture is well fitted for mass production, the Aalto assembly line has not yet cut prices to the ordinary buyer's range. In full operation, it will retail an armchair now priced at $29.50 for $19, a $47 chest of drawers for $24, a $15 side table for $9. The Aaltos have already attained space-saving by designing stools that nest into each other, side chairs and even armchairs that can be stacked 20 high to save space."

THAT NEW YORK: Brownjohn, Chermayeff and Geismar

THE AGE OF THE AUTO: Lester Beall

LOVE OF APPLES: Gene Federico

About U. S. - Experimental Typography By American Designers

Offered here is a complete pristine set of the “About U. S. - Experimental Typography By American Designers” published by the Composing Room in 1960. The four volumes by Herb Lubalin, Brownjohn, Chermayeff and Geismar, Lester Beall, and Gene Federico are housed in a Publishers slipcase with paper label. The finest copies of this set we have handled, undoubtedly protected by the (rare) slipcase.

• Percy Seitlin [text] and Herb Lubalin [design]: COME HOME TO JAZZ. New York: The Composing Room, 1960. First edition. Saddle-stitched booklet bound in orange letterpressed wrappers. 16 pp. Elaborate graphic design by Herb Lubalin. The first volume of the four-volume set “About U. S. - Experimental Typography By American Designers” published by the Composing Room in 1960. A fine copy.
• Percy Seitlin [text] Brownjohn, Chermayeff and Geismar [design]: THAT NEW YORK. New York: The Composing Room, 1960. First edition. Saddle-stitched booklet bound in gray letterpressed wrappers. 16 pp. Elaborate graphic design by Brownjohn, Chermayeff and Geismar. The second volume of the four-volume set “About U. S. - Experimental Typography By American Designers” published by the Composing Room in 1960. A fine copy.
• Lester Beall [design], Percy Seitlin [text]: THE AGE OF THE AUTO. New York: The Composing Room, 1960. First edition. Saddle-stitched booklet bound in tan letterpressed wrappers. 16 pp. Elaborate graphic design by Lester Beall. The third volume of the four-volume set “About U. S. - Experimental Typography By American Designers” published by the Composing Room in 1960. A fine copy.
• Percy Seitlin and Gene Federico: LOVE OF APPLES. New York: The Composing Room, 1960. First edition. Saddle-stitched booklet bound in tan letterpressed wrappers. 16 pp. Elaborate graphic design by Lester Beall. The fourth and fina volume of the set “About U. S. - Experimental Typography By American Designers” published by the Composing Room in 1960. A fine copy.

[4] 7 x 9.5 saddle-stitched brochures with 16 pages in publishers printed wrappers. THAT NEW YORK is a photo-illustrated poem by Percy Seitlin with b/w photographs by Len Gittleman, Raymond Jacobs, and Jay Maisel and the incomparable typographic design of Robert Brownjohn, Ivan Chermayeff and Tom Geismar. Along with WATCHING WORDS MOVE, THAT NEW YORK was one of the experimental works that came out of the short-lived partnership of Robert Brownjohn,  Ivan Chermayeff and Tom Geismar -- before Brownjohn's heroin addiction caused the firm too disband and forced Brownjohn to seek a country with more liberal drug laws. The rest they say, is history.  LOVE OF APPLES is poem by Percy Seitlin photo-illustrated by William Bell and incomparably designed by Gene Federico. The publisher's wrappers are printed with briefs on the writer, designer, and the series. A timeless piece of visual poetry with a timeless message that Mr. Federico considered a career highlight.

“What a perfect name: The Composing Room! A company bearing that name was primariy a typesetting house, but they were so much more than that. They were instrumental in pushing typography beyond the realm of merely displaying copy. They were  purevyours of good taste, and harbingers of new aesthetics. They made designers and artists realize what they didn’t know. As gallery owners they were one of the few NY institutions to consistently display graphic design.

“In 1959 a German graphic arts magazine, Der Druckspiegel, approached The Composing Room to showcase some cutting-edge American typographic design. Dr. Robert L. Leslie, Hortense Mendel, and Aaron Burns, who ran The Composing Room, responded by proposing to create four self-contained pieces to be inserted into the magazine. This is how they described the project: “In presenting experimental American typography to the European graphic arts community through the pages of Der Druckspiegel, we wanted to doubly utilize the opportunity offered by such a cultural exchange by showing the work of American designers and providing our European colleagues with something characteristically American to read about America. With this in mind, we decided to have a text created especially for us and to choose Percy Seitlin for the job. He is an American writer who feels that portraits of America are best painted ‘warts and all.’”

“The four designers chosen were Herb Lubalin, Gene Federico, Lester Beall, and the Brownjohn, Chermayeff and Geismar studio. Each designer picked a piece or pieces of text by Seitlin to work with and designed a four stunning booklets. The Composing Room asked for a larger quantity to be printed which they could then bind and distribute in United States. They, of course, handled the incredibly intricate typesetting for all of them.” — The Herb Lubalin Study Center

From the 1980 AIGA Medal Profile: "Coming to terms with Herb Lubalin's work takes you quickly to the heart of a very big subject: the theory of meaning and how meaning is communicated -- how an idea is moved, full and resonant, from one mind to another. Not many have been able to do that better than Lubalin.

"Typography is the key. It is where you start with Lubalin and what you eventually come back to. However, "typography" is not a word Lubalin thought should be applied to his work. "What I do is not really typography, which I think of as an essentially mechanical means of putting characters down on a page. It's designing with letters. Aaron Burns called it, 'typographics,' and since you've got to put a name on things to make them memorable, 'typographics' is as good a name for what I do as any."

"Lubalin was a brilliant, iconoclastic advertising art director -- in the 1940s with Reiss Advertising and then for twenty years with Sudler and Hennessey. Recipient of medal after medal, award after award, and in 1962 named Art Director of the Year by the National Society of Art Directors, he has also been a publication designer of great originality and distinction. He designed startling Eros in the early 60s, intellectually and visually astringent Fact in the mid-60s, lush and luscious Avant Garde late in the same decade, and founded U & lc in 1973 and saw it flourish into the 80s.

"But it is Lubalin and his typographics -- words, letters, pieces of letters, additions to letters, connections and combinations, and virtuoso manipulation of letters -- to which all must return. The "typographic impresario of our time," Dorfsman called him, a man who "profoundly influenced and changed our vision and perception of letter forms, words and language."

"Lubalin at his best delivers the shock of meaning through his typography-based design. Avant Garde literally moves ahead. The Sarah Vaughn Sings poster does just that. Ice Capades skates. There is a child in Mother & Child, and a family in Families. If words are a way of making meaning, then the shapes of their letters give voice, color, character and individuality to that meaning.

"The shock of meaning, in Lubalin's artful hands, delivers delight, as well, delight that flows from sight and insight. "Lubalin," praises Dorfsman, "used his extraordinary talent and taste to transform words and meaning from a medium to an inextricable part of the message? and in so doing, raised typography from the level of craft to art." And it is in his paper U & lc that a lot of threads in Lubalin's life and career get pulled together. It is publication dedicated to the joyful, riotous exploration of the complex relationships between words, letters, type and meaning -- an ebullient advertisement for himself as art director, editor, publisher and purveyor of the shock and delight of meaning through typography and design. "Right now," he said, "I have what every designer wants and few have the good fortune to achieve. I'm my own client. Nobody tells me what to do." And 170,000 subscribers which, with a conservative pass-along estimate, yields 400,000 readers, benefit.

"Herb Lubalin's unique contribution to our times goes well beyond design in much the same way that his typographic innovations go beyond the twenty-six letters, ten numerals and the handful of punctuation marks that comprise our visual, literal vocabulary. Lubalin's imagination, sight and insight have erased boundaries and pushed back frontiers.

"As an agency art director, he pushed beyond the established norm of copy-driven advertising and added a new dimension. As a publication designer, he pushed beyond the boundaries that constrained existing magazines -- both in form and content. In fact, some said he had pushed beyond the boundaries of "good taste," though in retrospect that work is more notable today for its graphic excellence than for its purported prurience. Lubalin helped push back the boundaries of the impact and perception of design -- from an ill-defined, narrowly recognized craft to a powerful communication medium that could put big, important ideas smack in the public eye.

"And finally, he pushed back what were believed to be the boundaries of design for entire generations of designers who were to follow. For such a quiet, gentle person to have accomplished so much is testimony indeed to the power of ideas in the hands of a master. "[Copyright 1981 by AIGA]

“According to Tom Geismar, the origin of Brownjohn, Chermayeff & Geismar’s vibrating typeface prefigured the sex, drugs and rock n’ roll aesthetic.

“I believe that the ‘Electronic Banking’ ad was the first use of this lettering (1959),” Geismar told me. “It was then used shortly thereafter, in a cleaned up form, for the ‘That’s New York’ experimental typography booklet that appeared in Der Druckspiegel, the German graphic arts magazine, I believe in 1960. The piece was one of a series produced under the sponsorship of The Composing Room.”

Geismar says “I would credit the design of the lettering to Brownjohn, Chermayeff & Geismar. I think we all had a hand in it, but it’s not clear. By the way, the lettering is very simply made: it’s just two pieces of identical Kodalith film, slightly offset.”

“We never had any specific plans for the alphabet,” he adds. “We had actually designed a few different alphabets during the 1960’s, at a time when we often made up titles and headlines as paste-ups of photostat images of lettering. I always said that, for our rather eclectic approach, we had a ‘bag of tricks’ that we would apply as appropriate. This alphabet was one of those ‘tricks’. It’s very much part of the ‘word as image’ approach that we have always believed in.” — Steven Heller

Robert Brownjohn (1925–1970) enrolled at the Institute of Design in 1944. He became a protégé of Moholy-Nagy and much of the structur- al quality in Brownjohn’s graphic design can be traced to his influence. Upon graduation, Brownjohn initially worked as an architectural planner in Chicago before returning to the Institute of Design to teach.

Architectural Forum noted that he “may have been the most talented student ever to have graduated from Chicago’s Institute of Design.” He personified Moholy-Nagy's idea that art and life can be integrated: “The true artist is the grindstone of the sense; he sharpens his eye, mind and feeling; he interprets ideas and concepts through his own media.”

In his short but intense life, Brownjohn helped to redefine graphic design, to move it from a formal to a conceptual art. His projects exemplify every aspect of his relationship to design, including emphasis on content over form and preferences with ordinary and personal images. His spirit of invention and designs for living in the machine age were balanced with references to the aesthetic models that Moholy-Nagy admired.

Here is the C. Ray Smith essay that accompanied Ivan Chermayeff and Thomas Geismar’s recognition as AIGA Medalists in 1979: “Finding relationships, as Ivan Chermayeff (1932 – 2017) has said, is what graphic design is all about. It is also what poetry is about—analogy, simile, metaphor, meaning beyond meanings, images beyond images. In the work of Chermayeff and Geismar, images are words, have meanings, communicate. They make visual images that are graphic poetry.

“Chermayeff and Thomas Geismar (1931 – ) combine their special kind of poetic communication with efficient practicality. Throughout their career they have shown two interests and directions: first, an emphasis on process or—to use the designers' by-now 20-year-old slogan—“problem solving”; and second, an exploration of a remarkable wide variety of aesthetic approaches to make their images. Their success at problem solving over the years has permitted them to plan, design and supervise an impressive number of corporate graphics programs across the broadest international framework. They are acclaimed for their methodology—for the clarity and organization of their graphics systems, for their pursuit of consistent details that work at every size and scale to solve the problems of multilingual programs. As a consequence they have collected commissions for corporate programs the way other designers collect book jacket commissions—Burlington Industries, Chase Manhattan Bank, Dictaphone, Mobil Corporation, Pan Am and Xerox, to name a few. Their work includes logos, symbols, letterheads, signs, annual reports, posters, bags and boxes and banners, trucks and airplanes, tank cars and tote bags, T-shirts and ties, television titles and credits.

“Designer Rudolph de Harak recalled in his presentation of the AIGA Medal that as early as 1959, when Chermayeff and Geismar were having an exhibition of their work in New York City, a news release stated that their design office “operated on the principle that design is a solution to problems, incorporating ideas in relation to the given problem, rather than a stylistic or modish solution.” Twenty years later, de Harak observed, “Their philosophy is still the same.”

“Our work starts from the information to be conveyed,” Ivan Chermayeff explains, “and only then goes on to make the structure subservient to that information or make the structure a way to help express the idea.”

“Chermayeff and Geismar met at Yale in the mid-1950s when so many ideas that are now a part of our lives were germinating. Chermayeff was born in London, the son of the distinguished architect-teacher Serge Chermayeff. He studied at Harvard, the Institute of Design in Chicago, and received a BFA at Yale. Geismar was born in Glen Ridge, New Jersey, and studied concurrently at Brown University and the Rhode Island School of Design, then received an MFA at Yale. There, both designers discovered a common interest in the design of alphabets or typefaces; they met doing research on papers about typeface design.

“Their degrees completed, Geismar went into the Army where he worked as a designer of exhibitions and graphics. Chermayeff went to work in New York, first for Alvin Lustig, then for CBS designing record covers. In 1957, they opened their own practice in New York.

“As designer Harak recalled: “Their work burst forth in the late 50s and early 60s smack in the middle of what is considered to be the time of the graphics revolution in this country. The mid-50s in New York was an exciting time, charged with creative electricity, the sparks flying from all the arts. In architecture, the United Nations building and Lever House had just gone up, and the way was paved for New York's first building by Mies van der Rohe in the late 50s. In the arts, Abstract Expressionism was being nudged aside by Pop painting and sculpture, to be followed by Op works. In the theater, Jerome Robbins had just done ”West Side Story.“ The jazz world was stunned by the passing of Charley Parker and razzle-dazzled by the cacophony of Ornette Coleman, Erick Dolphy and John Coltrane.

”In graphics, the establishment designers were Will Burtin, Alvin Lustig, Paul Rand, Lester Beall and Saul Bass, to name just a few. Art Kane was seriously contemplating leaving the drawing board for his cameras, and Jay Maisel had just started on his career as a photographer. Henry Wolf was turning the magazine industry on its ear with his fresh approach to design at Esquire, and Lou Dorfsman was already almost legendary at CBS. It was in this climate that Chermayeff and Geismar found themselves as partners, eager to incorporate their talents and skills.

“It is one thing to open a design shop today,” de Harak pointed out, “and to solicit work from an already generally alert design-oriented management. It was quite another issue in the late 1950s.”

“Yet around 1960, Chermayeff and Geismar started the craze for abstract corporate symbols with the one they designed for the Chase Manhattan Bank. They have produced over 100 such corporate symbols in the years since, including those for Manufacturers Hanover Trust, Screen Gems and the Bicentennial celebration.

“We try to do something that is memorable for a symbol,” Tom Geismar notes, “something that has some barb to it that will make it stick in your mind, make it different from the others, perhaps unique. And we want to make it attractive, pleasant and appropriate. The challenge is to combine all those things into something simple.”

“In meeting that challenge, Chermayeff and Geismar have explored as varied and different a collection of approaches and techniques as any designers now working.

“We do not have an office style,” Ivan Chermayeff has said, “like some designers who concentrate on graphics systems, such as grids. And we don't have a special style of illustration like those who are collectors of historical style motifs—Art Deco or 19th century typography. We are not involved in style and fashion in that way.”

“Instead, Ivan Chermayeff and Thomas Geismar are anthologists, assemblers and compilers who reduplicate the things they put together, multiply them ten fold—or more. It is the technique of repetition—what they call “collection.” In the process, they transform whatever they collect, give it a new turn and imbue it with new meaning. This technique of repetition, reduplication or multiplication—starting with a single item and reiterating throughout a corporate program—is a unifying element in their work.

“Chermayeff and Geismar collect samples of old typefaces and street signs because such things communicate directly. They are especially addicted to old art of anonymous printers and sign painters that show unconventional, nontraditional inventiveness of an improvisational nature—accidents, laissez faire, spontaneity and whimsy. It is the 1960s addiction for happenings. In fact, Chermayeff and Geismar's work often has the air of a graphics happening—casual, but hardly accidental.

Lester Beall’s 1992 AIGA Medal Citation by R. Roger Remington: Creativity speaks to the heart of the process of graphic design. What were the creative forces that allowed Lester Beall (American, 1903 –1969) to produce consistently treat art and design over the span of a 44-year career? Over this span of time, Beall produced solutions to design problems that were fresh and innovative. He studied the dynamic visual form of the European avant-garde, synthesized parts into his own aesthetic and formed graphic design applications for business and industry that were appropriate, bold, and imaginative. In his mature years he led the way with creative and comprehensive packaging and corporate identity programs that met the needs of his clients. Along the way in his work manner and style, Beall proved to American business that the graphic designer was a professional that could creatively solve problems and at the same time deal with pragmatic issues of marketing and budget. The qualities and values that led to Beall's effectiveness are timeless and provide contemporary practitioners with an historical reference base upon which to evaluate present standards.

Beall felt that the designer “must work with one goal in mind—to integrate the elements in such a manner that they will combine to produce a result that will convey not merely a static commercial message, but an emotional reaction as well. If we can produce the kind of art which harnesses the power of the human instinct for that harmony of form, beauty and cleanness that seems inevitable when you see it? then I think we may be doing a job for our clients.” For Beall that creativity was present at every stage of the design process. He said, “the designer's role in the development, application and protection of the trademark may be described as pre-creative, creative and post-creative.”

Born in Kansas City, Missouri in 1903, Beall's early childhood years were spent in St. Louis and Chicago. He was educated at Chicago's Lane Technical School and graduated from the University of Chicago. He began his design career in 1927. By 1935 Beall had decided to move to New York and in late September of that year had opened a studio/office in his apartment in Tudor City on Manhattan's east side. In 1936, while maintaining the office in New York, he moved to Wilton, Connecticut where he established his home and studio in a rural setting. He was to remain in Wilton until 1950. Many of the significant works from this period were done in this location. Through the 1930s and 1940s Beall produced innovative and highly regarded work for clients including the Chicago Tribune, Sterling Engraving, The Art Directors Club of New York, Hiram Walker, Abbott Laboratories and Time magazine. Of particular interest was his work for the Crowell Publishing Company which produced Colliers magazine. The promotional covers “Will There Be War?” and “Hitler's Nightmare” are powerful designs which distill messages of the time. In these works he utilizes angled elements, iconic arrows, silhouetted photographs and dynamic shapes, all of which captures the essence of his personal style of the late 1930s. Also of interest in this period are the remarkable poster series for the United States Government's Rural Electrification Administration. In all Beall designed three series of posters between 1937 and 1941 with the simple goals of increasing the number of rural Americans who would electrify their homes and increasing public awareness of the benefits of electricity. His poster for the ill-fated “Freedom Pavilion” at the 1939 World's Fair was another dynamic example of this time in which he used what he called “thrust and counter-thrust” of design elements.

Beall had moved his office to 580 Fifth Avenue around 1940. He worked there as well as from his home in Wilton, Connecticut. In 1949 he purchased Dumbarton Farm in Brookfield and, in 1950, he moved to consolidate all his operation there. He had developed some of the farm's out buildings into a professionally-praised office and studio space. During the 1950s and '60s Beall's design office expanded both in its staff and scope, adding associate designers and mounting full-scale corporate identification campaigns for large companies such as a Caterpillar Tractor, Connecticut General Life Insurance Company, The New York Hilton and Merrill Lynch, Fenner Pierce and Smith, Inc. His identity program for International Paper Company from 1960 was his most extensive identity program and is noteworthy for the graphics standards manual, one of the first to be so fully articulated.

Beall maintained, throughout his life, a core of sources which stimulated his perception, creativity and methods of making art and design. He was a highly visual person with a great need to express himself. Always first and at the center of his ways of working were his form experimentation in the drawing and painting of the human figure. He was always at work in his studio, whether it was creating design, art or photography. His wife, Dorothy Miller Beall, characterized her husband as “first of all an artist, not only because of a vital and important talent, but because of an emotional spiritual quality, a very special attitude.” His daughter Joanna remembers this fine art expression as “a major part of his thinking.” Beall, in his memoirs, confirms this by recalling that “all through my life as a designer, I have spent considerable time developing myself as an artist. I am constantly drawing, with particular emphasis on the figure, which I find fascinating though difficult in term of evolving something that is not completely abstract but certainly not literal or realistic.”

Photography also was a lifelong interest to Beall and an important part of his creative process. He experimented with photography and photographic processes almost from the beginning of his career in design in Chicago. Cameras, a photographic studio and a darkroom were always necessary for his visual experiments. In the '30s he had seen the experimental photographic work of the European avant-garde designers such as Herbert Bayer, El Lissitzky, and Lazlo Moholy-Nagy. Beall would experiment regularly with photograms, and with straight photography both in and out of the studio. Even today, many of Beall's photographic images remain unusual and innovative visual experiments. Beall carried his camera with him on all his travels. These images formed an image bank from which he drew inspiration for his lectures. Others found their way into direct graphic design application for his clients such as in the cover for ORS, a journal for health services professionals. A more complex photographic technique is used on the cover of What's New, a house organ of Abbott Laboratories. This image from 1939 shows a complex integration of photographic and graphic elements, set in a scale which juxtaposes the size relationships of foreground and background.

The psychologist Erich Fromm said, “Education for creativity is nothing short of education for living.” Beall's creative activities were powerfully influenced, enhanced and supported by the working environments that he established to support them. Whether he was working from his office near the Loop in Chicago, an office in a New York skyscraper or from the pastoral setting in Connecticut, Beall was sensitive to the importance of the space around him and how this could influence his creativity. In 1968 he wrote: “By living and working in the country I felt I could enjoy a more integrated life, and although I still need the periodic stimulation of New York City, the opportunity and creative activity in an area of both beauty and tranquility seemed to me to far exceed anything that a studio and residence in New York might offer—the way a man lives is essential to the work he produces. The two cannot be separated. If I could condense into a single idea the thinking we are trying to do here at Dumbarton Farm, it would be to achieve, through organic and integrated design, that power of inevitability. This has for a long time been an effort to work out a way of living for me and my family—and for the people who work with me. It gives me more time at home. It surrounds me with atmosphere I feel is pretty essential to good creativity.” With Beall it was not so much that he had his studio in the country, but that he had a way of life built around the country, part of which involved having his studio there at his elbow.

As with other pioneers of his era, Beall believed that the designer cannot work in a vacuum. He remarked, “all experience in fields directly or indirectly related to design must be absorbed and stored up, to provide the inspirational source that guides, nourishes and enriches the idea-flow of the designer.” Beall's own interests in other art forms provided further stimulus to his immense curiosity and creativity. Dorothy Beall wrote that Lester “believed that anyone interested in design must necessarily be interested in other fields of expression—the theatre, ballet, photography, painting, literature, as well as music, for from any of these the alert designer can at times obtain not only ideas related to his advertising problem, but genuine inspiration.” His books and periodicals were another great source of inspiration for Beall. He collected books and periodicals seriously from the beginning of his design career in Chicago. By the Sixties, Beall had accumulated a major personal collection of publications on creative forms such as art, design, photography and architecture. He also collected seminal magazines such as Cahiers d'Art and rare volumes such as the famous Bauhausbucher. Music was another important ingredient of Beall's creative environment. He was very familiar with jazz, having grown up with it in Chicago. While working in his studio there in the mid-'20s, he would often listen to live broadcasts on radio. Throughout his life, he would surround himself with music, be it jazz, or the classical compositions of Europeans such as Stravinsky, Prokofiev and Shostakovich.

Beall was a major synthesizer of the ideas of European avant-garde artists and designers into the mainstream of design for American business. An associate Fred Hauck, with whom he had shared office space in Chicago, was probably the major vehicle through which Beall received those exciting ideas from Europe. Hauck, who had lived and painted in Paris and had gone to Hans Hofman's school in Munich, returned to Chicago and shared with Beall an enthusiasm for the European artists and designers, especially the Bauhaus. Hauck showed Beall valued copies of the Bauhaus books and publications of the avant-garde which he had brought back with him. This interest as well as such publications as Arts et Metier Graphiques, and Bebrauschgraphik helped Beall consolidate his own thinking away from a limiting vision of design as ordinary middle-American commercial illustration and towards a new dynamic, progressive form of graphic communication.

Gene Federico’s 1987 AIGA Medal Citation by Steven Heller: Good design has been an anomaly in American advertising ever since the turn of the century when copywriters were given total rein over image makers. Unlike European advertising of the same period when the foremost artist/designers were made culture heroes, it was virtually inconceivable that an American art director could be more than just a layout person. This changed in the 1930s when the advertising pioneer Ernest Elmo Caulkins, realizing the strength of word and picture, devised the forerunner of the creative team. By 1939, when Gene Federico (1918 – 1999), a twenty-one-year-old Pratt Institute graduate with a special interest in typography, entered the profession, a few exceptional designers had already begun to change the look and content of some mainstream advertising, paving the way for a distinctly American modern style.

By the late 1940s, after an apprenticeship at an ad agency, a tour of duty in the Army and an unexceptional stint as a magazine art associate, Federico realized that graphic design was his passion and advertising his métier. Soon he became one of America's premiere advertising art directors and designers, bridging the often wide gap between the two jobs. His selection as the 1987 AIGA Medalist is important for two reasons: It honors someone who, for over four decades, has responsibly stretched the boundaries of advertising design with typographic elegance and conceptual acuity, and, as a principal of Lord Geller Federico Einstein, continues to contribute to an American graphic design vocabulary.

Born on February 6, 1918, in New York's Greenwich Village, Federico was the middle child with two sisters. When the family moved to the Bronx, he attended P.S. 89 which, in keeping with a venerable New York City public school tradition, sponsored a number of poster competitions for city agencies and events. Federico's earliest advertisement was a poster painted in tempera for the ASPCA. When the family moved to Coney Island a few years later, he enrolled in Abraham Lincoln High School. This was the home of the legendary Art Squad led by Leon Friend, who taught intensive classes in commercial design and illustration for over fifty years. As an Art Squad member Federico was exposed to the work of the leading European advertising artists. One inspiration was an arresting, Cubist-inspired poster by A.M. Cassandre promoting the S.S. Amsterdam. Awed by its stark geometry and subtle hues, he modeled his own early poster style on Cassandre's use of bold lettering and dominant painted image. Though he designed pages for school publications, Federico explains that “it was the direct message of a poster that propelled me into advertising.”

Brooklyn's Pratt Institute was the next stage in his education. In its voluminous library, Federico pored though the current European design magazines and American design annuals soaking up the influence of Cassandre, Lester Beall and Paul Rand (the latter, only a few years older than Federico, was already making significant inroads into advertising design). At Pratt form became an enduring watchword, which Federico says is the basis of “a work so powerful that it is hard to find any weakness in it.”

Tom Benrimo, a popular advertising designer and illustrator at the time, was a formidable teacher who recommended that Federico take a job with his client, the Abbott Kimball Company, a small advertising agency in New York. One of Federico's first professional assignments was a clever conceptual piece entitled “Brains and Luck,” a brochure promoting the agency that was accepted into the 1939 New York Art Director's show. Concurrently, he took a few weeknight classes at the Art Students League in Manhattan under the tutelage of Howard Trafton. One Lesson was on the effects of dumb light in which Federico recalls “you just hang a naked lit bulb to see its effects on a model.” Another was Trafton's analysis of African sculpture, “his emphasis on distortion and negative space explained the root of all graphic experience.” On those seemingly endless, noisy subway rides back to his home in Brooklyn he would often discuss the evening's lessons with Norman Geller, a younger classmate, who years later would become his business partner.

In 1941, seduced by a job offer in the ad department at Bamberger's Department Store, he decided to migrate to Newark, New Jersey. There he could do good work, double his salary and most important, live away from home for the first time. Four months later, Uncle Sam offered a less comfortable home away from home. From April 1941 to November 1945 Federico was a GI first stationed in the United States and then sent to North Africa and Europe, where he served in a camouflage unit. Field work allowed the occasional respite to design manuals, posters, paint a mural for an officer's club and, in Oran, organize an enlisted man's art show. Federico returned from the war to the job at Abbott Kimball, where he stayed less than a year.

Federico's pre- and postwar design was exhibited in 1946 at the prestigious A-D Gallery in a show entitled “The Four Veterans.” Will Burtin, then art director of Fortune magazine, impressed by what he saw, asked the young designer to become his art associate. “I thought that I should try editorial,” he painfully recalls, “but I hated it. I loved Will, but I couldn't follow the way he designed. So completely analytical, he could take the most complex subject and then build it into a dramatic structure. It was brilliant, but it wasn't my kind of design.” Federico resigned after 10 months, and took a temporary job supervising layout at Architectural Forum where, admitting to his preference for the single image and a definite problem with achieving kinetic flow through pictures, he did merely a so-so job. At this point, he decided to freelance.

For a year and a half Federico struggled while his wife, Helen, worked as an assistant to Paul Rand. “With Helen's salary, we were able to manage,” he says. Rand suggested that Federico take a job at Grey Advertising where he met Bill Bernbach, Phyllis Robinson, Ned Doyle and Bob Gage. They left shortly to open an agency with Mac Dane, called Doyle Dane Bernbach. Three years later, Gage invited Federico to join the new firm, and he was given the Woman's Day magazine account. This resulted in a series of ads that revealed Federico's deft pictographic sensibility.

Though some advertising designers, like Rand and Beall, signed their already distinctive work, Federico's signature was found in the construction of the typographical image. “Lester Beall opened my eyes to the idea that type could be used to emphasize the message,” says Federico talking about his roots. “One of his ads had the great line, 'To hell with eventually. Let's concentrate on now.' The 'e' in 'eventually' was very large and 'now' was the same size. The simple manipulation of these letter forms allowed the viewer to immediately comprehend the message.” Federico's method is also based on the integration of text and image and so he has always worked intimately with a copywriter. He says, “I too look for those simple elements in copy.” And warns that “when the designer doesn't read the copy to catch the sound of the words, he runs the risk of misusing the typography. If the rhythm of the words is disregarded, the copy is likely to be laid out incorrectly.” Federico's best-known ad for Woman's Day typifies this rhythmic sensitivity. It has the catch-line “Going Out,” and shows a photo of a woman riding a bicycle with wheels made from the two lowercase Futura 'o's in the headline. The aim of this ad was to persuade potential advertisers that three million-plus devoted readers went out of their way to buy this check-out counter magazine. The ads apparently did well for the client, but more importantly proved the power of persuasive visual simplicity in a field that often errs on the side of overstatement.

Federico's advertising approach is more related to attitude than style. Despite Lou Dorfsman's assertion that Federico is the prince of Light Line Gothic (admittedly on of his favorite typefaces), few of his ads conform to a single formula or evoke stylistic déjà vu. Nevertheless, one trait is dominant: his love of and skill with type. This talent matured during the mid-1950s. He fondly remembers, “It was then that Aaron Burns (who was working at the Composing Room) introduced me to a range of new typefaces. He would get so excited about new developments, and we would have fun working together.” This was more than the typical designer and supplier relationship; Burns also developed formative outlets for Federico and others to experiment with expressive typography. One was a series of four sixteen-page booklets (written by Percy Seitlin) that allowed designers total freedom to interpret a specific subject with type, photography and illustration. Herb Lubalin did one on jazz, Lester Beall did cars, Brownjohn Chermeyeff and Geismar did New York City and Federico did Love of Apples. “I wanted to try something where I used metal type in extreme ways without having to cut it-without cutting up proofs or playing with stats,” explains Federico about this masterpiece of descriptive typography. “For some time, I had known that if you stacked Title Gothics they would have a different look than traditional types. So the whole book was based on that simple idea.” But the aesthetics of type were not his only concern, as he says, “The message of the book was that nature's beauty is being radically altered. There's a line that reads 'When we, in business, industrial America began to get smart about apples, we packaged them and packaged them and packaged them until the apple itself became a package.' I illustrated that point with a photograph of an apple with a string tied around it.” In another designer's hands, this subtle environmental critique might have become a screaming polemic, yet Federico's elegant touch transformed these few pages into memorable visual poetry. One could say the same for a great deal of his advertising.

After the stint with Doyle Dane Bernbach, he went to Douglas D. Simon and then spent seven and a half years at Benton and Bowles. There he says “practically nothing happened,” though he actually created some memorable advertising for IBM's Office Products Division, including those for the introduction of the early electric and first Selectric typewriters. For the Selectric, the first office machine to use a type element, Federico wrote a slogan, “A new type of writer,” which, like some other excellent ideas for IBM, went unused. One of his favorites, and therefore the most frustrating rejection, is a 'knotted pencil,' a symbol to announce IBM's new 'Stretch' computer, which at the time could solve more problems than any other computer. With his creative-teammate copywriter Bob Larimer, Federico devised the archetype of one of today's favored visual cliches. Larimer has recently written about it, saying, “When longer ago than we care to admit we created an ad for IBM illustrated with a knotted pencil, we thought the symbol was totally original. Since that distant day, the knotted pencil has turned up repeatedly in art, advertising and commercial illustration.” Despite the reasons for IBM's rejection (and Federico never really found out why), it underscores the heart of the advertising dilemma: How effectively does good design contribute to selling an advertising concept? Federico says, “It depends on who is doing the selling. If I were a salesman like George Lois or Lou Dorfsman, I could sell almost anything. But you don't always have such good fortune. Your work is presented by account people who lack sufficient feeling for it.”

The need for more control over the quality and destiny of his work motivated Federico to start his own agency. However, the process was not rapid or easy. In the early 1960s at Benton and Bowles, Federico ran an art group that included Emil Gargano, Roy Grace and Dick Hess. There he met a copywriter named Dick Lord, who left to become creative director of Warwick & Legler and invited Federico to join him. Four years passed before taking up the offer to become art supervisor. Eight months later in early 1967, citing general malaise, both Lord and Federico decided to form a partnership called Lord Southard Federico. Southard, who was brought in to lure accounts, soon left making it Lord Federico. “That added a sort of regal sound to my name,” muses Federico. One day on the street, he ran into Norman Geller, his former classmate and subway companion, who as a former art director turned business wiz had done quite well with his own agency. Wanting to take on a new challenge, he joined the fledgling firm. Soon the name of copywriter, Arthur Einstein, was added to the shingle. With two writers and two art people as principals, Lord Geller Federico Einstein was built on a solid creative foundation. At first business was slow, but in time the firm acquired some fashion, beauty and “nuts and bolt” accounts. One of Federico's most pleasing assignments is for Napier Jewelry, which for eighteen years he has done single-handedly, and whose basic format has not changed since the first ad. Of the format, a close-up photograph of the product on a model with the simple line, “Napier is? (with a descriptive word),” Federico says, “It's still fresh! And that to me, is the best advertising.” In the early days of LGFE, he and Lord collaborated on a delightful campaign of full-page newspaper ads advertising The New Yorker using selected editorial contents from the product, with only one small advertising line at the bottom, “Yes, The New Yorker.” Its message is as naturally timely and its design as fittingly timeless as the magazine itself.  [xlist_2018]

Albert Bush-Brown [introduction]

Albert Bush-Brown [introduction]: L’ARCHITETTURA SPERIMENTALE: R. J. ABRAHAM, F. ST. FLORIAN. Roma: Instituto nazionale di architettura,  1967. Original edition.  Text and captions in English; title in Italian. Slim square quarto. 24 pp. 2 folded tables with 13 black and white images, 42 illustrations in black and white with photographic images, photomontages, drawings and projects by Raimund Abraham and Friedrich St. Florian. An Ex- University Library copy seven-hole lanced and taped into a Demco Pamphlet Binder. Two unobtrusive Institution stamps to text margins, otherwise interior unmarked and clean. A clean copy of this rare exhibition catalog.

9 x 9 [23 cm] ex University Library catalog for the exhibition "Experimental architecture", held in Rome, March 13, 1967, at the National Institute of Architecture. Includes montages by John Silverio and an introduction by Albert Bush-Brown.

Throughout a 40-year career, Raimund Johann Abraham (Austria, 1933 1  – 2010) created visionary projects and built works of architecture, in Europe and the United States.   From 1952-1958, Abraham studied at the Technical University of Graz, and in 1959, he established a studio in Vienna, where he explored the depths and boundaries of architecture through building, drawing, and montage.   Abraham's first book, the 1965 publication “Elementare Architektur” was made at a time of transition between architecture studies and practice.   In this early volume on elemental structures, Abraham explores the built environment, absent aesthetic speculation, and determinations about design instead coming from the relative level of knowledge and also the desires of the builder. In 1964, Abraham emigrated to the United States.

Abraham was an influential architect in his native Austria and the New York avant-garde. Abraham's poetic architectural vision was influenced by the Viennese tradition to align architecture with sculpture, and also by the Austrian physicist and philosopher Ernst Mach. Abraham theorized architecture on a collision course with the needs of humans, yet striving for coexistence, in a constant state of creative tension.  Beginning in the late 1950s, his enigmatic architecture placed Abraham among the avant-garde, such as Hans Hollein, Walter Pichler and Günther Domenig. In 1958, Abraham collaborated with Friedrich St. Florian, placing 3rd in an international competition to design the Pan Arabian University of Saudi Arabia, and in 1959, placing 2nd, for the design of the Democratic Republic of the Congo Cultural Center in Léopoldville.  Abraham criticized mainstream architecture's preoccupation with style, it's indifference to history, and the rigid definition of Modernism at that time.  Abraham went on to influence generations of professional architects through architectural drawings, projects, and teaching.

A self-described incurable formalist, Abraham's notable built architecture includes House Dellacher (1963–67), in the Oberwart District of Burgenland, Austria, and a Public Housing Complex, (1968–69) and Experimental Kindergarten (1969-70) in Providence, Rhode Island. In 1973, Abraham was awarded the commission for Rainbow Plaza in Niagara Falls, New York, which he co-designed with Giuliano Fiorenzoli. That same year, Abraham was asked to transform the New Essex Market Courthouse building, located at 32 Second Avenue, New York City, for reuse as the Anthology Film Archives (1980–89), with collaborator-architects Kevin Bone and Joseph Levin.

In the mid-1980s, Abraham won the architecture competition to build a mixed-use residential and commercial complex, IBABERLIN, in Friedrichstraße 32-33 (1985–88), a major street in central Berlin, which forms the core of the Friedrichstadt neighborhood. The area was originally constructed to extend the city center, during the first half of the 18th century, in the Baroque style, and after significant damage during World War II, and then partly rebuilt before the division of the Berlin Wall. Abraham explained the work as a tribute to "a city of memories, hope and despair. A City mutilated and fragmented by war, offended through reconstruction and isolated by political manipulations. Historical fragments remain, monuments of the past, elements for a new architectural beginning. New elements are suggested. First independent, then connected to form a dialectical topography of urban Architecture."

Abraham contributed the design for Traviatagasse (1987-1991), in Vienna, with Carl Pruscha. Other buildings designed by Abraham include Residential/Commercial Building (1990–93), in Graz, Austria; House Bernard (1985), Hypo-Bank and Hypo-House (1993–96), situated in the historic center of the small town of Tyrol, in Lienz, Austria. In later years, Abraham designed his own home in Mazunte, Mexico.

Among Abraham's many well known hypothetical projects is Seven Gates to Eden, a bold hand-drawn analysis of the suburban house, exhibited in the 1976 Venice Biennale, curated by Francesco Dal Co, and included in a 1981 show at the Yale School of Architecture, entitled Collisions, curated by New York architect George Ranalli. Abraham's City Of Twofold Vision, Cannaregio West, (1978–80), is sited in Cannaregio, the northernmost of the six historic districts of the historic city of Venice, Italy.  Abraham also designed the Les Halles Redevelopment project (1980) for Paris, France, and Interior (2001), and his design for The New Acropolis Museum (2002) in Athens, Greece articulates new ideas about the contextualization of monuments. In 2002, Abraham contributed a poetic artistic response to New York's World Trade Center attack on September 11, 2001. Abraham's proposal is a poignant symbol to regain footing while envisioning a new future architecture for the City of New York.

Perhaps Abraham's best known work of architecture is the Austrian Cultural Forum New York (1993-02), at 11 East 52nd Street; a building ingeniously arranged onto a site only 25 feet wide. Architectural historian Kenneth Frampton as recognized the Austrian Cultural Forum as “the most significant modern piece of architecture to be realized in Manhattan since the Seagram Building and Guggenheim Museum in 1959.”  Another notable project, Musikerhaus or House for Musicians (1999), in Hombroich, near to Düsseldorf, Germany. The built atop a former NATO missile base. Abraham adapted the site for reuse as an artists’ residence and exhibition gallery. Abraham's Musikerhaus was completed posthumously, under the supervision of Abraham's daughter Una, in 2013. In 2015, The German Architecture Museum (DAM) identified Abraham's Musikerhaus as a significant new building constructed in Germany.

Abraham was awarded a Stone Lion (1985), at the 3rd International Architecture Exhibition for "Progetto Venezia," an international competition sponsored by the Venice Biennale, under the directorship of Aldo Rossi. He also earned the Grand Prize of Architecture (1995), and Gold Medal of Honor (2005) for meritorious service to the Province of Vienna.

In 2011, Abraham was part of the ensemble cast in the film "Sleepless nights stories," which included Marina Abramovic, Thomas Boujut, Louise Bourgeois, Simon Bryant, Phong Bui, Pip Chodorov, Louis Garrel, Björk Gudmundsdottir, Flo Jacobs, Ken Jacobs, Harmony Korine, Lefty Korine, Rachel Korine-Simon, Kris Kucinskas, Hopi Lebel, Jean-Jacques Lebel, Diane Lewis, Jonas Lozoraitis, Adolfas Mekas, Oona Mekas, Sebastian Mekas, DoDo Jin Ming, Dalius Naujokaitis, Benn Northover, Hans Ulrich Obrist, Yoko Ono, Nathalie Provosty, Carolee Schneeman, Patti Smith, and Lee Stringer.  The 2015 premiere of Scenes from the Life of Raimund Abraham (2013), by film diarist Jonas Menkas, is a cinéma vérité style documentary that carries its subject, visionary architect Raimund Abraham, into the future.

Abraham is known for creating visionary architectural hand-drawings.   Throughout his career, he asserted the autonomous, fundamental value of a drawing as a manifestation of architecture.   Abraham stated, “The drawing is one of the tools we have available for the realization of an architectural idea.” To Abraham, drawing was as much the work of the architect as building. Critics describe Abraham’s drawings as architectural poetry on paper.    Many of his visionary drawings have been exhibited as art.

During the 1960s and 70s, Abraham's interest in the typology of the house inspired masterful, visually compelling, imaginative architectural drawings, accompanied by evocative titles and texts, such as Earth-Cloud House, project (1970), The House with Curtains Project, Perspective (1972), The House Without Rooms, project, elevation and plan (1974), and The Cosmology of The House (1974), to explore human dwellings, the ritual of habitation, and the subjectivity of spatial conditions, especially interiority. Abraham's shadowy visions, such as Radar Cities, Terza Mostra d' Architettura, (1985), and Metropolitan Core (2010) propose thoughtful architectural prototypes. Glacier City (1964) is an invisible city, between walls, on either side of a wide valley. These works are prescient meditations on architectural scale, not only based upon the scale of the human body, but also inclusive of multi-sensory perception, media, and imagination.

Abraham explained the inspiration for Nine Projects for Venice (1979–80): "the absence of the mechanical scale of land-bound transportation, Venice, as no other City, has been able to retain a physiological morphology which has consistently reversed all known spatial principles of Cartesian origins." Abraham populates the city of Venice with architectural inventions, such as Wall of Lost Journeys, House For Boats, Square of Solitude, and Tower of Wisdom. Abraham's drawn architecture is symbolic of the mythology for collisions and the potential of architectural expression.

Abraham explained his role as an educator as follows: “Teaching forces me to engage in a critical dialogue with somebody else, and find a level of objectivity that allows me to have a fair critical argument. My role as a teacher is simply to clarify, although that’s a bit simplistic. When I give a problem to the students, it’s my problem; I am trying to anticipate how I could solve that problem. And my joy is when the students come up with a solution I haven’t thought of.”

After arriving in the United States in the mid-1960s, Abraham taught at Rhode Island School of Design, in Providence, Rhode Island, and then for 31-years, he was a professor of architecture at the Cooper Union School of Art and Architecture, New York, N.Y., and adjunct faculty member at Pratt Institute, Brooklyn, New York. Abraham was also variously a visiting professor in architecture design at the Open Atelier of Design and Architecture (OADA) in New York City; Hines College of Architecture at the University of Houston, Texas; Yale School of Architecture and Environmental Studies; Harvard Graduate School of Design; Architectural Association School of Architecture, London; Southern California Institute of Architecture (SCI-Arc), Los Angeles, California; Technical Universities, Graz; and University of Strasbourg.

Friedrich St. Florian (Austria, 1932 – ) is an Austrian-American architect who moved to the USA in 1961, and became a naturalized U.S. citizen in 1973. His generation produced a famous group of Austrian avant-garde architects: Hans Hollein, Walter Pichler, Raimund Abraham. Abraham was also a classmate of St. Florian and has worked with him on multiple occasions.

St. Florian studied Architecture at the Graz University of Technology, where he graduated in 1960. He then won a Fulbright Fellowship which allowed him to move to the USA and study at Columbia University where he earned an additional MS.

After teaching at Columbia University for one year, St. Florian joined the Rhode Island School of Design faculty in 1963, where he helped launch the school’s renowned European Honors Program in Rome, which he directed from 1965-67. From 1978-88 he was dean of Architectural Studies and acted as Provost for Academic Affairs from 1981-84.

He has also taught at the Architectural Association School of Architecture, London, England; the M.I.T, Cambridge, Massachusetts, USA; McGill University in Montreal, Quebec, Canada; the University of Texas at Austin in Austin, Texas, USA and the University of Utah.

He has been a practicing architect in the United States since 1974. His work is included in numerous private collections as well as in the permanent collection of the Museum of Modern Art in New York City, the M.I.T, the RISD Museum and the Centre Georges Pompidou, Paris, France. He also won the second prize for his design (with Raimund Abraham and John Thornley) for the last of these.

With Abraham he also won the first prize (ex aequo) in the international architectural design competition for the "Cultural Center" in Leopoldville, Congo in 1959 which was not built and the third prize in the 1958 competition for the Pan Arabian University, Riyadh, Saudi Arabia.

He served as Project Architect for Providence Place, a 450 million-dollar regional retail and entertainment center located in historic downtown Providence, Rhode Island and the largest construction project ever undertaken in Rhode Island, and the Providence Skybridge, which frames the entrance to the city. His most prestigious project as of 2004 is probably the design of the National World War II Memorial in Washington, D.C., U.S., which he won against 400 entries in 1997.

St. Florian's office is currently headquartered in downtown Providence RI.  He continues to work on international design competitions and a wide array of projects. Recent built works include a modernist residence in Providence's East Side and Urban Markers in Charlotte, NC. The project named "Three Pier Bridge" was designed under a new firm name "Studio Providence LLC", which is a collaboration between St. Florian's firm and 3SIX0 Architecture. The "Three Pier Bridge" tied for first place in an international competition while also winning prizes from the BSA and AIA. He is inspired by Louis Kahn, Mies van der Rohe, le Corbusier and Frank Lloyd Wright. "Mies van der Rohe held the Chair of the Illinois Institute of Technology in Chicago when I visited him. I felt like a pilgrim. His office was wide open, there were no doors. He was very curious to get news from Austria."

Harry Holtzman, Susan C. Larsen, Necia Gelker

Harry Holtzman, Susan C. Larsen, Necia Gelker: PROGRESSIVE GEOMETRIC ABSTRACTION IN AMERICA, 1934-1955: SELECTIONS FROM THE PETER B. FISCHER COLLECTION. Clinton, NY: Emerson Art Gallery, 1987. Original edition. Slim quarto. Printed perfect bound wrappers. 96 pp. 50 color and black and white plates. Catalog of 52 works by 40 artists. Bibliography provided for each artist. Errata sheet laid in. Opening reception invitation laid in. Wrappers lightly soiled, otherwise a fine, fresh copy. Uncommon.

8 x 10 softcover exhibition guie with 96 pages and 50 color and black and white plates by 40 artists. Published in conjunction with the exhibition at the Fred L. Emerson Gallery, September 26 - November 7, 1987, and three other locations. Includes essays by Harry Holtzman, Susan C. Larsen, Necia Gelker.

Contents:

• Preface: William Salzillo
• The founding of the American Abstract Artists Group: a reminiscence: Harry Holtzman
• The art of collecting as an exacting passion: Susan C. Larsen
• Candor and commitment: a conversation with Dr. Peter B. Fischer: Necia Gelker
• Catalogue of the exhibition
• Illustrations
• Checklist

Artists included in this exhibition: Charles Biederman, Ilya Bolotowsky, Byron Browne, Louis Bunce, Giorgio Cavallon,  Burgoyne Diller, Drewes, John Ferren, Perle Fine, Adolf Fleischmann, Suzy Frelinghuysen, Albert E. Gallatin, Fritz Glarner, Sidney Gordin, Arshile Gorky, Dwinell Grant, Balcomb Greene, Gertrude Greene, Hans Hofmann, Carl Holty, Harry Holtzman, Charles Howard, Frederick Kann, Nikolai Kasak, Paul Kelpe, Michael Loew, Evsa Model, George L.K. Morris, Irene Rice Pereira, Ad Reinhardt, Theodore Roszak, Louis Schanker, John Sennhauser, Charles Shaw, Esphyr Slobodkina, Leon Polk Smith, Albert Swinden, John von Wicht, Charmion von Wiegand, Vaclav Vytlacil, Jean Xceron, and Wilfred Zogbaum.

To understand Abstract Art, is in reality, the problem of understanding any and all art from a qualitative viewpoint. “Abstract” signifies a direct, untrammeled relationship of the elements of plastic expression. The abstract artist is concerned with the universal values, the real expression of art. Because it is the clearest effort to represent these values, Abstract Art is in the forefront of esthetic development.

This exhibition features masterworks of progressive American abstraction with a concentration on works representing geometric abstraction from the 1930s and 1940s. The exhibition included more than forty museum-caliber paintings and constructions by many of the most significant American modernists.

Over the last twenty-five years, Dr. Peter B. Fischer has assembled a collection that is regarded by most as the finest of its kind. The earliest work in the collection is a 1910 Manierre Dawson painting entitled Prognostic. This painting, one in a series of three, is the earliest American example of a non-objective painting. Rare cubist works by Arshile Gorky, John Graham, and Ad Reinhardt are contrasted with non-objective works from the 1930s by Bengelsdorf, Diller, Drewes, Ferren, Gallatin, Holtzman, Kelpe, Morris, Shaw, Slobodkina, and Swinden. The 1940s are represented with masterworks by Frelinghuysen, Polk Smith, Von Wiegand, and Xceron. The Fischer collection also features exceptional constructions from the 1930s by Biederman, Diller, Pereira, and Roszak.

AMERICAN ABSTRACT ARTISTS
[from the collection of Patricia & Phillip Frost]

Ira Licht [preface]

Ira Licht [preface]: THE RUSSIAN AVANT-GARDE [from the collection of Ruth  & Margaret Sackner],  AMERICAN ABSTRACT ARTISTS [from the collection of Patricia & Phillip Frost]. Miami: University of Miami Lowe Art Museum, 1983. First edition [2,000 copies]. Slim quarto. Printed perfect bound wrappers. 63 pp. 48 illustrations, 5 in color. Catalog of 50/95 works exhibited. Trivial wear to wrappers, but a nearly fine copy.

5.75 x 8.5 exhibition catalog with 63 pages and 46 color and black and white illustrations for an exhibition from March 10 thru April 24, 1983, featuring Russian Avant-Garde and American Abstract Art from the collections of Ruth  & Margaret Sackner and Patricia & Philip Frost.

To understand Abstract Art, is in reality, the problem of understanding any and all art from a qualitative viewpoint. “Abstract” signifies a direct, untrammeled relationship of the elements of plastic expression. The abstract artist is concerned with the universal values, the real expression of art. Because it is the clearest effort to represent these values, Abstract Art is in the forefront of esthetic development.

Includes color plates by Ad Reinhardt, Ivan Kluin, Yuri Annenkov, Gertrude Greene, Werner Drewes, and black and white work from Ad Reinhardt, El Lissitzky, Lázló Moholy-Nagy, Raymond Jonson, Stuart Walker, Rosalind Bengelsdorf, Harry Bowden, Hannaniah Harari, Balcomb Greene, John Von Wicht, Esphyr Slobodkina, Gerome Kamrowski, Jean Xeron, Charles G. Shaw, George L. K. Morris, R. D. Turnbull, John Sennhauser, Byron Browne, Carl Holty, Alexandra Exter, Mikhail Larionov, Ivan Puni, Ivan Kluin, Alexander Bogomazov, Kiril Zdanevich, Liubov Popova, Nikolai Suetin, Natalia Goncharova, Kasimir Malevich,  Ilia Chashnik, Alexandr Rodchenko, Vasily Kemensky, Ilya Zdanehvich [Iliazd], V. Kulagina-Lkucsis, Olga Rozanova, and David Burliuk

”Marvin and Ruth Sackner were first attracted to visual poetry because of its accessibility. “When you have words in the artwork you can communicate easily,” says Marvin, a retired doctor who was chief of medicine at Mount Sinai hospital in Miami Beach before his formal retirement in 1992. “It’s an extrospective kind of art rather than introspective.”

Until the mid-1970s, the couple had been collecting optical, Russian avant garde and contemporary art. The 1975 purchase of a series of prints by Tom Phillips, Ein Deutches Requiem: After Brahms, spurred their interest in works combining text, calligraphy, words and images. But it wasn’t until 1979 that Marvin climbed up on a ladder of Jaap Rietman bookstore in New York’s Soho and discovered a dusty copy of Emmett Williams’ An Anthology of Concrete Poetry. “As soon as I looked through it I said, ‘Ruth, look! Our collection has a name!’ ” Marvin says.

They bought the entire long-ignored shelf of books, then trooped to two other Manhattan shops in search of books on what was called patterned or shaped poetry. Invariably, the publications had been relegated to dusty backrooms. They bought everything they found. “When we came back to Miami from that weekend, we had a mini collection,” Marvin says.

Ignoring the temptations of the artforms that previously drew their eye, the Sackners focused on artists’ books, interesting typography and other works that married verbal content with images. The result is the 75,000 works — and counting — of the Sackner Archive of Concrete and Visual Poetry. It is the largest collection of its kind. Two other collections — one now owned by L.A’s Getty Museum, the other by the Stuttgart Museum of Art in Germany — ceased growing when their respective collectors died.” — the Miami Herald, December 2014

The Patricia and Phillip Frost Collection of American Abstraction 1930-1945 was an entire private collection devoted to a single overlooked facet of 20th-century American art: the American Abstract Artists group. Active during the economic depths of the Great Depression and the international upheaval of World War II -- a period dominated by social realism and regionalists -- the group included, during its first 15 years (it continues even today), an average of about 60 abstract painters and sculptors who originally banded together in New York in 1937 out of frustration with museums and dealers who ignored their work. Their first exhibition took place that year at the Squibb Building on Fifth Avenue, and annually thereafter at various locales, including the Riverside Museum, New York, and venues in San Francisco, Minneapolis and other cities. Their stated goal, in addition to mutual support through meetings, lectures and discussions on various modes of abstraction: to show "all the significant abstract work done in America," with the hope of educating the public along the way.

Whether their shows achieved that ambitious goal is not clear from this show; leading abstractionist Stuart Davis, for example, seems noticeably absent. Davis, however -- by then a half-generation older -- may have helped incite younger abstractionists to organize when he implied in a catalogue for the Whitney Museum's 1935 show "Abstract Painting in America" that significant American abstraction had ended around 1927 with modernist pioneers such as Arthur Dove, Max Weber, Marsden Hartley, John Marin and others associated with Alfred Stieglitz.

Roundly ignored in the Whitney show, as well as at the Museum of Modern Art, were a whole new generation of abstract painters and sculptors, among them Balcomb and Gertrude Greene, Ad Reinhardt, Irene Rice Pereira and Louis Schanker, their numbers greatly enriched (and art often surpassed) by European emigres like Ilya Bolotowsky, Werner Drewes and Josef Albers. Later, European masters driven out by the Nazis, including Mondrian, Moholy-Nagy and Leger, exhibited with the group but did not join in other activities. Hans Hofmann, though never a member, appears to have taught at least half of the group, notably George McNeil, Giorgio Cavallon, Vaclav Vytlacil and Rosalind Bengelsdorf, all of whom are worth exploring further in the future.

The members met often, argued passionately, held lectures and panel discussions, picketed MOMA and exhibited annually, attracting large crowds and major reviews, many of which they didn't like and convincingly disagreed with in one of several good publications of their own (on view in a glass case, among other memorabilia lent chiefly by the Archives of American Art.) But passionate as they were, the pictures seem tame and acceptable today, well crafted and clearly reflective of the influence of '20s European abstraction, from the hard-edge, wholly nonobjective works of the Bauhaus and Russian constructivists to the almost expressionistic works seemingly inspired by Kandinsky, Paul Klee and -- occasionally -- surrealists.

More explorers than innovators, they had no central manifesto, no single view of abstraction, though, oddly, there was a perception of a hard-edge, nonobjective point of view, evidenced by a letter from Lyonel Feininger refusing membership in the group because, he said, he could not abandon nature, as they had. In fact, students of Hofmann had always been taught to keep in touch with nature, and American abstraction from the period seems largely to have been grounded in nature and, in the end, soft-edge and semi-abstract. It was the Europeans, overall, who were more rigorously geometric.

The Art Directors Club of New York
Bradbury Thompson, Designer/Editor

The Art Directors Club of New York, Bradbury Thompson [Designer]: THE 33RD ANNUAL OF ADVERTISING AND EDITORIAL ART AND DESIGN.  New York:  Farrar, Strauss and Young, 1954.  First edition.  Quarto. Black cloth stamped in gold. Printed dust jacket. 408 pp. 432 illustrations. Multiple paper stocks. Uncoated jacket spine is mildly sun-tanned and soiled. Interior unmarked and very clean. Out-of-print.  A well-preserved copy. A nearly fine copy in a very good or better dust jacket.

Bradbury Thompson designed this edition,  including preliminary material, section dividers, caption layout, binding design and Dust jacket: this book is an incredible design object  in and of itself.

8 x 11  book with 408 pages with 423 examples of advertising excellence from 1954 in both color and black and white. From the dust jacket:  "The Art Directors Club of New York and Farrar Straus & Young Inc. take great pleasure in presenting this book. Recorded here are the 423 exhibits from the 33rd National Exhibition of Advertising and Editorial Art and Design.

Selected from 11,762 entries, they represent the most distinguished -- and successful -- examples of the year. Your attention is invited to the international appeal of the presentation; multilingual references, messages and selections by distinguished European authorities, and the very paper on which many pages are printed, combine to make this an annual of world-wide interest."

• Europe: Art, Design
• Advertising Art
• Editorial Art
• Advertising Design
• Editorial Design
• Television Art, Design
• Directory Index

Includes work from the following graphic artists and photographers:  Merle Armitage, Saul Bass, Lester Beall, Alexey Brodovitch, Will Burtin, Jean Carlu, A. M. Cassandre, Seymour Chwast, Lou Dorfsman, Gene Federico, Neil Fujita, Paolo Garretto,  William Golden, Allen Hurlburt, Alexander Lieberman,  Leo Lionni, Herb Lubalin, Herbert Matter (8 examples), George Nelson (for Herman Miller),  Cipe Pineles, Paul Rand, Hans Schleger, Bradbury Thompson, George Tscherney, Diane Arbus, Richard Avedon,  Cecil Beaton, Rudolph de harak, Milton Glaser, Andy Warhol, WeeGee and many others.

Tom Daly [Designer], Kenneth Harris [Photographer],
Wanda Embry [Model], The Art Directors Club

Tom Daly [Designer]; Kenneth Harris [Photographer]; The Art Directors Club: THE 46TH ANNUAL EXHIBITION OF ADVERTISING AND EDITORIAL ART AND DESIGN. New York: The Art Directors Club, 1966. First Edition Impression. 12 x 63 inch [30.5 x 160 cm] poster printed in four color on recto, with verso serving as the  call for entries. Folded into 9 equal panels for mailing [as issued]. The black background reveals a few faint handling divots under raking light, but a very good example of an iconic poster of the Psychedelic era. Housed in the original ADC mailing envelope. Also included is a nearly fine, lightly handled example of the 17 x 22 inch [folded into quarters as issued] Art Directors Club Prospectus for The 12th Annual Communications Conference Sponsored by The Art Directors Club, Inc. Design credited to Mike Germakian for this piece only.

12 x 63 inch [30.5 x 160 cm] poster issued a s a Call For Entries for the New York Art Directors Club Annual Exhibition of Advertising and Editorial Art and Design. Model: Wanda Embry. Variant published in IMAGES OF AN ERA: THE AMERICAN POSTER 1945-75. Washington, DC: National Collection of Fine Arts, 1975 [number 47].

Production Notes: The model was photographed on Ectachrome with an 8 x 10 view camera. A dye transfer was made from the film, then retouched for 4-color printing by offset lithography on Kimberly Clark Pretice Suede 70 lb. basic stock. The dimesnions of the Call and the spacing of the folds were carefully planned. Each panel may be taken as a separate design, or used in conjunction with one of more of the other panels to make a variety of designs.

A roughly removed two-page article titled  “NYADC Unflods a painted Woman for Its 46th” from the November 1966 ART DIRECTION Magazine is also included in this set.

Here is an excerpt: “Show Chairman Bob Reed said the Call got underway last spring when the exhibition committee began looking for a design to fit their "Innovation" theme. The club wanted something to represent the New York annual as the most desirable and enticing show to enter… Designer Tom Daly was picked to do the Call and came up with the idea of a skyline painted on a nude. His first idea for applying the design to human skin was tattooing but research led to experiments with various media. The best one turned out to be theatrical greasepaint and water soluble acrylics…Finding the right model was a major concern. Too sultry or voluptuous a model, it was felt, would cheapen the effect. She had to be enticing enough to symbolize a worthwhile prize that was not easily attainable…”

A unique set that reflects the zeitgeist of 1966 as Madison Avenue tried to get in front of the seismic cultural shift unleashed by youthful energy and abetted by social activism and copious amounts of psychedelic substances. If you remeber the sixties, you were doing them wrong man.

From the ADC: "Louis Pedlar founded ADC in 1920 to ensure that advertising was judged by the same stringent standards as fine art. More than 90 years later, ADC remains committed to championing the importance of artistry and craftsmanship in advertising and design. A nonprofit membership organization boasting one of the most concentrated groups of creative talent in the world, ADC’s mission is to connect creative professionals around the globe, while simultaneously provoking and elevating world-changing ideas through its programming. From its Manhattan gallery to its international membership base, ADC provides a neutral forum for creatives of all levels to network, learn and grow."

Dawn Ades: PHOTOMONTAGE. New York: Pantheon Books, 1976. First edition. 4to. Black cloth stamped in silver. Photographically printed dust jacket. 112 pp. 174 black and white illustrations. Out-of-print -- this cloth edition has proven to be uncommon. Black cloth edges lightly sunned, otherwise a fine copy.

8.25 x 11.25 hardcover book with 112 pages and 171 illustrations. This book follows the fascinating evolution of photomontage, revealing different realities that disrupt our perceptions of the traditional world. An illustrated history including the work of John Heartfield and the Dada and Surrealist movements.

From the book: Manipulation of the photograph is as old as photography itself. Yet it was only with the impact of World War I that photomontage became an art form. The term was coined by the anti-art, anti-bourgeois Berlin Dadaists, whose members included John Heartfield, Hanna Hoch, Raoul Hausmann, and George Grosz.

By breaking up images and using odd juxtapositions of fragmented photographs and other materials - the stuff of today's and yesterday's news - they created a bold new art of agitation for posters, book jackets, magazine covers, and stage sets. The idea of photomontage was as revolutionary as its content: it emphasized the links between politics and the technological age to expose the disorder of bourgeois society. What started as an inflammatory political joke soon became a conscious artistic technique.

The use of bizarre images to render reality enigmatic was seized upon by the successors of Dadaism, the Surrealists. Artists such as Max Ernst, Moholy-Nagy, and Man Ray combined images of poetic power to form hallucinatory landscapes, pursuing a systematic derangement of the senses to express the internal chaos of the individual as well as the external chaos of the world.

Contents:
INTRODUCTION
The Supremacy of the Message - Dada - John Heartfield -Propaganda, Publicity and Constructivism
Metropolis: The Vision of the Future
The Marvelous and the Ordinary
Photomontage and Non-Objective Art
Notes
ANNOTATED LIST OF ILLUSTRATIONS
Selected Bibliography
Index

ARTISTS INCLUDE: Eugene Atget, Johannes Baader, Johannes Baargeld, P.M. Bardi, Herbert Bayer, Mieczyslaw Berman, Erwin Blumenfeld (Bloomfield), Pierre Boucher, Andre Breton, Jacques Brunius, Paul Citroen, Joseph Cornell, Cesar Domela-Nieuwenhuis, Marcel Duchamp, Sergei Eisenstein, Max Ernst, Louise Ernst-Strauss, Theodore Fraenkel, Terry Gilliam, George Grosz, Richard Hamilton, Raoul Hausmann, Tim Head, John Heartfield, Nigel Henderson, Hannah Hoch, Lajos Kassak, Friedrich Kiesler, R.B. Kitaj, Gustav Klutsis, Bohdan Lachert, Fritz Lang, Andrew Lanyon, Roger Leigh, El Lissitzky, Conroy Maddox, Kasimir Malevich, Marcel Mariën, Georges Melies, Laszlo Moholy-Nagy, John P. Morrissey, Paul Nash, Francis Picabia, Kazimierz Podsadecki, Boris Prusakov, Nikolay Prusakov, Man Ray, Oscar J. Reijlander, Henry Peach Robinson, Alexander Rodchenko, Juryi Roshkov, Walther Ruttmann, Christian Schad, A. Schitomirsky, Kurt Schwitters, Sergey Senkin, Penny Slinger, Georgy and Vladimir Steinberg, Jindrich Styrsky, Jozef Szanajca, Mieczyslaw Szczuka, Solomon Telingater, Jan Tschichold, Dziga Vertov, Friedrich Vordemberge-Gildewart, Voskuil, Xanti (Alexander Schawinsky), Piet Zwart and other more contemporary artists.

Dawn Ades

Dawn Ades: THE 20TH CENTURY POSTER: DESIGN OF THE AVANT GARDE. New York: Abbeville Press, 1984. First edition. Square quarto. Black embossed cloth titled in white. Photo illustrated dust jacket. 216 pp. 97 color illustrations and 83 black and white illustrations. Jacket with a trace of shelf wear. Interior unmarked and very clean. Out-of-print. A nearly fine copy in a nearly fine dust jacket.

10.25 x 10.25 hardcover book with 216 pages and 97 color illustrations and 83 black and white illustrations. Contributions by Robert Brown, Alma Law, Armin Hofmann, and Merrill C. Berman. Edited by Mildred Friedman. Published in conjunction with an exhibition at the Walker Art Center, Minneapolis.

• Broadside to Billboard, Mildred Friedman
• Posters at the Turn of the Century, Robert Brown
• Function and Abstraction in Poster Design, Dawn Ades
• The Russian Film Poster: 1920-1930, Alma Law
• Thoughts on the Poster, Armin Hofmann
• Collecting Graphic Art, Merrill C. berman and Alma Law
• Plates
• Biography
• Bibliography
• Lenders to the Exhibition
• Acknowledgments
• Credits
• Index

Artists include Josef Albers, Alexandre Alexeiff, Victor Ancona, Jean Arp, Theo Ballmer, The Beggarstaffs, Peter Behrens, Anatoly belsky, Henryk Berlewi, Lucien Bernhard, Max Bill, Adolf Boehm, Grigory Borisov, Max Burchartz, Jean Carlu, A. M. Cassandre, Ivan Chermayeff, Seymour Chwast, Austin Cooper, Walter Cyliax, Wilhelm Deffke, Alexander Deineka, Robert Delaunay, Fortunato Depero, Walter Dexel, Theo van Doesburg, Marcel Duchamp, Fritz Ehmcke, Hermann Eidenbenz, Vasili Emilov, Shigeo Fukuda, Alexei Gan, Pierre Gauchet, April Greiman, Hector Guimard, John heartfield, Hannah Höch, Armin Hofmann, Ludwig Hohlwein, Vilmos Huszar, Marcel Janco, E. McKnight Kauffer, Gustav Klutsis, Oscar Kokoschka, Helmut Kurtz, Anton Lavinsky, Bart van der Leck, El Lissitzky, Charles Loupot, Charles Rennie Mackintosh, Kasimir Malevich, Herbert Matter, Vladimir Mayakovsky, C. O. Müller, Josef Müller-Brockmann, Josef Maria Olbrich, Nikolai Prusakov, Tom Purvis, Paul Rand, Man Ray, Paul Renner, Alexander Rodchenko, Alfred Roller, Peter Röhl, Yakov Rukhlevsky, Emil Ruder, Xanti Schawinsky, Fritz Schleifer, Oskar Schlemmer, Paul Schuitema, Kurt Schwitters, Mart Stam, Stenberg Brothers, Niklaus Stoecklin, Ladislav Sutnar, Karl Teige, Jan Tschichold, Tristan Tzara, Henry van de Velde, Massimo Vignelli, Wolfgang Weingart, Hendrikus Wijdeveld, Tadanori Yokoo, Ilia Zdanevitch, and Piet Zwart among others.

Selected from his superb collection by Merrill Berman himself, this book features a richly diverse group of artists and styles linked by their “forward-looking” posture and visual “punch.” All of the major European avant-garde movements, which flourished between the two World Wars, are well-represented. As with Berman’s entire collection, the exhibition demonstrated a “personalized” cut through 20th Century visual culture “authored” by a collector with an extremely keen and knowledgeable eye. Rather than acquiring only important names (although the collection has more than its share of these, as well), Berman has considered the “aesthetic” aspect of each work and its historical context in deciding whether to add it to his collection. Berman is best known as a collector of graphic design—both the final printed works and the original art works used in their creation—and his collection consists of well in excess of 20,000 pieces.

Ennis Geraghty [Editor], Henri De Malvillain [Art Director]

Ennis Geraghty [Editor], Henri De Malvillain [Art Director]: ADVERTISING ARTS AND CRAFTS. New York: Advertising Arts and Crafts, Inc., 1931. First edition [Volume 20, No. 1]. Quarto. Slim quarto. Die-cut silver metallic wrappers. Colored cellophane endsheet. Unpaginated. 18 artists represented with full-page work samples. Index with contact information. Elaborate mise-en-page and typography by Henri De Malvillain throughout. Wrappers lightly scratched and well worn. Front panel neatly separated at letterpress score. Faint offsetting to endpaper due to the cellophane endsheet. A fair to good copy only. Rare.

9.75 x 12.5 perfect bound and stitched booklet with stunning Parisian Art Deco typography courtesy of Henri De Malvillain and 18 commercial artist work samples. An elaborate production reminescent in terms of materials and production to A. M. Cassandre's BIFUR promotional booklet [Paris: Deberny et Peignot, 1929]. Very early American use of Cassandre's Bifur typeface—used prominently throughout as the display face—with Girder Lightface as the secondary font.

Eighteen commercial artists are represented with dynamic two-page spreads of their work with an index including contact information. Artists represented in this 1931 edition are George Annand, Leon Benigni, Bobri, Henri De Malvillain, Robert Fawcett, Will Grefe, R. F. Heinrich, Clarence P. Hornung, Victor Keppler, Walter C. Klett, Rico Lebrun, S. Edwin Megargee, Thelma Mortimer, Byron Musser, Jr. Jean Pages, Herbert F. Roese, Frank H. Schwarz and Gilbert Tomkins.

Exceptional visual representation of American Advertising Design of the late 1920s into the early 1930s, a Commercial Art adjunct to the American Union of Decorative Artists and Craftsmen.

January 1933

Frederick C. Kendall [Editor]

Frederick C. Kendall [Editor]: ADVERTISING ARTS. New York: Advertising and Selling Publishing Co., January 1933.  Original edition. Thick letterpressed wrappers. 66 pp. Elaborate graphic design and production throughout. Cover design by Jean Dupas with lettering by Gustav Jensen. Neat ink name in upper forecorner of front wrapper, otherwise a very good or better copy. Rare.

8.5 x 11.5 magazine with 66 pages of text and advertisements. "Devoted to the design of advertising, the creation of printing, and the styling of merchandise and packages." -- the Publishers.

Advertising Arts promulgated a progressive design approach (and style) unique to the United States during the early Thirties, called Streamline. Unlike the elegant austerity of the Bauhaus, where economy and simplicity were paramount, Streamline was a uniquely American futuristic mannerism based on sleek aerodynamic design born of science and technology. Planes, trains and cars were given the swooped-back appearance that both symbolized and physically accelerated speed. Consequently, type and image were designed to echo that sensibility, the result being that the airbrush became the medium of choice and all futuristic traits, be they practical or symbolic, were encouraged. The clarion call was to "Make it Modern" -- and "it " was anything that could be designed. – Steven Heller

• Title Page Decorations by Eric Gill.
• World’s Fair: 1893 – 1933 by Walter Dorwin Teague.
• Type and Illustration by Warren Chappell.
• Four Formulas for Designing a Letterhead by Everett Currier, Courtesy of the Strathmore Paper Company. Learn the Secrets of the Vase, the Frieze, the Pediment and Asymmtry!
• Four Arrow Handkerchiefs designed by B. Vaughn Flannery and Urban Weiss.
• A Shakespeare Calendar Insert With Woodcuts by Harry G. Spanner.
• Notes on Glass Design with Examples of Fostoria Glass designed by George Sakier.
• Outdoor Advertising Joins the Arts by Frederick W. Kurtz. Scratchboard Illustration by Nelson Gruppo.
• Posters: A Section Devoted to the Art Of Outdoor Advertising.
• The Hundred Best Posters of the Year. Work by Otis Shephard, Andrew Loomis, Peter Arno, Lucian Bernhard, Pousette-Dart, Etc.
• Full-Page Insert With A Pair Of Lucian Bernhard Lithographed Color Posters.

Allow us to quote at length from WHEN ADVERTS WERE EARNEST by Steven Heller: “In the early 1920s American products were either nondescript or laden with ornament to camouflage a mass-market look. Although mass production was the foundation on which the modern American economy was built, many cultural critics felt that items coming off the assembly line lacked good taste. American industrialists, who could easily afford to aesthetically improve their products, were apathetic, if not resistant, to the idea of spending cash on looks. What they did not resist, however, were marketing strategies that would ensure greater profits. So following a brief economic downturn in the early 20s and subsequent boom, industry frantically tried to find a new means of stimulating even further sales. It was the profit motive, not any transcendent utopian ethic or aesthetic ideal, that paved the way for commercial Modernism in the United States, which was introduced to American advertising in 1925 by Earnest Elmo Calkins (1868-1964) an advertising pioneer, design reformer and founder of Calkins and Holden Advertising Co.

“After seeing an array of cubist and futurist graphics, packages and point-of-purchase displays that he discovered in the pavilions of the Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes , Calkins wrote to his staff in New York: “It is extremely ‘new art’ and some of it too bizarre, but it achieves a certain exciting harmony, and in detail is entertaining to a degree. [Everything is] arranged with an eye to display, a vast piece of consummate window dressing.” What was so different from most American advertising art was the noticeable rejection of realism in favor of abstraction. Illustration was not representational but through symbols, metaphors and allegories exuded a “magical” atmosphere. Boxes and bottles were no longer mere utilitarian vessels for their contents, but rather represented the essence of what the product symbolized to the consumer. Calkins summarized it this way: “Modernism offered the opportunity of expressing the inexpressible, of suggesting not so much a motor car as speed, not so much a gown as style, not so much a compact as beauty.”

“Modernism was a bag of tricks the artist could use to set an ordinary product apart. And advertising artists were indeed quick to appreciate the possibilities of Modernism since realistic art had reached what Calkins termed a “dead level of excellence.” It was no longer possible to make an advertisement striking, conspicuous and attractive by still pictures and realistic groups. Spearheaded by Calkins and Holden, and later adopted by such progressive agencies as N.W. Ayer and Kenyon and Eckart, commonplace objects-toasters, refrigerators, coffee tins-were presented against new patterns and at skewed angles; contemporary industrial wares were shown in surrealistic and futuristic settings accented by contemporary typefaces with contempo names like Cubist Bold, Vulcan, Broadway, Novel Gothic and more. Layout inspired by the European New Typography also became more dynamic in its asymmetry. Modernism offered an aura of cosmopolitan culture and avant garde style and signaled the spread of an aesthetic coming-of-age of American adverting.

“Color, which was comparatively rare in magazine advertisements in the mid-1920s, was another aspect of department-store Modernism introduced as a raucously decorative component in windows, which until then had been prosaic displays of products. The new windows borrowed primaries from De Stijl and the Bauhaus and combined them with bright purples, greens and oranges. In addition, “Modernism to the general public came to mean silver and black,” explains Frederic Ehrlich in his book The New Typography and Modern Layout (Frederic A. Stokes, 1934), one of the most astutely written critiques (posing as an instructional manual) of Modern practice published in America at that time. Ehrlich was referring to the metallic silver papers and black silhouettes that were ubiquitously used in window displays as well as later in magazine advertisements, menus, etc. The new silver alloy, Aluminum, symbolized the Machine Age as vividly as pictures of factories, crucibles and gears.

“True Modernism is good taste! And here is the key distinction between the radical forms of European Modernism that are heroic and romantic today, and the commercial application introduced in the 1920s: The former was intended to violently disrupt the status quo and improve the visual environment, while the latter had no loftier purpose than to revolutionize the buying habits of the American public and so stimulate the economy.”

July 1932

Frederick C. Kendall [Editor]

Frederick C. Kendall [Editor]: ADVERTISING ARTS. New York: Advertising and Selling Publishing Co., July 1932.  Original edition. Thick letterpressed thick wrappers. 40 pp.  One fold-out. Elaborate graphic design and production throughout. Cover design by Bobri. Pencil name erased from top edge of upper wrapper, otherwise a very good to nearly fine copy. Rare.

8.5 x 11.5 wire-spiral bound magazine with 40 pages of text and advertisements. "Devoted to the design of advertising, the creation of printing, and the styling of merchandise and packages." -- the Publishers.

Advertising Arts promulgated a progressive design approach (and style) unique to the United States during the early Thirties, called Streamline. Unlike the elegant austerity of the Bauhaus, where economy and simplicity were paramount, Streamline was a uniquely American futuristic mannerism based on sleek aerodynamic design born of science and technology. Planes, trains and cars were given the swooped-back appearance that both symbolized and physically accelerated speed. Consequently, type and image were designed to echo that sensibility, the result being that the airbrush became the medium of choice and all futuristic traits, be they practical or symbolic, were encouraged. The clarion call was to "Make it Modern" -- and "it " was anything that could be designed. – Steven Heller

• Cover Design by Bobri
• Machine Age Aesthetics by Walter Dorwin Teague. Features work by Teague, Joseph Sinel, and B. J. Smalley.
• Decorative Initials from Abroad insert printed in two colors.
• Four Pages Of Illustrations In Color by Edward A. Wilson from The Last of the Mohicans.
• Book Jackets And Cover Designs by Boris Artzybasheff. Three pages and four black and white examples.
• Contemporary Industrial Design.
• Two full-page gravures by Pagano.
• Dramatizing Merchandise by Morris H. Kates.
• Re; Window Mannequins by Lester Gaba.
• Stimulus: The Design Story Of Cannon Towels. Full-page color illustration by Bobri.
• Sculptured Hands For Waterman Pens Executed by Helen Liedloff.
• Murals For Decoration by Robert J. Misch. Five black and white examples by Donald Magnus Mattison.
• Bi-Centennial . . . Five Window Displays by C. B. Falls. Westinghouse Mazda Lamps.
• A Boudoir Bottle For Listerine by Herschell Deutsch
• A Gauntlet To American Illustration by Gordon Aymar. Work by Alexander Calder and Rockwell Kent.

Vladimir Bobri (Bobritsky) [Ukrainian, 1898 – 1986] was an illustrator, author, composer, educator and guitar historian. Celebrated for his prolific and innovative graphic design work in New York since the mid-1920s, Bobri was also a founder of the New York Society of The Classic Guitar in 1936, and served as editor and art director of its magazine, Guitar Review, for nearly 40 years.

Vladimir Bobritsky studied at the rigorous Kharkiv Imperial Art School. By 1915 he had begun designing sets for the Great Dramatic Theatre of Kharkiv, introducing the methods of theatrical designer Gordon Craig. Swept up in the Russian Revolution, Bobritsky fought on various sides in the civil war before managing to escape in 1917.

"After the Revolution came a long and enforced period of travel and a kind of montage of activity," wrote Bobritsky's friend and fellow artist Saul Yalkert in a biographical sketch printed in Forty Illustrators and How They Work (1946): “As a refugee he traveled on a handmade passport, eight closely printed pages in Polish, so skillfully wrought that it left no doubt as to his talent and feeling for calligraphy, since it successfully passed the expert examination of the English, French, Italian and Greek consular authorities. . . . In the mountainous, peninsular Crimea he worked as a wine presser for the Tartar fruit and wine growers. Later he came in contact with Russian, Hungarian and Spanish gypsies, studied their lore, the peculiarities of the different tribes. Having met with a band of gypsies in the Crimea he earned his way as a guitar player in their chorus.”

Bobritsky painted icons in the Greek islands, played the piano in a nickelodeon in Pera, painted signs in Istanbul, discovered an important Byzantine mural in an abandoned Turkish mosque, and earned his passage to America by designing sets and costumes for the Ballet Russes in Constantinople.

"Through all those wanderings his knapsack always had a watercolor box, a drawing pad," Yalkert wrote. "The record was kept with constant sketching of people, stories, folklore, folk music and crafts."

Bobritsky emigrated to the United States in 1921. In his artist profile in Forty Illustrators and How They Work, Ernest W. Watson reports that Bobritsky began operating his own textile printing establishment soon after arriving in New York. "In 1925 he was called in by the art director of Wanamaker's, in an experiment with modern advertising," Watson wrote. "His radically different newspaper layouts were more than the establishment could stomach and both artist and art director were dismissed. But Saks Fifth Avenue saw, admired and beckoned." Saks offered Bobri the position of art director.

"His newspaper and magazine layouts represented a fresh departure," wrote Walt Reed, scholar and historian of illustration art. "Bobri soon found himself with enough clients to embark on a freelance career, largely for advertising illustrations, and strongly influenced by his background of classical training and theatrical designing."

The first of Bobritsky's seven covers for The New Yorker magazine was dated February 6, 1926. By the 1930s, Bobritzky — or Bobri, as he signed his name with greater frequency — had become a leading illustrator in the burgeoning world of advertising. His accounts included Hanes, Koret and Avon; his work was prominent in the Annual of Advertising Art. He also gained renown as an illustrator of children's books. Bobri frequently contributed to Vogue, Harper's Bazaar, McCall's and many other magazines.

Bobri continued his study of the guitar. In 1936, he and a small group began meeting informally, forming the first major classical guitar society in New York City, the New York Society of the Classic Guitar.

"The Society's beginnings were somewhat modest, but Bobri, through a seemingly small act, would ensure the Society's preeminence for decades to come," wrote Lester S. Long in NYlon Review, the official newsletter of the New York City Classical Guitar Society: “An illustrator by trade, Bobri presented Andrés Segovia with an offer to paint his portrait. Segovia accepted. In the process the pair began a decade-long friendship and Segovia accepted the position of honorary president of the Society. Already a star in Europe and starting his career in the United States, Segovia would be no mere figurehead; instead, he would influence the artistic direction of the Society for nearly 50 years as chairman of the advisory committee.”

In 1946, the society began publishing The Guitar Review. Bobri served as editor and art director of the quarterly magazine until 1985. As well as designing a number of album covers for Segovia recordings, Bobri wrote and illustrated the influential book, The Segovia Technique (1972).

In 1972, Bobri was decorated with the Cross of Isabel la Catolica with the rank of Knight-Commander, recognizing his lifelong achievements as a designer, painter, art director, composer and writer, and his use of those talents to increase awareness of Spanish culture. The award was presented by the consul general of Spain in New York, at a ceremony attended by Spanish dignitaries including Andrés Segovia.

On November 3, 1986, Vladimir Bobri lost his life in a house fire, one that consumed the house he designed, built and lived in for nearly 50 years, together with his art, correspondence and collection of guitars. Introducing a memorial tribute in its Winter 1987 issue, The Guitar Review wrote, "In the midst of our inability to accept so great a loss, we are seduced by a possible validity in the old Viking philosophy: the belief that the helmsman and his pyre are sent resurrected into the unknown, to sail the sea of eternity. May we hope it's true that our dear friend Bobri has indeed embarked on that mythical journey, still in possession of all he took with him." [Wikipedia]

During Walter Dorwin Teague's [1883 – 1960] time, industrial designers were transforming ordinary objects by marrying materials, technique and function to produce the simplest and most efficient forms possible. The resulting products had an appearance that was a stark visual break from the past. Practitioners of this style of design, known as streamlining, art moderne or art deco, did away with most nonfunctional elements in favor of sleek designs. Their efforts transformed everything from automobiles, trains, ships and airplanes to cameras, buildings, furniture and appliances.

The trend began in the mid-1920s as an attempt by manufacturers to increase sales of consumer goods in a saturated marketplace by giving them a distinctive and modern look. At the most idealistic level, as exemplified by Teague, the new designs and the improved function they represented could be a force for good. "A better world than we have ever known can and will be built," Teague said. "Our better world may be expected to make equally available for everybody such rare things as interesting, stimulating work, emancipation from drudgery and a gracious setting for daily life."

Teague detailed his industrial and artistic philosophy in Design This Day, first published in 1940. His book appeared at about the time Hitler was invading Norway--before the United States entered World War II--and toward the end of the Great Depression. "We walk between catastrophe and apotheosis," he declared in Design This Day. "In spite of the mighty destructive powers that threaten us, our vision of a desirable life was never so clear and our means of realizing it never so ample."

Along with designers Norman Bel Geddes, Henry Dreyfuss and Raymond Loewy, Teague helped create the industrial design profession in America, defining the visual character of the 1930s and 1940s in the process.

He started his career in graphic arts, painting signs and drawing for catalogs, and later worked in advertising. A 1926 trip to Paris introduced him to new ideas in design. He returned believing that unity of design could create a more orderly world and decided to become an industrial designer. Teague started his own industrial design firm and received his first commission in 1927, designing cameras for Eastman Kodak. The relationship lasted for 30 years.

In 1936 he placed his signature on American roadsides. Texaco replaced its regionally styled gas stations with a single design--green and white porcelain-enamel stations designed by Teague. The clean look, highlighted with red stars, was easily identified by motorists. Although some of Teague's utopian ideals and radical design concepts never materialized, he was clearly a visionary. And we are still intrigued by his desire to build a better world.

From Lester Gaba, Mannequin Artist, the New York Times,August 14, 1987: Lester Gaba [1907 – 1987] who staged elaborate fashion shows in the 40's and 50's and created the lifelike display-window mannequins known as the Gaba Girls, died of cancer of the colon Wednesday at Beekman Downtown Hospital. He was 80 years old and lived in Manhattan.

In addition to designing mannequins, Mr. Gaba for many years contributed a weekly column on window displays to Women's Wear Daily.

Mr. Gaba was born in Hannibal, Mo., and moved to Chicago in 1930 to study art. While working as a delivery boy for a department store he did freelance work designing posters for which he fashioned figures out of soap and then photographed them. Advertising agencies seized on the technique and soon Mr. Gaba's soap carvings were adorning magazine covers as well as being marketed as a children's soap.

By 1932 Mr. Gaba had moved to New York, where he created the ''Gaba Girls,'' life-sized, carved-soap mannequins modeled after well-known New York debutantess for the windows of Best & Company. He is perhaps best known for designing the lifelike mannequin known as Cynthia that was created for Saks Fifth Avenue.

From 1941 to 1967, Mr. Gaba contributed a weekly column to Women's Wear Daily titled ''Lester Gaba Looks at Display'' in which he gave his observations about the ever-changing window displays at stores in the city.

At the same time he began staging fashion shows for the Coty Awards, the March of Dimes, and fashion trade groups. The stagings were elaborate and theatrical, often involving marionettes or props such as the Hope diamond and the Star of the East.

Frederick C. Kendall [Editor], Ruth Fleischer [Associate]

Frederick C. Kendall [Editor], Ruth Fleischer [Associate]: ADVERTISING ARTS. New York: Advertising and Selling Publishing Co.,  July 1933.  Original edition.  Slim quarto. Thick perfect bound photo illustrated wrappers printed in the Aquatone Process. 40 pp. One Alexey Brodovitch fold-out. Tipped in Mickey Mouse mask. Text and elaborately-produced advertisements. Multiple paper stocks. Wrappers lightly worn with spine rubbed and chipped at heel. Textblock lightly spotted throughout. A nearly very good copy. Rare.

8.5 x 11.5 perfect bound magazine with 40 pages of text and advertisements. "Devoted to the design of advertising, the creation of printing, and the styling of merchandise and packages." -- the Publishers.

"Advertising Arts" promulgated a progressive design approach (and style) unique to the United States during the early Thirties, called Streamline. Unlike the elegant austerity of the Bauhaus, where economy and simplicity were paramount, Streamline was a uniquely American futuristic mannerism based on sleek aerodynamic design born of science and technology. Planes, trains and cars were given the swooped-back appearance that both symbolized and physically accelerated speed. Consequently, type and image were designed to echo that sensibility, the result being that the airbrush became the medium of choice and all futuristic traits, be they practical or symbolic, were encouraged. The clarion call was to "Make it Modern" -- and "it " was anything that could be designed. – Steven Heller

• Cover by Leslie Gaba; lettering by Gustav Jensen.
• Frontispiece: Walter Huxley for Huxley House
• Design and Economic Recovery by Earnest Elmo Calkins.
• Business and the Fair. Illustrated profile from the 1933 Century of Progress Chicago  Exposition, with work by Gustav Jensen, Allmon Fordyce, Axel Linus, Gus Wick & Miklos Gaspar [General Motors Gallery of States Murals], Walter Dorwin Teague, Ely Jacques Kahn and Layman Whitney Associates.
• Drawing by Alexey Brodovitch for New Jersey Zinc Co. : fold-out color poster titled "The House of the Future."
• Baby Parade
• Open Letter
• Circus: 4 gravure images by Muller of Frederick Bradley, New York
• Glamour by Robert L. Leonard
• New Packages of Interest: packaging designs from Henry Dreyfuss, George Switzer and others.
• Premium Carnivalia:  original Mickey Mouse mask tipped in, marked "Mickey Mouse, copyright 1933, by Walt Disney." Litho in USA, naturally.

Alexey Brodovitch [1898 – 1971] is a legend in graphic design: during his 25-year tenure as art director of Harper's Bazaar, he exerted tremendous influence on the direction of design and  photography. A passionate teacher of graphic design, advocate of photography and collaborator with many prominent photographers, Brodovitch is often credited with having a major influence on the acceptance of European modernism in America. His use of assymetrical layouts, white space, & dynamic imagery changed the nature of magazine design. He was responsible for exposing everyday Americans to avant-garde artists by commissioning work from cutting-edge artists such as Cassandre, Dali, Cartier-Bresson, Man Ray, etc.

"Astonish me!" was Brodovitch's often quoted exhortation to students attending his "Design Laboratory" classes over the years. Though borrowing "étonnez-moi!" from the Russian ballet master Sergei Diaghilev, with this charge, Brodovitch indeed set in motion the application of the modernist ethos to American graphic design and photography.

Robert L. Leonard was a founder of the American Union of Decorative Artists and Craftsmen [AUDAC]. He edited the first Annual of American Design in 1931. He taught advertising art at Pratt Institute. He also studied graphic arts in Munich and then at the Academy Julien at Paris. He worked as an illustrator in Berlin for years before returning to Paris. He came to the United States in 1923 and worked in advertising. His clients included DuPont, General Motors, Celanese, Wallace Silver, Colgate, Matchabelli, International Printing Ink and Burdines Miami.

From the article Design and Economic Recovery by Earnest Elmo Calkins: "We call this machine age as a matter of convenience, but the machine is as old as civilization. The stone hammer, the flint knife were machines. Mechanical principles known to the builders fo the pyramids are the base of many present-day machines. What we really mean by the term "machine age" is an era in which machines have been speeded up to a tempo where human thinking has difficulty in keeping pace with them. To deal with them a new technique is demanded.

When invention and discoveries began to transform our industrial system and a manufacturer produced a machine that worked, he stopped. It did not occur to him to go on and make his deivce pleasant to look at as well as defficient. It must have been the persistent ifnluence of the Puritan tradition that made manufacturers so suspicious of beauty and gave them such pathetic faith in ugliness. Beauty somehow seemed antagonistic to integrity. They managed in those days to reverse William Morris's dictum. They seldom found it necessary to make a thing beautiful in order to make it useful.

The hand worker who controlled very step of the thing he was making had been replaced by a machine minder who had nothing to do with design. the directing minds, absorbed in the new wonders of so many thins made so easily, ignored the fact that it was just as easy for a machine to stamp or print a good pattern as a bad one, and by some perversity nearly always those the bad one, and aggravated that fact by producing the bad design in incredible quantities.

Probably all works of man are ugly at first. Even in the days of handcraft each new implement or tool was crude in its original conception, was refined and took on the semblance of design only when its usefulnes had reached the maximum. The jar, the wheel, the ladle, the rug, the bracelet, the reaping hoo, hand-made produces of an earlier age, whose shapes we admire, did not stare with those graceful and seemingly inevitable forms. The potter realize that the bottle or jar coudl be a pleasing shape. These little processes of refinement went on for ages following the introduction of each new device. They were the result of evolution over a long span fo years. Being made by hand one at a time improvements could begin anywhere. Each successive craftsman added something.

Not so with the products of the machines. Once the pattern is set no change can be made short of scrapping the machines. The process is instantaneous--the result permanent. All th emore need then of some influent brought to bear on the man at the top, the manufacturer, when the pattern is made. He must be willing to consult artists to design his patterns . . . ."

May 1932

Frederick C. Kendall [Editor]

Frederick C. Kendall [Editor]: ADVERTISING ARTS. New York: Advertising and Selling Publishing Co., May 1932.  Original edition. Thick letterpressed wrappers. 56 pp. Elaborate graphic design and production throughout. Cover by Lester Gaba. Pencil name erased from top edge of front wrapper, otherwise a very good or better copy. Rare.

8.5 x 11.5 magazine with 56 pages of text and advertisements. "Devoted to the design of advertising, the creation of printing, and the styling of merchandise and packages." -- the Publishers.

Advertising Arts promulgated a progressive design approach (and style) unique to the United States during the early Thirties, called Streamline. Unlike the elegant austerity of the Bauhaus, where economy and simplicity were paramount, Streamline was a uniquely American futuristic mannerism based on sleek aerodynamic design born of science and technology. Planes, trains and cars were given the swooped-back appearance that both symbolized and physically accelerated speed. Consequently, type and image were designed to echo that sensibility, the result being that the airbrush became the medium of choice and all futuristic traits, be they practical or symbolic, were encouraged. The clarion call was to "Make it Modern" -- and "it " was anything that could be designed. – Steven Heller

• Hot and Cold by George Sakier. Modern Restroom Fixtures.
• The Banana Tree, Drawing by Boris Artzybasheff.
• Invitation To France.
• ADC Review by E. F. Molyneaux.
• Prize Winners at the Art Directors’ Show. Examples by Alexey Brodovitch, Carl Erickson, Howard Trafton, Paul Outerbridge, Jr., Buk Ulreich, Etc.
• Over Seventeen years Of Calendars From the Marchbank Press. Examples by Charles Falls, Rene Clarke, Sydney Bagshaw, W. A. Dwiggins, Rudolph Ruzicka, Harry Cimino, and Thomas Maitland Cleland.
• Reform the Currency by W. A. Dwiggins. W. A. Dwiggins [1880  – 1956] was  a polymath of the graphic and typographic arts and crafts, puppeteer, playwright and sometime furniture maker, and was a cultural critic of considerable breadth. He had something to say about just about everything. In 1932 he groused about money. He wrote that U.S. paper currency . . . “stands as the prime symbol of value in the infinite transactions of a great commercial nation. It is worth its face in gold ... but, my God! what a face!” In response to the nation’s poorly designed gelt, WAD had no guilt in suggesting a complete overhaul. His manifesto Towards a Reform of the Paper Currency, originally published by the Limited Editions Club in an edition of 452 copies was a passionate and lively little rant with lots of good design ideas for the improvement of banknotes and stamps-and just about anything else.
• Three Posters by L. A. Mauzan.
• Re: “Memo To Manufacturers” by Morris Einson.
• A Group Of Foreign Photographs. “Recently Shown at the Julien Levy Gallery,” Includes Images by László Moholy-Nagy [x2], and E. Sougez [x2].
• Lettering the Package by Roy Sheldon. Full-page Image of Gustav Jensen packaging design.
• Three Posters by S. A. Mauer.
• The Designer and the Factory by Henry Dreyfuss. Photograph by Anton Breuhl.
• Dressing Up the Dime Novel by Herschel Deutsch.
• Gallery by Burford Lorimer. Floyd Davis, George Switzer, Arnold Genthe, and Dr. Mehemed Fehmy [M. F.] Agha: short illustrated biographies with facsimile signatures.
• The Empire State Book Shop.
• “Rose Et Noir” by Amos Stote. Illustrated review of the new Nicolas catalogue from Draeger-Freres.

Allow us to quote at length from WHEN ADVERTS WERE EARNEST by Steven Heller: “In the early 1920s American products were either nondescript or laden with ornament to camouflage a mass-market look. Although mass production was the foundation on which the modern American economy was built, many cultural critics felt that items coming off the assembly line lacked good taste. American industrialists, who could easily afford to aesthetically improve their products, were apathetic, if not resistant, to the idea of spending cash on looks. What they did not resist, however, were marketing strategies that would ensure greater profits. So following a brief economic downturn in the early 20s and subsequent boom, industry frantically tried to find a new means of stimulating even further sales. It was the profit motive, not any transcendent utopian ethic or aesthetic ideal, that paved the way for commercial Modernism in the United States, which was introduced to American advertising in 1925 by Earnest Elmo Calkins (1868-1964) an advertising pioneer, design reformer and founder of Calkins and Holden Advertising Co.

“After seeing an array of cubist and futurist graphics, packages and point-of-purchase displays that he discovered in the pavilions of the Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes , Calkins wrote to his staff in New York: “It is extremely ‘new art’ and some of it too bizarre, but it achieves a certain exciting harmony, and in detail is entertaining to a degree. [Everything is] arranged with an eye to display, a vast piece of consummate window dressing.” What was so different from most American advertising art was the noticeable rejection of realism in favor of abstraction. Illustration was not representational but through symbols, metaphors and allegories exuded a “magical” atmosphere. Boxes and bottles were no longer mere utilitarian vessels for their contents, but rather represented the essence of what the product symbolized to the consumer. Calkins summarized it this way: “Modernism offered the opportunity of expressing the inexpressible, of suggesting not so much a motor car as speed, not so much a gown as style, not so much a compact as beauty.”

“Modernism was a bag of tricks the artist could use to set an ordinary product apart. And advertising artists were indeed quick to appreciate the possibilities of Modernism since realistic art had reached what Calkins termed a “dead level of excellence.” It was no longer possible to make an advertisement striking, conspicuous and attractive by still pictures and realistic groups. Spearheaded by Calkins and Holden, and later adopted by such progressive agencies as N.W. Ayer and Kenyon and Eckart, commonplace objects-toasters, refrigerators, coffee tins-were presented against new patterns and at skewed angles; contemporary industrial wares were shown in surrealistic and futuristic settings accented by contemporary typefaces with contempo names like Cubist Bold, Vulcan, Broadway, Novel Gothic and more. Layout inspired by the European New Typography also became more dynamic in its asymmetry. Modernism offered an aura of cosmopolitan culture and avant garde style and signaled the spread of an aesthetic coming-of-age of American adverting.

“Color, which was comparatively rare in magazine advertisements in the mid-1920s, was another aspect of department-store Modernism introduced as a raucously decorative component in windows, which until then had been prosaic displays of products. The new windows borrowed primaries from De Stijl and the Bauhaus and combined them with bright purples, greens and oranges. In addition, “Modernism to the general public came to mean silver and black,” explains Frederic Ehrlich in his book The New Typography and Modern Layout (Frederic A. Stokes, 1934), one of the most astutely written critiques (posing as an instructional manual) of Modern practice published in America at that time. Ehrlich was referring to the metallic silver papers and black silhouettes that were ubiquitously used in window displays as well as later in magazine advertisements, menus, etc. The new silver alloy, Aluminum, symbolized the Machine Age as vividly as pictures of factories, crucibles and gears.

“True Modernism is good taste! And here is the key distinction between the radical forms of European Modernism that are heroic and romantic today, and the commercial application introduced in the 1920s: The former was intended to violently disrupt the status quo and improve the visual environment, while the latter had no loftier purpose than to revolutionize the buying habits of the American public and so stimulate the economy.”

Frederick C. Kendall [Editor]

Frederick C. Kendall [Editor]: ADVERTISING ARTS. New York: Advertising and Selling Publishing Co., May 1934.  Original edition. Wire-spiral binding. Letterpressed thick wrappers. 48 pp. Text and elaborately-produced advertisements. Wrappers lightly scratched and worn with one chip to lower corner [see scan]. Photomontage cover design by John Atherton. A very good or better copy. Rare.

8.5 x 11.5 wire-spiral bound magazine with 48 pages of text and advertisements. "Devoted to the design of advertising, the creation of printing, and the styling of merchandise and packages." -- the Publishers.

"Advertising Arts" promulgated a progressive design approach (and style) unique to the United States during the early Thirties, called Streamline. Unlike the elegant austerity of the Bauhaus, where economy and simplicity were paramount, Streamline was a uniquely American futuristic mannerism based on sleek aerodynamic design born of science and technology. Planes, trains and cars were given the swooped-back appearance that both symbolized and physically accelerated speed. Consequently, type and image were designed to echo that sensibility, the result being that the airbrush became the medium of choice and all futuristic traits, be they practical or symbolic, were encouraged. The clarion call was to "Make it Modern" -- and "it " was anything that could be designed. – Steven Heller

• Frontis: Full-page Black Cat rotogravure by Martin Munkacsi
• Whither Industrial Design? by Earnest Elmo Calkins. Illustrated examples of a prefabricated house by Holden & McLaughlin Associates, Lurelle Guild, George Sakier, Nathan George Horwitt and Russel Wright.
• Four Illustrations from 'The Travels of Marco Polo" by W. A. Dwiggins. Letterpress printing by The printing House of Leo Hart.
• Open letter Re: American Wines. Label designs by John Atherton, Gustav Jensen, Clarence Hornung, Louis Koster, Tony Bonagura and Roy Shelsdon.
• Paper Requirements for Gravure printing by E. K. Hunt
• Two Mexican Photographs by Anton Breuhl. Sheet-fed gravure by the Beck Engraving Company.
• Trademarking Government Activities. Five marks by Clarence Hornung.
• Exhibition by Charles Coiner
• Prize Winners at 13th Annual Art Directors Exhibition. Includes work by Alexey Brodovitch [ x 2 ], Ludwig Bemelmans, John Funk, John Atherton, Boris Artzybasheff, Miguel Covarrubias, Robert Fawcett, Victor Keppler and others.
• I Believe in Design by Grover Whalen. Words of wisdom from noted Union-buster and President of the New York World Fair Corporation.
• Design for the Railroad by Walter Dorwin Teague
• Case Histories by T. J. Maloney. Illustrated industrial design case studies for an Electric Fan, Conover Dishwasher, and an Automatic Razor Blade Sharpener.
• Glass

John Carlton Atherton (1900 – 1952) was a commercial artist born in Brainard, Minnesota on June 7th, 1900.After a brief service in the U.S. Navy during WWI, Atherton moved to San Francisco, California in 1920. There, he attended College of the Pacific and The California School of Fine Arts and practiced his techniques in various West-Coast studios.

Upon winning a five-hundred dollar first prize award in the Bohemian Club’s annual exhibition in 1929, Atherton moved to New York City to test his ability as a commercial artist. He became widely successful while designing advertisements for companies such as General Motors, Shell Oil, Container Corporation of America, and Dole. But after 1936, encouraged by friend Alexander Brook, an acclaimed New York realist painter, Atherton returned to the fine arts. This new work primarily consisted of symbolic, often bleak landscapes that were becoming a favorite subject of the new surrealist movement in America.

Atherton presented his first solo exhibition in New York’s Julien Levy Gallery in 1938 and the artist continued to be represented by the renowned gallery throughout the 1930s and 1940s. Other contemporary artists also showing at the gallery were Max Ernst, Joseph Cornell, Frida Kahlo, and Pavel Tchelitchew, who together supported a decidedly nonconformist movement. Artist Dorothea Tanning once described the prestige of the gallery: “Of all the gallery activity on Fifty-Seventh Street, where everything happened in those days, it was the Julien Levy Gallery that was truly making art history, the place where it was ‘at.’ ”

Atherton’s reputation increased to a national scale when he designed the art deco stone lithograph poster for the 1939 World’s Fair that strikingly depicted Earth and its atmospheric layers in the lap of Liberty. More recognition followed when, in 1941, the Museum of Modern Art headed a National Defense Poster Competition, which was co-founded by the Army Air Corps and the Treasury Department. Atherton won the first prize in the Defense Bond category for his poster “Buy a Share in America” depicting one hand shaking the hand of America above a factory. Shortly after, in 1943, Atherton placed in the prestigious “Artists for Victory” Competition. Amidst over fourteen-thousand entries, Atherton’s “The Black Horse” won a three-thousand dolor fourth prize award. The acclaimed artist brought his popular designs into high circulation once he began creating posters and covers for such publications as Fortune, Saturday Evening Post, and Holiday.

Atherton had no shame in blurring the line between commercial and fine art, though illustrators were (and still are) often considered lesser artists. He said in his statement for the seminal 1943 Museum of Modern Art exhibition, American Realists and Magic Realists, “Any painting lives or will last because it is well painted, regardless of whether it is a potato or a human body. By this I do not mean mere technical dexterity but painting which builds the spirit of the forms.”

For his fine art gallery pieces, Atherton retained the defined forms from his technical commercial experience but instead placed his subjects in surrealist situations. Atherton was highly influenced by the magic realist movement that had roots in European surrealism but carried distinctly American undertones. While other magic realists, such as John Wilde, focused on themes of agriculture and fertility, Atherton often opted for more industrial landscapes. His practiced exactitude aided him in this effort and in such pieces as Rubber…and the National City Bank of New York. [Katie Kinnear]

During Walter Dorwin Teague's time, industrial designers were transforming ordinary objects by marrying materials, technique and function to produce the simplest and most efficient forms possible. The resulting products had an appearance that was a stark visual break from the past. Practitioners of this style of design, known as streamlining, art moderne or art deco, did away with most nonfunctional elements in favor of sleek designs. Their efforts transformed everything from automobiles, trains, ships and airplanes to cameras, buildings, furniture and appliances.

The trend began in the mid-1920s as an attempt by manufacturers to increase sales of consumer goods in a saturated marketplace by giving them a distinctive and modern look. At the most idealistic level, as exemplified by Teague, the new designs and the improved function they represented could be a force for good. "A better world than we have ever known can and will be built," Teague said. "Our better world may be expected to make equally available for everybody such rare things as interesting, stimulating work, emancipation from drudgery and a gracious setting for daily life."

Walter Dorwin Teague (1883 - 1960) detailed his industrial and artistic philosophy in Design This Day, first published in 1940. His book appeared at about the time Hitler was invading Norway--before the United States entered World War II--and toward the end of the Great Depression. "We walk between catastrophe and apotheosis," he declared in Design This Day. "In spite of the mighty destructive powers that threaten us, our vision of a desirable life was never so clear and our means of realizing it never so ample."

Along with designers Norman Bel Geddes, Henry Dreyfuss and Raymond Loewy, Teague helped create the industrial design profession in America, defining the visual character of the 1930s and 1940s in the process.

He started his career in graphic arts, painting signs and drawing for catalogs, and later worked in advertising. A 1926 trip to Paris introduced him to new ideas in design. He returned believing that unity of design could create a more orderly world and decided to become an industrial designer. Teague started his own industrial design firm and received his first commission in 1927, designing cameras for Eastman Kodak. The relationship lasted for 30 years.

In 1936 he placed his signature on American roadsides. Texaco replaced its regionally styled gas stations with a single design--green and white porcelain-enamel stations designed by Teague. The clean look, highlighted with red stars, was easily identified by motorists. Although some of Teague's utopian ideals and radical design concepts never materialized, he was clearly a visionary. And we are still intrigued by his desire to build a better world.

Frederick C. Kendall [Editor], Ruth Fleischer [Associate]

Frederick C. Kendall [Editor]: ADVERTISING ARTS. New York: Advertising and Selling Publishing Co., November 1933.  Original edition. Wire-spiral binding. Letterpressed thick wrappers. 40 pp.  One fold-out. Elaborate graphic design and production throughout. Cover design by Bobri. Uncoated covers very lightly soiled. A very good to nearly fine copy. Rare.

8.5 x 11.5 wire-spiral bound magazine with 40 pages of text and advertisements. "Devoted to the design of advertising, the creation of printing, and the styling of merchandise and packages." -- the Publishers.

"Advertising Arts" promulgated a progressive design approach (and style) unique to the United States during the early Thirties, called Streamline. Unlike the elegant austerity of the Bauhaus, where economy and simplicity were paramount, Streamline was a uniquely American futuristic mannerism based on sleek aerodynamic design born of science and technology. Planes, trains and cars were given the swooped-back appearance that both symbolized and physically accelerated speed. Consequently, type and image were designed to echo that sensibility, the result being that the airbrush became the medium of choice and all futuristic traits, be they practical or symbolic, were encouraged. The clarion call was to "Make it Modern" -- and "it " was anything that could be designed. – Steven Heller

Contents:

• Cover Design by Bobri
• Paper in the Making by Dr. J. Campbell: includes 2 photographs by Margaret Bourke-White and line drawings by Oscar Ogg.
• Poster Prizes: includes work by Andrew Loomis, Frederic Stanley, H. Ledyard Towle
• Photograph for Fisher Bodies by Henry Waxman
• New Patterns in Persuasive Print by Fred T. Singleton
• End Paper Design for Italian Line by Victor Beals [Drawing]
• Color illustration by E. Everett Henry for Frankenstein on Linweave Text, White Wove, Antique
• Four pages of English Posters: includes work by Clifford and Rosemary Ellis, Brynhild Parker, E. Hawthorne, Graham Sutherland, E. McKnight Kauffer, and Mansbridge among others
• Illustration for American Writing Paper by Kirk Wilkinson
• Design for Business by Roy Sheldon: includes a photo-montage by R. H. Macy & Co., package design by Egmont Arens, and a photograph by Hi Williams,
• Gaba Girls: Mannequins by Lester Gaba
• Two pages of Photographic Initials: includes work by Nesmith, Thurman Rotan, Anton Bruehl, Guild, and Nyholm & Lincoln
• Cover of a modern cookbook for H. J. Heinz Co., designed and prepared by Maxon, Inc. with a color photograph by Anton Bruehl
• Idea by Joseph Katz

Vladimir Bobri (Bobritsky) (Ukrainian, 1898 – 1986, Rosendale, New York) was an illustrator, author, composer, educator and guitar historian. Celebrated for his prolific and innovative graphic design work in New York since the mid-1920s, Bobri was also a founder of the New York Society of The Classic Guitar in 1936, and served as editor and art director of its magazine, Guitar Review, for nearly 40 years.

Vladimir Bobritsky studied at the rigorous Kharkiv Imperial Art School. By 1915 he had begun designing sets for the Great Dramatic Theatre of Kharkiv, introducing the methods of theatrical designer Gordon Craig. Swept up in the Russian Revolution, Bobritsky fought on various sides in the civil war before managing to escape in 1917.

"After the Revolution came a long and enforced period of travel and a kind of montage of activity," wrote Bobritsky's friend and fellow artist Saul Yalkert in a biographical sketch printed in Forty Illustrators and How They Work (1946): “As a refugee he traveled on a handmade passport, eight closely printed pages in Polish, so skillfully wrought that it left no doubt as to his talent and feeling for calligraphy, since it successfully passed the expert examination of the English, French, Italian and Greek consular authorities. . . . In the mountainous, peninsular Crimea he worked as a wine presser for the Tartar fruit and wine growers. Later he came in contact with Russian, Hungarian and Spanish gypsies, studied their lore, the peculiarities of the different tribes. Having met with a band of gypsies in the Crimea he earned his way as a guitar player in their chorus.”

Bobritsky painted icons in the Greek islands, played the piano in a nickelodeon in Pera, painted signs in Istanbul, discovered an important Byzantine mural in an abandoned Turkish mosque, and earned his passage to America by designing sets and costumes for the Ballet Russes in Constantinople.

"Through all those wanderings his knapsack always had a watercolor box, a drawing pad," Yalkert wrote. "The record was kept with constant sketching of people, stories, folklore, folk music and crafts."

Bobritsky emigrated to the United States in 1921. In his artist profile in Forty Illustrators and How They Work, Ernest W. Watson reports that Bobritsky began operating his own textile printing establishment soon after arriving in New York. "In 1925 he was called in by the art director of Wanamaker's, in an experiment with modern advertising," Watson wrote. "His radically different newspaper layouts were more than the establishment could stomach and both artist and art director were dismissed. But Saks Fifth Avenue saw, admired and beckoned." Saks offered Bobri the position of art director.

"His newspaper and magazine layouts represented a fresh departure," wrote Walt Reed, scholar and historian of illustration art. "Bobri soon found himself with enough clients to embark on a freelance career, largely for advertising illustrations, and strongly influenced by his background of classical training and theatrical designing."

The first of Bobritsky's seven covers for The New Yorker magazine was dated February 6, 1926. By the 1930s, Bobritzky — or Bobri, as he signed his name with greater frequency — had become a leading illustrator in the burgeoning world of advertising. His accounts included Hanes, Koret and Avon; his work was prominent in the Annual of Advertising Art. He also gained renown as an illustrator of children's books. Bobri frequently contributed to Vogue, Harper's Bazaar, McCall's and many other magazines.

Bobri continued his study of the guitar. In 1936, he and a small group began meeting informally, forming the first major classical guitar society in New York City, the New York Society of the Classic Guitar.

"The Society's beginnings were somewhat modest, but Bobri, through a seemingly small act, would ensure the Society's preeminence for decades to come," wrote Lester S. Long in NYlon Review, the official newsletter of the New York City Classical Guitar Society: “An illustrator by trade, Bobri presented Andrés Segovia with an offer to paint his portrait. Segovia accepted. In the process the pair began a decade-long friendship and Segovia accepted the position of honorary president of the Society. Already a star in Europe and starting his career in the United States, Segovia would be no mere figurehead; instead, he would influence the artistic direction of the Society for nearly 50 years as chairman of the advisory committee.”

In 1946, the society began publishing The Guitar Review. Bobri served as editor and art director of the quarterly magazine until 1985. As well as designing a number of album covers for Segovia recordings, Bobri wrote and illustrated the influential book, The Segovia Technique (1972).

In 1972, Bobri was decorated with the Cross of Isabel la Catolica with the rank of Knight-Commander, recognizing his lifelong achievements as a designer, painter, art director, composer and writer, and his use of those talents to increase awareness of Spanish culture. The award was presented by the consul general of Spain in New York, at a ceremony attended by Spanish dignitaries including Andrés Segovia.

On November 3, 1986, Vladimir Bobri lost his life in a house fire, one that consumed the house he designed, built and lived in for nearly 50 years, together with his art, correspondence and collection of guitars. Introducing a memorial tribute in its Winter 1987 issue, The Guitar Review wrote, "In the midst of our inability to accept so great a loss, we are seduced by a possible validity in the old Viking philosophy: the belief that the helmsman and his pyre are sent resurrected into the unknown, to sail the sea of eternity. May we hope it's true that our dear friend Bobri has indeed embarked on that mythical journey, still in possession of all he took with him." [Wikipedia]

September 1932

Frederick C. Kendall [Editor]

Frederick C. Kendall [Editor]: ADVERTISING ARTS. New York: Advertising and Selling Publishing Co., September 1932.  Original edition.  Letterpressed thick perfect bound wrappers. 40 pp. Multiple paper stocks and printing effects throughout. Text and elaborately-produced advertisements. Cover by Boris Artzybasheff. Upper extreme fore-corner of rear wrapper torn away, corners bumped, a few closed edge tears to the dust-tanned wrappers, just a good copy. Rare.

8.5 x 11.5 perfect bound magazine with 40 pages of text and advertisements. "Devoted to the design of advertising, the creation of printing, and the styling of merchandise and packages." -- the Publishers.

Advertising Arts promulgated a progressive design approach (and style) unique to the United States during the early Thirties, called Streamline. Unlike the elegant austerity of the Bauhaus, where economy and simplicity were paramount, Streamline was a uniquely American futuristic mannerism based on sleek aerodynamic design born of science and technology. Planes, trains and cars were given the swooped-back appearance that both symbolized and physically accelerated speed. Consequently, type and image were designed to echo that sensibility, the result being that the airbrush became the medium of choice and all futuristic traits, be they practical or symbolic, were encouraged. The clarion call was to "Make it Modern" -- and "it " was anything that could be designed. – Steven Heller

• Insert composed and printed by John Henry Nash.
• Color Photograph by Anton Bruehl.
• The Means To Color Photography by Gordon M. Wilbur. Photography by Anton Bruehl.
• Three Versions of a Trade-Mark Designed by F. E. Kliem.
• Minority Report by a New York Agency Executive.
• Mr. Tilly and Miss Du Pont. Soap Portraiture by Lester Gaba.
• Aerial View of Central Philadelphia Reproduced in Aquatone.
• Yachts . . . a Story of Design by Walter B. Geohegan. Full-Page Gravure Photography by Anton Bruehl and Margaret Bourke-White.
• A New Technique—with Photographs by Charles Garner.
• Resizes.
• The Gentle Art Of Cropping by a Reader, an Art Director and a Photographer. Photography by Dr. Paul Wolfflazarnick Studio, Edward Quigley, Jeanette Griffith, Adams Studio, Hi Williams.
• Designing a Salt Package by Joseph Sinel.
• View Of Rockefeller Center From Fifith Avenue: Full-Page Architectural Rendering.
• Jean Dupas by Amos Stote. Four pages and four black and white illustrations.

Joseph Claude Sinel [1889 – 1975] was born in Auckland, New Zealand where his father ran a stevedoring operation. He attended the Elam School of Art, then started work as an apprentice in the art department of Wilson & Horton Lithographers, working at the New Zealand Herald from 1904-1909 and studying under Harry Wallace. After a stint in England, he returned to New Zealand and Australia working as a freelance designer, then moved to San Francisco in 1918, where he first worked in advertising, then in 1923 started his own industrial design company in New York City. In 1936, he moved to the San Francisco Bay Area.

Sinel claimed to have designed everything from "ads to andirons and automobiles, from beer bottles to book covers, from hammers to hearing aids, from labels and letterheads to packages and pickle jars, from textiles and telephone books to toasters, typewriters and trucks." Although he is perhaps best remembered for his designs of industrial scales, typewriters, and calculators, he also designed trademarks for businesses such as the Art Institute of Chicago, created book jackets for Doubleday, Knopf, and Random House, and for many years designed publications for Mills College. He taught design in a number of schools in the United States, and in 1955 became one of the fourteen founders of the American Society of Industrial Designers (which later merged with other organizations to form the Industrial Designers Society of America).

Sinel is sometimes said to have coined the term "industrial design" around the 1920s in the USA. Sinel denied the paternity of this term in an interview in 1969. "... that's the same time [1920] that I was injecting myself into the industrial design field, of which it's claimed (and I'm in several of the books where they claim) that I was the first one, and they even say that I invented the name. I'm sure I didn't do that. I don't know where it originated and I don't know where I got hold of it."

Jean Theodore Dupas [1882 – 1964] was a designer, poster artist, and decorator, but above all, he is the painter most closely associated with the Art Deco period. Dupas was part of the Bordeaux School, which included other renowned artists, such as Robert Eugene Pougheon, René Buthaud, Jean Gabriel Domergue, Raphael Delorme, and his close friend and collaborator, Alfred Janniot.

In 1910, he won the Prix de Rome, and spent two years in Italy. It was here that he completed "Le Danse", a study for a larger painting titled, "Les Pigeons Blanc" (The White Pigeons). This was Dupas' final painting in Rome, and marked the end of his four year residence at the Villa Medici. This painting was presented in 1922 at the Salon des Artistes Français, where it was awarded the gold medal. It is thought that this painting established Dupas as a successful painter. According to Romain Lefebvre, this work was inspired by Ingres' "Turkish Bath", and this is the first example of an Art Deco painting "with the indicative stylization of the figures, almost sculptural, with their long necks and bent wrists forming large arabesque movement." The actual painting, "Les Pigeons Blanc" (The White Pigeons) has been lost and "Le Danse" is the only remaining evidence of that masterpiece.

One of Dupas' earliest commissions came from the Bordeaux industrialist Henri Frugès in 1912. Frugès was in the process of renovating his new townhouse, which he called the "Palais Idéal", and was looking for artists with a modern vision to help him turn his home into a showcase for the finest in contemporary art. He employed Daum Freres, Jean Dunand, Edgar Brandt, René Buthaud and, of course, Dupas to help him make his vision a reality.

In 1925 Dupas participated in one of the most heralded exhibition of all time, the Grand Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris, from which derives the term Art Deco.  At this show, he exhibited "Les Perruches", not only one of his most famous paintings, but perhaps also one of the defining paintings of his career and perhaps the most well-known of the Art Deco movement. This painting was part of Emile-Jacques Ruhlmann's Hotel d'un Collectionneur. This was not the first time that Ruhlmann collaborated on a project with Dupas, and certainly not the last.

Dupas is also known for decorating the interiors of the Île-de-France and the Liberté, as well as the SS Normandie, in 1934, for which he created fabulous verre eglomisé panels for the Grand Salon. Portions of this mural are now on display at the Metropolitan Museum of Art and also at the Forbes Galleries in New York.

The "Dupas look" dominates advertising and commercial art throughout the whole of the Art Moderne period. In fact, Dupas did a great quantity of posters and other advertising work. His work also frequently appeared in fashion magazines such as Vogue and Harper's Bazaar, and he also created a catalogue for the furrier Max, in 1927, which is considered to be a "masterpiece of print advertising." It is easy to recognize a "Dupas woman" - the hair is cropped, her eyes are almond shaped, the mouth is small but full, and her neck is always elongated.

Alliance Graphique Internationale

AGI Members and Guests: AGI CALIFORNIA 1985. [N. P.: Alliance Graphique Internationale, n. d. April 1985]. First edition. Slim quarto. Printed stapled wrappers. 64 pp. 22 photos by James Cross. 72 illustrations by AGI members and guests. Commemorative keepsake: a fine uncirculated example.

4.5 x 5.75 softcover booklet with 64 pages with 22 photographs and 72 caricatures produced during the Alliance Graphique Internationale 1985 California Congress.

Includes caricatures and doodles by [and/or] portraying Takenobu Igarashi, Alan Fletcher, Saul Bass, Richard Hess, Richard Danne, Gene Federico, Art Paul, James Cross, Elaine Bass, Massimo Vignelli, Samuel N. Antupit, Fernando Medina, FHK Henrion, Mel Calman, Ed Benguiat, R.O. Blechman, Jelle Van Der Toorn Vrijthoff, Arnold Schwartzman, Tina Blackburn, Colin Forbes, Ray Eames, Henry Wolf, Fritz Gottschalk, Steff Geissbuhler, Josep Pla-Narbona, Bruce Blackburn, Seymour Chwast, Stuart Ash, and a few folks whose signatures were not readily decipherable.

For those of you unfamiliar with the AGI, here is how they describe themselves and their mission on their website: "The AGI [Alliance Graphique Internationale] unites the world’s leading graphics designers and artists in a professional club of common interest and achievement. It is an élite club. Its members have been collectively responsible for the identity design of most of the world's top corporations and institutions as well as for countless examples of globally known packaging, publications, illustration and posters."

"The AGI holds exhibitions of members work which are highly influential in disseminating new forms, techniques and ideas. There is a book publishing programme based on the thoughts and works of members. There are contacts with colleges and schools, government bodies and commercial institutes, all aimed at promoting graphic design and visual literacy."

"In the 1940s, commercial artists, mural makers, typographers, printmakers, art directors, illustrators and poster designers increasingly realised their common bonds, and the modern profession of graphic design began to be defined. In 1951, five graphic artists  two Swiss and three French  decided to formalise their relationship into some sort of association. Their idea was simply to share common interests and friendships across national and cultural borders. "

"It was a notion that soon attracted leading exponents of the graphic arts from elsewhere in Europe and in the USA. In 1952 the Alliance Graphique Internationale was incorporated in Paris with 65 members from 10 countries. The first AGI exhibition was held in Paris in 1955 and in 1969 the headquarters moved from Paris to Zurich. Student seminars were introduced in 1979 and the first Young Professional AGI Congress was held in London in 1994."

"Membership of the AGI requires reputation and achievement of the highest order and commitment to the processes of visual learning and perception, unfettered by cultural differences. The AGI remains dedicated to the universal aspect of graphic design as a means of communication and information, and its ideals remain relevant to the new world of visual literacy which its members have helped to bring about. "

FHK Henrion [Editor]

FHK Henrion [Editor]: AGI ANNALS. Zürich: Alliance Graphique Internationale, June 1989. First edition. Text in English. Quarto. Silver foil stamped black cloth. Photo illustrated endpapers. Printed dust jacket. 304 pp. Fully illustrated in color and black and white with work from 350 designers from 24 countries. Glossy white jacket faintly worn along top edge, otherwise a fine copy in a fine dust jacket. Rare.

9.25 x 12.25 hardcover book with 304 pages devoted to the history of the Alliance Graphique Internationale and the work of its’ international membership from 1952 to 1987. An exceptional contemporary Graphic Design reference volume beautifully produced by the Dai Nippon Printing Company.

• From The President
• Preface
• Introduction
• The 50s
• The 50s Summary
• The 50s AGI Events
• The 50s AGI Members’ Work
• The 60s
• The 60s Summary
• The 60s AGI Events
• The 60s AGI Members’ Work
• The 70s
• The 70s Summary
• The 70s AGI Events
• The 70s AGI Members’ Work
• The 80s
• The 80s Summary
• The 80s AGI Events
• The 80s AGI Members’ Work
• Conclusion
• AGI Network
• AGI Analysis
• AGI Annals
• AGI Members
• Index
• Bibliography
• Acknowledgements

Includes work samples by and biographical information on Ray and Charles Eames, Alexander Jordan, Alain Le Quernec, Uwe Loesch, Shin Matsunaga, Peter Brookes, Masuteru Aoba, Koichi Sato, Helmut Schmid, Hans-Georg Pospischil, Gerald Scarfe, Edo Smitshuijzen, Christof Gassner, Pierre Bernard, Katsumi Asaba, B. Martin Pedersen, Roland Aeschlimann, Richard Saul Wurman, Michael Vanderbyl, Katherine McCoy, Jean Robert, Pierluigi Cerri, Makoto Nakamura, Deborah Sussman, April Greiman, Mitsuo Katsui, Muriel Cooper, Yarom Vardimon, Edgar Reinhard, Zdenek Ziegler, Takenobu Igarashi, Roger Pfund, Mimmo Castellano, Josef Flejsar, Jaroslav Sůra, Jan Rajlich, Italo Lupi, Dan Jonsson, Bruce Blackburn, Armando P. Milani, Woody T. Pirtle, Tomás Gonda, Steff Geissbuhler, Pierre Mendell, Hermann Zapf, Henry Steiner, Ephraim E. (Ed) Benguiat, Adrian Frutiger, Shigeo Fukuda, Michael Peters, Bruno Monguzzi, Barrie Tucker, Anthon Beeke, R.D.E. (Ootje) Oxenaar, Matthew Carter, Marte Röling, Kenneth W. Cato, Jelle Van der Toorn Vrijthoff, Ivan Chermayeff, Gert Dumbar, Garry W. Emery, Egidio Bonfante, Dick Bruna, Ben Bos, Arthur Paul, Alan Peckolick, Theo Dimson, Mortezsa Momayez, Jeanette Collins, Willy Fleckhaus, Rolf Müller, Michael Rand, Margaret Calvert, Jock Kinneir, Jean Widmer, Isolde Monson-Baumgart, Holger Matthies, Heinz Waibl, Giulio Cittato, Frieder Grindler, David Hillman, Bruno Oldani, Tom Geismar, Silvio Coppola, Seymour Chwast, R.O. Blechman, Roberto Sambonet, Pieter Brattinga, Milton Glaser, Les Mason, Kurt Weidemann, Jukka Veistola, John McConnell, James Cross, Harry Peccinotti, Fritz Gottschalk, Tomoko Miho, Stuart Ash, Siegfried Odermatt, Samuel N. Antupit, Rolf P. Harder, Richard Danne, Peter Megert, Peter Bradford, Paul Brooks Davis, Mel Calman, Maciej Urbaniec, Louis Danziger, Kyösti Varis, Jan Mlodozeniec, Jacqueline Casey, Hans Peter Hoch, Gunter Rambow, Gilles Fiszman, Fred Troller, Félix Beltrán, Ernst Roch, Burton Kramer, Bruno K. Wiese, Arnold Schwartzman, Allan Robb Fleming, Richard Hess, Jan Van Toorn, Hermann M. Eggmann, Emanuele Luzzati, David Gentleman, Allen Hurlburt, Ruedi Rüegg, Peter Andermatt, Walter Ballmer, Mervyn Kurlansky, Gérard Miedinger, Franco Bassi, Dan Reisinger, Stanislav Kovàr, Paul Hogarth, Louis Silverstein, Gordon Andrews, Ursula Hiestand, Ruedi Külling, Michalis Katzourakis, K. Domenic Geissbühler, Josef Svoboda, Frederick Vincent Carabott, Ernst Hiestand, Arnold Saks, Tomàs Vellvé, Pino Tovaglia, Norman Ives, Niels Hartmann, Max Schmid, Mark Zeugin, John Massey, Hugo Wetli, Hermann Bongard, Hans Neuburg, Giulio Confalonieri, Georges Calame, Armin Hofmann, Waldemar Świerzy, Theo Crosby, Tadashi Ohashi, Ryuichi Yamashiro, Roman Cieslewicz, Martti Mykkänen, Kiyoshi Awazu, Kenji Itoh, Kazumasa Nagai, Jurriaan Schrofer, Josef Mrosczak, Ikko Tanaka, Hiromu Hara, Hermann Rastorfer, Herbert Spencer, Henry Wolf, Germano Facetti, Franciszek Starowieyski, Colin Forbes, Bob Noorda, Benno Wissing, Antonio Morillas i Verdura, Alan G. Fletcher, Massimo Vignelli, Hans Fabigan, George Tscherny, Karl Oskar Blase, Josep Pla-Narbona, Heinz Edelmann, Günther Kieser, Georg Schmid, Erik Nitsche, Rudolph de Harak, Walter Allner, Takashi Kono, Hans Hillmann, Herb Lubalin, Gene Federico, Saul Bass, Max Huber, Herbert W. Kapitzki, Hans Hartmann, Wim Crouwel, Shichiro Imatake, Rémy Peignot, Jean David, Henryk Tomaszewski, Celestino Piatti, Alois Carigiet, Walter Breker, Ronald Searle, Riccardo Manzi, Kurt Wirth, Julian Palka, Feliks Topolski, Edward Bawden, Anton Stankowski, Yusaku Kamekura, Will Burtin, Paul Rand, Paul Colin, O.H.W. Hadank, Mattew Leibowitz, Lou Dorfsman, Leo Lionni, Hiroshi Ohchi, Herbert Matter, George Giusti, Cipe Pineles Burtin, Charles Loupot, Bradbury Thompson, A.M. Cassandre, Alvin Lustig, Albe Steiner, Lester Beall, Joseph Binder, Herbert Bayer, Helmut Lortz, Francis Bernard, Wim Brusse, Willem JHB Sandberg, Walter Herdeg, Tom Eckersley, Stig Lindberg, Roger Excoffon, Raymond Savignac, Pierre Gauchat, Pierre Boucher, Per Beckman, Pat Keely, Olle Eksell, Milner Connorton Gray, Martin Gavler, Marcel Jacno, Josef Müller-Brockmann, Jean Carlu, Jan Lewitt, Jacques Richez, Jacques Dubois, Hermann Eidenbenz, Herbert Leupin, Heiri Steiner, Hans Schleger, Giovanni Pintori, George Him, Franco Grignani, FHK Henrion, Eric Lancaster, Erberto Carboni, Edward McKnight Kauffer, Dick Elffers, Bruno Munari, Bernard Villemot, Barnett Freedman, Ashley Havinden, Arne Ungermann, André François, Anders Beckman, Aage Sikker Hansen, Jean Picart Le Doux, Jean Colin, Jacques Nathan Garamond, Fritz Bühler, and Donald Brun.

For those of you unfamiliar with the AGI, here is how they describe themselves and their mission on their website: "The AGI [Alliance Graphique Internationale] unites the world’s leading graphics designers and artists in a professional club of common interest and achievement. It is an élite club. Its members have been collectively responsible for the identity design of most of the world's top corporations and institutions as well as for countless examples of globally known packaging, publications, illustration and posters."

"The AGI holds exhibitions of members work which are highly influential in disseminating new forms, techniques and ideas. There is a book publishing programme based on the thoughts and works of members. There are contacts with colleges and schools, government bodies and commercial institutes, all aimed at promoting graphic design and visual literacy."

"In the 1940s, commercial artists, mural makers, typographers, printmakers, art directors, illustrators and poster designers increasingly realised their common bonds, and the modern profession of graphic design began to be defined. In 1951, five graphic artists  two Swiss and three French  decided to formalise their relationship into some sort of association. Their idea was simply to share common interests and friendships across national and cultural borders. "

"It was a notion that soon attracted leading exponents of the graphic arts from elsewhere in Europe and in the USA. In 1952 the Alliance Graphique Internationale was incorporated in Paris with 65 members from 10 countries. The first AGI exhibition was held in Paris in 1955 and in 1969 the headquarters moved from Paris to Zurich. Student seminars were introduced in 1979 and the first Young Professional AGI Congress was held in London in 1994."

"Membership of the AGI requires reputation and achievement of the highest order and commitment to the processes of visual learning and perception, unfettered by cultural differences. The AGI remains dedicated to the universal aspect of graphic design as a means of communication and information, and its ideals remain relevant to the new world of visual literacy which its members have helped to bring about. "

Rudolph de Harak [Editor]

New York: Rizzoli, 1986. First edition. Quarto. Embossed black cloth titled in silver. Printed dust jacket. 200 pp. 168 full-page, four-color poster reproductions. Short biographies of 167 contributing AGI members. Multiple paper stocks. Designed by the editor. Interior unmarked and very clean. Out-of -print. Bright dust jacket with minor wear to upper and lower edges. A fine copy in a nearly fine dust jacket.

8.75 x 12.25 hardcover book with 200 pages and 168 full-page, four-color poster reproductions from AGI designers. It is hardly surprising that this is a beautifully designed and printed book. Highly recommended.

”The graphic designer's work centers on visual communication, a process of problem solving that embraces aesthetics. Among the many forms this takes are books, record covers, brochures, postage stamps, billboards, corporate identity programs, and posters. But of all these, there is no richer or more exciting medium than the poster to express the creative personality of the designer.”

This volume consists of profiles of 167 AGI members with full-page, four-color poster reproductions. Here is a partial list of designers represented: AUSTRIA: Georg Schmidt; BELGIUM: Jacques Richez; FRANCE: Jacques Dubois, Marcel Jacno; GERMANY: Anton Stankowski, Karl Oskar Blase, Heinz Edelmann, Hermann Eidenbenz, Hans Hillmann; ENGLAND: Alan Fletcher, Milner Gray, Tom Eckersley, F. H. K. Henrion, Herbert Spencer; ISRAEL: Jean David; ITALY: Bruno Monguzzi, Franco Grignani; JAPAN: Yusaku Kamekura, Shigeo Fukuda; HOLLAND: Wim Crouwel; SPAIN: J. Pia-Narbona; SWEDEN: Olle Eksell; SWITZERLAND: Armin Hofmann, Donald Brun, Josef Muller-Brockmann, Celestino Piatti, Kurt Wirth; UNITED STATES: Walter Allner, Saul Bass, Herbert Bayer, Rudolph de Harak, R. O. Blechman, Lou Dorfsman, Ivan Chermayeff, Seymour Chwast, Colin Forbes, Lou Danziger, Paul Davis, Gene Federico, Milton Glaser, Paul Rand, Deborah Sussman, Bradbury Thompson and George Tscherney, Massimo Vignelli, and many others.

For those of you unfamiliar with the AGI, here is how they describe themselves and their mission on their website: "The AGI unites the world’s leading graphics designers and artists in a professional club of common interest and achievement. It is an élite club. Its members have been collectively responsible for the identity design of most of the world's top corporations and institutions as well as for countless examples of globally known packaging, publications, illustration and posters."

"The AGI holds exhibitions of members work which are highly influential in disseminating new forms, techniques and ideas. There is a book publishing programme based on the thoughts and works of members. There are contacts with colleges and schools, government bodies and commercial institutes, all aimed at promoting graphic design and visual literacy."

"In the 1940s, commercial artists, mural makers, typographers, printmakers, art directors, illustrators and poster designers increasingly realised their common bonds, and the modern profession of graphic design began to be defined. In 1951, five graphic artists – two Swiss and three French – decided to formalise their relationship into some sort of association. Their idea was simply to share common interests and friendships across national and cultural borders. "

"It was a notion that soon attracted leading exponents of the graphic arts from elsewhere in Europe and in the USA. In 1952 the Alliance Graphique Internationale was incorporated in Paris with 65 members from 10 countries. The first AGI exhibition was held in Paris in 1955 and in 1969 the headquarters moved from Paris to Zurich. Student seminars were introduced in 1979 and the first Young Professional AGI Congress was held in London in 1994."

"Membership of the AGI requires reputation and achievement of the highest order and commitment to the processes of visual learning and perception, unfettered by cultural differences. The AGI remains dedicated to the universal aspect of graphic design as a means of communication and information, and its ideals remain relevant to the new world of visual literacy which its members have helped to bring about. "

Rudolph de Harak (1924 – 2002) once said about his design method, ''I was always looking for the hidden order, trying to somehow either develop new forms or manipulate existing form.'' The nearly 350 covers he designed throughout the 60's for McGraw-Hill paperbacks, with subjects like philosophy, anthropology, psychology and sociology, offered him a place to test the limits of conceptual art and photography. He used the opportunity to experiment with a variety of approaches inspired by Dada, Abstract Expressionism and Op-Art. His McGraw-Hill paperbacks, especially, had a strong influence on contemporary graphic design.

Not content to work in one medium or genre, Mr. de Harak created exhibitions, including a celebration of American sports for the 1970 Osaka World's Fair. He designed shopping bags for the Met and delivery-truck graphics for The New York Times. He had commissions from the Atomic Energy Commission, the National Park Service, the National Endowment for the Arts and the United States Postal Service.

His spirit of restlessness carried over to his own firm. ''He would build up an office and fire them all, and then he'd start up again,'' the designer Thomas Geismar of Chermayeff & Geismar recalled.

Mr. de Harak taught graphic and exhibition design at Cooper Union for 25 years and was a visiting professor at Yale, Alfred University, Parsons School of Design and Pratt Institute. In 1993 he received a medal for lifetime achievement from the American Institute of Graphic Artists.

“Superficial and stylish graphic designers tend to reduce their syntax to a temporary gospel and spread it everywhere on everything. Good design solutions, however, are probably timeless.” — Bruno Monguzzi

Alliance Graphique Internationale

[Alliance Graphique Internationale]: OMAGGIO ALL’OLANDA [Homage to the Netherlands]. Milan: Arti Grafiche Nidasio, [1986]. First edition [published in an edition of 150 copies]. Quarto. Printed portfolio housing 13 pieces in a variety of sizes and techniques. Elaborate graphic design, production techniques, and materials throughout. Folder lightly handled, but a nearly fine, fresh example.

8.25 x 9.5 commemorative portfolio issued for the 1986 AGI Amsterdam Congress and finely produced under the umbrella of Milan’s Arti Grafiche Nidasio. Each designer contributed an original design referencing Dutch history, and all of the work was produced in Italy via offset lithography, serigraphic printing and other methods on a wide variety of papers, including rag artists paper, vellum, glossy sheets and more. A very elaborate and fun production that must be seen and handled to truly be appreciated.

• Armando Milani: folded vellum sheet printed in 5 colors
• Heinz Waibl: folded die cut heavy matte sheet printed in 2 colors
• Roberto Sambonet: Omaggio a Piet Mondrian, folded vellum sheet printed in 5 colors
• Walter Ballmer: Omaggio all’olanda per Jacobus J. Oud, Vincent van Gogh, i tulipani, Piet Mondrian, Theo van Doesburg ill formaggio di Gouda, Willem de Kooning, Jan e Hubert Van Eyck i mulini a vento, Gerit Th. Rietveld, Hieronymous Bosch, eccetera; four color serigraph
• Italo Lupi: Omaggio all’olanda, folded sheet making a 4-page booklet
• Bob Noorda: glossy single fold 4-page brochure
• Giulio Cittato: Nuova Stampa: single fold 4-page brochure
• Pierluigi Cerri: folded sheet making a 4-page booklet
• Mimmo Castellano: 4 panel folded poster printed in 2 colors
• Egidio Bonfante: glossy single fold 4-page brochure
• Franco Bassi: 4 panel folded poster printed in full color
• Franco Grignani: glossy single fold 4-page brochure
• Unknown: dry point etching [?] or lithograph [?]  printed in 2 colors and signed/numbered in pencil

For those of you unfamiliar with the AGI, here is how they describe themselves and their mission on their website: "The AGI unites the world?s leading graphics designers and artists in a professional club of common interest and achievement. It is an élite club. Its members have been collectively responsible for the identity design of most of the world's top corporations and institutions as well as for countless examples of globally known packaging, publications, illustration and posters."

"The AGI holds exhibitions of members work which are highly influential in disseminating new forms, techniques and ideas. There is a book publishing programme based on the thoughts and works of members. There are contacts with colleges and schools, government bodies and commercial institutes, all aimed at promoting graphic design and visual literacy."

"In the 1940s, commercial artists, mural makers, typographers, printmakers, art directors, illustrators and poster designers increasingly realised their common bonds, and the modern profession of graphic design began to be defined. In 1951, five graphic artists  two Swiss and three French  decided to formalise their relationship into some sort of association. Their idea was simply to share common interests and friendships across national and cultural borders. "

"It was a notion that soon attracted leading exponents of the graphic arts from elsewhere in Europe and in the USA. In 1952 the Alliance Graphique Internationale was incorporated in Paris with 65 members from 10 countries. The first AGI exhibition was held in Paris in 1955 and in 1969 the headquarters moved from Paris to Zurich. Student seminars were introduced in 1979 and the first Young Professional AGI Congress was held in London in 1994."

"Membership of the AGI requires reputation and achievement of the highest order and commitment to the processes of visual learning and perception, unfettered by cultural differences. The AGI remains dedicated to the universal aspect of graphic design as a means of communication and information, and its ideals remain relevant to the new world of visual literacy which its members have helped to bring about. "

[AN EXHIBITION OF COVERS AND 30 COMPLETE BOOKS]

American Institute of Graphic Arts; William Fine, Harry Ford and George Nelson [Jurors]

William Fine, Harry Ford and George Nelson [Jurors]: 1964 PAPERBACKS U.S.A. [AN EXHIBITION OF COVERS AND 30 COMPLETE BOOKS]. New York: American Institute of Graphic Arts, 1965. First edition. Quarto. Thick photo illustrated wrappers. Unpaginated 131 black and white  papaerback covers. Wrappers lightly worn with a scratch on the front panel and a diagonal crease on teh back panel. Interior unmarked and very clean. Out-of-print. A very good or better copy.

6 x 9 perfect-bound softcover book with  131 black and white  papaerback  cover reproductions with full design and production credits. A very useful reference volume, well-designed and produced as to be expected by the AIGA. An exhibition catalogue with details and black and white  papaerback  illustrations of 131 paperback book covers.

Cover designers include Marshall Arisman, Paul Bacon, Leonard Baskin, Aaron Burns, Chermayeff And Geismar, Seymour Chwast, Paul Davis, Rudolph de Harak, Quentin Fiore, Robert Frank, George Giusti, Milton Glaser, Philippe Halsman,  Joseph Low, Elaine Lustig, Paul Rand, Ellen Raskin, Tomi Ungerer, Henry Wolf, and many others.

The American Institute of Graphic Arts [AIGA] advances design as a professional craft, strategic advantage and vital cultural force. As the largest community of design advocates, we bring together practitioners, enthusiasts and patrons to amplify the voice of design and create the vision for a collective future. We define global standards and ethical practices, guide design education, inspire designers and the public, enhance professional development, and make powerful tools and resources accessible to all.

Noel Martin [Designer], American Institute of Graphic Arts

Noel Martin [Designer]: GRAPHIC DESIGN OF NOEL MARTIN [poster title]. New York: American Institute of Graphic Arts, 1958. Original Impression. Poster.  19 x 25” (48 x 63 cm) trim size image printed via offset lithography in three colors on recto only. Pinholes to corners and lightly handled, but a very good example.

Vintage AIGA solo show poster designed by Noel Martin for an exhibition that ran from from April 22 – May 16, 1958.

Noel Martin (American, 1922 – 2009) was a renown self-taught typographer and designer who studied drawing, painting, and printmaking at the Art Academy of Cincinnati. He later became an instructor there and was the long-time designer for the Cincinnati Art Museum, as well as a prolific free-lance designer. Martin was celebrated for modernizing museum graphics and industrial trade catalogs. In 1953, he was featured in MoMA's landmark design exhibition, Four American Designers, along with Herbert Bayer, Leo Lionni, and Ben Shahn. His spiral-bound self-promotional piece, Identity Programs, presents some of his iconic minimalist logos.

From Steven Heller's New York Times Obituary [February 27, 2009]: " With the ubiquitous branding and expert merchandizing of museums today, it is easy to forget that graphic design was once a low priority for them. In 1947, when Mr. Martin became the Cincinnati Art Museum's first graphic designer, most museum publications were staid and musty.

"Mr. Martin maintained that contemporary typographic design, as practiced by the European Modernists, would enhance these documents and make art, particularly abstract art, more accessible and more appealing to younger museumgoers. He introduced a distinct blend of classical and modern typography to the museum's exhibition catalogs.

"Allon Schoener, a freelance museum curator and friend, said that Mr. Martin, first at the Cincinnati Art Museum and later at the Cincinnati Contemporary Arts Center, "created a style which has been emulated by most other American museums during the last 40 years."

Noel Martin was born on April 19, 1922, in Syracuse, Ohio. When he was a child, his family moved to Cincinnati, where he spent the remainder of his life. He studied painting, drawing and print- making at the Art Academy of Cincinnati in 1939-1941 and 1945-1947, between which he married his wife, Coletta, and served in the military. During World War II he served in a camouflage unit in the Army Air Force, where he made catalogs and brochures. While making educational film strips for the Army in New York he was exposed to modern art for the first time, which later influenced his work. He trained himself in the art of typography and graphic design. He became a designer for the Cincinnati Art Museum in 1947 and in 1949 began offering his services as a free-lance designer and art director to a variety of firms.

In 1951 he began teaching design and commercial art at the Art Academy of Cincinnati and worked there until 1957. In 1953 he was one of four designers featured in the Four American Designers exhibit at the Museum of Modern Art in New York, by which time he'd already become nationally known. He received the Art Director's Medal in Philadelphia in 1957.

In 1958 he redesigned The New Republic from cover to cover. Martin (1959) said, "Good typography for magazines is generally typography which is free of animation and the necessary tricks of advertising, and is functional1." He used typeface Palatino and uncluttered the cover, making sure to leave white space throughout the publication. In 1959, he wrote several articles on the relationship between modern art and graphic design.

He continued designing for the Cincinnati Art Museum throughout his life. He designed numerous booklets, books, calendars, catalogs, corporate logos, flyers, magazines, newsletters, stationary and posters throughout the following decades. Some of the firms and institutions he designed for on a free-lance basis include Champion Paper Company, Cincinnati Symphony Orchestra, Federated Department Stores, General Electric, LeBlond Ltd., Standard Oil Company, The United Fine Arts Fund, University of Cincinnati, and Xomox Corporation. He also designed corporate logos for institutions, such as Advance Mortgage Corporation, the Contemporary Arts Center, and Black Clawson, most of which were minimalist in nature.

He was featured in various editions of Who's Who in America, Who's Who in Graphic Art and Who's Who in Advertising. He was featured in numerous exhibits locally, nationally, and internationally. He wrote several articles and gave numerous lectures throughout his career. He dies of leukemia on February 23, 2009.

The American Institute of Graphic Arts (AIGA) is a professional organization for design. Its members practice all forms of communication design, including graphic design, typography, interaction design, branding and identity. The organization's aim is to be the standard bearer for professional ethics and practices for the design profession. There are currently over 22,000 members and 73 chapters, and more than 200 student groups around the United States.

In 1911, Frederic Goudy, Alfred Stieglitz, and W. A. Dwiggins came together to discuss the creation of an organization that was committed to individuals passionate about communication design. In 1913, president of the National Arts Club, John G. Agar, announced the formation of The American Institute of Graphic Arts during the eighth annual exhibition of “The Books of the Year.” The National Arts Club was instrumental in the formation of AIGA in that they helped to form the committee to plan to organize the organization. The committee formed included Charles DeKay and William B. Howland and officially formed the American Institute of Graphic Arts in 1914. Howland, publisher and editor of The Outlook, was elected president. The goal of the group was to promote excellence in the graphic design profession through its network of local chapters throughout the country.

In 1920, AIGA began awarding medals to "individuals who have set standards of excellence over a lifetime of work or have made individual contributions to innovation within the practice of design." Winners have been recognized for design, teaching, writing or leadership of the profession and may honor individuals posthumously.

In 1982, the New York Chapter was formed and the organization began creating local chapters to decentralize leadership.

The American Institute of Graphic Arts

The American Institute of Graphic Arts: PRINTING FOR COMMERCE 1952.  New York: The American Institute of Graphic Arts, 1952. First edition. Quarto. Gravure printed stapled thick wrappers. [64 pp.] 179 black and white reproductions. Foxing throughout and a trace of edgewear, otherwise a  very good softcover exhibition catalog with a  gravure photogram cover-- very cool indeed.

8 x 10.25 saddle-stitched exhibition catalogue with 64 pages and 179 black and white reproductions of graphic design work from 1951 in these categories: booklets, pamphlets, brochures, catalogues, annual reports, house organs, sales materials, announcements, invitations, speeches, letterheads, calendars, educational and Christmas materials.

The cover is a photogram-based composition printed in sheet-fed gravure by the Beck Engraving Company, designed by Charles Lofgren.

Includes work by Saul Bass, Lester Beall, Will Burtin, Louis Dorfsman, William Golden, Morton Goldsholl, Allen Hurlburt, George Krikorian, Leo Lionni, Joseph Low, Herbert Matter, Robert Nickle, Arnold Roston, Alex Steinweiss, Ladislav Sutnar, Bradbury Thompson, George Tscherney, Kurt Volk, Hal Zamboni and many others.

David Gebhard, Harriette Von Bretton, Lauren Weiss

David Gebhard, Hariete Von Bretton, Laura Weiss: THE ARCHITECTURE OF GREGORY AIN [The Play between the Rational and High Art]. Santa Barbara: University of California Santa Barbara Art Museum, 1980. First edition [600 copies]. Slim square quarto. Printed textured paper wrappers. 96 pp. 87 black and white images. Trivial wear overall, but a neaarly fine copy. Uncommon.

8 x 8 perfect-bound exhibition catalogue with 96 pages illustrated with 87 black and white images of Ain's architecture, interiors, site plans and more. Catalog for the University of California, Santa Barbara Art Museum. Catalog designed by David Gebhard. Primary photography by Julius Shulman.

Includes documentation of the Edwards House, Los Angeles [1936], Ernst House, Los Angeles [1937], Dunsmuir Flats, Los Angeles [1937–39], Brownfield Medical Building, Los Angeles [1938], Beckman House, Los Angeles [1938], Daniel House, Silver Lake [1939], Margaret and Harry Hay House, North Hollywood [1939], Tierman House, Silver Lake [1939], Vorkapich Garden House, for Slavko Vorkapich, Beverly Hills [1939], Ain House, Hollywood [1941], Orans House, Silver Lake [1941], Jocelyn and Jan Domela House, Tarzana [1942], Park Planned Homes, Altadena [1947], Mar Vista Housing, Mar Vista [1947 – 48], Avenel Homes (cooperative), Silver Lake [1948], Hollywood Guilds and Unions Office Building, Los Angeles [1948], MOMA Exhibition House,New York City [1950], Ben Margolis House, Los Angeles [1950], Mesner House, Sherman Oaks [1951], Richard "Dick" Tufeld House, Los Angeles [1952], Kaye House, Tarzana [1963], Ginoza House, State College, Pennsylvania [1967], and others.

"An architect's work is a step to enhance the quality of living." — Gregory Ain

Gregory Ain, FAIA, (1908 – 1988) was born in Pittsburgh, Pennsylvania in 1908, but it was in Los Angeles that he studied architecture at the University of Southern California from 1927 – 28. His impulse to study architecture came from an acquaintance as a youth with R.M. Schindler's Kings Road house, and his dissatisfaction with his Beaux Arts training determined him to work in the office of Richard Neutra. Combined in all his early work, which is his finest, are Neutra's repetitive windows and monoplanar surfaces and Schindler's broken planes and accommodation of shell to plan.

Ain's interest in group housing for middle- and low-income families began in his 1937 Dunsmuir Flats, his most frequently published work. The best known view is of four staggered two-story whicte blocks, the ceiling levels defined by continuous ribbon windows; not seen are the private porches and patios. The panel-post construction was an early effort to reduce cost, followed in 1939 by prefabricated plywood walls for a model house.

In 1940 Ain received a Guggenheim Fellowship to continue his researches in low-cost housing, and throughout the 1940's he designed, with the participation of clients, a number of projects for attached and detached housing that were notable for site planning and innovative floor plans. Few were built because lending agencies opposed multiple ownership. One of the several schemes to be built was the 1948 Avenel housing for a musicians' union whose members worked in films. The twenty attached units were broken into two blocks for a shillside site, alnd private patios off the living rooms face the view.

For his more elaborate houses he borrowed freely from the flexible plan of his low-cost housing, and in most cases the alcove sleeping room became a library or guest room. Ain also adapted many contractors' practices for large or small houses to save construction time and reduce cost. Aside from Irving Gill, Gregory Ain was the first architect in California to refine and dignify the low-cost house.

David S. Gebhard (1927 – 1996) was a leading architectural historian, particularly known for his books on the architecture and architects of California. He was a long-time faculty member at the University of California, Santa Barbara, and was dedicated to the preservation of Santa Barbara architecture.

Gebhard was born and raised in Minnesota; he received his Ph.D. at the University of Minnesota in 1958. He served, for six years, as director of the Roswell Museum and Art Center in New Mexico, before moving to UC Santa Barbara in 1961. As a teacher he inspired many students at both the undergraduate and graduate levels. In addition to his long teaching career, he served as director of the University Art Museum for twenty years, building a small gallery into a significant accredited university museum. In this position, he initiated the Architectural Drawings Collection, now one of the leading West Coast repositories for architectural materials. With Robert Winter he co-authored guides to architecture in northern and southern California.

Gebhard was also active in service to his community, serving for many years on the Santa Barbara County Architectural Board of Review. He was active in the Society of Architectural Historians, and served a term as its president in the 1980s.

The David Gebhard Memorial Lecture Series is an annual event sponsored by Pasadena Heritage, an architectural preservation organization in Pasadena, California. [Wikipedia]

Gregory Ain, Architect, Joseph Johnson and Alfred Day, Collaborating

Gregory Ain: THE MUSEUM OF MODERN ART — WOMAN’S HOME COMPANION EXHIBITION HOUSE. New York: Museum of Modern Art, May 1950. First edition. Printed stapled wrappers. 20 pp. 13 black and white illustrations. Four-page Price List for Furnishings laid in. Wrappers lightly rubbed and spotted. Fore edge starting to curl. A very good or better copy.

7.5 x 10 softcover book with 20 pages devoted to the demonstration house designed and built by Gregory Ain in the Garden at the Museum of Modern Art and open for inspection from May 19  – October 29, 1950. Primary photography by Ezra Stoller.

 An architect's work is a step to enhance the quality of living. — Gregory Ain

Gregory Ain, FAIA, (1908 – 1988) was born in Pittsburgh, Pennsylvania in 1908, but it was in Los Angeles that he studied architecture at the University of Southern California from 1927 – 28. His impulse to study architecture came from an acquaintance as a youth with R.M. Schindler's Kings Road house, and his dissatisfaction with his Beaux Arts training determined him to work in the office of Richard Neutra. Combined in all his early work, which is his finest, are Neutra's repetitive windows and monoplanar surfaces and Schindler's broken planes and accommodation of shell to plan.

Ain's interest in group housing for middle- and low-income families began in his 1937 Dunsmuir Flats, his most frequently published work. The best known view is of four staggered two-story whicte blocks, the ceiling levels defined by continuous ribbon windows; not seen are the private porches and patios. The panel-post construction was an early effort to reduce cost, followed in 1939 by prefabricated plywood walls for a model house.

In 1940 Ain received a Guggenheim Fellowship to continue his researches in low-cost housing, and throughout the 1940's he designed, with the participation of clients, a number of projects for attached and detached housing that were notable for site planning and innovative floor plans. Few were built because lending agencies opposed multiple ownership. One of the several schemes to be built was the 1948 Avenel housing for a musicians' union whose members worked in films. The twenty attached units were broken into two blocks for a shillside site, alnd private patios off the living rooms face the view.

For his more elaborate houses he borrowed freely from the flexible plan of his low-cost housing, and in most cases the alcove sleeping room became a library or guest room. Ain also adapted many contractors' practices for large or small houses to save construction time and reduce cost. Aside from Irving Gill, Gregory Ain was the first architect in California to refine and dignify the low-cost house.

Gregory Ain, Architect
Joseph Johnson and Alfred Day, Collaborating

[Gregory Ain] Museum of Modern Art: THE MUSEUM OF MODERN ART — WOMAN’S HOME COMPANION EXHIBITION HOUSE. New York: Museum of Modern Art, 1950. First edition. Printed stapled self wrappers. 20 pp. Ten photographs and 2 black and white illustrations. Four page Furnishings Price List laid in. Contents uniformly vertically creased. Wrappers lightly soiled and contents handled, but a very good copy.

Also included a defective copy of [Marcel Breuer] Museum of Modern Art: THE MUSEUM OF MODERN ART BULLETIN. New York: Museum of Modern Art, 1949. First edition [MoMA Bulletin, Volume XVI, No. 1]. Printed stapled wrappers. 12 pp. Center four page spread missing. 7.25 x 9.25 MoMA Bulletin devoted to the demonstration house designed and built by Marcel Breuer in the Garden at the Museum of Modern Art in the Spring of 1949.

7.25 x 9.25-inch stapled softcover book with 20 pages devoted to The Museum of Modern Art—Woman's Home Companion Exhibition House, 14 West 54 Street, New York, from May 17 – October 29, 1950. In 1950, a glass-walled house spent a few months in Manhattan. Skyscrapers loomed over its flat roof while it was on exhibit in the Museum of Modern Art’s garden. The installation, designed by the architect Gregory Ain and co-sponsored with Woman’s Home Companion magazine, was meant to inspire creativity on a budget for residential subdivisions. According to the museum’s brochure, a system of movable walls “conveys an illusion of spaciousness” in the two-bedroom building. Its flexibility and expansive windows offered “a view — to the future.”

In 1948, the Museum of Modern Art initiated a series of model post-war houses by well-known architects exhibited in the museum's garden. Marcel Breuer's house was the inaugural design and was open to the public between April 14 and October 30, 1949. Gregory Ain followed Breuer with his sophisticated speculation house in 1950. The program was this discontinued and the fate of the Ain Exhibition House was a mystery that remained unsolved until 2021. But that is another story.

The Museum issued this press release on May 19, 1950 titled “EXHIBITION HOUSE WITH SLIDING WALLS OPENS MAY 19 IN MUSEUM GARDEN”

A 3-bedroom exhibition house designed by Gregory Ain will open to the public in the Museum Garden, 14 West 54 Street, on May 19. The house was built by the Museum of Modern Art in co-operation with the Woman's Home Companion to demonstrate that good modern architectural design is possible in the speculatively built house, which is the kind lived In by most American families.

The outstanding characteristic of this one-story house is the sliding walls and panels which make It possible to use rooms for different purposes. The living room, dining area, parents’ bedroom and kitchen can be opened up to form one living area. Similarly the children’s rooms can be used as one large bedroom-playroom or as two separate rooms. This flexibility eliminates the small box-like rooms usually seen in small homes.

The house was planned as one of several similar houses in a subdivision of lots approximately 60' by 120’. The two-level roof and irregular setback on the street facade avoid the flat monotony characteristic of so many real estate developments. Rooms are planned so that no major windows face neighboring houses.

The exterior of the house is finished with striated Douglas Fir Plywood. On the street side a trellis continues the horizontal line of the garage roof and the main roof and also ties the two wings of the house together. On the garden side a glass wall shaded by a deep roof overhang makes the terrace continuous with the living room.

THE LIVIKG ROOM is unusually spacious for a medium-sized house. The sliding panels and walls make it possible to open up this area into a large living room extending the entire depth of the house and with a glass wall 32* long en the terrace side of the house. The center of interest Is the end wall formed by the chimney which is faced with ottoman brick laid in block bond. The raised soapstone hearth can be used as a coffee table. The neutral shades of the plywood paneling, gray floor tiles used throughout the entire house, and the various grays of painted surfaces form a backdrop for the bright color accents of paintings, fabrics, books and accessories.

THE DINING AREA is separated from the living room by a 4.5’ high storage cabinet. Sliding panels above the unit make it possible to close off this area. The glass-topped dining table and chairs with thin metal legs contribute to the feeling of spaciousness.

THE KITCHEN, which is L-shaped, contains standard equipment as well as laundry appliances. Large corner windows overlook the garden, A door opens directly into the garage.

The PARENTS' BEDROOM is separated from the living room by a sliding wall and also has a separate door to the terrace. The adjacent dressing room has two large closets and a dressing table with soft lighting around the mirror of a type used in theatrical dressing rooms.

The CHILDREN'S ROOMS which can be used as one large room or two separate rooms are paneled in oak plywood. Bamboo shades are used at the windows. The rooms are warmly lit by florescent strips over the windows and above the beds. In addition there are two ceiling lamps on pulleys. The floor cabinets in the play areas have a large variety of storage shelves for toys and clothing.

STORAGE SPACE, in addition to the closets in each bedroom and in the kitchen, is provided by closets in the short hall connecting the baths and in the long hall connecting the children’s rooms with the front entrance. There is also a large closet at the front door. Other storage space is provided in the garage.

CONSTRUCTION is conventional wood, frame. The house is built on a concrete floor slab designed for radiant heating coils. Exterior siding, sheathing and all interior wall surfaces are of plywood. Gypsum board panels have been used for the ceilings, plastic tiles for the floors. Most of the glass is fixed, but each room also has an operating sash for ventilation.

ARCHITECT Gregory Ain of Los Angeles designed the house in collaboration with Joseph Johnson and Alfred Day. He is one of the few modern architects with experience in building moderate priced housing developments. In 1940 he obtained a Guggenheim Fellowship for low-cost housing research, and his buildings have received numerous awards In nationwide competitions.

COST estimates vary for different parts of the country and according to choice of finishes, etc. As one house in a development, estimates range from $15,500 to $19,500, The house has l,420 square feet excluding the garage.

"An architect's work is a step to enhance the quality of living." — Gregory Ain

Gregory Ain, FAIA, (1908 – 1988) was born in Pittsburgh, Pennsylvania in 1908, but it was in Los Angeles that he studied architecture at the University of Southern California from 1927 – 28. His impulse to study architecture came from an acquaintance as a youth with R.M. Schindler's Kings Road house, and his dissatisfaction with his Beaux Arts training determined him to work in the office of Richard Neutra. Combined in all his early work, which is his finest, are Neutra's repetitive windows and monoplanar surfaces and Schindler's broken planes and accommodation of shell to plan.

Ain's interest in group housing for middle- and low-income families began in his 1937 Dunsmuir Flats, his most frequently published work. The best known view is of four staggered two-story whicte blocks, the ceiling levels defined by continuous ribbon windows; not seen are the private porches and patios. The panel-post construction was an early effort to reduce cost, followed in 1939 by prefabricated plywood walls for a model house.

In 1940 Ain received a Guggenheim Fellowship to continue his researches in low-cost housing, and throughout the 1940's he designed, with the participation of clients, a number of projects for attached and detached housing that were notable for site planning and innovative floor plans. Few were built because lending agencies opposed multiple ownership. One of the several schemes to be built was the 1948 Avenel housing for a musicians' union whose members worked in films. The twenty attached units were broken into two blocks for a shillside site, alnd private patios off the living rooms face the view.

For his more elaborate houses he borrowed freely from the flexible plan of his low-cost housing, and in most cases the alcove sleeping room became a library or guest room. Ain also adapted many contractors' practices for large or small houses to save construction time and reduce cost. Aside from Irving Gill, Gregory Ain was the first architect in California to refine and dignify the low-cost house.

Anni Albers

Anni Albers: ANNI ALBERS: PICTORIAL WEAVING. Cambridge, MA: The New Gallery, Charles Hayden Memorial Library, Massachusetts Institute of Technology, 1959. First edition. Slim quarto. Printed stapled wrappers. 24 pp. 10 black-and-white plates. Exhibition invitation laid in. Catalog design by Norman Ives. A fine copy. Rare.

7.25 x 9.5 staple-bound book with 24 pages and 10 black-and-white plates. Published in conjunction with an exhibition of the same name: The New Gallery, Charles Hayden Memorial Library, MIT, Cambridge, MA [May 11–June 21, 1959]. The exhibition then traveled to the Carnegie Institute of Technology, Pittsburgh; Baltimore Museum of Art; Yale University Art Gallery, New Haven, Connecticut, 10 December 1959–10 January 1960; and Contemporary Arts Museum, Houston. Anni Albers would not have another solo exhibition until 1969.

Excerpted from the website for David Zwirner Gallery: Anni Albers (née Annelise Fleischmann; 1899-1994) was a textile artist, designer, printmaker, and educator known for her pioneering graphic wall hangings, weavings, and designs. She was born in Berlin, and studied painting under the tutelage of German Impressionist Martin Brandenburg from 1916 to 1919. After attending the Kunstgewerbeschule in Hamburg for two months in 1920, she enrolled at the Bauhaus in 1922. She was assigned to the Weaving Workshop, and she came to approach the discipline with relentless experimentation, regularly incorporating nontraditional materials into her compositions. Upon completing her course of study there in 1929, Anni Albers joined the Bauhaus faculty.

In 1933, Anni and her husband Josef emigrated to North Carolina, where they founded the art department at Black Mountain College. At Black Mountain College, she elaborated on the technical innovations she devised at the Bauhaus, developing a specialized curriculum that integrated weaving and industrial design. It was during this time that she began to avidly collect Pre-Columbian art, in particular textiles. In 1949, she became the first designer to have a one-person show at The Museum of Modern Art, New York; the exhibition Anni Albers: Textiles subsequently traveled to 26 venues throughout the United States and Canada. Following the Alberses' move to New Haven in 1950, Anni Albers shifted her focus primarily to her workshop, spending the 1950s creating mass-reproducible fabrics (including a commission from Walter Gropius for Harvard University), writing, and developing her "pictorial weavings," culminating in the exhibition Anni Albers: Pictorial Weavings at the MIT New Gallery, Cambridge, Massachusetts, in 1959 (traveled to Carnegie Institute of Technology, Pittsburgh; Baltimore Museum of Art; Yale University Art Gallery, New Haven; and Contemporary Arts Museum, Houston).

Life today is very bewildering. We have no picture of it which is all-inclusive, such as former times may have had. We have to make a choice between concepts of great diversity. And as a common ground is wanting, we are baffled by them. We must find our way back to simplicity of conception in order lo find ourselves. For only by simplicity can we experience meaning, and only by experiencing meaning can we become qualified for independent comprehension.

In all learning today dependence on authority plays a large part, because of the tremendous field of knowledge to be covered in a short time. This often leaves the student oscillating between admiration and uncertainty; with the well-known result that a feeling of inferiority is today common both in individuals and in whole nations.

Independence presumes a spirit of adventurousness — a faith in one's own strength. It is this which should be promoted. Work in a field where authority has not made itself felt may help toward this goal. For we are overgrown with information, decorative maybe, but useless in any constructive sense. We have developed our receptivity and have neglected our own formative impulse. It is no accident that nervous breakdowns occur more often in our civilization than in those where creative power had a natural outlet in daily activities. And this fact leads to a suggestion: we must come down to earth from the clouds where we live in vagueness and experience the most real thing there is: material.

Civilization seems in general to estrange men from materials, from materials in their original form. The process of shaping these is so divided into separate steps that one person is rarely involved in the whole course of manufacture, often knowing only the finished, product. But if we want to get from materials the sense of directness, the adventure of being close to the stuff the world is made of, we have to go back to the material itself, to its original state, and from there on partake in its stages of change.

We use materials to satisfy our substantial needs and our spiritual ones as well. We have useful things and beautiful things — equipment and works of art. In earlier civilizations there was no clear separation of this sort. The useful thing could be made beautiful in the hands of the artisan, who was also the manufacturer. His creative impulse was not thwarted by drudgery in one section of a long and complicated mechanical process. He was also a creator. Machines reduce the boredom of repetition. On the other hand they permit play of the imagination only in the planning of the product.

Material, that is to say unformed or unshaped matter, is the field where authority blocks independent experimentation less than in many other fields, and for this reason it seems well fitted to become the training ground for invention and free speculation. It is here that even the shyest beginner can catch a glimpse of the exhilaration of creating, by being a creator while at the same time he is checked by irrevocable laws set by the nature of the material, not by man. Free experimentation here can result in the fulfillment of an inner urge to give form and to give permanence to ideas, that is to say, it can result in art, or it can result in the satisfaction of invention in some more technical way.

But most important to one's own growth is to see oneself leave the safe ground of accepted conventions and to find oneself alone and self-dependent. It is an adventure which can permeate one's whole being. Self-confidence can grow. And a longing for excitement can be satisfied without external means, within oneself; for creating is the most intense excitement one can come to know.

All art work, such as music, architecture, and even religion and the laws of science, can be understood as the transformed wish for stability and order. But art work understood as work with a substance which can be grasped and formed is more suited for the development of the taste for exploration than work in other fields, for the fact of the inherent laws of materials is of importance. They introduce boundaries for a task of free imagination. This very freedom can be so bewildering to the searching person that it may lead to resignation if he is faced with the immense welter of possibilities; but within set limits the imagination can find something to hold to. There still remains a fullness of choice but one not as overwhelming as that offered by unlimited opportunities. These boundaries may be conceived as the skeleton of a structure. To the beginner a material with very definite limitations can for this reason he most helpful in the process of building up independent work.

The crafts, understood as conventions of treating material, introduce another factor: traditions of operation which embody set laws. This may be helpful in one direction, as a frame for work. But these rules may also evoke a challenge. They are revokable, for they are set by man. They may provoke us to test ourselves against them. But always they provide a discipline which balances the hubris of creative ecstasy.

All crafts are suited to this end, but some better than others. The more possibilities for attack the material offers in its appearance and in its constructional elements, the more it can call out imagination and productiveness. Weaving is an example of a craft which ismany-sided. Besides surface qualities, such as rough and smooth, dull and shiny, hard and soft, it also includes color, and, as the dominating element, texture, which is the result of the construction of weaves. Like any craft it may end in producing useful objects, or it may rise to the level of art.

When teaching the crafts, in addition to the work of free exploring, both the useful and the artistic have to be considered. As we have said before, today only the first step in the process of producing things of need is left to free planning. No variation is possible when production is once taken up, assuming that today mass production must necessarily include machine work. This means that the teaching has to lead toward planning for industrial repetition, with emphasis on making models for industry. It also must attempt to evoke a consciousness of developments, and further perhaps a foreseeing of them. Hence the result of craft work, work done in direct contact with the material, can come here to have a meaning to a far wider range of people than would be the case if they remained restricted to hand work only. And from the industrial standpoint, machine production will get a fresh impetus from taking up the results of intimate work with material.

The other aspect of craft work is concerned with art work, the realization of a hope for a lawful and enduring nature. Other elements, such as proportion, space relations, rhythm, predominate in these experiments, as they do in the other arts. No limitations other than the fiat of the material itself are set. More than an active process, it is a listening for the dictation of the material and a taking in of the laws of harmony. It is for this reason that we can find certitude in the belief that we are taking part in an eternal order. — Anni Albers “Work with Material,” Black Mountain College Bulletin, November 1938

“Work with Material”

Anni Albers

Anni Albers: BLACK MOUNTAIN COLLEGE BULLETIN 5. Black Mountain, NC: Black Mountain College, November 1938. Original edition. 9 x 12 sheet folded into 4 panels with original essay “Work With Material” illustrated with an Albers tapestry. Edges spotted and fold lightly worn. A very good copy of a rare document.

6 x 9 single-fold bulletin presenting Anni Alber’s essay “Work with Material” where she discusses the role of crafts and art in modern society and, in particular, the value of working directly with materials.

Life today is very bewildering. We have no picture of it which is all-inclusive, such as former times may have had. We have to make a choice between concepts of great diversity. And as a common ground is wanting, we are baffled by them. We must find our way back to simplicity of conception in order lo find ourselves. For only by simplicity can we experience meaning, and only by experiencing meaning can we become qualified for independent comprehension.

In all learning today dependence on authority plays a large part, because of the tremendous field of knowledge to be covered in a short time. This often leaves the student oscillating between admiration and uncertainty; with the well-known result that a feeling of inferiority is today common both in individuals and in whole nations.

Independence presumes a spirit of adventurousness — a faith in one's own strength. It is this which should be promoted. Work in a field where authority has not made itself felt may help toward this goal. For we are overgrown with information, decorative maybe, but useless in any constructive sense. We have developed our receptivity and have neglected our own formative impulse. It is no accident that nervous breakdowns occur more often in our civilization than in those where creative power had a natural outlet in daily activities. And this fact leads to a suggestion: we must come down to earth from the clouds where we live in vagueness and experience the most real thing there is: material.

Civilization seems in general to estrange men from materials, from materials in their original form. The process of shaping these is so divided into separate steps that one person is rarely involved in the whole course of manufacture, often knowing only the finished, product. But if we want to get from materials the sense of directness, the adventure of being close to the stuff the world is made of, we have to go back to the material itself, to its original state, and from there on partake in its stages of change.

We use materials to satisfy our substantial needs and our spiritual ones as well. We have useful things and beautiful things — equipment and works of art. In earlier civilizations there was no clear separation of this sort. The useful thing could be made beautiful in the hands of the artisan, who was also the manufacturer. His creative impulse was not thwarted by drudgery in one section of a long and complicated mechanical process. He was also a creator. Machines reduce the boredom of repetition. On the other hand they permit play of the imagination only in the planning of the product.

Material, that is to say unformed or unshaped matter, is the field where authority blocks independent experimentation less than in many other fields, and for this reason it seems well fitted to become the training ground for invention and free speculation. It is here that even the shyest beginner can catch a glimpse of the exhilaration of creating, by being a creator while at the same time he is checked by irrevocable laws set by the nature of the material, not by man. Free experimentation here can result in the fulfillment of an inner urge to give form and to give permanence to ideas, that is to say, it can result in art, or it can result in the satisfaction of invention in some more technical way.

But most important to one's own growth is to see oneself leave the safe ground of accepted conventions and to find oneself alone and self-dependent. It is an adventure which can permeate one's whole being. Self-confidence can grow. And a longing for excitement can be satisfied without external means, within oneself; for creating is the most intense excitement one can come to know.

All art work, such as music, architecture, and even religion and the laws of science, can be understood as the transformed wish for stability and order. But art work understood as work with a substance which can be grasped and formed is more suited for the development of the taste for exploration than work in other fields, for the fact of the inherent laws of materials is of importance. They introduce boundaries for a task of free imagination. This very freedom can be so bewildering to the searching person that it may lead to resignation if he is faced with the immense welter of possibilities; but within set limits the imagination can find something to hold to. There still remains a fullness of choice but one not as overwhelming as that offered by unlimited opportunities. These boundaries may be conceived as the skeleton of a structure. To the beginner a material with very definite limitations can for this reason he most helpful in the process of building up independent work.

The crafts, understood as conventions of treating material, introduce another factor: traditions of operation which embody set laws. This may be helpful in one direction, as a frame for work. But these rules may also evoke a challenge. They are revokable, for they are set by man. They may provoke us to test ourselves against them. But always they provide a discipline which balances the hubris of creative ecstasy.

All crafts are suited to this end, but some better than others. The more possibilities for attack the material offers in its appearance and in its constructional elements, the more it can call out imagination and productiveness. Weaving is an example of a craft which ismany-sided. Besides surface qualities, such as rough and smooth, dull and shiny, hard and soft, it also includes color, and, as the dominating element, texture, which is the result of the construction of weaves. Like any craft it may end in producing useful objects, or it may rise to the level of art.

When teaching the crafts, in addition to the work of free exploring, both the useful and the artistic have to be considered. As we have said before, today only the first step in the process of producing things of need is left to free planning. No variation is possible when production is once taken up, assuming that today mass production must necessarily include machine work. This means that the teaching has to lead toward planning for industrial repetition, with emphasis on making models for industry. It also must attempt to evoke a consciousness of developments, and further perhaps a foreseeing of them. Hence the result of craft work, work done in direct contact with the material, can come here to have a meaning to a far wider range of people than would be the case if they remained restricted to hand work only. And from the industrial standpoint, machine production will get a fresh impetus from taking up the results of intimate work with material.

The other aspect of craft work is concerned with art work, the realization of a hope for a lawful and enduring nature. Other elements, such as proportion, space relations, rhythm, predominate in these experiments, as they do in the other arts. No limitations other than the fiat of the material itself are set. More than an active process, it is a listening for the dictation of the material and a taking in of the laws of harmony. It is for this reason that we can find certitude in the belief that we are taking part in an eternal order.
                                                                                          — Anni Albers

Black Mountain College (1933 – 1957) was a new kind of college in the United States in which the study of art was seen to be central to a liberal arts education, and in which John Dewey's principles of education played a major role. Many of the school's students and faculty were influential in the arts or other fields, or went on to become influential. Although notable even during its short life, the school closed in 1957 after only 24 years. Founded in 1933 by John Andrew Rice, Theodore Dreier, and other former faculty members of Rollins College, Black Mountain was experimental by nature and committed to an interdisciplinary approach, attracting a faculty that included many of America's leading visual artists, composers, poets, and designers.

The center of the curriculum, we said, would be art. The democratic man, we said, must be an artist. The integrity, we said, of the democratic man was the integrity of the artist, an integrity of relationship…the artist, we said was not a competitor. He competed only with himself. His struggle was inside, not against his fellows, but against his own ignorance and clumsiness…Also just as the artist would not paint his picture with muddy colors, so this artist must see clear colors in humanity; and must himself be clear color, for he too was his fellow artist’s color, sound, form, the material of his art. But, different from pigment, bow, granite, not used up in the use; rather, made more of what he would be, a note within the symphony, the clearer for having been written; giving up, and asked to give up, nothing of himself. That was the integrity of the artist as artist. That should be the integrity of man as man.
                                                                          — John Andrew Rice

Not a haphazardly conceived venture, Black Mountain College was a consciously directed liberal arts school that grew out of the progressive education movement. In its day it was a unique educational experiment for the artists and writers who conducted it, and as such an important incubator for the American avant garde. Black Mountain proved to be an important precursor to and prototype for many of the alternative colleges of today.

I think art parallels life. Color, in my opinion, behaves like a man–in two distinct ways: first in self-realization and then in the realization of relationships with others. In my paintings I have tried to make two polarities meet–independence and interdependence, as, for instance, in Pompeian art. There’s a certain red the Pompeians used that speaks in both these ways, first in its relation to other colors around it, and then as it appears alone, keeping its own face. In other words, one must combine both being an individual and being a member of society. That’s the parallel. I’ve handled color as a man should behave. With trained and sensitive eyes, you can recognize this double behavior of color. And from all this, you may conclude that I consider ethics and aesthetics as one.
                                                                                     — Josef Albers

Annelise Albers (née Fleischmann) (1899 – 1994) was a German-American textile artist and printmaker. She is perhaps the best known textile artist of the 20th century. She attended the Bauhaus in Weimar, where she met her husband, Josef Albers. From 1933 to 1949, Albers taught at Black Mountain College.

Pablo Neruda [introduction], Josef Albers [Cover Artist]

Pablo Neruda [introduction]: IV BIENAL AMERICANA DE GRABADO, SANTIAGO DE CHILE. Santiago de Chile: Sociedad de Arte Contemporaneo, 1970. Text in Spanish. Square quarto. Printed French folded wrappers. 218 pp. 37 black and white plates. Cover artwork by Josef Albers. Uruguay and Paraguay sections bound upside down. Spine lightly cocked and mild edgewear to wrappers, but a very good or better copy.

7.185 x 7.185-inch softcover catalog with 218 pages and 37 black and white plates. Exhibit catalog for the fourth American Biennial of Engraving in Santiago, Chile. Held 7 August - 13 September 1970 at the National Museum of Fine Arts in Chile.

Includes work by Wilfredo Lam, Rufino Tamayo, Jose Guadalupe Posada, and many othersartists from the Southern Hemisphere.

“Beginning in the 1960s, Latin America experienced a regional surge in print-focused biennials, which seminal critic Marta Traba links to a concurrent “boom” in drawing and the graphic arts. The first of these biennials, the Bienal Americana de Grabado (American Print Biennial) took place from 1963 through 1970 in Santiago, Chile. Hemispheric in focus, the exhibition was held at the Universidad de Chile’s Museo de Arte Contemporáneo (MAC), and later the Museo Nacional de Bellas Artes (MNBA). It was subsequently followed by the Bienal Internacional de Grabado in Buenos Aires, Argentina (1968-1972), the Bienal Americana de Artes Gráficas in Cali, Colombia (1970-1986) and the Bienal de San Juan del Grabado Latinoamericano (1970-2001) in San Juan, Puerto Rico.With a purview that included North, Central and South American countries as well as the Caribbean, the Santiago Bienal wove a network of collaboration across the continent, strategically engaging influential critics, curators and institutions. This article explores its role in the “second wave” of biennials in the Global South, contextualising it in relation to other contemporaneous exhibitions in the region, notably the Bienal de São Paulo in Brazil (est. 1951), the Bienal Americana de Arte in Córdoba, Argentina (1962-1966) and the Bienal de Arte Coltejer in Medellín, Colombia (1968-1972, 1981) . . . .

“Upon the inauguration of the first Bienal Americana de Grabado at the MAC in November 1963, the museum’s then-director Nemesio Antúnez wrote of the organisers’ effort to foster, “the embrace of Costa Rica with Uruguay and Cuba, Brazil with Canada and Paraguay, Colombia with Bolivia and Mexico, Canada with Peru and Cuba, Guatemala and Paraguay with Colombia, Argentina and the US with Brazil, Cuba with Peru and Nicaragua”, ending with the phrase, “el grabado con todos y todos con Chile” (printmaking with all and all with Chile).

“Tellingly, Antúnez used the adverb “americanamente” (Americanly) to characterise the tenor of the desired encounters among participating countries. These opening remarks reflect the executive committee’s enthusiastic commitment to the ideal of Pan-American cooperation. Amidst the backdrop of the Cold War, Pan-Americanism was coloured by the power struggle among the United States, the Soviet Union and their allies, which played out through cultural and economic diplomacy, as well as overt and covert intervention. The Bienal’s first edition came two years after the establishment of US President John F. Kennedy’s Alliance for Progress, which aimed to foster economic cooperation and development throughout the Americas to stave off the spread of pro-communist sentiment in the wake of the Cuban Revolution. Within this complex relational field, the Bienal organisers promoted regional inter- connection from a place of agency and strategic understanding, building international recognition by securing participation from acclaimed institutions and figures, while also reaching across Cold War spheres of influence by, for example, cultivating relationships with both Cuban and US entities.” [Maeve Coudrelle, “The Imprint of Hemispheric Exchange: The Bienal Americana de Grabado, 1963-1970”, OBOE Journal 3, no. 1 (2022): 38-51.]

Josef Albers (1888 – 1976) was a German-born American artist and educator whose work formed the basis of some of the most influential and far-reaching art education programs of the twentieth century.

Albers enrolled as a student in the Vorkurs of Johannes Itten at the Weimar Bauhaus in 1920. Although Albers had studied painting, it was as a maker of stained glass that he joined the faculty of the Bauhaus in 1922, approaching his chosen medium as a component of architecture and as a stand-alone art form. Walter Gropius, asked him in 1923 to teach in the preliminary course ‘Werklehre' of the department of design to introduce newcomers to the principles of handicrafts.

In 1925, Albers was promoted to professor, the year the Bauhaus moved to Dessau. At this time, he married Anni Albers (née Fleischmann) who was a student there. His work in Dessau included designing furniture and working with glass. As a younger art teacher, he was teaching at the Bauhaus among artists who included Oskar Schlemmer, Wassily Kandinsky, and Paul Klee. The so-called form master, Klee taught the formal aspects in the glass workshops where Albers was the crafts master; they cooperated for several years.

With the closure of the Bauhaus under Nazi pressure in 1933 the artists dispersed, most leaving the country. Neither Josef Albers nor his wife Anni spoke a word of English when they left Germany for the United States in 1933 to teach at Black Mountain College, an art and design school that had opened a few months before on a shoestring budget in rural North Carolina. Founded by a radical educationalist John Rice, Black Mountain was committed to experimentation, cross-disciplinarity and the idea that everyone should pitch in, whether it was to teach a class, or fix the plumbing.

The Alberses were defining influences on the school, whose students and teachers included many of the most influential US artists, designers and artisans of the late 20th century, from Cy Twombly and Robert Motherwell, to Willem and Elaine de Kooning. Merce Cunningham formed his first dance company there, John Cage staged his first happening, and they began lifelong collaborations with Robert Rauschenberg. The Alberses persuaded friends to help out, either by teaching like Xanti Schawinsky and Lyonel Feininger, designing buildings like Marcel Breuer and Walter Gropius, or donating books to the library like Alfred Barr and Walker Evans.

Josef Albers taught at Black Mountain College for sixteen years. In 1950 he joined the faculty at Yale University as chairman of the Department of Design.

Brenda Danilowitz

New York: Hudson Hills Press in association with the Josef and Anni Albers Foundation, 2001. Quarto. Black cloth titled in red. Photo illustrated dust jacket. Red endpapers. Frontis portrait. 215 pp. 311 color plates and 201 black and white reproductions. Upper corners lightly pushed, otherwise a fine copy in a fine dust jacket.

9.5 x 12.25-inch hardcover book with 215 pages and 311 color plates and 201 black and white reproductions. Introduction by Nicholas Fox Weber. The Prints of Josef Albers: A Catalogue Raisonné 1915-1976 collects the graphic works of the legendary abstract artist and Bauhaus design teacher. Early woodcut self-portraits, increasingly abstract lithographs, the famous Homage to the Square, and 10 prints that are the beginning of Albers's experiment in color are all featured here, as are the posters, album covers and greeting cards that Albers created toward the end of his career. The pieces were culled by Brenda Danilowitz, chief curator of the Josef and Anni Albers Foundation, who's written a lucid introductory essay on the evolution of Albers's oeuvre.

Josef Albers was an “addictive maker of prints.” He relished the implicit detachment of printmaking: the way that the medium removed his hand at least one step from the end result. Over the course of his life, Josef Albers created more than 240 individual prints and multi-print portfolios. The catalogue raisonné of Albers's prints documents the artist’s lifelong dedication to the art form, from the early linoleum cuts and lithographs of industrial landscapes, architectural studies, and portraits made in his native Rhineland, to the zinc plate lithographs, screenprints, and inkless embossed abstractions of his later career.

Josef Albers (1888 – 1976) was a German-born American artist and educator whose work formed the basis of some of the most influential and far-reaching art education programs of the twentieth century.

Albers enrolled as a student in the Vorkurs of Johannes Itten at the Weimar Bauhaus in 1920. Although Albers had studied painting, it was as a maker of stained glass that he joined the faculty of the Bauhaus in 1922, approaching his chosen medium as a component of architecture and as a stand-alone art form. Walter Gropius, asked him in 1923 to teach in the preliminary course ‘Werklehre' of the department of design to introduce newcomers to the principles of handicrafts.

In 1925, Albers was promoted to professor, the year the Bauhaus moved to Dessau. At this time, he married Anni Albers (née Fleischmann) who was a student there. His work in Dessau included designing furniture and working with glass. As a younger art teacher, he was teaching at the Bauhaus among artists who included Oskar Schlemmer, Wassily Kandinsky, and Paul Klee. The so-called form master, Klee taught the formal aspects in the glass workshops where Albers was the crafts master; they cooperated for several years.

With the closure of the Bauhaus under Nazi pressure in 1933 the artists dispersed, most leaving the country. Neither Josef Albers nor his wife Anni spoke a word of English when they left Germany for the United States in 1933 to teach at Black Mountain College, an art and design school that had opened a few months before on a shoestring budget in rural North Carolina. Founded by a radical educationalist John Rice, Black Mountain was committed to experimentation, cross-disciplinarity and the idea that everyone should pitch in, whether it was to teach a class, or fix the plumbing.

The Alberses were defining influences on the school, whose students and teachers included many of the most influential US artists, designers and artisans of the late 20th century, from Cy Twombly and Robert Motherwell, to Willem and Elaine de Kooning. Merce Cunningham formed his first dance company there, John Cage staged his first happening, and they began lifelong collaborations with Robert Rauschenberg. The Alberses persuaded friends to help out, either by teaching like Xanti Schawinsky and Lyonel Feininger, designing buildings like Marcel Breuer and Walter Gropius, or donating books to the library like Alfred Barr and Walker Evans.

Josef Albers taught at Black Mountain College for sixteen years. In 1950 he joined the faculty at Yale University as chairman of the Department of Design.

Eugen Gomringer [Editor],
Josef Müller-Brockmann [Designer]

New York: George Wittenborn, Inc., [1968]. First edition. Oblong quarto. Light gray cloth with "hommage to the square" blind stamped on front panel. 198 pp. 16 serigraphs [silkscreens], 96 illustrations in color and black and white. Multiple paper stocks. Book design and typography by Josef Müller-Brockmann. Spine heel tapped. Glossy offset pages lightly sunned at edges. Jacket with a short, closed tear to lower front panel edge and trivial wear to upper edge of the rear panel. The 16 serigraphs are often stripped from this edition, making collectible copies scarce. Offered here is the best copy out there: a fine copy in a nearly fine dust jacket.

12.5 x 10.75 hardcover book with 198 pages and 16 serigraphs and 96 illustrations in color and black and white. The Serigraph plates were prepared and loaned by Ives-Sillman Inc. New Haven, CT and printed by Siebdruck-Atelier Herbert Geier, Ingolstadt.

Includes essays by Clara Diament de Sujo, Will Grohmann, Norbert Lynton, and Michel Seuphor. Translated by Joyce Wittenborn. A chronological overview of the artists career from 1916 - 1968, compiled with his co-operation. Text includes Poems and Statements by Albers, Biographical Notes, Publications by Albers, Bibliography, List of Exhibitions, Works in Public Collections and Lists of Illustrations and Reproductions.

From the book: "The work of Josef Albers, one of the former "Bauhaus masters," especially his work as a painter, has steadily grown in fundamental significance for the development of visual design in the 20th century. The numerous publications that concern Josef Albers have, however, for the most part dealt with specific aspects of his work; now the time seems ripe for a presentation of all his work, from the earliest pieces done in 1916 down to his creative activities at the present time.

"Eugen Gomringer presents Josef Albers' work as a painter in a series of groups within a sequence that is basically chronological. What emerges is a creative activity that is infinitely more varied and comprehensive than has often seemed the case when judged only on the basis of his best-known work. Perspectives open up that reveal periods of creation that occurred between the major, predominant groups of his work, and show them in their significance and continuity. With this viewpoint in mind, the illustrations have been chosen with the greatest care and in consultation with the artist.

"The text that introduces each group of works establishes the links between them, their creative intentions as well as the conditions which gave rise to lthem and the situation and thinking of the artist at the time. since he has always tended to accompany his work with explanations, many of these are included in the text. Words and illustrations have been intentionally separated in order that the illustrations can be viewed as a continuum, despite their division into groups of works."

Josef Albers (1888 – 1976) was a German-born American artist and educator whose work formed the basis of some of the most influential and far-reaching art education programs of the twentieth century.

Albers enrolled as a student in the Vorkurs of Johannes Itten at the Weimar Bauhaus in 1920. Although Albers had studied painting, it was as a maker of stained glass that he joined the faculty of the Bauhaus in 1922, approaching his chosen medium as a component of architecture and as a stand-alone art form. Walter Gropius, asked him in 1923 to teach in the preliminary course ‘Werklehre' of the department of design to introduce newcomers to the principles of handicrafts.

In 1925, Albers was promoted to professor, the year the Bauhaus moved to Dessau. At this time, he married Anni Albers (née Fleischmann) who was a student there. His work in Dessau included designing furniture and working with glass. As a younger art teacher, he was teaching at the Bauhaus among artists who included Oskar Schlemmer, Wassily Kandinsky, and Paul Klee. The so-called form master, Klee taught the formal aspects in the glass workshops where Albers was the crafts master; they cooperated for several years.

With the closure of the Bauhaus under Nazi pressure in 1933 the artists dispersed, most leaving the country. Neither Josef Albers nor his wife Anni spoke a word of English when they left Germany for the United States in 1933 to teach at Black Mountain College, an art and design school that had opened a few months before on a shoestring budget in rural North Carolina. Founded by a radical educationalist John Rice, Black Mountain was committed to experimentation, cross-disciplinarity and the idea that everyone should pitch in, whether it was to teach a class, or fix the plumbing.

The Alberses were defining influences on the school, whose students and teachers included many of the most influential US artists, designers and artisans of the late 20th century, from Cy Twombly and Robert Motherwell, to Willem and Elaine de Kooning. Merce Cunningham formed his first dance company there, John Cage staged his first happening, and they began lifelong collaborations with Robert Rauschenberg. The Alberses persuaded friends to help out, either by teaching like Xanti Schawinsky and Lyonel Feininger, designing buildings like Marcel Breuer and Walter Gropius, or donating books to the library like Alfred Barr and Walker Evans.

Josef Albers taught at Black Mountain College for sixteen years. In 1950 he joined the faculty at Yale University as chairman of the Department of Design.

“As with most graphic designers that can be classified as part of the Swiss International Style, Joseph Müller-Brockmann (Switzerland 1914 – 1996) was influenced by the ideas of several different design and art movements including Constructivism, De Stijl, Suprematism and the Bauhaus. He is perhaps the most well-known Swiss designer and his name is probably the most easily recognized when talking about the period. He was born and raised in Switzerland and by the age of 43 he became a teacher at the Zurich school of arts and crafts.

“Perhaps his most decisive work was done for the Zurich Town Hall as poster advertisements for its theater productions. He published several books, including The Graphic Artist and His Problems and Grid Systems in Graphic Design. These books provide an in-depth analysis of his work practices and philosophies, and provide an excellent foundation for young graphic designers wishing to learn more about the profession. He spent most of his life working and teaching, even into the early 1990s when he toured the US and Canada speaking about his work. He died in Zurich in 1996. — Kerry Williams Purcell

Excerpted from Yvonne Schwemer-Scheddin's "A Conversation with Josef Müller-Brockmann," Eye, Winter, 1995: Josef Müller-Brockmann . . . "began his career as an apprentice to the designer and advertising consultant Walter Diggelman before, in 1936, establishing his own Zurich studio specialising in graphics, exhibition design and photography. By the 1950s he was established as the leading practitioner and theorist of the Swiss Style, which sought a universal graphic expression through a grid-based design purged of extraneous illustration and subjective feeling . . . . Müller-Brockmann was founder and, from 1958 to 1965, co-editor of the trilingual journal Neue Grafik (New Graphic Design) which spread the principles of Swiss design internationally. He was professor of graphic design at the Kunstgewerbeschule, Zurich from 1957 to 1960 and the Hochschule fur Gestaltung, Ulm from 1963. From 1967 he was European design consultant for IBM."

An Analysis of his Graphic Constructions

Francois Bucher

Francois Bucher: JOSEF ALBERS: DESPITE STRAIGHT LINES [An Analysis of his Graphic Constructions]. New Haven and London: Yale University Press, 1961. First edition. Slim quarto. White paper-covered embossed boards. Partial publishers belly band. 88 pp. 32 black and white illustrations. Multiple paper stocks. Typography by Max Caflisch. With remnants of wraparound band laid in. A very good or better copy of this fragile volume.

8.5 x 9 hardcover book with 88 pages and 32 black and white illustrations. Contains an analysis of Albers' graphic constructions by Francois Bucher. Captions are by Albers himself. Typography by the eminent Swiss designer Max Caflisch (a student of Jan Tschichold and Imre Reiner).

• Introduction
• Lines
• Planes
• Volumes and solids
• Conclusions
• Biographical notes
• Selected bibliography
• List of illustrations

From the Yale University Press web site: "Josef Albers, one of the most influential artist-educators of the twentieth century, was a member of the Bauhaus group in Germany during the 1920s. In 1933 he came to the United States, where he taught at Black Mountain College for sixteen years. In 1950 he joined the faculty at Yale University as chairman of the Department of Design."

Josef Albers (1888 – 1976) was a German-born American artist and educator whose work formed the basis of some of the most influential and far-reaching art education programs of the twentieth century.

Albers enrolled as a student in the Vorkurs of Johannes Itten at the Weimar Bauhaus in 1920. Although Albers had studied painting, it was as a maker of stained glass that he joined the faculty of the Bauhaus in 1922, approaching his chosen medium as a component of architecture and as a stand-alone art form. Walter Gropius, asked him in 1923 to teach in the preliminary course ‘Werklehre' of the department of design to introduce newcomers to the principles of handicrafts.

In 1925, Albers was promoted to professor, the year the Bauhaus moved to Dessau. At this time, he married Anni Albers (née Fleischmann) who was a student there. His work in Dessau included designing furniture and working with glass. As a younger art teacher, he was teaching at the Bauhaus among artists who included Oskar Schlemmer, Wassily Kandinsky, and Paul Klee. The so-called form master, Klee taught the formal aspects in the glass workshops where Albers was the crafts master; they cooperated for several years.

With the closure of the Bauhaus under Nazi pressure in 1933 the artists dispersed, most leaving the country. Albers emigrated to the United States. The architect Philip Johnson, then a curator at the Museum of Modern Art, arranged for Albers to be offered a job as head of a new art school, Black Mountain College, in North Carolina. In November 1933, he joined the faculty of the college where he was the head of the painting program until 1949.

Henry Geldzahler [introduction], [Norman Ives [Designer]

New York: Metropolitan Museum of Art, 1971. First edition. Quarto. Printed perfect bound and stitched wrappers. 76 pp. 44 color plates supervised by Sewell Sillman. Remnants of price sticker to rear panel, otherwise a nearly fine, lightly handled copy.

10 x 10-inch softcover catalogue with 78 pages and 44 color plates supervised by Sewell Sillman. “Josef Albers has said that his great negative ambition has always been to do work that didn't look like anyone else's, work that was not reminiscent. In this, of course, he has succeeded. And, curiously enough, the place he has carved for himself, the position he has claimed through the insistence of his work, has been resistant to direct imitation. Albers' uniqueness resides in the ways his painting has gone along the parallel roads marked Science and Poetry. In the late fifties and early sixties there was much panic-stricken thought abroad that these roads, the routes of the two cultures, were mutually exclusive and even antagonistic. But there has always been art that made nonsense of this false duality, and Albers' art is a recent and contemporary refutation of it.

“The scientific aspect of his researches is in his color concepts that deal with both light and paint, but primarily with what the eye is capable of distinguishing. To hear Albers on the subject of what is possible in translating the subtlety of painted color into silk-screen printing and color photography is to engage in a postgraduate discussion in discrimination. Yellow, he affirms, cannot be photographed successfully in all its gradations; reds are available in printers' inks that elude the manufacturer of paint. As a consequence of his training and teaching at the Bauhaus, Albers is totally committed to all such details of his craft; it is his natural inclination as well. [...] His has truly been a remarkable career of devotion to the craft and art of painting. The Metropolitan Museum is proud to be the vehicle for exhibiting the works, both painting and graphic, that demonstrate his achievement.” — The Metropilitan Museum of Art

Contents:

• Introduction
• The Exhibition
• Paintings
• Prints
• Biography
• Principal One-man Exhibitions
• Exhibition Catalogues
• Graphic Portfolios
• Writings by the Artist
• Writings about the Artist

Josef Albers (1888 – 1976) was a German-born American artist and educator whose work formed the basis of some of the most influential and far-reaching art education programs of the twentieth century.

Albers enrolled as a student in the Vorkurs of Johannes Itten at the Weimar Bauhaus in 1920. Although Albers had studied painting, it was as a maker of stained glass that he joined the faculty of the Bauhaus in 1922, approaching his chosen medium as a component of architecture and as a stand-alone art form. Walter Gropius, asked him in 1923 to teach in the preliminary course ‘Werklehre' of the department of design to introduce newcomers to the principles of handicrafts.

In 1925, Albers was promoted to professor, the year the Bauhaus moved to Dessau. At this time, he married Anni Albers (née Fleischmann) who was a student there. His work in Dessau included designing furniture and working with glass. As a younger art teacher, he was teaching at the Bauhaus among artists who included Oskar Schlemmer, Wassily Kandinsky, and Paul Klee. The so-called form master, Klee taught the formal aspects in the glass workshops where Albers was the crafts master; they cooperated for several years.

With the closure of the Bauhaus under Nazi pressure in 1933 the artists dispersed, most leaving the country. Neither Josef Albers nor his wife Anni spoke a word of English when they left Germany for the United States in 1933 to teach at Black Mountain College, an art and design school that had opened a few months before on a shoestring budget in rural North Carolina. Founded by a radical educationalist John Rice, Black Mountain was committed to experimentation, cross-disciplinarity and the idea that everyone should pitch in, whether it was to teach a class, or fix the plumbing.

The Alberses were defining influences on the school, whose students and teachers included many of the most influential US artists, designers and artisans of the late 20th century, from Cy Twombly and Robert Motherwell, to Willem and Elaine de Kooning. Merce Cunningham formed his first dance company there, John Cage staged his first happening, and they began lifelong collaborations with Robert Rauschenberg. The Alberses persuaded friends to help out, either by teaching like Xanti Schawinsky and Lyonel Feininger, designing buildings like Marcel Breuer and Walter Gropius, or donating books to the library like Alfred Barr and Walker Evans.

Josef Albers taught at Black Mountain College for sixteen years. In 1950 he joined the faculty at Yale University as chairman of the Department of Design.

Justus Bier [foreword]

Justus Bier [foreword]: JOSEF ALBERS. Raleigh, NC: North Carolina Museum of Art, February 1962. Original edition. Slim quarto. Embossed and printed stapled wrappers. 52 pp. 29 black and white illustrations. Black endpapers. Catalog of 47 paintings and 23 graphic works, essays. Uncoated wrappers soiled at spine, but a very good or better copy of this elegant catalog.

7.5 x 10.25-inch stapled catalog with 50 pages and 29 black and white illustrations for an exhibition held at the North Carolina Museum of Art from February 3 to March 11, 1962. Foreword by Mseum Director Justus Bier, introduction by Curator Ben F. Williams, and a tribute by Will Grohmann, and three poetic essays by Josef Albers: “Seeing Art,” “On My Work,” and “The Color in my Painting.”

Josef Albers (1888 – 1976) was a German-born American artist and educator whose work formed the basis of some of the most influential and far-reaching art education programs of the twentieth century.

Albers enrolled as a student in the Vorkurs of Johannes Itten at the Weimar Bauhaus in 1920. Although Albers had studied painting, it was as a maker of stained glass that he joined the faculty of the Bauhaus in 1922, approaching his chosen medium as a component of architecture and as a stand-alone art form. Walter Gropius, asked him in 1923 to teach in the preliminary course ‘Werklehre' of the department of design to introduce newcomers to the principles of handicrafts.

In 1925, Albers was promoted to professor, the year the Bauhaus moved to Dessau. At this time, he married Anni Albers (née Fleischmann) who was a student there. His work in Dessau included designing furniture and working with glass. As a younger art teacher, he was teaching at the Bauhaus among artists who included Oskar Schlemmer, Wassily Kandinsky, and Paul Klee. The so-called form master, Klee taught the formal aspects in the glass workshops where Albers was the crafts master; they cooperated for several years.

With the closure of the Bauhaus under Nazi pressure in 1933 the artists dispersed, most leaving the country. Neither Josef Albers nor his wife Anni spoke a word of English when they left Germany for the United States in 1933 to teach at Black Mountain College, an art and design school that had opened a few months before on a shoestring budget in rural North Carolina. Founded by a radical educationalist John Rice, Black Mountain was committed to experimentation, cross-disciplinarity and the idea that everyone should pitch in, whether it was to teach a class, or fix the plumbing.

The Alberses were defining influences on the school, whose students and teachers included many of the most influential US artists, designers and artisans of the late 20th century, from Cy Twombly and Robert Motherwell, to Willem and Elaine de Kooning. Merce Cunningham formed his first dance company there, John Cage staged his first happening, and they began lifelong collaborations with Robert Rauschenberg. The Alberses persuaded friends to help out, either by teaching like Xanti Schawinsky and Lyonel Feininger, designing buildings like Marcel Breuer and Walter Gropius, or donating books to the library like Alfred Barr and Walker Evans.

Josef Albers taught at Black Mountain College for sixteen years. In 1950 he joined the faculty at Yale University as chairman of the Department of Design.

Nicholas Fox Weber

Nicholas Fox Weber: THE DRAWINGS OF JOSEF ALBERS. New Haven and London: The Yale University Press, 1984. First edition. Square quarto. Oatmeal boards decorated in gilt and black. Photo illustrated dust jacket. 76 pp. followed by 107 pages with 183 color and halftone reproductions. Dust jacket with trivial wear, so a nearly fine copy in a nearly fine dust jacket.

10.5 x10.75-inch book with 183 pages and 183 color and black and white reproductions. "Shortly after Josef Albers's death in 1976, a scarcely known and surprising segment of his work was discovered: the representational drawings he made before going to the Bauhaus in 1920. These early works-- self-portraits, portraits of friends and relatives, views of houses and public buildings in his native Westphalia, sketches of animals, travel scenes, nudes, caricatures of his students-- reveal a playful and informal side of Albers's character, as well as the root of his fascination with the interplay of two- and three-dimensional space. Presented in conjunction with some of his later abstract drawings, which are characterized by the familiar geometry of his work from the Bauhaus on, they round out our sense of the complex but consistent themes that shaped his evolution as a pioneer painter, teacher, and color theorist.”

Josef Albers (1888 – 1976) was a German-born American artist and educator whose work formed the basis of some of the most influential and far-reaching art education programs of the twentieth century.

Albers enrolled as a student in the Vorkurs of Johannes Itten at the Weimar Bauhaus in 1920. Although Albers had studied painting, it was as a maker of stained glass that he joined the faculty of the Bauhaus in 1922, approaching his chosen medium as a component of architecture and as a stand-alone art form. Walter Gropius, asked him in 1923 to teach in the preliminary course ‘Werklehre' of the department of design to introduce newcomers to the principles of handicrafts.

In 1925, Albers was promoted to professor, the year the Bauhaus moved to Dessau. At this time, he married Anni Albers (née Fleischmann) who was a student there. His work in Dessau included designing furniture and working with glass. As a younger art teacher, he was teaching at the Bauhaus among artists who included Oskar Schlemmer, Wassily Kandinsky, and Paul Klee. The so-called form master, Klee taught the formal aspects in the glass workshops where Albers was the crafts master; they cooperated for several years.

With the closure of the Bauhaus under Nazi pressure in 1933 the artists dispersed, most leaving the country. Neither Josef Albers nor his wife Anni spoke a word of English when they left Germany for the United States in 1933 to teach at Black Mountain College, an art and design school that had opened a few months before on a shoestring budget in rural North Carolina. Founded by a radical educationalist John Rice, Black Mountain was committed to experimentation, cross-disciplinarity and the idea that everyone should pitch in, whether it was to teach a class, or fix the plumbing.

The Alberses were defining influences on the school, whose students and teachers included many of the most influential US artists, designers and artisans of the late 20th century, from Cy Twombly and Robert Motherwell, to Willem and Elaine de Kooning. Merce Cunningham formed his first dance company there, John Cage staged his first happening, and they began lifelong collaborations with Robert Rauschenberg. The Alberses persuaded friends to help out, either by teaching like Xanti Schawinsky and Lyonel Feininger, designing buildings like Marcel Breuer and Walter Gropius, or donating books to the library like Alfred Barr and Walker Evans.

Josef Albers taught at Black Mountain College for sixteen years. In 1950 he joined the faculty at Yale University as chairman of the Department of Design.

Noel Martin [Designer]

Noel Martin [Designer]: ALBERS [at the Cincinnati Art Museum]. Cincinnati, OH: The Cincinnati Art Museum, 1949. Original edition. 16mo. Glossy printed stapled wrappers. [20] pp. 10 black and white illustrations. Checklist is 27 items. Glossy wrappers lightly rubbed, but a very good or better copy of this elegant little catalog.

4.375 x 5.875 stapled catalog with 20 pages and ten black and white illustrations for the exhibition at the Cincinnati Art Museum from October 27 to November 22, 1949. The exhibition then traveled to the Virginia Museum of Fine Arts, in December 1949.

Josef Albers (1888 – 1976) was a German-born American artist and educator whose work formed the basis of some of the most influential and far-reaching art education programs of the twentieth century.

Albers enrolled as a student in the Vorkurs of Johannes Itten at the Weimar Bauhaus in 1920. Although Albers had studied painting, it was as a maker of stained glass that he joined the faculty of the Bauhaus in 1922, approaching his chosen medium as a component of architecture and as a stand-alone art form. Walter Gropius, asked him in 1923 to teach in the preliminary course ‘Werklehre' of the department of design to introduce newcomers to the principles of handicrafts.

In 1925, Albers was promoted to professor, the year the Bauhaus moved to Dessau. At this time, he married Anni Albers (née Fleischmann) who was a student there. His work in Dessau included designing furniture and working with glass. As a younger art teacher, he was teaching at the Bauhaus among artists who included Oskar Schlemmer, Wassily Kandinsky, and Paul Klee. The so-called form master, Klee taught the formal aspects in the glass workshops where Albers was the crafts master; they cooperated for several years.

With the closure of the Bauhaus under Nazi pressure in 1933 the artists dispersed, most leaving the country. Neither Josef Albers nor his wife Anni spoke a word of English when they left Germany for the United States in 1933 to teach at Black Mountain College, an art and design school that had opened a few months before on a shoestring budget in rural North Carolina. Founded by a radical educationalist John Rice, Black Mountain was committed to experimentation, cross-disciplinarity and the idea that everyone should pitch in, whether it was to teach a class, or fix the plumbing.

The Alberses were defining influences on the school, whose students and teachers included many of the most influential US artists, designers and artisans of the late 20th century, from Cy Twombly and Robert Motherwell, to Willem and Elaine de Kooning. Merce Cunningham formed his first dance company there, John Cage staged his first happening, and they began lifelong collaborations with Robert Rauschenberg. The Alberses persuaded friends to help out, either by teaching like Xanti Schawinsky and Lyonel Feininger, designing buildings like Marcel Breuer and Walter Gropius, or donating books to the library like Alfred Barr and Walker Evans.

Josef Albers taught at Black Mountain College for sixteen years. In 1950 he joined the faculty at Yale University as chairman of the Department of Design.

Noel Martin (American, 1922 – 2009) was a renown self-taught typographer and designer who studied drawing, painting, and printmaking at the Art Academy of Cincinnati. He later became an instructor there and was the long-time designer for the Cincinnati Art Museum, as well as a prolific free-lance designer. Martin was celebrated for modernizing museum graphics and industrial trade catalogs. In 1953, he was featured in MoMA's landmark design exhibition, Four American Designers, along with Herbert Bayer, Leo Lionni, and Ben Shahn. His spiral-bound self-promotional piece, Identity Programs, presents some of his iconic minimalist logos.

From Steven Heller's New York Times Obituary [February 27, 2009]: " With the ubiquitous branding and expert merchandizing of museums today, it is easy to forget that graphic design was once a low priority for them. In 1947, when Mr. Martin became the Cincinnati Art Museum's first graphic designer, most museum publications were staid and musty.

"Mr. Martin maintained that contemporary typographic design, as practiced by the European Modernists, would enhance these documents and make art, particularly abstract art, more accessible and more appealing to younger museumgoers. He introduced a distinct blend of classical and modern typography to the museum's exhibition catalogs.

"Allon Schoener, a freelance museum curator and friend, said that Mr. Martin, first at the Cincinnati Art Museum and later at the Cincinnati Contemporary Arts Center, "created a style which has been emulated by most other American museums during the last 40 years."

Noel Martin was born on April 19, 1922, in Syracuse, Ohio. When he was a child, his family moved to Cincinnati, where he spent the remainder of his life. He studied painting, drawing and print- making at the Art Academy of Cincinnati in 1939-1941 and 1945-1947, between which he married his wife, Coletta, and served in the military. During World War II he served in a camouflage unit in the Army Air Force, where he made catalogs and brochures. While making educational film strips for the Army in New York he was exposed to modern art for the first time, which later influenced his work. He trained himself in the art of typography and graphic design. He became a designer for the Cincinnati Art Museum in 1947 and in 1949 began offering his services as a free-lance designer and art director to a variety of firms.

In 1951 he began teaching design and commercial art at the Art Academy of Cincinnati and worked there until 1957. In 1953 he was one of four designers featured in the Four American Designers exhibit at the Museum of Modern Art in New York, by which time he'd already become nationally known. He received the Art Director's Medal in Philadelphia in 1957.

In 1958 he redesigned The New Republic from cover to cover. Martin (1959) said, "Good typography for magazines is generally typography which is free of animation and the necessary tricks of advertising, and is functional1." He used typeface Palatino and uncluttered the cover, making sure to leave white space throughout the publication. In 1959, he wrote several articles on the relationship between modern art and graphic design.

He continued designing for the Cincinnati Art Museum throughout his life. He designed numerous booklets, books, calendars, catalogs, corporate logos, flyers, magazines, newsletters, stationary and posters throughout the following decades. Some of the firms and institutions he designed for on a free-lance basis include Champion Paper Company, Cincinnati Symphony Orchestra, Federated Department Stores, General Electric, LeBlond Ltd., Standard Oil Company, The United Fine Arts Fund, University of Cincinnati, and Xomox Corporation. He also designed corporate logos for institutions, such as Advance Mortgage Corporation, the Contemporary Arts Center, and Black Clawson, most of which were minimalist in nature.

He was featured in various editions of Who's Who in America, Who's Who in Graphic Art and Who's Who in Advertising. He was featured in numerous exhibits locally, nationally, and internationally. He wrote several articles and gave numerous lectures throughout his career. He dies of leukemia on February 23, 2009.

Noel Martin [Designer]

Noel Martin [Designer]: JOSEF ALBERS. Cincinnati, OH: The Contemporary Arts Center of Cincinnati, 1965. Original edition. Slim oblong quarto. Printed stapled wrappers. 16 pp. 9 black and white illustrations. Textured wrappers lightly handled, but a very good or better copy of this elegant little catalog.

9.5 x 7-inch stapled catalog with 16 pages and nine black and white illustrations for “an exhibition organized by The Contemporary Arts Center of Cincinnati through the courtesy of the artist and the Sidney Janis Gallery, New York, circulated to cities throughout the United States, 1965 – 1966.”

Josef Albers (1888 – 1976) was a German-born American artist and educator whose work formed the basis of some of the most influential and far-reaching art education programs of the twentieth century.

Albers enrolled as a student in the Vorkurs of Johannes Itten at the Weimar Bauhaus in 1920. Although Albers had studied painting, it was as a maker of stained glass that he joined the faculty of the Bauhaus in 1922, approaching his chosen medium as a component of architecture and as a stand-alone art form. Walter Gropius, asked him in 1923 to teach in the preliminary course ‘Werklehre' of the department of design to introduce newcomers to the principles of handicrafts.

In 1925, Albers was promoted to professor, the year the Bauhaus moved to Dessau. At this time, he married Anni Albers (née Fleischmann) who was a student there. His work in Dessau included designing furniture and working with glass. As a younger art teacher, he was teaching at the Bauhaus among artists who included Oskar Schlemmer, Wassily Kandinsky, and Paul Klee. The so-called form master, Klee taught the formal aspects in the glass workshops where Albers was the crafts master; they cooperated for several years.

With the closure of the Bauhaus under Nazi pressure in 1933 the artists dispersed, most leaving the country. Neither Josef Albers nor his wife Anni spoke a word of English when they left Germany for the United States in 1933 to teach at Black Mountain College, an art and design school that had opened a few months before on a shoestring budget in rural North Carolina. Founded by a radical educationalist John Rice, Black Mountain was committed to experimentation, cross-disciplinarity and the idea that everyone should pitch in, whether it was to teach a class, or fix the plumbing.

The Alberses were defining influences on the school, whose students and teachers included many of the most influential US artists, designers and artisans of the late 20th century, from Cy Twombly and Robert Motherwell, to Willem and Elaine de Kooning. Merce Cunningham formed his first dance company there, John Cage staged his first happening, and they began lifelong collaborations with Robert Rauschenberg. The Alberses persuaded friends to help out, either by teaching like Xanti Schawinsky and Lyonel Feininger, designing buildings like Marcel Breuer and Walter Gropius, or donating books to the library like Alfred Barr and Walker Evans.

Josef Albers taught at Black Mountain College for sixteen years. In 1950 he joined the faculty at Yale University as chairman of the Department of Design.

Noel Martin (American, 1922 – 2009) was a renown self-taught typographer and designer who studied drawing, painting, and printmaking at the Art Academy of Cincinnati. He later became an instructor there and was the long-time designer for the Cincinnati Art Museum, as well as a prolific free-lance designer. Martin was celebrated for modernizing museum graphics and industrial trade catalogs. In 1953, he was featured in MoMA's landmark design exhibition, Four American Designers, along with Herbert Bayer, Leo Lionni, and Ben Shahn. His spiral-bound self-promotional piece, Identity Programs, presents some of his iconic minimalist logos.

From Steven Heller's New York Times Obituary [February 27, 2009]: " With the ubiquitous branding and expert merchandizing of museums today, it is easy to forget that graphic design was once a low priority for them. In 1947, when Mr. Martin became the Cincinnati Art Museum's first graphic designer, most museum publications were staid and musty.

"Mr. Martin maintained that contemporary typographic design, as practiced by the European Modernists, would enhance these documents and make art, particularly abstract art, more accessible and more appealing to younger museumgoers. He introduced a distinct blend of classical and modern typography to the museum's exhibition catalogs.

"Allon Schoener, a freelance museum curator and friend, said that Mr. Martin, first at the Cincinnati Art Museum and later at the Cincinnati Contemporary Arts Center, "created a style which has been emulated by most other American museums during the last 40 years."

Noel Martin was born on April 19, 1922, in Syracuse, Ohio. When he was a child, his family moved to Cincinnati, where he spent the remainder of his life. He studied painting, drawing and print- making at the Art Academy of Cincinnati in 1939-1941 and 1945-1947, between which he married his wife, Coletta, and served in the military. During World War II he served in a camouflage unit in the Army Air Force, where he made catalogs and brochures. While making educational film strips for the Army in New York he was exposed to modern art for the first time, which later influenced his work. He trained himself in the art of typography and graphic design. He became a designer for the Cincinnati Art Museum in 1947 and in 1949 began offering his services as a free-lance designer and art director to a variety of firms.

In 1951 he began teaching design and commercial art at the Art Academy of Cincinnati and worked there until 1957. In 1953 he was one of four designers featured in the Four American Designers exhibit at the Museum of Modern Art in New York, by which time he'd already become nationally known. He received the Art Director's Medal in Philadelphia in 1957.

In 1958 he redesigned The New Republic from cover to cover. Martin (1959) said, "Good typography for magazines is generally typography which is free of animation and the necessary tricks of advertising, and is functional1." He used typeface Palatino and uncluttered the cover, making sure to leave white space throughout the publication. In 1959, he wrote several articles on the relationship between modern art and graphic design.

He continued designing for the Cincinnati Art Museum throughout his life. He designed numerous booklets, books, calendars, catalogs, corporate logos, flyers, magazines, newsletters, stationary and posters throughout the following decades. Some of the firms and institutions he designed for on a free-lance basis include Champion Paper Company, Cincinnati Symphony Orchestra, Federated Department Stores, General Electric, LeBlond Ltd., Standard Oil Company, The United Fine Arts Fund, University of Cincinnati, and Xomox Corporation. He also designed corporate logos for institutions, such as Advance Mortgage Corporation, the Contemporary Arts Center, and Black Clawson, most of which were minimalist in nature.

He was featured in various editions of Who's Who in America, Who's Who in Graphic Art and Who's Who in Advertising. He was featured in numerous exhibits locally, nationally, and internationally. He wrote several articles and gave numerous lectures throughout his career. He dies of leukemia on February 23, 2009.

Ikko Tanaka [Design Advisor]

Fukishama, Japan: Center for Contemporary Graphic Art and Tyler Graphics Archive Collection, 1996. Parallel texts in Japanese and English. Original edition. Printed saddle stiched wrappers. 68 pp. Exhibition catalogue with essays, black and white text illustrations and color plates. Errata sheet laid in. Wrappers lightly worn, but a very good or better copy.

8.85 x 12-inch softcover catalogue with 68 pages of essays, black and white text illustrations and color plates issued in conjunction with the exhibition of the same name from July 16 – October 13, 1996 at the Center for Contemporary Graphic Art [CCGA]. Essays by Fujio Maeda, Nicholas Fox Weber, and Mitsuhiko Hoshi.

A professor at the Bauhaus before World War II, Josef Albers escaped the Nazis by emigrating to the United States where he taught at various institutions and propagated his theory about spatial perception based on color and geometric forms. His ideas greatly influenced postwar modern art, especially graphic design, and led to the creation of a school of geometric abstract painting. Albers was also enthusiastically engaged in printmaking, believing that artistic works could be created through technical means and without manual intervention by the artist. Albers autonomy of color, constructed through exhaustive precision, was refined through the printmaking process beyond that in his oil paintings. In his collaborative efforts with Kenneth Tyler, which started in 1963, Albers produced many of the famous works of contemporary printmaking.

This exhibit was held to mark the twentieth anniversary of the death of this great artist. The exhibit focused on Albers and his lifelong study of spatial expression. About 80 pieces were displayed, including four series of prints from the CCGA collection and prints created in the 1960s at Tamarind Lithography Workshop and Gemini G.E.L., and owned today by Kenneth Tyler.

Josef Albers (1888 – 1976) was a German-born American artist and educator whose work formed the basis of some of the most influential and far-reaching art education programs of the twentieth century.

Albers enrolled as a student in the Vorkurs of Johannes Itten at the Weimar Bauhaus in 1920. Although Albers had studied painting, it was as a maker of stained glass that he joined the faculty of the Bauhaus in 1922, approaching his chosen medium as a component of architecture and as a stand-alone art form. Walter Gropius, asked him in 1923 to teach in the preliminary course ‘Werklehre' of the department of design to introduce newcomers to the principles of handicrafts.

In 1925, Albers was promoted to professor, the year the Bauhaus moved to Dessau. At this time, he married Anni Albers (née Fleischmann) who was a student there. His work in Dessau included designing furniture and working with glass. As a younger art teacher, he was teaching at the Bauhaus among artists who included Oskar Schlemmer, Wassily Kandinsky, and Paul Klee. The so-called form master, Klee taught the formal aspects in the glass workshops where Albers was the crafts master; they cooperated for several years.

With the closure of the Bauhaus under Nazi pressure in 1933 the artists dispersed, most leaving the country. Neither Josef Albers nor his wife Anni spoke a word of English when they left Germany for the United States in 1933 to teach at Black Mountain College, an art and design school that had opened a few months before on a shoestring budget in rural North Carolina. Founded by a radical educationalist John Rice, Black Mountain was committed to experimentation, cross-disciplinarity and the idea that everyone should pitch in, whether it was to teach a class, or fix the plumbing.

The Alberses were defining influences on the school, whose students and teachers included many of the most influential US artists, designers and artisans of the late 20th century, from Cy Twombly and Robert Motherwell, to Willem and Elaine de Kooning. Merce Cunningham formed his first dance company there, John Cage staged his first happening, and they began lifelong collaborations with Robert Rauschenberg. The Alberses persuaded friends to help out, either by teaching like Xanti Schawinsky and Lyonel Feininger, designing buildings like Marcel Breuer and Walter Gropius, or donating books to the library like Alfred Barr and Walker Evans.

Josef Albers taught at Black Mountain College for sixteen years. In 1950 he joined the faculty at Yale University as chairman of the Department of Design.

Ikko Tanaka (Tanaka Ikkō, 1930 – 2002) was a Japanese graphic designer. One of the most significant figures in postwar Japanese graphic design, Tanaka is widely recognized for his prolific body of interdisciplinary work, which includes graphic identity and visual matter for Muji, Seibu Department Stores, Mazda, Issey Miyake, Hanae Mori, Expo 85, and posters for Noh productions and other performances and exhibitions in Japan and beyond. He also was also active in realms of book and exhibition design. His use of bold, polychromatic geometries and harnessing of the dynamic visual potential of typography are undergirded by a sensitivity towards traditional Japanese aesthetics.

Josef Albers

Josef Albers: INTERACTION OF COLOR. New Haven: Yale University Press, 1963. First edition [2,000 copies]. Large quarto (c. 13 x 10 inches). Cloth slipcase containing text volume (cloth, 80 pp.) and cloth chemise-style box with index to plates (wraps, 48 pp.) and eighty folders (13 x 10 inches, opening to 13 x 20 inches) containing the plates, each with a protective tissue to prevent offsetting of the colors. Plates are printed in as many as twenty colors, with a combination of silk-screen (serigraph), four-color separation and photo-offset processes. Cloth slipcase slightly dusty with trivial wear to the glued cloth edges. Contents in uniformly fine condition with little evidence of handling. Overall, a nearly fine copy of this legendary edition.

The text and eighty plates form a summation of Albers' teachings in color relations. He demonstrates the facets of color changes, illusions, and influences produced by the multiple "interactions of color." An indispensable document of modern American art, issued in an unspecified [2,000 copies] limited edition.

Contains color studies by Josef Albers, Karen Allen, Arthur Anderson, Nicolas Apgar, Ruth Asawa, Rosilia N. Avery, Sally Bauer, William Bailey, Joanna Beal, Robert Bryden, Gerald Cinamon, T. Church, J. Clement, Patricia Coughlin, Paul Covington, Ferdinand A. De Vito, Marion Donovan, Rackstraw Downes, Robert Engman, Elinor Evans, Janet Fish, Tom Geismar, Harvey Harris, Eva Hess, T. Holzbog, Isabel Hooker, Warren Jennerjahn, May Kedney, Stephanie Kiefer, Thea Kliros, Eugene Kloszewski, Ursual Loengard, Louis Lo Monico, Joseph McCullough, James Mcnair, Jay Maisel, Keith Malmquist, Amy Meyers, Carl Miller, Elizabeth Moffitt, Richard Nelson, Edward Nussbaum, Melvin Offner, Berit Orr, Patricia Parker, Zdenka Popisil, Don Ray, Lola Roppel, Barry Schactman, Paula Schwartz, Stephanie Scuris, Sewell Sillman, Carol Sirot, Mark Strand, Julian Stanczak, Austin Towle, Hermione Tworkov, Miles Weintraub, Nancy Williams, Wilson Wright, Astrida V. Zarins, Robert Zimmerman, and Robert W. Zimmerman.

“Perhaps the most unusual publication ever to come from a university press, INTERATION OF COLOR represents a summation of the career of one of the most influential teacher-artists of the twentieth century. In Albers’ own words, “it shows a new way of teaching color, of studying color to make our eyes sensitive to the wonders of color interaction.”

“The three sections of this magnificent work — a text by Albers, 81 [sic] large folders reproducing more than 200 color studies, and an accompanying commentary on specific characteristics of single studies — are contained in a specially designed box. The folders, 13 x 20 inches when opened, are coordinated with the text, and illustrate each discussion with sample color studies. Of unusually high quality, they are printed in as many as 20 colors, by silk-screen, four-color separation, and photo-offset processes.

“Their manufacture, supervised by Albers, necessitated the development of a number of technical refinements expressly for this project. Conceived as a guide and teaching aid for artists, instructors, and students, INTERATION OF COLOR will unquestionably become the fundamental work in our time on the nature and the use of color.

“Important note: The nature of the author’s work and the unique conditions of production preclude a reprinting of this masterwork. The edition is limited to 2,000 copies. “ — Yale University Press, 1963

Josef Albers was one of the Bauhaus masters whose arrival in America profoundly influenced American modern art through his teachings at Black Mountain Colleg in North Carolina and later at Yale. Interaction of Color, a masterwork of one of the most influential artists of the twentieth century, is a brilliant display and explanation of the characteristics of color and the conditions under which certain optical phenomena occur.

Josef Albers (1888 – 1976)  was a German-born American artist and educator whose work formed the basis of some of the most influential and far-reaching art education programs of the twentieth century.

Albers enrolled as a student in the Vorkurs of Johannes Itten at the Weimar Bauhaus in 1920. Although Albers had studied painting, it was as a maker of stained glass that he joined the faculty of the Bauhaus in 1922, approaching his chosen medium as a component of architecture and as a stand-alone art form. Walter Gropius, asked him in 1923 to teach in the preliminary course ‘Werklehre' of the department of design to introduce newcomers to the principles of handicrafts.

In 1925, Albers was promoted to professor, the year the Bauhaus moved to Dessau. At this time, he married Anni Albers (née Fleischmann) who was a student there. His work in Dessau included designing furniture and working with glass. As a younger art teacher, he was teaching at the Bauhaus among artists who included Oskar Schlemmer, Wassily Kandinsky, and Paul Klee. The so-called form master, Klee taught the formal aspects in the glass workshops where Albers was the crafts master; they cooperated for several years.

With the closure of the Bauhaus under Nazi pressure in 1933 the artists dispersed, most leaving the country. Neither Josef Albers nor his wife Anni spoke a word of English when they left Germany for the United States in 1933 to teach at Black Mountain College, an art and design school that had opened a few months before on a shoestring budget in rural North Carolina. Founded by a radical educationalist John Rice, Black Mountain was committed to experimentation, cross-disciplinarity and the idea that everyone should pitch in, whether it was to teach a class, or fix the plumbing.

The Alberses were defining influences on the school, whose students and teachers included many of the most influential US artists, designers and artisans of the late 20th century, from Cy Twombly and Robert Motherwell, to Willem and Elaine de Kooning. Merce Cunningham formed his first dance company there, John Cage staged his first happening, and they began lifelong collaborations with Robert Rauschenberg. The Alberses persuaded friends to help out, either by teaching like Xanti Schawinsky and Lyonel Feininger, designing buildings like Marcel Breuer and Walter Gropius, or donating books to the library like Alfred Barr and Walker Evans.

Josef Albers taught at Black Mountain College for sixteen years. In 1950 he joined the faculty at Yale University as chairman of the Department of Design.

Josef Albers

Josef Albers: POEMS AND DRAWINGS. New Haven: The Readymade Press, 1958. First edition [limited to 500 copies]. Text in English & German. Oblong quarto. Thick printed wrappers. Printed textured vellum sleeve.  [68] pp. 17 poems and 22 plates. Book designed and sequenced by Norman Ives. Sleeve darkened at spine with a closed tear at spine crown and a couple of tiny nicks to edges. One page lightly creased due to a binding error. A very good or better copy of this elegant production.

This 9.5 x 8.25 book is the artist’s first authorized poetry collection (most of which unpublished), accompanied by drawings he personally selected, in their first group reproduction; limited to 500 copies design and sequenced by Norman Ives.

From the front sleeve: “Even those who are familiar with the work of Josef Albers may be surprised to find in his verse the same economy of means, direct statement, and penetrating expression which they admire in his paintings... In lines and words Albers creates parallel and complementary forms which at first glance are deceptively clear, until they begin to disclose their multiple meanings.”

In Poems and Drawings Josef Albers attempted to penetrate the meaning of art and life by the simplest, most disciplined means. This project was extremely important to Albers, who used its format to create complementary forms in both word and line that appear deceptively simple until they begin to disclose the author’s insights into nature, art, and life. Conceived as a kind of artist’s book, the publication features 22 of Albers’s refined line drawings alongside the same number of his original poems — each appearing in both English and German.

To distribute material possessions

is to divide them,

to distribute spiritual possessions

is to multiply them. — Josef Albers

Josef Albers (1888 – 1976) was a German-born American artist and educator whose work formed the basis of some of the most influential and far-reaching art education programs of the twentieth century.

Albers enrolled as a student in the Vorkurs of Johannes Itten at the Weimar Bauhaus in 1920. Although Albers had studied painting, it was as a maker of stained glass that he joined the faculty of the Bauhaus in 1922, approaching his chosen medium as a component of architecture and as a stand-alone art form. Walter Gropius, asked him in 1923 to teach in the preliminary course ‘Werklehre' of the department of design to introduce newcomers to the principles of handicrafts.

In 1925, Albers was promoted to professor, the year the Bauhaus moved to Dessau. At this time, he married Anni Albers (née Fleischmann) who was a student there. His work in Dessau included designing furniture and working with glass. As a younger art teacher, he was teaching at the Bauhaus among artists who included Oskar Schlemmer, Wassily Kandinsky, and Paul Klee. The so-called form master, Klee taught the formal aspects in the glass workshops where Albers was the crafts master; they cooperated for several years.

With the closure of the Bauhaus under Nazi pressure in 1933 the artists dispersed, most leaving the country. Neither Josef Albers nor his wife Anni spoke a word of English when they left Germany for the United States in 1933 to teach at Black Mountain College, an art and design school that had opened a few months before on a shoestring budget in rural North Carolina. Founded by a radical educationalist John Rice, Black Mountain was committed to experimentation, cross-disciplinarity and the idea that everyone should pitch in, whether it was to teach a class, or fix the plumbing.

The Alberses were defining influences on the school, whose students and teachers included many of the most influential US artists, designers and artisans of the late 20th century, from Cy Twombly and Robert Motherwell, to Willem and Elaine de Kooning. Merce Cunningham formed his first dance company there, John Cage staged his first happening, and they began lifelong collaborations with Robert Rauschenberg. The Alberses persuaded friends to help out, either by teaching like Xanti Schawinsky and Lyonel Feininger, designing buildings like Marcel Breuer and Walter Gropius, or donating books to the library like Alfred Barr and Walker Evans.

Josef Albers taught at Black Mountain College for sixteen years. In 1950 he joined the faculty at Yale University as chairman of the Department of Design.

“Concerning Art Instruction”

Josef Albers

Josef Albers: BLACK MOUNTAIN COLLEGE BULLETIN 2. Black Mountain, NC: Black Mountain College, 1944. Second printing with revised text and photographic cover.Stapled self wrappers. 8 pp. Revised text from 1934 essay “Concerning Art Instruction” illustrated with a study from the Werklehre class Plastic construction in paper. Edges spotted and fold lightly worn. A very good copy of a rare document.

6 x 9 bulletin presenting Josef Alber’s essay “Concerning Art Instruction,” where he presents an approach to learning color systems which does not follow a rational epistemological path but an immediate ethical and aesthetic relation.

When Rembrandt was asked how one learns to paint, he is said to have answered "One must take a brush and begin." This is the answer of genius which grows without school and even in spite of schooling. At the same time we know that he had a teacher and became a teacher.

Delacroix went further when he wrote in his diary: "How happy I should have been to learn as a painter that which drives the ordinary musician to despair." He meant by this the study of harmony and especially the "pure logic" of the future: "which is the basis of all reason and consistency in music."

These two assertions are not contradictory. They merely emphasize different aspects of an artist's work: on the one hand the intuitive search for and discovery of form; on the other hand the knowledge and application of the fundamental laws of form. Thus all rendering of form, in fact all creative work, moves between the two polarities: intuition and intellect, or possibly between subjectivity and objectivity. Their relative importance continually varies and they always more or less overlap.

I do not wish to assert that the practice of art cannot be learned or taught. But we do know that appreciation and understanding of art can grow both through learning (the development of intuitive perception and discrimination) and through teaching (the handing on of authoritative knowledge). And just as every person is endowed with all the physiological senses,—even if in varying degrees both in proportion and quality,—likewise, I believe, every person has all the senses of the soul (e. g. sensitivity to tone, color, space) though undoubtedly with still greater differences in degree.

It is of course natural for this reason, that the schools should at least begin the development of all incipient faculties. But going farther, art is a province in which one finds all the problems of life reflected—not only the problems of form (e. g. proportion and balance) but also spiritual problems (e. g. of philosophy, of religion, of sociology, of economy). For this reason art is an important and rich medium for general education and development.

If we must accept education as life and as preparation for life, we must relate all school work, including work in art. as closely as possible to modern problems. It is not enough to memorize historical interpretations and aesthetic views of the past or merely to encourage a purely individualistic expression. We need not be afraid of losing the connection with tradition if we make the elements of form the basis of our study. And this thorough foundation saves us from imitation and mannerisms, it develops independence, critical ability, and discipline.

From his own experiences the student should first become aware of form problems in general, and thereby become clear as to his own real inclinations and abilities. In short, our art instruction attempts first to teach the student to see in the widest sense: to open his eyes to the phenomena about him and, most important of all, to open his eyes to his own living, being, and doing. In this connection we consider class instruction indispensable because of the common tasks and mutual criticisms.

Many years' experience in teaching have shown that it was often only through experimenting with the elements in various distinct branches of art that students first recognized their real abilities. As a consequence these students had to change their original plans. As an instance, a student of painting discovered his real talent was for metal working. Our first concern is not to turn out artists. We regard our elementary art work primarily as a means of general training for all students. For artistically gifted students it serves as a broad foundation for every special study.

We have three disciplines in our art instruction: Drawing, Werklehre (work with materials and forms), Color. These are supplemented by exhibitions and discussions of old and modern art of handicraft and industrial products, of typographic and photographic work. The exhibitions are used to point out special intentions (e.g. art related to nature or remote from nature; the so-called primitivism; monumental form, pure form; and realism or imitation) and conditions due to working material (e.g. wood form, stone form, metal form; silver form in the Baroque, and gold in the the Gothic). In addition collections of materials (different woods, stones, metals, textiles, leathers, artificial materials) are shown. By excursions to handicraft and manufacturing plants we seek to develop an understanding of the treatment of material and of working in general (both as matters of technique and as social matters).

Drawing we regard as a graphic language. Just as in studying language it is most important to teach first the commonly understood usage of speech, in drawing we begin with exact observation and pure representation. We cannot communicate graphically what we do not see. That which we see incorrectly we will report incorrectly. We recognize that although our optical vision is correct, our overemphasis on the psychic vision often makes us see incorrectly. For this reason we learn to test our seeing, and systematically study foreshortening, overlapping, the continuity of tectonic and of movement, distinction between nearness and distance.

Drawing consists of a visual and a manual act. For the visual act (comparable with thinking which precedes speaking) one must learn to see form as a three dimensional phenomenon. For the manual act (comparable with speaking) the hand must be sensitized to the direction of the will. With this in mind we begin each drawing lesson with general technical exercises: measuring, dividing, estimating; rhythms of measure and form, disposing, modifications of form. At the same time the motor sense acts as an important corrective.

It will be clear that we exclude expressive drawing as a beginning. Experience shows that in young people this encourages artistic conceit but hardly results in a solid capability which alone can give the foundation and freedom for more personal work.

For this reason our elementary drawing instruction is a handicraft instruction, strictly objective, unadorned through style or mannerism. As soon as capability in handicraft has been fully developed, more individual work may follow. As artistic performance it will develop best afterwards and outside the school. We repeat, our drawing is the study of the most objective representation.

In Werklehre — design with material — we cultivate particularly feeling for material and space. It stands in contrast to a pure manual training in various handicrafts, which only applies traditionally fixed methods of work. We do not aim at "a little bookbinding", "a little carpentry", but rather a general constructive thinking, especially a building thinking, which must be the basis of every work with every material. Werklehre is a forming out of material (e. g. paper, cardboard, metal sheets, wire), which demonstrates the possibilities and limits of materials. This method emphasizes learning, a personal experience, rather than teaching. And so it is important to make inventions and discoveries. The idea is not to copy a book or a table, but to attain a finger-tip feeling for material. Therefore we work with as few tools as possible and prefer material that has been infrequently used, such as corrugated paper, wire, wire netting. With well-known materials we seek to find untried possibilities.

Werklehre deals mainly with two subjects, with matiere studies on the one hand and material studies on the other.

Matiere studies are concerned with the appearance, the surface (epidermis) of material. Here we distinguish structure, facture, texture. We classify the appearances according to optical and tactile perception. We represent them by drawing and other means.

In combination exercises we examine the relationship of different surface qualities. Just as color reacts to and influences color — in contrast or affinity — so one matiere influences another. We call the demonstrations of such relationship combination exercises.
Material studies are concerned with the capacity of materials. We examine firmness, looseness, elasticity; extensibility and compressibility; folding and bending — in short technical properties. These studies in connection with the mathematical inherence of form result in construction exercises. With these we try to develop an understanding and feeling for space, volume, dimension; for balance, static and dynamic; for positive and active, for negative and passive forms. We stress economy of form, that is the ratio of effort to effect.

Comparisons of various examples in architecture, sculpture, painting, help to make clear the conceptions of proportion, function, constellation, and composition as well as those of construction and combination.

In short, Werklehre is a training in adaptability in the whole field of construction and in constructive thinking in general. Although we do not actually make practical things, the Werklehre is not opposed to handicraft work but is its very foundation.

Color we consider first as working material and we study its qualities. Sound production conies before speech, tone before music. And so at first we study systematically the tonal possibilities of colors, their relativity, their interaction and influence on each other, cold and warmth, light intensity, color intensity, physical and spatial effects. We practice translating color combinations into different intensities, and from colorful to colorless colors. We practice color tone scales, color mixtures and interpenetrations. We study the most important color systems, not for the sake of science or to find the harmony of colors in a mechanical way, but to learn to see and feel color. To prepare for a disciplined use of color and to prevent accident, brush, or paint-box from taking authorship.

Even after these fundamental studies that occupy half a year we are not in a hurry to make paintings. The studies that follow, from nature or model, are in principle concerned with the relationship between color, form, and space. Serious painting demands serious study. Rembrandt, at the age of thirty, is said to have felt the need of twenty years of study for a certain color-space problem.

By making an extended study in the three provinces of form, material, and color, we provide a broad foundation for the widest variety of tasks and for later specialization. No problem of form lies outside our field. Thus we do not cultivate dilettantism — just something to do — (Beschaeftigungstrieb) but develop the creative, productive possibilities (Gestaltungstrieb). Class instruction with common tasks and criticisms coming from the students and then from the teacher communicates understanding of different ways of seeing and of representing, and diminishes the tendency to overestimate one's own work.

It will be clear that this method is meant for mature students. For teaching children we should use other methods.

Life is more important than school, the student and the learning more important than the teacher and the teaching. More lasting than having heard and read is to have seen and experienced. The result of the work of a school is difficult to determine while the pupil is in school. The best proofs are the results in later life, not, for example, student exhibitions. Therefore to us the act of drawing is more important than the graphical product; a color correctly seen and understood more important than a mediocre still-life. It is better to be really able to draw a signboard than to be content with unfinished portraits.

We are content if our studies of form achieve an understanding vision, clear conceptions, and a productive will.

                                                                                  — Josef Albers

Black Mountain College (1933 – 1957) was a new kind of college in the United States in which the study of art was seen to be central to a liberal arts education, and in which John Dewey's principles of education played a major role. Many of the school's students and faculty were influential in the arts or other fields, or went on to become influential. Although notable even during its short life, the school closed in 1957 after only 24 years. Founded in 1933 by John Andrew Rice, Theodore Dreier, and other former faculty members of Rollins College, Black Mountain was experimental by nature and committed to an interdisciplinary approach, attracting a faculty that included many of America's leading visual artists, composers, poets, and designers.

The center of the curriculum, we said, would be art. The democratic man, we said, must be an artist. The integrity, we said, of the democratic man was the integrity of the artist, an integrity of relationship…the artist, we said was not a competitor. He competed only with himself. His struggle was inside, not against his fellows, but against his own ignorance and clumsiness…Also just as the artist would not paint his picture with muddy colors, so this artist must see clear colors in humanity; and must himself be clear color, for he too was his fellow artist’s color, sound, form, the material of his art. But, different from pigment, bow, granite, not used up in the use; rather, made more of what he would be, a note within the symphony, the clearer for having been written; giving up, and asked to give up, nothing of himself. That was the integrity of the artist as artist. That should be the integrity of man as man.
                                                                          — John Andrew Rice

Not a haphazardly conceived venture, Black Mountain College was a consciously directed liberal arts school that grew out of the progressive education movement. In its day it was a unique educational experiment for the artists and writers who conducted it, and as such an important incubator for the American avant garde. Black Mountain proved to be an important precursor to and prototype for many of the alternative colleges of today.

I think art parallels life. Color, in my opinion, behaves like a man–in two distinct ways: first in self-realization and then in the realization of relationships with others. In my paintings I have tried to make two polarities meet–independence and interdependence, as, for instance, in Pompeian art. There’s a certain red the Pompeians used that speaks in both these ways, first in its relation to other colors around it, and then as it appears alone, keeping its own face. In other words, one must combine both being an individual and being a member of society. That’s the parallel. I’ve handled color as a man should behave. With trained and sensitive eyes, you can recognize this double behavior of color. And from all this, you may conclude that I consider ethics and aesthetics as one.
                                                                                     — Josef Albers

Josef Albers (1888 – 1976) was a German-born American artist and educator whose work formed the basis of some of the most influential and far-reaching art education programs of the twentieth century.

Albers enrolled as a student in the Vorkurs of Johannes Itten at the Weimar Bauhaus in 1920. Although Albers had studied painting, it was as a maker of stained glass that he joined the faculty of the Bauhaus in 1922, approaching his chosen medium as a component of architecture and as a stand-alone art form. Walter Gropius, asked him in 1923 to teach in the preliminary course Werklehre of the department of design to introduce newcomers to the principles of handicrafts.

In 1925, Albers was promoted to professor, the year the Bauhaus moved to Dessau. At this time, he married Anni Albers (née Fleischmann) who was a student there. His work in Dessau included designing furniture and working with glass. As a younger art teacher, he was teaching at the Bauhaus among artists who included Oskar Schlemmer, Wassily Kandinsky, and Paul Klee. The so-called form master, Klee taught the formal aspects in the glass workshops where Albers was the crafts master; they cooperated for several years.

With the closure of the Bauhaus under Nazi pressure in 1933 the artists dispersed, most leaving the country. Albers emigrated to the United States. The architect Philip Johnson, then a curator at the Museum of Modern Art, arranged for Albers to be offered a job as head of a new art school, Black Mountain College, in North Carolina. In November 1933, he joined the faculty of the college where he was the head of the painting program until 1949.

C. E. B. [Charles E. Burchfield, introduction]

C. E. B. [Charles E. Burchfield, introduction]: JOSEF & ANNI ALBERS [Paintings, Tapestries & Woven Textiles]. Hartford, CT: Wadsworth Atheneum, 1953. Original edition. Slim quarto. Printed stapled wrappers. [16] pp. 5 black and white illustrations. Checklist of 95 items. An uncirculated, fine copy of this elegant little catalog.

6 x 9 stapled catalog with 16 pages and five black and white illustrations for the exhibition at the Wadsworth Atheneum from July 8 to August 2, 1953. A nice vintage souvenir from Hartford’s Wadsworth Atheneum, the first museum in the United States to acquire a piece of artwork produced at the Bauhaus: Chick Austin, Director of the Wadsworth Atheneum from 1927 to 1944 acquired a Marcel Breuer B-34 chair in 1934 for its permanent collection. Alfred Barr, Director of MoMA, wrote to Austin in 1944, "You did everything sooner and more brilliantly than the rest of us." Austin studied at Harvard with Barr and was close friends with Philip Johnson.

Josef Albers (1888 – 1976) was a German-born American artist and educator whose work formed the basis of some of the most influential and far-reaching art education programs of the twentieth century.

Albers enrolled as a student in the Vorkurs of Johannes Itten at the Weimar Bauhaus in 1920. Although Albers had studied painting, it was as a maker of stained glass that he joined the faculty of the Bauhaus in 1922, approaching his chosen medium as a component of architecture and as a stand-alone art form. Walter Gropius, asked him in 1923 to teach in the preliminary course ‘Werklehre' of the department of design to introduce newcomers to the principles of handicrafts.

In 1925, Albers was promoted to professor, the year the Bauhaus moved to Dessau. At this time, he married Anni Albers (née Fleischmann) who was a student there. His work in Dessau included designing furniture and working with glass. As a younger art teacher, he was teaching at the Bauhaus among artists who included Oskar Schlemmer, Wassily Kandinsky, and Paul Klee. The so-called form master, Klee taught the formal aspects in the glass workshops where Albers was the crafts master; they cooperated for several years.

With the closure of the Bauhaus under Nazi pressure in 1933 the artists dispersed, most leaving the country. Neither Josef Albers nor his wife Anni spoke a word of English when they left Germany for the United States in 1933 to teach at Black Mountain College, an art and design school that had opened a few months before on a shoestring budget in rural North Carolina. Founded by a radical educationalist John Rice, Black Mountain was committed to experimentation, cross-disciplinarity and the idea that everyone should pitch in, whether it was to teach a class, or fix the plumbing.

The Alberses were defining influences on the school, whose students and teachers included many of the most influential US artists, designers and artisans of the late 20th century, from Cy Twombly and Robert Motherwell, to Willem and Elaine de Kooning. Merce Cunningham formed his first dance company there, John Cage staged his first happening, and they began lifelong collaborations with Robert Rauschenberg. The Alberses persuaded friends to help out, either by teaching like Xanti Schawinsky and Lyonel Feininger, designing buildings like Marcel Breuer and Walter Gropius, or donating books to the library like Alfred Barr and Walker Evans.

Josef Albers taught at Black Mountain College for sixteen years. In 1950 he joined the faculty at Yale University as chairman of the Department of Design.

Anni Albers (née Annelise Fleischmann; 1899 – 1994) was a textile artist, designer, printmaker, and educator known for her pioneering graphic wall hangings, weavings, and designs. She was born in Berlin, and studied painting under the tutelage of German Impressionist Martin Brandenburg from 1916 to 1919. After attending the Kunstgewerbeschule in Hamburg for two months in 1920, she enrolled at the Bauhaus in 1922. She was assigned to the Weaving Workshop, and she came to approach the discipline with relentless experimentation, regularly incorporating nontraditional materials into her compositions. Upon completing her course of study there in 1929, Anni Albers joined the Bauhaus faculty.

In 1933, Anni and her husband Josef emigrated to North Carolina, where they founded the art department at Black Mountain College. At Black Mountain College, she elaborated on the technical innovations she devised at the Bauhaus, developing a specialized curriculum that integrated weaving and industrial design. It was during this time that she began to avidly collect Pre-Columbian art, in particular textiles. In 1949, she became the first designer to have a one-person show at The Museum of Modern Art, New York; the exhibition Anni Albers: Textiles subsequently traveled to 26 venues throughout the United States and Canada. Following the Alberses' move to New Haven in 1950, Anni Albers shifted her focus primarily to her workshop, spending the 1950s creating mass-reproducible fabrics (including a commission from Walter Gropius for Harvard University), writing, and developing her "pictorial weavings," culminating in the exhibition Anni Albers: Pictorial Weavings at the MIT New Gallery, Cambridge, Massachusetts, in 1959 (traveled to Carnegie Institute of Technology, Pittsburgh; Baltimore Museum of Art; Yale University Art Gallery, New Haven; and Contemporary Arts Museum, Houston).

[Saul Bass: Designer]

[Saul Bass: Designer]: ALUMINUM— THE ARCHITECT’S METAL. Pittsburgh, PA: Aluminum Company of America, 1963. Original edition. Slim square quarto. Glossy stapled wrappers. Vellum dust jacket. 36 pp. Fully illustrated in color with elaborate graphic design throughout. Architects’ dated “Received Stamp” to first page [see scan]. Fragile vellum jacket lightly worn along lower edge, otherwise a fine, fresh copy.

8.25 x 8.75 elaborate stapled booklet with 36 pages devoted to the Architect’s newest and bestest friend: aluminum. With illustrated testimonials from Walter Gropius, Philip Johnson, I.M. Pei and Phillip Will, Jr. Vellum dust jacket features a stylized artists’ rendering of Century City, the soon-to-be-developed 88-building complex in Los Angeles. Uncredited, period correct graphic design by Saul Bass, with the 1963 Bass-designed Alcoa Logo prominently displayed throughout.

The Aluminum Company of America celebrated its 75th anniversary in 1963 with a new logotype designed by Saul Bass. The Bass logo replaced the balanced triangles developed by Harley Earl Associates in the mid-fifties. His mark was made up of triangles that formed a stylized letter A. The old mark was embedded inside it. He also created an entire typeface base on the logo-type. This program would also see a more stringent branding policy where the mark would only be used on Alcoa products and the full name was dropped. The new symbol was unveiled in January 1963, although internal communication started in late 1962. The logo was given a slight retouch in 1999 as part of a new corporate identity program, created by Arnold Saks in New York.

“In the mid-1950s the Aluminum Company of America, ALCOA, organized an extensive Forecast Program to promote the use of aluminum in design and architecture. For this venture ALCOA focused on the designer as ‘the man to stimulate the consuming public with inventive projects for the home’, and invited a range of designers including Isamu Noguchi, Alexander Girard, Charles and Ray Eames and many others to participate. What Alcoa wanted from the designers was not a product to manufacture, but a concept to promote.” —Vitra Design Museum

Saul Bass (Amican, 1920 – 1996) enjoyed a storied career as a graphic designer, whose corporate identity work for companies such as AT&T, Bell Telephone, Esso, and United Airlines provided them with some of the most memorable brand recognition of the 20th century. His film titling work and poster design for Hollywood's greatest studios and directors, however, earned Bass a unique place in American graphic arts.

Born in The Bronx, Bass's passion for drawing and illustration appeared early in life, and he studied at both the famous Art Students League and at Brooklyn College where he came under the influence of Gyorgy Kepes and the full sweep of Russian Constructivist typography and Bauhaus design theory. Though he found some opportunities in New York as a freelance graphic artist, his greatest success came after moving to Los Angeles in 1946. His major breakthrough came by way of a commission from the film director Otto Preminger who asked him to design the titling sequences for "Carmen Jones." Bass transformed an otherwise tedious but necessary preamble to the movie into an exciting, anticipatory experience for theatre viewers.

More commissions from other directors soon followed, including Billy Wilder (The Seven Year Itch) and Robert Aldrich (The Big Knife). Then came the film that firmly established his reputation, Preminger's The Man with the Golden Arm, with its still dazzling sequences and memorable cutout image of the addict's arm. Other famous films bearing Bass's edgy and graphically arresting touch included Hitchcock's Vertigo, North by Northwest, and Psycho; Kubrick's Spartacus and The Shining; Scorsese's Goodfellas and Casino; and Speilberg's Schindler's List. Though Bass claimed to have directed Janet Leigh's shower scene sequence in Psycho, most sources credit him only with helping to prepare the storyboards.

Bass also directed the science fiction/horror film, Phase IV, and designed posters for the 1984 Los Angeles Olympic Games and for the Academy Awards celebrations from 1991-1996. His most memorable quote was "Symbolize and summarize."

Walter Allner [Designer]

Walter Allner [Designer]: NAPLES. Lissone, Italy: Arti Grafiche Meroni, [1984]. Original impression. 26.5 x 38 - inch [67.31 x 96.52 cm] trim size image printed via offset lithography on a semi-gloss sheet. A fine, fresh example.

26.5 x 38 - inch [67.31 x 96.52 cm]poster designed by Walter Allner  “A poster commissioned by Napoli ’99 Foundation as a contribution towards the cultural image of the city.”

The Naples NinetyNine Foundation sponsored a series of 25 posters from 1984 – 1986 with the primary objective of contributing to the knowledge, promotion and enhancement of cultural heritage of Naples and Southern Italy.

The 25 participating designers were Walter Allner, Stuart B. Ash, Saul Bass, Bruce Blackburn, Pierluigi Cerri, Ivan Chermayeff, Giulio Confalonieri, Heinz Edelmann, Gene Federico, Alan Fletcher, Jean-Michel Folon, André François, Milton Glaser, Tomás Gonda, F H K Henrion, David Hillman, Takenobu Igarashi, Mervyn Kurlansky, Italo Lupi, John Mcconnell, Armando Milani, Art Paul, Tullio Pericoli, Arnold Schwartzman, and Massimo Vignelli.

Their interpretations of the city cover a wide range of themes: architecture, poetry, music, the earthquake, pollution, Vesuvius. The 25 posters have been exhibited in Naples, Rome, Los Angeles, Dundee, and Lahti. The project won the award for the best social graphics at the 1987 Lahden Biennal Exhibition. Collect them all!

Walter Allner (1909 – 2006) was a noted designer, typographer and painter was trained at the Bauhaus under Josef Albers, Vasily Kandisky and Joost Schmidt. He also worked for a short time with Otto Neurath, inventor of the Isoype, at the Österreichisches Gesellschafts und Wirtschaftsmuseum in Vienna. He also worked briefly with Piet Zwart, the influential Dutch typographer.

Allner worked for Graphis Paris from 1945 to 1948 and emigrated to the United States in 1949 where he worked for several corporate clients, including Johnson and Johnson (1954-1955) and RCA Records, (1965-1967) as well as the American Cancer Society, I.T.T. and I.B.M. He is most noted for his tenure as Art Director at Fortune magazine from 1962 to 1974.

He personally created 79 covers for Fortune magazine and was known for his innovative use of computers in his design. He is recognized as the designer of the first computer-generated cover of a national magazine for the annual Fortune 500 issue. "Long before the personal computer revolutionized the methods used to produce graphic design, Mr. Allner predicted the integration of aesthetics and advanced technology, and so worked directly with computer engineers whenever he could." (Heller)

Allner left Fortune magazine in 1974 and taught and lectured and as Steven Heller writes, his motto was "Raise the aesthetic standard - the public is more perceptive than you think."

WARENKATALOG DES SCHWEIZERISCHEN WERKBUNDES 1960
CATALOGUE SUISSE DE L'EQUIPEMENT 1960
SWISS CATALOGUE OF GOODS 1960]

Alfred Altherr [Editor] and Richard P. Lohse [Designer]

Alfred Altherr [Editor] and Richard P. Lohse [Designer]: WOHNEN HEUTE 3 | L'HABITATION MODERNE 3 | THE HOME TODAY 3 [WARENKATALOG DES SCHWEIZERISCHEN WERKBUNDES 1960 | CATALOGUE SUISSE DE L'EQUIPEMENT 1960 | SWISS CATALOGUE OF GOODS 1960]. Teufen AR: Arthur Niggli Ltd., 1960. First edition. Text in German, French and English. Square quarto. Thick perfect bound and letterpress scored printed glossy wrappers. 168 pp. 225 black and white illustrations. Designed by Richard P. Lohse. Faint wear overall. Interior unmarked and very clean. Out-of-print. A nearly fine copy. Rare.

8.25 x 8.25 softcover book with 168 pages and approx. 225 black and white illustrations of Swiss Furniture, Textiles, Lamps and Appliances [for the household and office]. Introduction by Alfred Altherr. Captions include material[s] used in the piece, its weight/dimensions, designer and year. At the back there's an index of approximate prices for each piece as well [read them and weep].

This is the third volume in the series published by The Schweizerische Werkbund SWB (Swiss Association of Art and Industry). "The Home Today 3" was designed by Richard P. Lohse and is a striking example of 1950s' Swiss Typography: square format, sans-serif type (Akzidenz-Grotesk titles), and a grid-based, multi-column (parallel language) layout.

Designers include Alfred Altherr, Gottfried Anliker, Jurg Bally, R. Baltensweiler, Hans Bellmann, A. Berling, Max Bill, Peter Christoffel, Hans Coray, Peter Derron, Edi Franz, Pierre Gauchat, Hans Gugelot, Willy Guhl, Robert Gutmann, Hanni Handschin, Helen Hausmann, Robert Haussmann, Josef Hoffmann, G. Honegger-Lavater, Florence Knoll, Max Konig, Kunstgewerbeschule Zurich, Wilhelm Kienzle, Heinz Loeffelhardt, Walter Muller, Kurt Naef, Carl Pott, Fernand Renfer, Benedikt Rohner, Eero Saarinen, Ursula Schneider, Artur P. Staubli, Wilhelm Wagenfeld, Kathi Wenger, Kurt Wiesendanger, Tapio Wirkkala, Walter Wirz, Works Design, Emil Roth, Otto Senn, Gebr. Scharli, Hans Scmidt and Albert Steiner among many others.

Richard Paul Lohse (1902 - 1988) was a Swiss printmaker and painter who adopted Concrete art in the 1940's. He then began producing paintings that were mathematically produced patterns, normally of grids. Despite its rigid process, his work has been praised for its beauty and sophisticated color. Lohse gained an international reputation after 1950. His subsequent book design can be viewed as a theoretical extension of the Zurich Concrete Art movement.

In 1958 Lohse and three other Zurich-based graphic designers launched a new magazine simply called "Neue Grafik." These designers were Josef Muller-Brockmann (1914 - 1996), Hans Neuburg (1904 - 1983), and Carlo Vivarelli (1919 - 1986). These designer/editors signed some of their jointly written articles with the acronym LMNV, formed from their initials.

Julien Alvard and R.V Gindertael

Leon Degand [introduction]

Julien Alvard and R.V Gindertael, Leon Degand [introduction]: TEMOIGNAGES POUR L'ART ABSTRAIT 1952. Paris: Editions d'Art d'Aujourd'hui, 1952. First edition [published in an edition of 1500 copies]. Text in French. Square quarto. Thick paper boards. Printed and fitted vellum wrappers. 295 pp. 27 color pochoir plates. 200 black and white gravure reproductions. 32 artist portraits. Vellum wrappers lightly chipped and sun darkened at spine. Gift inscription on front free endpaper. Light spotting throughout, including plates and plate margins, but none too objectionable.  Textblock edges spotted. A  good copy in a very good set of vellum wrappers. Rare. Extant copies rarely come to market due to the inclusion of 27 spectacular pochoir plates, as well as the additional 3 black and white plates.

If you are looking for a copy of this book to break the plates, thank you for stopping by and please keep looking. 

8 x 9.5 softcover book [Testimony for Abstract Art] dedicated to profiling and presenting 34 contemporary Postwar abstract artists. Printed in a limited edition by Editions d'Art d'Aujourd'hui in March 1952. It is easy to see why the 27 pochoir plates found here are frequently offered as individual prints -- the pochoir colors are remarkably vibrant and strongly resemble seriagraphs. The artist portraits by S. Vandercam are printed in gravure, and the remaining 200 black and white plate and text images are printed via standard offset lithography.

Includes full-page pochoir plates by Alberto Magnelli [x 3], Jean Arp [with E. Pillet], Andre Bloc, Silvano Bozzolini, Chapoval, Sonia Delaunay, Del Marle, Jean Dewasme, Jean Deyrolle, Cicero Dias, Cesar Domela, Adolf Richard Fleishmann, Jean Gorin, Auguste Herbin [x 2], Andre Lanskoy, Jean Leppien, Richard Mortensen, Edgar Pillet, Serge Poliakoff, Marie Raymond, Alfred Reth, Nicolas De Stael, Victor Vasarely, and Far-El-Nissa Zeid.

Includes full-page pochoir plates by Emile Gilioli, Robert Jacobsen and Berto Lardera.

Illustrated sctions on E. Beothy, Alexander Calder, Naum Gabo, Anton Pevsner, Day Schnabel, and Julien Alvard are also included.

Many of the leading artists of the day contributed original prints to this survey of abstraction. Arp's longstanding interest in collaborative art is evident in this print, which is credited to Jean Arp and Edgard Pillet. Arp also collaborated with Sonia Delaunay and with his wife Sophie Tauber-Arp, among others.

From "The Art of the Pochoir Book" exhibition at the University of Cincinnati: "The effect is arresting: paging through the leaves of a pochoir-illustrated book, the reader is abruptly stopped by the extraordinary effects of lush, vibrant colors and bold geometric shapes. Bright oils and watercolors seem to come alive on the page in an almost three-dimensional experience. These volumes, with their focus on patterns and color interactions, use a stenciling technique to present decorative arts and the possibilities of book printing.

". . . Pochoir is the French word for stenciling, a form of coloring pictures that dates to a thousand years ago in China. It was introduced to commercial publishing in France in the late 1800s, and there it had its most exquisite expression. The pochoir process would use from 20 to 250 different stencils applied to a black-and-white collotype print from a photograph. The collotypes are affixed to stencil sheets of metal or board, and the patches to be colored are cut out. Each color to be applied uses a separate pompon, or brush of coarse, shortly-cropped animal hair, to sponge or dab on the paint. Each stencil is done in turn until the image is finished, so it is essential to place the stencils exactly in position.

"Though pochoir illustration had its heyday in the 1920s, with Paris as its center of greatest artistic production, several places produced pochoir books during this decade, including London, Florence, New York, and the avant-garde publishers of Prague and other Eastern European cities. In the United States, pochoir gave way quite early to related methods like serigraphy and silk-screening. Occasionally today some fine press books are illustrated using the pochoir method, but its most sumptuous flowering eight decades ago represents a remarkable era in the history of the book."

Ludwig Glaeser, Emilio Ambasz [Designer]

New York: Museum of Modern Art, September 1968. First edition. Slim quarto. Thermographically printed black saddle stitched wrappers. 24 pp. 20 black and white illustrations. Housed in maling envelope that doubles a 17.25-inch square poster [folded as issued, see scan]. Poster neatly and partially split along one fold. Withdrawn  and Kimbell Art Museum library stamp to textblock margin. Two photocopied text pages attached inside rear cover dealing withe the specifics of Louis I. Kahn’s designs for the Kimbell Art Museum, collated by Kimbell Art Museum Curator of Architecture Doctor Patricia Cummings Loud. A very good copy of this unique edition.

8.25 x 8.25-inch softcover exhibition catalog with 24 pages and 20 black and white images, designed by Emilio Ambasz for the MoMA show on view from September 24 to November 11, 1968. Includes work by Ludwig Mies van der Rohe, Frank lloyd Wright, Le Corbusier, Junzo Sakakura, Philip Johnson, I. M. Pei, Franco Albini, Gordon Bunshaft of SOM, Kevin Roche John Dinkeloo & Associates, Manfred Lehmbeck, Amancio Williams, and others.

Doctor Patricia Cummings Loud (Beaumont, TX 1930 – 2021) served as Curator of Architecture at the Kimbell Art Museum in Fort Worth, Texas from 1981 until her retirement. As Curator and Archivist, Doctor Loud presented the public face of the Kimbell to the Architectural pilgrims who trekked from around the globe to Fort Worth to experience the magic of Louis Kahn’s temple of light.

She wrote “One visitor recently told me that she had merely stopped by to “bathe” in Louis Kahn’s luminous spaces; she would come back another time to see the special exhibition currently on view. She seemed to be saying that the building’s environment was enough for a spiritual lift even when there was not enough time to look thoughtfully at art. The art of architecture was fulfilling its role.”

Doctor Loud received her Bachelor of Fine Arts from the University Texas, Austin, in 1951; Master of Arts, Radcliffe College, Cambridge, Massachusetts, 1954; Master of Arts, Harvard University, Cambridge, Massachusetts, 1954; and her Doctorate of Philosophy in Fine Arts, again from Harvard University, 1990.

During her teaching career, she served as a Ford fellow in Art History, Brown University, Providence, Rhode Island, 1956—1960; a Senior Resident Cabot Hall Radcliffe College, 1964—1968; a Lecturer University of Connecticut, Groton, Connecticut, 1971—1972; and an Instructor at Texas Christian University, Fort Worth, 1972—1976. She then moved into Arts administration as the Executive Assistant at the Van Cliburn Foundation, 1980—1981.

She was an honorary Member of the American Institute of Architects, and a Member of the Dallas Architect Association, the Society Architect Historians, the College Art Association, and the 1998 recipient of the honorary John G. Flowers award from the Texas Society Architects.

A Press Release from the Museum of Modern Art states: “Architecture of Museums will be on view at The Museumof Modern Art from September 25 through November 11. Directed by Ludwig Glaeser, Curator of Architecture and Design, the exhibition consists of models, photo murals, and color transparencies of seventy-one museums. While most of the examples were built during the ‘50s and ‘60s, several designs still under construction are shown as well as a few important historical prototypes and unrealized 20th-century projects.

“Selected at a time when museum building has reached unprecedented proportions, the exhibition is relevant to the current debate on the function of museums in our society, "The educational role intended for the museum has not only been revived but increased t o an unforeseeable extent, " Mr. Glaeser points out in the exhibition catalogue,' ' "Yet despite these new tasks, the museum can never deny its original function of housing: art , Even the most rebellious contemporary work, if i t survives the judgment of time , will become a treasure. Architecture that acknowledges this fundamental nature of the museum can arrive at solutions unattainable by accommodations based exclusively on temporary and often undefinable functions. This is why some of the most successful new museums have been established in renovated European castle s and palaces, " Underground museums, open air museums, variations on the blank-walled solid cubic form and museums recently remodelled in old building s have been selected for the exhibition from twenty-two countries.

“Museums devoted entirely to 20th-century art, a Pavilion for Antique Toys, a National Museum of Anthropology, a Gallo-Roman Lapidary in Belgium, the Peace Memorial in Hiroshima, a Spanish Museum of Architecture, a Theatre and Science Museum, and a Cabinet of Prints and Drawings in the Uffizi in Florence are among the buildings that illustrate such practical aspects of museum design as lighting and installations in solutions which contribute to the broader concept of the museum. "In addition to their architectural excellence," Mr. Glaeser says, 'the examples chosen suggest an ambiance coordinated to the immanent values of the collection and to the contemplative moments of the viewer."

“Among those architects whose work contributed to new techniques, none has applied his concepts more consistently to exhibition design than Mies van der Rohe. Paintings as well as sculptures are used as if they were walls and columns defining an open space. This concept requires the large uninterrupted space that appears first in his 1962 project, the museum for a Small City, then in Cullen Hall built in Houston, Texas, and finally the recently completed New National Gallery in Berlin. This is shown in a large mural, plans, and a model.

“Le Corbusier, a painter as well as architect, projected museums throughout his life. In addition to his concern for studio-like lighting, a recurrent theme in his designs is the spiral plan, not only does it permit unlimited additions but it also reflects his notion of exhibitions as didactic, expository sequences which predetermine the viewer's movement. Among the seven examples of Corbusier's work in the exhibition are his first square spiral scheme, the world museum project of 1929, the Cultural Center designed in 1954 for Ahmedabad in India, and his 1959 National Museum of Western Art in Tokyo.

“Frank Lloyd Wright amplified both Le Corbusier's and Mies van der Rohe's ideas in the Guggenheim Museum In Nexr York by enclosing a large domed hall in a continuous spiral ramp. The 1945 model for the Museum is shown along with a photo mural of the interior.

“A section of the exhibition deals with open-air museums or sculpture courts which are incorporated into most museums built today, ''Few museums can provide adequate space for sculpture, and the traditional outdoor architectural setting remains the most suitable exhibition environment. The Renaissance again provides the prototypical examples," Mr. Glaeser says, citing the sculpture-filled garden of Bramante's Belvedere Pavilion in the Vatican.

“Today's architectural settings include terraced gardens, like the Abby Aldrich Rockefeller Sculpture Garden of The Museum of Modern Art, walled courts, or open ended pavilions, like Aldo van lilyck's compostion in Sonsbeek Park. In some instances the entire setting has been roofed and regarded a building, as in the Lehmbruck Museum designed by the sculptor's son Manfred. The adaptation of an existing structure to better suit museum purposes was the first stage in museum architecture, Glaeser points out, and is still one of the most successful solutions. "Italian architects are renowned for their renovation of buildings and reorganization of collections. Their success has depended upon the cooperation of museum directors willing to surrender some of their prerogatives to architects. " The extent of the renovation, shown in the exhibition, varies from Carlo Scarpa's adapted original interior in the Museo Correr in Venice to the introduction of completely new interiors in the Pinacoteca at Bologna.”

American Abstract Artists

[American Abstract Artists]: AMERICAN ABSTRACT ARTISTS 1938. New York: Metropolitan Printers, Inc. for American Abstract Artists, 1938. First edition. Quarto. Printed wrappers.. Unpaginated. 46 black and white plates. 11 essays. Covers lightly soiled and rubbed, with a chipped spine heel. Former owner signature to title page. Thumbnail size impression to upper edge of textblock, affecting neither artwork nor text. A nearly very good copy of this fragile production. Scarce.

6.25 x 9.25 softcover yearbook with 46 black and white plates and 11 essays. AAA Officers for 1938: Carl Robert Holty, Chairman; Harry Holtzman, Secretary; and Paul Kelpe, Treasurer.

Contents:

• Charles G. Shaw: A Word to the Objector
• Albert Swiden: On Simplification
• George L. K. Morris: The Quest for an Abstract Tradition
• Robert Jay Wolff: Toward a Direct Vision
• Harry Holtzman: Attitude and Means
• Alice Mason: Concerning Plastic Significance
• Rosalind Bengelsdorf: The New Realism
• Ibram Lassaw: On Inventing our Own Art
• Ralph Rosenborg: Non-Objective Creative Expression
• Frederick Kann: In Defense of Abstract Art
• Balcomb Greene: Expression as Production

Contains work by Beckford Young, Ibram Lassaw, Frederick Kann, Balcomb Greene, David Smith, Herzl Emmanuel, Warren Wheelock,  Anna Cohen, A. N. Christie, Ilya Bolotowsky, Byron Browne, Charles G. Shaw, Vaclav Vytlacil, Leo Lances, Ray Kaiser, Jeanne Carles (also called Mercedes Carles, later Mercedes Matter), Robert Jay Wolff, Fritz Glarner,  Josef Albers, Gertrude Greene, A. E. Gallatin, Agnes Lyall, Florence Swift, Esphyr Slobodkina, Janet Young, Harry Bowden,  Rosalind Bengelsdorf, George L. K. Morris, Werner Drewes, Haaniah Harari, Ralph M. Rosenborg, Rupert Davidson Turnbull, Carl Robert Holty, Susie Frelinghuysen, Paul Kelpe, Albert Swiden, Dorothy Joralemon,  Louis Schranker, Margaret Peterson, Wilfrid Zogbaum, Giorgio Cavallon, Rudolph Weisenborn, Harry I. Wildenberg, and Frederick J. Whiteman.

American Abstract Artists was founded in 1936 in New York City, at a time when abstract art was met with strong critical resistance. During the 1930s and early 1940s, AAA provided exhibition opportunities when few existed. Its publishing, panels and lectures provided a forum for discussion and gave abstract art theoretical support in the United States. AAA was a predecessor to the New York School and Abstract Expressionism, and contributed to the development and acceptance of abstract art in the United States. American Abstract Artists is one of the few artists’ organizations to survive from the Great Depression and continue into the 21st century.

Here is the Editorial Statement from American Abstract Artists 1938 Yearbook:

By the fact of their active existence and production, the American Abstract Artists express the authenticity and autonomy of the modern art movement in the United States. The word abstract is incorporated into our title as a provisional gesture so that we can be identified as a particular group in our effort to clarify growing and actively significant concepts of art.

Abstract, like so many other words, is too often used as an idiosyncratic suggestion, rather than as a concept which defines particular values. To understand abstract art is, in reality, no more a problem than understanding any and all art. And this depends upon the ability of the individual to perceive essentials, to perceive that which is called universally significant, and to evaluate the unity and relationship that is contained in any work.

As the first and only comprehensive organization of its type in the United States, we are faced with the familiar problem of a largely unsympathetic and biased criticism, a criticism which merely negates, condemns, or ridicules. There is, however, a more encouraging response to our exhibitions and lectures, a response that could be especially experienced only by the form and action of a representative and authentic organization. Individuals working and studying against the odds of isolation can now be articulate and related to others working in similar directions.

The membership of this group is homogeneous to the extent of its recognition of the mutual problems and limitations, and in its willingness to cooperate in the presentation and solution of these problems. We are, as in any group, heterogeneous and diverse in our concepts.

To place artistic, or any cultural effort on the level of a competition is to negate the method and meaning of knowledge. American Abstract Artists dedicates itself to the problems of the artist and student, presented in the terms of method and activity that define the artist; and limits itself accordingly for the purpose of clarification. As to the question of which aspects of life affect the artist in his effort, this is demonstrated by the character and efficacy of his activity and production; for this we present the individual artist.

No educated intelligence can draw the so-called line of national culture as an ambition and objective, without discerning its ambiguity. Beside being impossible, such a misconception is a negation of the very essence of cultural effort; the general heightening and application of knowledge. To make this negation may be politically expedient but it serves only to preserve and sway ignorance. While knowledge belongs to no nationality, particular nations do exist, and each nation has, and is, a peculiar and limited cultural development.

Considering the tempo of present political history and the importance of the various fields of knowledge in relationship to it, we can do nothing better than emphasize tha the contemporary must respect the interpretation and concatenation of all culture. True culture is recognizable when established from the standpoint of scientific thought and effort. For us it is established through the freedom to develop facilities and to maintain their proportional distribution, as civilized achievements, toward the enlivenment of existence—an unequivocal application toward the physical and psychic benefit of all humanity.

For these reasons, American Abstract Artists was formed in November of 1936. It has now attained a national scope and is more active in 1938. —The Editors

George L. K. Morris [essay]

New York: Metropolitan Printers, Inc. for American Abstract Artists, 1939. First edition. Quarto. Blue card covers decorated in red and black. Red plasti-comb binding. [100] pp. 42 collotype plates representing work by forty-two artists, with biographical notes opposite each plate except one. Introductory essay. Exhibition list. Blue covers lightly soiled and rubbed. The red plasti-comb binder is clean and intact. A very good of this fragile and elaborate production. Rare thus.

7.5 x 10 plastic-bound yearbook with 42 full-page collotype plates representing work by forty-two artists, with biographical notes opposite each plate. Introductory essay by George L.K. Morris; list of AAA exhibitions, 1937-1939.

Contains 42 full-page collotypes from Josef Albers, Rosalind Bengelsdorf, Ilya Bolotowsky, H. Bowden, Byron Browne, Giorgio Cavallon, A. N. Christie, [?] Cohen, Werner Drewes, John Ferren, Susie Frelinghuysen, A. E. Gallatin, Fritz Glarner, Durnell Grant, Balcomb Greene, Gertrude Greene, Haaniah Harari, Carl Robert Holty, Harry Holtzman, Dorothy Joralemon, Ray B. Kaiser, G. Kamrowski, Frederick Kann, Paul Kelpe, Ibram Lassaw, Alice Trumbull Mason, George I. McNeil, George L. K. Morris, I. Rice Pereira, A. D. F. Reinhardt, Ralph M. Rosenborg, Louis Schranker, Charles G. Shaw, Esphyr Slobodkina, David Smith, Albert Swiden, Rupert Davidson Turnbull, Vaclav Vytlacil, Warren Wheelock, Harry I. Wildenberg, Robert Jay Wolff, and Wilfrid Zogbaum.

AAA Officers for 1939: Balcomb Greene, Chairman; Albert Swiden, Secretary; and Paul Kelpe, Treasurer.

American Abstract Artists was founded in 1936 in New York City, at a time when abstract art was met with strong critical resistance. During the 1930s and early 1940s, AAA provided exhibition opportunities when few existed. Its publishing, panels and lectures provided a forum for discussion and gave abstract art theoretical support in the United States. AAA was a predecessor to the New York School and Abstract Expressionism, and contributed to the development and acceptance of abstract art in the United States. American Abstract Artists is one of the few artists’ organizations to survive from the Great Depression and continue into the 21st century.

Here is the Editorial Statement from American Abstract Artists 1938 Yearbook:

By the fact of their active existence and production, the American Abstract Artists express the authenticity and autonomy of the modern art movement in the United States. The word abstract is incorporated into our title as a provisional gesture so that we can be identified as a particular group in our effort to clarify growing and actively significant concepts of art.

Abstract, like so many other words, is too often used as an idiosyncratic suggestion, rather than as a concept which defines particular values. To understand abstract art is, in reality, no more a problem than understanding any and all art. And this depends upon the ability of the individual to perceive essentials, to perceive that which is called universally significant, and to evaluate the unity and relationship that is contained in any work.

As the first and only comprehensive organization of its type in the United States, we are faced with the familiar problem of a largely unsympathetic and biased criticism, a criticism which merely negates, condemns, or ridicules. There is, however, a more encouraging response to our exhibitions and lectures, a response that could be especially experienced only by the form and action of a representative and authentic organization. Individuals working and studying against the odds of isolation can now be articulate and related to others working in similar directions.

The membership of this group is homogeneous to the extent of its recognition of the mutual problems and limitations, and in its willingness to cooperate in the presentation and solution of these problems. We are, as in any group, heterogeneous and diverse in our concepts.

To place artistic, or any cultural effort on the level of a competition is to negate the method and meaning of knowledge. American Abstract Artists dedicates itself to the problems of the artist and student, presented in the terms of method and activity that define the artist; and limits itself accordingly for the purpose of clarification. As to the question of which aspects of life affect the artist in his effort, this is demonstrated by the character and efficacy of his activity and production; for this we present the individual artist.

No educated intelligence can draw the so-called line of national culture as an ambition and objective, without discerning its ambiguity. Beside being impossible, such a misconception is a negation of the very essence of cultural effort; the general heightening and application of knowledge. To make this negation may be politically expedient but it serves only to preserve and sway ignorance. While knowledge belongs to no nationality, particular nations do exist, and each nation has, and is, a peculiar and limited cultural development.

Considering the tempo of present political history and the importance of the various fields of knowledge in relationship to it, we can do nothing better than emphasize tha the contemporary must respect the interpretation and concatenation of all culture. True culture is recognizable when established from the standpoint of scientific thought and effort. For us it is established through the freedom to develop facilities and to maintain their proportional distribution, as civilized achievements, toward the enlivenment of existence—an unequivocal application toward the physical and psychic benefit of all humanity.

For these reasons, American Abstract Artists was formed in November of 1936. It has now attained a national scope and is more active in 1938. —The Editors

John R. Lane and Susan C. Larsen [Editors]

John R. Lane and Susan C. Larsen [Editors]: ABSTRACT PAINTING AND SCULPTURE IN AMERICA 1927-1944. Pittsburgh and New York: Museum of Art, Carnegie Institute and Abrams, 1983. First edition. Quarto. Thick photo illustrated wrappers. 256 pp.  tipped-in color frontis. 63 color images, 149 black and white images. Wrappers with minor shelf wear. Interior unmarked and very clean. Out-of-print. A very good or better copy.

8.5 x 11 softcover book with 256 pages and 212 illustrations, 63 in color and a tipped-in full-color frontispiece. Published in conjunction with an exhibition of the same name: Museum of Art, Carnegie Institute, Pittsburgh [Nov 5-Dec 31, 1983]; San Francisco Museum of Modern Art [Jan 26-March 25, 1984]; The Minneapolis Institute of Arts [April 15-June 3, 1984]; Whitney Museum of American Art, New York [June 28-Sept 9,1984]. Thoughtfully and beautifuly designed and printed on glossy stock.

Artists include Josef Albers, Charles Biederman, Ilya Bolotowsky, Byron Browne, Alexander Calder, Stuart Davis, Willem de Kooning, Burgoyne Diller, Werner Drewes, John Ferren, Suzy Frelinghuysen, A. E. Gallatin, Fritz Glarner, Arshile Gorky, John Graham, Balcomb Greene, Gertrude Greene, Jean Helion, Hans Hofmann, Carl Holty, Harry Holtzman, Raymond Jonson, Paul Kelpe, Ibram Lassaw, Fernand Leger, Alice Trumbull Mason, Jan Matulka, Laszlo Moholy-Nagy, Piet Mondrian, George L. K. Morris, Isamu Noguchi, Irene Rice Pereira, Ad Reinhardt, Theodore Roszak, Rolph Scarlett, John Sennhauser, Charles Shaw, Esphyr Slobodkina, David Smith, John Storrs, Albert Swinden, Vaclav Vytlacil and Jean Xceron.

Contents

• Lenders to the Exhibition
• Contributing Authors
• Foreword by John R. Lane
• The Meanings of Abstraction by John R. Lane
• The Quest for an American Abstract Tradition, 1927-1944 by Susan C. Larsen
• Art and Artists: each artist entry includes a photo-portrait of the artist, a short biography, a short essay and reproductions of their work
• Catalogue
• Selected bibliography
• Index
• Photograph credits

American Abstract Artists was founded in 1936 in New York City, at a time when abstract art was met with strong critical resistance. During the 1930s and early 1940s, AAA provided exhibition opportunities when few existed. Its publishing, panels and lectures provided a forum for discussion and gave abstract art theoretical support in the United States. AAA was a predecessor to the New York School and Abstract Expressionism, and contributed to the development and acceptance of abstract art in the United States. American Abstract Artists is one of the few artists’ organizations to survive from the Great Depression and continue into the 21st century.

Here is the Editorial Statement from American Abstract Artists 1938 Yearbook:

By the fact of their active existence and production, the American Abstract Artists express the authenticity and autonomy of the modern art movement in the United States. The word abstract is incorporated into our title as a provisional gesture so that we can be identified as a particular group in our effort to clarify growing and actively significant concepts of art.

Abstract, like so many other words, is too often used as an idiosyncratic suggestion, rather than as a concept which defines particular values. To understand abstract art is, in reality, no more a problem than understanding any and all art. And this depends upon the ability of the individual to perceive essentials, to perceive that which is called universally significant, and to evaluate the unity and relationship that is contained in any work.

As the first and only comprehensive organization of its type in the United States, we are faced with the familiar problem of a largely unsympathetic and biased criticism, a criticism which merely negates, condemns, or ridicules. There is, however, a more encouraging response to our exhibitions and lectures, a response that could be especially experienced only by the form and action of a representative and authentic organization. Individuals working and studying against the odds of isolation can now be articulate and related to others working in similar directions.

The membership of this group is homogeneous to the extent of its recognition of the mutual problems and limitations, and in its willingness to cooperate in the presentation and solution of these problems. We are, as in any group, heterogeneous and diverse in our concepts.

To place artistic, or any cultural effort on the level of a competition is to negate the method and meaning of knowledge. American Abstract Artists dedicates itself to the problems of the artist and student, presented in the terms of method and activity that define the artist; and limits itself accordingly for the purpose of clarification. As to the question of which aspects of life affect the artist in his effort, this is demonstrated by the character and efficacy of his activity and production; for this we present the individual artist.

No educated intelligence can draw the so-called line of national culture as an ambition and objective, without discerning its ambiguity. Beside being impossible, such a misconception is a negation of the very essence of cultural effort; the general heightening and application of knowledge. To make this negation may be politically expedient but it serves only to preserve and sway ignorance. While knowledge belongs to no nationality, particular nations do exist, and each nation has, and is, a peculiar and limited cultural development.

Considering the tempo of present political history and the importance of the various fields of knowledge in relationship to it, we can do nothing better than emphasize tha the contemporary must respect the interpretation and concatenation of all culture. True culture is recognizable when established from the standpoint of scientific thought and effort. For us it is established through the freedom to develop facilities and to maintain their proportional distribution, as civilized achievements, toward the enlivenment of existence—an unequivocal application toward the physical and psychic benefit of all humanity.

For these reasons, American Abstract Artists was formed in November of 1936. It has now attained a national scope and is more active in 1938. —The Editors

David Reed [foreword]

Original edition. Slim quarto. Printed stapled wrappers. 72 pp. 8 color plates and 66 black and white illustrations. Essays, membership rosters, exhibition checklist. A fine, fresh copy.

8 x 9.75 softcover catalog with 72 pages, 8 color plates and 66 black and white illustrations for the show originating at the Bronx Museum for the Arts, February 6 – April 20, then travelling to the Hillwood Art Gallery, Long Island University, C.W. Post Campus, from October 1 – 24, 1986. Includes essays by Judy Collischan Van Wagner and Philip Verre.

“This organization’s oft-recounted origins . . . can be considered pivotal to a concentrated emphasis on abstract art in this county, to the evolution of New York City as a center for art, and to the recognition of American art on a par with that of Europe.”— Judy Collischan Van Wagner

Includes color plates by John Opper, Balcomb Greene, Gertrude Greene, Byron Browne, Alice Trumbull Mason, Werner Drewes, Vaclav Vytlacil, and Esphyr Slobodkina.

And black and white plates by George [Giorgio] Cavallon, Hananiah Harari, Albert Swinden, Rosalind Bengelsdorf, Louis Schanker, Carl Holty, Josef Albers, Charles G. Shaw, George L. K. Morris, Ibram Lassaw [X 2],  Herzl Emmanuel, Ilya Bolotowsky, George Mcneil, Esphyr Slobodkina [X 2], Susie Frelinghuysen, Jene Highstein, Doug Sanderson, Gary Golkin, Lewin Alcopley, Tom Doyle, Merrill Wagner, Ruth Eckstein, Alice Adams, Paul Heald, Alan Kleiman, Jeremy Gilbert-Rolfe, Mac Wells, Roger Jorgensen, Ward Jackson, Robert Goodnough, Naomi Boretz, Leroy Lamis, John Goodyear, James Juszcczyk, Richard Anuszkiewicz, Oli Sihvonen, Ce Roser, Hiroshi Murata, Robert Conover, Nikolai Kasak, Jerry Kajtenanski, Nassos Daphnis, Leo Rabkin, Irene Rousseau, Jeanne Miles, Lucio Pozzi, Budd Hopkins, Raquel Rabinovich, James Seawright, Oscar Magnan, Harold Krisel, Vincent Longo, Judith Rothschild, Judith Murray, Jean Cohen, Susanna Tanger, Vivienne Thaul Wechter, David Reed, Joan Webster Price, Marcia Hafif, Racelle Strick, James Gross, and Louis Silverstein.

“The late forties and early fifties are marked by the group’s effort to disseminate [abstraction] on an international level. The first foreign tour of AAA works took place in 1950 with presentations in Paris, Copenhagen, Rome and Munich. An exhibition in Tokyo’s Museum of Modern Art was organized in 1955. The AAA also arranged for abstract artists from other countries to show with the group in America . . .Activities of this type culminated in the 1957 AAA publication, The World of Abstract Art [which is] to this date not only a major research tool but a seminal art document of the 1950s.” — Philip Verre

American Abstract Artists was founded in 1936 in New York City, at a time when abstract art was met with strong critical resistance. During the 1930s and early 1940s, AAA provided exhibition opportunities when few existed. Its publishing, panels and lectures provided a forum for discussion and gave abstract art theoretical support in the United States. AAA was a predecessor to the New York School and Abstract Expressionism, and contributed to the development and acceptance of abstract art in the United States. American Abstract Artists is one of the few artists’ organizations to survive from the Great Depression and continue into the 21st century.

Here is the Editorial Statement from American Abstract Artists 1938 Yearbook:

By the fact of their active existence and production, the American Abstract Artists express the authenticity and autonomy of the modern art movement in the United States. The word abstract is incorporated into our title as a provisional gesture so that we can be identified as a particular group in our effort to clarify growing and actively significant concepts of art.

Abstract, like so many other words, is too often used as an idiosyncratic suggestion, rather than as a concept which defines particular values. To understand abstract art is, in reality, no more a problem than understanding any and all art. And this depends upon the ability of the individual to perceive essentials, to perceive that which is called universally significant, and to evaluate the unity and relationship that is contained in any work.

As the first and only comprehensive organization of its type in the United States, we are faced with the familiar problem of a largely unsympathetic and biased criticism, a criticism which merely negates, condemns, or ridicules. There is, however, a more encouraging response to our exhibitions and lectures, a response that could be especially experienced only by the form and action of a representative and authentic organization. Individuals working and studying against the odds of isolation can now be articulate and related to others working in similar directions.

The membership of this group is homogeneous to the extent of its recognition of the mutual problems and limitations, and in its willingness to cooperate in the presentation and solution of these problems. We are, as in any group, heterogeneous and diverse in our concepts.

To place artistic, or any cultural effort on the level of a competition is to negate the method and meaning of knowledge. American Abstract Artists dedicates itself to the problems of the artist and student, presented in the terms of method and activity that define the artist; and limits itself accordingly for the purpose of clarification. As to the question of which aspects of life affect the artist in his effort, this is demonstrated by the character and efficacy of his activity and production; for this we present the individual artist.

No educated intelligence can draw the so-called line of national culture as an ambition and objective, without discerning its ambiguity. Beside being impossible, such a misconception is a negation of the very essence of cultural effort; the general heightening and application of knowledge. To make this negation may be politically expedient but it serves only to preserve and sway ignorance. While knowledge belongs to no nationality, particular nations do exist, and each nation has, and is, a peculiar and limited cultural development.

Considering the tempo of present political history and the importance of the various fields of knowledge in relationship to it, we can do nothing better than emphasize tha the contemporary must respect the interpretation and concatenation of all culture. True culture is recognizable when established from the standpoint of scientific thought and effort. For us it is established through the freedom to develop facilities and to maintain their proportional distribution, as civilized achievements, toward the enlivenment of existence—an unequivocal application toward the physical and psychic benefit of all humanity.

For these reasons, American Abstract Artists was formed in November of 1936. It has now attained a national scope and is more active in 1938. —The Editors

American Craftsmen Educational Council

American Craftsmen Educational Council: DESIGNER CRAFTSMEN U.S.A. 1953. Brooklyn: Brooklyn Museum, 1953. First edition. Slim quarto. Side stapled and perfect bound printed wrappers. 72 pp. 111 black and white photographs. Wrappers lightly creased due to the side stapled binding, but  a nearly fine copy of a scarce document.

8 x 10.5 exhibition catalogue with 72 pages and 111 black and white images of metals, wood, textiles, and ceramics. Catalogue of an exhibit sponsored by the Brooklyn Museum, Oct. 22 to Dec. 30, 1953, and later at the Art Institute of Chicago and the San Francisco Museum of Art. Includes a ten-page essay by Dorothy Giles, "The Craftsman in America", a checklist of 243 works, including prices, and short essays preceeding each section: metals, wood, textiles, and ceramics. The essay on wood is by Edward Wormely.

• The Craftsman in America
• Ceramic
• Textiles
• Wood
• Metals
• Checklist of the Exhibition

Includes work by George Wells, Lilly Hoffman, Loren Manbeck, Edwin Scheier, Mary Anne Emerine, D. Lee Dusell, Lorna Pearson Watson, Antonio Prieto, Robert Cremean,  Lea Van P. Miller, Zelda Thomas, Mildred Allmendinger, John Risley, Peter Lear, Karl Drerup, Mildred Johnstone, John Paul Miller, Charlotte Ulman, Eileen Sousa Cary, Marguerite Wildenheim, Paul David Holleman, Ruben Eshkanian, Martha Pollock, Ruth Reevess, Ralph Becherer, Robert King, Tage Frid, John Foster, Lyda Weyl Kahn, Florence Walter, Robert A. Von Neumann, Saul Borisov, Ernestine Beleal, Ronald Mathies, Kay Sekimachi, David Weinrib, John May, Allie Daugvila, George Salo, Arthur Pulos, James Crumrine, Harvey Littleton, Henry Poor, Paul Holleman, Maija Grotell, Bonnie Staffel, Katherine Choy, Jane Harsook, Jane Parshall, Karen Karnes, David Weinrib, Frans Wildenhain, Beatrice Wood, Albert Henry King, Laura Anderson, Elizabeth Mcfayden, John Donovan Parks, Roy Ginstrom, Henry Kluck, Eleanor Kluck, Edward Scnee, Rosemary Zettel, Eleanora Gordon, Emily Walker, Mary Dumas, Eugene Dobbertin, Ruth Ingvarson, Simonoff (F. Cohn), Tapio Wirkkala, Bruno Mathsson, Wharton Esherick, George Nakashima, James Prestini, Cecil Read, Leonard Price, Arthur Carpenter, Emil Milan, Thomas Brun, Paul Killinger, John Kirk, Anthony La Rocco, Bob Stocksdale,Polly Sundt Tisdale, Frederick Miller, Charlotte Kizer, Jane And Ed Oshier, Edward Levin, Betty Cooke, Michael Vizzini, John Prip, Oppi Untracht, Muriel Savin, James Bartley, John Paul Miller, Esther Bruton, Earl Krentzin, Thomas Pattrson, Margaret Lecky, Eva Clarke, Michael and Francis Higgins, and James Robert Camp.

An extraordinarily useful reference volume for the works of the artists represented. Since the end of World War II, many artists have turned to crafts as a reaction to the conformity, the built-in obsolescence, and the anonymity of mass-produced objects. They are creating objects to satisfy none but their own standards of technique and aesthetics...

The American Craft Council (ACC) is a national, nonprofit educational organization founded in 1943 by Aileen Osborn Webb. With a mission to promote understanding and appreciation of contemporary American craft, we celebrate the remarkable achievements of the many gifted artists today who are working with a variety of materials.

“Our programs include the bimonthly magazine, American Craft, annual juried shows presenting artists and their work, the Aileen Osborn Webb Awards honoring those who enrich the craft field, as well as a specialized library, various workshops, seminars and conferences, and much more.

”Members of the ACC include artists as well as institutions and individuals with an interest in the crafts, such as teachers, scholars, collectors, gallery owners, and professionals in many fields, in the U.S. and abroad. This diversity is well represented in the governance of our Board of Trustees.” [ACC website]

A National Competition Sponsored by the American Craftsmen's Council for Craftsmen 30 Years Old and Younger

David R. Campbell [introduction], Robert Turner, Hedy Blacklin and John Griswold [jurors' statement]: YOUNG AMERICANS 1962 [A National Competition Sponsored by the American Craftsmen's Council for Craftsmen Thirty Years Old and Younger, and to be Circulated by the American Federation of Arts]. New York City: Museum of Contemporary Crafts, 1962. First edition. Imperial octavo. Thick printed and stapled wrappers. [48] pp. 27 black-and-white illustrations. Multiple paper stocks. Catalog of 403 items. Interior unmarked and very clean. Out-of-print. Age toning to fore edges and spine, otherwise a fine copy.

8.25 x 9.25 unpaginated staple-bound booklet with 27 black-and-white illustrations from the exhibit including tableware, textiles, stoneware, ceramics, sculpture, furniture, and jewelry. Pages are interleaved with color tissue paper and printed on various stocks. Beautiful production published in conjunction with an exhibition of the same name: Museum of Contemporary Crafts, New York City [May 25 – Sept 2, 1962]. Includes an exhibit list.

Artists include Wendell Castle, Louis G. Zirkle, Ronald D. Hickman, William Underhill, Colin B. Richmond, Anne E. Hornby, Carole Keck, Pamela Stearns, Marilyn R. Pappas, George Kokis, Marcus Javier Villagran, Bertal Vallien, Win Ng, Bernard Kypridakis, Mary Louise Osborn, William A. Keyser, Jr., Jere Osgood, Claude M. Merrill, Frank J. Patania, Jr., Stanley Lechtzin, Jay R. Yager, June M. Kahl, Peter Saurer, James F. Woell, and Ronald Senungetuk.

The American Craft Council (ACC) is a national, nonprofit educational organization founded in 1943 by Aileen Osborn Webb. With a mission to promote understanding and appreciation of contemporary American craft, we celebrate the remarkable achievements of the many gifted artists today who are working with a variety of materials.

“Our programs include the bimonthly magazine, American Craft, annual juried shows presenting artists and their work, the Aileen Osborn Webb Awards honoring those who enrich the craft field, as well as a specialized library, various workshops, seminars and conferences, and much more.

”Members of the ACC include artists as well as institutions and individuals with an interest in the crafts, such as teachers, scholars, collectors, gallery owners, and professionals in many fields, in the U.S. and abroad. This diversity is well represented in the governance of our Board of Trustees.” [ACC website]

J. G. Wattjes

J. G. Wattjes: NIEUW-NEDERLANDSCHE BOUWKUNST. Amsterdam: Uitgevers-Maatschappij “Kosmos,” 1924. First edition. Text is in Dutch. Folio. Quarter-cloth with decorated paper coverd boards.
x, 10, [2] pp., 140 plates, 16 leaves of plans. Vintage handwritten note tipped onto front free endpaper. Faint dampstain to lower corner and fore edge of early textblock, with neither text nor images affected. Board edges lightly worn with light wear overall. A good or better copy of this magnificient and thorough photographic survey.

9.5 x 12.25 hardcover book with 22 pages of introductory text followed by 140 black and white plates and 16 pages of floor plans. Subtitled Een Verzameling van Fotografische Afbeeldingen van Nederlandsche Moderne Bouwwerken met Plattegronden door Prof. Ir. J. G. Wattjes Hoogleeraar aan de Technische Hoogeschool te delft bijeengebracht en van inleiding voorzien [New Dutch Architecture. A Collection of Photographic Images of Modern Dutch Buildings with Plans]. A thorough photographic survey of the buildings that originated the Amsterdam School of International Architecture.

Includes work by Ch. Bartels, H. P. Berlage, C. J. Blaauw, B. T. Boeyinga, Co Brandes, Ir. G. C. Bremer, Ir. B. Bijvoet & Ir. J. Duiker, G. F. La Croix, J. Crouwel, W. M. Dudok, J. J. Gort, Ir. J. Gratama, Dr. Ir. G. W. Van Heukelom, G. J. Jacobs, A. J. Jansen, M. Kamerlingh, M. De Klerk, P. L. Kramer, W. Kromhout, A. J. Kropholler, J. Van Laren, H. C. Lelie, Ir. J. Limburg, J. M. Luthmann, W. A. Maas & L. J. K. Zonnveld, Ir. H. F. Mertens, J. M. Van Der Mey, J. J. P. Oud, Postma & Hoogstraten, Publieke Werken Amsterdam, G. J. Rutgers, J. A. Snellebrand & A. Eybink, H. F. Symons, P. Vorkink & Jac. Ph. Wormser, Jan Wils, H. Th. Wijdeveld.<p>

The Amsterdam School  was a style of architecture that arose from 1910 through about 1930 in the Netherlands. Buildings of the Amsterdam School were characterized by brick construction with complicated masonry with a rounded or organic appearance, relatively traditional massing, and the integration of an elaborate scheme of building elements inside and out: decorative masonry, art glass, wrought ironwork, spires or "ladder" windows (with horizontal bars), and integrated architectural sculpture. The aim was to create a total architectural experience, interior and exterior.

Imbued with socialist ideals, the Amsterdam School style was often applied to working-class housing estates, local institutions and schools. For many Dutch towns Hendrik Berlage designed the new urban schemes, while the architects of the Amsterdam School were responsible for the buildings. With regard to the architectural style, Michel de Klerk had a different vision than Berlage. In the magazine "Bouwkundig Weekblad 45/1916" Michel de Klerk criticized Berlage's recent buildings in the style of Dutch Traditionalism. In this context, the Stock Exchange by Berlage of 1905 can be seen as the starting point of Traditionalist architecture.

From 1920 to 1930 different parallel movements developed in the Netherlands:

• Traditionalism (Kropholler, partly Berlage)
• Expressionism (de Klerk, Kramer)
• De Stijl (Rietveld, Oud, van Doesburg with manifesto De Stijl/1917 against the "Modern Baroque" of the Amsterdam School)
• Rationalism (van Eesteren, van Tijen, Merkelbach with manifesto De-8/1927 against the Amsterdam School)
• Constructivism (Duiker, van der Vlugt)
• The specific Brick-Cubism by Dudok and Berlage.

The Amsterdam School had its origins in the office of architect Eduard Cuypers. Although Cuypers was not a progressive architect himself, he gave his employees plenty of opportunity to develop. The three leaders of the Amsterdam School Michel de Klerk, Johan van der Mey and Piet Kramer all worked for Cuypers until about 1910. In 1905 Amsterdam was the first city to establish a building code, and the city hired Johan van der Mey afterwards, in the special position as "Aesthetic Advisor,” to bring artistic unity and vision to its built environment.

Van der Mey's major commission, the 1912 cooperative-commercial Scheepvaarthuis (Shipping House), is considered the starting point of the movement, and the three of them collaborated on that building. The most Amsterdam School buildings are found in this city. The movement and its followers played an important role in Berlage's overall plans for the expansion of Amsterdam.

The most important architects and virtuoso artists of the Amsterdam School were Michel de Klerk and Piet Kramer. Other members included Jan Gratama (who gave it its name), Berend Tobia Boeyinga, P. H. Endt, H. Th. Wijdeveld, J. F. Staal, C. J. Blaauw, and P. L. Marnette. The journal Wendingen ("Windings" or "Changes"), published between 1918 and 1931, was the magazine of the Amsterdam School movement.

After De Klerk died in 1923, the style lost its importance. The De Bijenkorf Store in the Hague by Piet Kramer from 1926 is considered to be the last example of "classic" Amsterdam School Expressionism.

Minor White [Editor]

Minor White [Editor]: APERTURE 9:2 [Five Photography Students from the Institute of Design, Illinois Institute of Technology]. Rochester, NY: Aperture, Inc., 1961. First edition. Slim quarto. Thick photo-illustrated saddle-stitched wrappers. 48 pp. 39 black and white plates. Cover photograph by Joseph Sterling. Interior unmarked and very clean. Out-of-print.  Glossy wrappers lightly worn, but a very good or better copy.

å8 x 9.5 saddle-stitched softcover book with 48 pages and 39 black and white plates. Back cover photograph by William La Rue. A beautifully printed compendium of influential photographers.

• Editorial by Minor White
• Introduction, "Photography Is" by Arthur Siegel
• Ken Josephson
• Joseph Sterling
• Charles Swedlund
• Ray K. Metzker
• Joseph Jachna

One of Chicago's great cultural achievements, the Institute of Design was among the most important schools of photography in twentieth-century America. It began as an outpost of experimental Bauhaus education and was home to an astonishing group of influential teachers and students, including László Moholy-Nagy, Harry Callahan, and Aaron Siskind.

In 1937 László Moholy-Nagy (1895-1946), a Hungarian Jew fleeing Nazi Germany, was brought to Chicago by the city's industrial leaders to establish a school of industrial design to be modeled after the original Bauhaus in Germany, the pioneering school of art, design and architecture where Moholy had taught previously. Although the New Bauhaus lasted only one year (1937-1938), it was quickly reorganized as the School of Design (1939-1944) and eventually became the Institute of Design (1944-present). The photographs produced in the ID's early years were controlled studio experiments, more concerned with form and materials than with imitating works by photography's masters or documenting the world. Moholy's photograms, for example, are elegant light studies that reveal the complete scale of gray between black and white and illustrate photography's abstract potential.

Along similar lines, faculty member György Kepes (1906-2001) produced an extensive series of photographs of his wife in which he explored solarization and negative exposure and even painting on the picture's surface. Nathan Lerner (1913-1997), a student and later teacher at the ID, worked with refractive lenses and photomontage and used his light box to test the pictorial effects of pure light. Another student, Milton Halberstadt (1919-2000), produced a triple -exposed portrait to showcase photography's capacity for simultaneous vision. At a moment when American photography was largely confined to more conventional portraiture, landscape or documentary reportage, these experimental and abstract pictures revealed the enormous creative potential of the medium.

As the school grew, Moholy hired Arthur Siegel (1913-1978) and Harry Callahan (1912-1999) to lead a new, four-year program in photography. After Siegel resigned, Callahan hired Aaron Siskind (1903-1991), and the two formed a superbly effective teaching team that is now legendary. Under their leadership, the program's emphasis shifted from experimentation toward the development of individual vision and subjective expression.

Callahan invented problem-related exercises such as documenting the alphabet in the environment to encourage students to work in series, and Siskind developed an exercise to discover forms in plants. Students worked in groups to create documentary projects and individually to create sustained photographic series for their theses.

Many of the ID students also hit their photographic stride in their thesis projects, including Joseph Jachna (born 1931), who studied the changing forms of water;  and Ray K. Metzker (born 1931), who turned his camera on pedestrians and shadows in Chicago's Loop.

Aperture was founded in 1952 by six profoundly gifted individuals possessed of lofty ideals and high ambition: photographers Ansel Adams, Dorothea Lange, Barbara Morgan, and Minor White; historian Beaumont Newhall; and writer/curator Nancy Newhall. With scant resources, these prescient artists created a new periodical, Aperture magazine, to serve the medium, and photography users and fine art lovers worldwide. [xlist_2018]

Steven P. Jobs [Chairman]

Steven P. Jobs [Chairman]: APPLE COMPUTER, INC. ANNUAL REPORT 1984. Cupertino, CA: Apple Computer, Inc., 1984. Original edition.  Slim quarto. Perfect bound printed wrappers. 44 [xxiv] pp. One double fold out “Apple Factory: one 128 Macintosh every 27 seconds”. Fully illustrated with color photographs and financial charts. Tasteful design and typography executed in the Apple corporate style by Chiat/Day.  A lightly handled, nearly fine copy.

9 x 11 annual report with 44 pages of corporate analysis, financial data, and random middle fingers to IBM throughout. A 24-page black and white illustrated appendix of user testimonials follows the legally mandated financials, with photos and testimonials from Ted Turner, Kurt Vonnegut, Maya Lin, Peter Martins, Milton Glaser, Jim Henson, Dianne Feinstein, Stephen Sondheim, Bob Ciano, Lee Iacocca, and David Rockefeller.

Apple was founded by Steve Jobs, Steve Wozniak and Ronald Wayne in 1976 to develop and sell Wozniak's Apple I personal computer. It was incorporated by Jobs and Wozniak as Apple Computer, Inc. in 1977 and sales of its computers, including the Apple II, grew quickly. It went public in 1980 to instant financial success. Over the next few years, Apple shipped new computers featuring innovative graphical user interfaces, such as the original Macintosh, announced with the critically acclaimed advertisement "1984.” The high price of its products and limited application library caused problems, as did power struggles between executives. In 1985, Wozniak departed Apple amicably, while Jobs resigned to found NeXT, taking some Apple co-workers with him.

In 1982, Apple had issued an request for proposal that led to the hiring of Hartmut Esslinger's frog design, and the development of the Snow White design language. Used by Apple Computer from 1984 to 1990, the scheme has vertical and horizontal stripes for decoration, ventilation, and to create the illusion that the computer enclosure is smaller than it actually is. The Apple IIc computer, and its peripherals, launched in 1984, were the first to sport the new style, which would be used with only minor evolutions for the rest of the decade.

In 1984, Apple launched the Macintosh, the first personal computer to be sold without a programming language. Its debut was signified by "1984", a $1.5 million television advertisement directed by Ridley Scott that aired during the third quarter of Super Bowl XVIII on January 22, 1984. This is now hailed as a watershed event for Apple's success and was called a "masterpiece" by CNN and one of the greatest TV advertisements of all time by TV Guide.

And now let’s bring on Thomas C. Hayes to find out what’s generating all this commotion. Hayes filed this article for the Business section of the New York Times on February 25, 1984 under the typically dry Times headline “STRONG SALES SEEN IN '84 FOR APPLE'S MACINTOSH:” “More than 600 business computer buyers put Apple Computer Inc.'s new Macintosh through its paces at a trade show here this week.

”After 40 minutes on the machine, Robert Dieter, an executive of the Home Federal Savings and Loan Association of San Diego, was still not sure which microcomputer maker would get the big order he expects to place for Home Federal's 160 branches. But, he said, ''Whatever it is has to be easy to use, and this is easy to use.'' And he added, ''I'm impressed.''

”Many industry analysts, however, say the jury is still out on the Macintosh. Some accuse Apple of arrogance in not making the Macintosh and its three sisters in the Lisa series compatible with the International Business Machines Corporation's personal computer. Apple may yet pay for that arrogance, analysts warn. Although more than 150 companies are writing software for the Macintosh, few programs are available now. And until they are developed, the product's success will remain in doubt.

”Nonetheless, one month after Apple's chairman, Steven P. Jobs, introduced the machine before a cheering crowd of 2,600 at the company's annual meeting, it is clear to many that the Macintosh appears to be on its way, at least, to a very big first year. James McCamant, co-editor of the California Technology Stock Letter, estimates that Apple could sell as many as 500,000 Macintoshes by the end of September, the close of its fiscal year, if the company can make them that fast. He expects Apple's sales to climb to about $1.5 billion, or more than 50 percent above last year's $982.8 million.

”Apple, however, is far more conservative about its prospects. A spokesman, Barbara Krause, declined to give production figures for Macintosh, but estimated that the company would sell 200,000 to 250,000 units by the end of the calendar year. Apple last week added a second shift to its highly automated production plant in Fremont, Calif., pushing its daily potential output to more than 2,000 units.

”The enthusiasm building for the Macintosh has helped Apple recapture a bit of the momentum it lost to I.B.M. last year, according to Infocorp, a research concern in San Jose, Calif. It forecasts that Apple will finish 1984 with 25 percent of the market for desktop computers in the price range between $1,000 and $10,000. The Macintosh is priced at $2,495.

”Apple's 25 percent market share would compare, Infocorp said, with 27 percent for I.B.M. At the end of last year, I.B.M.'s share was 24 percent and Apple's 25 percent. One thing in Apple's favor, analysts say, is the fact that sales of I.B.M.'s PCjr, which was introduced last Nov. 1, have disappointed some dealers. Many report excess inventories and are cautious about future orders.

”Perhaps most surprising are the strong endorsements of the Macintosh by large dealers in business computers and dozens of consultants to major corporations, many of whom attended the Office Automation Conference here this week. ''It's poised for a stunning success,'' said Don Tapscott, a computer systems consultant for the Systems Group, which is based in Toronto. But many analysts read Apple's emphasis on small and medium- size businesses and the education market as a lack of will to do battle with I.B.M. among the billion-dollar corporations. That decision could have been a reaction, at least in part, to Apple's disappointment with its Lisa system last year, according to Stephen A. Caswell, editor of an industry newsletter.

”The Macintosh does present problems for business users, he added. Its memory, at 128,000 characters, is too small to run multifunction programs such as the Lotus 1-2-3. Additionally, it does not include among its type fonts the 10-point style favored for business correspondence. However, several companies are working on software improvements that promise to make the Macintosh highly appealing to businesses in about six to nine months, Mr. Caswell says. There will be programs to manage several functions at once, including dialing telephone calls, connecting with existing computer systems and recalling and adding information from a variety of computer files, he said.

”Many companies, after looking at the Macintosh, have concluded that the more powerful Lisa 2, with its greater memory and speed, is better than the Macintosh. ''The Lisa's are really a better buy for large companies,'' he said. ''They are really 'Big Mac's,' the 'Mac' for big business,'' said Seymour Merrin, president of Computerworks Inc. in Westport, Conn. The most expensive Lisa, the 2/10, carries a price tag of $5,500.

”Still, the Macintosh has the potential to succeed with big business as well as home users.''The information system directors at the Fortune 500 companies who are looking comparatively at technology will be hard-pressed to recommend the I.B.M. PC for future purchases over the Macintosh and Lisa series if they haven't already adopted I.B.M. as a standard,'' said Dr. James H. Carlisle, president of Office of the Future Inc. in Guttenberg, N.J. He is a consultant to the First Boston Corporation, the Chase Manhattan Bank and the Xerox Corporation.

”If Apple can build an industry around it and develop a way for companies to tie it into their existing systems, the Macintosh will not only parallel the success of the I.B.M. PC but by far surpass it,'' said Mr. Tapscott, the consultant. ''Right now, though, it is not a very useful machine because of the limited software.'' He added that as more programs become available, many employees will buy a Macintosh for use at home. This trend, he said, will put pressure on corporate managers to find a place for the Macintosh as they plan information processing strategies for the future.

”Richard L. Bradley, an executive with National Training Systems, a company in Santa Maria, Calif., that trains people to use computers, said the Macintosh may prove difficult for people already accustomed to computers because it requires a more intuitive approach than the sequential, logical operations of existing computers. He added, however, that this will make the Macintosh more accessible for people encountering computers for the first time.

”For now, Apple says its biggest problem is keeping up with demand. Dealers report delays of five weeks or more in filling orders. ''I'd love to have product,'' said Neal Riemer, sales manager for Love Computers Inc. in Glendale, Calif., one of the largest of 130 Apple dealers in southern California. ''It's driving me up the wall.'' [The New York Times Archives]

Paul Kunkel and Rick English

Paul Kunkel: APPLE DESIGN  [The Work of the Apple Industrial Design Group]. New York: Graphis, Inc., 1997. First edition. Quarto. French folded printed wrappers. 288 pp. 100 products represented by 400 color photographs. Interior unmarked and very clean. Out-of-print.  Lightly handled with trivial wear: a nearly fine copy.

9.375 x 11.75 softcover book with 288 pages devoted to the history of the Apple Industrial Design Group and published on the 20th anniversary of Apple Computer corporation. One hundred products are examined with extensive text and 400 color color photographs by Rick English.

From the Publisher: “To celebrate Apple's twentieth anniversary, AppleDesign provides a rare inside look at the Industrial Design Group, examining the role this small team of creative individuals has played in the rise of Apple from a Silicon Valley garage to a billion-dollar corporation. It details the formation of the Group, outlines their method for turning great ideas into even greater products, reveals many design concepts and products that never reached the marketplace, and offers a glimpse at the triumph and turmoil than results when creative desire meets (and occasionally collides with) corporate reality.

“With more than 400 color illustrations and detailed discussion of more than 100 products, design concepts and works-in-progress, AppleDesign provides the most thorough examination of a corporate design group ever published.

“From the Macintosh to the PowerBook, the Newton MessagePad, the eMate and the just-released Twentieth Anniversary Macintosh, Apple's designers have given us some of the most compelling and enduring products of our time. Their work not only enriches the lives of more than 50 million Apple users worldwide, it influences the computer industry at large, providing strong evidence for those who argue that industrial design is as powerful and relevant an art form as painting, sculpture or architecture.“

This oversized, coffee-table volume is devoted to the industrial design of every product made at Apple Computer over the course of 20 years. Lavishly illustrated with over 400 large color photographs by photographer Rick English, the book transforms the plastic cases, LCD displays, and disk drives from old Apple IIcs, Lisas, Macs, PowerBooks, and Newtons (and a few technologies that never made it to the street) into objects of fine art. The book's attention to detail, even in the small peripherals, such as the stylus of the Newton--the ubiquitous round stick-on microphone that ships with the Mac--contributes to the technological identity of the Apple brand.

Remember that 20 years ago, when you walked into a campus computing center or office building, you could distinguish an Apple system from an IBM system from across a room. The early IBM PCs were box-shaped--as close to pure squares and rectangles as possible--and buttoned down with garters on the socks like the Big Blue executives who sold them to the world as business machines. In contrast, the physical design of the Apple machines has always represented the company's "alternative" (and borderline arrogant) mindset, appealing to the more artistic user and fueling the left-versus-right-brain debates. In addition to the packaging of the machine, the Mac's graphical user interface and Motorola CPUs provided the artistic cover by which this innovative book could safely be judged.

Today other computer companies casually imitate the technofuturistic curvedness of the once-almost-shocking Apple design. Much like how the set of the movie Blade Runner has influenced many films that followed it, the industrial design of Apple machines continues to shape other companies' computer designs. AppleDesign is interesting both as an historical document and an artistic appreciation of these designs.

Dennis Crompton [Curator]

Dennis Crompton [Curator]: A GUIDE TO ARCHIGRAM 1961-74: EXPERIMENTAL ARCHITECTURE 1961-74. Taipei: Garden City, 2003. First edition thus. parallel text in English and Chinese. Thick quarto. Printed wrappers. 488 pp. Fully illustrated in color and black and white with examples from the Archigram Archives. An unread copy of this big little book: still in Publishers shrinkwrap.

5.625 x 4.9375-inch softcover book with 488 pages fully illustrated in color and black and white with examples from the Archigram Archives assembled for an exhibition  at the Taipei Fine Arts Museum 15 March 2003.

In the decade of the Beatles and the moon landing, cybernetics and megacities, an ambitious group of young British architects burst on the scene with a bold manifesto for urban building. The Archigram group pioneered a playful brand of architecture that was visionary, utopian, and grounded in social need. Through a provocative series of publications and exhibitions, the avant-garde cooperative challenged an architectural establishment they felt had become reactionary and self-serving. They advocated a complete rethinking of the relationships between technology, society, and architecture, rightly predicting today's information revolution decades before it came to pass. A Guide to Archigram 1961-74 is a compact history showcasing the group's most interesting and influential schemes, from walking cities and plug-in universities to inflatable dwellings and free time nodes. This book, the most comprehensive guide to Archigram's voluminous output, collects the critical responses of the period, in addition to hundreds of drawings and photographs.

Archigram [United Kingdom, c. 1961 – 1974] was an avant-garde architectural group formed in the 1960s ⁠that was neofuturistic, anti-heroic and pro-consumerist, drawing inspiration from technology in order to create a new reality that was solely expressed through hypothetical projects.

Based at the Architectural Association in London, the main members of the group were Peter Cook, Warren Chalk, Ron Herron, Dennis Crompton, Michael Webb and David Greene. Designer Theo Crosby was the "hidden hand" behind the group. He gave them coverage in Architectural Design magazine (where he was an editor from 1953–62), brought them to the attention of the Institute of Contemporary Arts (ICA) in London, where, in 1963, they mounted an exhibition called Living City, and in 1964 brought them into the Taylor Woodrow Design Group, which he headed, to take on experimental projects.

The pamphlet Archigram I was printed in 1961 to proclaim their ideas. Committed to a 'high tech', light weight, infra-structural approach that was focused towards survival technology, the group experimented with modular technology, mobility through the environment, space capsules and mass-consumer imagery. Their works offered a seductive vision of a glamorous future machine age; however, social and environmental issues were left unaddressed.

Archigram 1, the first issue of a magazine – if a single sheet can be called that – that was to grow in pagination and significance. Its price was sixpence, in old money. “You couldn’t give it away,” says Cook, “only friends and numbskulls would buy it.”

Now, it will be literally worth its (small) weight in gold, or more, for this flimsy tablet of stone, this home-made harbinger of a technological future, is rare and collectible. It gave its name to the group of young architects who made it, a loose bunch whose interests ranged from the everyday to the extraterrestrial, who sometimes collaborated and sometimes didn’t, but the magazine gave them a common identity. They, people and publication together, would be some of the most influential of the second half of the 20th century.

Archigram agitated to prevent modernism from becoming a sterile and safe orthodoxy by its adherents. Unlike ephemeralisation from Buckminster Fuller which assumes more must be done with less material (because material is finite), Archigram relies on a future of interminable resources.

“Form follows function,” wrote another Archigrammer, David Greene, repeating a modernist slogan in order to knock it down, “no it doesn’t it follows idea, it follows a desire for architecture to be cheerful.”

The works of Archigram had a neofuturistic slant being influenced by Antonio Sant'Elia's works. Buckminster Fuller and Yona Friedman were also important sources of inspiration. The works of Archigram served as a source of inspiration for later works such as the High tech 'Pompidou centre' 1971 by Richard Rogers and Renzo Piano, early Norman Foster works, Gianfranco Franchini and Future Systems. By the early 1970s the strategy of the group had changed. In 1973 Theo Crosby wrote that its members had "found their original impulses towards megastructures blunted by the changing intellectual climate in England, where the brash dreams of modern architects are received with ever-increasing horror. They are now more concerned with the infiltration of technology into the environment at a much less obvious level".

“The period,” says Cook, “was joyfully acquisitive. Someone might be talking about powder puffs, or cranes, or enviro-pills. It was all interesting.” And so, for example, Webb came up with the “cushicle” and the “suitaloon”, fusions of shelter, vehicle and clothing, which would allow their wearers to travel around in comfortable personalised environments. Archigram wanted architecture to be as mobile, dynamic and “pulsating”, to use one of their favourite words, as the society they saw around them. They proposed buildings that moved, that shone in the dark, that could be changed at their users’ will.

If we consider for a moment Christo's seminal work – the 'wrapped cliff' – we might see it in one of two ways: as a wrapped cliff or; preferably, as the point at which all other cliffs are unwrapped. An Archigram project attempts to achieve this same altered reading of the familiar (in the tradition of Buckminster Fuller's question, 'How much does your building weigh?'). It provides a new agenda where nomadism is the dominant social force; where time, exchange and metamorphosis replace stasis; where consumption, lifestyle and transience become the programme; and where the public realm is an electronic surface enclosing the globe —David Greene

Archigram’s fascination with the technology of the moment, mostly from the US, is obvious. They loved the capsules and spacesuits that went with the Apollo moonshots, and wanted to transfer them to Earth-bound buildings. Their best-known projects – such as Ron Herron’s insect-like “Walking Cities” – look like sci-fi. Their interest in consumer culture came without the distancing irony of artists like Richard Hamilton; they were more interested in what it could achieve. “In the 1960s,” says Crompton, “self-determination became an important thing. We were interested in how the consumer could be part of the design process, not a recipient.”

At the same time they brought a British mindset to their creations, which owed as much to seaside piers as to Cape Canaveral. They drew on traditions of garden-shed tinkering and inventing, Cook says, “old gadgets, the boffin thing, Heath Robinson, bouncing bombs, funny cars”. They had a “shared sense of humour, which is a British thing. The world is so absurd, you can only make a joke or you’d collapse. You’re never as serious as when you poke fun at something.”

Cook also sees precedents in 19th-century Britain: “The Victorians were doing a lot of Archigram”, he says, in the way they combined new inventions with stylistic borrowings from wherever they fancied.

More specifically, Archigram’s was a provincial British attitude, as Cook likes to reiterate. He was born in Southend-on-Sea and studied in Bournemouth; Crompton was born in Blackpool and studied in Manchester; Greene was raised and educated in Nottingham. Cook describes how, “as a spotty boy up from the provinces”, he encountered in London the establishment culture of “English chaps… even if you were a Marxist you were an Etonian Marxist”. But “the spotties were more hungry”. They were more open-minded, more willing to learn from, for example, the lesser-known expressionist architects of 1920s Germany, rather than the canonical works of Bauhaus. Archigram, then, is partly a rebellion of the spotties against the “drearies”, as Cook and co called them, who were running the show.

The three men resist the most common charge against Archigram, that they dealt in unbuildable fantasies. “There’s nothing we couldn’t have done,” says Cook. For Greene, “We were trying to bridge the gap between what was built and what might be built.” Crompton, perhaps the most pragmatic of the gang, points to their proposals for applying light industrial techniques to building homes more efficiently, of which then, as now, there was a dire shortage. He challenges me to name an unbuildable Archigram project. Walking Cities, I venture. If you can build an ocean liner, he says, why not them?

What is the case is that there are few identifiable Archigram buildings. The Southbank Centre in London, on which Crompton, Herron and Chalk played leading roles, embodies many of their ideas. A swimming pool enclosure and kitchen addition to Rod Stewart’s country house was built. The translucent, tent-like roof of Herron’s 1990 Imagination building in London was a late flowering of Archigram’s love of lightweight structures. Cook has delivered buildings, such as a bright blue blob of a drawing school in Bournemouth, in which the curvy, organic shapes from the pages of the Archigram magazine become reality.

More significant is their influence, which has filtered through their teaching into generations of students, and through their publications and exhibitions into the practice of architecture. Architects such as Nick Grimshaw (for example with his Eden Project), Rem Koolhaas and the late Will Alsop all owed something to Archigram. Their influence is most famously evident in Piano and Rogers’s Centre Pompidou, whose visible pipework and promises of dynamic change owe much to Archigram, even if Greene, for one, is ambivalent about the Parisian landmark. “They stole the look without the content,” he says. “It looks as if it could move, but it doesn’t.”

Perhaps their biggest gift to architecture is an attitude. You can pick holes in Archigram’s thinking, in particular the assumption that dynamic, free lifestyles would be best served by buildings with lots of moving parts. Some of their contraptions look like terribly contrived and complicated ways to achieve their stated ends. Greene, a quieter and more subtle thinker than Cook, realises this well himself: “The question is not ‘Can you do it?’ but ‘Why would you want to do it?’”

But running through Archigram is the essential insight that buildings should respond to the lives that go on in and around them, and that when those lives change they should be able to change too. Also the belief that, whatever you do, you should do it with zest.

It was a baggy enough group to contain differences of opinion. If Greene is “less and less interested in what things look like, compared to what lies behind”, Cook is eternally enthralled by appearance. This diversity is also one of their strengths: “so our contributors aren’t taking the same line”, it says in Archigram 2, “but they’re each taking some sort of line.”

The group was financially supported by mainstream architects, such as David Rock of BDP. Rock later nominated Archigram for the RIBA Royal Gold Medal, which they received in 2002.

In 2019, the M+ museum in Hong Kong acquired Archigram's entire archive, despite purported attempts to block the sale to an overseas buyer. [wikipedia / The Guardian]

Michael Webb [introduction]

Michael Webb [introduction]: ARCHIGRAM. New York: Princeton Architectural Press, 1999. Revised edition. Photo illustrated French folded wrappers. 144 pp. Fully illustrated in color and black and white. Edited by Peter Cook, Warren Chalk, Ron Herron, Dennis Crompton, Michael Webb and David Greene. Wrappers lightly scratched, but a nearly fine copy.

8.5 x 11-inch softcover book with 144 pages fully illustrated in color and black and white examples; facsimile edition of the book originally published in 1972, with a new introduction by Michael Webb. From the Publishers: “In late 1960, in various flats in Hampstead, a loose group of people started to meet: to criticize projects, to concoct letters to the press, to combine to make competition projects, and generally prop one another up against the boredom of working in a London architectural office. It became obvious that some publication would help. The main British magazines did not at that time publish student work, so that Archigram was reacting to this as well as the general sterility of the scene. The title came from a notion of a more urgent and simple item than a journal, like a 'telegram' or 'aerogramme,' hence 'archi(tecture)-gram.'...By this time Peter Cook, David Greene, and Mike Webb, in making a broadsheet, had started a new Group.”

“Thus begins Archigram, a chronicle of the work of a group of young British architects that became the most influential architecture movement of the 1960s, as told by the members themselves. It includes material published in early issues of their journal, as well as numerous texts, poems, comics, photocollages, drawings, and fantastical architecture projects. Work presented includes Instant City, pod living, the Features Monte Carlo entertainment center, Blow-out Village, and the Cushicle personalized enclosure. Archigram's influence continues unabated: direct descendants of the group's work include Lebbeus Woods, Neil Denari, Takasaki Masaharu, and Morphosis.”

Archigram [United Kingdom, c. 1961 – 1974] was an avant-garde architectural group formed in the 1960s ⁠that was neofuturistic, anti-heroic and pro-consumerist, drawing inspiration from technology in order to create a new reality that was solely expressed through hypothetical projects.

Based at the Architectural Association in London, the main members of the group were Peter Cook, Warren Chalk, Ron Herron, Dennis Crompton, Michael Webb and David Greene. Designer Theo Crosby was the "hidden hand" behind the group. He gave them coverage in Architectural Design magazine (where he was an editor from 1953–62), brought them to the attention of the Institute of Contemporary Arts (ICA) in London, where, in 1963, they mounted an exhibition called Living City, and in 1964 brought them into the Taylor Woodrow Design Group, which he headed, to take on experimental projects.

The pamphlet Archigram I was printed in 1961 to proclaim their ideas. Committed to a 'high tech', light weight, infra-structural approach that was focused towards survival technology, the group experimented with modular technology, mobility through the environment, space capsules and mass-consumer imagery. Their works offered a seductive vision of a glamorous future machine age; however, social and environmental issues were left unaddressed.

Archigram 1, the first issue of a magazine – if a single sheet can be called that – that was to grow in pagination and significance. Its price was sixpence, in old money. “You couldn’t give it away,” says Cook, “only friends and numbskulls would buy it.”

Now, it will be literally worth its (small) weight in gold, or more, for this flimsy tablet of stone, this home-made harbinger of a technological future, is rare and collectible. It gave its name to the group of young architects who made it, a loose bunch whose interests ranged from the everyday to the extraterrestrial, who sometimes collaborated and sometimes didn’t, but the magazine gave them a common identity. They, people and publication together, would be some of the most influential of the second half of the 20th century.

Archigram agitated to prevent modernism from becoming a sterile and safe orthodoxy by its adherents. Unlike ephemeralisation from Buckminster Fuller which assumes more must be done with less material (because material is finite), Archigram relies on a future of interminable resources.

“Form follows function,” wrote another Archigrammer, David Greene, repeating a modernist slogan in order to knock it down, “no it doesn’t it follows idea, it follows a desire for architecture to be cheerful.”

The works of Archigram had a neofuturistic slant being influenced by Antonio Sant'Elia's works. Buckminster Fuller and Yona Friedman were also important sources of inspiration. The works of Archigram served as a source of inspiration for later works such as the High tech 'Pompidou centre' 1971 by Richard Rogers and Renzo Piano, early Norman Foster works, Gianfranco Franchini and Future Systems. By the early 1970s the strategy of the group had changed. In 1973 Theo Crosby wrote that its members had "found their original impulses towards megastructures blunted by the changing intellectual climate in England, where the brash dreams of modern architects are received with ever-increasing horror. They are now more concerned with the infiltration of technology into the environment at a much less obvious level".

“The period,” says Cook, “was joyfully acquisitive. Someone might be talking about powder puffs, or cranes, or enviro-pills. It was all interesting.” And so, for example, Webb came up with the “cushicle” and the “suitaloon”, fusions of shelter, vehicle and clothing, which would allow their wearers to travel around in comfortable personalised environments. Archigram wanted architecture to be as mobile, dynamic and “pulsating”, to use one of their favourite words, as the society they saw around them. They proposed buildings that moved, that shone in the dark, that could be changed at their users’ will.

If we consider for a moment Christo's seminal work – the 'wrapped cliff' – we might see it in one of two ways: as a wrapped cliff or; preferably, as the point at which all other cliffs are unwrapped. An Archigram project attempts to achieve this same altered reading of the familiar (in the tradition of Buckminster Fuller's question, 'How much does your building weigh?'). It provides a new agenda where nomadism is the dominant social force; where time, exchange and metamorphosis replace stasis; where consumption, lifestyle and transience become the programme; and where the public realm is an electronic surface enclosing the globe —David Greene

Archigram’s fascination with the technology of the moment, mostly from the US, is obvious. They loved the capsules and spacesuits that went with the Apollo moonshots, and wanted to transfer them to Earth-bound buildings. Their best-known projects – such as Ron Herron’s insect-like “Walking Cities” – look like sci-fi. Their interest in consumer culture came without the distancing irony of artists like Richard Hamilton; they were more interested in what it could achieve. “In the 1960s,” says Crompton, “self-determination became an important thing. We were interested in how the consumer could be part of the design process, not a recipient.”

At the same time they brought a British mindset to their creations, which owed as much to seaside piers as to Cape Canaveral. They drew on traditions of garden-shed tinkering and inventing, Cook says, “old gadgets, the boffin thing, Heath Robinson, bouncing bombs, funny cars”. They had a “shared sense of humour, which is a British thing. The world is so absurd, you can only make a joke or you’d collapse. You’re never as serious as when you poke fun at something.”

Cook also sees precedents in 19th-century Britain: “The Victorians were doing a lot of Archigram”, he says, in the way they combined new inventions with stylistic borrowings from wherever they fancied.

More specifically, Archigram’s was a provincial British attitude, as Cook likes to reiterate. He was born in Southend-on-Sea and studied in Bournemouth; Crompton was born in Blackpool and studied in Manchester; Greene was raised and educated in Nottingham. Cook describes how, “as a spotty boy up from the provinces”, he encountered in London the establishment culture of “English chaps… even if you were a Marxist you were an Etonian Marxist”. But “the spotties were more hungry”. They were more open-minded, more willing to learn from, for example, the lesser-known expressionist architects of 1920s Germany, rather than the canonical works of Bauhaus. Archigram, then, is partly a rebellion of the spotties against the “drearies”, as Cook and co called them, who were running the show.

The three men resist the most common charge against Archigram, that they dealt in unbuildable fantasies. “There’s nothing we couldn’t have done,” says Cook. For Greene, “We were trying to bridge the gap between what was built and what might be built.” Crompton, perhaps the most pragmatic of the gang, points to their proposals for applying light industrial techniques to building homes more efficiently, of which then, as now, there was a dire shortage. He challenges me to name an unbuildable Archigram project. Walking Cities, I venture. If you can build an ocean liner, he says, why not them?

What is the case is that there are few identifiable Archigram buildings. The Southbank Centre in London, on which Crompton, Herron and Chalk played leading roles, embodies many of their ideas. A swimming pool enclosure and kitchen addition to Rod Stewart’s country house was built. The translucent, tent-like roof of Herron’s 1990 Imagination building in London was a late flowering of Archigram’s love of lightweight structures. Cook has delivered buildings, such as a bright blue blob of a drawing school in Bournemouth, in which the curvy, organic shapes from the pages of the Archigram magazine become reality.

More significant is their influence, which has filtered through their teaching into generations of students, and through their publications and exhibitions into the practice of architecture. Architects such as Nick Grimshaw (for example with his Eden Project), Rem Koolhaas and the late Will Alsop all owed something to Archigram. Their influence is most famously evident in Piano and Rogers’s Centre Pompidou, whose visible pipework and promises of dynamic change owe much to Archigram, even if Greene, for one, is ambivalent about the Parisian landmark. “They stole the look without the content,” he says. “It looks as if it could move, but it doesn’t.”

Perhaps their biggest gift to architecture is an attitude. You can pick holes in Archigram’s thinking, in particular the assumption that dynamic, free lifestyles would be best served by buildings with lots of moving parts. Some of their contraptions look like terribly contrived and complicated ways to achieve their stated ends. Greene, a quieter and more subtle thinker than Cook, realises this well himself: “The question is not ‘Can you do it?’ but ‘Why would you want to do it?’”

But running through Archigram is the essential insight that buildings should respond to the lives that go on in and around them, and that when those lives change they should be able to change too. Also the belief that, whatever you do, you should do it with zest.

It was a baggy enough group to contain differences of opinion. If Greene is “less and less interested in what things look like, compared to what lies behind”, Cook is eternally enthralled by appearance. This diversity is also one of their strengths: “so our contributors aren’t taking the same line”, it says in Archigram 2, “but they’re each taking some sort of line.”

The group was financially supported by mainstream architects, such as David Rock of BDP. Rock later nominated Archigram for the RIBA Royal Gold Medal, which they received in 2002.

In 2019, the M+ museum in Hong Kong acquired Archigram's entire archive, despite purported attempts to block the sale to an overseas buyer. [wikipedia / The Guardian]

François Burkhardt [introduction]

François Burkhardt [introduction]: ARCHIGRAM. Paris: Centre National D'art Et De Culture Georges Pompidou, July 1994. First edition. Text in French. Quarto. Black cloth decorated and titled in white. Printed metallic silver dust jacket. Black endpapers. 223 pp. Essays illustrated with color  and black and white photography and artwork. Silver metallic jacket very faintly scratched with spine crown mildly bruised, otherwise a fine copy in a fine dust jacket. Rare thus.

8.625 x 12 hardcover book with 223 pagesfully illustrated in color and black and white with photographs, drawings, diagrams, etc.  Published in conjunction with an exhibition of the same name from June 29, to August 29, 1994 at the Centre Georges Pompidou. The works of Archigram served as a source of inspiration for later works such as the High tech Pompidou centre [1971 by Richard Rogers and Renzo Piano] whose visible pipework and promises of dynamic change owe much to Archigram, even if [David ] Greene, for one, is ambivalent about the Parisian landmark. “They stole the look without the content,” he says. “It looks as if it could move, but it doesn’t.”

Archigram [United Kingdom, c. 1961 – 1974] was an avant-garde architectural group formed in the 1960s ⁠that was neofuturistic, anti-heroic and pro-consumerist, drawing inspiration from technology in order to create a new reality that was solely expressed through hypothetical projects.

Based at the Architectural Association in London, the main members of the group were Peter Cook, Warren Chalk, Ron Herron, Dennis Crompton, Michael Webb and David Greene. Designer Theo Crosby was the "hidden hand" behind the group. He gave them coverage in Architectural Design magazine (where he was an editor from 1953–62), brought them to the attention of the Institute of Contemporary Arts (ICA) in London, where, in 1963, they mounted an exhibition called Living City, and in 1964 brought them into the Taylor Woodrow Design Group, which he headed, to take on experimental projects.

The pamphlet Archigram I was printed in 1961 to proclaim their ideas. Committed to a 'high tech', light weight, infra-structural approach that was focused towards survival technology, the group experimented with modular technology, mobility through the environment, space capsules and mass-consumer imagery. Their works offered a seductive vision of a glamorous future machine age; however, social and environmental issues were left unaddressed.

Archigram 1, the first issue of a magazine – if a single sheet can be called that – that was to grow in pagination and significance. Its price was sixpence, in old money. “You couldn’t give it away,” says Cook, “only friends and numbskulls would buy it.”

Now, it will be literally worth its (small) weight in gold, or more, for this flimsy tablet of stone, this home-made harbinger of a technological future, is rare and collectible. It gave its name to the group of young architects who made it, a loose bunch whose interests ranged from the everyday to the extraterrestrial, who sometimes collaborated and sometimes didn’t, but the magazine gave them a common identity. They, people and publication together, would be some of the most influential of the second half of the 20th century.

Archigram agitated to prevent modernism from becoming a sterile and safe orthodoxy by its adherents. Unlike ephemeralisation from Buckminster Fuller which assumes more must be done with less material (because material is finite), Archigram relies on a future of interminable resources.

“Form follows function,” wrote another Archigrammer, David Greene, repeating a modernist slogan in order to knock it down, “no it doesn’t it follows idea, it follows a desire for architecture to be cheerful.”

The works of Archigram had a neofuturistic slant being influenced by Antonio Sant'Elia's works. Buckminster Fuller and Yona Friedman were also important sources of inspiration. The works of Archigram served as a source of inspiration for later works such as the High tech 'Pompidou centre' 1971 by Richard Rogers and Renzo Piano, early Norman Foster works, Gianfranco Franchini and Future Systems. By the early 1970s the strategy of the group had changed. In 1973 Theo Crosby wrote that its members had "found their original impulses towards megastructures blunted by the changing intellectual climate in England, where the brash dreams of modern architects are received with ever-increasing horror. They are now more concerned with the infiltration of technology into the environment at a much less obvious level".

“The period,” says Cook, “was joyfully acquisitive. Someone might be talking about powder puffs, or cranes, or enviro-pills. It was all interesting.” And so, for example, Webb came up with the “cushicle” and the “suitaloon”, fusions of shelter, vehicle and clothing, which would allow their wearers to travel around in comfortable personalised environments. Archigram wanted architecture to be as mobile, dynamic and “pulsating”, to use one of their favourite words, as the society they saw around them. They proposed buildings that moved, that shone in the dark, that could be changed at their users’ will.

If we consider for a moment Christo's seminal work – the 'wrapped cliff' – we might see it in one of two ways: as a wrapped cliff or; preferably, as the point at which all other cliffs are unwrapped. An Archigram project attempts to achieve this same altered reading of the familiar (in the tradition of Buckminster Fuller's question, 'How much does your building weigh?'). It provides a new agenda where nomadism is the dominant social force; where time, exchange and metamorphosis replace stasis; where consumption, lifestyle and transience become the programme; and where the public realm is an electronic surface enclosing the globe —David Greene

Archigram’s fascination with the technology of the moment, mostly from the US, is obvious. They loved the capsules and spacesuits that went with the Apollo moonshots, and wanted to transfer them to Earth-bound buildings. Their best-known projects – such as Ron Herron’s insect-like “Walking Cities” – look like sci-fi. Their interest in consumer culture came without the distancing irony of artists like Richard Hamilton; they were more interested in what it could achieve. “In the 1960s,” says Crompton, “self-determination became an important thing. We were interested in how the consumer could be part of the design process, not a recipient.”

At the same time they brought a British mindset to their creations, which owed as much to seaside piers as to Cape Canaveral. They drew on traditions of garden-shed tinkering and inventing, Cook says, “old gadgets, the boffin thing, Heath Robinson, bouncing bombs, funny cars”. They had a “shared sense of humour, which is a British thing. The world is so absurd, you can only make a joke or you’d collapse. You’re never as serious as when you poke fun at something.”

Cook also sees precedents in 19th-century Britain: “The Victorians were doing a lot of Archigram”, he says, in the way they combined new inventions with stylistic borrowings from wherever they fancied.

More specifically, Archigram’s was a provincial British attitude, as Cook likes to reiterate. He was born in Southend-on-Sea and studied in Bournemouth; Crompton was born in Blackpool and studied in Manchester; Greene was raised and educated in Nottingham. Cook describes how, “as a spotty boy up from the provinces”, he encountered in London the establishment culture of “English chaps… even if you were a Marxist you were an Etonian Marxist”. But “the spotties were more hungry”. They were more open-minded, more willing to learn from, for example, the lesser-known expressionist architects of 1920s Germany, rather than the canonical works of Bauhaus. Archigram, then, is partly a rebellion of the spotties against the “drearies”, as Cook and co called them, who were running the show.

The three men resist the most common charge against Archigram, that they dealt in unbuildable fantasies. “There’s nothing we couldn’t have done,” says Cook. For Greene, “We were trying to bridge the gap between what was built and what might be built.” Crompton, perhaps the most pragmatic of the gang, points to their proposals for applying light industrial techniques to building homes more efficiently, of which then, as now, there was a dire shortage. He challenges me to name an unbuildable Archigram project. Walking Cities, I venture. If you can build an ocean liner, he says, why not them?

What is the case is that there are few identifiable Archigram buildings. The Southbank Centre in London, on which Crompton, Herron and Chalk played leading roles, embodies many of their ideas. A swimming pool enclosure and kitchen addition to Rod Stewart’s country house was built. The translucent, tent-like roof of Herron’s 1990 Imagination building in London was a late flowering of Archigram’s love of lightweight structures. Cook has delivered buildings, such as a bright blue blob of a drawing school in Bournemouth, in which the curvy, organic shapes from the pages of the Archigram magazine become reality.

More significant is their influence, which has filtered through their teaching into generations of students, and through their publications and exhibitions into the practice of architecture. Architects such as Nick Grimshaw (for example with his Eden Project), Rem Koolhaas and the late Will Alsop all owed something to Archigram. Their influence is most famously evident in Piano and Rogers’s Centre Pompidou, whose visible pipework and promises of dynamic change owe much to Archigram, even if Greene, for one, is ambivalent about the Parisian landmark. “They stole the look without the content,” he says. “It looks as if it could move, but it doesn’t.”

Perhaps their biggest gift to architecture is an attitude. You can pick holes in Archigram’s thinking, in particular the assumption that dynamic, free lifestyles would be best served by buildings with lots of moving parts. Some of their contraptions look like terribly contrived and complicated ways to achieve their stated ends. Greene, a quieter and more subtle thinker than Cook, realises this well himself: “The question is not ‘Can you do it?’ but ‘Why would you want to do it?’”

But running through Archigram is the essential insight that buildings should respond to the lives that go on in and around them, and that when those lives change they should be able to change too. Also the belief that, whatever you do, you should do it with zest.

It was a baggy enough group to contain differences of opinion. If Greene is “less and less interested in what things look like, compared to what lies behind”, Cook is eternally enthralled by appearance. This diversity is also one of their strengths: “so our contributors aren’t taking the same line”, it says in Archigram 2, “but they’re each taking some sort of line.”

The group was financially supported by mainstream architects, such as David Rock of BDP. Rock later nominated Archigram for the RIBA Royal Gold Medal, which they received in 2002.

In 2019, the M+ museum in Hong Kong acquired Archigram's entire archive, despite purported attempts to block the sale to an overseas buyer. [wikipedia / The Guardian]

Environmental Communications

Environmental Communications: ARCHIGRAM. Venice, CA: Environmental Communications, 1974. Original edition. Photomechanical single fold four-page exhibition checklist of 71 items. “Brand Library” stamp to front panel. Unobtrusive tape repair and expected handling wear, but a very good example of a rare survivor.<p>

7 x 8.5-inch single folded photomechanically reproduced exhibition checklist published by Environmental Communications of Venice, CA in 1974. In the summer of 1969 a small group of photographers, architects, designers, and psychologists began a dialogue about the phenomenon known as “Los Angeles.” A large studio space was rented in the heart of Venice and the words “Environmental Communications” were painted on the door. EC soon became a magnet for similar visionaries whose common missions was to document, comment upon, and contribute to the zeitgeist of the L. A. Experience and the world in the 1970s.<p>

Environmental Communications  honed an image practice that aimed to constitute a new visual syntax for the late-20th-century city. The group speculated that their “environmental photography” would alter architecture and transform the consciousness of architecture students via the university slide library. Both serial and psychedelic—with debts to LA’s conceptual photography and its electronically mediated counterculture—their practice was attuned to the spatial, mediatic and social forces they documented in Tokyo, the American Southwest and Los Angeles, their primary object of analysis. Organized into thematic slide sets with titles such as “Human Territoriality in the City,” “Ultimate Crisis,” and “Hardcore LA,” they experimented with the behavioral capacity of images as they pursued their goal of developing “systems of perception.” Through their media experiments, events and slide catalogs they positioned themselves as interpreters and purveyors of new trends, assembling a mass design imagery to resist the buildings and monuments that dominated architecture and its institutions.

Archigram [United Kingdom, c. 1961 – 1974] was an avant-garde architectural group formed in the 1960s ⁠that was neofuturistic, anti-heroic and pro-consumerist, drawing inspiration from technology in order to create a new reality that was solely expressed through hypothetical projects.

Based at the Architectural Association in London, the main members of the group were Peter Cook, Warren Chalk, Ron Herron, Dennis Crompton, Michael Webb and David Greene. Designer Theo Crosby was the "hidden hand" behind the group. He gave them coverage in Architectural Design magazine (where he was an editor from 1953–62), brought them to the attention of the Institute of Contemporary Arts (ICA) in London, where, in 1963, they mounted an exhibition called Living City, and in 1964 brought them into the Taylor Woodrow Design Group, which he headed, to take on experimental projects.

The pamphlet Archigram I was printed in 1961 to proclaim their ideas. Committed to a 'high tech', light weight, infra-structural approach that was focused towards survival technology, the group experimented with modular technology, mobility through the environment, space capsules and mass-consumer imagery. Their works offered a seductive vision of a glamorous future machine age; however, social and environmental issues were left unaddressed.

Archigram 1, the first issue of a magazine – if a single sheet can be called that – that was to grow in pagination and significance. Its price was sixpence, in old money. “You couldn’t give it away,” says Cook, “only friends and numbskulls would buy it.”

Now, it will be literally worth its (small) weight in gold, or more, for this flimsy tablet of stone, this home-made harbinger of a technological future, is rare and collectible. It gave its name to the group of young architects who made it, a loose bunch whose interests ranged from the everyday to the extraterrestrial, who sometimes collaborated and sometimes didn’t, but the magazine gave them a common identity. They, people and publication together, would be some of the most influential of the second half of the 20th century.

Archigram agitated to prevent modernism from becoming a sterile and safe orthodoxy by its adherents. Unlike ephemeralisation from Buckminster Fuller which assumes more must be done with less material (because material is finite), Archigram relies on a future of interminable resources.

“Form follows function,” wrote another Archigrammer, David Greene, repeating a modernist slogan in order to knock it down, “no it doesn’t it follows idea, it follows a desire for architecture to be cheerful.”

The works of Archigram had a neofuturistic slant being influenced by Antonio Sant'Elia's works. Buckminster Fuller and Yona Friedman were also important sources of inspiration. The works of Archigram served as a source of inspiration for later works such as the High tech 'Pompidou centre' 1971 by Richard Rogers and Renzo Piano, early Norman Foster works, Gianfranco Franchini and Future Systems. By the early 1970s the strategy of the group had changed. In 1973 Theo Crosby wrote that its members had "found their original impulses towards megastructures blunted by the changing intellectual climate in England, where the brash dreams of modern architects are received with ever-increasing horror. They are now more concerned with the infiltration of technology into the environment at a much less obvious level".

“The period,” says Cook, “was joyfully acquisitive. Someone might be talking about powder puffs, or cranes, or enviro-pills. It was all interesting.” And so, for example, Webb came up with the “cushicle” and the “suitaloon”, fusions of shelter, vehicle and clothing, which would allow their wearers to travel around in comfortable personalised environments. Archigram wanted architecture to be as mobile, dynamic and “pulsating”, to use one of their favourite words, as the society they saw around them. They proposed buildings that moved, that shone in the dark, that could be changed at their users’ will.<p>

If we consider for a moment Christo's seminal work – the 'wrapped cliff' – we might see it in one of two ways: as a wrapped cliff or; preferably, as the point at which all other cliffs are unwrapped. An Archigram project attempts to achieve this same altered reading of the familiar (in the tradition of Buckminster Fuller's question, 'How much does your building weigh?'). It provides a new agenda where nomadism is the dominant social force; where time, exchange and metamorphosis replace stasis; where consumption, lifestyle and transience become the programme; and where the public realm is an electronic surface enclosing the globe —David Greene

Archigram’s fascination with the technology of the moment, mostly from the US, is obvious. They loved the capsules and spacesuits that went with the Apollo moonshots, and wanted to transfer them to Earth-bound buildings. Their best-known projects – such as Ron Herron’s insect-like “Walking Cities” – look like sci-fi. Their interest in consumer culture came without the distancing irony of artists like Richard Hamilton; they were more interested in what it could achieve. “In the 1960s,” says Crompton, “self-determination became an important thing. We were interested in how the consumer could be part of the design process, not a recipient.”

At the same time they brought a British mindset to their creations, which owed as much to seaside piers as to Cape Canaveral. They drew on traditions of garden-shed tinkering and inventing, Cook says, “old gadgets, the boffin thing, Heath Robinson, bouncing bombs, funny cars”. They had a “shared sense of humour, which is a British thing. The world is so absurd, you can only make a joke or you’d collapse. You’re never as serious as when you poke fun at something.”

Cook also sees precedents in 19th-century Britain: “The Victorians were doing a lot of Archigram”, he says, in the way they combined new inventions with stylistic borrowings from wherever they fancied.

More specifically, Archigram’s was a provincial British attitude, as Cook likes to reiterate. He was born in Southend-on-Sea and studied in Bournemouth; Crompton was born in Blackpool and studied in Manchester; Greene was raised and educated in Nottingham. Cook describes how, “as a spotty boy up from the provinces”, he encountered in London the establishment culture of “English chaps… even if you were a Marxist you were an Etonian Marxist”. But “the spotties were more hungry”. They were more open-minded, more willing to learn from, for example, the lesser-known expressionist architects of 1920s Germany, rather than the canonical works of Bauhaus. Archigram, then, is partly a rebellion of the spotties against the “drearies”, as Cook and co called them, who were running the show.

The three men resist the most common charge against Archigram, that they dealt in unbuildable fantasies. “There’s nothing we couldn’t have done,” says Cook. For Greene, “We were trying to bridge the gap between what was built and what might be built.” Crompton, perhaps the most pragmatic of the gang, points to their proposals for applying light industrial techniques to building homes more efficiently, of which then, as now, there was a dire shortage. He challenges me to name an unbuildable Archigram project. Walking Cities, I venture. If you can build an ocean liner, he says, why not them?

What is the case is that there are few identifiable Archigram buildings. The Southbank Centre in London, on which Crompton, Herron and Chalk played leading roles, embodies many of their ideas. A swimming pool enclosure and kitchen addition to Rod Stewart’s country house was built. The translucent, tent-like roof of Herron’s 1990 Imagination building in London was a late flowering of Archigram’s love of lightweight structures. Cook has delivered buildings, such as a bright blue blob of a drawing school in Bournemouth, in which the curvy, organic shapes from the pages of the Archigram magazine become reality.

More significant is their influence, which has filtered through their teaching into generations of students, and through their publications and exhibitions into the practice of architecture. Architects such as Nick Grimshaw (for example with his Eden Project), Rem Koolhaas and the late Will Alsop all owed something to Archigram. Their influence is most famously evident in Piano and Rogers’s Centre Pompidou, whose visible pipework and promises of dynamic change owe much to Archigram, even if Greene, for one, is ambivalent about the Parisian landmark. “They stole the look without the content,” he says. “It looks as if it could move, but it doesn’t.”

Perhaps their biggest gift to architecture is an attitude. You can pick holes in Archigram’s thinking, in particular the assumption that dynamic, free lifestyles would be best served by buildings with lots of moving parts. Some of their contraptions look like terribly contrived and complicated ways to achieve their stated ends. Greene, a quieter and more subtle thinker than Cook, realises this well himself: “The question is not ‘Can you do it?’ but ‘Why would you want to do it?’”

But running through Archigram is the essential insight that buildings should respond to the lives that go on in and around them, and that when those lives change they should be able to change too. Also the belief that, whatever you do, you should do it with zest.

It was a baggy enough group to contain differences of opinion. If Greene is “less and less interested in what things look like, compared to what lies behind”, Cook is eternally enthralled by appearance. This diversity is also one of their strengths: “so our contributors aren’t taking the same line”, it says in Archigram 2, “but they’re each taking some sort of line.”

The group was financially supported by mainstream architects, such as David Rock of BDP. Rock later nominated Archigram for the RIBA Royal Gold Medal, which they received in 2002.

In 2019, the M+ museum in Hong Kong acquired Archigram's entire archive, despite purported attempts to block the sale to an overseas buyer. [wikipedia / The Guardian]

Katharine Kuh Gallery

Katharine Kuh Gallery: “Mâ” BY A. ARCHIPENKO. Chicago, IL.: Katharine Kuh Gallery, 1938. Thick offset litho Postcard printed recto and verso. Hand addressed to  Highland Park, IL with a 1-cent stamp and a January 29, 1938 postage cancellation. A very good example. “The credit for the first conscious use of concaves in sculpture – to replace saliences – is due to Archipenko . . . His attempt leads the observer, by its evident deviation from the customary naturalistic treatment, to a realization of the elementary possibilities of the positive-negative relations.”– László Moholy-Nagy, 1932

In 1937 former Bauhaus Master László Moholy-Nagy accepted the invitation of a group of Midwest business leaders to set up an Industrial Design school in Chicago. The New Bauhaus opened in the Fall of 1937 financed by the Association of Arts and Industries as a recreation of the Bauhaus curriculum with its workshops and holistic vision in the United States.

Moholy-Nagy drew on several émigrés affiliated with the former Bauhaus to fill the ranks of the faculty, including György Kepes and Marli Ehrman. The school struggled with financial issues and insufficient enrollment and survived only with the aid from grants of the Rockefeller and Carnegie foundations as well as from donations from numerous Chicago businesses. The New Bauhaus was renamed the Institute of Design in 1944 and the school finally merged with the Illinois Institute of Technology (IIT) in 1949.

Katherine Kuh was Curator of the Gallery of Art interpretation and Associate Curator of Painting and Sculpture at the Art Institute of Chicago, as well as the Editor of the Institute's quarterly publication, The Bulletin. Her Gallery held five solo Archipenko exhibitions from 1937 to 1942.

Alexander Archipenko (Ukraine, 1887 – 1964)  entered the Kiev Art School in 1902, where he studied painting and sculpture until 1905. During this time, he was impressed by the Byzantine icons, frescoes, and mosaics of Kiev. After a sojourn in Moscow, Archipenko moved to Paris in 1908. He attended the Ecole des Beaux-Arts for a brief period and then continued to study independently at the Musée du Louvre, where he was drawn to Egyptian, Assyrian, archaic Greek, and early Gothic sculpture. In 1910, he began exhibiting at the Salon des Indépendants, Paris, and the following year showed for the first time at the Salon d’Automne.

In 1912, Archipenko was given his first solo show in Germany at the Museum Folkwang Hagen. That same year, in Paris, he opened the first of his many art schools, joined the Section d’Or group, which included Georges Braque, Marcel Duchamp, Fernand Léger, and Pablo Picasso, among others, and produced his first painted reliefs, the Sculpto-Peintures. In 1913, Archipenko exhibited at the Armory Show in New York and made his first prints, which were reproduced in the Italian Futurist publication Lacerba in 1914. He participated in the Salon des Indépendants in 1914 and the Venice Biennale in 1920. During the war years, the artist resided in Cimiez, a suburb of Nice. From 1919 to 1921, he traveled to Geneva, Zurich, Paris, London, Brussels, Athens, and other European cities to exhibit his work. Archipenko’s first solo show in the United States was held at the Société Anonyme, New York, in 1921.

In 1923, he moved from Berlin to the United States, where over the years he opened art schools in New York City; Woodstock, New York; Los Angeles; and Chicago. In 1924, Archipenko invented his first kinetic work, Archipentura. For the next 30 years, he taught throughout the United States at art schools and universities, including the short-lived New Bauhaus. He became a United States citizen in 1928. Most of Archipenko’s work in German museums was confiscated by the Nazis in their purge of “degenerate art.” In 1947, he produced the first of his sculptures that are illuminated from within. He accompanied an exhibition of his work throughout Germany in 1955–56, and at this time began his book Archipenko: Fifty Creative Years 1908–1958, published in 1960. Archipenko died February 25, 1964, in New York.

George Nelson [Associate Editor]

George Nelson [Associate editor]: THE ARCHITECTURAL FORUM. Philadelphia: Time, Inc. [Volume 71, number 6,  December 1939].  Slim Quarto. Thick wrappers. Wire spiral binding. 72 [lxviii] pp. Illustrated articles and advertisements. Wrappers edgeworn with lower corner somewhat abraided. Former owner inkstamp to contents page. The spiral binding is in good condition and does not bind any pages when opened. A very good copy.

8.75 x 11.75 spiral-bound magazine with 72 pages of editorial content showcasing the Architectural and Industrial Design of the American Streamline Moderne Machine Age aesthetic. There are also 68 pages of period advertising that espouse the depression moderne streamline aesthetic quite nicely. You have been warned.

A magnificent snapshot of the blossoming of the modern movement in North America in the final days before the start of World War II.

CONTENTS:

• PARKCHESTER - Given $50 million and a seven-man board of design, private enterprise builds a city in the Bronx - statistically and significantly big, Irwin Clavan, Architect, Richmond H.Shreve, Architect, Chairman.
• SHOPS AND STORES - New trends in Merchandising design, in a portfolio of distinguished modern retail outlets. STORES - Lederer de Paris, Ciro of Bond Street, Inc., Ed Steckler, Inc., Mosse Linen & Le Bas-Lillian, New York City, Morris Ketchum, Jr., Architect; Junior League, Grosse Pointe, Mich., Alexander H. Girard, Architect; Lehman Radio Salon, Inc., New York City, William Hamby and George Nelson, Architects; I Miller & Sons, Inc., New York City, Robert Carson and Louis H. Friedland, Architects; Halle Bros., Cleveland, Ohio, Gilbert Rohde, Designer; W.T. Grant Co., Buffalo, NY., Alfred S. Alschuler, Architect, Raymond Loewy, Industrial Designer.
• MODERN HOUSES - Three new houses; for the Maine coast , a New England village, and the Texas prairie. SUMMER HOUSE for Mrs. Clara Fargo Thomas, George Howe, Architect; House in Lincoln, Mass., Walter Gropius and Marcel Breuer, Associated Architects; House for H. Stanley Marcus, Dallas, Texas, DeWitt and Washburn, Architects.
• THE ARCHITECT'S WORLD - The Case for the Skyscraper ... Housing and Architects ... Thought and Controversy in the Profession.
• THE DIARY - Obsrvations from San Francisco, Washington, Princeton, New York ... Personalities, Trends, Sumises.
• PRODUCTS & PRACTICE - Private utilities for rural homes - a brief review of new equipment for the modern home beyond the gas mains ... water supply ... lighting plants ... gas ... solar water heaters ... incinerators ... septic systems.
• BUILDING MONEY - The Forum looks at the recent trend of building prices, offers a home building cost index directly pertinent to 80 U.S. cities ... Colonial architecture and concrete block join hands in Philadelphia, found a fast-selling low-priced subdivision ... Government X-rays the Nation's pocketbook, examines the part played by shelter in workers' loving costs ... An Illinois designer put his kitchen-dining room in the basement, boasts a construction cost below $4,000 ... Analysis of how much of what goes into the average house - an aid to cost estimation ... Charts and tables underlining the statistical trends within the Building Industry.
• MONTH IN BUILDING
• FORUM OF EVENTS - Midtown New York Evolution .... Early Midwest Modern ... Awards ... Competions ... News Miscellany.
• BOOKS - Duncan Phyfe and the Regency ... A study of land in America ... Experimental housing in Rotterdam ... American museums.
• LETTERS

Frank Lloyd Wright [Guest Author, Editor and Designer]

Frank Lloyd Wright [Guest Author, Editor and Designer!], George Nelson [Associate Editor]: THE ARCHITECTURAL FORUM. Philadelphia: Time, Inc. [Volume 68, number 1,  January 1938].  Slim quarto. Wire spiral binding. Thick printed wrappers. 182 pp. of editorial content and period advertising. Seven fold outs of FLW work. Wrappers lightly worn, rubbed and soiled. The spiral binding is in good condition and does not bind any pages when opened. A nearly very good copy.

9.75 x 12.5 magazine with  176 pages, with 182 Pages (including 7 fold-outs) devoted to the work of the renowned American architect Frank Lloyd Wright, including plans and elevations to many of his residential and commercial projects. ”This issue of Architectural Forum  is devoted to one of America's Greatest Architect Frank Lloyd Wright. “ Includes his homes, buildings, projects, etc. ... also includes photographic reproductions of drawings, floor plans, comments by Frank Lloyd Wright about each project, and great black-and-white photos of his works. (Sweeney 457) Many white spaces are filled with quotations from Frank Lloyd Wright or Walt Whitman.

CONTENTS: ”The Architectural Forum has the honor to present for January 1938 an issue devoted to the new and unpublished work of Frank Lloyd Wright”

• Foreword
• Taliesin III: Home and Workshop of Frank Lloyd Wright
• The Taliesin Fellowship Buildings
• "The Garden Wall": Willey House
• "The Little Dipper": Los Angeles
• Pioneer Memorial: Winnebago, Wisconsin
• Unity Temple Reminiscence, 1904-1905
• "Fallingwater": Kaufmann House
• Kaufmann Office: Pittsburgh, PA
• House for Texas: Dallas
• St. Mark's Tower: New York City
• "Wingspread": Johnson Cottage
• San Marcos in the Desert: Arizona
• "Honeycomb": Paul Hanna House
• House on the Mesa: Broadacre City
• Robert Lusk House: Huron, South Dakota
• Usonian House for Herbert Jacobs
• Bramson Shop/Parker Garage
• Capitol-Journal Building
• Metal Furniture: Midway-Gardens
• Metal Furniture: S. C. Johnson Co.
• S. C. Johnson Company Building
• Foreword Concluded
• Fellowship at Play, Taliesin, Wisconsin
• BUILDING MONEY
• MONTH IN BUILDING
• FORUM OF EVENTS
• PRODUCTS & PRACTICE
• BOOKS
• FLW-oriented ADVERTISEMENTS: 2) Hope’s Windows. Full page ad. Photo of windows at Fallingwater. 3) Cabot’s "Quilt". Half page ad. Photo of Fallingwater. 4) Marquette Portland Cement. Half page ad. Photo testing Johnson Wax column. 5) Wright Rubber Tile. Quarter page ad. Photo John Wax Building model. 6) Reynolds Modern Foil Insulation. Quarter page ad. For the attic of The Hanna House.
• LETTERS include "Space Within". Letter from Kastner concerning Wright’s accomplishments.

"In our country the chief obstacle to any real solution of the moderate-cost house-problem is the fact that our people do not really know how to live, imagining their idiosyncrasies to be their "tastes," their prejudices to be their predilections and their ignorance to be virtue where any beauty of living is concerned." -- Frank Lloyd Wright

"I am certain that any approach to the new house . . . must be a pattern for more simple and, at the same time, more gracious living: new but suitable to living conditions as they might so well be in the country we live in today. This needed house of moderate cost must sometime face reality. Why not now? The houses built by the million . . . do no such thing. To me such houses are "escapist" houses, putting on some style or other, really having none. Style is important. A style is not. There is all the difference when we work with style and not for a style."  -- Frank Lloyd Wright

George Nelson [Associate Editor]

George Nelson [Associate editor]: THE ARCHITECTURAL FORUM. Philadelphia: Time, Inc. [Volume 71, number 1,  January 1940]. Slim Quarto. Thick wrappers. Wire spiral binding. 68 [lxiv] pp. Illustrated articles and advertisements. Wrappers edgeworn with loser corner somewhat abraided, with a couple of random ink marks. Former owner inkstamp to contents page. The spiral binding is in good condition and does not bind any pages when opened. A very good copy.

8.75 x 11.75 spiral-bound magazine with 68 pages of editorial content showcasing the Architectural and Industrial Design of the American Streamline Moderne Machine Age aesthetic. There are also 64 pages of period advertising that espouse the depression moderne streamline aesthetic quite nicely. You have been warned.

A magnificent snapshot of the blossoming of the modern movement in North America in the final days before the start of World War II.

CONTENTS:

• PUBLIC HOUSING AND THE USHA: The Forum answers the first thirteen questions about Building's most controversial subject.
• HOUSES: Additional case histories in the small house series, Interior-exterior photography;  floor plans;  critical comment; cost data; construction outlines. "SHANGRI-LA", House for Frances Gordon Welsh, Long Beach, Indiana, John Lloyd Wright & Frances Gordon Welsh, Architects; House for Mrs. James B. Ayer, Long Beach, Wareham, Mass., Coolidge, Shepley, Bulfinch & Abbott, Architects; House for Henry R.Shepley, Long Beach, Wareham, Mass., Coolidge, Shepley, Bulfinch & Abbott, Architects; House for V.H. Moon, Highland Park, IL., Bertram A. Weber, Architect; House for Herbert Stothart, Santa Monica, CA., J. R. Davidson, Designer; House for Edward Dane, Rowley, Mass., George W.W. Brewster, Jr., Architect; House for Weston Holt Blake, Architect, Wilmington, Delaware.
• BUILDING NO. 11, ROCKEFELLER CENTER: A combined office building and garage for midtown New York. Designed by Reinhard & Hofmeister, Wallace K. Harrison, J. Andre' Fouilhoux, Architects.
• HOUSING PROJECTS: Representative examples of USHA's accomplishments to date; Queensbridge; Brentwood Park; Santa Rita; Willert Park. Queensbridge, NY., William F.R. Ballard, Henry S. Churchill, Frederick G. Frost, Burnett C. Turner, Architects; Brentwood Park, Jacksonville, FL., Mellen C. Greeley, Ivan H. Smith, W. Kenyon Drake, O.E. Segerberg, S.Ralph Fetner, LeRoy Sheftall, J.H. Bryson, Architects; Santa Rita, Austin, Texas, H.F. Kuehne, B.E. Gieseke, and A.W. Harris, Architects; Willert Park, Buffalo, NY., Frederick C. Backus, Architect.
• NATIONAL CASH REGISTER CO. SHOW ROOM AND OFFICES:  An unusual approach to the modern commercial interior. Designed by Reinhard & Hofmeister, Architects.
• THE ARCHITECT'S WORLD: Controversy; Criticism; Philosophy; War literature;  and building contracts.
• THE DIARY: A roving editor writes of events, personalities, copetition technique and other architectural miscellany.
• BUILDING MONEY: Building forecast for 1940;  A planned community appraised - Greenbelt's income and expenses; Decentralization in Detroit causes real estate decline;  Four tyro builders produce $2,995 prefabricated houses.
• MONTH IN BUILDING
• FORUM OF EVENTS: War comes to the architectural journals; Bomb objectives in Finland;  Awards; Competitions; Deaths; personal;  USHA.
• BOOKS: colonial Philadelphia; Housing Law Abroad; Historic American Houses.
• LETTERS

Will Burtin [Designer]

Architectural Forum [Editors]: THE ARCHITECTURAL FORUM June 1939. Philadelphia: Time, Inc. 1939 [Volume 70, number 6]. A near-fine original magazine with wire spiral binding: cover faintly dusty and a trace of edgewear. The spiral binding is in unusually good condition and does not bind any pages when opened. An unusually nice copy thus. Magnificent cover design by Will Burtin.
8.75 x 11.75 spiral-bound amgazine with 128 pages of editorial content, as well as the 104-page Special Section The World Fairs: New York and San Francisco: with 375 black and white images and 2 fold-out full-color Maps (the SF map is by Ernest Born).This special 104-page special section of the Architectural Forum is devoted to a complete overview of the competing 1939 Worlds’ Fairs and remains one of the best visual reviews of the 1939 Fairs, and by extension one of the best souvenirs of the American Streamline Moderne Machine Age aesthetic. There are also an excellent assortment of vintage trade advertisements that espouse the depression moderne streamline aesthetic quite nicely. You have been warned.

375 black and white images were carefully assembled by Art Director Burtin to tell the visual story of the NYC and SF Worlds Fairs. The effect is stunning to say the least. This is truly one of the finest original documents of 1930s American Design in the Industrial and Architectural Arts. My highest recommendation.

• NEW YORK FAIR:
• GENERAL - Introduction;Theme Center;  Federal Building;  Court of States, Pennsylvania.
• TRANSPORTATION EXHIBITS: General Motors;  Ford;  Aviation.
• ELECTRICAL EXHIBITS: General Electric;  Consolidated Edison;   Electric Utilities ;  Westinghouse;  Lighting Displays.
• INDUSTRIAL EXHIBITS: Petroleum Industries;   Budd Mfg. Co. ;  U.S. Steel;   Dupont;   Glass Center.
• COMMUNICATION EXHIBITS : American Telegraph and Telephone;  Radio Corporation of America.
• HOUSES: Town of Tomorrow;   Electric Farm.
• CONSUMERS' EXHIBITS: American Radiator;   food Building, No.3;  Distillers;  Borden Co.
• ENTERTAINMENT : Fountain Lake Amphitheater;  Theater and Concert Hall;  Children's World.
• FOREIGN NATIONS : Finland;  Sweden;  Britain;  Brazil;  Argentine;  Chile; Venezuela; Belgium; France; Netherlands; Denmark; Norway ;  Italy;  Japan;  Poland;  U.S.S.R;  Irreland;  Switzerland.
• SAN FRANCISCO FAIR:
• GENERAL : Court of Pacifica;  Elephant Towers;  Court of Flowers;  The Lagoon;  Federal Building;  Decorative Arts;  Pacific House;  California Auditorium and State Building;  San Francisco Building;  Public Utilities Commission Exhibit;  County Buildings;  Verba Buena Club;  Hall of Flowers.
• INDUSTRIAL EXHIBITS : Del Monte;  U.S. Steel;  Dow Chemical;  Libbey-Owens-Ford Glass Co.;  Armour and Co.
• FOREIGN NATIONS : Brazil;  Argentina;  Japan;  Italy;  Czecho-Stovakia ;  Sweden;  Portugal.
• Month In Building; Architect's World; Diary; Forum Of Events; Books; Letters

Designers, architects, manufacturers, artists and photographers include: (For NY): Henry Dreyfuss, Wlater Gropius, Marcel Breuer, Xanti Scawinsky, Albert Kahn, Norman Bel Geddes, Futurama, Walter Dorwin Teague, William Lescaze, Alexander Calder, Skidmore and Owings, Gilbert Rohde,  Louis Fernstadt, A. Lawrence Kocher, James Earle Fraser, Leo Friedlander, Isamu Noguchi, Carl Milles, Paul manship, Carl Schmitz, Harry Poole Camden, Robert Foster, Edward Durell Stone, Morris Sanders, Witold Gordon, Winold Reiss, George Howe, Alvar Aalto, Oscar Niemeyer, Alfredo Guido, Luis Lopez Mendez, Herbert Matter, aand many others; (For SF): Ernest Born, Ralph Stackpole, Donald Macky, Lewis Hobart, William Merchant, Timothy Pflueger, Oscar Stonorov, Lucien Labaudt, William Wilson Wurster, Frances Elkins, Squire Knowles, Walter Dorwin Teague, Alden Jones, Gardner Dailey, and many others.

Will Burtin (1909 - 1972) studied typography and design at the Cologne Werkschule. He practiced design successfully in Germany before emigrating to the US in 1938. He worked for the US Army Air Force designing graphics and exhibitions before becoming Art Director of Fortune magazine in 1945. His work for Fortune was marked by innovative solutions to presenting complex information in graphically understandable ways. In 1949 he established his own firm. Among his clients were the Upjohn Company, Union Carbide, Eastman Kodak and The Smithsonian Institution. Burtin’s great genius was in his ability to visualize complex scientific and technological information. He created several award winning exhibitions including the 1958 model of a human blood cell. He was awarded the AIGA medal in 1971. Burtin believed that through his work he could become the “communicator, link, interpreter and inspirer” who is able to make scientific knowledge comprehensible.

George Nelson [Associate Editor]

George Nelson [Associate Editor]: THE ARCHITECTURAL FORUM. Philadelphia: Time, Inc. May 1939 [Volume 70, number 5]. Folio. Wire spiral binding. Thick printed wrappers. 140 pp. Text and advertisements. Gray wrappers lightly soiled. Interior bright, white and tight, thus a  nearly fine copy.

8.75 x 11.75 spiral-bound magazine with 140 pages of editorial content showcasing the Architectural and Industrial Design of the American Streamline Moderne Machine Age aesthetic. There are also an excellent assortment of vintage trade advertisements that espouse the depression moderne streamline aesthetic quite nicely. You have been warned.

Bound-in [as issued]: Wallace K. Harrison, William Lescaze, William Muschenheim, Stamo Papadaki, James Johnson Sweeney [Editors], Herbert Matter [Typography and Layout]: PLUS 3: ORIENTATIONS OF CONTEMPORARY ARCHITECTURE. NYC: Architectural Forum/ Time Inc., May 1939. 16 pp. bound-in profusely illustrated with two-color printing throughout.

PLUS 3 Contents

• Upon Beautiful Form by Ozenfant
• Nature And The Engineer - Two engineers; the hen and Mr. Freyssinet, (Hangar of Orly)
• The Engineer and Artist - The work of the potter and of the engineer is often beautiful because neither is free: technical necessities restrict their liberty. Fortunately the abuse of liberty leads to anarchy of "forms," consequently to anarchy in the work itself.
• The Egg-Theme In Art: Example Of A Generative Theme Form- Mural Painting by Ozenfant or "Find The Eggs."
• Sunila; Factory and Community by Alvar & Aino Aalto
• Rebbio: A Stellite Town for Industrial Workers by A. Sartoris & G.Terragni
• Light: A New medium of Expression by L. Moholy-Nagy.
• Full-page Photogram by L. Moholy-Nagy.

The PLUS series was conceived as a modernist adjunct to Time Inc.’s ARCHITECTURAL FORUM. With six editors (!) and a list of collaborators that reads like a Rosetta Stone of the Modern Movement (see below), this slim journal attempted to bring the rapidly-emigrating sensibilities of the European Avant-Garde to mainstream America. Seventy years of hindsight clearly shows that giving Herbert Matter free reign to interpret the editorial content was a brilliant choice by the decision-makers at the Forum.

This edition of PLUS  utilized the visual vocabulary of the European Avant-Garde (PhotoMontage, Avant-Garde typography, etc.) to showcase the Modern movement in America. An exceptional document presenting a forceful integration of American Editorial Design with a truly European Avant-Garde sensibility by a true master of the form.

Additional Forum Contents:

• HOUSES - Norman K. Blanchard and Edward J. Maher, Architects; House for George G. Frisbee, Guerneville, CA., House for J. Frank Waddell, Chappaqua, NY. House for Ralph E. Phillips, San Marino, CA., H. Roy Kelley,  Architect; House for Glenn Price, Libertyville, Ill., Elmer, Gylleck, Architect; House for Howard Barnhisel, Klamath Falls, Oregon, Howard R. Perrin, Architect.
• SECONDARY SCHOOLS - Gamaliel Bradford Senior High School, Wellesley, Mass., Perry Shaw and Hepburn, Architects; High School, Hamden, Conn., R. W.  Foote, Architect; High School for Liberal & Household Arts, Hollywood, CA., Marsh, Smith & Powell, Architects; High School, Idaho Springs, CO., Frewen & Morris, Architects; Mirabeau B.Lamar Senior High School, Houston, Texas, John F. Staus, Kenneth Franzheim, Inc., Lamar Q. Cato, Harry D. Payne, Louis A. Glover, Architects.
• WALBRIDGE RANCH - A ranch group on a 9,000 acre building site: designed for  the California landscape, Sonoma County, Eldridge T. Spencer, Architect. Photgraphed by Ansel Adams!
• MEYERCORD COMPANY OFFICES - Efficiently designed office space serves also to display a product, Chicago, Julius Floto, Architect; Interiors by Abel Faidy.
• HOUSES - Additional case histories in the small house series, Interior-exterior photography ... floor plans ... critical comment ... cost data ... construction outlines.
• PRODUCTS & PRACTICE - Design for Safety; Drop in auto accidents spotlights the home as the prime cause of accidental fatalities ... principal causes and prevention.
• THE ARCHITECT'S WORLD - A digest of thought and descussion on architecture and other arts.
• THE DIARY - Comment, news, personalities from a peripatetic observer.
• SECONDARY SCHOOLS - Fundamental changes in curricula bring equally fundamental changes in design ... a review of recent work.
• BUILDING MONEY - The arithmetic of land development: The Forum explores the ways and means to economic subdividing for the seven out of ten subdividers who have not learned their lessons ... FHA's original chief architect designs an FHA - insured rental housing project for Columbus, Ohio ... "The Quintec House": one low cost dwelling per week from General Housing Corp.'s Seattle factory ... The lowly concrete block gets its first taste of standardization.
• MONTH IN BUILDING
• FORUM OF EVENTS - Totalitarian architecture ... Productive Home Competition ... Awards ... Educational ... Deaths ... Personals.
• BOOKS
• LETTERS

Herbert Matter (1907-1983) was born in Engelberg, a Swiss mountain village, where exposure to the treasure of one of the two finest medieval graphic art collections in Europe was unavoidable. In 1925, he attended the Ecole des Beaux-Arts in Genf, but after two years, the allure of modernism beckoned him to Paris. There, the artist attended the Academie Moderne under the tutelage of Fernand Leger and Amédée Ozenfant. While the former became a close lifelong friend, both encouraged Matter to expand his artistic horizons.

In Europe during the late Twenties and early Thirties, the creative scope of graphic design was boundless. Journalistic, imaginative and manipulative photography were revolutionary influences, and Matter, long-enamored with the camera, began to experiment with the Rollei as both a design tool and an expressive form — a relationship that never ended. Inspired by the work of El Lissitzky and Man Ray, Matter was intrigued by photograms, as well as the magic of collage and montage —both were favored modes. In 1929, his entry into graphic design was completed when he was hired as a designer and photographer for the legendary Deberny and Piegnot concern. There he learned the nuances of fine typography, while he assisted A.M. Cassandre and Le Corbusier. In 1932, abruptly expelled from France for not having the proper papers, he returned from Switzerland to follow his own destiny.

"Herbert's background is fascinating and enviable," said Paul Rand. "He was surrounded by good graphics and learned from the best." Therefore, it is no wonder that the famed posters designed for the Swiss Tourist Office soon after his return had the beauty and intensity of Cassandre and the geometric perfection of Corbu, wed to a very distinctive personal vision.

In 1936, Matter was offered roundtrip passage to the United States as payment for his work with a Swiss ballet troupe. He spoke no English, yet traveled across the United States. When the tour was over, he decided to remain in New York. At the urging of a friend who worked at the Museum of Modern Art, Matter went to see Alexey Brodovitch, who had been collecting the Swiss travel posters (two of which were hanging on Brodovitch's studio wall). Matter soon began taking photographs for Harper's Bazaar and Saks Fifth Avenue. Later, he affiliated himself with a photographic studio, "Studio Associates," located near the Condé Nast offices, where he produced covers and inside spreads for Vogue.

During World War II, Matter made striking posters for Container Corporation of America. In 1944, he became the design consultant at Knoll, molding its graphic identity for over 12 years. As Alvin Eisenman, head of the Design Department at Yale and long-time friend, points out: "Herbert had a strong feeling for minute details, and this was exemplified by the distinguished typography he did for the Knoll catalogues."

In 1952, he was asked by Eisenman to join the Yale faculty as professor of photography and graphic design. "He was a marvelous teacher," says Eisenman. "His roster of students included some of the most important names in the field today." At Yale, he tried his hand at architecture, designing studio space in buildings designed by Louis Kahn and Paul Rudolf. "He was good at everything he tried to do," continues Eisenman. In 1954, he was commissioned to create the corporate identity for the New Haven Railroad. The ubiquitous "NH" logo, with its elongated serifs, was one of the most identifiable symbols in America.

George Nelson [Associate Editor]

George Nelson [Associate editor]: THE ARCHITECTURAL FORUM. Philadelphia: Time, Inc. [Volume 69, number 4,  October 1938].  Slim quarto. Wire spiral binding. Thick printed wrappers.  68 pp. editorial content. 78 pp. period advertising. Wrappers lightly worn and rubbed. Tiny dampstain to lower outer edgeof rear advertising pages: no contents affected. The spiral binding is in unusually good condition and does not bind any pages when opened. A nearly very good copy.

8.75 x 11.75 spiral-bound magazine with 146 pages of editorial content showcasing the Architectural and Industrial Design of the American Streamline Moderne Machine Age aesthetic. There are also an excellent assortment of vintage trade advertisements that espouse the depression moderne streamline aesthetic quite nicely. You have been warned.

• CARL MILLES MONUMENT - The Swedish people mark a Delaware landing.
• CHILDREN'S BEACH HOUSE - Simplicity and practicality on the sand dunes, Victorine & Samuel Homsey, Architects
• YACHT CLUB IN MARYLAND - A naval architect might have done it., Victorine & Samuel Homsey, Architects.
• HOFSTRA COLLEGE - Long Island higher education starts from scratch, Aymar Embury, II, Architect.
• HOLLYWOOD TURF CLUB - The horses come indoors, Stiles O.Clements, Architect. Furnishings by Donald Deskey.
• LONGCHAMPS RESTAURANT - A way of taking the patrons upstairs or down, Ely Jacques Kahn, Architect.
• MODEL THEATER - It plays to sophistication for three months, W. L. Pereira, Architect.
• STATION WGY - G.E.'s Schenictady group steps out, Harrison & Fouilhoux, Architects.
• L. H. J. SMALL HOUSE COMPETITION - for a modern - yet not too moderne-life. Richard Neutra, Hugh Stubbins, Ralph Rapson, John Ekin Dinwiddie, etc.
• PRODUCTS & PRACTICE - Answer to No. 1 U. S. pet peeve.
• Monadnock Building: Chicago Remodels a Landmark, Skidmore and Owings, Architects.
• BUILDING MONEY - Real low-rent housing in Fort Wayne, Ind. Producers Council boosts Building ... Characteristics of the average house ... A model-conscious subdivision in Los Angeles ... Solving the guaranteed mortgage company problem ... Home building costs level off ... Modernization of the Monadnock Building ... Four building charts.
• MONTH IN BUILDING
• THE ARCHITECT'S WORLD - In which architects read, write and think.
• THE DIARY - A long time popular feature makes its bow in The Forum.
• FORUM OF EVENTS - Architect Franklin Delano Roosevelt designs a house ... 16th International Housing and Town Planning Congress ... School Building Needs.
• LETTERS - Allen's Front Porch Campaign ... Standardized House ... Progress for "Century."

Architectural Forum [Editors]

Architectural Forum [Editors]: THE 1937 BOOK OF SMALL HOUSES. New York: Simon and Schuster, 1936. Fifth printing. Quarto. Decorated paper covered boards. 253 pp. 115 houses profiled with plans and black and white photographs. Front board lightly scuffed with mild edgewear. Spine crown chipped away. Interior unmarked and clean. Out-of-print. A nearly very good copy.

9.25 x 12.25 hardcover book with 253 pages with more than 500 illustrations showcasing 115 carefully selected small houses. Profusely illustrated in black and white with photographs, floorplans and construction details for pre-World War II houses ranging in price from $982 to $20,000. A desirable title that documents the transition from the 1930s streamline and moderne styles to what-would-become the International Style.

From the book: "The Book of Small Houses is designed as a complete manual for the thousands who want to build their own homes with a complete understanding of every step and every expense involved. It contains plans, costs, specifications and all construction details for 115 small houses selected by the Editors of  Architectural Forum . . . .

• How to Use this Book
• Introduction
• GETTING DOWN TO BUILDING
• The Urge to Build
• Selecting an Architect
• The Locality and the Site
• Designing and Planning
• The Importance of the Architect
• Building Your Home
• A Word About Maintenance
• Financing Your Home
• THE COST OF BUYING HOMES, Priced from $5,000 to $20,000, by the FHA Plan (Chart)
• 85 Houses in Tabular Survey
• A BRIEF CHECK LIST OF QUESTIONS
• About the Neighborhood
• About the Lot
• About the House
• 40 IMPORTANT POINTS IN HOUSE CONSTRUCTION
• The Architect and the $5,000 House
• 46 Houses Costing Not More Than $5,000
• 69 Houses Costing from $5,000 to $20,000
• A List of Books about Homebuilding

Architects include William B. Wiener, Richard J. Neutra, A. Lawrence Kocher and Albert Frey, Harwell Hamilton Harris, Carl Anderson, William Wilson Wurster, Royal Barry Wills, H. F. Kuehne, Milton L. Grigg [x 3], Jan Ruhtenberg, William O. Armitage, Douglass V. Freret,  George Wellington Stoddard [x 3], James Gamble Rogers [x 2], Marion Manley, Keith Sellers Heine, Ira P. Jones, Jonathan Ring,  Robert S. Hutchins, Smith & Weller, Michael Goodman, J. Cosby Byrd & W. H. Badgett, Edgar W. Archer, Luther Lashmit, Frank Harper Bissell [x 2], Arthur Kelly & Joe Estep, WArne, Tucker & Silling, Hmilton and Gwenydd Beatty, Thomas W. Cooper, Maximillian R. Johnke [x 2], Margaret F. Spencer, Bartlett Cocke [x 2], W. Norman Jeavons, Corwin Willson, Henry Carlton Newton and Robert Dennis Murray, C. Everett Burbank, Walter Bradnee Kirby [x 3], Anne Fuller, Christian Rosborg, Henry Irven Gaines [x 2], George Patton Simonds, Nevin, Morgan & Kolbrook, Reinhard M. Bischoff, G. Edwin Brumbaugh, Charles H. Umbrecht, Hays and Simpson, H. Roy Kelley [x 2], Dominique Berninger, Randolph Evans, Jerome Bailey Foster, Witmer and Watson, Lucius S. Beardsley, William Wilde, Brueggman and Swaim, Calvin Banwell, Miller and Warnecke, Elmer B. Milligan, Clement J. Ford, Robert R. Royce, Edwin R. Closs, Moore & Lloyd, Roscoe Cook Tindall, Albert Lee Hawes, McNeil Swasey, Gene H. Brockow, Richard W. Mecaskey [x 2], Robert Isphording, W. Montgomery Anderson, Harvey Stevenson and Eastman Studds [x 2], Derby, Barnes and Champney, H. Roy Kelley  Edgar Bissantz, Harold G. Spielman,  John C. B. Moore [x 2] , Maxwell A. Norcross, D. Allen Wright, Keith Sellers Heine, Harvey Stevenson & Eastman Studds, John Sherwood Kelley, Kenneth W. Dalzell, John J. Whelan, Rollin C. Chapin [x 2], Llewellyn Price, William M. Pareis [x 2], Winchton Risley [x 2], C. W. Fant & L. S. Whitten, Emery Kinkead, John Sherwood Kelly, Edward X. Tuttle, R. H. Scannell, Bennett, Parsons, & Frost,  Ralph C. Flewelling, Newton W. Sheppard, Francis Keally, Gordon B. Kaufmann, Beverly T. Nelson, and Chester H. Walcott.

Will Burtin [Art Director], George Nelson [Associate Editor]

Will Burtin [Art Director], George Nelson [Associate Editor]: THE ARCHITECTURAL FORUM. Philadelphia: Time, Inc. April 1939. Folio. Wire spiral binding. Thick printed wrappers. 191 pp. Illustrated articles and advertisements.  Wrappers lightly rubbed and chipped at heel and crown of spiral binding edge. Textblock thumbed and rubbed, tight and secure. A very good copy.

8.75 x 11.75 spiral-bound magazine with 191 pages of editorial content showcasing the Architectural and Industrial Design of the American Streamline Moderne Machine Age aesthetic. There are also an excellent assortment of vintage trade advertisements that espouse the depression moderne streamline aesthetic quite nicely. You have been warned. A magnificent snapshot of the blossoming of the modern movement in North America in the final days before the start of World War II.

• 50 LOW COST HOUSES - Houses in Fort Lauderdale, Fla., Robert M. Little and Robert E. Hansen, Architects; Houses in Doylestown, PA., Elfman & Sons, Designers; House in Springfield, Mass., James J. Fitzsimmons, Architect; House in Oakland, CA., Alfred C. Williams, Architect; House in Los Angeles, CA., J. B . Lyman, R. E. Collins, Architects; Houses in Austin, Texas, David C. Baer, Architect; Houses in Memphis, Tenn., J. Frazer Smith, Inc., Architects; House in Jackson, Miss., Henry G. Markel, Architect; House in Portland, Oregon, Dirk Winters, Designer; House in San Diego, CA., Cliff May, Designer; House in Midland, Mich., Ralph W. Boone, Architect; House in Midland, Mich., Alden B. Dow, Architect; House in Sparta, NJ., Edwin R. Closs, Architect; House in Del Ray Beach, FL., Paist and Steward, Architects; Houses in Fredericksburg, VA., Cecil L. Reid, Designer; Houses in Louisville, KY., G. Alfred, Architect; House in Sheldon, Iowa, F. W. Benson, Designer; House in Seattle, Wash., George Wellinton Stoddard, Architect; House in Lafayette, Indiana, Bertrand Goldberg, Architect; House on Balboa Island, CA., G. Branch, Designer; House in Safford, Arizona, J. D. Halstead Lumber, Builders; House in Los Angeles, CA., Raphael S. Soriano, Designer; House in Cedar Rapids, Iowa, Donald Barry, Designer; House in Norfolk, VA., R. O. Tate, Designer; Houses in Miami, FL., Paist and Steward, Architects; House in Kirtland, Ohio, B. J. McGarry, Architect; House in Kingsport, Tenn., L. Maxon, Architect; House in Chicago, Ill., Victor Stromquist, Architect; House in Birmingham, AL., Miller, Martin & Lewis, Architects; House in Seattle, Wash., R. L. Durham, Architect; House in Asheville, NC., Henry Irven Gaines, Architect; Row Houses in Seattle, Wash., Thiry and Shay, Architects; House in Phoenix, AZ., Ben O. Davey, Architect; House Portland, Oregon, Harold Wade Doty, Architect; House in Boise, Idaho, H. C. Hulbe, Architect; Houses in Burbank, CA., Arthur Weber, Designer; Houses in North Hempstead, LI., Benjamin Driesler, Architect; House in Lexington, Mass., Samuel Glaser, Architect; House in Dothan, AL., John David Sweeney, Architect; Houses in New Albany, Indiana, Gunnison Housing Corp., Designers; house in Brownsville, Texas, R. L. Brockman, Builder; Houses in Victorville, CA., E. Webster and A. Wilson, Architects; House in Portland, Oregon, John Yeon, Architect; house in Oreland, PA., Richard C. Martin, Architect.
• MARKET - Home building's biggest, most stable, least tapped market is that for the low cost house - a statistical analysis of its size, characteristics and habits.
• PLAN & DESIGN - Of fundamental importance, exacting character, and sales significance ... basic cross-sections, 1, 1 1/2, and 2 story plans, plan models, cost estimates.
• CONSTRUCTION - Techniques for cost reduction as practiced by architects, builders, and manufactures.
• LABOR COST - No.1 Bugaboo proves important, but not all-important. Home Building's labor costs mapped and charted.
• QUANTITY PRODUCTION - A "solution" for the small house; a theory versus some facts.
• LAND & SERVICES - The cost of raw land, lot improvements, and street improvements ... how these costs can be cut ... row housing.
• CARRYING CHARGES - Cost per month of home ownership; Mortgage financing ... maintenance and depriciation ... heat and hot water ... taxes and insurance ... summary showing variations in total carrying charges.
• SUMMATION
• MONTH IN BUILDING
• THE ARCHITECT'S WORLD - Thoughts without pictures, controversial and otherwise.
• THE DIARY - Events, conjectures, criticism, from a personnal viewpoint.
• FORUM OF EVENTS - News in pictures ... Information Please at The Architectural League.
• BOOKS
• LETTERS

Will Burtin (1909 -1972)   studied typography and design at the Cologne Werkschule, then practiced design in Germany before emigrating to the US in 1938. He worked for the US Army Air Force designing graphics and exhibitions before becoming Art Director of Fortune magazine in 1945. His work for Fortune was marked by innovative solutions to presenting complex information in graphically understandable ways. In 1949 he established his own firm. Among his clients were the Upjohn Company, Union Carbide, Eastman Kodak and The Smithsonian Institution. Burtin's great genius was in his ability to visualize complex scientific and technological information. He created several award winning exhibitions including the 1958 model of a human blood cell. Burtin believed that through his work he could become the "communicator, link, interpreter and inspirer" who is able to make scientific knowledge comprehensible.

Burtin developed a design philosphy called Integration, in which the designer conveyed information with visual communication that is based on four principal realities:

• the reality of man as measure and measurer
• the reality of light, color, texture
• the reality of space, motion, time
• the reality of science

Using this approach to design problems was essentially the birth of what later became known as multimedia. By integrating all four realities into a design solution, Burtin could solve seemingly insoluble puzzles.

The mid to late 40s saw Burtin expand his role in professional organizations, serving as Director of the American Institute of Graphic Arts (AIGA). In 1948, Burtin's Integration: The New Discipline in Design exhibit opened at the Composing Room in New York City. In the introduction to the exhibition, designer Serge Chermayeff stated: "This new art of 'visualization,' of giving visual form in two or three dimensions to a message, is the product of a new kind of artist functionary evolved by our complex society. This artist possesses the inclusive equipment of liberal knowledge, scientific and technical experience, and artisticability . . . Among the small band of pioneers who have developed this new language by bringing patient research and brilliant inventiveness to their task is Will Burtin."

Most noteworthy, Burtin served for 22 years as both Upjohn's design consultant and art director of its in-house publication, Scope. His work on Scope continued his use of graphics and imagery in communicating complicated journal text. He worked to create a unique corporate identity for Upjohn, a new concept at the time. For Upjohn, Burtin produced some of the most celebrated exhibits of his career: the Cell, the Brain, and Inflammation: Defense of Life. These immensely popular walk-in exhibits provided a clear, visual interpretation of abstract scientific processes.

Will Burtin [Art Director], George Nelson [Associate Editor]

Will Burtin [Art Director], George Nelson [Associate Editor]: THE ARCHITECTURAL FORUM. Philadelphia: Time, Inc., Volume 72, No. 4,  April 1940. Slim Quarto. Thick printed wrappers. Wire spiral binding. 93 [cxv] pp. Illustrated articles and advertisements. Wrappers lightly worn and rubbed. The spiral binding is in good condition and does not bind any pages when opened. A very good  copy.

8.75 x 11.75 spiral-bound magazine with 225 pages of editorial content showcasing the Architectural and Industrial Design of the American Streamline Moderne Machine Age aesthetic. There are also an excellent assortment of vintage trade advertisements that espouse the depression moderne streamline aesthetic quite nicely. You have been warned.

CONTENTS:

• HOUSE PORTFOLIO - Fifty studies of new houses under $10,000 with plans, interior and exterior photographs, construction data and unit costs. Low Cost House For LIFE, Gardner Dailey, Architect; Experimental House No.2, Skidmore, Owings and Merrill, Architects; Houses in Buffalo, NY., Herbert C. Swain, Architect; House in Kentfield, CA., Frederick L. R. Confer, Architect; House in Farmington, Conn., Maxwell Moore and Charles Salsbury, Architects; House in Palm Springs, CA., John Porter Clark, Architect; House in Norwood, Mass., David J. Abrahams, Architect; House in Somerton, PA., Louis E. McAllister, Architect; House on de Silva Island, CA., Mario Corbett, Architect; House in Islip, Long Island, NY., Moore & Hutchins, Architects; House in Atlanta, GA., Will W. Griffin, Architect; House in Madison, WI., William Kaeser, Architect; House in Hollywood, CA., Paul Laszlo, Designer; House in Cincinnati, Ohio, Robert Isphording, Architect; House in Pasadena, CA., Harwell Hamilton Harris, Designer; House in Los Angeles, CA., Gregory Ain, Designer; House in Los Angeles, CA., Adams & Prentice, Architects; House in Ogden Dunes, IN., George Fred Keck, Architect; House in Tucson, AZ., Arthur T. Brown, Architect; House in Harmon-On-Hudson, NY., Evans, Moore & Woodbridge, Architect; House in Stockton, CA., William Wilson Wurster, Architect; House in Hanover, NH., Hugh S. Morrison, Designer, Marjorie Pierce, Architect; House in Twin Buttes, AZ., Richard A. Morse, Architect; House in Madison, WI., William Kaeser, Architect; House in Putney, Vermont, Ides Van Der Gracht and Walter H.Kilham, Jr., Architect; House in Tucson, AZ., Arthur T. Brown, Architect; House in Irvington, NY., Edwin M. Loye, Architect; House in Los Angeles, CA., Raphael S. Soriano, Designer; House in Puget Sound, Seattle, WA., Edwin J. Ivey, Elizabeth Ayer, Architects; House on Puget Sound, Seattle, WA., J. Lister Holmes, Architect; House on Puget Sound, Seattle, WA., William J. Bain, Architect; House in Seattle, WA., George Wellington Stoddard, Architect; House on Puget Sound, Seattle, WA., Arther Loveless and Lester Fey, Architects; House in Miami Beach, FL., Polevitzky & Russell, Architect; House in Bellingham, WA., F.C. Stanton, Architect; House in Knoxville, TN., Alfred Clauss and Jane West Clauss, Designers; House in Brentwood, CA., Winchton Leamon Risley, Architect; House in Chatham Manor, NJ., Randolph Evans, Architect; House in Salt Lake City, UT., Lowell E. Parrish, Architect; House in Washington, D.C., John J. Whelan, Architect; House in Madison, NJ., Jan Ruhtenberg, Designer, Elmer Tuthill, Architect; House in Glendale, CA., Richard J. Neutra, Architect; House in Lynnfield, Mass., David J. Abrahams, Architect; House in San Francisco, CA., John Ekin Dinwiddie, Architect; House in Chatham Manor, NJ., Randolph Evans and Albrt E. Olson, Architect; House in Auburn, AL., Sidney Wahl Little, Architect; House in Houston, Texas, M. P. de Nippell, Architect; House in Houston, Texas, Talbott Wilson, Irwin Morris, Architects; House in Houston, Texas, Frank Dill, Architect.
• THE HOUSE DIVIDED - A room-by-room comparison of two new houses, modern and traditional. Thorp House, Sudbury, Mass., Derby, Barnes & Champney, Architect; and Hagerty House, Cohasset Beach, Mass., Gropius and Breuer, Architects; Room-by-Room interior photographs of comparisons.
• THE LOW COST HOUSE (cont'd) - A score of low cost houses as they are and as they might be ... the architect's part in America's Number One problem.
• MONTH IN BUILDING
• VERSUS - A dinner, speeches and floodlights open two shows of architecture at New York's Architectural League. Exhibition Design by George Nelson!
• BOOKS - Renaissance engineering ... House construction ... Technical publications ... A biography of Vanbrugh.
• LETTERS - Housing cont'd ... Roger Allen reports a convention.

Will Burtin (1909 -1972)   studied typography and design at the Cologne Werkschule, then practiced design in Germany before emigrating to the US in 1938. He worked for the US Army Air Force designing graphics and exhibitions before becoming Art Director of Fortune magazine in 1945. His work for Fortune was marked by innovative solutions to presenting complex information in graphically understandable ways. In 1949 he established his own firm. Among his clients were the Upjohn Company, Union Carbide, Eastman Kodak and The Smithsonian Institution. Burtin's great genius was in his ability to visualize complex scientific and technological information. He created several award winning exhibitions including the 1958 model of a human blood cell. Burtin believed that through his work he could become the "communicator, link, interpreter and inspirer" who is able to make scientific knowledge comprehensible.

Burtin developed a design philosphy called Integration, in which the designer conveyed information with visual communication that is based on four principal realities:

• the reality of man as measure and measurer
• the reality of light, color, texture
• the reality of space, motion, time
• the reality of science

Using this approach to design problems was essentially the birth of what later became known as multimedia. By integrating all four realities into a design solution, Burtin could solve seemingly insoluble puzzles.

The mid to late 40s saw Burtin expand his role in professional organizations, serving as Director of the American Institute of Graphic Arts (AIGA). In 1948, Burtin's Integration: The New Discipline in Design exhibit opened at the Composing Room in New York City. In the introduction to the exhibition, designer Serge Chermayeff stated: "This new art of 'visualization,' of giving visual form in two or three dimensions to a message, is the product of a new kind of artist functionary evolved by our complex society. This artist possesses the inclusive equipment of liberal knowledge, scientific and technical experience, and artisticability . . . Among the small band of pioneers who have developed this new language by bringing patient research and brilliant inventiveness to their task is Will Burtin."

Most noteworthy, Burtin served for 22 years as both Upjohn's design consultant and art director of its in-house publication, Scope. His work on Scope continued his use of graphics and imagery in communicating complicated journal text. He worked to create a unique corporate identity for Upjohn, a new concept at the time. For Upjohn, Burtin produced some of the most celebrated exhibits of his career: the Cell, the Brain, and Inflammation: Defense of Life. These immensely popular walk-in exhibits provided a clear, visual interpretation of abstract scientific processes.

George Nelson [Associate Editor]

George Nelson [Associate Editor]: THE ARCHITECTURAL FORUM. Philadelphia: Time, Inc. July 1940. Folio. Wire spiral binding. Thick printed wrappers. 156 pp. Text and advertisements. Wrappers lightly worn and mildly scuffed to rear. Textblock tight and secure. A very good or better copy.

8.75 x 11.75 spiral-bound magazine with 156 pages of editorial content showcasing the Architectural and Industrial Design of the American Streamline Moderne Machine Age aesthetic. There are also an excellent assortment of vintage trade advertisements that espouse the depression moderne streamline aesthetic quite nicely. You have been warned.

• LIFE HOUSES - First results of LIFE's 1940 building programs. Photographs and cost data on each of the eight house designs. LIFE HOUSE NO. 1 - New York, NY., Cameron Clark, Architect; No. 2, San Francisco, CA., Gardner A. Dailey, Architect; No. 3, Chicago, IL., Holabird & Root, Architects;  No. 4, Philadelphia, PA., George Howe & Robert M. Brown, Architects; No. 5, Boston, Mass., Perry, Shaw & Hepburn, Architects; No. 6, Palm Beach, FL., and New York, Treanor & Fatio, Architects; No. 7, New York, NY., Shreve, Lamb & Harmon, Architects; No. 8, Chicago, IL., Shaw, Naess & Murphy, Architects.
• NEW YORK WORLD's FAIR 1940 - "Unit for Living", Gilbert Rohde, Industrial Designer; "South of the Golden Gates", Harwell Hamilton Harris, Designer; "Living Kitchens", Allmon fordyee, Architect; "Parents' Retreat", William Muschenheim, Architect; "Pennsylvania Hill House", George Howe, Architect; "Winter Hideout in the Adirondacks", Russel Wright, Industrial Designer; "North Pacific Slope", John Yeon, Designer; "Seven Days", Virginia Conner, Decorator; "Coffee and Cigars at 16-B", Michael Hare, Architect and John Manzer, Interior Designer; "Beginners Luck", Theodor Carl Muller, Industrial Designer; "Retired on an Income", Albert Pierce, Architect; "Musicorner", John Vassos, Industrial Designer.
• FEDERAL WORKS AGENCY EXHIBIT - Leonard C. Rennie, Director of Exhibits, Will Burtin, Designer.
• THE PUMP ROOM - An architect turns a white elephant into Chicago's smartest restaurant, Samuel A. Marx, Architect.
• THE ARCHITECT'S WORLD - War ... Impact of Artificial Light upon Design ... MacLeish on Art and America.
• THE DIARY - Pertinent and impertinent remarks on A.I.A.'s 72nd Convention.
• NEW YORK WORLD'S FAIR 1940 - Critical comment on new exhibits, by George Howe.
• PRODUCTS & PRACTICE - Design for Daylight.
• THEATER AND ART CENTER, UNIVERSITY OF WISCONSIN - A distinguished contemporary solution for the multi-purpose theater building, Michael M. Hare, Corbett & MacMurray, Associated Architects, Lee Simonson, Theater Consultant.
• TWO NEW HARVARD BUILDINGS - Hemenway Gymnasium and Littauer Center of Public Administration reflect the evolution of Harvard's classical tradition, Coolidge, Shepley, Bulfinch & Abbott, Architects.
• BUILDING MONEY - Salesmanship in the high cost house business is a matter of design and specifications - two New Jersey subdivisions in th $13,000-and-up market prove it ... Superblock vs. gridiron site plan - score: 100 to 1 in esthetics, $470 to $670 per family in utility costs ... A survey of empty houses and what they mean to Building ... Prefabricator makes good, gives $2,750 houses to Dundalk, MD., $20-per-room apartments to New Rochelle, NY., -his secret; integration.
• MONTH IN BUILDING
• BOOKS - Norman Bel Geddes' plan for America's 1960 Highways ... Air conditioning primer ... Decorative Art 1940.
• LETTERS

A magnificent snapshot of the blossoming of the modern movement in North America in the final days before the start of World War II.

Will Burtin [Art Director], George Nelson [Associate Editor]

Will Burtin [Art Director], George Nelson [Associate Editor]: THE ARCHITECTURAL FORUM. Philadelphia: Time, Inc., Volume 72, No. 3,  March 1941. Slim Quarto. Thick printed wrappers. Wire spiral binding. 171 pp. Illustrated articles and advertisements. The spiral binding is in good condition and does not bind any pages when opened. Wrappers lightly worn and rubbed, but a very good  copy.

8.75 x 11.75 spiral-bound magazine with 171  pages of editorial content showcasing the Architectural and Industrial Design of the American Streamline Moderne Machine Age aesthetic. There are also an excellent assortment of vintage trade advertisements that espouse the depression moderne streamline aesthetic quite nicely. You have been warned.

• HOUSE IN PITTSBURGH:  Largest International Style residence in the U.S., Walter Gropius and Marcel Breuer, Architects, Ritchey & Mitchell Supervising Architects. 11 pages of interior and exterior photography.
• HOUSES:  Additional case histories in the small house series, Interior-exterior photography;  floor plans;  critical comment;  cost data;  construction outlines. House in Clinton, NJ., George Kosmak and Ernst Payer, Architects; Week-End House in Peconic, Long Island, NY., Eldredge Snyder, Architect; House in Providence, RI., Geddes & Kelly, Architects; Week-End House, St.Helena, CA., F.Bourne Hayne, Designer; House in Midland, MI., Alden B. Dow, Architect; House in Tucson, AZ., Richard A.Morse, Architect; House in Modesto, CA., John Funk, Architect.
• PUBLIC HOUSING IN THE SOUTHEASTERN STATES:  A frank analysis and criticism based on a recent survey trip by an Austrian-English architect and housing expert.  Anson Borough Homes, Charleston, SC., Douglas D.Ellington, Firm of Simons & Lapham, Harold Tatum, David B.Hyer, Architects; College Heights, Knoxville, TN., Baumann & Baumann, Architects; Clark Howell Homes, Atlanta, GA., Hentz, Adler & Shutze, J.Warren Armistead, A.Ten Eyck Brown, Ivey & Crook,  Francis P.Smith, Architects; John Hope Homes, Atlanta, GA., Burge & Stevens, Henry J. Toombs, Smith & Daves, I.Moscowitz, Architects; Fellwood Homes, Savannah, GA., Cletus W. Bergen, Morton H. Levy, W.B.Clark, Walter P.Marshall, Architects; Brentwood Park, Jacksonville, FL., Mellen C. Greeley, Ivan H.Smith, W.Kenyon Drake, Olaf E. Segerberg, S. Ralph Fetner, Leeroy Sheftell, Architects; Jordan Park, St. Petersburg, FL., Henry L.Taylor, Archie G.Parish, Carl N. Atkinson, Elliot B. Hadley, Philip F. Kennard, Henry H.Dupont, C.W.Fullwood Jr., Architects; Edison Courts, Miami, FL., H.D. Stewart, E.L. Robertson, V.E. Virrick, R.L. Weed, Architects; Riverview Terrace, Tampa, FL., Franklin O. Adams, Frank A. winn, Jr., and Norman F.Six, Architects.
• FLOWER SHOP:  Lighting and color merchandise flower arrangements, S.Githens & Keally, William G. Thayer, Architects.
• JAPANESE TEA SHOP:  A lesson for modern out of Japan's Sixteenth Century, Junzo Yoshimaura Designer, Antonin Raymond, Architect.
• BUILDING FOR DEFENSE: Headway and Headaches - a blow-by-blow synopsis of the month's developments on the defense building front;  Prefabrication and the defense housing program - a critical analysis of what Government is doing for and to prefabricators with photographs of existing prefabricatied defense houses and some that might have been; Camp Joseph T. Robinson in Arkansas - a camera's eye view of a $12 million cantonment type tent camp.
• PRODUCTS & PRACTICE:  Plywood: a review of recent architectural progress with a new and versatile material;  properties and uses; designing plywood interiors;  joints visible and invisible;  decorative textures, finishes and veneers;  plywood exteriors.
• BUILDING MONEY:  Oakland, Calif., stems commercial decentralization with five weapons: building modernization, tax adjustments, transportation improvement, good will creation and whirlwind promotion - eight remodeling case histories presented in photograph;  Cleveland's Junior Chamber of Commerce sponsors a unique subdivision for the benefit of local builders, architects and home seekers, enhances the beauty of an already attractive site - graphic presentation of five tailor-made houses and their floor plans.
• MONTH IN BUILDING
• FORUM OF EVENTS:  Hearst at Gimbel's;  Museum of Modern Art Competition ... Miscellany.
• BOOKS:  Chinese Houses and Gardens;  House Planning;  National Planning Conferences;  Handbook for Artists.
• LETTERS

The Alan I W Frank House is a private residence in Pittsburgh, Pennsylvania, designed by Bauhaus founder Walter Gropius and partner Marcel Breuer, two of the pioneering masters of 20th-century architecture and design. This spacious, multi-level residence, its furnishings and landscaping were all created by Gropius and Breuer as a 'Total Work of Art.' In size and completeness, it is unrivaled. It was their most important residential commission, and it is virtually the same today as when it was built in 1939–40, original and authentic.

With four levels of living space and an indoor swimming pool, the main building encloses 12,000 square feet, complete with curved glass facade, nine bedrooms and 13 bathrooms. Including the five terraces that are part of the house and the rooftop dance floor, the floor plan totals 17,000 square feet. The stonework of the exterior walls and the dramatic entry of this innovative house suggest a detailed and richly textured building. Inside, graceful curves prevail throughout with paneled walls of warm pearwood, English sycamore, and redwood, or of travertine or stone.

Barry Bergdoll, the Philip Johnson Chief Curator of Architecture and Design at MoMA wrote in Hauser magazine, "The home’s three-story window wall swells in the facade next to the circular stair, which sweeps visitors from the ground floor entry and recreational area to the first-floor living area and then continues to rise to the next level. The stair is a sensuously curved cantilevered stair - the first embodiment of all the cantilevered stairs of independent slab risers that Breuer would make a signature of his American work. The theme is echoed in a sculptural outside stair of concrete taking visitors from the front to the back garden via an open terrace, an alternative dramatic path through the house. Perception of the house includes both theatricality of approach and intimacy of scale. Effects are achieved through natural materials set in contrast with man-made products, through ratios of light and heavy, closed and open, and through dramatic lighting and staging of movement on the wooded sloping site."

Unique features of this home include roof surfaces that support living lawns and contribute to thermal efficiency, innovative electrical and energy management systems that reduce energy use, and one of the first examples of central air conditioning with electrostatic air purification.

In addition to being the largest residence designed by Gropius and Breuer, the Frank House was also the largest project of any kind that Gropius would undertake between the completion of the Bauhaus buildings in Dessau, Germany in the mid-1920s and the commission for graduate housing granted him after World War II by Harvard. As for Breuer, he would have to wait until 1953, with the design of UNESCO headquarters in Paris, for another architectural commission of such scale. The 17,000-square-foot house is one of the “most important modernist houses in this country” relates Bergdoll.

The Frank House has been described as a unique synthesis between the modernism of the interwar years and the sumptuous ethos of Breuer's so-called New Humanism. As Bergdoll writes in Hauser, "Unlike the Meisterhäuser at Dessau, where a machined aesthetic of stucco rendered walls and floating boxes defined a rigorous geometric approach to composition, the Frank House uses gently swelling curves set in facades of long horizontal lines, exterior walls of warm pink-sand colored Kasota stone over a steel framework, all set upon a rugged base of local field stone, echoed in the garden’s terrace walls."

Contemporary critics saw the Frank House as a prime example of a change in direction in the development of modernism. “In its use of random ashlar, stone veneer, travertine and natural wood is indicated a new interest in natural materials. Also worth noting is the disintegration of the rectangle into freer shapes, as in the stairway, garden walls and entrance vestibule. If in so important an example such drastic modifications are to be seen, there is a new and impressive evidence that contemporary architecture is entering a new phase, richer, more assured, and more human.”

This trend was borne out in every detail of the house and its furnishings because the project was commissioned as a ‘Total Work of Art’ whose design included furnishings, fabrics and landscape as well as the home itself. “It’s the biggest house they did, and the only house for which they designed every piece of furniture“ describes Bergdoll. The Frank House was Gropius's first such commission since the Sommerfeld House  in Berlin. It is also the most intact such work, as the Sommerfeld House was destroyed in World War II.

Gropius, Breuer and the Franks envisioned the home's design as skillfully integrating all the requisite disciplines — structure, materials, furnishings and landscape. The commitment to a Total Work of Art gave Breuer responsibility for designing all the furniture and furnishings in the house, from major pieces to details such as door hardware, lighting, light switches and a whole range of novel devices. It would be the single most important commission of his American career for inventing new furniture. Two thirds of the designs Breuer would create during his American years were created for the Frank House and exist nowhere else. Hundreds of new designs were developed, using new ways of shaping and finishing wood and new materials such as DuPont's Lucite polymer, a revolutionary new material at the time.

The Frank House took shape in 1939-40 as the grand family home of Cecelia and Robert Frank, the third generation of Pittsburgh industrialists in his family, who had founded and was building a new company, Copperweld Steel. An engineer and inventor, Robert Frank was open to new ideas, including modern architecture. As his family grew, Robert and his wife Cecelia started planning a new home.

Cecelia and Robert considered Walter Gropius, who had recently come to the United States and become head of Harvard's Department of Architecture, to be the world's leading architect. When Gropius came to Pittsburgh to give a talk, Robert attended. Interested in what the new architecture could achieve and its potential to realize their ideals — Cecelia, Robert and their young son Alan met with the architect at his office in Cambridge, Massachusetts, and visited Gropius’ home in Lincoln. Long letters followed the meetings, and a collaboration was formed.

Robert Frank contributed significantly to the project as an engaged architectural client. His and Cecelia's correspondence with the architects runs to hundreds of pages. During design and construction, suggestions, instructions and queries sometimes filled three eight-page, single-spaced typewritten letters a week.

Gropius and Breuer came to Pittsburgh many times during the project, first to look at various pieces of land that were for sale, and then repeatedly throughout construction. Cecelia and Robert contracted with a leading national construction company to do the building, and arranged for Pittsburgh architect Dahlen Ritchey, who had been a promising student of Gropius at Harvard, to supervise the construction.

The project was completed in 1940. It became, as one scholar describes it, “a machine for living,” especially for healthy, comfortable living. Its sunlit rooms, outdoor terraces and indoor pool provided a warm and friendly environment in which to raise a young family. In addition to its advanced architecture and furnishings, the home incorporated an integral system for cleaning air, an innovative internal phone and light signal system, built-in projection equipment to turn the recreation room into a movie theater, lightning rod systems made of Robert Frank's Copperweld, and a heating and cooling system that used the water from the indoor swimming pool for thermal management and energy conservation.

In 1941 the home was profiled in Architectural Forum. Photos were taken of the home and furnishings by renowned architectural photographer Ezra Stoller. In the decades that followed, the home fulfilled its promise as an environment designed for family life, and Cecelia's active involvement with the Pittsburgh arts and education communities made the home a well-known site for cultural and social events.

The Frank family has owned and occupied the home continuously since it was completed. The family's dedication to preserving the work of Gropius and Breuer has kept the original features and furnishings intact, making the home a valuable example of a unique turning point in the timeline of modern architecture.

Seventy years after its first review, the home is still recognized by architectural scholars as a significant milestone in the history of modernism. Scholars and critics who have visited the site are unanimous in their understanding of its importance as a masterpiece that must be preserved. John Carter Brown III, director of the National Gallery of Art in Washington, described the house as “the nation’s crown jewel.” Toshiko Mori, Chair of the Department of Architecture at Harvard University's Graduate School of Design, said the experience of visiting is “one of those rare occasions when you enter a house and it’s absolutely authentic. Mr. Frank preserved the house in its totality — equipment, furniture, fixtures, even original textiles and wall coverings. It’s all intact. It’s a very exquisite balance of architectural proportions, textures and colorations with machine-age aesthetics. Everything is very functional.” Barry Bergdoll, Chief Curator, MoMA Department of Architecture and Design, who is using the house and its trove of correspondence as part of an extended study of Marcel Breuer, described the Frank House as “an exceptional historical document, as well as a major monument of American architectural art and architectural history.”

Robert and Cecelia's son, Alan I W Frank, has established the Alan I W Frank House Foundation as a 501(c)(3) public charity to preserve the home. The Foundation's development plan includes the acquisition and restoration of the land and buildings, initial operating expenses, and an endowment for ongoing operation of the home as a museum.  In June 2011, restoration work began on the home's exterior and roof.

In June 2013, the Alan I W Frank House Foundation announced the return of four pieces of the original Marcel Breuer furniture to the Foundation for preservation and future exhibition. The desk, desk chair, armchair and table were created by Breuer for the Frank House in 1940. They were designed in wood, Lucite and natural upholstery, and some were made by American manufacturer Schmieg & Kotzian. For the last eight years, they have been on exhibition at the Carnegie Museum of Art through the efforts of former director Richard Armstrong, and the support of the Hillman Foundation. They are four of the hundreds of pieces of furniture that Breuer designed for the home. — Wikipedia

George Nelson [Associate Editor]

George Nelson [Associate editor]: THE ARCHITECTURAL FORUM. Philadelphia: Time, Inc., October 1939 [Volume 71, number 4].  Quarto. Wire spiral binding. Thick printed wrappers. 214 pp. Illustrated articles and advertisements. The spiral binding is in good condition and does not bind any pages when opened. Wrappers mildly soiled and edgeworn, but a very good copy.

8.75 x 11.75 spiral-bound magazine with 214 pages of editorial content showcasing the Architectural and Industrial Design of the American Streamline Moderne Machine Age aesthetic. There are also an excellent assortment of vintage trade advertisements that espouse the depression moderne streamline aesthetic quite nicely. You have been warned.

• INTRODUCTION
• INDEX TO HOUSES
• HOUSES: House for Moreland Griffith Smith, Architect, Montgomery, Ala; House for Dwight H. Thomas, North Attleboro, Mass., Royal Barry Wills, Architect; House for Mrs. Frank C. Beetson, Flintridge, CA., Marston and Maybury, Architects; House for Felix Simon, Highland Park, IL., James F. Eppenstein, Architect; House for Fred A. Tangeman, Madison, WI., William Kaeser, Architect; House for Donald Markle, Pass Christian, Miss., Richard Koch, Architect; House in Los Angeles, CA., Paul D. Fox, Designer; House for Roy P. Palmer, Mpls., MN., Enghauser and Brandhorst, Architects; House for C. R. Liljestrom, San Marino, CA., Melvin Nave Garlough, Architect; House for George R. Paul, Architect, Egypt, Mass; House for Dr. R. C. McCrea, Augusta, GA., R. M. Chapin, Jr., Designer; House for J. Kenneth Baird, New Hartford, NY., Bice and Baird, Architects; House for Louie L. Scribner, Architect, Charlottesville, VA.; House for Mary T. Swann, Hartsville, SC., G. Thomas Harmon, Architect; House for Robert W. McLaughlin, Jr., Bedford Village, NY., Holden, McLaughlin & Associates, Architects; House in Miami Beach, FL., Arnold Southwell, Architect; House for Louis Anderson, Mahopac, NY., John Matthews Hatton, Architect; Two Houses in White Plains, NY., David Swope, Builder, Victor Civkin, Architect; House for Philip Will, Jr., Evanston, IL., Perkins, Wheeler and Will, Architects; House for Hollis C. Boardman, Jr., Near Augusta, GA., Scroggs and Ewing, Architects; House for George P. Smith, Willmar, MN., Frost and Lofstrom, Architects; House for Porter Butts, Madison, WI., William Kaeser, Architect; House for William B.Snow, Summit, NJ., Richard Boring Snow, Architect; House for Dr. L. G. Balding Manhattan, Kansas, F.O. Woldenbarger, Architect; House for Lowell E. Jackson, Michigan City, ID., John Lloyd Wright, Architect; House for H.E. Hersha, Sausalito, CA., John Ekin Dinwiddie, Architect; House for Spencer Austrian, Los Angeles, CA., Raphael S. Soriano, Designer; House for Joseph C. Hazen, Summit, NJ., Joseph C. Hazen, Jr., Designer, Hobart Walker, Architect; House for Mrs. J. Edward Brooks, Milton, Mass., Royal Barry Wills, Architect; House for Dr. R. E. Scrafford, Bay City, Mich., Robert B. Frantz and James A. Spence, Architects; House for C. E. McAdoo, LaGrange Park, IL., William F. Kramer, Architect; House for Mary Ellis, East Greenwich, RI., William Wilde, Architect, Sylvia Wilde, Associate Designer; House for Dr. Ugo Morano, Stapleton, NJ., Mathew Robert Leizer, Architect; House for Robert T. Catlin, Portland, Oregon, White House and Church, Architects; House for William H. Fricker, Whitewater, WI., George Fred Keck, Architect; House for W. Stanley Strong, Highland Park, IL., William N. Alderman, Architect; House for Hudson Misner, Louisville, KY., Nevin, Morgan and Kolbrook, Architect; House for Professor Harry Slochower, Andover, NJ., Karola Bloch, Designer; Danish Colony Garden House, New York World's Fair 1939, IB Kofod, Architect; House for Stella Harlos, Milwaukee, WI., Frank Kirkpatrick Inc, Designer and Builder; House for Dr. Thomas W. Burke, Houston, Texas, Talbott Wilson and Irwin Morris, Architects; House for A. Rosenfield, Palm Springs, CA., Paul Laszlo, Designer; House for Donald M. Pattison, Shaker Heights, Ohio, Maxwell A. Norcross, Architect; House for Bert E. Taylor, Arcadia, CA., Kenneth A. Gordon, Architect; House for Turner Bridges, Jackson, Tenn., J. Frazer Smith Inc., Architects; House in New Rochelle, NY., Charles Glaser, Architect; House for Dr. Harold Carter, Berkeley, CA., Michael, Goodman, Architect; House for Harold W.Keil, Bainbridge Center, Ohio, Jeavons, Spahn & Associates, Architects; Cottage on Estate of H.Froelick, Carter's Bridge, VA., Grigg and Johnson, Architects; House for Cecil Shuert, Grosse Pointe Farms, Mich., J. Ivan Dise, Architect; House for William C. Otter, Chestnut Hill PA., J. Linerd Conarroe, Architect; House for Dr. H. M. Roebber, Bonne Terre, MO., Hari Van Hoefen, Architect; House for Hervert Rishel, Oreland, PA., Robert Charles Martin, Architect; House by The Celotex Corporation, Plainfield, NJ., Wilmot C. Douglas, Architect; House for Edgar D. O'brien, Atherton, CA., Mario Corbett, Architect; House at North Truro, Mass., Ben Adams Buck, Architect; House for T.W. Brooks, Architect, Columbus, Ohio; House for Olin Boese, Architect, Austin, Texas; House for A.J. Timmerberg, Brentwood, MO., John C. Dryton, Jr., Architect; House for Edd R. Gregg, Architect, Louisville, KY; House for Carl E. Paulsen, Architect, Bethesda, Md; House for Jay Greenwald, Miami, FL., Igor B.Polevitsky and T. Trip Russell, Architect; House for Cliff May, West Los Angeles, CA., Cliff May, Designer; House for Howard N. Nelson, Wethersfield, Conn., Norris F. Prentice, Designer; House for Harrison Wood, Westfield, NJ., Raymond O.Peck, Architect; Cottage for Milwaukee Sanatorium, Wauwatosa, WI., Richard Philipp, Architect; House for Donald D. Hall, Midland, MI., Robert Frantz and James Spence, Architects; House for W. F. Newton, Dothan, AL., Moreland Griffith Smith, Architect; House for Graham Denton, Charlotte, NC., Leah Range Roberts, Architect; House for Herbert D. Schmidt, Warren, MI., Max Colter, Designer; House for Harry A.Thomas, Fort Lauderdale, FL., Robert M. Little, Architect; House for Harris Armstrong, Architect, Kirkwood, MO., Harris Armstrong, Architect; House for William Lorenz, Egypt, Mass., George R. Paul, Architect; House for Dr. H. B. Loughery, North Muskegon, MI., Bernard J. DeVries, Designer; Two Houses in Princeton, NJ., Evans, Moore and Woodbridge, Architects; House near Portland, OR., Houtz, McVoy & Wayman, Architects; House in Pasadena, CA., Harold J. Bissner, Architect; House in Oak Park, IL., Edward H. Mittlebusher and Edward Tourtelot, Architects; House in White Plains, NY., Oscar A.de Bogdan, Architect; House in Abilene, Texas, J. H. Hughes, Architect; House in Brookline, Mass., Royal Barry Wills, Architect; House in Portland, OR., J. Wayland Owen, Designer; House in Laguna Beach, CA., Aubrey St. Clair, Architect; House in Rochester, NY., George W. Long, Designer; House in Tulsa, OK., L. King Dickason, Architect; House in Los Angeles, CA., Raymond Stockdale, Designer; House in Mt. Pleasant, NY., Wells and Merrill, Architects; Remodeled Town House in New York City, Herbert Lippmann, Architect; House in Columbus, Ohio, William F. Breidenbach, Architect; House in Milwaukee, WI., Frank Kirkpatrick, Designer; House in Portland, OR., A.E. Doyle and Associate, Architects; House in North Haven, Conn., Robert H.S. Booth, Architect; House in Los Angeles, CA., Raphael S. Soriano, Designer; House in Atlanta, GA., W. Montgomery Anderson, Architect; House in Portland, OR., T.B. Winship, Designer; House in Lake Bluff, IL., Philip B. Maher, Architect; House in Hartsdale, NY., Benson Eschenbach, Architect; House in Stillwater, OK., A. Richard Williams, Designer; House in Menlo Park, CA., John Ekin Dinwiddie, Architect.
• JURY REPORT AGA COMPETITION
• WAR AND U.S. BUILDING an analysis by THE FORUM'S Editors
• FORUM OF EVENTS - Prize-winning designs for the new Post Office, Court House and Custom House Building for the city of Evansville, Indiana.
• PRODUCTS & PRACTICE - Back Siphonage, its cause and cure; sanitary engineering meets and surmounts an unexpected difficulty ... new rules for safe plumbing.
• BOOKS
• LETTERS

Design Decade 1930 – 1940

Will Burtin [Art Director]

Will Burtin [Art Director], Architectural Forum [Editors]: DESIGN DECADE 1930-1940 [Special issue of The Architectural Forum]. Philadelphia: Time, Inc., Volume 73, No. 4, October 1940.  Slim Quarto. Thick printed wrappers. Wire spiral binding. 108 [cxviii] pp. Illustrated articles and advertisements. Wrappers lightly soiled and creased. Textblock lighhtly thumbed. The spiral binding is in good condition and does not bind any pages when opened. A very good copy.

8.75 x 11.75 spiral-bound magazine with 104 pages of editorial content showcasing the Architectural and Industrial Design of the American Streamline Moderne Machine Age aesthetic. This is Volume 73, No. 4, October 1940 -- the legendary Design Decade 1930-1940 special issue designed by Will Burtin. This special 104-page special section of the Architectural Forum is devoted to a review of the 1930s as the era of the "Machine Age" showing a "substantial accomplishment in relating machine inspired design to a machine inspired way of life."

630 black and white images were carefully assembled by Art Director Burtin to tell the visual story of American Design from 1930 to 1940. The effect is stunning to say the least. Many designers were commissioned to produce projects specifically for the Design Decade issue, including R. Buckminster Fuller, Raymond Loewy, Isamu Noguchi, Edward Durell Stone, Schweiker and Elting, J. Gordon Carr, Harwell Hamilton Harris and others.

Art Director Burtin divided this issue into the following sections with a magnificent single-page photomontage to introduce each section:

Introduction
Work
Recreation
Home
Health
Trade
Education
Transportation & Communication

FROM THE INTRODUCTION: "The story, of “DESIGN DECADE" is the story of the machine, the story of what has happened to the machine, to the objects and to the environment it produces. For countless generations men made things with their hands or with tools that were ingenious extensions of their hands. For countless generations, too, a few men made machines, but they generally ended up as toys in the court of some bored potentate or as implements of war: there were enough slaves or serfs to do the work. This story is concerned only with the machine since it first became a significant factor in production. And because it is largely an American story, it follows that this land of extremes has produced the worst as well as the best manifestations of the contemporary design approach. Finally, the critical observer must conclude that the decade just closed, nearly two hundred years after the Industrial Revolution, has for the first time shown a substantial accomplishment in relating machine inspired design to a machine inspired way of life."

Designers, architects, manufacturers, artists and photographers include: William Lescaze, Frank Lloyd Wright, Ely Jacques Kahn, Carl Preis, Harold Van Doren, Albert Kahn, Henry Dreyfuss, Brooks Stevens, Raymond Loewy, Egmont Arens, Margaret Bourke-White (Burke-White), William Van Alen (Allen), George Howe & Robert Heller, Paul Schweikher, Theodore Lamb, Winston Etling, John Gordon Rideout, Herbert Rosengren, Roland Wank, TVA, J. Gordon Carr, 1939 New York World's Fair, Ray Patten, Walter Drowin Teague, Paul Bry, Lurelle Guild, George Switzer, Alden B. Dow, William Muschenheim, William Wilson Wurster, Merry Hull, Robert Geissmann, Isamu Noguchi, Ben Schlanger, Louis Abramson, Winold Reiss, Peter Muller-Munk, Ernest Hagerstrom, Harwell Hamilton Harris, Jan Ruhtenberg, Clarence Mayhew, Robert Trask Cox, Richard Neutra, Edward Durell Stone, Dan Cooper, Walter Gropius, Marcel Breuer, Donald Deskey, Gardner A. Dailey, George Fred Keck, John Yeon, Henry Wright, James Eppenstein, Lee Simonson, Russel Wright, Russell Barnett Aitken, Morris B. Sanders, Kenneth Day, Tommi Parzinger, Marguerita Mergentime, Walter Von Nessen, Waylande Gregory, Royal Metal Manufacturing Company, Ben Nash, John Vassos, The Bartos Company, Rilbert Rohde, Heywood-Wakefield, T. H. Robsjohn-Gibbings, Artek, Bruno Mathsson, Ann Franke, Dorothy Liebes, Antonin Raymond, Wharton Esherick, Joseph Platt, Laurits Christian Eichner, Teresa Kilham, Samuel Marx, William Pahlmann, Robert Gruen, John Funk, Walter Bogner, Frederick Kiesler, Leo Jiranek, Stansilav V'Soske, Joseph Allen Stein, George Sakier, Alsonso Iannelli, William Hamby, George Nelson, Louis Werner, John Mills, Richard Garrison, Buckminster Fuller, Gustav Jensen, Oscar Stonorov, Albert Kastner, Frederick Ackerman, George Fred Pelham, Frederick Backus, Vahan Hagopian, John Holabird & John Root, John Dinwiddie, Steuben Glass Company, Morris Ketchum, Victor Gruenbaum, Ira Schwam, Eleanor LeMaire, Hans Foy, Orrefors Glass Company, Richard Bennett, and many others. There are also an excellent assortment of vintage trade advertisments that espouse the depression moderne streamline aesthetic quite nicely. You have been warned.

This is truly one of the finest original documents of 1930s American Design in the Industrial and Architectural Arts. My highest recommendation.

Will Burtin (1909 -1972) studied typography and design at the Cologne Werkschule, then practiced design in Germany before emigrating to the US in 1938. He worked for the US Army Air Force designing graphics and exhibitions before becoming Art Director of Fortune magazine in 1945. His work for Fortune was marked by innovative solutions to presenting complex information in graphically understandable ways. In 1949 he established his own firm. Among his clients were the Upjohn Company, Union Carbide, Eastman Kodak and The Smithsonian Institution. Burtin's great genius was in his ability to visualize complex scientific and technological information. He created several award winning exhibitions including the 1958 model of a human blood cell. Burtin believed that through his work he could become the "communicator, link, interpreter and inspirer" who is able to make scientific knowledge comprehensible.

Burtin developed a design philosphy called Integration, in which the designer conveyed information with visual communication that is based on four principal realities:

the reality of man as measure and measurer
the reality of light, color, texture
the reality of space, motion, time
the reality of science

Using this approach to design problems was essentially the birth of what later became known as multimedia. By integrating all four realities into a design solution, Burtin could solve seemingly insoluble puzzles.

The mid to late 40s saw Burtin expand his role in professional organizations, serving as Director of the American Institute of Graphic Arts (AIGA). In 1948, Burtin's Integration: The New Discipline in Design exhibit opened at the Composing Room in New York City. In the introduction to the exhibition, designer Serge Chermayeff stated: "This new art of 'visualization,' of giving visual form in two or three dimensions to a message, is the product of a new kind of artist functionary evolved by our complex society. This artist possesses the inclusive equipment of liberal knowledge, scientific and technical experience, and artisticability . . . Among the small band of pioneers who have developed this new language by bringing patient research and brilliant inventiveness to their task is Will Burtin."

Most noteworthy, Burtin served for 22 years as both Upjohn's design consultant and art director of its in-house publication, Scope. His work on Scope continued his use of graphics and imagery in communicating complicated journal text. He worked to create a unique corporate identity for Upjohn, a new concept at the time. For Upjohn, Burtin produced some of the most celebrated exhibits of his career: the Cell, the Brain, and Inflammation: Defense of Life. These immensely popular walk-in exhibits provided a clear, visual interpretation of abstract scientific processes. [xlist_2018]

Planters, Benches, Trash Receptacles, Street Furniture

Architectural Pottery, David L. Krause [Designer]

Architectural Pottery, David L. Krause [Designer]: ARCHITECTURAL FIBERGLASS [Planters, Benches, Trash Receptacles, Street Furniture]. Los Angeles: Architectural Pottery, August 1965. Sales portfolio housing 21 printed sheets of product specifications. Uncoated folder lightly edgeworn. Interior sheets uniformly and lightly bumped to upper right edge. A very good set indeed.

11.5 x 8.75 folder housing product specifications for the Planters, Benches, Trash Receptacles, and Street Furniture manufactured in fiberglass by Architectural Pottery. All designs are shown in measured diagram and black and white photographs.

• 8.5 x 11 Architectural Fiberglass letterhead with typeset introduction
• 8.5 x 11 two-sided color specification chart
• 8.5 x 11 Tapered Cylinders [designed by Marilyn Kay Austin] two-sided specification sheet
• 22 x 8.5 Cylinders [designed by John Follis]  two-sided 4-page folded specification sheet
• 8.5 x 11 Convex Squares [designed by Marilyn Kay Austin] two-sided specification sheet
• 8.5 x 11 Tapered Squares two-sided specification sheet
• 22 x 8.5 Squares [designed by John Follis]  two-sided 4-page folded specification sheet
• 8.5 x 11 Rectangles [designed by  John Follis] two-sided specification sheet
• 8.5 x 11 Geometric Elements [designed by  John Follis] two-sided specification sheet
• 8.5 x 11 Ellipses single-sided specification sheet
• 8.5 x 11 Concave Squares [designed by Marilyn Kay Austin] two-sided specification sheet
• 8.5 x 11 Hexagon & Faceted Cylinder [designed by Marilyn Kay Austin] two-sided specification sheet
• 8.5 x 11 Sculptural Shapes two-sided specification sheet
• 8.5 x 11 Bevel Group [designed by William Paul Taylor] two-sided specification sheet
• 8.5 x 11 Planter Benches [designed by William Paul Taylor] two-sided specification sheet
• 22 x 8.5 Benches [designed by Douglas Deeds] two-sided 4-page folded specification sheet
• 8.5 x 11 Hanging Planters [designed by Marilyn Kay Austin] two-sided specification sheet
• 22 x 8.5 Trash Receptacles two-sided 4-page folded specification sheet
• 8.5 x 11 Prismatic Forms two-sided specification sheet
• 8.5 x 11 Fountain & Custom Shapes  [designed by George Nowak] two-sided specification sheet
• 22 x 8.5 Net Price Schedule [effective August 1965] two-sided 4-page folded pricing guide

From “Max Lawrence dies at 98; co-founder of L.A.'s Architectural Pottery” the Los Angeles Times  obituary by Elaine Woo, August 01, 2010: Max and Rita Lawrence founded Architectural Pottery in 1950 and their business and aesthetic savvy helped the company thrive for more than three decades. Showcasing the talents of potters such as David Cressey, John Follis and Rex Goode, they sold their creations to the vanguard of the modernist architecture movement that took root in Southern California in the post- World War II era.

"Their role in establishing the unique look of midcentury California design can't be overstated. They were key," Wendy Kaplan, curator and head of decorative art and design at the Los Angeles County Museum of Art, said of the Lawrences. LACMA featured several works from Architectural Pottery and its offshoot, Architectural Fiberglass, in "California Design, 1930-1965: Living in a Modern Way.”

The hallmarks of Architectural Pottery were graceful, geometrically shaped vessels, devoid of ornamentation and often large in scale. Radical for their time, their pure forms — cylinders, cones, bullets, gourds and totems — startled the eye in 1950s America, where fat-lipped terra-cotta pots had been the standard for generations.

The company quickly made its mark, with several pieces from its first catalogue chosen for the 1951 "Good Design" exhibit at New York's Museum of Modern Art. Architects such as John Lautner and Richard Neutra ordered works from the Architectural Pottery line for the modernist houses they designed, and photographer Julius Shulman, the masterful promoter of midcentury design, featured its pots and sculptures in nearly every picture he took.

Although a fire at the Lawrences' Manhattan Beach manufacturing plant led them to shut down the business in 1985, their legacy has endured, evident particularly in the ubiquity in the California landscape of the cylindrical white planter, one of the most popular creations of Architectural Pottery.

"Whenever we see a white cylinder planted with a tree or flowers inside or outside an office building or a bank, and now quite often at gasoline stations, all of that is the heritage of Architectural Pottery," said Bill Stern, executive director of the Los Angeles-based Museum of California Design.

In 1949, when the Lawrences saw the work of La Gardo Tackett and his students from the now-defunct California School of Arts in Pasadena, they recognized that their streamlined ceramics could fill the void. They offered what Rita Lawrence later described as a "portable landscape" that could unify the interior and exterior environments. Architectural Pottery would bring the new style of ceramics to the marketplace.

Architects began ordering the Lawrences' wares almost as soon as the first catalog was published in 1950. It wasn't long before a piece by Architectural Pottery was considered as necessary in the modernist home as an Eames chair.

The Lawrences respected their artisans, allowing them to take credit for their creations and paying royalties — uncommon practices at the time in California's ceramics industry. Their well-known potters included Malcolm Leland, who designed an iconic gourd-shaped bird feeder, and Tackett, who designed an hourglass-shaped ashtray that became a fixture in office building elevator bays.

The cylindrical white planter mushroomed in popularity after more than 200 were ordered in 1955 for the then-new Beverly Hilton Hotel.

"Wilshire Boulevard is almost an embarrassment to us," Max Lawrence said some years later. "The plants growing in front of every major building are in our pots."

M. A. Mikkelsen [Editor], A. Lawrence Kocher [Managing Editor], Theodore Larsen [Technical News Editor]

M. A. Mikkelsen [Editor], A. Lawrence Kocher [Managing Editor], Theodore Larsen [Technical News Editor]: THE ARCHITECTURAL RECORD. New York: F. W. Dodge Corporation [Volume 75, Number 1] January 1934. Original Edition. Slim quarto. Perfect bound and side stapled printed wrappers. 98 [xl] pp. Illustrated articles and advertisments. Wrappers with a light diagonal crease (see scan). Spine lightly worn to edges and a snagged heel. Textblock lightly thumbed. Contents complete and unmarked, so a very good copy.

9 x 12 original magazine with 138 pages with numerous black and white illustrations and vintage advertisements catering to architects. Both the Record and the Architectural Forum were considerably more progressive than their competitors, with the Record being notable for its lengthy relationships with Frederick Kiesler, R. Buckminster Fuller, C. Theodore Larsen and Knud Lönberg-Holm.

An exceptional document of the early 1930s American Shelter movement led by A. Lawrence Kocher, Knud Lönberg-Holm, Theodore Larsen and R. Buckminster Fuller. After Fuller’s “Shelter” magazine folded in 1931, the proponents of the movement devoted to “achieving an adequate public housing program for the American people” found refuge and employment at The Architectural Record. Here they presented the newest progressive ideas in public and private dwellings and represented the Public Works Administration’s agenda in both form and content. This january issue featured a tremendous 34-page profile of prefabricated and assembled experimental housing as well as the debut of Frederick J. Kiesler’s Space House. Next stop: Utopia.

Contents

• Frontispiece: The Vinylite House In Gorgeous Color
• New Housing And Construction Systems: Dymaxion Houses—An Atitude: Buckminster Fuller.
• Technical News And Research: Complied By Theodore Larsen
• Experimental Houses: 34 well-illustrated pages of designs by Bemis Industries, Buell Fabricated House System, Stran-Steel House, Columbian Homes, National Steel Homes, American Houses, Inc., General Houses Inc., Cellular Steel Unit Construction, Wheeling Steel House, Rostone Houses, Ferro-Enamel House, Negro Housing In Richmond Virginia, House Of Tomorrow By George Fred Keck, Low-Cost Farmhouse By A. Lawrence Kocher & Albert Frey, Barry Byrne Concrete Unit System, Diatom Houses By Richard Neutra, And The Universal House Corporation Of Zanesville, Ohio.
• The Construction Outlook
• Illustrated News
• Space House: Frederick J. Kiesler, Architect. 18 Page Article With Gorgeous Full-Page Photographs By F. S. Lincoln.
• Modernization: Case Studies By Morris Sanders, Frank Rooke, Etc.
• Aetna Life Insurance Company Building At Hartford, Ct: James Gamble Rogers
• Radio City Broadcasting Studios Of The National Broadcasting Company, Rockefeller Center: Reinhold & Hofmeister; Corbett, Harrison, & Macmurray; Hood & Fouilhoux.
• Sound Control And Air Conditioning In The NBC Radio City Broadcasting Studios
• Lighting In The National Broadcasting Studios
• Panel Heating: Alfred Roth, Translated By Alfred Frey
• Building Trends And Outlook
• The Architects Library

Throughout his career, Frederick Kiesler [Austria-Hungary, 1890 – 1965] worked across multiple mediums. He believed that “sculpture, painting, architecture should not be used as wedges to split our experience of art and life; they are here to link, to correlate, to bind dream and reality.” After studying painting and printmaking in Vienna in the early 1900s, he became known in Europe for his inventive stage designs, featuring mirrors and projections. In the course of working on these projects, he met and at times collaborated with artists such as El Lissitzky and László Moholy-Nagy. In 1923, Dutch artist Theo van Doesburg invited him to join de Stijl, making him the group’s youngest member.

In 1926, after traveling to New York to co-organize the International Theatre Exposition at Steinway Hall, Kiesler and his wife immigrated to the United States and settled in the city. There, Kiesler helped spread the ideas of the European avant-garde, such as non-objective painting, abstraction, and the merging of art and life. He found work as a professor at Columbia University’s School of Architecture and as the director of scenic design at the Juilliard School of Music. From 1937 to 1942, Kiesler was the director of the Laboratory for Design Correlation within the Department of Architecture at Columbia University, where the study program was more pragmatic and commercially oriented than his deep, theoretical concepts and ideas, such as those about "correalism" or "continuity," which concern the relationship among space, people, objects and concepts.

“During the 1930s, Kiesler devoted much of his time to elaborating his design theories, publishing articles (including a series in Architectural Record on "Design Correlation"), and lecturing at universities and design conferences around the country, gaining notoriety for, among other things, his exhortations on the mean-spirited character of the American bathroom and the pressing need for a nonskid bathtub. He also called for the founding of an industrial design institute (for which he prepared architectural plans in 1934) and eventually persuaded Columbia University to allow him to set up an experimental Laboratory for Design Correlation within the School of Architecture. This laboratory, which functioned from 1937 to 1942, was the testing ground for many of Kiesler's biotechnical ideas. During this period, he actively experimented with new materials and techniques, such as lucite and cast aluminum, and executed some of the extraordinarily sensual, organic furniture designs that presaged the form-fitting, ergonomic concepts of the 1940s and 1950s.

Recalling this period in his life thirty years later, he wrote: "I was terribly poor, on a salary of $1,000 a year. I designed many projects for friends — all in vain. Many people made propositions without offers to pay.. ..Here were plans for a building that looked like an egg, not like the customary box. It wasn't square, it wasn't in steel, it wasn't in glass, it wasn't in aluminum. It was absolutely outside the mode of the International Style."

Finally, in 1933, Kiesler was given a chance to realize this new kind of building in a full-scale model of a single-family dwelling for the Modernage Furniture Company in New York. This project was the culmination of "seven years of waiting, seven years of search and research." 26 Space House, as it was called, had an organic, streamlined shell based on the principle of continuous tension, using the eggshell as a model. Influential in this design was the engineering construction of grain elevators, bridges, aqueducts, and planetariums — structures that also had curving, continuous exterior surfaces. This continuous-shell construction allowed for a flowing of interior space between floors, walls, and ceilings free of vertical supports. Though the full-scale model at Modernage was not technically a shell construction, it made allusions to it through the rounded facade. Space House had an elastic interior with varying floor levels and movable partitions. Other innovative techniques and materials were used, such as indirect lighting, brushed aluminum fixtures, rubberized flooring, fishnet curtains, and built-in modernistic furniture. 27 In Space House, "the streamlining becomes an organic force as it relates to the dynamic equilibrium of body motion within encompassed space."[Lisa Phillips]

Space House was also the first articulation of Kiesler's guiding principles of "correalism and biotechnique." Correalism, as he described it, is "an investigation into the laws of the inter-relationships of natural and man-made organisms," and biotechnique is "the application of such knowledge to the specific field of housing man adequately (an applied science)." It was an approach that involved defining man in relation to various forces in the environment — "natural, technological and human" — to seek the proper equilibrium among them. This approach was distinctly different from the Bauhaus ideal of form follows function: "Form does not follow function," said Kiesler, "function follows vision. Vision follows reality." "Instead of functional designs which try to satisfy the demands of the present, bio-technical designs develop the demands of the future."

The "true functionalist" (read "visionary") designer would begin by defining functions and examining their value based on reality, not theoretical worth. (This was largely the project of Kiesler's Laboratory for Design-Correlation at Columbia.) Kiesler formulated this idea in a much-quoted statement: "Form does not follow function. Function follows vision. Vision follows reality." In this way, the designer constantly should do away with obsolete functions and respond to new ones, creating new ideas and new conditions. "Function" is not a standard or a goal, but an ongoing process of identifying and responding to ever changing conditions and needs. Modern architects, to Kiesler, were avoiding their "full moral responsibility" in building without a vision based on observation and new ideas. Clearly the "moral responsibility" of the designer was of great concern to Kiesler, since the designer was responsible for guiding civilization. It was a principle Kiesler had long shared with fellow artists and architects, particularly with the members of the De Stijl group.

In 1942, he was chosen to design collector and art dealer Peggy Guggenheim’s Art of This Century Gallery in New York, for which he planned every aspect, from an innovative method of installing paintings to its lighting, sculpture stands, and seating. In 1947, he designed the installation Salle Superstition for the Exposition Internationale du Surréalisme, organized by Marcel Duchamp and André Breton at the Galerie Maeght in Paris. In this exhibition, Kiesler also displayed his first work of sculpture, Totem for All Religions, a wood-and-rope construction that stands more than nine feet tall and simultaneously evokes a totem pole, a crucifix, and various astronomical symbols.

Alfred Lawrence Kocher (American, 1885 – 1969) taught at Penn State from 1912 to 1926, where he was instrumental in the establishment of the School of Architecture. In 1926 he was appointed Director of the McIntire School of Art and Architecture at the University of Virginia. Kocher’s contribution to architecture in the United States was both as a pioneering advocate for modern architecture and as an advocate for the preservation of architectural landmarks.

When A. Lawrence Kocher was appointed Managing Editor of The Architectural Record in 1927, the magazine issued a “Delphic utterance” that it was embarking on a new chapter in its history which would probably include “something about ferro-concrete, about architectural polychromy, about a more effective direction and use of the allied arts and crafts. Possibly the impulse originated by Sullivan, developed by Frank Lloyd Wright and amplified abroad will bring repercussions from Europe. No doubt standardized shapes and machine-made surfaces will find their logical place in design. That there will be movement, enterprise, new feeling is clear....” (Architectural Record, January 1928, p. 2) Under Kocher’s direction the magazine was transformed from a beaux-arts periodical into one espousing a broad concept of modern architecture encompassing education, social responsibility and concerns, modern design, and contemporary materials and methods of construction.

Although his early writings were about traditional architecture -- The Art of Lancaster County (1919), Fireplaces in England (1926), and Early Architecture of Pennsylvania -- fifteen articles in Eighteenth Century architecture published in The Architectural Record (1920-22) – he was equally committed to the use of modern materials and construction methods and to contemporary design in new buildings. This was reflected in his private practice. Of special interest to Kocher was the design of small, affordable houses. Three houses – one of aluminum and glass, one of canvas, and a third constructed of plywood (except for the sheathing for the roof) – attracted national attention. Ideas which he proposed in the 1920s such as well-designed, prefabricated interior components for storage and utilities have become commonplace. A design for Sunlight Towers, an apartment tower, placed the towers at forty-five degree angles to the street. The saw-tooth shaped facade provided for light and for cross-ventilation.

Kocher had been interested in Black Mountain College from its beginnings. He included Black Mountain in a series of articles on the education of the architect in the September 1936 issue of Architectural Record, and soon after the college purchased the Lake Eden buildings, he proposed that the campus should be modern. He suggested a collaboration between the Black Mountain’s Bauhaus contingent – Josef Albers, Anni Albers, and Xanti Schawinsky – and Walter Gropius and Marcel Breuer, who had only recently arrived at in the United States to teach at Harvard University.

In the summer of 1940 when Black Mountain realized it could not construct the buildings designed by Walter Gropius and Marcel Breuer for the Lake Eden campus, the college turned to Kocher to design simpler buildings that could be constructed largely by faculty and students working with a contractor. At the time Kocher was visiting professor at the Carnegie Institute of Technology. In the fall of 1940, he was appointed Professor of Architecture at Black Mountain, and he moved to the college with his wife Margaret Taylor Kocher and their two small children Sandra and Lawrence. For the first two years his salary was paid by the Carnegie Foundation in New York, and for the third year, by a gift of $1,000 from Philip L. Goodwin, architect for the Museum of Modern Art in New York.

Over a two year period, several buildings designed by Kocher were constructed at the college. The main building which Kocher designed had four wings providing for administration, a library and exhibition hall, student studies, faculty apartments, and rooms for social gathering. One wing, the Studies Building, was constructed in 1940-41. The studies themselves were finished by students in the fall of 1941. Although the faculty considered construction of the additional three wings after the war, Kocher was not able to return to the college to supervise the construction, and the project was dropped.

M. A. Mikkelsen [Editor], A. Lawrence Kocher
[Managing Editor], Theodore Larsen [Technical News Editor]

New York: F . W. Dodge Corporation, Volume 75, Nos. 1 – 6, January – June 1934. Quarto. Single volume bound in evergreen fabricoid with gilt titles. 788 pp. Illustrated articles with superior to exceptional graphic design throughout. Non-circulating Reference Collection Ex-Libris edition with all covers and advertising material present. Wrappers designed by Ernest Born. Light institutional stamps throughout. Inked volume notation to textblock fore edge. An excellent reference copy.

[6] 8.5 x 11.5 magazines fully illustrated with articles directed towards the practicing professionals of Depression-era America. An exceptional document of the early 1930s American Shelter movement led by A. Lawrence Kocher, Knud Lönberg-Holm, Theodore Larsen and R. Buckminster Fuller. After Fuller’s “Shelter” magazine folded in 1931, the proponents of the movement devoted to “achieving an adequate public housing program for the American people” found refuge and employment at The Architectural Record. Here they presented the newest progressive ideas in public and private dwellings and represented the Public Works Administration’s agenda in both form and content. This january issue featured a tremendous 34-page profile of prefabricated and assembled experimental housing as well as the debut of Frederick J. Kiesler’s Space House. Next stop: Utopia.

Contents include:

• Space House: Frederick J. Kiesler, Architect. Eighteen page article with gorgeous full page photographs by F. S. Lincoln of the full-scale model of a single-family dwelling for the Modernage Furniture Company in New York, the culmination of "seven years of waiting, seven years of search and research." Space House had an elastic interior with varying floor levels and movable partitions. Other innovative techniques and materials were used, such as indirect lighting, brushed aluminum fixtures, rubberized flooring, fishnet curtains, and built-in modernistic furniture. In Space House, "the streamlining becomes an organic force as it relates to the dynamic equilibrium of body motion within encompassed space."[Lisa Phillips]
• Frontispiece: The Vinylite House In Gorgeous Color
• New Housing And Construction Systems: Dymaxion Houses—An Atitude: Buckminster Fuller.
• Technical News And Research: Complied By Theodore Larsen
• Experimental Houses: 34 well-illustrated pages of designs by Bemis Industries, Buell Fabricated House System, Stran-Steel House, Columbian Homes, National Steel Homes, American Houses, Inc., General Houses Inc., Cellular Steel Unit Construction, Wheeling Steel House, Rostone Houses, Ferro-Enamel House, Negro Housing In Richmond Virginia, House Of Tomorrow By George Fred Keck, Low-Cost Farmhouse By A. Lawrence Kocher & Albert Frey, Barry Byrne Concrete Unit System, Diatom Houses By Richard Neutra, And The Universal House Corporation Of Zanesville, Ohio.
• Modernization: Case Studies By Morris Sanders, Frank Rooke, etc.
• Aetna Life Insurance Company Building At Hartford, Ct: James Gamble Rogers
• Radio City Broadcasting Studios Of The National Broadcasting Company, Rockefeller Center: Reinhold & Hofmeister; Corbett, Harrison, & Macmurray; Hood & Fouilhoux.
• Sound Control And Air Conditioning In The NBC Radio City Broadcasting Studios
• Lighting In The National Broadcasting Studios
• Panel Heating: Alfred Roth, Translated By Alfred Frey
• Leisure as a Factor in ArchitectureSpecial section
• Special Insert: Code Of Fair Competition For The Construction Industry
• Replacing Old Areas For New Housing: Joseph Platzker
• Cleveland Hosuing: Low Cost Apartments. Walter R. Mckornack, Joseph Weinberg, Conrad & Teare, Associated Architects, Frederick Bigger, Consulting Architect.
• Hill Creek Homes, Philadelphia. Thomas & Martin, Architects.
• Carl Mackley Houses, Philadelphia. Kastner & Stonorov, W. Pope Barney, Architects.
• Knickerbocker Village Housing Project. Fred V. French Companies, Builders.
• What Happened To 386 Families Who Vacated A Slum To Make Way For A Housing Project? Study By Fred. L. Lavenburg Foundation And Hamilton House.
• Portfolio Of Small Houses. Small House designs by Harry Koerner, Allan McDowell, John D. Atchison, Walter Bradnee Kirby, Evans Moore & Woodbridge, Theodore Vischer & James Burley, Charles M. Rasque, Delano & Aldrich, J. Blair Muller, Barber & McMurry, Gordon B. Kaufmann, Polhemus & Coffin, Julius Gregory, and Philip L. Goodwin.
• YMCA Building, New York City: James Clinton Mackenzie, Jr., Architect.
• Alteration Of Small Shops Moderate In Cost. Work by Gordon S. Grundling, Holabird & Root, Herbert Sobel & J. Robert Drielsma.
• Store Buildings And Neighborhood Shopping Centers: Clarence S. Stein & Catherine Bauer. Features a Los Angeles Drive-In Market photographed by Albert Frey.
• Special Building Types:Japanese work by Antonin Raymond; Alfred Roth; Thomas W. Lamb; Gordon B. Kaufmann; etc.
• Better Homes as an Aid to RecoverySpecial section on Farm Conditions, Farm Structures, Farmstead Planning, Planning the Farmhouse for Family Needs, Desirable Requirements for the Farmhouse, and a Portfolio of Farmhouses.
• Subsistence Farmsteadsby A. Lawrence Kocher and Alfred Frey.
• Portfolio of Foreign Architectureby Marcel Breuer, Sigfried Geidion, Howe & Lescaze, Alfred Roth, Le Corbusier & P. Jeanneret, Werner M. Moser, Antonin Raymond, Juan O’Gorman, and many others.
• Portfolio of Modernization and Alterationby William Muschenheim, Eugene Schoen & Sons, Donald Deskey, J. R. Davidson, Gordon Gundling, and many others.
• And much more.

Among the many projects Frederick J. Kiesler undertook during the Depression that never progressed beyond the blueprint stage were mass- produced, modular homes designed for Sears, Roebuck and Co. (1931); The Universal, a theater complex for Woodstock, New York (1931), planned as a flexible structure, adaptable for a variety of uses; and furniture and lighting designs. Kiesler had hopes of realizing his egg-shaped Endless Theater, but the time was not ripe.

Recalling this period in his life thirty years later, he wrote: "I was terribly poor, on a salary of $1,000 a year. I designed many projects for friends — all in vain. Many people made propositions without offers to pay.. ..Here were plans for a building that looked like an egg, not like the customary box. It wasn't square, it wasn't in steel, it wasn't in glass, it wasn't in aluminum. It was absolutely outside the mode of the International Style."

Finally, in 1933, Kiesler was given a chance to realize this new kind of building in a full-scale model of a single-family dwelling for the Modernage Furniture Company in New York. This project was the culmination of "seven years of waiting, seven years of search and research." 26 Space House, as it was called, had an organic, streamlined shell based on the principle of continuous tension, using the eggshell as a model. Influential in this design was the engineering construction of grain elevators, bridges, aqueducts, and planetariums — structures that also had curving, continuous exterior surfaces. This continuous-shell construction allowed for a flowing of interior space between floors, walls, and ceilings free of vertical supports. Though the full-scale model at Modernage was not technically a shell construction, it made allusions to it through the rounded facade. Space House had an elastic interior with varying floor levels and movable partitions. Other innovative techniques and materials were used, such as indirect lighting, brushed aluminum fixtures, rubberized flooring, fishnet curtains, and built-in modernistic furniture. 27 In Space House, "the streamlining becomes an organic force as it relates to the dynamic equilibrium of body motion within encompassed space."[Lisa Phillips]

Space House was also the first articulation of Kiesler's guiding principles of "correalism and biotechnique." Correalism, as he described it, is "an investigation into the laws of the inter-relationships of natural and man-made organisms," and biotechnique is "the application of such knowledge to the specific field of housing man adequately (an applied science)." It was an approach that involved defining man in relation to various forces in the environment — "natural, technological and human" — to seek the proper equilibrium among them. This approach was distinctly different from the Bauhaus ideal of form follows function: "Form does not follow function," said Kiesler, "function follows vision. Vision follows reality." "Instead of functional designs which try to satisfy the demands of the present, bio-technical designs develop the demands of the future."

The "true functionalist" (read "visionary") designer would begin by defining functions and examining their value based on reality, not theoretical worth. (This was largely the project of Kiesler's Laboratory for Design-Correlation at Columbia.) Kiesler formulated this idea in a much-quoted statement: "Form does not follow function. Function follows vision. Vision follows reality." In this way, the designer constantly should do away with obsolete functions and respond to new ones, creating new ideas and new conditions. "Function" is not a standard or a goal, but an ongoing process of identifying and responding to ever changing conditions and needs. Modern architects, to Kiesler, were avoiding their "full moral responsibility" in building without a vision based on observation and new ideas. Clearly the "moral responsibility" of the designer was of great concern to Kiesler, since the designer was responsible for guiding civilization. It was a principle Kiesler had long shared with fellow artists and architects, particularly with the members of the De Stijl group.

Alfred Lawrence Kocher (American, 1885 – 1969) taught at Penn State from 1912 to 1926, where he was instrumental in the establishment of the School of Architecture. In 1926 he was appointed Director of the McIntire School of Art and Architecture at the University of Virginia. Kocher’s contribution to architecture in the United States was both as a pioneering advocate for modern architecture and as an advocate for the preservation of architectural landmarks.

When Kocher was appointed Managing Editor of The Architectural Record in 1927, the magazine issued a “Delphic utterance” that it was embarking on a new chapter in its history which would probably include “something about ferro-concrete, about architectural polychromy, about a more effective direction and use of the allied arts and crafts. Possibly the impulse originated by Sullivan, developed by Frank Lloyd Wright and amplified abroad will bring repercussions from Europe. No doubt standardized shapes and machine-made surfaces will find their logical place in design. That there will be movement, enterprise, new feeling is clear....” (Architectural Record, January 1928, p. 2) Under Kocher’s direction the magazine was transformed from a beaux-arts periodical into one espousing a broad concept of modern architecture encompassing education, social responsibility and concerns, modern design, and contemporary materials and methods of construction.

Although his early writings were about traditional architecture -- The Art of Lancaster County (1919), Fireplaces in England (1926), and Early Architecture of Pennsylvania -- fifteen articles in Eighteenth Century architecture published in The Architectural Record (1920-22) – he was equally committed to the use of modern materials and construction methods and to contemporary design in new buildings. This was reflected in his private practice. Of special interest to Kocher was the design of small, affordable houses. Three houses – one of aluminum and glass, one of canvas, and a third constructed of plywood (except for the sheathing for the roof) – attracted national attention. Ideas which he proposed in the 1920s such as well-designed, prefabricated interior components for storage and utilities have become commonplace. A design for Sunlight Towers, an apartment tower, placed the towers at forty-five degree angles to the street. The saw-tooth shaped facade provided for light and for cross-ventilation.

Kocher had been interested in Black Mountain College from its beginnings. He included Black Mountain in a series of articles on the education of the architect in the September 1936 issue of Architectural Record, and soon after the college purchased the Lake Eden buildings, he proposed that the campus should be modern. He suggested a collaboration between the Black Mountain’s Bauhaus contingent – Josef Albers, Anni Albers, and Xanti Schawinsky – and Walter Gropius and Marcel Breuer, who had only recently arrived at in the United States to teach at Harvard University.

In the summer of 1940 when Black Mountain realized it could not construct the buildings designed by Walter Gropius and Marcel Breuer for the Lake Eden campus, the college turned to Kocher to design simpler buildings that could be constructed largely by faculty and students working with a contractor. At the time Kocher was visiting professor at the Carnegie Institute of Technology. In the fall of 1940, he was appointed Professor of Architecture at Black Mountain, and he moved to the college with his wife Margaret Taylor Kocher and their two small children Sandra and Lawrence. For the first two years his salary was paid by the Carnegie Foundation in New York, and for the third year, by a gift of $1,000 from Philip L. Goodwin, architect for the Museum of Modern Art in New York.

Over a two year period, several buildings designed by Kocher were constructed at the college. The main building which Kocher designed had four wings providing for administration, a library and exhibition hall, student studies, faculty apartments, and rooms for social gathering. One wing, the Studies Building, was constructed in 1940-41. The studies themselves were finished by students in the fall of 1941. Although the faculty considered construction of the additional three wings after the war, Kocher was not able to return to the college to supervise the construction, and the project was dropped.

A. Lawrence Kocher [Managing Editor]

New York: F . W. Dodge Corporation, Volume 81, Nos. 1 – 6, January – June 1937. Quarto. Single volume bound in evergreen fabricoid with gilt titles. 1,060 pp. Illustrated articles with superior to exceptional graphic design throughout. Non-circulating Reference Collection Ex-Libris edition with all covers and advertising material present. Light institutional stamps throughout. Inked volume notation to textblock fore edge. An excellent reference copy.

[6] 8.5 x 11.5 magazines fully illustrated with articles directed towards the practicing professionals of Depression-era America. Both the Record and the Architectural Forum were considerably more progressive than their competitors, with the Record being notable for its lengthy relationships with Frederick Kiesler, R. Buckminster Fuller, C. Theodore Larsen and Knud Lönberg-Holm.

Contents include:

• Design Correlation by Frederick J. Kiesler. Monthly column debuts in the February issue. Four columns included here: “Design Correlation—The Architect in Search of Art, “ ten pages fully illustrated, including a photograph of Arshile Gorky working on a mural for the Newark Airport. “Design Correlation—Animals and Architecture,” six pages fully illustrated with examples by Lubetkin & Tecton, Tatlin, Meyerhold & Lissitzky, etc. and an excellent Philip Johnson footnote: “Quit [post] in 1935 as Curator of Architecture at the Museum of Modern Art to join forces with the late Senator Huey P. Long.” “Design Correlation—Duchamp’s Glass is the First X-Ray Painting of Space.” Eight page article about The Large Glass. The work was photographed by Berenice Abbott [courtesy of the Photographic Division, Federal Arts Project, WPA] specifically for Kiesler’s article. Frederick Kiesler and Marcel Duchamp met in the mid-1920s in Paris and stayed in contact until the early 1950s when, for reasons still unknown, their friendship suddenly seems to have fallen apart. During those 25 years, Kiesler and Duchamp worked within the same vein, both occupied with predominant themes like perception and mechanisms of visions. They shared the same friends in Paris and frequented the same intellectual circle in New York. In 1937 Kiesler published his first article on Duchamp´s Large Glass based on the extensive use of photomontage and on a free association of images. Five years later, Duchamp rented a room in Kiesler´s apartment for twelve months. “Design Correlation—Towards Prefabrication of Folk-Spectacles,”Four page devoted to sound design and reproduction in movie theatre design.
• House for Mrs. R. C. Kramer: William Lescaze. Seven pages and 17 halftones and floorplans of this modern four-story NYC townhouse.
• The New Architecture Of Mexico Special Issue. Author and Photographer Esther Born spent months in Mexico photographing the contemporary native functional architecture. Architect and Husband Ernest Born assembled all of these elements in a striking layout with sensitive typography and rhythmic and dynamic page design. Includes work by Juan O’Gorman, Luis Barragan, Carlos Tarditi, Enrique De La Mora, Carlos Contreras, José Beltrán, Ortiz Monasterio, Diego Rivera, José Clemente Orozco, David Alfaro Siqueiros, Alfredo Zalce, Paul O’ Higgins, Gabriel Fernandez Ledesma, Doctor Atl, Julio Castellanos, Maria Izquierdo, Cecil Crawford O’ Gorman, Roberto Montenegro, Antonio Ruiz, Manuel Rodriguez, Lozano, Cesar Canti, Augustin Lazo, Luis Ortiz Monasterio, Guillermo Ruiz, Mardonio Magana, Antonio Muñoz Garcia, José Villagran Garcia, Carlos Greenham, Enrique Aragon Echeagaray, José Arnal, José Creixell, Cervantes & Ortega, Kunhardt & Capilla, Enrique Yañez, Luis Martinez Negrete, Carlos Obregon Santacilia, Luis Martinez Negrete, Juan José Barragan, José Villagran Garcia, Juan Legarreta, Fernando B. Puga, Ignacio Diaz Morales, Rudolfo Weber, Enrique Del Moral, and Guteirrez Camarena. “This book shows modern architecture in Mexico, chiefly in Mexico City. The quantity of it comes as a surprise. Such a quantity would be unexpected in any North American city; but to the Northerner, acquainted with Mexico only through literature and hearsay, the energy displayed and the up-to-the-minute quality are doubly astonishing. We had thought of our neighbors as engaged in pursuits different than ours. These people were our opposites. Their territory was all mountainous, contrasted with our level central basin; it was occupied chiefly by Indians, not white men; colonized by Spaniards instead of Englishmen; spotted with huge ruins older than Rome and of a scale comparable comparable to Egypt. The inhabitants, we were led to believe, supported themselves chiefly by handicraft, lacked a sense of time, were of a mystical rather than a practical bent of mind and, in countless other ways, differed from us as much as human beings could; besides, they were much happier...." — Editorial Foreword
• Houses: H. Roy Kelley, Edgar Bissantz, Harold G. Spielman; William Lescaze; Van Pelt & Lind; Beatty & Strang; R. M. Schindler; William Wurster; George Fred Keck; Alfred Clauss; F. R. S. Yorke; etc.
• Buildings: Royal Barry Wills, Hugh Stubbins; Ernest Born; Jones, Roessle, Olschner And [Samuel G.] Wiener; Alfred Roth; Albert Kahn; Baldessari, Figini Pollini; William Lescaze; Samuel G. Wiener & William B. Wiener; Marcel Breuer & F. R. S. Yorke; Eugen Schoen, Oscar Stonorov, etc.
• Architecture in England Special Issue. Essays by Nikolaus Pevsner, Hugh Casson, J. M. Richards, Paul Nash and Herbert Read. Over 91 work examples by Eric Mendelsohn and Serge Chermayeff, William Morris, Raymond McGrath, Wells Coates, E. Maxwell Fry, Joseph Emberton, Frederick Gibberd, Oliver Hill, G.A. Jellicoe, Lubetkin and Tecton, E. Owen Williams, F.R.S. Yorke, and Adams, Holden & Pearson, Walter Gropius, Marcel Breuer, William Lescaze Eric Mendelsohn and Serge Chermayeff, Joseph Paxton; Alexander Thomson; Charles Rennie Mackintosh; Marcel Breuer; Sir John Burnet, Tait, & Lorne; Serge Chermayeff; Anthony Chitty; Connell, Ward & Lucas; Joseph Emberton; Maxwell E. Fry; Frederick Gibberd; Walter Gropius with E. Maxwell Fry; Valentine Harding; Oliver Hill; Geoffrey Allan Jellicoe; William Lescaze; Christopher Nicholson; A.V. Pilichowski; Godfrey Samuel; Slater & Moberly; Marshall Sisson; Tecton; Sir E. Owen Williams; S.A. Heaps; and, Adams, Holden, & Pearson. "The work of the English contemporary school in the last few years, still so evidently expanding and improving, sets a mark which we will not easily pass in America. It sets that mark, moreover, under cultural conditions more like our own than those of most other countries of the world. We can understand what the obstacles have been in the way of these men, what temptations to compromise, what general distrust, what whimsical building regulations, what indifference to earlier national steps toward modern architecture they have had to overcome. The psychology of recovery is generally conservative rather than experimental, and in a world of rising nationalistic prejudice England's hospitality not only to Continental ideas but to foreign architects has been amazing One can end a consideration of English architecture in the winter of 1937 not merely with the conclusion that its present achievement is almost unique and could hardly have been foretold even five years ago. One can also prognosticate that this achievement very probably represents the opening stage in an architectural development of prime creative significance."
• Prefabricated Bathroom:R. Buckminster Fuller.
• Architecture at Harvard University: Walter Gropius. Four pages and 3 halftones.American industrial, cultural and educational ambassadors were eager to embrace the refugees fleeing the coming storm in Europe. Joseph Hudnut invited Walter Gropius to join the Harvard Graduate School of Design, the Association of Arts and Industries financed the New Bauahuas in Chicago under Moholy-Nagy, Josef and Anni Albers helped developed the experimental teachings at Black Mountain College in Asheville, North Carolina, Mies van der Rohe assumed leadership of the Architecture program at the Armour Institute, Illinois Institute of Technology, and Alfred Barr and the Museum of Modern Art hosted art, architecture and design exhibitions devoted to the Bauhaus ideas. The underlying idea Bauhaus formulated by Gropius, was to create a new unity of crafts, art and technology. The intention was to offer the right environment for the realization of the Gesamtkunstwerk [total work of art]. To achieve this goal, students needed a school with an interdisciplinary and international orientation. The Bauhaus curriculum offered a unique combination of research, teaching and practice that was unequalled by rival academies and schools of applied art. This educational paradigm was widely embraced by institutions in the United States trying to emerge from the depths of the Great Depression. The Harvard Graduate School of Design is widely regarded as the cradle of American modern architecture. Professor Joseph Hudnut created the GSD by uniting the three formerly separate programs of architecture, landscape architecture, and city planning in 1935. He got rid of antique statuary, replaced mullioned windows with plate glass, and hired Walter Gropius to head the architecture program. During his tenure at Harvard—from 1937 to 1952—Gropius oversaw the end of the academic French Beaux-Arts method of educating architects. Gropius’s philosophy placed an emphasis on industrial materials and technology, functionality, collaboration among different professions, and a complete rejection of historical precedent. Assisted by Bauhaus colleague Marcel Breuer, Gropius educated a generation of architects who radically altered the landscape of postwar America, including Edward Larrabee Barnes, Garrett Eckbo, Lawrence Halprin, Dan Kiley, Philip Johnson, Eliot Noyes, I.M. Pei, Paul Rudolph, Edward Durell Stone, and many others.
• Building Types: Grocery Stores; Restaurants; Sowrooms; Specialty Shops; Industrial Buildings, including the Municipal Incinerator at Shreveport, Louisiana, by Jones, Roessle, Olschner and [Samuel G.] Wiener. Built with PWA funds, the Incinerator was the first major American building of its kind where complete design and supervision service was provided by a firm of architects. Selected as one of the buildings illustrated in the United States Pavilion at the Paris International Exposition of 1937, as well as a traveling exhibition organized by the Museum of Modern Art. "If I had any gold medals to distribute, I would quickly pin one on Jones, Roessle, Olschner and Wiener for their Municipal Incinerator at Shreveport, Louisiana. This one of the best examples of the rational use of the ribbon window and the overhanging building, with the ground floor accessible to vehicles that I have come across -- an excellent design, with no vulgar attempts at prettifying a form that needs no additions. -- Lewis Mumford. The Incinerator was razed in 1974. Single Family Residences; Schools; etc.
• Mensendieck in Palm Springs, CA built for Grace Lewis Miller: Richard J. Neutra with Peter Pfisterer. Six pages and ten halftones and floorplans photographed by Julius Shulman. At the dawn of his international fame, architect Richard Neutra was approached by a St. Louis socialite, Grace Lewis Miller, to design a small winter home on the edge of glamour-baked Palm Springs. Miller wanted an open, light-filled house that could also act as a studio for her fashionably avant-garde exercise course in posture and grace, "The Mensendieck System." This unique program, combined with the desert landscape and the proactive, health-minded client appealed to the idealist in Neutra. The frequent, fervent dialog between Neutra and Miller, who had great mutual respect, produced a work of forward-thinking and artful architecture. Like the houses of Albert Frey, a contemporary of Neutra's who also build in the desert, the Miller House shows how architecture, the California landscape, and an interest in well-being can intersect in a moment of the architectural sublime.
• And much more.

From 1937 to 1942, Frederick J. Kiesler was the director of the Laboratory for Design Correlation within the Department of Architecture at Columbia University, where the study program was more pragmatic and commercially oriented than his deep, theoretical concepts and ideas, such as those about "correalism" or "continuity," which concern the relationship among space, people, objects and concepts.

“During the 1930s, Kiesler devoted much of his time to elaborating his design theories, publishing articles (including a series in Architectural Record on "Design Correlation"), and lecturing at universities and design conferences around the country, gaining notoriety for, among other things, his exhortations on the mean-spirited character of the American bathroom and the pressing need for a nonskid bathtub. He also called for the founding of an industrial design institute (for which he prepared architectural plans in 1934) and eventually persuaded Columbia University to allow him to set up an experimental Laboratory for Design Correlation within the School of Architecture. This laboratory, which functioned from 1937 to 1942, was the testing ground for many of Kiesler's biotechnical ideas. During this period, he actively experimented with new materials and techniques, such as lucite and cast aluminum, and executed some of the extraordinarily sensual, organic furniture designs that presaged the form-fitting, ergonomic concepts of the 1940s and 1950s.

“By 1940, Kiesler was already well aquainted with the Surrealist movement through his close friendships with Marcel Duchamp, Matta, and Julien Levy, who, in the 1930s, was the first art dealer to exhibit Surrealist works in New York. His ties to the movement were further strengthened by the immigration of many European Surrealists to New York at the onset of World War II. He had an ongoing dialogue with the Surrealist artists Yves Tanguy, Andre Breton, Kurt Seligmann, Matta, Joan Miro, Andre Masson, Max Ernst, Leonora Carrington, and Luis Buhuel, all exiled in New York during the war.

Also in 1942, Kiesler designed the gallery Art of This Century for Peggy Guggenheim in which he installed a Vision Machine to look at a series of reproductions from Duchamp´s Bôite en Valise. During the 1940s Kiesler and Duchamp collaborated on several projects such as the cover of the 1943 VVV Almanac and the exhibition Imagery of Chess at the Julien Levy Gallery in New York. In 1947 they worked together again in Paris at the Exposition Internationale du Surréalisme for which Kiesler designed the Salle des Superstitions. A few months later, Kiesler executed a portrait in eight parts of Marcel Duchamp which can probably be considered the last collaboration between the two artists.

“Kiesler's Greenwich Village apartment at 56 Seventh Avenue was a haven for visiting and emigre Europeans. They were not only welcomed there by Kiesler but by symbols of America — the Statue of Liberty and the Empire State Building were clearly visible from his penthouse apartment (which was otherwise described by the doorman as a cross between a studio, apartment, and junk shop). 33 Among his many guests were Marcel Duchamp, Fernand Leger, Mies van der Rohe, Hans Richter, Jean Arp, and Piet Mondrian. Kiesler generously introduced the newcomers to curators, critics, and dealers — Philip Johnson, Alfred H. Barr, Jr., James Johnson Sweeney, Sidney and Harriet Janis — as well as to other artists and prominent friends such as Arnold Schonberg, Frank Lloyd Wright, Martha Graham, E.E. Cummings, Virgil Thomson, Edgard Varese, and Djane Barnes. Committed to fostering an active exchange of ideas among artists of all disciplines and nationalities, Kiesler also relished the potential drama of these encounters. The spirit of the old Vienna cafe days remained with him, and most of his evenings were spent talking with his friends at Romany Marie's or other Village haunts into the early hours of the morning. He never took phone calls before noon. “ [Lisa Phillips]

When A. Lawrence Kocher was appointed Managing Editor of The Architectural Record in 1927, the magazine issued a “Delphic utterance” that it was embarking on a new chapter in its history which would probably include “something about ferro-concrete, about architectural polychromy, about a more effective direction and use of the allied arts and crafts. Possibly the impulse originated by Sullivan, developed by Frank Lloyd Wright and amplified abroad will bring repercussions from Europe. No doubt standardized shapes and machine-made surfaces will find their logical place in design. That there will be movement, enterprise, new feeling is clear....” (Architectural Record, January 1928, p. 2) Under Kocher’s direction the magazine was transformed from a beaux-arts periodical into one espousing a broad concept of modern architecture encompassing education, social responsibility and concerns, modern design, and contemporary materials and methods of construction.

The Editors of Architectural Record

The Editors of Architectural Record: 82 DISTINCTIVE HOUSES FROM ARCHITECTURAL RECORD. New York: F. W. Dodge Corporation, 1952. First edition. Quarto. Brick cloth titled in mustard. Photo illustrated dust jacket. 438 pp. 500 + black and white images, diagrams and plans. Interior unmarked and very clean. Out-of-print and uncommon. Color cover photograph by Julius Shulman. The scarce jacket lightly rubbed with a mildly sunned spine. Endpapers lightly foxed, otherwise a nearly fine copy in a nearly fine example of the scarce dust jacket.

8.75 x 11.75 hardcover book with 438 pages and  over 500 black and white images images, diagrams and plans showcasing 82 contemporary modern residences circa 1952. Along with Living Spaces by George Nelson, this is one of THE classic pictorial records of modern residential architecture in Post-war America. This book spotlights some of the lesser-known structures of the period, thus supplying a more unique perspective than similar volumes that tend to showcase the iconic residences.

An Eicheler Home in Palo Alto by Frederick Emmons and A. Quincy Jones is profiled  with 5 black and white photos and 6 variant floor plans for the Palo Alto Eichler development.

"The evolution, or perhaps revolution, which has been occurring in American house design is mirrored in this book. Here is inscribed the work of many of our leading residential architects, a coast-to-coast sampling that conveys a significant picture of contemporary work."

Architects represented in this volume include George Fred Keck And William Keck (Multiple Properties); Richard Neutra; Pietro Belluschi; Eichler Home In Palo Alto By Fredercik Emmons And A. Quincy Jones (5 Photos And 6 Plans); Walter Gropius (And Tac, Circa December 1949); Gregory Ain, Jospeh Johnson And Alfred Day; Marcel Breuer (Multiple Properties); Hugh Stubbins, Jr. (Multiple Properties); Carl Koch And Frederic Day; George Nemeny & A. W. Geller; Summer Spaulding John Rex; Schweikher And Elting; Garriott, Becker And Bettman; A. Quincy Jones, Thornton Abell; Sanders, Maisin, Reiman; Norman Rice; Albert Kennerly; Aeck Associates; Henry Toll; James Britton; Igor Polevitzky; Lionel Pries; Vladimir Ossipoff; Herman Herrey; Edla Muir; E. H. And M.K. Hunter; Turner And Northington; Edelbaum And Webster; Don Hershey; Carl Strauss; John Hancock Callender And Allen Edwin Kramer; Arthur Gallion; Joseph Allen Stein; Walther Prokosch; Hervey Parke Clark & John F. Beuttler; Arthur Keyes And Basil Yurchenko; Paul Thirty; Stanhope Blunt Ficke; Edward Varney; James Fitzgibbon; John Ekin Dinwiddie And Richard Maxwell; J. Lister Holmes;  L. Morgan Yost;  Olindo Grossi; Sanders And Malsin; Trevor Roberts; Frederick Dunn; Carl Strauss; Bernard Kessler; Anshen And Allen; Francis Joseph Mccarthy;   Jospeh Esherick; Clarence Mayhew; Henry Hill;  Robert Elkington; Mitchell And Ritchey; Richard Dennis; Paul Laszlo; Bain, Overturf Turner And Associates; Fred Langhorst;  David Fried;  John Lloyd Wright; Walter And Robert Vahlberg; George Woolsey; Arthur Brown;   Alfred Henry Hill; Francis Ellsworth Lloyd; Ricahrd Morse And William Peters.

Besides featuring contemporary mid-century architectural plans and photos of homes from all over the United States, there are also sections (about the last 80 pages) on time saver standards for home building including plans for household laundry, closets, cabinetry, indoor-outdoor planting beds, roof trusses for small houses, uniform plumbing code for housing, insulation of concrete floors in dwellings, heating systems, and more.

A partial list of represented homes by owner: Jack Diamond - Hewlett Neck, Long Island New York; Morton G. Mack - North Newstead, South Orange, New Jersey; Arcj Ekdale - San Pedro California; Edward H. Bennett, Tryon, North Carolina; Joseph G. Poetker, Mt. Adams, Cincinnati Ohio; Paul Palmer, Phoenix Arizona; William S. Beck, Los Angeles CA; Miss Agnew Palley, Scarsdale NY; Stanley & Janice Berenstain, Elkins Park, Pennsylvania; Eichler House, Palo Alto CA (by Frederick Emmons and A. Quincy Jones is profiled with 5 b/w photos and 6 variant floor plans); NA Sands Point, Long Island; Dr. Ann Stuckey, Griffin, Georgia; Henry C. Toll, Denver, Colorado; Roland Phillips, Miami, Florida, Country House for Richard Lea, Lopez Island, San Juan Group, Washington; E. J. Greaney, Honolulu, Hawaii; Mrs. Alma Morgenthau, Lattingtown, Long Island; Zola Hall, Los Angeles; Albert Keep, Williamstown, Massachusetts; W.C. Kennedy, Florence Alabama; House in Westchester County New York; Veronica McCarthy, Fairport NY; J. Ralph corbett,  Cincinnati OH; Designed for a magazine client, Upper Brookville, Long Island; Frank McCauley, Bel Air, CA; Kurt E. Appert, Atherton CA; ... and many more.

Emerson Goble, The Editors of Architectural Record

Emerson Goble, The Editors of Architectural Record: A TREASURY OF CONTEMPORARY HOUSES. New York: F.W. Dodge, 1954. First edition. Quarto. Green cloth stamped in black. Photo illustrated dust jacket. 216 pp. 600 black and white photographs and diagrams of 50 residences. Jacket lightly edgeworn with faint chipping to spine ends and a couple of short, closed tears. Interior unmarked and clean. Out-of-print. Jacket photo by Ezra Stoller. A very good copy in a very good dust jacket.

9 x 12 book with 216 pages and 600 photos and diagrams showcasing 50 contemporary modern residences.   Interior photography by Stoller, Bill Hedrich-Blessing, Joseph Molitor, Julius Shulman and others. In terms of decor, there is none of that Chippendale jive here — every residential interior is decked out in full midcentury glory.

• Carl Koch and Associates: Mr and Mrs James Parton, Dorset, Vt.; The Fredric Wieting House, Swampscott. Mass.
• John Funk, Lawrence Halprin (Landscape Architect): Mr and Mrs John Woerner, Kentwoodlands. Ca.
• George Fred Keck, William Keck: Mr and Mrs John C Telander, Hinsdale, Il.; William E Neumann, Du Page Co., Il.; The Sugnybd Kunstadter House, Highland Park, Il.
• Edward Durell Stone and Karl J Holsinger, Jr.: Mr and Mrs Fred Maduro, Great Neck, Long Island
• Richard Gordon: Mrs Edward Pearson, Mamaroneck, Ny.
• Carelton R Richmond, Jr.: Carelton R Richmond, Jr., Cambridge, Ma.
• Lemmon, Freeth & Haines: Dr and Mrs T.W. Cowan, Honolulu, T.H.
• R. Gommel Roessner: Mr and Mrs Millard Rudd, Austin, Tx.
• Norton Polivnick: Mr and Mrs Norton Polivnick, Denver, Colorado
• Hugh Stubbins, Jr.: Weston, Ma.; Three Level House In Massachusetts
• Sherlock, Smith & Adams; Edward L Daugherty (Landscape Architect) Samuel P Baum, Montgomery, Al.
• Joseph Salerno;  James Fanning (Landscape Architect): The Fronkin House, Westport, Conn.
• Clark and Albert Frey: Mr and Mrs Robson Chambers, Palm Springs, Ca.
• Lemmon and Freeth: Mr and Mrs A.W. Duvel, Mano, Kauai, Hawaii,
• Marcel Breuer and Eliot Noyes: Mr and Mrs Ogden Kniffen, New Canaan Conn.
• Marcel Breuer: John W Hanson, Huntington, Ny.
• E.H. and M.K. Hunter: E.H. and M.K. Hunter House, Hemlock Hill, Hanover, Nh; Dr. R. W. Hunger; Dr. O Sherin Staples; Dr. W. C. Lobitz
• Harold W. Hall, Arthur A Graves and David W Dykeman: Russell Day, Everett, Wa.
• Campbell and Wong; Eckbo, Royston & Williams, (Landscape Architects): Hamilton Wolf, Oakland Ca.
• Wimberly & Cook: George J Wimberly, Honolulu, T.H.
• Whitney R Smith: Mr and Mrs Samuel Sale, Pasaden, Ca.
• Alfred Parker: Mr and Mrs Edward Riley, Miami Fl.
• Warren Wilson Weaver: Weaver Residence, Thornwood, Ny
• Philip C Johnson: Richard Hodgson, New Canaan, Ct.
• Chalfant Head: French Residence, Fillmore, Ca.
• J. R. Davidson: Mr and Mrs Gustav Fann, Hollywood Hills, Los Angeles, Ca.
• Schweiker and Elting; Franz Lipp (Landscape Architect): The Winstonelting House, Libertyville, Il.
• William B Wiener Wiener Residence, Shreveport, Louisiana
• A. G. Odell Jr.: J Spencer Bell, Charlotte, Nc.
• Richard Neutra: Mr and Mrs Maurice L Heller, Beverly Hills, Ca.
• Serge P Petroff and Harvey P Clarkson: K.L. Rawson, Long Island, Ny.
• Carl A Strauss; Henry Fletcher Kenney(Landscape Architect): Mr and Mrs H. E. Lunken, Cincinnati, Oh.
• John Storrs: Paul Van Bergen House, Portland, Or.
• Van Evern Bailey: Thomas Dixon House, Portland Or.
• Walter Gordon: W. W. Wessinger House, Portland Or.
• Robert H Dietz: Jack Wolf House, Mercer Island, Wa.
• Paul Thiry: Thomas David Stimson House, Seattle, Wa.
• William H . Bain and Harrison H Bain: William H . Bain and Harrison H Bain
• Young & Richardson; Carleton & Detlie: Carl Erickson House, Hunts Point, Wa
• Bassetti and Morse: David Van Brown House, Hilltop Community, Wa.
• Joseph and Louise Marlow Mr and Mrs Joseph Marlow, Denver, Co.

Along with Living Spaces by George Nelson, this is one of THE classic pictorial records of modern residential architecture in Post-war America. This book spotlights some of the lesser-known structures of the period, thus supplying a more unique perspective than similar volumes that tend to showcase the iconic residences.

Architectural Record [Editors]

The Staff of Architectural Record: RECORD HOUSES OF 1959. New York: F. W. Dodge Corporation, The Architectural Record, Mid-May 1959. A very good or better perfect-bound and side-stapled magazine in lightly-worn and spotted wrappers. Interior unmarked and very clean. Out-of-print.

8.625 x 11.5 perfect-bound magazine with 222 pages devoted to "20 of the Year's Finest Architect-Designed Houses Shown in 205 Photographs, Plans and Drawings" Generously illustrated in b&w (some color) photographs, floor plans, elevations and drawings of construction details; index of designers & firms in the issue accompanied by small portrait photos of each contributor and their address. Advertisements of the day throughout - primarily for home building materials and supplies.

In 1956, Architectural Record began an annual tradition of a special "Mid-May" issue: RECORD HOUSES -- a practice still in place today. Each issue was devoted to showcasing twenty "exceptionally fine houses", newly built that year. This publication is the fourth of these special issues.

The Twenty Houses of 1959, their designers, the clients and the locations:

• Jose Luis Sert:  Architect/Owner, Cambridge, MA
• Paul Rudolph:  Architect. Mr. & Mrs. F. A. Deering, Owners, Casey Key, FL
• Bolton And Barnstone: Architects. Mr. & Mrs. David Lindsay, Owners, Houston, TX
• Victor Lundy:  Architect. Mr. & Mrs. Joseph Dudley, Owners, Sarasota, FL
• Richard L. Dorman And Associates:  Architects.  Encino, CA
• William J. Conklin And Davis, Brody & Wisniewski:  Architects. Mr. & Mrs. Bowen Sterling, Owners, Peeskill, NY
• A. L. Aydelott & Associates:  Architects. Mrs. George Goldsmith, Owner, Helena, AR
• Eliot Noyes And Associates:  Architects. Mr. & Mrs. Robert Bernhard, Owners, Port Chester, NY
• Robert Billsbrough Price:  Architect. Mr. & Mrs. T. Harbine Monroe, Owners, Tacoma, WA
• Gyo Obata Of Hellmuth, Obata & Kassabaum:  Architect and owner. St. Louis, MO
• Goetz And Hansen:  Architects. Mr. & Mrs. Robert L. Goetz, Owners, Lafayette, CA
• Edward Larrabee Barnes:  Architect. Mr. & Mrs. Donald Miller, Jr., Owners, Chappaqua, NY
• Curtis & Davis And Associated Architects And Engineers:  Architects. Mr. & Mrs. Julian Steinberg, Owners, New Orleans, LA
• Grider And La Marche:  Architects. Builder House for Ralph Sherman, Boise, ID
• Ulrich Franzen:  Architect. Mr. & Mrs. George Weissman, Owners, Rye, NY
• Joseph N. Smith:  Architect. Mr. & Mrs. Robert Uricho, Owners, Miami, FL
• Craig Ellwood:  Architect. Mr. & Mrs. Victor Hunt, Owners, Malibu, CA
• Hugh Stubbins & Associates:  Architects. Rhode Island
• Ralph Rapson & Douglas Baird:  Professor & Mrs. W. G. Shepherd, Owners, St. Paul, MN
• The Architects Collaborative:  Architects. Mr.& Mrs. Carl Murchison, Owners, Provincetown, MA

The fourth year of the famed RECORD HOUSES annual issue.  Fantastic, scarce volume of mid-century modern architecture featuring 20 exceptional houses, shown in photographs, plans and drawings.  Features great 1959 modern design, interiors and furniture photographed by Julius Shulman, Ezra Stoller, and others.

Architectural Record [Editors]

The Staff of Architectural Record: RECORD HOUSES OF 1961. New York: F. W. Dodge Corporation, The Architectural Record, Mid-May 1961. A very good or better perfect-bound and side-stapled magazine in lightly-worn, creased and spotted wrappers. Previous owner inked hash marks next to several entries on tha table of contents, otherwise interior unmarked and very clean. Out-of-print.

8.625 x 11.5 perfect-bound magazine with 180 pages devoted to "20 of the Year's Finest Architect-Designed Houses Shown in 185 Photographs, Plans and Drawings" Generously illustrated in b&w (some color) photographs, floor plans, elevations and drawings of construction details; index of designers & firms in the issue accompanied by small portrait photos of each contributor and their address. Advertisements of the day throughout - primarily for home building materials and supplies.

In 1956, Architectural Record began an annual tradition of a special "Mid-May" issue: RECORD HOUSES -- a practice still in place today. Each issue was devoted to showcasing twenty "exceptionally fine houses", newly built that year. This publication is the sixth of these special issues.

The Twenty Houses of 1961, their designers, the clients and the locations:

• Roy Sigvard Johnson: House For Mr. & Mrs. Eliot Erwitt, Hastings-On-Hudson, NY. Interior Photographs By Magnum's Eliott Erwitt.
• Richard Neutra: House For Henry Singleton, Los Angeles, CA
• Edward J. Seibert: House For T. H. Mitchell, Sarasota, FL
• Norman F. Carver, Jr.: House For Dr. & Mrs. Frederick Rogers, Mr. & Mrs. Bowers, And Mr. Starring, Kalamazoo, MI
• Marcel Breuer: House For Arthur V. Hopper, Baltimore, MD
• Paul Hayden Kirk: Wood Research House, Bellevue, WA
• John L. Field: House For Mr. & Mrs. Arthur Alter, Los Altos Hills, CA
• Robert B. Browne: House For Mr. & Mrs. John R. Vereen, Coconut Grove, Miami, FL
• Hellmuth, Obata & Kassabaum: House For John L. Wilson, Ladue, MO
• Jules Gregory:  Architect And Owner, Lambertville, NJ
• Buff, Straub & Hensman:  House For Mr. & Mrs. Porter Jared, Los Angeles, CA
• Joan & Ken Warriner:  Architect And Owner, Sarasota, FL
• Keyes, Lethbridge & Condon:  House For Mr. & Mrs. Hoffberger, Washington, DC
• Merrill, Sims & Roehrig:  House For Mr. & Mrs. Kenneth Roehrig, Honolulu, HI
• Frank Schlesinger:  Architect And Owner, Doylestown, PA
• The Architects Collaborative:  House In Norton, MA
• Gunnar Birkerts & Frank Staub:  House For Mr. & Mrs. Alan Schwatz, Northville, MI
• George Matsumoto:  House For Mr. & Mrs. Kirkwood F. Adams, Roanoke Rapids, NC
• Sam B. Short & G. Ross Murrell:  House For Mr. & Mrs. Clyde Shaw, Baton Rouge, LA
• Meathe, Kessler & Associates:  House For Mr. & Mrs. Arthur Beckwith, Franklin Hills, MI

The sixth year of the famed RECORD HOUSES annual issue.  Fantastic, scarce volume of mid-century modern architecture featuring 20 exceptional houses, shown in photographs, plans and drawings.  Features great 1961 modern design, interiors and furniture photographed by Morley Baer, Ernest Braun, Norman F. Carver, Jr., Eliott Erwitt,  Art Filmore, Balthazar Korab, Robert Lautman, Bill Margerin, Frank Lotz Miller, Joseph Militor, Marc Neuhof, Ben Schnall, Julius Shulman, and Williams Photography of Honolulu.

Architectural Record [Editors]

The Staff of Architectural Record: RECORD HOUSES OF 1962. New York: F. W. Dodge Corporation, The Architectural Record, Mid-May 1962. A very good or better perfect-bound and side-stapled magazine in lightly-worn and spotted wrappers. Interior unmarked and very clean. Out-of-print.

8.625 x 11.5 perfect-bound magazine with 170 pages devoted to "20 of the Year's Finest Architect-Designed Houses Shown in 180 Photographs, Plans and Drawings" Generously illustrated in black and white and (some color) photographs, floor plans, elevations and drawings of construction details; index of designers & firms in the issue accompanied by small portrait photos of each contributor and their address. Advertisements of the day throughout - primarily for home building materials and supplies.

In 1956, Architectural Record began an annual tradition of a special "Mid-May" issue: RECORD HOUSES -- a practice still in place today. Each issue is devoted to showcasing "exceptionally fine houses", newly built that year. This publication is the ninth of these special issues.

The Twenty Houses of 1962, their designers, the clients and the locations:

• Robert Damora: An Architect’s Answer to the Pre-Fab Tract House Problem.  Development House for New Seabury. Cape Cod, MA.
• Paul Rudolph:  Contemporary in the Grand Manner, Mr. and Mrs. R. A. Ligget, Tampa, FL.
• Charles W. Moore & Richard C. Peters: Powerful Design Sets Tract Pace, Development House for Rey K. Hubbard, Corral De Tierra, CA.
• Ulrich Franzen & Associates: An Interplay of Pavilion Shapes Gives Residences Change of Pace, Residence in New London, CT.
• Kramer & Kramer: Modern to Fit a Traditional Code, Residence in Teaneck, NJ.
• Robert B. Browne: Casual Retirement House Gets Big Space with Folding Walls, Mr. R. S. Barrows, Marathon Shores, Key Vaca, FL.
• Roger Lee Associates: Tract House in Bay Region Style, Residence in Berkeley, CA.
• John Terence Kelly: A Modern House Reflects its Tudor Neighborhood, Dr. and Mrs. Harold McDonald, Gulf Farms, Elyria, OH.
• Elroy Webber Associates: $15,500 Buys Civility and Comfort, Dr. Virginia Galbraith, South Hadley, MA.
• Bassetti & Morse: Three-Part Plan Gives Good Scale, Stephen P. Wertheimer, Mercer Island, WA.
• George Fred Keck & William Keck: Curving House Design for Sweeping Design, Mrs. Frank E. Payne, Pleasant Valley, Bucks County, PN.
• Newton E. Griffith: Architect and Owner, Urbanity and Rusticity are Skillfully Combined,  Edina, MN.
• Philip Johnson: Glass Living Pavilion Tops View, Residence on Lloyd’s Neck, Long Island, NY.
• Norman F. Carver, Jr.:Art and Craft Combined in Simple Structure, Mr. and Mrs. Donald Probasco, Kalamazoo, MI.
• Kuhn & Drake:Builder House of Concrete Offers Budget Luxury, Residence for R & S Builders, South Plainfield, NJ.
• James Edgar Stageberg: Designed for a Hilltop View, Dr. Roger Ewert, Minneapolis, MN.
• George S. Lewis:Artful Union of Size and Simplicity, Mr. and Mrs. David Hall Faile, Green Farms, Westport, CT.
• Ladd & Kelsey:Tract House in Good Modern Design, Development House for Laguna Niguel Corporation, South Laguna, CA.
• Robert Ernest:Architect and Owner, A Multi-Level House with Service Towers, Atlantic Beach, FL.
• George Matsumoto: Space Serves Both Art and Function, Mr. and Mrs. Edward Thrower, Sedgefield, NC.
• Also includes sections on kitchens and bathroom, an index of the designers and photographers and estimated costs for the year’s Record Houses.

The ninth year of the famed RECORD HOUSES annual issue.  Fantastic, scarce volume of mid-century modern architecture featuring 20 exceptional houses, shown in photographs, plans and drawings.  Features great 1962 modern design, interiors and furniture photographed by Julius Shulman, Ezra Stoller, and others.

The Museum of Modern Art Bulletin, Spring 1948

The Museum of Modern Art: WHAT IS HAPPENING TO MODERN ARCHITECTURE? A SYMPOSIUM AT THE MUSEUM OF MODERN ART. Museum of Modern Art, 1948. First edition [The Museum of Modern Art Bulletin, Vol. 15, No. 3, Spring 1948]. Slim quarto. Stapled self wrappers. 24 pp. 8 black and white illustrations. Wrappers uniformly toned, otherwise a nearly fine copy.

7.25 x 9.25 staple-bound booklet with 24 pages and 8 black-and-white text illustrations: A symposium for architects was held in the Auditorium of the Museum of Modern Art on the evening of February 11, 1948. The discussion was based on an excerpt from the Skyline by Lewis Mumford in The New Yorker, October 11, 1947. The speakers [transcribed] include Alfred H. Barr, Jr., Henry-Russell Hitchcock, Walter Gropius, George Nelson, Ralph T. Walker, Christopher Tunnard, Frederick Gutheim, Marcel Breuer, Peter Blake, Gerhard Kallmann, Talbot Hamlin, Lewis Mumford plus there's a section of written comments by Carl Koch, Lewis Mumford and Alfred H. Barr, Jr.

Mumford and Barr add afterthoughts included at the end of the booklet to sort out some of their differences over the direction of architecture and the nature of their work.  Remarks are thoughtful and quite genuine and humorous.  Walker says architects are too resentful of criticism.  Tunnard jokes that he deduces from Johnson's remarks that he (Tunnard) is a member of the "gold-plated plumbing school" of architects, Blake reacts to Mumford's complaint about the "mechanical rigorists" among architects.  The speakers are top-notch and their good-humor is on display.

Terence Riley noted that the early tastemakers at the Museum of Modern Art understood their job was to separate "the wheat from the chaff." Few people rose to that challenge with more vigor than Philip Johnson, the young head of the Department of Architecture and Design. Alfred Barr’s insistence on including Architecture and Design as a fully functioning department within MoMA was a radical curatorial departure, which seems only obvious today.

Philip Johnson's 1928 visit to the Bauhaus Dessau sparked Johnson's imagination and solidified his role as a proselytizer for the European avant-garde architecture. "We were proud to be avant-gardists; we wore our enthusiasm as a badge of honor that distinguished us as culturally superior to those around us." Johnson said.

From this plateau of cultural superiority, Johnson and his MoMA collaborators Alfred H. Barr, Jr. and Henry-Russell Hitchcock eventually labeled this architecture “The International Style.” The rest is history.

Andre Bloc and Pierre Lacombe [Directeur]

Andre Bloc and Pierre Lacombe [Directeur]: ART D'AUJOURD'HUI. Paris: Aujourd'hui, 1952.  Original edition [Serie 3, Numero 3 et 4; Fevrier - Mars 1952]. Text in French. A very good magazine in a printed cellophane dust jacket including a slightly bumped edge, which translates to the interior pages; small chips missing from the cellophane wrapper and on the back cover, the cellophane's bottom fore edge is somewhat rough. Contents separating from the cover. Interior unmarked and clean. Out-of-print. Le couverture est une reproduction d'une des illustrations de Fernand Leger composer pour "La Fin du Monde" de Blaise Cendrars [Editions de la Sirene, 1929].

9.5 x 12 magazine with 64 pages; special issue devoted to "le graphisme et l'art" with b/w examples [some with spot color] and illustrated articles tracing the relationship between graphic art and typography and the avant-garde art movements of the twentieth century.

• La lettre et le signe dans la peinture par Leon Degand
• Quelques apercu sur Dada par Gabrielle Buffet: 4 pages with 11 black-and-white illustrations including work by Marcel Janco, Kurt Schwitters and G. Ribemont among others
• L'effort typographique par Bernard Gheerbrant: 8 pages with approx. 30 illustrations, some with spot color including work by Pierre Faucheux, Paul Rand, Pierre Matisse, Massin, Tristan Tzara and Jean Miro and Willem Sandberg among others
• Construction de la lettre par Pierre Faucheux: 6 pages with approx. 15 illustrations, some with spot color
• Fantaisie typographique et calligrammes par Julien Alvard: 5 pages with 14 illustrations, some with spot color including work by Del Marle, Mallarme and Louise de Villemorin among others
• L'art graphique au service de la publicite par R. V. Gindertael: 12 pages with 45 black-and-white illustrations including work by Robert Gage, Paul Colin, Hans Erni, Olivier Gilles, Morton Goldsholl, Werner Labbe, Max Huber Franco Grignani, Georges Lafayes, Paul Rand, Luigi Moretti, Erik Nitsche, Pierre Boucher, Armin Hoffmann, Albe Steiner, Savignac and Herbert Matter [full-page reproduction of Knoll ad] among others
• Le graffito par Pierre Gueguen: 4 pages with 13 black-and-white illustrations including photos by Marton, Pierre Verger, Sarisson, A. Bloc and Walter
• H. N. Werkman par Sandberg: 5 pages with 7 illustrations, 1 with spot color
• Kupka par Leon Degand: 5 pages with 14 b/w illustrations
• L'exposition itinerante Klar-Form
• Les expositions a Paris et dans la mondes informations diverses

Andre Bloc founded Art d'Aujourd'hui in 1949. He began his career as an engineer and turned to architecture (after a fateful meeting with Le Corbusier in 1921) and finally, to sculpture. In 1951, he formed Espace, a group intent on bringing constructivism and neo-plasticism to urbanism and the social arena. This group included such artists and urbanists as Jean Dewasne, Etienne Bothy, Jean Gorin, Felix Del Marle, Edgard Pillet, Victor Vasarely and Nicolas Schoffer.

ART OF THE SIXTIES [5th revised edition]

Wolf Vostell [Designer], Gert von der Osten [introduction]

Gert von der Osten [introduction]: KUNST DER SECHZIGER JAHRE [5. erweiterte Auflage] | ART OF THE SIXTIES [5th revised edition]. Koln: Wallraf-Richartz Museum, 1971. Fifth Revised Edition. Text in German and English. Thick quarto. Flexible debossed plastic covers bound with 2 stainless steel bolts through a clear acrylic spine. Unpaginated. 209 tipped-in color plates by 92 artists. Catalog and short biographies. Multiple paper stocks and printing effects, including tipped-in plates, printed transparent slipsheets, fold-outs and more. A zeitgeist-defining tour-de-force of book design and production by Fluxus master Wolf Vostell. An exceptionally well preserved copy with no visible flaws, thus a fine copy. Rare thus.

9.5 x 11.75 unpaginated soft cover book with 209 tipped-in color plates and a portrait of each represented artist printed in black-and-white on a transparency. This is the definitive fifth revised edition of this famous and striking exhibition catalogue, which is itself a work of art. Wolf Vostell designed the catalogue for the Ludwig collection of contemporary art, given as a permanent loan to the Wallraf-Richartz Museum in Cologne. Beautiful production including butcher paper, onionskin and graph paper. Includes a "Personal Word" by Peter Ludwig, essays by Horst Keller and Evelyn Weiss, a section of quotes by the included artists, an explanation of terms and a "Druckgraphik" section in addition to the "Katalog."

Artists include Joseph Albers, Carl Andre, Horst Antes, Richard Artschwanger, Larry Bell, Miguel Ortiz Berrocal, Joseph Beuys, Peter Blake,  John Chamberlain, Jim Dine, Jean Dubuffet, Dan Flavin, Lucio Fontana, Richard Hamilton, Hans Hartung, Robert Indiana, Jasper Johns, Donald Judd, Ellsworth Kelly, Edward Kienholz, R. B. Kitaj, Yves Klein, Yayoi Kusama, Sol Lewitt, Roy Lichtenstein, Richard Lindner, Morris Louis, Piero Manzoni, Marisol, Louise Nevelson, Kenneth Noland, Claes Oldenburg, Eduardi Paolozzi, Robert Rauschenberg, Gerhard Richter, James Rosenquist, Niki de Saint Phalle, George Segal, Richard Serra, Frank Stella, Pierre Soulages, Antoni Tapies, Wayne Thiebaud, Jean Tinguely, Richard Tuttle, Victor Vasarely, Cy Twombly, Andy Warhol, Tom Wesselman and Wols among others.

Art of This Century

[Art of This Century]: EXHIBITION BY 31 WOMEN. New York:  Art of This Century, January [1943]. Exhibition announcement letterpressed on one side. 5.5 x 5 trim size. One corner bumped, otherwise a nearly fine example.

Original Art of This Century Gallery Announcement for a show from January 5 – 31, 1943. At Marcel Duchamp's instigation, Peggy Guggenheim held an exhibition wholly dedicated to women. Exhibition by 31 Women was selected by a jury that consisted of Guggenheim, Breton, Duchamp, Jimmy Ernst, Max Ernst, Putzel, James Thrall Soby, and James Johnson Sweeney.

The women who exhibited included Djuna Barnes (Portrait of Alice), Leonora Carrington, Buffie Johnson, Frida Kahlo, the stripper Gypsy Rose Lee (a self-portrait), Louise Nevelson, Meret Oppenheim, Irene Rice Pereira, Kay Sage, Hedda Sterne, Dorothea Tanning, Sophie Taeuber-Arp, Xenia Cage (then married to John Cage), Peggy Guggenheim's sister Hazel, Guggenheim's daughter Pegeen Vai and Barbara Reis.

Peggy had asked Max Ernst to visit the women's studios, and one of the artists he visited was Dorothea Tanning, then married to a naval officer. Peggy considered Tanning to be "pretentious, boring, stupid, vulgar and dressed in the worst possible taste but was quite talented and imitated Max's painting, which flattered him immensely;” she always thought that Leonora Carrington was superior to Tanning.

Nonetheless, Max and Tanning began an affair, and they would marry in 1946 in a double ceremony with Man Ray and Juliet Browner. Devastated by Max's involvement with Tanning, Peggy had to concede that her unhappy life with him was at an end. They separated and divorced soon afterward.

Excerpted from Peggy Guggenheim A Celebration by — Karole P. B. Vail:  In 1942, Peggy [Guggenheim] still trying to get her museum started, finally leased space on the top floor at 30 West Fifty-seventh Street. At Howard Putzel's recommendation, Peggy asked the avant-garde architect Frederick Kiesler to design the galleries. In her first letter to Kiesler, dated February 26, she wrote, "Will you give me some advise [sic] about remodelling two tailor-shops into an Art Gallery?"  He felt challenged by the project, submitting a proposal on March 7, in which he acknowledged, "It is your wish that some new method be developed for exhibiting paintings, drawings, sculptures, collages and so called: objects."  As the curator Lisa Phillips would later write, Kiesler was given a unique opportunity to test "unorthodox ideas about the presentation of art in a fantastic Surrealist environment that merged architecture, art, light, sound and motion." He was intent on breaking down barriers between viewers and works of art. The displays were constructed to be "mobile and demountable," in Kiesler's words.  Most important, all the paintings were to be exhibited without their frames, free of yet another level of confinement. Kiesler wrote:

Today, the framed painting on the wall has become a decorative cipher without life and meaning. ... Its frame is at once symbol and agent of an artificial duality of "vision" and "reality," or "image" and "environment," a plastic barrier across which man looks from the world he inhabits to the alien world in which the work of art has its being. That barrier must be dissolved: the frame, today reduced to an  arbitrary rigidity, must regain its architectural, spatial significance. The two opposing worlds must be seen again as jointly indispensable forces in the same world. The ancient magic must be recreated whereby the God and the mask of the God, the deer and the image of the deer existed with equal potency, with the same immediate reality in one living universe.

Kiesler had already begun to develop a method of spatial exhibition in Vienna in 1924, and Peggy's commission presented him with the perfect forum for fully bringing his ideas to fruition. Art of This Century, as the museum/gallery came to be called, contained four exhibition galleries, and a satisfied Peggy considered it "very theatrical and extremely original."  The abstract gallery "had movable walls made of stretched deep- blue canvas, laced to the floors and ceiling. . . . The floors were painted turquoise, Peggy's favorite color. Unframed pictures 'swaying in space' at eye level were actually mounted on triangular floor-to-ceiling rope pulleys resembling cat's cradles."

The walls and ceiling of the Surrealist gallery were painted black. Unframed paintings were mounted on cantilevered wooden arms that protruded from the curved gumwood panels attached to the walls. Viewers were free to adjust the angles at which they viewed the paintings.  The kinetic gallery featured interactive displays. Works by Paul Klee were mounted on a mechanized belt that was set in motion by an electric eye. In order to see fourteen reproductions from Marcel Duchamp's Box in a Valise (1941), viewers had to peep through a hole and turn a wheel. A third kinetic object was a shadow box that displayed Andre Breton's Portrait of the Actor A. B. (1942); after lifting a lever, a diaphragm imprinted with Breton's image opened to reveal the poem-object within (the object was either destroyed or is lost).

The daylight gallery and painting library shared one space. This gallery, more conventionally designed with white painted walls, was used for temporary exhibitions, and the windows along Fifty-seventh Street were covered with transparent fabric to filter the daylight. Within the same space, visitors could  sit on folding stools and study the library of paintings that were stored in and could be displayed on open bins specially designed by Kiesler.

Throughout Art of This Century were Kiesler's furniture units— in the form of biomorphic objects— that could be used for seating or for the display of artworks. Sculptures sat on some of the units, and paintings were mounted on sawed-off baseball bats that protruded from others. Kiesler believed that "no matter what the success of the enterprise— these galleries represent the result of a splendid co-operation between the workmen, the owner and the designer."

Elsa Schiaparelli asked Peggy to help organize a Surrealist exhibition to benefit the Coordinating Council of French Relief Societies. Peggy sent her to Breton, who, with the help of Max Ernst and Duchamp, organized First Papers of Surrealism, which was held in the Whitelaw Reid mansion on Madison  Avenue. Duchamp decorated the interior with miles of string forming a huge web; viewers could hardly see the art, but the effect was stunning. Peggy headed the list of sponsors for the exhibition, which opened on October 14. Less than a week later, on the night of October 20, Art of This Century opened; one-dollar entry tickets benefited the American Red Cross. The opening— for which Peggy said she wore "one of my Tanguy earrings and one made by [Alexander] Calder, in order to show my impar-  tiality between Surrealist and abstract art" 80 — was a huge success with favorable articles appearing in the press.

Art of This Century came on the scene at a time, when, as Sidney Janis would recall, "there were maybe a dozen galleries in all of New York."  It became such a popular meeting place for casual visitors, as well as for European and American artists, that Peggy took the unusual step of charging an admission fee of  twenty-five cents, which she herself often collected. Eventually, she gave in to criticism from Putzel, as well as from Bernard Reis and Laurence Vail, against the practice and reverted to free admission. Peggy left her troubles with Max at home in the morning and spent the day at the gallery greeting visitors and  planning exhibitions. Her relations with Jimmy Ernst continued to be friendly— indeed far more pleasant than those with his father— and for a short time he worked as her assistant. Peggy had decided, on the advice of Reis, that Art of This Century should not only be a museum space that exhibited European masters but also a commercial gallery that sold the paintings of young American artists.

Jean [Hans] Arp, Max Ernst [text]

Art of This Century

Jean [Hans] Arp, Max Ernst [text]: ARP. New York: Art of This Century, February, 1944. Exhibition announcement folded once and printed offset litho on both sides with a hand-cut die to front panel. 7 x 7 trim size. List of 26 exhibited works. Four pin holes to upper left corner that poke through all panels, otherwise a nearly fine example.

Original Art of This Century Gallery Announcement for a show from February 1944 [Freitag 305]. OCLC references three copies of this document held worldwide.

Jean Arp was born Hans Arp on September 16, 1886, in Strassburg. In 1904, after leaving the Ecole des Arts et Métiers, Strasbourg, he visited Paris and published his poetry for the first time. From 1905 to 1907, Arp studied at the Kunstschule, Weimar, and in 1908 went to Paris, where he attended the Académie Julian. In 1909, he moved to Switzerland and in 1911 was a founder of the Moderner Bund group there. The following year, he met Robert and Sonia Delaunay in Paris and Vasily Kandinsky in Munich. Arp participated in the Erste deutsche Herbstsalon in 1913 at the gallery Der Sturm, Berlin. After returning to Paris in 1914, he became acquainted with Guillaume Apollinaire, Max Jacob, Amadeo Modigliani, and Pablo Picasso. In 1915, he moved to Zurich, where he executed collages and tapestries, often in collaboration with his future wife Sophie Taeuber (who became known as Sophie Taeuber-Arp after they married in 1922).

In 1916, Hugo Ball opened the Cabaret Voltaire, which was to become the center of Dada activities in Zurich for a group that included Arp, Marcel Janco, Tristan Tzara, and others. Arp continued his involvement with Dada after moving to Cologne in 1919. In 1922, he participated in the Kongress der Konstruktivisten in Weimar and the Exposition Internationale Dada at Galerie Montaigne in Paris. Soon thereafter, he began contributing to magazines such as Merz, Mécano, De Stijl, and later to La Révolution surréaliste. Arp’s work appeared in the first exhibition of the Surrealist group at the Galerie Pierre, Paris, in 1925. In 1926, he settled in Meudon, France.

In 1931, Arp was associated with the Paris-based group Abstraction-Création and the periodical Transition. Throughout the 1930s and until the end of his life, he continued to write and publish poetry and essays. In 1942, he fled Meudon for Zurich; he was to make Meudon his primary residence again in 1946. The artist visited New York in 1949 on the occasion of his solo show at Curt Valentin’s Buchholz Gallery. In 1950, he was invited to execute a relief for the Harvard Graduate Center in Cambridge, Massachusetts. In 1954, Arp received the Grand Prize for Sculpture at the Venice Biennale. A retrospective of his work was held at the Museum of Modern Art, New York, in 1958, followed by another at the Musée National d’Art Moderne, Paris, in 1962. Arp died June 7, 1966, in Basel.

Excerpted from Peggy Guggenheim A Celebration by — Karole P. B. Vail:  In 1942, Peggy [Guggenheim] still trying to get her museum started, finally leased space on the top floor at 30 West Fifty-seventh Street. At Howard Putzel's recommendation, Peggy asked the avant-garde architect Frederick Kiesler to design the galleries. In her first letter to Kiesler, dated February 26, she wrote, "Will you give me some advise [sic] about remodelling two tailor-shops into an Art Gallery?"  He felt challenged by the project, submitting a proposal on March 7, in which he acknowledged, "It is your wish that some new method be developed for exhibiting paintings, drawings, sculptures, collages and so called: objects."  As the curator Lisa Phillips would later write, Kiesler was given a unique opportunity to test "unorthodox ideas about the presentation of art in a fantastic Surrealist environment that merged architecture, art, light, sound and motion." He was intent on breaking down barriers between viewers and works of art. The displays were constructed to be "mobile and demountable," in Kiesler's words.  Most important, all the paintings were to be exhibited without their frames, free of yet another level of confinement. Kiesler wrote:

Today, the framed painting on the wall has become a decorative cipher without life and meaning. ... Its frame is at once symbol and agent of an artificial duality of "vision" and "reality," or "image" and "environment," a plastic barrier across which man looks from the world he inhabits to the alien world in which the work of art has its being. That barrier must be dissolved: the frame, today reduced to an  arbitrary rigidity, must regain its architectural, spatial significance. The two opposing worlds must be seen again as jointly indispensable forces in the same world. The ancient magic must be recreated whereby the God and the mask of the God, the deer and the image of the deer existed with equal potency, with the same immediate reality in one living universe.

Kiesler had already begun to develop a method of spatial exhibition in Vienna in 1924, and Peggy's commission presented him with the perfect forum for fully bringing his ideas to fruition. Art of This Century, as the museum/gallery came to be called, contained four exhibition galleries, and a satisfied Peggy considered it "very theatrical and extremely original."  The abstract gallery "had movable walls made of stretched deep- blue canvas, laced to the floors and ceiling. . . . The floors were painted turquoise, Peggy's favorite color. Unframed pictures 'swaying in space' at eye level were actually mounted on triangular floor-to-ceiling rope pulleys resembling cat's cradles."

The walls and ceiling of the Surrealist gallery were painted black. Unframed paintings were mounted on cantilevered wooden arms that protruded from the curved gumwood panels attached to the walls. Viewers were free to adjust the angles at which they viewed the paintings.  The kinetic gallery featured interactive displays. Works by Paul Klee were mounted on a mechanized belt that was set in motion by an electric eye. In order to see fourteen reproductions from Marcel Duchamp's Box in a Valise (1941), viewers had to peep through a hole and turn a wheel. A third kinetic object was a shadow box that displayed Andre Breton's Portrait of the Actor A. B. (1942); after lifting a lever, a diaphragm imprinted with Breton's image opened to reveal the poem-object within (the object was either destroyed or is lost).

The daylight gallery and painting library shared one space. This gallery, more conventionally designed with white painted walls, was used for temporary exhibitions, and the windows along Fifty-seventh Street were covered with transparent fabric to filter the daylight. Within the same space, visitors could  sit on folding stools and study the library of paintings that were stored in and could be displayed on open bins specially designed by Kiesler.

Throughout Art of This Century were Kiesler's furniture units— in the form of biomorphic objects— that could be used for seating or for the display of artworks. Sculptures sat on some of the units, and paintings were mounted on sawed-off baseball bats that protruded from others. Kiesler believed that "no matter what the success of the enterprise— these galleries represent the result of a splendid co-operation between the workmen, the owner and the designer."

Elsa Schiaparelli asked Peggy to help organize a Surrealist exhibition to benefit the Coordinating Council of French Relief Societies. Peggy sent her to Breton, who, with the help of Max Ernst and Duchamp, organized First Papers of Surrealism, which was held in the Whitelaw Reid mansion on Madison  Avenue. Duchamp decorated the interior with miles of string forming a huge web; viewers could hardly see the art, but the effect was stunning. Peggy headed the list of sponsors for the exhibition, which opened on October 14. Less than a week later, on the night of October 20, Art of This Century opened; one-dollar entry tickets benefited the American Red Cross. The opening— for which Peggy said she wore "one of my Tanguy earrings and one made by [Alexander] Calder, in order to show my impar-  tiality between Surrealist and abstract art" 80 — was a huge success with favorable articles appearing in the press.

Art of This Century came on the scene at a time, when, as Sidney Janis would recall, "there were maybe a dozen galleries in all of New York."  It became such a popular meeting place for casual visitors, as well as for European and American artists, that Peggy took the unusual step of charging an admission fee of  twenty-five cents, which she herself often collected. Eventually, she gave in to criticism from Putzel, as well as from Bernard Reis and Laurence Vail, against the practice and reverted to free admission. Peggy left her troubles with Max at home in the morning and spent the day at the gallery greeting visitors and  planning exhibitions. Her relations with Jimmy Ernst continued to be friendly— indeed far more pleasant than those with his father— and for a short time he worked as her assistant. Peggy had decided, on the advice of Reis, that Art of This Century should not only be a museum space that exhibited European masters but also a commercial gallery that sold the paintings of young American artists.

Joseph Cornell / Marcel Duchamp / Lawrence Vail

Art of This Century

Joseph Cornell / Marcel Duchamp / Lawrence Vail: OBJECTS BY JOSEPH CORNELL / BOX-VALISE /BOTTLES. New York:  Art of This Century, December 1942. Exhibition announcement printed offset litho on both sides. 5.5 x 4.85 trim size. A lightly handled, nearly fine example.

Reproduced on page 183 of JOSEPH CORNELL/MARCEL DUCHAMP . . . IN RESONANCE [Ostfildern-Ruit: Cantz Verlag, 1998] item 65.

Excerpted from Peggy Guggenheim A Celebration by — Karole P. B. Vail:  In 1942, Peggy [Guggenheim] still trying to get her museum started, finally leased space on the top floor at 30 West Fifty-seventh Street. At Howard Putzel's recommendation, Peggy asked the avant-garde architect Frederick Kiesler to design the galleries. In her first letter to Kiesler, dated February 26, she wrote, "Will you give me some advise [sic] about remodelling two tailor-shops into an Art Gallery?"  He felt challenged by the project, submitting a proposal on March 7, in which he acknowledged, "It is your wish that some new method be developed for exhibiting paintings, drawings, sculptures, collages and so called: objects."  As the curator Lisa Phillips would later write, Kiesler was given a unique opportunity to test "unorthodox ideas about the presentation of art in a fantastic Surrealist environment that merged architecture, art, light, sound and motion." He was intent on breaking down barriers between viewers and works of art. The displays were constructed to be "mobile and demountable," in Kiesler's words.  Most important, all the paintings were to be exhibited without their frames, free of yet another level of confinement. Kiesler wrote:

Today, the framed painting on the wall has become a decorative cipher without life and meaning. ... Its frame is at once symbol and agent of an artificial duality of "vision" and "reality," or "image" and "environment," a plastic barrier across which man looks from the world he inhabits to the alien world in which the work of art has its being. That barrier must be dissolved: the frame, today reduced to an  arbitrary rigidity, must regain its architectural, spatial significance. The two opposing worlds must be seen again as jointly indispensable forces in the same world. The ancient magic must be recreated whereby the God and the mask of the God, the deer and the image of the deer existed with equal potency, with the same immediate reality in one living universe.

Kiesler had already begun to develop a method of spatial exhibition in Vienna in 1924, and Peggy's commission presented him with the perfect forum for fully bringing his ideas to fruition. Art of This Century, as the museum/gallery came to be called, contained four exhibition galleries, and a satisfied Peggy considered it "very theatrical and extremely original."  The abstract gallery "had movable walls made of stretched deep- blue canvas, laced to the floors and ceiling. . . . The floors were painted turquoise, Peggy's favorite color. Unframed pictures 'swaying in space' at eye level were actually mounted on triangular floor-to-ceiling rope pulleys resembling cat's cradles."

The walls and ceiling of the Surrealist gallery were painted black. Unframed paintings were mounted on cantilevered wooden arms that protruded from the curved gumwood panels attached to the walls. Viewers were free to adjust the angles at which they viewed the paintings.  The kinetic gallery featured interactive displays. Works by Paul Klee were mounted on a mechanized belt that was set in motion by an electric eye. In order to see fourteen reproductions from Marcel Duchamp's Box in a Valise (1941), viewers had to peep through a hole and turn a wheel. A third kinetic object was a shadow box that displayed Andre Breton's Portrait of the Actor A. B. (1942); after lifting a lever, a diaphragm imprinted with Breton's image opened to reveal the poem-object within (the object was either destroyed or is lost).

The daylight gallery and painting library shared one space. This gallery, more conventionally designed with white painted walls, was used for temporary exhibitions, and the windows along Fifty-seventh Street were covered with transparent fabric to filter the daylight. Within the same space, visitors could  sit on folding stools and study the library of paintings that were stored in and could be displayed on open bins specially designed by Kiesler.

Throughout Art of This Century were Kiesler's furniture units— in the form of biomorphic objects— that could be used for seating or for the display of artworks. Sculptures sat on some of the units, and paintings were mounted on sawed-off baseball bats that protruded from others. Kiesler believed that "no matter what the success of the enterprise— these galleries represent the result of a splendid co-operation between the workmen, the owner and the designer."

Elsa Schiaparelli asked Peggy to help organize a Surrealist exhibition to benefit the Coordinating Council of French Relief Societies. Peggy sent her to Breton, who, with the help of Max Ernst and Duchamp, organized First Papers of Surrealism, which was held in the Whitelaw Reid mansion on Madison  Avenue. Duchamp decorated the interior with miles of string forming a huge web; viewers could hardly see the art, but the effect was stunning. Peggy headed the list of sponsors for the exhibition, which opened on October 14. Less than a week later, on the night of October 20, Art of This Century opened; one-dollar entry tickets benefited the American Red Cross. The opening— for which Peggy said she wore "one of my Tanguy earrings and one made by [Alexander] Calder, in order to show my impar-  tiality between Surrealist and abstract art" 80 — was a huge success with favorable articles appearing in the press.

Art of This Century came on the scene at a time, when, as Sidney Janis would recall, "there were maybe a dozen galleries in all of New York."  It became such a popular meeting place for casual visitors, as well as for European and American artists, that Peggy took the unusual step of charging an admission fee of  twenty-five cents, which she herself often collected. Eventually, she gave in to criticism from Putzel, as well as from Bernard Reis and Laurence Vail, against the practice and reverted to free admission. Peggy left her troubles with Max at home in the morning and spent the day at the gallery greeting visitors and  planning exhibitions. Her relations with Jimmy Ernst continued to be friendly— indeed far more pleasant than those with his father— and for a short time he worked as her assistant. Peggy had decided, on the advice of Reis, that Art of This Century should not only be a museum space that exhibited European masters but also a commercial gallery that sold the paintings of young American artists.

The temporary exhibitions held during the first season began with a triple presentation in December: Objects by Joseph Cornell; Marcel Duchamp: Box-Valise; and Laurence Vail: Bottles. Five of the Cornell objects exhibited, including Fortune Telling Parrot (Parrot Music Box) (ca. 1937-38), entered Peggy's collection. Duchamp's leather valise contained replicas of his works and included one original photographic reproduction. The collage bottles by Laurence— a "greatly gifted artist," according to  Greenberg — were pioneering examples of assemblage. Wine bottles turned into works of art, they are intimate, often humorous objects onto which he pasted scraps of newspaper and magazine pictures, tattered materials, found objects, and shells.

[Artifort] Turner Ltd.

[Artifort] Turner Ltd.: ARTIFORT CHAIR SECTION. n. p. [The Netherlands]: Artifort, 1976. Original edition. Slim quarto. Thick perfect bound and stitched printed wrappers. 32 pp. Fully illustrated in color. Product designs and specifications. Finely printed in the Netherlands with specific contact information via Turner Ltd. in New York City. Front hinge tender. Lightly handled but a very good or better copy.

8.25 x 11.5 sales brochure with 32 colorfully illustrated pages of Artifort chair designs. Curatorial information includes materials, finishes, and dimensions. I suspect this information could be useful to somebody out there in the soft universe.

Includes chair designs by Pierre Paulin, Geoffrey D. Harcourt, and the Artifort Design Group.

Pierre Paulin (France, 1927 – 2009) was born in Paris in 1927 and studied stone carving and clay modeling at the École Camondo in the early 1950s. He is perhaps best known for his collaboration with Artifort, which began in 1958 and lasted approximately half a century. This relationship resulted in several iconic pieces, including his famed Mushroom Chair (1959), Ribbon Chair (1966), and Tongue Chair (1968).

Paulin was also commissioned by Le Mobilier National to decorate the private apartments of President George Pompidou at the Palais de L’Elysee in 1970, and again, in 1983, to furnish the office of Francois Mitterand. Paulin’s work was influenced by his German roots, the early modernists, and, in particular, by American designers Charles and Ray Eames. His pieces are in the permanent collections of multiple esteemed institutions, including the Museum of Modern Art in New York, Musée des Arts Décoratifs and Centre George Pompidou in Paris, the National Gallery of Victoria in Melbourne, and the Museum of Applied Arts in Vienna. The French president Sarkozy honoured him as "the man who made design an art". In November 2009, Paulin was posthumously awarded the distinction of "Royal Designer for Industry" (RDI).

The foundations of Artifort were laid by Jules Wagemans when he set up business as an upholsterer in Maastricht in 1890. His son, Henricus Wagemans, expanded the company into a furniture factory, which had a showroom in Amsterdam by the end of the nineteen twenties and was already well known nationally.

The economic recession of the nineteen-thirties forced H. Wagemans & Van Tuinen, as the furniture company was then known, to create a distinctive profile. Developing a catchy brand name and logo was a start. And naturally the furniture had to be distinctive too. The emphasis came to lie on functionality, comfort and quality combined with aesthetically pleasing design and an innovative use of materials.

In 1928 the new brand name was introduced: Artifort, derived from the Latin word ‘ars’ meaning art or knowledge, and ‘fortis’ meaning strong or powerful. The word ‘comfort’ is also reflected in this brand name.

Artifort’s breakthrough came at the beginning of the nineteen-thirties when the company started to use Epeda interior springing. Up until then, straw, horsehair and kapok has been used as filling materials, sometimes in combination with iron springing. Upholstering furniture with these materials was extremely labour-intensive. Epeda interior springing offered an attractive alternative and Artifort managed to acquire a licence to the Epeda patent. What was special about this interior springing, which was already being used in mattresses and car seats, was that it was woven from a single steel wire. Epeda interior springing combines a high level of comfort with great durability. Moreover, using this interior springing provided a major saving in production time.

A great deal changed with the arrival of the interior and furniture designer Kho Liang Ie. His forward-looking view, his great knowledge of design and his international contacts were not only determining factors in the successes of the nineteen-sixties and seventies but have continued to exert their  influence up to this day.

Artifort and Kho Liang Ie introduced talked-about designs and together ensured that the name Artifort became a runaway success internationally, both with architects and lovers of design. In 1959, Kho Liang Ie recruited the French designer Pierre Paulin, who introduced new techniques and constructions. He also designed a new logo for Artifort with Harry Sierman.

Paulin’s designs were fresh and innovative. His striking, brightly coloured seating sculptures raised eyebrows at home and abroad. Right up to today, they are regarded as the face of the Artifort collection. To produce these designs, a new construction method was introduced in collaboration with Artifort’s development department. Artifort started to work with foamcovered metal tube frames and stretch fabrics. In 1967 Paulin met Jack Lenor Larsen and together they formed a golden duo. In fact they changed the way in which the world viewed design, in terms of form, materials and textiles. Now, forty years later, Artifort has resumed production of the fabric Momentum exclusively for Paulin’s designs.

At the beginning of the nineteen-sixties, Artifort started to focus more on the international contract market. The English designer Geoffrey D. Harcourt designed an extensive collection of contract furniture. Internationally, the furniture seemed to be very much in demand, which resulted in enormous sales growth in a short time. Artifort extended its activities in the contract market even further by distributing furniture made by the Italian Castelli company, among others.

Barbara Goldstein [Editor], Esther McCoy [essay]

Barbara Goldstein [Editor], Esther McCoy [essay]: ARTS & ARCHITECTURE. THE ENTENZA YEARS. Cambridge, MA: M.I.T. Press, 1990. First edition.  Folio. Olive cloth decorated in copper. Printed dust jacket. Black endpapers. 248 pp. Over 500 black and white and 2-color illustrations. Interior unmarked and very clean. This hardcover MIT Press edition is out-of-print. The thin jacket paper is faintly ruffled [as usual] and trivially edgeworn, otherwise a fine copy in a fine dust jacket.

10 x 13 hardcover book with 248 pages over 500 black and white and 2-color illustrations reprinted from the original issues of Arts and Architecture magazine from 1943 to 1959. The original layouts and color breaks are preserved here.  A beautifully realized production that simply must be seen to be believed. Only a legendary magazine like Entenza's Arts and Architecture could have inspired such a magnificent tribute. Art directed by Lorraine Wild.

The contents of this book read like a veritable rosetta stone of West Coast Postwar Modernism. Check it out:

• Introduction & Epilogue by Barbara Goldstein
• Remembering John Entenza by Esther McCoy
• 1943: Ray Eames; A Cave House by Ralph Rapson and David Runnels; A Prefabrication Vocabulary by R. M. Schindler; Sifting the Double Talk by Jacob I Zeitlin; Notes in Passing; Designs for Postwar Living winners.
• 1944: Jackson Pollock; Prefabricated Housing by Charles Eames, Herbert Matter, Buckminster Fuller; Minorities and the Screen by Dalton Trumbo; Arnold Schoenberg Peter Yates, Abstract and Surrealist Art in America Sidney Janis, Color Music Abstract Film Audio Visual Music James and John Whitney.
• 1945: What is Langscape Architecture? by Garret Eckbo; Announcement of the Case Study House Program; Russia Fights with Film Robert Joeseph; Henry Moore by Eva Maria Nuemeyer.
• 1946: Alexander Calder; Charles Eames by Eliot Noyes; A Revelutionary Structural System Konrad Wachsmann, Notes in Passing; Gyorgy Kepes
• 1947: Two Gardens by Eckbo, Royston and Williams; House in industry by Konrad Wachsmann and Walter Gropius; Ad Reinhardt; Jewelry by Margaret DePatta; Styling Organization Design by George Nelson; Art in Industry by Laszlo Moholy-Nagy.
• 1948: 100 Houses by Gregory Ain, Joseph Johnson and Alfred Day; Drive-in Restaurant by John Lautner; Office Building by Raphael Soriano; Wood Shapes by James Prestini; What Is Modern by Alfred Auerbach; Design and the Machine by Jan de Swart.
• 1949: Hans Hoffmann; Project for a house in Santa Barbara by Oscar Niemeyer; Mountainheads from Mole Hills Victor Gruen, Paul Ellsworth;  One of a Hundred Gregory Ain; Notes in Passing; Garden pottery from the California School of Art, including student John Follis' nascent attempts at his Architectural Pottery!
• 1950: The House of George Nakashima, Woodworker.
• 1951: The Comprehensive Designer by Buckminster Fuller; Santa Barbara House by Richard Neutra; The Ladera project (hundreds of Eichler Homes in by A. Quincy Jones and Frederick E. Emmons; Idea and Pure Form Sibyl Moholy Nagy; Architecture in Mexico Esther McCoy; the Rise and Continuity of Abstract Art Robert Motherwell; Adolf Gottleib; Art Summoned Before the Inquistion Jules Langsner;   Architecture in Mexico; House Sydney Australia Harry Seidler; Sam of Watts Jules Langsner.
• 1952: Water Play, a Fountain by Wayne Thiebaud & Jerry McLaughlin; Architect-Builder-Site-Home and Community A Quincy Jones and Frederick E Emmons; Notes in Passing;  the Bread of Architecture Bernard Rudofsky,
• 1953: Harry Bertoai; Courtyard Apartments by Craig Ellwood;Steel Frame House by Pierre Koenig;  Bernard Rosenthal, Gibson Danes, Japanese Packaging Theodore Little.
• 1954: the Mathematical Approach in Contemporary Art Max Bill, R M Schindler, Roberto Burle Marx, Music Column Peter Yates, UPA Jules Langsner.
• 1955: Pinwheel House Peter Blake, Two Income-Unit Structures Raymond Kappe, Rico Le Brun, Jules Langsner, Claire Falkenstein, Michel Tapie, Cityscape and Landscape Victor Gruen.
• 1956: June Wayne Imagist, Jules Langsner.
• 1957: Concrete Shell Forms by Felix Candela; House in Florida by Paul Rudolph; House by Thornton Abell; the language of the Wall by Brassia and Edward Steichen Small House Killingsworth Brady Smith; Pocket Guide to Architectural Critisim Jules Langsner, Music Column Peter Yates
• 1958: Urban court House by Stanley Tigerman.
• 1959: Isamu Noguchi; Constantino Nivola; Dore Ashton.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard Neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the midcentury modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, frederick Emmons, Don Knorr, Edward killinsworth, Jules Brady, Waugh Smith, pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard neutra, Ralph Rapson, Raphale Soriano, Whitney Smith, Sumner Sapulding, John Rex, Rodney Walker, William Wilson Wurster, Theordore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other ground-breakers.

Barbara Goldstein [Editor]

Barbara Goldstein [Editor]:  ARTS AND ARCHITECTURE. Los Angeles: Arts and Architecture, Fall 1981 [Volume 1, Number 1]. Slim quarto. Photo illustrated perfect bound and stitched wrappers. 72 pp. Illustrated articles and advertisements. Cover artwork: Two Hundred years of Architecture: A Bicentennial Salute to Los Angeles, 1791–1981 by Stephen Pearson. Wrappers lightly rubbed: a nearly fine copy of this uncommon and ambitious publishing venture.

9 x 12 magazine with 72 pages of editorial content plus trade advertisements. An honest attempt to revise a once great publication that became defunct in 1967. Not exactly John Entenza, but not half bad either.

• Events Calendar: Bruno Giberti
• Notes In Passing
• Furniture by Artists: Denise Domergue. Work by Isamu Noguchi, Alwy Visschedyk, Bob Wilhite, Roland Reiss, Scott Burton, Paul Fortune Fearon, Larry Bell, Masayuki Oda.
• Artists Profiles: Four California Artists By Four California Critics
• Jay DeFeo by Judith L. Dunham
• Charles Garabedian by Fred Hoffman
• Tom Holland by Cathy Curtis
• Michael C. McMillen by Christopher Knight
• CCAIA Monterey Design Conference: California 101
• Design Communication by Richard Saul Wurman, FAIA
• Architect Of The Year: Frank Gehry
• Survey Of Recent Architecture
• Project Of The Year: Bunker Hill Competition. Criticsim by Michael Sorkin
• And MOCA For Dessert by Deborah Perrin
• Arts And Architecture Urban Guidemap: Downtown Los Angeles. Introduction and Compilation by John Pastier. Fold-out map of downtown Los Angeles with architectural and cultural listings. Cool reference from back in the day.
• Screening Our Fantasies: 80 Years Of Sci Fi Movies by Michael Webb
• Retrospect: Konrad Wachsmann. Introduction by Esther McCoy
• Books: Song Of The Open Road by John Beach
• Advertisements for Brown Jordan, Stendig, Boyd Lighting, Kasparians, Architectural Pottery, Knoll, Heath Ceramics, Contempo Westwood, Scandiline, Herman Miller, ICF, etc.
• Illustrated real estate ads for residences by Frank Lloyd Wright [The Storer Residence: $1M], Boulder Thorgusen [The Thorgusen Residence: $369K], and Raphael Soriano [The Gogol House: $275K, The Shrage House: $375K].  Good times!

The Editorial Advisory Board included Ray Eames, John Follis, Philip Johnson, Cesar Pelli, Ed Ruscha, Richard Serra, Stanley Tigerman, Deborah Sussman and Richard Saul Wurman among others.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects such as Charles Eames, Eero Saarinen, A. Quincy Jones, Frederick Emmons, Richard Neutra, William Wilson Wurster, and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers. The revived version of the magazine had an illustrious history to live up to.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 69, No. 7, July 1952. Slim folio. 38 pp. Illustrated articles and advertisements. Cover design by Richard Nickle. Mailing label and postage cancellation to front panel. Wrappers lightly worn and solied, but a very good or better copy

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1952. Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory. 

• Open House: The Institute of Design in 1952. "The material in this issue was conceived and arranged by students under the direction of the faculty of the Institute of Design. The students and faculty have undertaken the responsibility of using these pages to state objectives and to clarify methods." 18 pages and 37 black and white photographs of student and faculty work, including lamps by Gilbert Watrous and Joseph Burnett, both winners in the 1951 MoMA Lamp Competition.
• Notes In Passing: profile of Laszlo Moholy-Nagy
• A full-page, 2-color ad for the Herman Miller Furniture Company

One of Chicago's great cultural achievements, the Institute of Design was among the most important schools of photography in twentieth-century America. It began as an outpost of experimental Bauhaus education and was home to an astonishing group of influential teachers and students, including Laszlo Moholy-Nagy, Harry Callahan, and Aaron Siskind.

The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

David Travers [Editor]

David Travers [Editor]: ARTS AND ARCHITECTURE. Los Angeles: Arts and Architecture, Volume 83, number 11, November 1966. Slim quarto. Stapled printed wrappers.  36 pp. Illustrated articles and period advertisements. Mailing label to rear panel. Wrappers edgeworn.  Wraparound cover design with Frei Otto structure at Expo 67. Textblock with diagonal creases to lower corner, but a very good copy.

9.75 x 12.75 vintage magazine with 36 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1966.  In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout credited to John Follis and John Gilchrest.

• German Pavilion at Expo 67: Frei Otto
• Valencia, California, A Planned New City: Victor Gruen
• Scientific Data Systems Plant in El Segundo, California: Craig Ellwood
• Church in Colorado Springs: Lusk & Wallace
• A Design Theory Of The Universe: Sam Elton
• Paintings: Herb Greene
• The Thinking Season—A Design Conference Report
• Books
• Art
• Full-page ad for  George Nelson Bubble Lamps for Howard Miller and more.

The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

David Travers [Editor]

David Travers [Editor]: ARTS AND ARCHITECTURE. Los Angeles: Arts and Architecture, Volume 82, number 9, September 1965. Slim quarto. Stapled printed wrappers. 40 pp. Illustrated articles and period advertisements. Mailing label to blank area of rear panel. Wrappers lightly scuffed and worn, especially to the rear panel corner [see scan]. Wraparound cover design: “Les Des Sont Jetés” by Le Corbusier. Interior unmarked, clean and lightly creased from reading, but a very good copy.

9.75 x 12.75 vintage magazine with 40 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1965.  In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout credited to John Follis and John Gilchrest.

Contents

• Le Corbusier
• Ranch House: Hugo V. Neuhaus, Jr., Architect
• The Perforated Wall: Myron H. Goldfinger
• Apartment Building: Harry Seidler & Associates, Architects
• University Arts Center: Mario Ciampi, Architect
• The Boston Government Center: Paul D. Spreieregen
• A Brief History Of The World Of War: Forrest Wilson
• Italian Ceramic Tile
• Art
• Music
• Books
• Notes in Passing
• Advertisements include a full-page color Knoll Associates ad, etc.

The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

Here is the story of the Les Des Sont Jetés tapestry reported last month in Australia’s ABC news by Mazoe Ford [March 29 2016]: “Sydney Opera House tapestry commissioned by Jorn Utzon arrives at its destination after 60 years”

Well before the sails of the Sydney Opera House were complete, architect Jorn Utzon was already thinking about how to decorate the inside of the building. Now almost 60 years later, one of the artworks he commissioned is finally on display.

The Sydney Opera House has publicly unveiled the Utzon/Le Corbusier tapestry — a work of art that Opera House chief executive Louise Herron described as a "collaboration between two of the 20th century's greatest architects for one of the 20th century's greatest buildings".

"In 1958 Jorn Utzon wrote to Le Corbusier to ask if he would like to help with the decoration of the Opera House, as he put it, and the result was this tapestry," Ms Herron told the ABC. At the time, Mr Utzon was a bold, young Danish architect whereas Le Corbusier was a well-renowned French-Swiss architect who was coming to the end of his career.

"Apparently the reason the tapestry is called Les Des Sont Jetes (The Dice Are Cast) is because when Le Corbusier saw Mr Utzon's design he thought 'this is the future of architecture'.

"[Le Corbusier] was so inspired by what he saw that he decided he would collaborate [with Mr Utzon], which is not something he usually did." The tapestry will hang in the Western Foyer of the Opera House, an interior that was designed by Mr Utzon.

"It injects the Utzon DNA back into the building — as you know Utzon left before the Opera House was complete ... [but] this is an original Utzon intention to have this tapestry at the Opera House."

The Les Des Sont Jetes was woven in France, but after Mr Utzon famously resigned from the Opera House project in 1966 it never made its way to Sydney

. It was due to be auctioned last year until Ms Herron was sent to rescue it, at the insistence of philanthropist Peter Weiss. "I said 'it mustn't go for auction, you must buy it' and Louise said 'how?' and I said 'get on a plane just do it'," Mr Weiss told the ABC.

"I said 'I'll put some money towards it and find other donors - it has to be bought, it has to come back home'."Long-time arts supporter Mr Weiss contributed the most money, but funds also came from other philanthropists, Opera House staff and the New South Wales Government.

Despite the $400,000 price tag, the tapestry was a little worse for wear after decades hanging in the Utzon family dining room in Denmark. Once it arrived in Sydney, Julian Bickersteth from International Conservation Services and his team were tasked with restoring it.

"Tapestries and food don't go terribly well together so there was a fair bit of splatter all over it," Mr Bickersteth said. "I don't think it had ever been cleaned in that time, it might have been lightly brushed down, but the challenge was to how safely to clean it to bring back the vibrancy of those incredible colours.

"That is a process that means literally putting it in a bath, but you can't do that until you have tested the colours to check none of them are going to run, and then you have to have the right PH of the detergents and the water we're using to ensure they stay locked in."

Seeing the Les Des Sont Jetes hanging in the Opera House for the first time was a particularly proud moment for Antony Moulis from The University of Queensland's School of Architecture. Without his research, it might never have happened.

"I discovered letters in 2006 at the Le Corbusier archive in Paris describing the commission that Utzon asked Le Corbusier to design this tapestry work for the Opera House," Dr Moulis said.

"It was a commission that very little was known about and I thought it was a commission that should be more well known.As I researched the letters I discovered that the work had been made in 1960 and sent to Utzon in Denmark, so it was a very exciting discovery."

Staff photographer Julius Shulman’s Copy

John Entenza [Editor], Herbert Matter [Cover Designer]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 62, number 4, April 1945. Original edition. Slim folio. Stapled printed wrappers. 56 pp. Illustrated text and articles.  Cover by Herbert Matter (who was employed by the Eames Office in Venice at the time).  Layout and typography by Robin Park. Staff photographer Julius Shulman’s mailing address typed on rear panel with cancelled postage stamp. Textblock printed on fragile newsprint with the middle two signatures losse and laid in. Wrappers spotted, rubbed, worn and starting to split at spine ends: a nearly very good copy with an exceptional provenance.

9.75 x 12.75 vintage magazine with 56 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1945. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Contents:

• Full-page Alvin Lustig ad for H. G. Knoll Associates
• Articles
• Russia Fights With Film: Robert Joseph
• The Mural In Terms Of Architecture: Hilaire Hiler
• Language Of Vision: Grace Clements reviews György Kepes’ first book.
• Architecture
• Case Study House No. 2: Sumner Spaulding
• Design for Postwar Living Competition Entry: S/Sgt. S. Glen Paulsen
• Design for Postwar Living Competition Entry: Jack P. Hilmer
• Design for Postwar Living Competition Entry: John A. Grove, Jr.
• Special Features
• Ceramics by Marguerite Wildenhain, William Manker, and Otto and Gertrud Natzler.
• Art
• Books
• Cinema
• Music
• Notes in Passing
• General Specifications Case Study House No. 2
• State Association Of California Architects
• Official Building Industry Directory
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

American photographer Julius Shulman's (1910 – 2009) images of Californian architecture have burned themselves into the retina of the 20th century. A book on modern architecture without Shulman is inconceivable. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friend, Richard Neutra, was first brought to light by Shulman's photography.

The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.

Today, a great many of the buildings documented by Shulman have disappeared or been crudely converted, but the thirst for his pioneering images is stronger than ever before. This is a vivid journey across six decades of great architecture and classic photography through the famously incomparable eyes of Julius Shulman.

“Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friends, Richard Neutra and Raphael Soriano, was first brought to light by Shulman's photography. The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.” [Wikipedia]

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

Herbert Matter (1907-1983) studied with Fernand Leger and Amande Ozenfant at the Academie Moderne in Paris in the late 1920s before returning to Switzerland to design a series of Swiss travel posters which illustrate his signature photomontage technique. When he arrived in the United States in 1936 his first clients were the Museum of Modern Art (MoMA), and the publisher Conde Nast. Other clients included the Guggenheim Museum (1958 - 1968), Knoll Furniture (1946 - 1966), and the New Haven Railroad (1954). During this time Matter became a tenured professor at Yale and helped to shape the university's photography and graphic design program (1952 - 1976). Matter's advanced techniques in graphic design and photography became part of a new visual narrative that began in the 1930s, which have since evolved into familiar design idioms such as overprinting -- where an image extends beyond the frame -- and the bold use of color, size, and placement in typography. Such techniques often characterize both pre-war European Modernism and the post-war expression of that movement in the United States.

"Herbert's background is fascinating and enviable," said Paul Rand. "He was surrounded by good graphics and learned from the best." Therefore, it is no wonder that the famed posters designed for the Swiss Tourist Office soon after his return had the beauty and intensity of Cassandre and the geometric perfection of Corbu, wed to a very distinctive personal vision.

In 1936, Matter was offered roundtrip passage to the United States as payment for his work with a Swiss ballet troupe. He spoke no English, yet traveled across the United States. When the tour was over, he decided to remain in New York. At the urging of a friend who worked at the Museum of Modern Art, Matter went to see Alexey Brodovitch, who had been collecting the Swiss travel posters (two of which were hanging on Brodovitch's studio wall). Matter soon began taking photographs for Harper's Bazaar and Saks Fifth Avenue. Later, he affiliated himself with a photographic studio, "Studio Associates," located near the Conde Nast offices, where he produced covers and inside spreads for Vogue.

During World War II, Matter made striking posters for Container Corporation of America. In 1944, he became the design consultant at Knoll, molding its graphic identity for over 12 years. As Alvin Eisenman, head of the Design Department at Yale and long-time friend, points out: "Herbert had a strong feeling for minute details, and this was exemplified by the distinguished typography he did for the Knoll catalogues."

In 1952, he was asked by Eisenman to join the Yale faculty as professor of photography and graphic design. "He was a marvelous teacher," says Eisenman. "His roster of students included some of the most important names in the field today." At Yale, he tried his hand at architecture, designing studio space in buildings designed by Louis Kahn and Paul Rudolf. "He was good at everything he tried to do," continues Eisenman. In 1954, he was commissioned to create the corporate identity for the New Haven Railroad. The ubiquitous "NH" logo, with its elongated serifs, was one of the most identifiable symbols in America.

Staff photographer Julius Shulman’s Copy

John Entenza [Editor], Herbert Matter [Cover Designer]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 64, number 4, April 1947. Original edition. Slim folio. Stapled printed wrappers. 54 pp. Illustrated text and articles.  Cover by Herbert Matter.  Layout and typography by Robin Park. Staff photographer Julius Shulman’s mailing label to rear panel with cancelled postage stamp. Wrappers lightly worn with a faint coffee cup [?] stain: a very good or better copy with an exceptional provenance.

9.75 x 12.75 vintage magazine with 50 pages of editiorial content and advertisments from leading purveyors of West Coast midcentury modernism, circa 1947.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here -- every residential interior is decked out in full midcentury glory.

Contents:

• A Beach House by Raphael Soriano
• Architecture Today: Erik Mendelsohn
• The Planning of Detention Homes: Milton J. Caughey, Architect
• Case Study House 16: Rodney Walker. photographed by Julius Shulman.
• From the 14 Americans Catalog [MoMA]: work by Isamu Noguchi, David Hare and Theodore Roszak with statements by the artists.
• Furniture: Knoll Associates. Work by Florence Knoll, Eero Saarinen and Abel Sorensen.
• Art: Grace Clements
• San Francisco Notes: Dorothy Puccinelli Craveth
• Cinema: Robert Joseph
• Music: Peter Yates
• Merit Specified, Case Study House 16
• Product Specified, Case Study House 16
• Notes in Passing
• New Developments
• Art: Lengthy and perceptive review of  Walter Paepcke, Egbert Jacobson and Paul Rand [Designer]: MODERN ART IN ADVERTISING [DESIGNS FOR CONTAINER CORPORATION OF AMERICA]. Chicago: Container Corporation of America/Paul Theobald, 1946.

Editorial Associates for Arts and Architecture included Charles Eames and Benjamin Baldwin. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra,  Eero Saarinen, Sumner Spaulding,   Gregory Ain, Ray Eames, Garrett Eckbo, Herbert Matter and others luminaries of the midcentury modern movement.

American photographer Julius Shulman's (1910 – 2009) images of Californian architecture have burned themselves into the retina of the 20th century. A book on modern architecture without Shulman is inconceivable. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friend, Richard Neutra, was first brought to light by Shulman's photography.

The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.

Today, a great many of the buildings documented by Shulman have disappeared or been crudely converted, but the thirst for his pioneering images is stronger than ever before. This is a vivid journey across six decades of great architecture and classic photography through the famously incomparable eyes of Julius Shulman.

“Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friends, Richard Neutra and Raphael Soriano, was first brought to light by Shulman's photography. The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.” [Wikipedia]

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, frederick Emmons, Don Knorr, Edward killinsworth, Jules Brady, Waugh Smith, pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard neutra, Ralph Rapson, Raphale Soriano, Whitney Smith, Sumner Sapulding, John Rex, Rodney Walker, William Wilson Wurster, Theordore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other ground-breakers.

Herbert Matter (1907-1983) studied with Fernand Léger and Amédée Ozenfant at the Académie Moderne in Paris in the late 1920s before returning to Switzerland to design a series of Swiss travel posters which illustrate his signature photomontage technique. When he arrived in the United States in 1936 his first clients were the Museum of Modern Art (MoMA), and the publisher Condé Nast. Other clients included the Guggenheim Museum (1958–1968), Knoll Furniture (1946–1966), and the New Haven Railroad (1954). During this time Matter became a tenured professor at Yale and helped to shape the university’s photography and graphic design program (1952–1976). Matter’s advanced techniques in graphic design and photography became part of a new visual narrative that began in the 1930s, which have since evolved into familiar design idioms such as overprinting—where an image extends beyond the frame—and the bold use of color, size, and placement in typography. Such techniques often characterize both pre-war European Modernism and the post-war expression of that movement in the United States.

"Herbert's background is fascinating and enviable," said Paul Rand. "He was surrounded by good graphics and learned from the best." Therefore, it is no wonder that the famed posters designed for the Swiss Tourist Office soon after his return had the beauty and intensity of Cassandre and the geometric perfection of Corbu, wed to a very distinctive personal vision.

In 1936, Matter was offered roundtrip passage to the United States as payment for his work with a Swiss ballet troupe. He spoke no English, yet traveled across the United States. When the tour was over, he decided to remain in New York. At the urging of a friend who worked at the Museum of Modern Art, Matter went to see Alexey Brodovitch, who had been collecting the Swiss travel posters (two of which were hanging on Brodovitch's studio wall). Matter soon began taking photographs for Harper's Bazaar and Saks Fifth Avenue. Later, he affiliated himself with a photographic studio, "Studio Associates," located near the Condeé Nast offices, where he produced covers and inside spreads for Vogue.

During World War II, Matter made striking posters for Container Corporation of America. In 1944, he became the design consultant at Knoll, molding its graphic identity for over 12 years. As Alvin Eisenman, head of the Design Department at Yale and long-time friend, points out: "Herbert had a strong feeling for minute details, and this was exemplified by the distinguished typography he did for the Knoll catalogues."

In 1952, he was asked by Eisenman to join the Yale faculty as professor of photography and graphic design. "He was a marvelous teacher," says Eisenman. "His roster of students included some of the most important names in the field today." At Yale, he tried his hand at architecture, designing studio space in buildings designed by Louis Kahn and Paul Rudolf. "He was good at everything he tried to do," continues Eisenman. In 1954, he was commissioned to create the corporate identity for the New Haven Railroad. The ubiquitous "NH" logo, with its elongated serifs, was one of the most identifiable symbols in America.

Staff Photographer Julius Shulman's Copy

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 66, number 4, April 1949. Slim folio. Stapled printed wrappers. 62 pp. Illustrated text and articles. Cover by “Connor.” Staff photographer Julius Shulman’s mailing label to rear panel with cancelled postage stamp. Wrappers lightly rubbed and worn, and the center signatures (8 pages) loose and laid in: a very good copy with an exceptional provenance.

9.75 x 12.75 vintage magazine with 62 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1949.  This copy belonged to Staff photographer and subscriber Julius Shulman with his address label to rear panel. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Contents:

• Consider The Family by Josef Van Der Kar
• Minimum House (A Student Project) From Black Mountain College
• Studio by Pietro Belluschi
• House by Edward Weston III
• House by Douglas B. Snelling
• Laborers House Development by Horacio Acevedo
• House by A. Quincy Jones
• Case Study House For 1949 by Charles Eames. Each month in 1949, readers witnessed CSH No. 8 (the Eeames House) being built, month-by-month-- very cool indeed.
• The New General Petroleum Building by Wurdeman & Becket
• Murals —Scrolls by Calder, Matisse, Miro and Matta.
• Jewelry by Betty Cooke
• Art
• Music
• Notes In Passing
• Principal Materials Specified — The General Petroleum Building
• New Product Literature And Information
• Full-Page Advertisement for Herman Miller Furniture Company
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

American photographer Julius Shulman's (1910 – 2009) images of Californian architecture have burned themselves into the retina of the 20th century. A book on modern architecture without Shulman is inconceivable. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friend, Richard Neutra, was first brought to light by Shulman's photography.

The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.

Today, a great many of the buildings documented by Shulman have disappeared or been crudely converted, but the thirst for his pioneering images is stronger than ever before. This is a vivid journey across six decades of great architecture and classic photography through the famously incomparable eyes of Julius Shulman.

“Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friends, Richard Neutra and Raphael Soriano, was first brought to light by Shulman's photography. The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.” [Wikipedia]

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 67, number 4, April 1950. Slim quarto. Stapled printed wrappers. 50 pp. Illustrated text and articles. Cover by John Reed. Wrappers lightly worn and soiled. Mailing label to rear panel. A very good or better copy.

9.75 x 12.75 vintage magazine with 50 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1950.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Scripps College Exhibition Of Contemporary Architecture: Twelve pages of work by Richard Neutra, William Cody, Harold B. Zook, J. R. Davidson, Griswold Raetze, Gregory Ain, R. M. Schindler, Carl Louis Maston, A. Quincy Jones, John Lautner, Robert E. Faxon, Leland Evision, Lloyd Ruocco, Charles Eames, Raphael Soriano and Kemper Nomland.
• Case Study House 1950: Raphael Soriano
• Bronze Sculpture: Bernard Rosenthal, photographed by Julius Shulman.
• Storage Units: Charles Eames. Wonderfully designed two-page spread that served as the official introduction of the Herman Miller Eames Storage Unit [ESU] to the world via preproduction models arranged by Ray Eames and photographed by Charles Eames.
• Parkmerced Housing Project in San Francisco.
• Books
• Music
• Notes In Passing
• New Product Literature And Information
• Advertisements for Kurt Versen, Frank Bros., General Lighting
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 69, No. 4, April 1952. Slim folio. 46 pp. Illustrated articles and advertisements.. Cover is a Fountain Detail by Bernard Rosenthal photographed by Julius Shulman. Mailing label to rear panel. Wrappers lightly worn and creased, but a very good or better copy.

9.75 x 12.75 vintage magazine with 46 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1952.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Contents include:

• Building by Richard Neutra For The Northwestern Mutual Fire Insurance Co. Features the Pacific Coast Studio of The American Crayon Company designed by Richard Neutra. In "The Style of American Crayon" Emmy Zweybruck wrote " . . . Preaching what they practice is the last and very logical step towards the complete integration of American Crayon Company's effort as a producer of art materials and their fullest use as a creative and artistic force."
• Houses From Denmark by Arne Jacobsen
• A Modular House by Frederic Barienbrock And Eugene Memmler
• A New Case Study House by Craig Ellwood
• The Ladera Project, by A. Quincy Jones & Frederick Emmons, Developed by Joseph Eichler Homes
• Robinson's Beverly by William Pereira & Charles Luckman, Charles Matcham, Raymond Loewy Corporation Interior Design
• Notes In Passing
• Cinema
• Music
• A full-page, 2-color ad for the Herman Miller Furniture Company
• Currently Available Product Literature And Information
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 70, No. 4, April 1953. Slim quarto. Stapled printed wrappers. 46 pp. Illustrated text and articles. Cover by Follis and Reed. Mailing label to front panel. Wrappers lightly worn and soiled, but a very good copy.

9.75 x 12.75 vintage magazine with 46 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1953.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Vacation House: Frederick Vance Kershner
• New Shop: Skidmore, Owings & Merrill
• Town House: Craig Ellwood
• Small House: Kipp Stewart
• Hiroshima Memorial To The Dead: Isamu Noguchi
• Design Project For Stadiums— North Carolina State College School Of Design
• The Bradbury Building: Esther McCoy
• Small Auditorium: M. L. Tunks
• Children and Art
• New Furniture by Italian Designers from the La Rinsascente Department Store.
• Art
• Music
• Case Study House Merit Specifications
• Currently Available Product Literature And Information
• Notes In Passing
• Ads for Frank Bros., Howard Miller, the Herman Miller Furniture Company, Vista Furniture, Tony Hill Ceramics, etc.
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza started editing a struggling magazine called California Arts and Architecture. The new Editor had big plans for the regional journal. By 1943, Entenza and his Art Director Alvin Lustig had completely overhauled and shortened the name to simply Arts and Architecture. Entenza was in the right place and the right time in order to champion all that was new in the arts, with emphasis on Modern Southern California architecture.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 72, No. 4, April 1955. Slim quarto. Stapled printed wrappers. 38 pp. Illustrated text and articles. Cover by Kaelin. Mailing label to rear panel. Wrappers lightly worn and soiled, but a very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1955.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout by Frederick A. Usher.

Contents include:

• Mies Van Der Rohe
• House: Theodore Luderowski
• “Research Village”—United States Gypsum. The Research Village in Barrington, Illinois was a building project of United States Gypsum, which sponsored six architects and builders to each design and build a single-family residence. Features work by Hugh Stubbins, A. Quincy Jones and Jospeh Eichler, Gilbert Coddington, Francis Lethbridge, Harris Armstron, and O'Neil Ford.
• Income Studio: Burdette Keeland, Jr.
• Small House: Louis Huebner
• Suburban House: Thornton M. Abell
• Bay Area House: Robert Marquis
• Sculpture—Bernard Rosenthal
• Ceramic Design— La Gardo Tackett
• Art
• Music
• Currently Available Product Literature And Information
• Notes In Passing
• Ads for Tony Hill, John Stuart, Van Keppel-Green, Baker Furniture, etc.
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza started editing a struggling magazine called California Arts and Architecture. The new Editor had big plans for the regional journal. By 1943, Entenza and his Art Director Alvin Lustig had completely overhauled and shortened the name to simply Arts and Architecture. Entenza was in the right place and the right time in order to champion all that was new in the arts, with emphasis on Modern Southern California architecture.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

Staff Photographer Julius Shulman's Copy

John Entenza [Editor], Herbert Matter [Cover Designer]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 62, number 12, December 1945. Original edition. Slim folio. Stapled printed wrappers. 56 pp. Illustrated text and articles.  Cover by Herbert Matter (who was employed by the Eames Office in Venice at the time).  Layout and typography by Robin Park. Staff photographer Julius Shulman’s mailing label to front panel with cancelled postage stamp. Wrappers lightly rubbed and worn: a very good copy with an exceptional provenance.

9.75 x 12.75 vintage magazine with 56 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1945. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Contents:

• Articles
• Report On Creative Life In Berlin: Robert Joseph
• Approach To Space: Benjamin Baldwin and Jim Davis
• Exploration Of New Film Techniques: Jay Leyda
• Adventure In Education: Edwin and Molly Morgenroth
• Architecture
• Small Modern Shop By Sumner Spaulding & John Rex
• Case Study Houses Nos. 8 and 9: Charles Eames and Eero Saarinen. Exceptional 9-page illustrated essay outlining the plans of building CSH 8 and 9 with the original the Bridge House configurations. Uncredited graphic design by the Eames Office.
• Special Features
• Who Am I? Preview of the Lilly Saarinen childrens’ book.
• Art
• Books
• Cinema
• Music
• Notes in Passing
• State Association Of California Architects
• Official Building Industry Directory
• and more.

The Eames House, Case Study House #8, was one of 25 homes built as part of The Case Study House Program. The program came into being in the mid-1940s and continued through the early 1960s, largely through the efforts of John Entenza, publisher of Arts and Architecture magazine. The magazine announced that it would be the clients for a series of architect-design homes to be built and furnished using materials and techniques derived from the experiences of the second World War and best suited to express man's life in the modern world. Each home built would be for a real or hypothetical client taking into considerations their particular housing needs.

Charles and Ray proposed that the home they designed would be for a married couple who were basically apartment dwellers working in design and graphic arts, and who wanted a home that would make no demands for itself, but would, instead serve as a background for as Charles would say, "life in work" with nature as a "shock absorber."

The first plan of their home, known as the Bridge House, was designed by Charles Eames and Eero Saarinen in 1945. Because it used off-the-shelf parts ordered from catalogues, and the war had caused a shortage in materials delivery, the steel did not arrive until late 1948. By then, Charles and Ray had "fallen in love with the meadow," in Ray's words, and felt that the site required a different solution.

Charles and Ray then posed themselves a new problem: How to build a house with maximized volume with the same elements and not destroy the meadow. Using the same off-the-shelf parts, but ordering one extra steel beam, Charles and Ray re-configured the House. It is this design which was built and remains today.

Charles and Ray moved into the House on Christmas Eve, 1949, and lived here for the rest of their lives. The interior, its objects and its collections remain very much the way they were in Charles and Ray's lifetimes. The house they created offered them a space where work, play, life, and nature co-existed.

The House has now become something of an iconographic structure visited by people from around the world. The charm and appeal of the House is perhaps best explained in the words of Case Study House founder, John Entenza, who felt that the Eames House "represented an attempt to state an idea rather than a fixed architectural pattern."

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

American photographer Julius Shulman's (1910 – 2009) images of Californian architecture have burned themselves into the retina of the 20th century. A book on modern architecture without Shulman is inconceivable. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friend, Richard Neutra, was first brought to light by Shulman's photography.

The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.

Today, a great many of the buildings documented by Shulman have disappeared or been crudely converted, but the thirst for his pioneering images is stronger than ever before. This is a vivid journey across six decades of great architecture and classic photography through the famously incomparable eyes of Julius Shulman.

“Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friends, Richard Neutra and Raphael Soriano, was first brought to light by Shulman's photography. The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.” [Wikipedia]

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

Herbert Matter (1907-1983) studied with Fernand Leger and Amande Ozenfant at the Academie Moderne in Paris in the late 1920s before returning to Switzerland to design a series of Swiss travel posters which illustrate his signature photomontage technique. When he arrived in the United States in 1936 his first clients were the Museum of Modern Art (MoMA), and the publisher Conde Nast. Other clients included the Guggenheim Museum (1958 - 1968), Knoll Furniture (1946 - 1966), and the New Haven Railroad (1954). During this time Matter became a tenured professor at Yale and helped to shape the university's photography and graphic design program (1952 - 1976). Matter's advanced techniques in graphic design and photography became part of a new visual narrative that began in the 1930s, which have since evolved into familiar design idioms such as overprinting -- where an image extends beyond the frame -- and the bold use of color, size, and placement in typography. Such techniques often characterize both pre-war European Modernism and the post-war expression of that movement in the United States.

"Herbert's background is fascinating and enviable," said Paul Rand. "He was surrounded by good graphics and learned from the best." Therefore, it is no wonder that the famed posters designed for the Swiss Tourist Office soon after his return had the beauty and intensity of Cassandre and the geometric perfection of Corbu, wed to a very distinctive personal vision.

In 1936, Matter was offered roundtrip passage to the United States as payment for his work with a Swiss ballet troupe. He spoke no English, yet traveled across the United States. When the tour was over, he decided to remain in New York. At the urging of a friend who worked at the Museum of Modern Art, Matter went to see Alexey Brodovitch, who had been collecting the Swiss travel posters (two of which were hanging on Brodovitch's studio wall). Matter soon began taking photographs for Harper's Bazaar and Saks Fifth Avenue. Later, he affiliated himself with a photographic studio, "Studio Associates," located near the Conde Nast offices, where he produced covers and inside spreads for Vogue.

During World War II, Matter made striking posters for Container Corporation of America. In 1944, he became the design consultant at Knoll, molding its graphic identity for over 12 years. As Alvin Eisenman, head of the Design Department at Yale and long-time friend, points out: "Herbert had a strong feeling for minute details, and this was exemplified by the distinguished typography he did for the Knoll catalogues."

In 1952, he was asked by Eisenman to join the Yale faculty as professor of photography and graphic design. "He was a marvelous teacher," says Eisenman. "His roster of students included some of the most important names in the field today." At Yale, he tried his hand at architecture, designing studio space in buildings designed by Louis Kahn and Paul Rudolf. "He was good at everything he tried to do," continues Eisenman. In 1954, he was commissioned to create the corporate identity for the New Haven Railroad. The ubiquitous "NH" logo, with its elongated serifs, was one of the most identifiable symbols in America.

Staff photographer Julius Shulman’s Copy

John Entenza [Editor], Herbert Matter [Cover Designer]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, 1946. Volume 63, number 12,  December 1946. Original edition. Slim folio. Stapled printed wrappers. 50 pp. Illustrated text and articles.  Cover by Herbert Matter (who was employed by the Eames Office in Venice at the time).  Layout and typography by Robin Park. Staff photographer Julius Shulman’s typed mailing address to rear panel with cancelled postage stamp. Wrappers lightly rubbed and worn and the center two signatures (8 pages) loose and laid in: a very good copy with an exceptional provenance.

9.75 x 12.75 vintage magazine with 54 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1946. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Contents:

• Architecture
• Project: Arne Kartwold
• Small Budget House: Jimm Barrington
• Coverted Quonset: Worley K. Wong and John Carden Campbell
• House for Children: FRed and Lois Langhorst
• Small Hillside House: Victor A. Cusack
• Case Study House No. 12: Whitney Smith
• Articles
• Brotherhood of Man: A script by Ring Lardner Jr., Maurice Rapf, John Hubley and Phil Eastman. 4-pages with script and 30 still from the the cartoon from United Productions of America, directed by Robert Cannon.  Animated film speaking out for racial tolerance. Using small green demons to caricature racial prejudice, the cartoon argues that the only real difference among the races is skin color and that underneath, all people are the same. Bosley Crowther wrote that the UAW, seeking to widen labor support in the auto industry, sponsored the film “to counteract a critical race-relations problem among the workers in Detroit.”Based on the pamphlet Races of Mankind by Ruth Benedict and Gene Weltfish, Brotherhood of Man premiered at the Museum of Modern Art. Anticommunists attacked the film because of the involvement of known leftists, such as Ring Lardner Jr., one of the “Hollywood Ten,” and Maurice Rapf, a blacklisted screenwriter who helped organize the Screen Writers Guild.
• Special Features
• Art—Notes from San Francisco: Squire Knowles
• L. Moholy-Nagy: single page excerpt from “The New Vision” with five black and white works.
• Modern Handmade Jewelry: MoMA Exhibition with examples by Alexander Calder, Bertoia, Claire Pousettr_Dart, Jacques Lipchitz, etc.
• Books
• Cinema
• Music
• Notes in Passing
• and more.

American photographer Julius Shulman's (1910 – 2009) images of Californian architecture have burned themselves into the retina of the 20th century. A book on modern architecture without Shulman is inconceivable. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friend, Richard Neutra, was first brought to light by Shulman's photography.

The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.

Today, a great many of the buildings documented by Shulman have disappeared or been crudely converted, but the thirst for his pioneering images is stronger than ever before. This is a vivid journey across six decades of great architecture and classic photography through the famously incomparable eyes of Julius Shulman.

“Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friends, Richard Neutra and Raphael Soriano, was first brought to light by Shulman's photography. The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.” [Wikipedia]

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard Neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

Herbert Matter (1907-1983) studied with Fernand Leger and Amande Ozenfant at the Academie Moderne in Paris in the late 1920s before returning to Switzerland to design a series of Swiss travel posters which illustrate his signature photomontage technique. When he arrived in the United States in 1936 his first clients were the Museum of Modern Art (MoMA), and the publisher Conde Nast. Other clients included the Guggenheim Museum (1958 - 1968), Knoll Furniture (1946 - 1966), and the New Haven Railroad (1954). During this time Matter became a tenured professor at Yale and helped to shape the university's photography and graphic design program (1952 - 1976). Matter's advanced techniques in graphic design and photography became part of a new visual narrative that began in the 1930s, which have since evolved into familiar design idioms such as overprinting -- where an image extends beyond the frame -- and the bold use of color, size, and placement in typography. Such techniques often characterize both pre-war European Modernism and the post-war expression of that movement in the United States.

"Herbert's background is fascinating and enviable," said Paul Rand. "He was surrounded by good graphics and learned from the best." Therefore, it is no wonder that the famed posters designed for the Swiss Tourist Office soon after his return had the beauty and intensity of Cassandre and the geometric perfection of Corbu, wed to a very distinctive personal vision.

In 1936, Matter was offered roundtrip passage to the United States as payment for his work with a Swiss ballet troupe. He spoke no English, yet traveled across the United States. When the tour was over, he decided to remain in New York. At the urging of a friend who worked at the Museum of Modern Art, Matter went to see Alexey Brodovitch, who had been collecting the Swiss travel posters (two of which were hanging on Brodovitch's studio wall). Matter soon began taking photographs for Harper's Bazaar and Saks Fifth Avenue. Later, he affiliated himself with a photographic studio, "Studio Associates," located near the Conde Nast offices, where he produced covers and inside spreads for Vogue.

During World War II, Matter made striking posters for Container Corporation of America. In 1944, he became the design consultant at Knoll, molding its graphic identity for over 12 years. As Alvin Eisenman, head of the Design Department at Yale and long-time friend, points out: "Herbert had a strong feeling for minute details, and this was exemplified by the distinguished typography he did for the Knoll catalogues."

In 1952, he was asked by Eisenman to join the Yale faculty as professor of photography and graphic design. "He was a marvelous teacher," says Eisenman. "His roster of students included some of the most important names in the field today." At Yale, he tried his hand at architecture, designing studio space in buildings designed by Louis Kahn and Paul Rudolf. "He was good at everything he tried to do," continues Eisenman. In 1954, he was commissioned to create the corporate identity for the New Haven Railroad. The ubiquitous "NH" logo, with its elongated serifs, was one of the most identifiable symbols in America.

John Entenza [Editor], Charles Kratka [Cover Designer]

John Entenza [Editor]:  ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 65, number 12, December 1948. Slim quarto. Stapled printed wrappers. 58 pp. Illustrated text and articles. Wrappers lightly worn, with rear panel etched with some loss. Cover by Charles Kratka [of the Eames Office]. A nearly very good copy.

9.75 x 12.75 vintage magazine with 58 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1948.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

The contents of this  vintage issue of Arts and Architecture read like a veritable rosetta stone of West Coast Postwar Modernism. Check it out:

• The Perplexed Eye By Jules Langsner
• House by Gregory Ain, Joseph Johnson and Alfred Day
• House By Milton Caughey
• Studio Apartment By Royal Mcclure & Thomas Adkison, Bruce Walker
• Case Study House No. 20 By Richard Neutra
• Bronze Abstraction: Tony Rosenthal
• Chairs: Maurice Martine
• Directory Of Merit Specifications Case Study House No. 20
• Art
• Cinema
• Music
• Notes In Passing
• New Product Literature And Information
• Index Of Advertisers
• and more.

Editorial Associates for Arts and Architecture in 1948 included Charles Eames, Herbert Matter, and Benjamin Baldwin. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 66, No. 12, December 1949. Slim quarto. Stapled printed wrappers. 54 pp. Illustrated text and articles. Classic photomontage cover by John Follis and Pefley.Wrappers lightly worn and soiled. Mailing label to rear panel. A very good copy.

9.75 x 12.75 vintage magazine with 54 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1949.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Pond Farm Workshops: work by Trude Guermoprez, Victor Ries, Gordon Herr, Marguerite Wildenhain, Claire Falkenstein, Frans Wildenhain, Lucien Bloch, And Stephen Dimitroff.
• Case Study House 1950, Raphael Soriano
• Case Study House No. 8, 1949, Charles Eames. 14 pages and 55 photographs and plans. Also includes some images of Case Study Houses No.  9 by Charles Eames and Eero Saarinen.
• Art
• Music
• Notes In Passing
• And more.

The Eames House, Case Study House #8, was one of 25 homes built as part of The Case Study House Program. The program came into being in the mid-1940s and continued through the early 1960s, largely through the efforts of John Entenza, publisher of Arts and Architecture magazine. The magazine announced that it would be the clients for a series of architect-design homes to be built and furnished using materials and techniques derived from the experiences of the second World War and best suited to express man's life in the modern world. Each home built would be for a real or hypothetical client taking into considerations their particular housing needs.

Charles and Ray proposed that the home they designed would be for a married couple who were basically apartment dwellers working in design and graphic arts, and who wanted a home that would make no demands for itself, but would, instead serve as a background for as Charles would say, "life in work" with nature as a "shock absorber."

The first plan of their home, known as the Bridge House, was designed by Charles Eames and Eero Saarinen in 1945. Because it used off-the-shelf parts ordered from catalogues, and the war had caused a shortage in materials delivery, the steel did not arrive until late 1948. By then, Charles and Ray had "fallen in love with the meadow," in Ray's words, and felt that the site required a different solution.

Charles and Ray then posed themselves a new problem: How to build a house with maximized volume with the same elements and not destroy the meadow. Using the same off-the-shelf parts, but ordering one extra steel beam, Charles and Ray re-configured the House. It is this design which was built and remains today.

Charles and Ray moved into the House on Christmas Eve, 1949, and lived here for the rest of their lives. The interior, its objects and its collections remain very much the way they were in Charles and Ray's lifetimes. The house they created offered them a space where work, play, life, and nature co-existed.

The House has now become something of an iconographic structure visited by people from around the world. The charm and appeal of the House is perhaps best explained in the words of Case Study House founder, John Entenza, who felt that the Eames House "represented an attempt to state an idea rather than a fixed architectural pattern."

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 67, No. 12, December 1950. Slim quarto. Stapled printed wrappers. 50 pp. Illustrated text and articles. Cover design by John Follis and Shirley Burden. Wrappers lightly worn and soiled. Mailing label to rear panel.  A very good or better copy.

9.75 x 12.75 vintage magazine with 50 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1950.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• CASE STUDY HOUSE 1950 by Raphael Soriano
• Houses by the Architects Collaborative [Cape Cod]
• Apartment: John Rempel
• A School of Music and Arts by Arthur B. Gallion
• Rico Lebrun
• Currently Available Product Literature And Information
• Notes In Passing
• Books
• Cinema
• Music
• Ads for Ralph Smith, Frank Brothers, and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 68, No. 10, December 1951. Slim quarto. Stapled printed wrappers. 42 pp. Illustrated text and articles. Cover by Johns Follis and Reed. Wrappers lightly worn and soiled, but a very good copy.

9.75 x 12.75 vintage magazine with 42 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1951.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Art Summoned Before The Inquisition: Jules Langsner
• Arnold Schoenberg: Peter Yates
• House: Floyd Mueller
• House: Victor Gruen
• House: Maynard Lyndon
• Merchandising Center: a new Bullocks by Welton Beckett & Associates
• Living Up To Date—Baltimore Museum Of Art: rooms designed by Florence Knoll, Edward Wormley, and Jens Risom, with all displayed pieces listed by designer and manufacturer.
• Furniture & Lamps: Greta Grossman
• Silver, Porcelain, Glass: distributed by Gordon Fraser
• Cinema
• Music
• Art
• Currently Available Product Literature And Information
• Notes In Passing
• Full-Page Ad For Controlight Company, Ficks Reed, Frank Bros., etc.
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 69, No. 12, December 1952. Slim folio. 38 pp. Illustrated articles and advertisements.. Cover by Danziger,Madden, and Shipman; photograph by Todd Walker. Mailing label to rear panel. Wrappers lightly worn and soiled, but a very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1952.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Art And Creative Thinking by John Ferren
• Contemporary Religious Art
• Seating Room Only by Alfred Auerbach
• Exhibition For Children by John Follis And Rex Goode
• Case Study House by Craig Ellwood
• House by  J. R. Davidson
• Two Eichler Homes by A. Quincy Jones And Frederick Emmons and Aschen and Allen
• Three Exhibition Projects by Worley Wong And John Campbell
• House by William Alexander
• Income Units by Dan Dworsky And Jules Salkin
• A full-page, 2-color ad for the Herman Miller Furniture Company
• Notes In Passing
• Music
• Currently Available Product Literature And Information
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 70, No. 12, December 1953. Slim quarto. Stapled printed wrappers. 38 pp. Illustrated text and articles. Cover by Lita Rocha. Mailing label to rear panel. Wrappers lightly curled, worn and soiled, but a very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1953.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• UNESCO Preliminary Project: Marcel Breuer
• Hillside House: William Corlett
• Florida House: J. West
• Rental Units: J. Honnold & John Rex
• Small House: Kipp Stewart
• House: Gene Leedy
• School With A Style: Jules Langsner on The Immaculate Heart Style.
• Design For Christmas—Boston Institute Of Contemporary Art
• Modern Art Exposition In Japan
• Art
• Music
• Currently Available Product Literature And Information
• Notes In Passing
• Ads for Baker Furniture, Century Lighting, Gruen Lighting, Van Keppel-Green, etc.
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza started editing a struggling magazine called California Arts and Architecture. The new Editor had big plans for the regional journal. By 1943, Entenza and his Art Director Alvin Lustig had completely overhauled and shortened the name to simply Arts and Architecture. Entenza was in the right place and the right time in order to champion all that was new in the arts, with emphasis on Modern Southern California architecture.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 71, No. 12, December 1954. Slim folio. Saddle-stitched printed wrappers. 38 pp. Illustrated articles and advertisments. Cover by Jules Engel. Mailing label to rear panel. Wrappers lightly soiled and worn. A very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1954.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Small Country House: Wurster, Bernardi & Emmons
• House: Gregory Ain
• House: Wendell H. Lovett
• UPA. United Productions of America, 4 pages and 23 images.
• The Layman Discusses Modern Art: Jules Langsner
• The Tenth Triennale: Lazette Van Houten
• Pot Creatures: La Gardo Tackett
• The Contemporary Object
• Sales ad for CSH no. 8 [Entenza House] by Charles Eames and Eero Saarinen, priced at $65k
• Music
• Ads for Beatrice Wood, Tony Hill, Van Keppel-Green, etc.
• Notes In Passing
• J. O. B. Opportunity Bulletin
• Currently Available Product Literature And Information
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 72, No. 12, December 1955. Slim folio. Saddle-stitched printed wrappers. 38 pp. Illustrated articles and advertisments. Subscriber mailing label to rear panel. Cover by Lita Rocha. Pencilled marginalia to Dore Ashton’s Art column. Wrappers lightly soiled and worn, but a very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1955.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• House: Harry Seidler
• House: Bolton & Barnstone
• Hilltop House: Pierre Koenig
• Italian Skyscraper: Angelo Mangiarotti & Bruno Morassutti
• The Finnish National Theatre: Kaija & Heikki Siren
• Banners—Immaculate Heart College. From the classroom of Sister Mary Corita.
• The Necessity Of The Artist In A Democratic Society—Walter Gropius
• The King And Quenn: Henry Moore
• New Planting Pots: La Gardo Tackett. Photographed by Bob Lopez!
• Music
• Art
• Notes In Passing
• Education For Design By Michael Farr
• Jan De Swart
• Italian Furniture: Angelo Mangiarotti & Bruno Morassutti
• J. O. B.
• Currently Available Product Literature And Information
• Howard Miller Clocks, Paul McCobb, Steelbilt, Craig Ellwood steel framed house, etc.
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 73, No. 12, December 1956. Slim folio. Saddle-stitched printed wrappers. 38 pp. Illustrated articles and advertisments. Cover by Charles Kratka. Mailing label to rear panel. Louis Sullivan article with color pencil underlining and marginalia. Wrappers lightly soiled and worn, but a very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1956.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout by Frederick A. Usher, Jr., John Follis and Charles Kratka.

• Louis Sullivan: Betty Chamberlain
• Factory Building: A. Quincy Jones & Frederick E. Emmons
• Hillside House: Craig Ellwood
• Habitat For A Satellite Town: Boston Group C.I.A.M.
• Staff House For An Oil Refinery: Harry Seidler
• House: Eugene Weston III
• Vacation House: Kazumi Adachi
• House: Mario Corbett
• Books
• Music
• Art
• Notes In Passing
• J. O. B.
• Currently Available Product Literature And Information
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killingsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 74, No. 11, December 1957. Slim folio. Saddle-stitched printed wrappers. 38 pp. Illustrated articles and advertisments. Wrappers lightly soiled, worn and chipped at spine crown. Cover by Charles Kratka. Mailing label to rear panel. A  very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1957.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout credited to John Follis, Charles Kratka, and Frederick A. Usher, Jr.

• The Evolution Of Values: Jacob Bronowski
• UNESCO Headquarters In Paris
• House: Kazumi Adachi
• Case Study House No. 19: Don Knorr-Elliott Associates
• House In The Southwest: Bolton & Barnstone
• Leisure-Time Structures: Charles Kratka For Douglas Fir Plywood Association
• Suburban House: Donald Blair
• Penthouse: Marquis & Stoller
• House: William Sutherland Beckett
• Split-Plan House: Pierre Koenig
• Art
• Books
• Music
• Notes In Passing
• Currently Available Product Literature And Information
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

Staff Photographer Julius Shulman's Copy

John Entenza [Editor], Herbert Matter [Cover Designer]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 62, number 2, February 1945. Original edition. Slim folio. Stapled printed wrappers. 56 pp. Illustrated text and articles.  Cover by Herbert Matter (who was employed by the Eames Office in Venice at the time).  Layout and typography by Robin Park. Staff photographer Julius Shulman’s mailing address typed on rear panel with cancelled postage stamp. Textblock printed on fragile newsprint. Wrappers spotted, rubbed, worn and starting to split at spine ends: a nearly very good copy with an exceptional provenance.

9.75 x 12.75 vintage magazine with 56 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1945. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Contents:

• Full-page Alvin Lustig ad for H. G. Knoll Associates
• Articles
• Editor’s Statement
• Comments from the Jury
• Biographical Data—First Three Winners
• Architecture
• Winning Design, First Prize: Charles D. Wiley
• Winning Design, First Prize: Lt. (jg) Russell M. Amdal
• Winning Design, First Prize: Eduardo Fernando Cataloano
• Case Study House No. 1: J. R. Davidson
• Special Features
• Winners Second Small House Competition
• Art
• Books
• Cinema
• Music
• Notes in Passing
• State Association Of California Architects
• Official Building Industry Directory
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

American photographer Julius Shulman's (1910 – 2009) images of Californian architecture have burned themselves into the retina of the 20th century. A book on modern architecture without Shulman is inconceivable. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friend, Richard Neutra, was first brought to light by Shulman's photography.

The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.

Today, a great many of the buildings documented by Shulman have disappeared or been crudely converted, but the thirst for his pioneering images is stronger than ever before. This is a vivid journey across six decades of great architecture and classic photography through the famously incomparable eyes of Julius Shulman.

“Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friends, Richard Neutra and Raphael Soriano, was first brought to light by Shulman's photography. The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.” [Wikipedia]

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

Herbert Matter (1907-1983) studied with Fernand Leger and Amande Ozenfant at the Academie Moderne in Paris in the late 1920s before returning to Switzerland to design a series of Swiss travel posters which illustrate his signature photomontage technique. When he arrived in the United States in 1936 his first clients were the Museum of Modern Art (MoMA), and the publisher Conde Nast. Other clients included the Guggenheim Museum (1958 - 1968), Knoll Furniture (1946 - 1966), and the New Haven Railroad (1954). During this time Matter became a tenured professor at Yale and helped to shape the university's photography and graphic design program (1952 - 1976). Matter's advanced techniques in graphic design and photography became part of a new visual narrative that began in the 1930s, which have since evolved into familiar design idioms such as overprinting -- where an image extends beyond the frame -- and the bold use of color, size, and placement in typography. Such techniques often characterize both pre-war European Modernism and the post-war expression of that movement in the United States.

"Herbert's background is fascinating and enviable," said Paul Rand. "He was surrounded by good graphics and learned from the best." Therefore, it is no wonder that the famed posters designed for the Swiss Tourist Office soon after his return had the beauty and intensity of Cassandre and the geometric perfection of Corbu, wed to a very distinctive personal vision.

In 1936, Matter was offered roundtrip passage to the United States as payment for his work with a Swiss ballet troupe. He spoke no English, yet traveled across the United States. When the tour was over, he decided to remain in New York. At the urging of a friend who worked at the Museum of Modern Art, Matter went to see Alexey Brodovitch, who had been collecting the Swiss travel posters (two of which were hanging on Brodovitch's studio wall). Matter soon began taking photographs for Harper's Bazaar and Saks Fifth Avenue. Later, he affiliated himself with a photographic studio, "Studio Associates," located near the Conde Nast offices, where he produced covers and inside spreads for Vogue.

During World War II, Matter made striking posters for Container Corporation of America. In 1944, he became the design consultant at Knoll, molding its graphic identity for over 12 years. As Alvin Eisenman, head of the Design Department at Yale and long-time friend, points out: "Herbert had a strong feeling for minute details, and this was exemplified by the distinguished typography he did for the Knoll catalogues."

In 1952, he was asked by Eisenman to join the Yale faculty as professor of photography and graphic design. "He was a marvelous teacher," says Eisenman. "His roster of students included some of the most important names in the field today." At Yale, he tried his hand at architecture, designing studio space in buildings designed by Louis Kahn and Paul Rudolf. "He was good at everything he tried to do," continues Eisenman. In 1954, he was commissioned to create the corporate identity for the New Haven Railroad. The ubiquitous "NH" logo, with its elongated serifs, was one of the most identifiable symbols in America.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 67, number 2, February 1950. Slim quarto. Stapled printed wrappers. 50 pp. Illustrated text and articles.  Cover by Follis and Reed. Wrappers lightly worn and soiled. A very good copy.

9.75 x 12.75 vintage magazine with 50 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1950.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• A Community Shopping Center by Royal McClure And Thomas Adkinson
• Diagrammatic Analysis Of Site Plan, Case Study House 1950 by Raphael Soriano
• Outdoor Room by Douglas Honnold & John Lautner
• House by John Hans Ostwald
• House by Richard Jay Smith
• House by A. Quincy Jones
• Jewelry by Milton Cavagnaro
• Merit Specified Case Study House 1950
• Cinema
• Music
• Notes In Passing
• New Product Literature And Information
• Index Of Advertisers
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 68, No. 2, February 1951. Slim quarto. Stapled printed wrappers. 60 pp. Illustrated text and articles.  Cover image by June Wayne. Wrappers lightly worn and soiled, with a bit of spine wear. Mailing label to rear panel.  A very good copy.

9.75 x 12.75 vintage magazine with 60 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1951.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• The Comprehensive Designer by R. Buckminster Fuller
• House by Richard Neutra
• House by  Mario Corbett
• House by Schweiker & Elting
• House by Greta Magnusson Grossman
• House by A. Quincy Jones
• House by Eugene Choy
• Contemporary Objects: George Nelson, Charles Eames, Herman Miller, Hawk, and Felmore
• Clay Painting, Polia Pillin
• Competition for Garage Doors
• Currently Available Product Literature And Information
• Notes In Passing
• Cinema
• Music
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, 1952. Volume 69, number 2, February 1952. Slim folio. 36 pp. Illustrated articles and advertisements.. Cover by Evelyn Statsinger. Interior unmarked and clean. Partial mailing label to rear panel. Wrappers worn and soiled, but a nearly very good copy.

9.75 x 12.75 vintage magazine with 36 pages of editorial content and advertisements from leading purveyors of West Coast midcentury modernism, circa 1952.  Staff photography by Julius Shulman.

• apartment house by Carl Louis Maston
• house by Kipp Stewart
• house in New Orleans by Curtis and Davis: Photos by Clarence John Laughlin (!)
• office building by William S. Beckett
• apartments by Chafant Head
• house by Weston and Rudolph
• La Gardo Tackett ceramics by Kemji Fujita, Barbara Lynn, Robert Lynn and Virginia Lee Tackett
• The language is Image by David Smith
• full-page advertisement for the Herman Miller Eames Storage Units (ESU); full-page advertisement for the Herman Miller Eames Storage Unit Desks (ESU); ads for Gruen lighting, Tony Hill ceramics, Van Keppel-Green and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the midcentury modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other ground-breakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 70, No. 2, February 1953. Slim quarto. Stapled printed wrappers. 42 pp. Illustrated text and articles. Cover by June Wayne. Mailing label to front panel. Wrappers lightly worn and soiled, but a very good copy.

9.75 x 12.75 vintage magazine with 42 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1953.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Bernard Rosenthal, Sculptor
• An Experiment In Correlation By Felix Marti Ibañez, Part 2
• Marcel Breuer—A Project And A Reality [UNESCO Headquarters and the Student Art Center at Sarah Lawrence College]
• House In Australia: Harry Seidler
• Prefabricated Vacation House: Campbell & Wong
• Hillside House: Robert B. Marquis
• Case Study House: Craig Ellwood
• Small House: Greta Magnusson Grossman
• Music
• Case Study House Merit Specifications
• Currently Available Product Literature And Information
• Notes In Passing
• Ads for Frank Bros., Douglas Plywood, the Herman Miller Furniture Company, Vista Furniture, etc.
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza started editing a struggling magazine called California Arts and Architecture. The new Editor had big plans for the regional journal. By 1943, Entenza and his Art Director Alvin Lustig had completely overhauled and shortened the name to simply Arts and Architecture. Entenza was in the right place and the right time in order to champion all that was new in the arts, with emphasis on Modern Southern California architecture.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 71, No. 2, February 1954. Slim folio. Saddle-stitched printed wrappers. 38 pp. Illustrated articles and advertisments. Cover by John Follis. Wrappers lightly worn and soiled, but a very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1954.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Office Project: Henri Hill, Architect
• Two Houses: Richard Neutra
• Project: Apartment Towers: Keith R. Kolb
• House: William Alexander, Architect
• House: Craig Ellwood, Designer
• Small House: Harold J. Bissner, Jr., Designer
• Good Design—1954: Installation by Alexander Girard, with work by Borge Mogensen, George Nelson, Arthur Umanoff, Roberto Mango, Sesto Chiarello, Kaj Franck, David Auld, Isamu Noguchi, Norman Cherner, Matthew Cooper, Ruth Adler, Hendrick Van Keppel, Talor Green, Osten Kristiansson, and others.
• Ceramics: Beatrice Wood
• Music
• Art
• Notes In Passing
• J. O. B. Opportunity Bulletin
• Currently Available Product Literature And Information
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor], Brett Weston  [Cover Artist]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 72, number 2, February 1955. A very good vintage magazine with light wear overall: a well-preserved copy. Interior unmarked and clean.  Subscriber mailing label on back panel. Cover photograph by Brett Weston.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1955.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• The Center for Advanced Study in the Behavioral Sciences by Wurster, Bernardi and Emmons, Architects
• Town house by Richard Neutra, Architect
• Unit System for Schools by Victor Gruen, Architect
• Small Factory by George Vernon Russell , Architect
• Shaft -- An Experiment in Structure at the California State Polytechnic College,
• Rico Lebrun by Jules Langsner
• Urban Renewal by Ira J. Bach [First of two parts]
• Furniture -- January 1955 by Lazette Van Houten. George Nelson for Herman Miller, John Keal, Greta Grossman, Joe Amburke, Harvey Probber, Pacific Iron Products, Allan Gould, Edward Frank, Douglas Maier, Milo Baughman, Maurizio Tempestini, George Tanier, Kofod-Larson, Edward Wormley, Jens Risom, Peter Hvidt, Lewis Butler, Darrel Landrum, John Stuart, Thonet, Glenn Of California, Abel Sorenson, T. H. Robsjohn-Gibbings, David Weinstock for Raymor, Van-Keppel Green, Bertha Schaeffer, etc.
• Art
• Music
• Notes in Passing
• J. O. B.
• Currently available products Literature and information

Editorial Associates for Arts and Architecture included Charles Eames and Benjamin Baldwin. Julius Shulman was the staff photographer. The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Eero Saarinen, Sumner Spaulding, Gregory Ain, Ray Eames, Garrett Eckbo, Herbert Matter and others luminaries of the midcentury modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, frederick Emmons, Don Knorr, Edward killinsworth, Jules Brady, Waugh Smith, pierre Koenig, Kemper Nomland, Kemper Nomland Jr., Richard neutra, Ralph Rapson, Raphale Soriano, Whitney Smith, Sumner Sapulding, John Rex, Rodney Walker, William Wilson Wurster, Theordore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other ground-breakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 73, No. 2, February 1956. Slim folio. Saddle-stitched printed wrappers. 38 pp. Illustrated articles and advertisments. Subscriber mailing label to rear panel. Wrappers lightly soiled and worn, but a very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1956.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Contemporary Finnish Architecture
• Case Study House #17: Craig Ellwood
• “Italy Builds:” G. Kidder Smith
• Small Commercial Structure: Kazumi Adachi
• Two Small Houses: James M. Leefe
• Office Building: Anschen & Allen
• Hans Hofmann
• Architecture, Machine And Mobile: Kenneth Martin
• Problems Of The City-Scape: Albert Eide Parr
• Music
• Art
• Notes In Passing
• J. O. B.
• Currently Available Product Literature And Information
• Ads for Tony Hll, Craig Ellwood steel framed house, etc.
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 74, No. 2, February 1957. Slim folio. Saddle-stitched printed wrappers. 38 pp. Illustrated articles and advertisments. Cover by John Follis. Mailing label to rear panel. Wrappers lightly soiled and worn, but a very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1957.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout by Frederick A. Usher, Jr., John Follis and Charles Kratka.

• Two Commercial Buildings: Craig Ellwood
• Hillside House: James Durden
• House In Texas: Neuhaus & Taylor
• Suburban Home: Thornton M. Abell
• Modern Plant: Welton Becket
• Experiental House X-100: A. Quincy Jones & Frederick E. Emmons For Eichler Homes. The legendary X-100 prototype Eichler Home in San Mateo by Frederick Emmons and A. Quincy Jones is profiled on two pages with 8 black and white photos and a floorplan. From the Eichler network:  “… As Joe Eichler was initiating his fledgling real estate development in the Highlands, the X-100 served as his promotional attraction to reel in crowds for his company’s open houses. It was also a vehicle for showcasing new technology (such as steel construction, indoor gardens, and other custom elements) that was unique or unusual to the homebuilding industry.  ...the X-100 opened its doors to a reported 150,000 curious visitors in late 1956, giving Eichler a surge of sales and renewed attention. National magazines, including Sunset, Living for Young Homemakers, and Arts & Architecture, joined in with coverage and pictorials. “
• Structural System: Horacio Acevedo
• House: Kolb Associates
• Builder’s House: Robert Marquis
• The Shape Of Things: J. Bronowski
• Books
• Music
• Art
• Notes In Passing
• J. O. B.
• Currently Available Product Literature And Information
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killingsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 75, No. 2, February 1958. Slim folio. Saddle-stitched printed wrappers. 34 pp. Illustrated articles and advertisments. Wrappers lightly soiled and worn, but a very good copy or better copy.

9.75 x 12.75 vintage magazine with 34 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1958.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Le Corbusier: Fantasy And The International Style: John M. Jacobus, Jr.
• Unesco Headquarters In Paris—Further Details
• A Redevelopment Project: Harry Seidler
• Medical Center: Louis M. Huebner
• Ceramics: Beatrice Wood
• Supermarket: Welton Beckett & Associates
• House In Louisiana: Ricciuti Associates
• Florida House: Rufus Nims & Robert B. Browne
• Case Study House No. 18: Craig Ellwood Associates
• A New Museum for the Munson-Williams-Proctor Institute: Philip Johnson
• A New Showroom For Laverne, Incorporated
• Music
• Art
• Notes In Passing
• Currently Available Product Literature And Information
• Ads for Knoll, John Stuart, Beatrice Wood, Tony Hill, etc.
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 67, number 1, January 1950.  Slim quarto. Stapled printed wrappers. 50 pp. Illustrated text and articles. Cover by Raoul Rodriguez. Wrappers lightly worn and soiled. A very good copy.

9.75 x 12.75 vintage magazine with 46 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1950.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• House by George Nakashima
• Notes On Case Study House 1950 by Raphael Soriano
• Auditorium For The City Of Buenos Aires by Eduardo Catalano
• House by Harry Seidler
• House by Douglas Snelling
• House by R. M. Schindler
• George Nakashima, Woodworker
• Furniture And Lamps by Greta Magnusson Grossman
• Art
• Cinema
• Music
• Notes In Passing
• New Product Literature And Information
• Index Of Advertisers
• Full-Page Advertisement for Van Keppel-Green; Architectural Lighting by Paul Rand, etc.
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 69, No. 1, January 1952. Wrappers worn and soiled. Textblock thumbed. Few dog-eared pages to advertising at rear. A good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1952.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• The Function Of Fortuity by Sam Elton
• The Rise Of The Skyscraper by Carl Condit
• Midcentury Stocktaking by Lawrence Anderson
• House by Worley Wong And John Campbell
• House by Henry Hill
• Honor Awards: American Institute Of Architects, Southern California And Pasadena Chapters. Distinguished Honor Awards: Whitney Smith & A. Quincy Jones, Robert Alexander. Honor Awards: Daniel, Mann & Johnson; William Pereira & Charles Luckman; Victor Gruen;  Whitney Smith & A. Quincy Jones; Henry Eggers; Sumner Spaulding & John Rex; Edla Muir; Richard Neutra; Marsh, Smith & Powell. Special Citation: Robert Alexander.
• Honorable Mention In Architecture, American Institute Of Architects
• Notes In Passing
• Art
• Currently Available Product Literature And Information
• and more.

Editorial Associates for Arts and Architecture included Charles Eames and Benjamin Baldwin. Julius Shulman was the staff photographer. The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Eero Saarinen, Sumner Spaulding, Gregory Ain, Ray Eames, Garrett Eckbo, Herbert Matter and others luminaries of the midcentury modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, frederick Emmons, Don Knorr, Edward killinsworth, Jules Brady, Waugh Smith, pierre Koenig, Kemper Nomland, Kemper Nomland Jr., Richard neutra, Ralph Rapson, Raphale Soriano, Whitney Smith, Sumner Sapulding, John Rex, Rodney Walker, William Wilson Wurster, Theordore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other ground-breakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, 1954. Volume 71, number 1, January 1954. Slim folio. Stapled printed wrappers. 38 pp. Illustrated text and articles. Mailing label to rear panel. Wrappers lightly worn and soiled, but a very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1954.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Shopping Centers Of Tomorrow: Victor Gruen
• House In Holland: A. Fokke Van Duijn
• School: Hugh Stubbins
• House: Leitch And Rudolph
• Small House: Pierre Koenig
• Church: A. Quincy Jones & Frederick Emmons
• Office For A Landscape Architect: Robert J. Clark
• Designer Craftsmen At Work: Brooklyn Museum Exhibition
• Modern Stained Glass by Robert Sowers
• New Outdoor Furniture by Van Keppel-Green
• And Much More.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard Neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 72, No. 1, January 1955. Slim folio. Saddle-stitched printed wrappers. 38 pp. Illustrated articles and advertisments. Cover detail by Harry Bertoia. Subscriber mailing label to rear panel. Wrappers lightly worn and soiled, but a very good or better copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1955.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Contents:

• The Shell as a Space Encloser: Felix Candela, Architect
• House: Kenneth S. Wing, Architect And Edward A. Killingsworth
• Hillside House: Thornton M. Abell, Architect and William E. Stemmel
• House In Mexico: Juan Sordo Madaleno, Architect. Furniture designed by Clara Porset.
• Design Studio: Terry Waters
• Small Apartment: Raymond Kappe, Architect
• House In Australia: Kenneth McDonald, Architect
• Small House In Florida: J. West, Architect
• The Layman Discusses Modern Art [2]: Jules Langsner
• Metal Sculpture: Harry Bertoia. The sculpture in the Manufacturers Trust Company, NYC designed by Skidmore, Owings and Merrill.
• Handthrown Ceramics: Gertrud & Otto Natzler
• Art
• Music
• The Contemporary Object: Van-Keppel Green, Henning Seidelin, etc.
• Notes In Passing
• J. O. B. Opportunity Bulletin
• Currently Available Product Literature And Information
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 73, No.9, January 1956. Slim folio. Saddle-stitched printed wrappers. 40 pp. Illustrated articles and advertisments. Cover by Charles Kratka. Wrappers lightly soiled and worn. Textblock thumbed, but a very good copy.

9.75 x 12.75 vintage magazine with 40 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1956.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• House: A. Quincy Jones & Frederick Emmons
• Two Houses: H. M. E. Stadler, Jr.
• Architectural Office: Killingsworth, Brady And Smith
• Pier Luigi Nervi- Concrete Sections From Two New Stadiums
• Two-Unit Apartments: John Funk
• Country Club Project: Craig Ellwood
• House: Paul Laszlo
• Housing Project: The Homestyle Center. Featuring home designs by Paul Rudolph, Ralph Rapson, Eliot Noyes, Kazumi Adachi, Robert Little Gene Zema, R. Buckminster Fuller, John E. Dinwiddue, Wurster Bernardi & Emmons, Clifford B. Wright, Royal Barry Wills, Alden Dow, Harwell Hamilton Harris, Jones & Emmons, Painter Weeks & McCarty, and The University Of Illinois.
• Music
• Art
• Notes In Passing
• The Psychopathology of Reaction in the Arts: Herbert Read
• J. O. B.
• Currently Available Product Literature And Information
• Ads by Knoll International, etc.
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 74, No.1, January 1957. Slim folio. Saddle-stitched printed wrappers. 38 pp. Illustrated articles and advertisments. Cover by Charles Kratka. Subscriber label to rear panel. Wrappers lightly soiled and worn. A very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1957.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Olympic Arena: Corlett & Spackman, Kitchen & Hunt
• Small Religious Building: Gregory Ain
• Buenos Aires Municipal Theatre: Mario Roberto Alvarez & Macedonio Oscar Ruiz
• Commercial Structure: Harry Seidler
• House: Don Knorr
• Park Development: Greacen & Brogniez
• House: Robert T. Peters
• Architect’s House: Harry T. MacDonald
• Retail Sales Unit: Frederick Liebhardt
• The Language Of The Wall: Brassai
• Contemporary Danish Furniture: Poul Kjaerholm
• Religious Art—Two Synagogues
• Music
• Art
• Notes In Passing
• J. O. B.
• Currently Available Product Literature And Information
• Ads by Herbert Matter for Knoll, etc.
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 75, No. 1, January 1958. Slim folio. Saddle-stitched printed wrappers. 38 pp. Illustrated articles and advertisments. Mailing label to rear panel. Cover design by John Follis. Wrappers lightly soiled and worn. A very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1958.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout credited to John Follis, Charles Kratka, and Frederick A. Usher, Jr.

• The Modern Artist, The Modern Scientist And History: James Fitzsimmons
• Industrial Building: Marcel Breuer & Associates in Torrigton, CT
• Case Study House 20: Buff, Straub & Hensman
• U. S. Architecture In West Berlin—Peter Blake. Exhibition symbol and typography by Robert Brownjohn and Ivan Chermayeff. Six pages and 20 images.
• Office Interiors For The Connecticut General Life Insurance Company: The Knoll Planning Unit
• The Eleventh Triennale: Esther McCoy
• Music
• Art
• Notes In Passing
• Currently Available Product Literature And Information
• Ads for Frederick Lunning, Laverne Originals, Howard Miller, Tony Hill, etc.
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor], Gyorgy Kepes [Cover Designer]

John Entenza [Editor]:  ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 65, number 7, July 1948. Slim folio. Stapled printed wrappers. 62 pp. Illustrated text and articles. Duotone Photogram cover by Gyorgy Kepes. Wrappers lightly worn with a faint vertical crease and minimal etching to front upper edge. A very good copy.

9.75 x 12.75 vintage magazine with 62 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1948.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

The contents of this  vintage issue of Arts and Architecture read like a veritable rosetta stone of West Coast Postwar Modernism. Check it out:

• Form and Motion by Gyorgy Kepes. 2-page article with a full-page photogram illustration.
• Mechanization takes Command, a review by Richard Neutra
• House by  J. R. Davidson
• Case Study House No. 7 by Thornton Abell
• Shop No. 1 By Raphael Soriano snd Serge Chermayeff
• Shop No. 2 By Raphael Soriano
• Sculpture By Ward Bennett
• Furniture: New from Knoll Associates, with work by Abel Sorensen, Eero Saarinen, photographed by Herbert Matter.
• Architect's Notes On Merit Specifications Case Study House No. 7
• Directory Of Merit Specifications Case Study House No. 7
• Art
• Books
• Music
• Notes In Passing
• New Product Literature And Information
• Index Of Advertisers
• and more.

Editorial Associates for Arts and Architecture in 1948 included Charles Eames, Herbert Matter, and Benjamin Baldwin. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

Julius Shulman’s copy

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 66, number 7, July 1949. Slim folio. Stapled printed wrappers. 54 pp. Illustrated text and articles. Cover by Charles Kratka and Jay Connor [of the Eames Office]. Staff photographer Julius Shulman’s mailing label to rear panel with cancelled postage stamp. Wrappers lightly rubbed and worn, and the center four-page signature loose and laid in: a very good copy with an exceptional provenance.

9.75 x 12.75 vintage magazine with 54 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1949.  This copy belonged to Staff photographer and subscriber Julius Shulman with his address label to rear panel. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Contents:

• The Chair by Jack Waldheim
• House by Richard Neutra: The Kaufmanns of Pittsburgh commissioned two of the iconic American residences of the 20th-century, Wright’s Fallingwater in 1936 and then Richard Neutra’s Palm Springs Desert House in 1946. Edgar Jr. joined the Museum of Modern Art in 1946 as director of the Industrial Design Department, a position he held until 1955. While at MoMA, he initiated the Good Design program (1950–1955) and was a strong proponent of uniform industrial design education standards.
• Honor Awards, American Institute Of Architects, Southern California Chapter
• Factory by Parkinson, Powelson, Briney, Bernard & Woodford
• House by Greta Magnusson Grossman
• House by Josef Van Der Kar
• Restaurant by Fred Langhorst
• Factory by Hugh Stubbins, Jr.
• Garden Pottery, California School Of Art: La Gardo Tackett (Instructor) And John Follis, Al Eggleston, Rex Goode, Frank Krueger, Bob Marvin, Jack Morris, Paul Soderburg, Mel Weitstein, John Wells
• Art
• Books
• Cinema
• Music
• Notes In Passing
• Merit Specified Products — 1949 CS Houses
• New Product Literature And Information
• Full-Page photo illustrated Advertisement for Truscon Steel Products quoting Clarles Eames concerning the construction of Case Study Houses 8 and 9.
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

American photographer Julius Shulman's (1910 – 2009) images of Californian architecture have burned themselves into the retina of the 20th century. A book on modern architecture without Shulman is inconceivable. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friend, Richard Neutra, was first brought to light by Shulman's photography.

The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.

Today, a great many of the buildings documented by Shulman have disappeared or been crudely converted, but the thirst for his pioneering images is stronger than ever before. This is a vivid journey across six decades of great architecture and classic photography through the famously incomparable eyes of Julius Shulman.

“Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friends, Richard Neutra and Raphael Soriano, was first brought to light by Shulman's photography. The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.” [Wikipedia]

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 67, number 7, July 1950. Slim quarto. Stapled printed wrappers. 50 pp. Illustrated text and articles. Cover by Rex Goode. Wrappers lightly worn and soiled. Mailing label to rear panel. A very good copy.

9.75 x 12.75 vintage magazine with 50 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1950.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Case Study House No. 9 by Charles Eames and Eero Saarinen: 14 pages on the Entenza House-- the most complete coverage I have seen, including the master bathroom (!);  -- very cool indeed.
• Exhibition House For The Museum Of Modern Art by Gregory Ain
• Currently Available Product Literature And Information
• Origins Of Shape In Contemporary Art by Keith Monroe
• Products Merit Specified For Eames- Saarinen Case Study House
• Case Study House 1950 — Notes On Products
• Full-page ad for the Herman Miller Furniture Company
• Books
• Music
• Notes In Passing
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 68, No. 7, July 1951. Slim quarto. Stapled printed wrappers. 42 pp. Illustrated text and articles. Cover  by  James Reed . Mailing label to rear panel. Wrappers worn and soiled, but a very good copy.

9.75 x 12.75 vintage magazine with 42 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1951.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Richard Neutra, A Review by Jacqueline Tyrwhitt
• Alexander Archipenko
• House by Hugh Stubbins
• The Ladera Project, by A. Quincy Jones & Frederick Emmons, Developed by Joseph Eichler Homes
• Nursery School by Whitney R. Smith & Wayne R. Williams
• Garage Door Competition, Tavart Company
• Sam Of Watts
• Chairs by Clara Porset
• Music
• Currently Available Product Literature And Information
• Notes In Passing
• Full-Page For The Herman Miller Furniture Company
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 70, No. 7, July 1953. Slim quarto. Stapled printed wrappers. 42 pp. Illustrated text and articles. Cover by Raoul Rodriguez. Mailing label to rear panel. Wrappers lightly worn and soiled, but a very good copy.

9.75 x 12.75 vintage magazine with 42 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1953.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Architectural Exhibition 1932 – 1952: work by  Germano Milono, Henry Hill, Gardner A. Dailey, George T. Rockrise, Mario J. Ciampi, Francis Joseph Mccarthy, and Confers & Ostwald.
• House: Victor Gruen
• Ceramic Factory: A. Quincy Jones & Frederick E. Emmons
• Undergraduate Dormitory: Mitchell & Ritchey
• Suburban House: Louis H. Huebner
• Steel Frame House: Kipp Stewart
• Summer House: Frederic S. Coolidge
• Notes on Greene & Greene By Esther McCoy
• House: Wendell H. Lovett
• House: The Architects Collaborative
• Fabrics
• Form in Glass and Plywood: Tapio Wirkkala
• Heating—Case Study House
• Art
• Music
• Case Study House Merit Specifications
• Currently Available Product Literature And Information
• Notes In Passing
• Ads for Frank Bros., Gruen Lighting, Tony Hill, Van Keppel-Green, etc.
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza started editing a struggling magazine called California Arts and Architecture. The new Editor had big plans for the regional journal. By 1943, Entenza and his Art Director Alvin Lustig had completely overhauled and shortened the name to simply Arts and Architecture. Entenza was in the right place and the right time in order to champion all that was new in the arts, with emphasis on Modern Southern California architecture.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 71, No. 7, July 1954. Slim folio. Saddle-stitched printed wrappers. 38 pp. Illustrated articles and advertisments. Cover by Follis & Reed. Wrappers lightly soiled and worn, but a very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1952.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• The Case Study House Program
• House by Vernon G. Leckman
• Small Office Building by William S. Beckett
• House by Lloyd Ruocco
• Architects Office by Thornton M. Abell
• Industrial Building by George V. Russell
• The Strange Universe Of Georges Braque, by Felix Marti Ibanez, M. D.
• Roberto Burle Marx
• Fashion And The Constant Elements Of Form by Edgar Kaufmann, Jr.
• Notes In Passing
• Music
• Currently Available Product Literature And Information
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 73, No. 7, July 1956. Slim folio. Saddle-stitched printed wrappers. 40 pp. Illustrated articles and advertisments. Subscriber mailing label to rear panel. Cover by John Follis. Wrappers lightly soiled, worn and creased, with a well-thumbed textblock so a nearly very good copy.

9.75 x 12.75 vintage magazine with 40 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1956.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout by Frederick A. Usher, Jr. and John Follis.

• Police Facility Building: Welton Becket
• Office Building: Skidmore, Owings & Merrill
• Bazil House: Sergio W. Bernardes
• Hillside House: Robert B. Marquis
• House: James Durden
• House: Burdette Keeland, Jr.
• Experimental House: Eichler Homes By A. Quincy Jones & Frederick E. Emmons. The legendary X-100 prototype Eichler Home in San Mateo by Frederick Emmons and A. Quincy Jones is profiled on two pages with 6 black and white model photos. From the Eichler network:  “… As Joe Eichler was initiating his fledgling real estate development in the Highlands, the X-100 served as his promotional attraction to reel in crowds for his company’s open houses. It was also a vehicle for showcasing new technology (such as steel construction, indoor gardens, and other custom elements) that was unique or unusual to the homebuilding industry.  ...the X-100 opened its doors to a reported 150,000 curious visitors in late 1956, giving Eichler a surge of sales and renewed attention. National magazines, including Sunset, Living for Young Homemakers, and Arts & Architecture, joined in with coverage and pictorials. “
• Desert House: Chris Choate
• Problems Of Art Criticism: Jules Langsner (Conclusion)
• Sculptural Forms In Precast Concrete: Malcolm Leland
• Books
• Music
• Art
• Notes In Passing
• J. O. B.
• Currently Available Product Literature And Information
• Ads for Tony Hill, etc.
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killingsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 74, No. 7, July 1957. Slim folio. Saddle-stitched printed wrappers. 40 pp. Illustrated articles and advertisments. Wrappers lightly soiled and worn. Mailing label to rear panel. A very good or better copy.

9.75 x 12.75 vintage magazine with 40 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1957.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Office Building & Auditorium: Richard J. Neutra & Robert E. Alexander
• Airline Ticket Office: Craig Ellwood
• Space Frames And Structural Physics: Jeffrey Lindsay
• New Orleans House: Lawrence, Saunders & Calongne
• Philippines Chapel: Leandro V. Locsin
• House: Richard Dorman
• House: Lucjan Korngold
• Two Small Houses: William Sutherland Beckett
• Small Office Building: James H. Maul & Burdette M. Pulver, Jr.
• New Furniture: Eero Saarinen
• Pocket Guide To Architectural Criticism: Jules Langsner
• Music
• Art
• Notes In Passing
• Currently Available Product Literature And Information
• Ads for Millard Sheets’ Pomona Tile,
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 75, No. 7, July 1958. Slim folio. Saddle-stitched printed wrappers. 34 pp. Illustrated articles and advertisments. Cover design by John Follis. Wrappers lightly soiled and worn. A very good copy.

9.75 x 12.75 vintage magazine with 34 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1958.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout by John Follis, Charles Kratka, and Frederick A. Usher, Jr.

• Sense And Sensibility In Modern Painting: Jules Langsner
• House: Harry Seidler
• House: Killingsworth, Brady & Smith
• Case Study House 20: Buff, Straub & Hensman
• Small Church In Lichtenstein: Wilhelm Holzbauer
• House: Richard J. Neutra
• Two Commercial Projects: Pierre Koenig
• Two Projects: Campbell & Wong
• Business Office: Paul Laszlo
• Hillside House: James Durden
• Music
• Art
• Notes In Passing
• Currently Available Product Literature And Information
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

Staff Photographer  Julius Shulman's Copy

John Entenza [Editor], Herbert Matter [Cover Designer]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 61, number 6, June 1944. Original edition. Slim folio. Stapled printed wrappers. 38 pp. Illustrated text and articles.  Cover by Herbert Matter (who was employed by the Eames Office in Venice at the time).  Layout and typography by Robin Park. Staff photographer Julius Shulman’s mailing address typed on front panel with cancelled postage stamp. Wrappers lightly rubbed and worn: a very good copy with an exceptional provenance.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1944. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Contents:

• articles
• Frederick Kann
• Nazi Ideology And Modern Music And Art
• This Is Jazz (Part 4 And Summary): Rudi Blesch
• architecture
• Country Office Building: William Wilson Wurster
• Design for Postwar Living Competition Entry: Doris & Dan Saxon Palmer
• Design for Postwar Living Competition Entry:  Lt. Charles D. Wiley
• Design for Postwar Living Competition Entry:  Cecil D. Elliott
• Interiors: J. R. Davidson
• special features
• Art
• Music in the Cinema
• Music
• Notes in Passing
• New Developments
• State Association Of California Architects
• Official Building Industry Directory
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

American photographer Julius Shulman's (1910 – 2009) images of Californian architecture have burned themselves into the retina of the 20th century. A book on modern architecture without Shulman is inconceivable. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friend, Richard Neutra, was first brought to light by Shulman's photography.

The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.

Today, a great many of the buildings documented by Shulman have disappeared or been crudely converted, but the thirst for his pioneering images is stronger than ever before. This is a vivid journey across six decades of great architecture and classic photography through the famously incomparable eyes of Julius Shulman.

“Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friends, Richard Neutra and Raphael Soriano, was first brought to light by Shulman's photography. The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.” [Wikipedia]

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

Herbert Matter (1907-1983) studied with Fernand Leger and Amande Ozenfant at the Academie Moderne in Paris in the late 1920s before returning to Switzerland to design a series of Swiss travel posters which illustrate his signature photomontage technique. When he arrived in the United States in 1936 his first clients were the Museum of Modern Art (MoMA), and the publisher Conde Nast. Other clients included the Guggenheim Museum (1958 - 1968), Knoll Furniture (1946 - 1966), and the New Haven Railroad (1954). During this time Matter became a tenured professor at Yale and helped to shape the university's photography and graphic design program (1952 - 1976). Matter's advanced techniques in graphic design and photography became part of a new visual narrative that began in the 1930s, which have since evolved into familiar design idioms such as overprinting -- where an image extends beyond the frame -- and the bold use of color, size, and placement in typography. Such techniques often characterize both pre-war European Modernism and the post-war expression of that movement in the United States.

"Herbert's background is fascinating and enviable," said Paul Rand. "He was surrounded by good graphics and learned from the best." Therefore, it is no wonder that the famed posters designed for the Swiss Tourist Office soon after his return had the beauty and intensity of Cassandre and the geometric perfection of Corbu, wed to a very distinctive personal vision.

In 1936, Matter was offered roundtrip passage to the United States as payment for his work with a Swiss ballet troupe. He spoke no English, yet traveled across the United States. When the tour was over, he decided to remain in New York. At the urging of a friend who worked at the Museum of Modern Art, Matter went to see Alexey Brodovitch, who had been collecting the Swiss travel posters (two of which were hanging on Brodovitch's studio wall). Matter soon began taking photographs for Harper's Bazaar and Saks Fifth Avenue. Later, he affiliated himself with a photographic studio, "Studio Associates," located near the Conde Nast offices, where he produced covers and inside spreads for Vogue.

During World War II, Matter made striking posters for Container Corporation of America. In 1944, he became the design consultant at Knoll, molding its graphic identity for over 12 years. As Alvin Eisenman, head of the Design Department at Yale and long-time friend, points out: "Herbert had a strong feeling for minute details, and this was exemplified by the distinguished typography he did for the Knoll catalogues."

In 1952, he was asked by Eisenman to join the Yale faculty as professor of photography and graphic design. "He was a marvelous teacher," says Eisenman. "His roster of students included some of the most important names in the field today." At Yale, he tried his hand at architecture, designing studio space in buildings designed by Louis Kahn and Paul Rudolf. "He was good at everything he tried to do," continues Eisenman. In 1954, he was commissioned to create the corporate identity for the New Haven Railroad. The ubiquitous "NH" logo, with its elongated serifs, was one of the most identifiable symbols in America.

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 67, number 6, June 1950. Wrappers worn, rubbed and soiled. Textblock well thumbed with a few dogears and tiny chips and lightly creased straight down the middle. Cover by Eugene Weston III. A good copy.

9.75 x 12.75 vintage magazine with 54 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1950.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Prefabrication by Richard Neutra
• Modern Home Exhibition In Melbourne Australia
• House by Robin Boyd
• Exhibition by Haughton James
• Four Building Projects by Harry Weese
• Multiple Dwelling Project by Bassetti And Morse, Wendell Lovett
• House by Halina Rosenthal
• Office Building by Craig Ellwood
• Jewelry by Robert Howard
• Prefabrication — 1935 – 1950
• Merit Specified — Case Study House 1950
• Books
• Cinema
• Music
• Notes In Passing
• New Product Literature And Information
• Index Of Advertisers
• and more.

Editorial Associates for Arts and Architecture included Charles Eames and Benjamin Baldwin. Julius Shulman was the staff photographer. The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Eero Saarinen, Sumner Spaulding, Gregory Ain, Ray Eames, Garrett Eckbo, Herbert Matter and others luminaries of the midcentury modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward killinsworth, Jules Brady, Waugh Smith, pierre Koenig, Kemper Nomland, Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphale Soriano, Whitney Smith, Sumner Sapulding, John Rex, Rodney Walker, William Wilson Wurster, Theordore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other ground-breakers.

Staff Photographer Julius Shulman's Copy

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 67, number 6, June 1950.  Slim quarto. Stapled printed wrappers. 54 pp. Illustrated text and articles. Cover by Eugene Weston III. Staff photographer Julius Shulman’s mailing label to rear panel with cancelled postage stamp. Wrappers lightly rubbed and worn: a very good copy with an exceptional provenance.

9.75 x 12.75 vintage magazine with 54 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1950.  This copy belonged to Staff photographer and subscriber Julius Shulman with his address label to rear panel. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Contents include:

• Prefabrication by Richard Neutra
• Modern Home Exhibition In Melbourne Australia
• House by Robin Boyd
• Exhibition by Haughton James
• Four Building Projects by Harry Weese
• Multiple Dwelling Project by Bassetti And Morse, Wendell Lovett
• House by Halina Rosenthal
• Office Building by Craig Ellwood
• Jewelry by Robert Howard
• Prefabrication — 1935 – 1950
• Merit Specified — Case Study House 1950
• Books
• Cinema
• Music
• Notes In Passing
• New Product Literature And Information
• Index Of Advertisers
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

American photographer Julius Shulman's (1910 – 2009) images of Californian architecture have burned themselves into the retina of the 20th century. A book on modern architecture without Shulman is inconceivable. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friend, Richard Neutra, was first brought to light by Shulman's photography.

The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.

Today, a great many of the buildings documented by Shulman have disappeared or been crudely converted, but the thirst for his pioneering images is stronger than ever before. This is a vivid journey across six decades of great architecture and classic photography through the famously incomparable eyes of Julius Shulman.

“Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friends, Richard Neutra and Raphael Soriano, was first brought to light by Shulman's photography. The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.” [Wikipedia]

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 68, No. 6, June 1951. Slim quarto. Stapled printed wrappers. 42 pp. Illustrated text and articles. Cover  by Graham . Mailing label to rear panel. Wrappers worn and soiled, but a very good copy.

9.75 x 12.75 vintage magazine with 42 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1951.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Reconstruction In Milan by Bernard Rosenthal
• Restricted Architecture by Richard Neutra
• Speech by Konrad Wachsmann
• Inez Johnston by Jules Langsner
• House by Richard Neutra
• Office Building by Richard Neutra
• House by Greta Magnusson Grossman
• Marino Marini, Sculptor
• Gargoyles, Inez Johnston
• Furniture, Van Keppel Green
• Contemporary Objects: Howard Miller Clocks by George Nelson, Bill Lam Wall Lamp, Contemporary Candelabra, Alvar Aalto Storage Cabinet, Amd Elias Svedberg For Nordiska Kompaniet.
• Art
• Cinema
• Music
• Records
• Notes In Passing
• Currently Available Product Literature And Information
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 70, No. 6, June 1953. Slim folio. Stapled printed wrappers. 52 pp. Illustrated text and articles. Cover by Follis and Reed. Mailing label to rear panel. Wrappers lightly worn and soiled, but a very good copy.

9.75 x 12.75 vintage magazine with 52 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1953.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Walter Gropius, Architect-Teacher, on the Occasion of his 70th Birthday
• Chicago: A Study of Redevelopment in Action: Ira J. Bach
• The New Case Study House: Craig Ellwood. Thirteen-pages with 31 photographs and floorplans
• Art
• Music
• Notes In Passing
• Currently Available Product Literature And Information
• Full-page ads for Herman Miller and Architectural Pottery, Howard Miller Clock Company, Lightolier,
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 71, No. 5, June 1954. Slim folio. Saddle-stitched printed wrappers. 42 pp. Illustrated articles and advertisments. Cover by John Follis. Mailing label to rear panel. Wrappers lightly soiled and worn. A very good copy.

9.75 x 12.75 vintage magazine with 42 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1954.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Monastic Community Church: Marcel Breuer
• Theater Project: Phillip Ransom
• House: Henry Hill
• Museum Of Modern Art, Rio De Janeiro: Affonso Eduardo Reidy
• Small Bank: McFarland, Bonsall & Thomas
• Split-Level House: Donald Olsen
• Design In Scandinavia
• Weaving: Saul Borisov
• Four Artist-Craftsmen At The San Francisco Museum Of Art: Ruth Asawa, Ida Dean, Marguerite Wildenhain, and Merry Renk.
• Five Years Of Good Design: Lazette Van Houten
• Music
• Art
• Ads for Frank Bros., Van Keppel-Green, Vista Furniture, etc.
• Notes In Passing
• J. O. B. Opportunity Bulletin
• Currently Available Product Literature And Information
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 72, No. 6, June 1955. Slim quarto. Stapled printed wrappers. 38 pp. Illustrated text and articles. Cover by John Follis and John Reed. Mailing label to rear panel. Wrappers lightly worn and soiled, but a very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1955.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout by Frederick A. Usher and John Follis.

• Projects From A Master Plan For A Shoreline Development: Antonin Raymond & L. L. Rado
• Case Study House No. 17: Craig Ellwood
• Pinwheel House: Peter Blake
• Steel Frame House: Pierre Koenig
• Animal Hospital: Rochlin & Baran, Saul Bass Project Coordinator
• Apartment Building: Campbell & Wong
• A Modern High School: Mario J. Ciampi
• Clair Falkenstein: Michel Tapie
• The Kite, Student Project, California State Polytechnic College At San Luis Obispo
• Case Study House Merit Specifications
• Art
• Music
• Currently Available Product Literature And Information
• Notes In Passing
• Ads for Tony Hill, John Stuart, Baker Furniture, Howard Miller, Beatrice Wood etc.
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza started editing a struggling magazine called California Arts and Architecture. The new Editor had big plans for the regional journal. By 1943, Entenza and his Art Director Alvin Lustig had completely overhauled and shortened the name to simply Arts and Architecture. Entenza was in the right place and the right time in order to champion all that was new in the arts, with emphasis on Modern Southern California architecture.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 73, No. 6, June 1956. Slim folio. Saddle-stitched printed wrappers. 48 pp. Illustrated articles and advertisments. Subscriber mailing label to rear panel. Cover by Charles Kratka. Wrappers lightly soiled and worn, but a very good copy.

9.75 x 12.75 vintage magazine with 48 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1956.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout by Frederick A. Usher, Jr. and John Follis.

• Sculpture Pavilion: Gerrit Rietveld
• Mount Sinai Hospital—Los Angeles: Welton Becket
• House: Douglas Honnold & John Rex
• House: Carl Maston
• A Vineyard Pavilion: Campbell & Wong
• House In Cuernavaca: Arnold W. Tucker & Colin Faber
• A Garden Studio: Gene Smith
• Small House: Kazumi Adachi
• Problems Of Art Criticism: Jules Langsner
• Living Arts From Kenmochi Design Associates, Japan
• The Key To Slum Prevention: Ira J. Bach
• Books
• Music
• Art
• Notes In Passing
• J. O. B.
• Currently Available Product Literature And Information
• Ads for Paul McCobb for Directional, etc.
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killingsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 74, No. 6, June 1957. Slim folio. Saddle-stitched printed wrappers. 38 pp. Illustrated articles and advertisments. Mailing label to rear panel. Cover design by John Follis. Wrappers lightly soiled and worn. A very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1957.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout by John Follis, Charles Kratka, and Frederick A. Usher, Jr.

• Office Building: Victor Gruen & Associates
• House In Florida: Paul Rudolph
• Hill House: J. R. Davidson
• Small Sales Office: Killingsworth, Brady & Smith
• Hillside House: Greta Grossman
• House: Marvin M. Beck
• House: Thornton M. Abell
• Weekend House: Paul Thiry
• Play Sculpture: Josef Seebacher-Konzut
• Rico Lebrun—Interim Report by Jules Langsner
• Books
• Music
• Art
• Notes In Passing
• Currently Available Product Literature And Information
• Full-page color ad for Knoll textiles, Pomona Tile, Tony Hill, Beatrice Wood, etc.
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 75, No. 6, June 1958. Slim folio. Saddle-stitched printed wrappers. 38 pp. Illustrated articles and advertisments. Cover design by Coe, Wrappers lightly soiled and worn, chipped spine heel. A very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1958.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout by John Follis, Charles Kratka, and Frederick A. Usher, Jr.

Contents:

• The Designer and the Transmission Of Values: Leo Lionni
• The Machine and Architecture: Craig Ellwood
• Plastic Building Panels: Jan De Swart
• Case Study House 18: Craig Ellwood. 10 pages with 33 images.
• The Climate For Design In Japan: La Gardo Tackett
• New Fabrics from Knoll Textiles
• Music
• Art
• Notes In Passing
• Currently Available Product Literature And Information
• Ads for Anton Maix Fabrics, Herman Miller Furniture Company, Howard Miller, Knoll, Van Keppel-Green, etc.
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

David Travers [Editor]

David Travers [Editor]: ARTS AND ARCHITECTURE. Los Angeles: Arts and Architecture, Volume 84, number 6, June 1967. Slim quarto. Stapled printed wrappers. 34 pp. Illustrated articles and period advertisements. Mailing label to rear panel. Cover photo by Kenneth Snelson. Wrappers lightly edgeworn. Interior unmarked, clean and well-preserved, but a very good copy.

9.75 x 12.75 vintage magazine with 34 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1967.  In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout credited to John Follis and John Gilchrest.

• Article
• Education for Urban Living by Fran P. Hosken
• Architecture
• Two Churches by Franz Fueg, Architect
• Theater by Michael Scott & Partners, Architects
• House by Meiji Watanabe, Architect
• Planning
• Gropiusstadt by The Architects Collaborative
• Design
• Lamps by Angelo Mangiarotti
• Arts includes American Art of the Sixties (includes work by Ernest trova, Stephen Atonakos, David Smith, Robert A. Howard, Kenneth Snelson, Sol LeWitt, Norman Zammitt, David Von Schlegell, Tony Smith, Robert Morris, Claes Oldenburg, Larry Bell, Robert Grosvenor, Forrest Myers, and Arlo Acton) and essays by Dore Ashton and Peter Yates
• Features includes Editorial, Books, and Subterranean Village by Myron Goldfinger, Architect

The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

Staff Photographer Julius Shulman’s Copy

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 66, number 3, March 1949. Slim folio. Stapled printed wrappers. 62 pp. Illustrated text and articles. Cover by Charles Kratka [of the Eames Office]. Staff photographer Julius Shulman’s mailing label to rear panel with a partial postage stamp. Wrappers lightly rubbed and worn, and the center four-page signature loose and laid in: a very good copy with an exceptional provenance.

9.75 x 12.75 vintage magazine with 62 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1949.  This copy belonged to Staff photographer and subscriber Julius Shulman with his address label to rear panel. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Contents:

• House by Oscar Niemeyer, Roberto Burle-Marx, Landscape Design
• Case Study House For 1949 By Charles Eames. Each month in 1949, readers witnessed CSH No. 8 (the Eames House) being built, month-by-month-- very cool indeed.
• House By Gianni Patrini
• Case Study House No. 3 By Wurster, Bernardi & Emmons
• Mutual Housing's Pilot Houses By Whitney R. Smith & A. Quincy Jones, Edgardo Contini
• Art
• Cinema
• Music
• Notes In Passing
• Merit Specifications: Case Study House No. 3
• New Product Literature And Information
• Index Of Advertisers
• Full-Page Advertisement for Herman Miller Furniture Company
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

American photographer Julius Shulman's (1910 – 2009) images of Californian architecture have burned themselves into the retina of the 20th century. A book on modern architecture without Shulman is inconceivable. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friend, Richard Neutra, was first brought to light by Shulman's photography.

The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.

Today, a great many of the buildings documented by Shulman have disappeared or been crudely converted, but the thirst for his pioneering images is stronger than ever before. This is a vivid journey across six decades of great architecture and classic photography through the famously incomparable eyes of Julius Shulman.

“Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friends, Richard Neutra and Raphael Soriano, was first brought to light by Shulman's photography. The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.” [Wikipedia]

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 67, number 3, March 1950. Slim quarto. Stapled printed wrappers. 50 pp. Illustrated text and articles. Cover by Goode and Weston. Wrappers lightly worn and soiled. Mailing label to rear panel. A very good copy.

9.75 x 12.75 vintage magazine with 50 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1950.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Exhibition of Home Furnishings for the Museum of Modern Art and the Merchandise Mart designed by Ray and Charles Eames; 1950 Good Design Exhibition: Finn Juhl, Alvin Lustig, Paul McCobb, Edward Wormley, Edith Heath, Gio Ponti, etc.
• Visual Form-- Structural Form by Gyorgy Kepes
• Creative Pursuit — June Wayne by Jules Laugsner
• House by Lawrence Evanoff
• House by Sumner Spaulding and John Rex
• Commercial Building by Richard Neutra
• Constructions by Richard Koppe
• Merit Specified Case Study House 1950
• Art
• Books
• Cinema
• Music
• Notes In Passing
• New Product Literature And Information
• Index Of Advertisers
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 71, No. 3, March 1954. Slim folio. Saddle-stitched printed wrappers. 42 pp. Illustrated articles and advertisments. Subscriber mailing label to rear panel. Rear panel neatly detached and present. Lightly soiled wrappers and dogears to lower corner of textblock. A good copy.

9.75 x 12.75 vintage magazine with 42 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1954.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• The Sao Paulo Biennial Exhibition: Walter Gropius, Jose Luis Sert, Le Corbusier, Craig Ellwood, Jorge Machado Moreira, Arne Jacobsen, Zvonomir Pozgay, Donald Barthelme, Paul Rudolph, Roberto Burle Marx, etc.
• Boston Center: Pietro Belluschi, Walter Bognar, Carl Koch & Associates, Hugh Stubbins, and The Architects Collaborative.
• Research Village: The Research Village in Barrington, Illinois was a building project of United States Gypsum, which sponsored six architects and builders to each design and build a single-family residence. Features work by Hugh Stubbins, A. Quincy Jones and Jospeh Eichler, Gilbert Coddington, Francis Lethbridge, Harris Armstron, and O'Neil Ford.
• Restaurant: Daniel L. Dworsky, Architect
• Prefabricated Fireplaces: Wendell Lovett, Kipp Stewart, Geroge Kosmak, Carl Koch.
• Experimental Fabric Designs: Emmy Zweybruck and the The American Crayon Company.
• The American Furniture Market: Lazette Van Houten: George Nelson, Paul Mccobb, Milo Baughman, Allan Gould, Sanford Wallack, Greta Grossman, Kurt Nordstrom, Roberto Mango, etc.
• Music
• Art
• Notes In Passing
• J. O. B. Opportunity Bulletin
• Currently Available Product Literature And Information
• And more.

Editorial Associates for Arts and Architecture included Charles Eames and Benjamin Baldwin. Julius Shulman was the staff photographer. The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Eero Saarinen, Sumner Spaulding, Gregory Ain, Ray Eames, Garrett Eckbo, Herbert Matter and others luminaries of the midcentury modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, frederick Emmons, Don Knorr, Edward killinsworth, Jules Brady, Waugh Smith, pierre Koenig, Kemper Nomland, Kemper Nomland Jr., Richard neutra, Ralph Rapson, Raphale Soriano, Whitney Smith, Sumner Sapulding, John Rex, Rodney Walker, William Wilson Wurster, Theordore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other ground-breakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 72, No. 3, March 1955. Slim folio. Saddle-stitched printed wrappers. 42 pp. Illustrated articles and advertisments. Cover by John Follis. Subscriber mailing label to rear panel. Wrappers lightly worn and soiled, but a very good or better copy.

9.75 x 12.75 vintage magazine with 42 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1955.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Mosaic Details from a Juan O' Gorman House
• Houses, Interiors, Projects: Harry Seidler, Architect
• The New Case Study House: Craig Ellwood
• Three Japanese Houses: Kenji Hirose, Architect
• Mexico City Central Airport: August H. Alvarez, Architect, Enrique Carral & Manuel Martinez Paez, Collaborating Architects
• Display Gallery, A Student Project At The California State Polytechnic Institute
• Small House: Bolton & Barnstone
• The Family Of Man, An Exhibition At The Museum Of Modern Art
• Urban Renewal: Ira J. Bach [Second Part]
• Art
• Music
• Notes In Passing
• J. O. B. Opportunity Bulletin
• Currently Available Product Literature And Information
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 73, No. 3, March 1956. Slim folio. Saddle-stitched printed wrappers. 50 pp. Illustrated articles and advertisments. Subscriber mailing label to rear panel. Cover by John Follis. Wrappers lightly soiled and worn, but a very good copy.

9.75 x 12.75 vintage magazine with 50 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1956.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout by Frederick A. Usher, Jr. and John Follis.

• Case Study House #17: Craig Ellwood. 14 pages and 48 images and plans.
• Furniture—A Report On The Midwest Furniture Markets: Lazette Van Houten. Harvey Probber, Richard Schultz Finn Juhl, Allan Gould, Milo Baughman, Stewart MacDougall, Florence Knoll, John Keal, Paul McCobb, Jens Risom, etc.
• Merit Specifications For Case Study House #17
• Books
• Music
• Art
• Notes In Passing
• J. O. B.
• Currently Available Product Literature And Information
• Ads for Frank Bros., Van Keppel-Green, etc.
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 74, No. 2, March 1957. Slim folio. Saddle-stitched printed wrappers. 38 pp. Illustrated articles and advertisments. Cover by Charles Kratka. Mailing label to rear panel. Wrappers lightly soiled and worn, but a very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1957.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout by Frederick A. Usher, Jr., John Follis and Charles Kratka.

• Means And Meanings: Adja Yunkers: Kenneth B. Sawyer
• Some Philosophical Questions About Design: Mortimer J. Adler
• Office Building & Professional Building: Don Knorr
• Three Projects: Robert Rogaff & Fereydoon Ghaffari
• House: Greta Grosmann
• Low-Cost Production House: Pierre Koenig
• House: H. M. E. Stadler, Jr.
• Modern Office: Welton Becket
• Furniture: work by Henry P. Glass, Charles Eames, Verner Panton, Johannes Andersen, Jay Heumann, John Keal, Kipp Stewart, Martin Borenstein, Edward Wormley, Allan Gould, Osvaldo Borsini, etc.
• Books
• Music
• Art
• Notes In Passing
• J. O. B.
• Currently Available Product Literature And Information
• Ads for Knoll Associates,
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killingsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 75, No. 3, March 1958. Slim folio. Saddle-stitched printed wrappers. 34 pp. Illustrated articles and advertisments. Wrappers lightly soiled and worn. Cover photograph by Emiel Becsky. A very good or better copy.

9.75 x 12.75 vintage magazine with 34 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1958.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Design—The Shaping Of Values: John A. Kouwenhaven
• New Television And Radio Station: Yamasaki, Leinweber & Associates
• House In The Southwest: Richard Neutra
• Speculative House: Richard Dorman & Associates
• Small Office Building: Killingsworth, Brady & Smith
• Small House: Carleton M. Winslow, Architect & Warren E. Waltz, Project Director
• A Yachting Facility: Theodore T. Boutmy
• Case Study House No. 18: Craig Ellwood Associates
• Contemporary Wall Treatments: Constantino Nivola, Hugh Wiley, Roy Gussow, Peter Ostuni, Wolfgang Behl, Robert Cronbach, and Frans Woldenhain.
• Furniture: Eero Saarinen, George Nelson, George Kasparian, Erik Herlow, Poul Kjaerholm, Paul McCobb, Jens Risom, Van Keppel-Green, Edward Wormley, N. M. Koefed, etc.
• Music
• Books
• Art
• Notes In Passing
• Currently Available Product Literature And Information
• Ads for Knoll, Beatrice Wood, etc.
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

Staff Photographer Julius Shulman's Copy

John Entenza [Editor], Herbert Matter [Cover Designer]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 61, number 5, May 1944. Original edition. Slim folio. Stapled printed wrappers. 48 pp. Illustrated text and articles.  Cover by Herbert Matter (who was employed by the Eames Office in Venice at the time).  Layout and typography by Robin Park. Staff photographer Julius Shulman’s mailing address typed on front panel with cancelled postage stamp. Wrappers lightly rubbed and worn: a very good copy with an exceptional provenance.

9.75 x 12.75 vintage magazine with 48 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1944. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Contents:

• Articles
• Herbert Matter: 4 page profile heavily illustrated in black and white.
• Notes on the New Interiors: Jan Reiner
• An Abstraction is a Reality: Grace Clements
• In Defense of the Films: Robert Joseph
• This Is Jazz (Part 3): Rudi Blesch
• Architecture
• Design for Postwar Living Competition Entry: George Danforth
• Design for Postwar Living Competition Entry:  Lawrence J. Israel
• Apartment: Alyne Whalen
• Los Angeles Center of Contemporary Art: Richard J. Neutra
• Maynard Lyndon House: Richard J. Neutra
• Special Features
• Construction Platform
• Art
• Cinema
• Music
• Notes in Passing
• New Developments
• State Association Of California Architects
• Official Building Industry Directory
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

American photographer Julius Shulman's (1910 – 2009) images of Californian architecture have burned themselves into the retina of the 20th century. A book on modern architecture without Shulman is inconceivable. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friend, Richard Neutra, was first brought to light by Shulman's photography.

The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.

Today, a great many of the buildings documented by Shulman have disappeared or been crudely converted, but the thirst for his pioneering images is stronger than ever before. This is a vivid journey across six decades of great architecture and classic photography through the famously incomparable eyes of Julius Shulman.

“Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friends, Richard Neutra and Raphael Soriano, was first brought to light by Shulman's photography. The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.” [Wikipedia]

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

Herbert Matter (1907-1983) studied with Fernand Leger and Amande Ozenfant at the Academie Moderne in Paris in the late 1920s before returning to Switzerland to design a series of Swiss travel posters which illustrate his signature photomontage technique. When he arrived in the United States in 1936 his first clients were the Museum of Modern Art (MoMA), and the publisher Conde Nast. Other clients included the Guggenheim Museum (1958 - 1968), Knoll Furniture (1946 - 1966), and the New Haven Railroad (1954). During this time Matter became a tenured professor at Yale and helped to shape the university's photography and graphic design program (1952 - 1976). Matter's advanced techniques in graphic design and photography became part of a new visual narrative that began in the 1930s, which have since evolved into familiar design idioms such as overprinting -- where an image extends beyond the frame -- and the bold use of color, size, and placement in typography. Such techniques often characterize both pre-war European Modernism and the post-war expression of that movement in the United States.

"Herbert's background is fascinating and enviable," said Paul Rand. "He was surrounded by good graphics and learned from the best." Therefore, it is no wonder that the famed posters designed for the Swiss Tourist Office soon after his return had the beauty and intensity of Cassandre and the geometric perfection of Corbu, wed to a very distinctive personal vision.

In 1936, Matter was offered roundtrip passage to the United States as payment for his work with a Swiss ballet troupe. He spoke no English, yet traveled across the United States. When the tour was over, he decided to remain in New York. At the urging of a friend who worked at the Museum of Modern Art, Matter went to see Alexey Brodovitch, who had been collecting the Swiss travel posters (two of which were hanging on Brodovitch's studio wall). Matter soon began taking photographs for Harper's Bazaar and Saks Fifth Avenue. Later, he affiliated himself with a photographic studio, "Studio Associates," located near the Conde Nast offices, where he produced covers and inside spreads for Vogue.

During World War II, Matter made striking posters for Container Corporation of America. In 1944, he became the design consultant at Knoll, molding its graphic identity for over 12 years. As Alvin Eisenman, head of the Design Department at Yale and long-time friend, points out: "Herbert had a strong feeling for minute details, and this was exemplified by the distinguished typography he did for the Knoll catalogues."

In 1952, he was asked by Eisenman to join the Yale faculty as professor of photography and graphic design. "He was a marvelous teacher," says Eisenman. "His roster of students included some of the most important names in the field today." At Yale, he tried his hand at architecture, designing studio space in buildings designed by Louis Kahn and Paul Rudolf. "He was good at everything he tried to do," continues Eisenman. In 1954, he was commissioned to create the corporate identity for the New Haven Railroad. The ubiquitous "NH" logo, with its elongated serifs, was one of the most identifiable symbols in America.

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 64, number 5, May 1947. A very good or better original magazine with uniform, light wear overall. Interior unmarked and clean. Cancelled stamp and subscriber mailing label on back panel. Cover by Harry Bertoia (who was employed by the Eames Office in Venice at the time).

9.75 x 12.75 vintage magazine with 46 pages of editiorial content and advertisments from leading purveyors of West Coast midcentury modernism, circa 1947. Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here -- every residential interior is decked out in full midcentury glory.

• New Theatre Forms for Art and Education: Arch Lauterer
• Project for a Small Office Building by Gregory Ain, AIA
• Small House by Wayne Pippin -- Henry Lagorio, Designers
• Case Study House 21 by Richard Neutra
• Residence for Dr. Philip Neff by Sumner Spaulding -- John Rex, Architects
• House for a Hillside by Fred Langhorst, AIA
• Perle Fine: Benjamin Baldwin
• Henry Moore: Bernard Rosenthal
• Gyorgy Kepes on planning man's physical environment
• Art
• Books
• Cinema
• Music
• Prooducts and practices
• Notes in Passing

Editorial Associates for Arts and Architecture included Charles Eames and Benjamin Baldwin. Julius Shulman was the staff photographer. The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Eero Saarinen, Sumner Spaulding, Gregory Ain, Ray Eames, Garrett Eckbo, Herbert Matter and others luminaries of the midcentury modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, frederick Emmons, Don Knorr, Edward killinsworth, Jules Brady, Waugh Smith, pierre Koenig, Kemper Nomland, Kemper Nomland Jr., Richard neutra, Ralph Rapson, Raphale Soriano, Whitney Smith, Sumner Sapulding, John Rex, Rodney Walker, William Wilson Wurster, Theordore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other ground-breakers.

Italian artist and furniture designer, Harry Bertoia (1916-1978) was thirty-seven years old when he designed the patented Diamond chair for Knoll in 1952. An unusually beautiful piece of furniture, it was strong yet delicate in appearance, and an immediate commercial success in spite of being made almost entirely by hand. With the Diamond chair, Bertoia created an icon of modern design and introduced a new material, industrial wire mesh to the world of furniture design.Bertoia's career began in the 1930.s as a student at the Cranbrook Academy of Art where he re-established the metal-working studio and, as head of that department, taught from 1939 until 1943 when it was closed due to wartime restrictions on materials. During the war, Bertoia moved to Venice, California, and worked with Charles and Ray Eames at the Evans Products Company, developing new techniques for molding plywood.

1946 was a pivotal year for Bertoia. He became an American citizen, moved to Bally, Pennsylvania, near the Knoll factory and established his own design and sculpting studio where he produced numerous successful designs for Knoll. As a sculptor, Bertoia created abstract freestanding metal works, some of which resonated with sound when touched or had moving elements that chimed in the wind.

As a furniture designer, Bertoia is best known for the Diamond chair and the Bird chair, a high-backed model developed from the Diamond chair that looks like a bird with spread wings. Its organic, human-friendly form helped to create a new look for modernism. Bertoia received awards from the American Institute of Architects in 1973 and the American Academy of Letters in 1975. All of his work bears the hallmarks of a highly skilled and imaginative sculptor, as well as an inventive designer, deeply engaged with the relationship between form and space.

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, 1952. Volume 66, number 5, May 1949. Wrappers lightly worn and soiled. Textblock lightly thumbed. Interior unmarked and very clean. Cover by Eames Office employee and Graphic Design whiz Charles Kratka. A very good or better copy.

9.75 x 12.75 vintage magazine with 62 pages of editorial content and advertisements from leading purveyors of West Coast modernism, circa 1949. Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

The contents of this vintage issue of Arts and Architecture read like a veritable rosetta stone of West Coast Postwar Modernism.

• CASE STUDY HOUSE No. 8 Designed by Charles Eames
• The Modern Institute of Art by Kenneth Ross
• From Mountainheads to Mole Hills-A Review by Victor Gruen, Architect
• Study for Spokane, Washington, by the University of Idaho Royal McClure, Acting Professor
• House in a Museum Garden by Marcel Breuer, Architect
• House by Mario Corbett, Architect; Albert Lanier, Collaborator
• The AIA honor Award house by Fred Langhorst, Architect
• The Prudential building by Wurdeman and Becket, Architects
• Murals for a Chicago restaurant by Richard Koppe
• full-page advertisement for Herman Miller; and more.

Editorial Associates for Arts and Architecture included Charles Eames and Benjamin Baldwin. Julius Shulman was the staff photographer. The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Eero Saarinen, Sumner Spaulding, Gregory Ain, Ray Eames, Garrett Eckbo, Herbert Matter and others luminaries of the midcentury modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward killinsworth, Jules Brady, Waugh Smith, pierre Koenig, Kemper Nomland, Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphale Soriano, Whitney Smith, Sumner Sapulding, John Rex, Rodney Walker, William Wilson Wurster, Theordore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other ground-breakers.

Staff Photographer Julius Shulman's copy

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 66, number 5, May 1949. Slim folio. Stapled printed wrappers. 62 pp. Illustrated text and articles. Cover by Eames Office employee and Graphic Design whiz Charles Kratka. Staff photographer Julius Shulman’s mailing label to rear panel with cancelled postage stamp. Wrappers lightly rubbed and worn and nearly separating, with the negative spacing of the masthead inked in (see scan): a very good copy with an exceptional provenance.

9.75 x 12.75 vintage magazine with 62 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1949.  This copy belonged to Staff photographer and subscriber Julius Shulman with his address label to rear panel. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Contents:

• CASE STUDY HOUSE No. 8 Designed by Charles Eames
• The Modern Institute of Art by Kenneth Ross
• From Mountainheads to Mole Hills-A Review by Victor Gruen, Architect
• Study for Spokane, Washington, by the University of Idaho Royal McClure, Acting Professor
• House in a Museum Garden by Marcel Breuer, Architect. In 1948, the Museum of Modern Art initiated a series of model post-war houses by well-known architects exhibited in the museum's garden. Marcel Breuer's house was the inaugural design and was open to the public between April 14 and October 30, 1949. The rectangular volume of the house was clad in vertical cypress boards and topped by a butterfly roof. The children's and guest bedroom, along with a playroom and attached play yard, were located at one end of the house. The living-dining room and garage could be found at the other end. The master bedroom was located above the garage in the space created by the upward incline of the butterfly roof and was accessible by interior and exterior staircases. Outdoor spaces like the patio and play yard were defined by low, stone walls. Breuer furnished the interior with modern furniture, including numerous pieces of his own design. The interior color scheme was based on the colors and textures of natural stone and wood with blue accent walls. Large crowds visited the house and expressed enthusiasm for the house and its contents, though some critics disliked the separation of children's and parents' spaces. John D. Rockefeller, Jr. purchased the house after the exhibition and moved it to the family estate in Pocantico Hills. Breuer built numerous other versions of the house for clients inspired by their visit to the museum garden. [The Marcel Breuer Archives, Syracuse University]
• House by Mario Corbett, Architect; Albert Lanier, Collaborator
• The AIA honor Award house by Fred Langhorst, Architect
• The Prudential building by Wurdeman and Becket, Architects
• Murals for a Chicago restaurant by Richard Koppe. Educator, painter, and sculptor Richard Koppe [United States, 1916-1973] moved to Chicago in 1937, and studied at the New Bauhaus and the School of Design. He became an instructor at the Institute, which merged with the Illinois Institute of Technology in 1946 and remained an Associate Professor and headed the Department of Visual Design until 1963. He then became a professor of Art at the University of Illinois in 1963. Architect Robert E. Lederer transformed the basement of Chicago’s Sherman House hotel into The Well of the Sea restaurant in 1948. Richard Koppe, an instructor at the Insitute of Design was assigned by Lederer to design the murals and mobiles for the restaurant. Koppe used fluorescent paint for the five murals that were then illuminated with invisible black lights for a “dramatic and mysterious effectacross the dim recesses of the interior.” Koppe also designed organic aquatic forms cut out of the walls and backlit with colored lights.Koppe aquatic abstractions were wildly popular in the 1950s: Shenango China released a full product line based on Koppe’s Dinnerware in 1953, and the popular Libbey Glass Mediterranean pattern was also attributed to Koppe.
• full-page advertisement  for Herman Miller; and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

American photographer Julius Shulman's (1910 – 2009) images of Californian architecture have burned themselves into the retina of the 20th century. A book on modern architecture without Shulman is inconceivable. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friend, Richard Neutra, was first brought to light by Shulman's photography.

The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.

Today, a great many of the buildings documented by Shulman have disappeared or been crudely converted, but the thirst for his pioneering images is stronger than ever before. This is a vivid journey across six decades of great architecture and classic photography through the famously incomparable eyes of Julius Shulman.

“Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friends, Richard Neutra and Raphael Soriano, was first brought to light by Shulman's photography. The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.” [Wikipedia]

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 67, number 5, May 1950. Slim quarto. Stapled printed wrappers. 50 pp. Illustrated text and articles. Cover by John Follis. Wrappers worn and soiled. Textblock well thumbed. Mailing label and postage due notice to rear panel. A nearly very good copy.

9.75 x 12.75 vintage magazine with 50 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1950.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Variation Number Seven: Full Moon, Richard Lippold
• Project For A House by Alvin Lustig
• Proposed House In Australia by Harry Seidler
• Small House by H. Douglas byles And Eugene Weston III
• A Portfolio of Contemporary Furniture: Ray Komai, Franco Albini, Paul McCobb, Edward Wormley, Eva Ziesel, Harvey Probber, George Nelson, Isamu Noguchi, George Nakashima, etc.
• Full-page ads for the Herman Miller Furniture Company and Ray Komai's JG molded plywood chair
• Cinema
• Music
• Notes In Passing
• New Product Literature And Information
• Index Of Advertisers
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 68, No. 5, May 1951. Slim quarto. Stapled printed wrappers. 46 pp. Illustrated text and articles. Wrappers lightly worn. Mailing label to rear panel. Cover image by György Kepes. A very good or better copy.

9.75 x 12.75 vintage magazine with 46 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1951.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• More About The School Of New York by Jules Langsner
• Apartment House by Olgyay & Olgyay
• House by Sumner Spaulding & John Rex
• Apartment House by Worley Wong & John Campbell
• Hill Camp by Worley Wong & John Campbell
• Hotel by Williams, Williams And Williams
• The New Landscape by György Kepes
• Ceramics And Textiles, Larsen & Riegger
• Lamp Competition, Museum Of Modern Art: Heifetz Lamps by Joseph Burnett, Anthony Ingolia, James Crate, Gilbert A. Watrous, Alexey Brodovitch, Zahara Schartz, A. W. And Marion Geller, Robert Gage And Lester Geis.
• Fabrics, Angelo Testa
• Exhibition In Japan, Furniture
• Garage Door Competition, Tavart Company
• Currently Available Product Literature And Information
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 69, No. 5, May 1952. Slim quarto. Stapled printed wrappers. 38 pp. Illustrated text and articles. Cover by John Follis. Mailing label to front panel. Wrappers lightly worn and soiled, but a very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1952.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Contents include:

• Good Design Exhibition: installation designed by Paul Rudolph
• The Gropius Symposium At The Institute Of Contemporary Art, Boston
• House: Richard Neutra
• House: Mario Corbett
• Apartment House: Greta Magnuson Grossman
• Tract Houses: Arthur Lawrence Millier
• New Furniture: Paul McCobb, Finn Juhl, Maurizio Tempestini, Greta Magnuson Grossman, Clifford Pascoe, Charles Eames, Siebert & Huffman, Henry Mittwer, Harry Lawenda, Muriel Coleman, and Edward Wormley.
• Cinema
• Books
• Art
• Currently Available Product Literature And Information
• Notes In Passing
• Full-Page Ads for Frank Bros., Van Keppel-Green, etc.
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

 John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 70, No. 5, May 1953. Slim quarto. Stapled printed wrappers. 42 pp. Illustrated text and articles. Cover by John Follis. Mailing label to rear panel. Wrappers lightly worn and soiled, but a very good copy.

9.75 x 12.75 vintage magazine with 42 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1953.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Guam: A Problem In Progress by Richard Neutra
• New Store: Victor Gruen
• House: David Wahler
• House: Kazumi Adachi
• Platform House: Thornton M. Abell
• Conpendium ’53
• Designing The High Fidelity Music Room by Jack Lester
• Fernand Léger
• Art
• Music
• Case Study House Merit Specifications
• Currently Available Product Literature And Information
• Notes In Passing
• Ads for Frank Bros., Gruen Lighting, Tony Hill, etc.
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza started editing a struggling magazine called California Arts and Architecture. The new Editor had big plans for the regional journal. By 1943, Entenza and his Art Director Alvin Lustig had completely overhauled and shortened the name to simply Arts and Architecture. Entenza was in the right place and the right time in order to champion all that was new in the arts, with emphasis on Modern Southern California architecture.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 71, No. 4, May 1954. Slim folio. Saddle-stitched printed wrappers. 38 pp. Illustrated articles and advertisments. Cover by John Follis. Mailing label to rear panel. Wrappers lightly soiled and worn. A very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1954.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• R. M. Schindler (1890–1953) Material Correlated By Esther McCoy
• Architects House: A. Quincy Jones & Frederick E. Emmons
• House In Australia: Harry Seidler
• Dwellings At The Sea: Richard Neutra
• Small House: William S. Beckett
• Gyorgy Kepes— An Exhibition
• Office Interiors: Claire Porset
• Ceramics: Marguerite Wildenhain, Gertrude & Otto Natzler, Harrison McIntosh, Eunice Prieto, Roy Walker, Ex Mason.
• California Living—Southern California Chapter Of A. I. D.
• Lamps: Lazetter Van Houten. Lamps by George nelson, Gerald Thurston, Kurt Versen, Edward Axel Roffman, Greta Von Nessen, etc.
• Music
• Art
• Ads for Frank Bros (Greta Grossman), Van Keppel-Green, etc.
• Notes In Passing
• J. O. B. Opportunity Bulletin
• Currently Available Product Literature And Information
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 72, No. 5, May 1955. Slim quarto. Stapled printed wrappers. 38 pp. Illustrated text and articles. Cover by John Follis. Mailing label to rear panel. Wrappers lightly worn and soiled, but a very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1955.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout by Frederick A. Usher and John Follis.

• Three Projects: Kazumi Adachi
• Model House: Harry Seidler
• House: Kenneth McDonald
• Architecture + Sculpture: Northland Shopping Center—Victor Gruen Associates
• House: Paul Rudolph
• Case Study House No. 17: Craig Ellwood
• School: William H. Harrison
• Chapel In Arizona: Anschen & Allen
• Afro: Lionello Venturi
• Akari—Isamu Noguchi
• Case Study House Merit Specifications
• Art
• Music
• Currently Available Product Literature And Information
• Notes In Passing
• Ads for Tony Hill, John Stuart, Baker Furniture, Howard Miller, etc.
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza started editing a struggling magazine called California Arts and Architecture. The new Editor had big plans for the regional journal. By 1943, Entenza and his Art Director Alvin Lustig had completely overhauled and shortened the name to simply Arts and Architecture. Entenza was in the right place and the right time in order to champion all that was new in the arts, with emphasis on Modern Southern California architecture.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 73, No. 5, May 1956. Slim folio. Saddle-stitched printed wrappers. 48 pp. Illustrated articles and advertisments. Subscriber mailing label to rear panel. Cover of Felix Candela’s work by Erwin Lang. Wrappers lightly soiled and worn, but a very good copy.

9.75 x 12.75 vintage magazine with 48 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1956.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout by Frederick A. Usher, Jr. and John Follis.

• Structure — Felix Candela: Colin Faber
• Honor Awards And Awards Of Merit Of The American Institute Of Architects In Convention In Los Angeles, 1956. Work by Skidmore, Owings & Merrill; Hellmuth, Yamasaki & Leinweber; John Lyon Reid; Wurster, Bernardi & Emmons; Philip Johnson; Harrison & Abramovitz; Killingsworth, Brady & Smith; Prinz & Brooks; Reginald Caywood Knight & Jasper Dudley Ward; Alden B. Dow, Raphael Soriano; John Carl Warneke; Ralph Rapson, John Van Der Meulen; Welton Beckett, etc.
• Beach House: Craig Ellwood
• The Architect As Universal Man: Herbert Read
• Rugs By Picasso, Miro, Leger, Calder, Lurcat
• Vestments By Matisse
• Books
• Music
• Art
• Notes In Passing
• J. O. B.
• Currently Available Product Literature And Information
• Ads for Raymor, Paul McCobb for Directional, Van Keppel-Green, etc.
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killingsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 74, No. 5, May 1957. Slim folio. Saddle-stitched printed wrappers. 38 pp. Illustrated articles and advertisments. Cover by Charles Kratka. Mailing label to rear panel. Wrappers lightly soiled and worn, but a very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1957.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout by Frederick A. Usher, Jr., John Follis and Charles Kratka.

• Project For Case Study House 19: Don Knorr
• Concrete Shell Forms: Felix Candela
• A Comprehensive Architectural Competition—Northern California Capter of the American Institute of Architects. Winning entries by John Lord King, Mario Ciampi, Campbell & Wong, Edward Page, John Carl Warnecke, Anschen & Allen.
• Showroom For Knoll Associates: Florence Knoll
• Buildings For Business And Government:. MoMA Exhibition with work by Eero Saarinen, Hellmuth, Yamasaki and Leinweber, Skidmore, Owings & Merrill, Mies van der Rohe & Philip Johnson, Edward Durell Stone.
• Stone And Plywood Ski Lodge: Campbell & Wong
• House: Louis H. Huebner
• Rehabilitated Commercial Building: Paul Laszlo
• Books
• Music
• Art
• Notes In Passing
• J. O. B.
• Currently Available Product Literature And Information
• Ads from Knoll Associates, Howard Miller,
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killingsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 75, No. 5, May 1958. Slim folio. Saddle-stitched printed wrappers. 34 pp. Illustrated articles and advertisments. Wrappers lightly soiled and worn. A very good copy.

9.75 x 12.75 vintage magazine with 34 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1958.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout by John Follis, Charles Kratka, and Frederick A. Usher, Jr.

• Industrial Building: Pereira & Luckman
• Project For Case Study House 21: Pierre Koenig
• Small Bank: Craig Ellwood & Associates
• Museum: Begrow & Brown
• House: Lloyd Ruocco
• The Towers Of Satellite City: G. Nesbit
• Project For Multiple Housing: Joseph & Vladeck
• Case Study House 18: Craig Ellwood
• Zen-Ei Sho Writing: La Gardo Tackett
• Sculptural Forms For Architecture: Malcolm Leland
• Design For The Home: Brooklyn Museum
• Music
• Art
• Notes In Passing
• Currently Available Product Literature And Information
• Ads for Frank Bros., etc.
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 66, number 11, November 1949. A very good magazine with lightly worn wrappers. Interior unmarked and clean. Original cover designs by Hans Hofmann.

9.75 x 12.75 vintage magazine with 50 pages of editorial content and advertisements from leading purveyors of West Coast modernism, circa 1949. Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• An Exhibition for Modern Living at the Detroit Institute of Arts (designed by Alexander Girard): 10 pages of coverage from the landmark exhibition from September 11 to November 20, 1949. This exhibition has achieved legendary status in the pantheon of American Modernism, due to Girard's stewardship and the site-specific custom room installations by Alvar Aalto, Bruno Mathsson, Jens Risom, Florence Knoll (ably assisted by Eero Saarinen, Franco Albini, Pierre Jeanneret, Abel Sorensen, Andre Dupres and Hans Bellmann), Van-Keppel Green, George Nelson, Charles and Ray Eames and others.
• Hans Hoffmann
• The Mechandising Of Furniture by Fred Dilg
• The Dinosaur Lays An Egg by Herbert Kornfeld
• Full-Page Advertisement for Century Lighting by Paul Rand; Herman Miller Furniture Company Eames Chair ad and more.

Editorial Associates for Arts and Architecture included Charles Eames and Benjamin Baldwin. Julius Shulman was the staff photographer. The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Eero Saarinen, Sumner Spaulding, Gregory Ain, Ray Eames, Garrett Eckbo, Herbert Matter and others luminaries of the midcentury modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward killinsworth, Jules Brady, Waugh Smith, pierre Koenig, Kemper Nomland, Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphale Soriano, Whitney Smith, Sumner Sapulding, John Rex, Rodney Walker, William Wilson Wurster, Theordore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other ground-breakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 67, number 11, November 1950. Slim quarto. Stapled printed wrappers. 50 pp. Illustrated text and articles. Wrappers  worn and soiled, with heavy wear to spine. Cover image by Isamu Noguchi. A good or better copy.

9.75 x 12.75 vintage magazine with 50 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1950.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Isamu Noguchi
• Matthew Nowicki
• Case Study House 1950 by Raphael Soriano
• House by Eugene Weston III & Douglas Byles
• House by Sumner Spaulding & John Rex
• Tract Of Houses by Arthur Lawrence Miller
• Currently Available Product Literature And Information
• Notes In Passing
• Books
• Cinema
• Music
• Ads for Alvin Lustig’s Paramount Furniture chair, the Charles Eames-designed Herman Miller showroom on Melrose, and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 69, No. 11, November 1952. Slim folio. 38 pp. Illustrated articles and advertisements.. Cover by James Reed. Mailing label to rear panel. Wrappers lightly worn and soiled, but a very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1952.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• A Reunion House by Richard Neutra
• House by Aydelott And Associates
• House In Altadena by Byles Weston and Rudolph
• Country House by Mario Corbett
• Hillside House by Carl Louis Maston
• Water Play, A Fountain by Wayne Thiebaud and Jerry McLaughlin
• Jose de Rivera by Dore Ashton
• Architectural Sculpture Today by Irving Titel
• Fabrics: Alexander Girard, Ben Rose, Angelo Testa, Ruth Adler, and others.
• Notes In Passing
• Currently Available Product Literature And Information
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 70, No. 11, November 1953. Slim quarto. Stapled printed wrappers. 42 pp. Illustrated text and articles. Wrappers lightly creased [from mailing], but a very good to nearly fine copy.

9.75 x 12.75 vintage magazine with 42 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1953.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Architecture For The State Department
• Hillside House: Mario Corbett
• House: Eugene Weston
• Two Australian Houses: Harry Seidler
• House: Craig Ellwood
• Development Houses For Jospeh Eichler: A. Quincy Jones & Frederick E. Emmons
• Eric Mendelsohn 1877–1953
• Bernard Rosenthal
• The Rosewood Collection: George Nelson For The Herman Miller Furniture Company
• Japanese Packaging
• Art
• Music
• Currently Available Product Literature And Information
• Notes In Passing
• Ads for Howard Miller, etc.
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza started editing a struggling magazine called California Arts and Architecture. The new Editor had big plans for the regional journal. By 1943, Entenza and his Art Director Alvin Lustig had completely overhauled and shortened the name to simply Arts and Architecture. Entenza was in the right place and the right time in order to champion all that was new in the arts, with emphasis on Modern Southern California architecture.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 71, No. 11, November 1954. Slim folio. Saddle-stitched printed wrappers. 38 pp. Illustrated articles and advertisments. Cover by John Follis. Subscriber mailing label to rear panel. Wrappers lightly worn and soiled, but a very good or better copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1954.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• University City—Caracas, Venezuela: Carlos Raul Villanueva
• City House By George Vernon Russell, Architect
• Oceanarium: Pereira & Luckman, Architects
• A Community Development: A. Quincy Jones & Frederick Emmons, Architects with Joseph Eichler. Green Meadows, with interiors by Hilda Reiss and landscape design by Thomas D. Church.
• Case Study House #17: Craig Ellwood
• Stewart MacDougall & Kipp Stewart
• Fabrics: Angelo Testa, Ben Rose, Astrid Sampe, Viola Grasten, Stig Lindberg, Inge Toft, etc.
• The Contemporary Object
• Music
• Notes In Passing
• J. O. B. Opportunity Bulletin
• Currently Available Product Literature And Information
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 72, No. 11, November 1955. Slim folio. Saddle-stitched printed wrappers. 38 pp. Illustrated articles and advertisments. Subscriber mailing label to rear panel. Cover by John Follis from a John Chow photograph. Wrappers lightly soiled and worn, but a very good or better copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1955.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Experimental House In Plastics for Monsanto Chemical Company
• Two Commercial Structures By Harry Seidler
• Project For A Museum By John L. Field
• House By Isamu Noguchi And Kazumi Adachi
• A Two-Family Dwelling By Mario Romanach
• Music
• Art
• Notes In Passing
• Education For Design By Michael Farr
• Jan De Swart
• Italian Furniture: Angelo Mangiarotti & Bruno Morassutti
• J. O. B.
• Currently Available Product Literature And Information
• Howard Miller Clocks, Paul McCobb, Steelbilt, Craig Ellwood steel framed house, etc.
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 75, No. 11, November 1958. Slim folio. Saddle-stitched printed wrappers. 38 pp. Illustrated articles and advertisments. Cover design by John Follis. Mailing label to rear panel. Wrappers lightly soiled and worn. A very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1958.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout by John Follis, Charles Kratka, and Frederick A. Usher, Jr.

• Some Cultural Prerequisites Of Science And Art: Harvey Wheeler
• Case Study House 20: Buff, Straub & Hensman. Eleven pages and 23 images by Julius Shulman.
• The Philips Pavilion And The Electric Poem: Le Corbusier
• Case Study House 21: Pierre Koenig
• New Furniture From Knoll Associates
• Music
• Art
• Notes In Passing
• Merit Specified Products for Case Study House 20
• Merit Specified Products for Case Study House 21
• Currently Available Product Literature And Information
• Full-page color Knoll Ad, full-page color Herman Miller ad by Alexander Girard, Raymor, etc.
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

Staff photographer Julius Shulman’s Copy

John Entenza [Editor], Herbert Matter [Cover Designer]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, 1945. Volume 62, number 10,  October 1945. Original edition. Slim folio. Stapled printed wrappers. 54 pp. Illustrated text and articles.  Cover by Herbert Matter (who was employed by the Eames Office in Venice at the time).  Layout and typography by Robin Park. Staff photographer Julius Shulman’s typed mailing address to rear panel with cancelled postage stamp. Wrappers lightly rubbed and worn, wartime newsprint interior well handled: a very good copy with an exceptional provenance.

9.75 x 12.75 vintage magazine with 54 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1945. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Contents include:

• CASE STUDY HOUSE No. 6 by Richard Neutra
• Henry Moore by Eva Maria Neumeyer
• What is Landscape Architecture? by Garret Eckbo
• Music as a Dramatic Device by Walter Rubsamen
• House by Raphael Soriano
• Textiles by Angelo Testa
• Photograph by Hy Hirsch
• Art
• Music
• Books
• Notes in Passing
• New Developments
• Building Industry Directory
• And more.

American photographer Julius Shulman's (1910 – 2009) images of Californian architecture have burned themselves into the retina of the 20th century. A book on modern architecture without Shulman is inconceivable. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friend, Richard Neutra, was first brought to light by Shulman's photography.

The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.

Today, a great many of the buildings documented by Shulman have disappeared or been crudely converted, but the thirst for his pioneering images is stronger than ever before. This is a vivid journey across six decades of great architecture and classic photography through the famously incomparable eyes of Julius Shulman.

“Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friends, Richard Neutra and Raphael Soriano, was first brought to light by Shulman's photography. The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.” [Wikipedia]

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard Neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

Herbert Matter (1907-1983) studied with Fernand Leger and Amande Ozenfant at the Academie Moderne in Paris in the late 1920s before returning to Switzerland to design a series of Swiss travel posters which illustrate his signature photomontage technique. When he arrived in the United States in 1936 his first clients were the Museum of Modern Art (MoMA), and the publisher Conde Nast. Other clients included the Guggenheim Museum (1958 - 1968), Knoll Furniture (1946 - 1966), and the New Haven Railroad (1954). During this time Matter became a tenured professor at Yale and helped to shape the university's photography and graphic design program (1952 - 1976). Matter's advanced techniques in graphic design and photography became part of a new visual narrative that began in the 1930s, which have since evolved into familiar design idioms such as overprinting -- where an image extends beyond the frame -- and the bold use of color, size, and placement in typography. Such techniques often characterize both pre-war European Modernism and the post-war expression of that movement in the United States.

"Herbert's background is fascinating and enviable," said Paul Rand. "He was surrounded by good graphics and learned from the best." Therefore, it is no wonder that the famed posters designed for the Swiss Tourist Office soon after his return had the beauty and intensity of Cassandre and the geometric perfection of Corbu, wed to a very distinctive personal vision.

In 1936, Matter was offered roundtrip passage to the United States as payment for his work with a Swiss ballet troupe. He spoke no English, yet traveled across the United States. When the tour was over, he decided to remain in New York. At the urging of a friend who worked at the Museum of Modern Art, Matter went to see Alexey Brodovitch, who had been collecting the Swiss travel posters (two of which were hanging on Brodovitch's studio wall). Matter soon began taking photographs for Harper's Bazaar and Saks Fifth Avenue. Later, he affiliated himself with a photographic studio, "Studio Associates," located near the Conde Nast offices, where he produced covers and inside spreads for Vogue.

During World War II, Matter made striking posters for Container Corporation of America. In 1944, he became the design consultant at Knoll, molding its graphic identity for over 12 years. As Alvin Eisenman, head of the Design Department at Yale and long-time friend, points out: "Herbert had a strong feeling for minute details, and this was exemplified by the distinguished typography he did for the Knoll catalogues."

In 1952, he was asked by Eisenman to join the Yale faculty as professor of photography and graphic design. "He was a marvelous teacher," says Eisenman. "His roster of students included some of the most important names in the field today." At Yale, he tried his hand at architecture, designing studio space in buildings designed by Louis Kahn and Paul Rudolf. "He was good at everything he tried to do," continues Eisenman. In 1954, he was commissioned to create the corporate identity for the New Haven Railroad. The ubiquitous "NH" logo, with its elongated serifs, was one of the most identifiable symbols in America.

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 65, number 10, October 1948. Wrappers both present, but neatly separated along spine. Subscriber label to rear panel. Textblock lightly thumbed. Interior unmarked and clean. Cover by Parke Meek [of the Eames Office]. A good copy.

9.75 x 12.75 vintage magazine with 58 pages of editorial content and advertisements from leading purveyors of West Coast modernism, circa 1948. Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Plastics and Illumination by James Davis
• Redevelopment of a Coastal City by Simon Eisner
• House by Oswald Bratke
• Commercial Spaces by John Lautner; Sumner Spaulding, John Rex; Gregory Ain, Joseph Johnson and Alfred Day
• New lamps are lit in Europe by Edgar Kaufmann: lamps by G. Sarfetti and Paavo Tyneil.
• Scale of a carp: full page photograph by Milah Birnie.
• and more.

Editorial Associates for Arts and Architecture included Charles Eames and Benjamin Baldwin. Julius Shulman was the staff photographer. The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Eero Saarinen, Sumner Spaulding, Gregory Ain, Ray Eames, Garrett Eckbo, Herbert Matter and others luminaries of the midcentury modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward killinsworth, Jules Brady, Waugh Smith, pierre Koenig, Kemper Nomland, Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphale Soriano, Whitney Smith, Sumner Sapulding, John Rex, Rodney Walker, William Wilson Wurster, Theordore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other ground-breakers.

John Entenza [Editor], Follis & Reed  [Cover Artists]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 67, number 10, October 1950. Slim quarto. Stapled printed wrappers. 52 pp. Illustrated text and articles. Wrappers worn and soiled. Covers neatly splitting from lower spine. Cover by John Follis and Reed. A very good copy.

9.75 x 12.75 vintage magazine with 52 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1950.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Architecture and Technology by Ludwig Mies Van Der Rohe
• Building by John C. Lindsey
• Building by Raphael Soriano
• Tent by Eero Saarinen For The Aspen Festival
• Two Houses by Walter Thomas Brooks
• House by Gene Loose & Kipp Stewart
• Sculpture by Henry Moore
• Fiberglass Chairs For Herman Miller by Charles Eames
• Objects For Case Study House 1950
• Currently Available Product Literature And Information
• Notes In Passing
• Books
• Cinema
• Music
• Final merit Specifications,  Case Study House 1950
• Full-page ad for the Herman Miller Furniture Company
• and more.

Editorial Associates for Arts and Architecture included Charles Eames and Benjamin Baldwin. Julius Shulman was the staff photographer. The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Eero Saarinen, Sumner Spaulding, Gregory Ain, Ray Eames, Garrett Eckbo, Herbert Matter and others luminaries of the midcentury modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, frederick Emmons, Don Knorr, Edward killinsworth, Jules Brady, Waugh Smith, pierre Koenig, Kemper Nomland, Kemper Nomland Jr., Richard neutra, Ralph Rapson, Raphale Soriano, Whitney Smith, Sumner Sapulding, John Rex, Rodney Walker, William Wilson Wurster, Theordore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other ground-breakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 70, No. 10, October 1953. Slim quarto. Stapled printed wrappers. 46 pp. Illustrated text and articles. Cover by John Follis and John Reede. Mailing label to rear panel. Wrappers lightly worn and soiled, but a very good copy.

9.75 x 12.75 vintage magazine with 46 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1953.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• A Proposed National Theatre: Mies Van Der Rohe
• Florida House: Paul Rudolph
• Small Canyon House: David Wahler
• Steel Frame House: Pierre Koenig
• Small Hillside House: George T. Rockrise
• House: Robert Klingman & Matthew Robert Leizer
• Japanese Furniture Settitng
• Thonet Brothers (1836–1952)
• The Work Of Craftsmen
• Italian Apartments
• Art
• Music
• Currently Available Product Literature And Information
• Notes In Passing
• Ads for Industria Mueblera S. A., Vista Furniture, Century Lighting, Frank Bros., Malcolm Leland,  Van Keppel-Green, etc.
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza started editing a struggling magazine called California Arts and Architecture. The new Editor had big plans for the regional journal. By 1943, Entenza and his Art Director Alvin Lustig had completely overhauled and shortened the name to simply Arts and Architecture. Entenza was in the right place and the right time in order to champion all that was new in the arts, with emphasis on Modern Southern California architecture.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 71, No. 10, October 1954. Slim folio. Saddle-stitched printed wrappers. 42 pp. Illustrated articles and advertisments. Cover by Gollin. Subscriber mailing label to rear panel. Wrappers faintly creased, thus a nearly fine copy.

9.75 x 12.75 vintage magazine with 42 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1954.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• House: Hugh Stubbins, Architect
• Hillside House: Kazumi Adachi, Architect
• House: Willaim Corlett, Architect
• House On A Sea Cliff: Richard O. Spencer
• House: Mario Corbett, Architect
• House In Florida: Bernard M. Goodman, Architect
• Shopping Center: Paul Laszlo
• Eight Garden Apartments: Eugene Weston
• Small Urban House: Louis H. Huebner, Architect
• House: Campbell & Wong
• The Architect In Contemporary Society: Lucio Costa
• International Lighting & Design Competition 1954
• The Contemporary Object: Dan Aberle, Van-Keppel Green, Jens Quistgaard, etc.
• Music
• Notes In Passing
• J. O. B. Opportunity Bulletin
• Currently Available Product Literature And Information
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 72, No. 6, October 1955. Slim quarto. Stapled printed wrappers. 38 pp. Illustrated text and articles. Cover by John Follis and Ehrlich. Mailing label to rear panel. Wrappers lightly worn and soiled, but a very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1955.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout by Frederick A. Usher and John Follis.

Contents include:

• Two Income-Unit Structures: Raymond Kappe
• Shopping Center: William F. Cody
• A Room For Five Children: John Follis & Rex Goode
• Small Studio House: Robert B. Browne
• Small Churches: Louis H. Huebner
• House: Harwood Taylor
• Small Restaurant: Herb Rosenthal
• School: William H. Harrison
• Small House: Budette Keeland, Jr.
• Exhibition Of The Group “Espace”
• Stained Glass In Concrete: Roger Darricarrere
• Light & Structure: Harry Bertoia
• Art
• Music
• Currently Available Product Literature And Information
• Notes In Passing
• Ads for Howard Miller, Mel Bogart/Stewart-Winthrop,  Tony Hill, John Stuart, Baker Furniture, Vista Furniture, Van Keppel-Green,  etc.
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza started editing a struggling magazine called California Arts and Architecture. The new Editor had big plans for the regional journal. By 1943, Entenza and his Art Director Alvin Lustig had completely overhauled and shortened the name to simply Arts and Architecture. Entenza was in the right place and the right time in order to champion all that was new in the arts, with emphasis on Modern Southern California architecture.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 73, No. 10, October 1956. Slim folio. Saddle-stitched printed wrappers. 42 pp. Illustrated articles and advertisments. Cover by Ursula de Swart. Mailing label to rear panel. Wrappers lightly soiled and worn, with a small ink scribble and a finger-sized piece torn from lower front edge [see scan], but a good or better copy.

9.75 x 12.75 vintage magazine with 42 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1956.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout by Frederick A. Usher, Jr., John Follis and Charles Kratka.

• Roots Of California Contemporary Architecture: Esther McCoy. Work by Irving Gill, Greene & Greene, Bernard Maybeck, Richard Neutra, R. M. Schindler, Frank Lloyd Wright.
• Competition For A University Residence Hall. Winning entires by Warnecke & Warnecke and John Funk.
• Steel House: A. Quincy Jones & Frederick E. Emmons
• House In Ojai Valley: Kazumi Adachi
• House: Louis H. Huebner
• House: Mario Romanach
• Australian Architectural Exhibition
• Art And Science: Gyorgy Kepes
• The XVIII Venice Biennale: James Fitzsimmons
• Books
• Music
• Art
• Notes In Passing
• J. O. B.
• Currently Available Product Literature And Information
• Ads for Knoll Associates, Howard Miller, Beatrice Wood, Tony Hill, etc.
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killingsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 74, No. 10, October 1957. Slim folio. Saddle-stitched printed wrappers. 40 pp. Illustrated articles and advertisments. Mailing label to rear panel. Cover design by John Follis. Wrappers lightly soiled and worn. A very good copy.

9.75 x 12.75 vintage magazine with 40 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1957.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout by John Follis, Charles Kratka, and Frederick A. Usher, Jr.

• Homes In America: Edmund Feldman [Part One]
• House: Richard Neutra
• House: Thornton M. Abell
• Small Commercial Building: Craig Ellwood & Associates
• Office Building: H. M. E. Stadler, Jr.
• Two Small Houses: Kazumi Adachi
• Modern Restaurant: Thornton Ladd & Associates
• House: Richard Dorman & Associates
• Furniture: New Seating Units—Hans Olsen
• Exhibition In Como: Esther McCoy
• Merit Specifications— Case Study House 18, Case Study House 19
• Music
• Art
• Notes In Passing
• Currently Available Product Literature And Information
• Full-page color ad for Pomona Tile, etc.
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 75, No. 10, October 1958. Slim folio. Saddle-stitched printed wrappers. 40 pp. Illustrated articles and advertisments. Cover design by John Follis. Mailing label to rear panel. Wrappers lightly soiled and worn. A very good copy.

9.75 x 12.75 vintage magazine with 40 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1958.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Layout by John Follis, Charles Kratka, and Frederick A. Usher, Jr.

• A Summary By Richard Neutra
• Irving Gill By Esther McCoy
• A Reasearch Park: Victor Gruen & Associates
• Kaiser Center: Welton Becket & Associates
• Concrete Structure: Felix Candela
• Recreation And Playground Designs: Saul Bass
• Vacation House: George T. Rockrise
• Hillside House: Richard Neutra
• Mausoleum Project: Kurt Perlsee
• House: Louis H. Huebner
• Small House: Roy Binkley
• Music
• Art
• Notes In Passing
• Currently Available Product Literature And Information
• Full-page Brown-Saltman ad, full-page color Pomona Tile, Schmid International, Howard Miller, etc.
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor], John Follis  [Cover Artist]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 67, number 9, September 1950. Slim quarto. Stapled printed wrappers. 46 pp. Illustrated text and articles. Cover by John Follis. Wrappers lightly worn, but a very good or better copy.

9.75 x 12.75 vintage magazine with 46 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1950.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Student Hostel by Harry Seidler
• Two Houses by Otto Kolb
• Four Houses by Fred And Lois Langhorst
• House by Greta Magnusson Grossman
• Rental Project by Craig Ellwood
• Case Study House 1950 by Raphael Soriano
• Currently Available Product Literature And Information
• Notes In Passing
• Art
• Cinema
• Music—Notes
• Full-page ad for the Herman Miller Furniture Company
• and more.

Editorial Associates for Arts and Architecture included Charles Eames and Benjamin Baldwin. Julius Shulman was the staff photographer. The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Eero Saarinen, Sumner Spaulding, Gregory Ain, Ray Eames, Garrett Eckbo, Herbert Matter and others luminaries of the midcentury modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, frederick Emmons, Don Knorr, Edward killinsworth, Jules Brady, Waugh Smith, pierre Koenig, Kemper Nomland, Kemper Nomland Jr., Richard neutra, Ralph Rapson, Raphale Soriano, Whitney Smith, Sumner Sapulding, John Rex, Rodney Walker, William Wilson Wurster, Theordore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other ground-breakers.

John Entenza [Editor], Max Yavno  [Cover Artist]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 68, No. 9, September 1951. Wrappers worn and soiled. Textblock thumbed. Cover design by Max Yavno. A good copy.

9.75 x 12.75 vintage magazine with 58 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1951.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• The Rise and Continuity of Abstract Art by Robert Motherwell
• Adolph Gottlieb
• Railroad Station In Rome by M. Castelliazzi, V. Fadigati, E. Montuori & A. Vitellozzi
• House by Richard Neutra
• Mid Wilshire Medical Building by Victor Gruen
• House by William Corlett
• House by Thornton Abell
• House by Worley K. Wong & John Campbell
• Shop by Alvin Lustig
• Sculpture In Cinema, Bernard Rosenthal
• Products Of Merit, Steelbilt, Inc.
• Music
• Currently Available Product Literature And Information
• Notes In Passing
• Full-Page For The Herman Miller Furniture Company
• and more.

Editorial Associates for Arts and Architecture included Charles Eames and Benjamin Baldwin. Julius Shulman was the staff photographer. The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Eero Saarinen, Sumner Spaulding, Gregory Ain, Ray Eames, Garrett Eckbo, Herbert Matter and others luminaries of the midcentury modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, frederick Emmons, Don Knorr, Edward killinsworth, Jules Brady, Waugh Smith, pierre Koenig, Kemper Nomland, Kemper Nomland Jr., Richard neutra, Ralph Rapson, Raphale Soriano, Whitney Smith, Sumner Sapulding, John Rex, Rodney Walker, William Wilson Wurster, Theordore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other ground-breakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 70, No. 9, September 1953. Slim quarto. Stapled printed wrappers. 38 pp. Illustrated text and articles. Cover by Follis and Reed. Mailing label to front panel. Wrappers lightly worn and soiled, but a very good copy.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1953.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Four R. M. Schindler Houses Of The ’20s: Esther McCoy
• The New University City—Mexico
• A Community Hotel: Richard Neutra & Robert E. Alexander
• House For An Artist: Thornton M. Abell
• New Furniture: Eight pages and 35 examples by Jens Risom, Greta Grossman, Evans Clark, Henry Webber, George Kasparian, Paul McCobb, George Nelson, Vista Furniture, Pacific Iron Products, John J. Keal, Winsor White, Swanson Associates, Ficks Reed, Edward Wormley, Van Keppel-Green, Charles Eames, Industria Mueblera, Raymond Loewy, The Mengel Company, Florence Knoll, Harry Bertoia, Karl Lightfoot, Count Bernadotte, Milo Baughman, Inco, etc.
• Art
• Music
• Currently Available Product Literature And Information
• Notes In Passing
• Ads for Van Keppel-Green, Gruen Lighting, Howard Miller, etc.
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza started editing a struggling magazine called California Arts and Architecture. The new Editor had big plans for the regional journal. By 1943, Entenza and his Art Director Alvin Lustig had completely overhauled and shortened the name to simply Arts and Architecture. Entenza was in the right place and the right time in order to champion all that was new in the arts, with emphasis on Modern Southern California architecture.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

Berkeley Architect Donald Olsen’s copy

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 71, No. 9, September 1954. Slim folio. Saddle-stitched printed wrappers. 38 pp. Illustrated articles and advertisments.Wrappers lightly worn, with faint ink notation to front panel [see below]. Cover by Marvin Rand. A very good copy.

Subscriber mailing label for Mr. Donald Olsen / 71 Norwood Ave. \ Berkeley 7, Calif attached to rear panel. Donald Olsen (American, 1919 - 2015) studied under Walter Gropius at Harvard and established an architecture practice in Berkeley in 1953. In 1954, he designed Olsen House (known as Donald and Helen Olsen House) in the International Style in Berkeley, California. Olsen was a member of the UC Berkeley School of Architecture faculty, which became the Department of Architecture when the College of Environmental Design was founded in 1959. Along with Vernon DeMars and Joseph Esherick, he designed Wurster Hall, which opened in 1964. The purist houses of Donald Olsen stand out as remarkably durable achievements among the post-war architectural heritage of the San Francisco Bay Area.

9.75 x 12.75 vintage magazine with 38 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1954.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Hillside House: Richard Neutra
• House: Paul Rudolph
• House: Thornton M. Abell
• Patio House: Pierre Koenig
• The New Case Study House: Craig Ellwood
• House: Theodore Luderowski
• Building: Eugene D. Sternberg
• Leonardo Cremonini by Eugene Berman
• Design And Technique—Japan
• Mosaics—Ada Korsakaite
• Silver and Glass—Tapio Wirrkala
• The Contemporary Object: Stuart McDougall, Raymond Loewy, Isamu Noguchi, Gio Ponti, and other.
• Music
• Notes In Passing
• J. O. B. Opportunity Bulletin
• Currently Available Product Literature And Information
• And more.

Editorial Associates for Arts and Architecture included Charles Eames and Benjamin Baldwin. Julius Shulman was the staff photographer. The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Eero Saarinen, Sumner Spaulding, Gregory Ain, Ray Eames, Garrett Eckbo, Herbert Matter and others luminaries of the midcentury modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, frederick Emmons, Don Knorr, Edward killinsworth, Jules Brady, Waugh Smith, pierre Koenig, Kemper Nomland, Kemper Nomland Jr., Richard neutra, Ralph Rapson, Raphale Soriano, Whitney Smith, Sumner Sapulding, John Rex, Rodney Walker, William Wilson Wurster, Theordore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other ground-breakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, 1955. Volume 72, number 9, September 1955. Slim folio. Saddle-stitched printed wrappers. 42 pp. Illustrated articles and advertisments. Cover by Heerman. Wrappers lightly worn and soiled, but a very good or better copy.

9.75 x 12.75 vintage magazine with 42 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1955.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• houses by Richard Neutra, Louis Huebner, William Huff
• Case Study House 17 by Craig Ellwood
• Village Chapel By Le Corbusier
• Commerical Building by William Cody
• Office building by Thornton Abell
• cityscape and landscape by Victor Gruen
• Production of shelter by Michael Brawne ARIBA
• Art
• Music
• Notes In Passing
• Currently Available Product Literature And Information
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard Neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 74, No. 9, September 1957. Slim folio. Saddle-stitched printed wrappers. 40 pp. Illustrated articles and advertisments. Cover by Heerman. Wrappers lightly soiled and worn, but a very good copy.

9.75 x 12.75 vintage magazine with 40 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1957.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• A Century Of Modern Design: Edgar Kaufmann [Conclusion]
• Project For The Monument Of Buddha: Isamu Noguchi
• Variations On A Basic House: Paul Rudolph
• Small Club: Harry Seidler
• Case Study House No. 19: Knorr Elliott Associates
• A Lakeside House: Wendell H. Lovett
• Small House: Ashok M. Bhavnani
• Commercial Building: Burdette Keeland, Jr.
• Small House: William Rupp
• Sculptural Trellis Walls: Erwin Hauer
• Fabrics by Estelle & Erwine Laverne, William Klein !, Alexander Girard, Emily Belding, Florence Knoll, Astride Sampe, and Sven Markelius.
• Case Study House No. 18: Craig Ellwood Associates Merit Specifications
• Music
• Notes In Passing
• Currently Available Product Literature And Information
• Ads for Paul Laszlo’s Pomona Tile, Knoll, etc.
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

John Entenza [Editor]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, Volume 75, No. 9, September 1958. Slim folio. Saddle-stitched printed wrappers. 34 pp. Illustrated articles and advertisments. Cover by John Follis. Wrappers lightly soiled and worn, but a very good copy.

9.75 x 12.75 vintage magazine with 34 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1958.  Staff photography by Julius Shulman. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

• Walter Gropius On His 75th Birthday
• Urban Planning For The 21st Century: Ira J. Bach
• Redwood County House: Wurster, Bernardi & Emmons
• Terrace House: Peter Blake & Julian Neski
• Bank: Victor Gruen Associates
• Case Study House No. 20: Buff, Straub & Hensman
• Small Apartment House: Krokyn & Krokyn
• Small Hospital: Pereira & Luckman
• Project: Smith & Williams
• Furniture: Knoll Associates, Eero Saarinen, Flroence Knoll, Simon Steiner, John Keal, Brown Saltman, Folke Ohlsson, Dux, Stewart Macdougall, Kipp Stewart, Vista, Martin Borenstein, Charles Eames, Herman Miller, etc.
• Music
• Art
• Notes In Passing
• Currently Available Product Literature And Information
• Ads for Saul Bass Pomona Tile, La Gardo Tackett/Schmid International,  Beatrice Wood, etc.
• And more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. by 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

Staff Photographer Julius Shulman's Copy

John Entenza [Editor], Herbert Matter [Cover Designer]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, 1945. Volume 63, number 1,  January 1946. Slim folio. Stapled printed wrappers. 58 pp. Illustrated text and articles.  Cover by Alexander Calder and Herbert Matter (who was employed by the Eames Office in Venice at the time). Staff photographer Julius Shulman’s copy with his pencilled notations in the margins of the Chalfant Head photo section. Wrappers rubbed and worn: a very good copy with an exceptional provenance.

9.75 x 12.75 vintage magazine with 58 pages of editorial content and advertisements from leading purveyors of West Coast mid-century modernism, circa 1945. In terms of decor, there is none of that Chippendale jive here-- every residential interior is decked out in full midcentury glory.

Contents:

• articles
• Alexander Calder
• Architecture Has Always Been Modern: Jan Reiner
• Talk About Art: Grace Clements
• architecture
• House By Sumner Spaulding & John Rex
• House By Chalfant Head
• Case Study House No. 11: J. R. Davidson
• special features
• Art
• Books
• Music
• Descriptive Music
• Notes in Passing
• Housing and Recreation
• Ceramics by Beatrice Wood
• CSH Specifications
• New Developments
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster, Richard Neutra, Isamu Noguchi, Eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, Marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

American photographer Julius Shulman's (1910 – 2009) images of Californian architecture have burned themselves into the retina of the 20th century. A book on modern architecture without Shulman is inconceivable. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friend, Richard Neutra, was first brought to light by Shulman's photography.

The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.

Today, a great many of the buildings documented by Shulman have disappeared or been crudely converted, but the thirst for his pioneering images is stronger than ever before. This is a vivid journey across six decades of great architecture and classic photography through the famously incomparable eyes of Julius Shulman.

“Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friends, Richard Neutra and Raphael Soriano, was first brought to light by Shulman's photography. The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.” [Wikipedia]

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

Herbert Matter (1907-1983) studied with Fernand Leger and Amande Ozenfant at the Academie Moderne in Paris in the late 1920s before returning to Switzerland to design a series of Swiss travel posters which illustrate his signature photomontage technique. When he arrived in the United States in 1936 his first clients were the Museum of Modern Art (MoMA), and the publisher Conde Nast. Other clients included the Guggenheim Museum (1958 - 1968), Knoll Furniture (1946 - 1966), and the New Haven Railroad (1954). During this time Matter became a tenured professor at Yale and helped to shape the university's photography and graphic design program (1952 - 1976). Matter's advanced techniques in graphic design and photography became part of a new visual narrative that began in the 1930s, which have since evolved into familiar design idioms such as overprinting -- where an image extends beyond the frame -- and the bold use of color, size, and placement in typography. Such techniques often characterize both pre-war European Modernism and the post-war expression of that movement in the United States.

"Herbert's background is fascinating and enviable," said Paul Rand. "He was surrounded by good graphics and learned from the best." Therefore, it is no wonder that the famed posters designed for the Swiss Tourist Office soon after his return had the beauty and intensity of Cassandre and the geometric perfection of Corbu, wed to a very distinctive personal vision.

In 1936, Matter was offered roundtrip passage to the United States as payment for his work with a Swiss ballet troupe. He spoke no English, yet traveled across the United States. When the tour was over, he decided to remain in New York. At the urging of a friend who worked at the Museum of Modern Art, Matter went to see Alexey Brodovitch, who had been collecting the Swiss travel posters (two of which were hanging on Brodovitch's studio wall). Matter soon began taking photographs for Harper's Bazaar and Saks Fifth Avenue. Later, he affiliated himself with a photographic studio, "Studio Associates," located near the Conde Nast offices, where he produced covers and inside spreads for Vogue.

During World War II, Matter made striking posters for Container Corporation of America. In 1944, he became the design consultant at Knoll, molding its graphic identity for over 12 years. As Alvin Eisenman, head of the Design Department at Yale and long-time friend, points out: "Herbert had a strong feeling for minute details, and this was exemplified by the distinguished typography he did for the Knoll catalogues."

In 1952, he was asked by Eisenman to join the Yale faculty as professor of photography and graphic design. "He was a marvelous teacher," says Eisenman. "His roster of students included some of the most important names in the field today." At Yale, he tried his hand at architecture, designing studio space in buildings designed by Louis Kahn and Paul Rudolf. "He was good at everything he tried to do," continues Eisenman. In 1954, he was commissioned to create the corporate identity for the New Haven Railroad. The ubiquitous "NH" logo, with its elongated serifs, was one of the most identifiable symbols in America.

John Entenza [Editor], Herbert Matter [Cover Designer]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, 1945. Volume 62, number 6,  July 1945. Slim folio. Stapled printed wrappers. 52 pp. Illustrated text and articles.  Cover by Herbert Matter (who was employed by the Eames Office in Venice at the time). Layout and typography by Robin Park. Textblock printed on fragile newsprint, with middle [3] 4-page signature loose and laid in. Wrappers lightly rubbed and worn: a very good copy.

9.75 x 12.75 vintage magazine with 52 pages of editorial content and advertisments from leading purveyors of West Coast midcentury modernism, circa 1945.  Staff photography by Julius Shulman.

Contents:

• Full-page Alvin Lustig ad for H. G. Knoll Associates
• Articles
• Evsa Model’s American City: Harriet Janis
• Contemporary Music In Film: Walter Rubsamen
• Architecture
• Two Desert Houses: John Porter Clark & Albert Frey
• Two Vacation Houses: Harry Weese and John Weese
• Case Study Houses No. 3, Interiors by William Wilson Wurster and Theodore Bernardi
• Special Features
• Textile Studies: Jill Mills Mitchell, Ray Eames, Harry Bertoia, Shirle Rapson
• Abstract Sculpture: Alexander Girard, 2 pages and 8 examples!
• Art
• Books
• Cinema
• Music
• Music in the Cinema
• Notes in Passing
• New Developments
• California Council of Architects
• Building Industry Directory
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard Neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

Herbert Matter (1907-1983) studied with Fernand Leger and Amande Ozenfant at the Academie Moderne in Paris in the late 1920s before returning to Switzerland to design a series of Swiss travel posters which illustrate his signature photomontage technique. When he arrived in the United States in 1936 his first clients were the Museum of Modern Art (MoMA), and the publisher Conde Nast. Other clients included the Guggenheim Museum (1958 - 1968), Knoll Furniture (1946 - 1966), and the New Haven Railroad (1954). During this time Matter became a tenured professor at Yale and helped to shape the university's photography and graphic design program (1952 - 1976). Matter's advanced techniques in graphic design and photography became part of a new visual narrative that began in the 1930s, which have since evolved into familiar design idioms such as overprinting -- where an image extends beyond the frame -- and the bold use of color, size, and placement in typography. Such techniques often characterize both pre-war European Modernism and the post-war expression of that movement in the United States.

"Herbert's background is fascinating and enviable," said Paul Rand. "He was surrounded by good graphics and learned from the best." Therefore, it is no wonder that the famed posters designed for the Swiss Tourist Office soon after his return had the beauty and intensity of Cassandre and the geometric perfection of Corbu, wed to a very distinctive personal vision.

In 1936, Matter was offered roundtrip passage to the United States as payment for his work with a Swiss ballet troupe. He spoke no English, yet traveled across the United States. When the tour was over, he decided to remain in New York. At the urging of a friend who worked at the Museum of Modern Art, Matter went to see Alexey Brodovitch, who had been collecting the Swiss travel posters (two of which were hanging on Brodovitch's studio wall). Matter soon began taking photographs for Harper's Bazaar and Saks Fifth Avenue. Later, he affiliated himself with a photographic studio, "Studio Associates," located near the Conde Nast offices, where he produced covers and inside spreads for Vogue.

During World War II, Matter made striking posters for Container Corporation of America. In 1944, he became the design consultant at Knoll, molding its graphic identity for over 12 years. As Alvin Eisenman, head of the Design Department at Yale and long-time friend, points out: "Herbert had a strong feeling for minute details, and this was exemplified by the distinguished typography he did for the Knoll catalogues."

In 1952, he was asked by Eisenman to join the Yale faculty as professor of photography and graphic design. "He was a marvelous teacher," says Eisenman. "His roster of students included some of the most important names in the field today." At Yale, he tried his hand at architecture, designing studio space in buildings designed by Louis Kahn and Paul Rudolf. "He was good at everything he tried to do," continues Eisenman. In 1954, he was commissioned to create the corporate identity for the New Haven Railroad. The ubiquitous "NH" logo, with its elongated serifs, was one of the most identifiable symbols in America.

John Entenza [Editor], Herbert Matter [Cover Designer]

John Entenza [Editor]: ARTS AND ARCHITECTURE. Los Angeles: John D. Entenza, 1945. Volume 62, number 6,  June 1945. Slim folio. Stapled printed wrappers. 56 pp. Illustrated text and articles.  Cover by Herbert Matter (who was employed by the Eames Office in Venice at the time). Layout and typography by Robin Park. Textblock printed on fragile newsprint, with middle 4-page signature loose and laid in. Wrappers lightly rubbed and worn: a very good copy.

9.75 x 12.75 vintage magazine with 56 pages of editorial content and advertisements from leading purveyors of West Coast midcentury modernism, circa 1945.  Staff photography by Julius Shulman.

Contents:

• Full-page Alvin Lustig ad for H. G. Knoll Associates
• Articles
• The Esthetics Of City And Region: Francis Voilich
• . . . As Tovey Says: Peter Yates
• Architecture
• Case Study House No. 3: William Wilson Wurster and Theodore Bernardi
• House: Gordon B. Kaufmann Associates
• House: Paul Laszlo
• A United Nations Center For San Francisco: William Wilson Wurster, Theodore Bernardi and Ernest Born
• Special Features
• Earth Patterns: photos by Ralph Samuels
• Tiles: Niels Fredericksen
• Art
• Books
• Cinema
• Music
• Music in the Cinema
• Notes in Passing
• General Specifications Case Study Houses No. 3
• New Developments
• California Council of Architects
• Building Industry Directory
• Full-page H. G. Knoll Associates ad by Alvin Lustig
• and more.

Editorial Associates for Arts and Architecture included Herbert Matter and Charles Eames. Julius Shulman was the staff photographer.  The Editorial Advisory Board included William Wilson Wurster,Richard Neutra, Isamu Noguchi, eero Saarinen, Gardner Dailey, Sumner Spaulding, Mario Corbett, Esther McCoy, John Funk, Gregory Ain, George Nelson, Gyorgy Kepes, marcel Breuer, Raphael Soriano, Ray Eames, Garret Eckbo, Edgar Kaufman, Jr. and others luminaries of the mid-century modern movement.

In 1938, John Entenza joined California Arts and Architecture magazine as editor. By 1943, Entenza and his art director Alvin Lustig had completely overhauled the magazine and renamed it Arts and Architecture. Arts and Architecture championed all that was new in the arts, with special emphasis on emerging modernist architecture in Southern California.

One of the pivotal figures in the growth of modernism in California, Entenza's most lasting contribution was his sponsorship of the Case Study Houses project, which featured the works of architects Thornton Abell, Conrad Buff, Calvin Straub, Donald Hensman, Charles Eames, Eero Saarinen, J. R. Davidson, A. Quincy Jones, Frederick Emmons, Don Knorr, Edward Killinsworth, Jules Brady, Waugh Smith, Pierre Koenig, Kemper Nomland,   Kemper Nomland Jr., Richard Neutra, Ralph Rapson, Raphael Soriano, Whitney Smith, Sumner Spaulding, John Rex, Rodney Walker, William Wilson Wurster, Theodore Bernardi and Craig Ellwood. Arts and Architecture also ran articles and interviews on artists and designers such as Jackson Pollock, Robert Motherwell, George Nakashima, George Nelson and many other groundbreakers.

Herbert Matter (1907-1983) studied with Fernand Leger and Amande Ozenfant at the Academie Moderne in Paris in the late 1920s before returning to Switzerland to design a series of Swiss travel posters which illustrate his signature photomontage technique. When he arrived in the United States in 1936 his first clients were the Museum of Modern Art (MoMA), and the publisher Conde Nast. Other clients included the Guggenheim Museum (1958 - 1968), Knoll Furniture (1946 - 1966), and the New Haven Railroad (1954). During this time Matter became a tenured professor at Yale and helped to shape the university's photography and graphic design program (1952 - 1976). Matter's advanced techniques in graphic design and photography became part of a new visual narrative that began in the 1930s, which have since evolved into familiar design idioms such as overprinting -- where an image extends beyond the frame -- and the bold use of color, size, and placement in typography. Such techniques often characterize both pre-war European Modernism and the post-war expression of that movement in the United States.

"Herbert's background is fascinating and enviable," said Paul Rand. "He was surrounded by good graphics and learned from the best." Therefore, it is no wonder that the famed posters designed for the Swiss Tourist Office soon after his return had the beauty and intensity of Cassandre and the geometric perfection of Corbu, wed to a very distinctive personal vision.

In 1936, Matter was offered roundtrip passage to the United States as payment for his work with a Swiss ballet troupe. He spoke no English, yet traveled across the United States. When the tour was over, he decided to remain in New York. At the urging of a friend who worked at the Museum of Modern Art, Matter went to see Alexey Brodovitch, who had been collecting the Swiss travel posters (two of which were hanging on Brodovitch's studio wall). Matter soon began taking photographs for Harper's Bazaar and Saks Fifth Avenue. Later, he affiliated himself with a photographic studio, "Studio Associates," located near the Conde Nast offices, where he produced covers and inside spreads for Vogue.

During World War II, Matter made striking posters for Container Corporation of America. In 1944, he became the design consultant at Knoll, molding its graphic identity for over 12 years. As Alvin Eisenman, head of the Design Department at Yale and long-time friend, points out: "Herbert had a strong feeling for minute details, and this was exemplified by the distinguished typography he did for the Knoll catalogues."

In 1952, he was asked by Eisenman to join the Yale faculty as professor of photography and graphic design. "He was a marvelous teacher," says Eisenman. "His roster of students included some of the most important names in the field today." At Yale, he tried his hand at architecture, designing studio space in buildings designed by Louis Kahn and Paul Rudolf. "He was good at everything he tried to do," continues Eisenman. In 1954, he was commissioned to create the corporate identity for the New Haven Railroad. The ubiquitous "NH" logo, with its elongated serifs, was one of the most identifiable symbols in America.

Arts Council of Great Britain

Arts Council of Great Britain: THIRTIES. BRITISH ART AND DESIGN BEFORE THE WAR. London: Arts Council of Great Britain, 1979. First edition. 4to. Photo illustrated thick wrappers. 320 pp. 463 illustrations. Essays and exhibition checklist. Interior unmarked and very clean. Out-of-print. Faint crease to lower edge, otherwise a fine, fresh copy.

8.25 x 10.5 softcover book with 320 profusely illustrated pages. Catalog published in 1979 to coincide with the major exhibition of the same name at the Hayward Gallery in London and is one of (if not the) very best books on British Design, Art and Architecture of the 30’s and a great reference book for collectors. An exhibition organised by the Arts Council of Great Britain in collaboration with the Victoria & Albert Museum. Hayward Gallery 25 October 1979 - 13 January 1980.

• Introduction by AJP Taylor
• Year by Year photographic record of the decade.
• Essays: Art at the Time by William Fever / Architecture / Design – illustrated essays on Prints and Books, Furniture, Carpets and Textiles, Industrial Ceramics and Glass, Studio Pottery, Silverwork and Jewellery, Architectural, Decorative and Stained Glass / Transport and Travel / Photo-journalism.
• DECORATIVE ARTS (Arts and Crafts):   132 items, 72 illustrations.
• DECORATIVE ARTS (Fine Handcrafts and Domestic Accessories): 69 items, 31 illustrations.
• DECORATIVE ARTS (International and Jazz Modern Style): 143 items.
• PAINTING AND SCULPTURE: 45 items, 19 illustrations.
• PAINTING & SCULPTURE: 81 items, 41 illustrations.
• GRAPHICS: 40 items, 31 illustrations.
• ARCHITECTURE (Traditional and Modern): 65 items, 32 illustrations.
• DECORATIVE ARTS: 29 items, 11 illustrations.
• ARCHITECTURE (Modern): 80 items, 45 illustrations.
• POSTS and TELEGRAPHS: Posters
• BBC BROADCASTING HOUSE: 28 items, 12 illustrations.
• IMPERIAL AIR: 16 items, 8 illustrations.  Posters inc. Ben Nicholson design .
• SHELL ADVERTISING: 25 items, 15 illustrations.
• RAIL TRAVEL: 18 items, 14 posters.
• LONDON TRANSPORT DESIGN: 25 items, 15 illustrations.
• RECORD ACHIEVEMENTS MOTORCYCLES and CARS
• DESIGN & INDUSTRIES: 38 items, 17 illustrations.
• SOCIETY OBSERVED: 245 items, 68 illustrations.
• WELLS COATES MINMUM FLAT
• LEISURE: 50 items, 26 illustrations.  Zoo, leisure and cinema design, films, toys, comics, Mickey Mouse
• WAR: 19 items, 6 illustrations.
• BIOGRAPHIES OF DESIGNERS, ARTISTS and ARCHITECTS.

Includes work by Frank Brangwyn, Dorothy Larcher, Enid Marx, Duncan Grant, Edward Bawden, Victor Skellern, Ambrose Heal, Heal and Son, Romney Green, Peter Waals, Eric Gill, Oliver Hill, Rex Whistler, Syrie Maugham, Norah Braden, Michael Cardew, Sam Haile, Henry Hammond, Bernard Leach, William Staite Murray, Katherine Pleydell Bouverie, Charles Vyse, Paul Nash, Graham Sutherland, John Armstrong for Clarice Cliff, William Moorcroft, James Powell, Barnaby Powell, Harold Stabler,Julian Trevelyan, William Scott, Lubetkin, Gropius, Laszlo Moholy Nagy, Hans Schleger, Bawden, Wadsworth, Richard Beck, Paul Nash, LS Lowry, James Jarche, Bill Brandt, Edward Malindine, Fougasse, W Heath Robinson, Austin Cooper, Moholy Nagy, Chermayeff, Wells Coates, Bestlite, Ekco, Kauffer, Frank Newbould, Tom Purvis, Pat Keely, Ashley Havinden, Anna Zinkeisen, Sibyl Dunlop, HG Murphy, Frank Dobson, Eric Gill, Harold Stabler (silver) Keith Murray, Omar Ramsden, Dunhill designs, Raymond Loewy, Duncan Grant, Frank Dobson (textiles) loads of other textile designs – Marianne Straub, Ashley Havinden, Hans Tisdall, Eric Fraser, Wells Coates, Raymond McGrath, Pat Keely, Barnett Freedman, Kauffer, Rex Whistler, Marion Dorn etc, E McKnight Kauffer (rug designs) Marian Pepler, Barnett Freedman, Kauffer, Ben Nicholson, Hans Schleger, Graham Sutherland, Tom Eckersley, Edward Bawden, Ronald Grierson, Francis Bacon, Serge Chermayeff (rug design, furniture) PEL, Wells Coates, Ekco, Betty Joel, Heals, Gordon Russell, Raymond McGrath, Maurice Adams, Denham Maclaren, Gerald Summers, Makers of Simple Furniture, Marcel Breuer, Isokon, Dunn’s, T Acland Fennemore, Mycock, Eric Ravilious, Wedgwood, Royal Doulton, Noke, Gray-Stan glass, John Adams, Carter Stabler Adams Poole Pottery, AE Gray, Susie Cooper, Eric Slater, Shelley Potteries, Laura Knight for Clarice Cliff, Norman Wilson, Clarice Cliff, John Skeaping, Bourne Denby, Vera Huggins, Paul Nash (glass) Keith Murray, Stevens and Williams, Powell (again) Ravilious (glass) Duncan Grant, Wyndham Lewis, Augustus John, William Nicholson, William Roberts, Meredith Frampton,Stanley Spencer, Eric Ravilious, Christopher Wood, Edward Bawden, Winifred Nicholson, Edward Burra, Francis Bacon, Ceri Richards, Henry Moore, Barbara Hepworth, Ben Nicholson, John Piper, Ivon Hitchens, Graham Sutherland,John Piper, Merlyn Evans, Leon Underwood, John Farleigh, Blair Hughes Stanton, Clare Leighton, Gertrude Hermes, Eric Gill, Ravilious, Joan Hassall, Agnes Miller Parker, Paul Nash, Bawden, Raverat Lutyens, Owen Williams, Raymond McGrath, Oliver Hill, Wells Coates, Breuer, Hepworth (textile) Ben Nicholson (textiles) Clyne Farquharson, Keith Murray, Lubetkin, Wells Caotes, Erno Goldfinger, William Lescaze, E Maxwell Fry, Walter Gropius, FRS Yorke, Lasdun, Connell Ward Lucas, Marcel Breuer, Eric Mendelsohn and others.

Jean Loisy [Editor] Maximilien Vox [Preface]

Jean Loisy [Editor] Maximilien Vox [Preface]: ARTS ET METIERS GRAPHIQUES LETTRES. Paris: Arts et Métiers Graphiques, 1948. First edition. Text in French. Quarto. Thick printed wrappers. 112 pp. Multiple paper stocks. Elaborate typographic examples throughout. Wrappers lightly worn and soiled with spine heel chipped. Interior unmarked and very clean. Out-of-print. A very good or better copy.

9.5 x 12 softcover book with 112 pages and hundreds of reproductions on large folio plates of innovative typography designs from the 1940's. Preface By Maximilien Vox. This is an amazing anthology of French and European typography culled from the files of the French typefoundry Deberny et Peignot (publishers of the legendary Arts et Métiers Graphiques).

Contents (my English translation of the French):

• Romanesque Alphabets
• Foundry Alphabets
• The Letter in Publishing
• The Letter in Book Binding
• Book Marks
• Trade Marks
• Monographs
• Calligraphs
• Labels
• The Letter in Advertising
• The Letter on Windows
• The Letter in Advertising
• The Letter on Storefronts & Billboards
• The Letter in Jewelry
• The Letter On the Screen

Includes work by Jean Puiforcat, Joseph Binder, Jacques Nathan, Picard LeDoux, Paul Bonet, Imre Reiner, Henri Matisse, A. M. Cassandre and many other designers whose names have been lost through time.

Following the Art Deco premiere at the 1925 Exposition, A. M. Cassandre joined with designer Jean Carlu to form a group of artists whose mission would be to advance Modernist aesthetics in all applications of design and thought. The Union des Artistes Modernes (UAM) was born of this common goal. Charles Peignot, joined the group's membership with the likes of writer Jean Cocteau, Nobel laureate André Gide, architect Le Courbusier, decorator Sonia Delaunay, Maxmilien Vox, and other artists who specialized in the design of jewelry, textiles, furniture, and lighting.

Peignot later clarified the group's purpose: 'Together we tried to break away from the style that survived the first World War. It is not surprising that I tried to accomplish in my field what my friends were doing in theirs." With a supportive peer group, a willing audience, a rejuvenated economy, and the fine reputation of his firm, Charles Peignot was set to become a leader in his field.

Charles Peignot stands as one of the true Giants of 20th-century typography. As head of the French typefoundry Deberny et Peignot, Peignot was a major force in the French pre-war art world. His type foundry manufactured thousands of metal type designs and pioneered art deco and modernist typography (Peignot even bought the rights to the Bauhaus typeface Futura in 1929 after Maximilien Vox predicted it would be a huge success). His goal in Arts et Métiers Graphiques was to create "the most interesting and luxurious [magazine of art] in the world."

Arts et Métiers Graphiques has been described by the design historian and typographer Ruari McLean as perhaps the most visually satisfying graphic arts magazine ever. It was founded in 1927 by Charles Peignot and published 68 issues from 1927 to1939, when war forced its closure. Over those years it covered and helped to popularize some of the most important graphic movements in history, from constructivism and the Russian avant-garde through art deco, cubism, Bauhaus, and a dizzying array of technical developments in printing and photographic technology.

This anthology carries on the Arts et Métiers Graphiques tradition. Recommended.

September 1933

Charles Peignot [Directeur]

Charles Peignot [Directeur]: ARTS ET METIERS GRAPHIQUES 37. Paris: Arts et Metiers Graphiques. Original Edition [September 1933]. Text in French. Published in an edition of 4,000 copies. Slim folio. Perfect bound thick printed wrappers. Side stapled textblock. 64 pp. Multiple paper stocks. Tipped in and bound inserts throughout. Elaborate graphic design and typography. Front cover is clean and binding is still tight with very minor shelfwear. First page [ad] has some foxing and the first 7 pages have slight rippling. Otherwise, a very good or better copy.
9.5 x 12.25 soft cover magazine with stiff printed wrappers mechanically bound with wire staples. Legendary French Arts magazine published by Charles Peignot that represented the state-of-the-art in fine publishing in pre-war France. Each issue was printed by a wide variety of presses and techniques and collated by Deberny et Peignot. Every issue of Arts et Metiers Graphiques includes tip-ins, lithographs and many other special finishing effects to make them a singular aesthetic experience. Highly recommended.

Contents
Des vers inconnus de Ronsard: printed on onion skin paper, which slightly foxed
Despiau dessinateur et illustrateur by Claude Roger-Marx
Autographes d'artistes fe la Comedie Francaise sous le 1er Empire by Jean Lhomer
Commentaires graphologiques sur Talma by Edouard de Rougemont
Autographes de la collection de Henri de Rothschild
Kertesz et son miroir by Bertrand Guegan: 2 pages with 5 b/w illustrations
Histoire de l'impression de la musique. Le XVe siecle by Bertrand Guegan
Images populaires chinoises by J.-P. Dubosc
Le style Garamont by Maximilien Vox
Graphisme nouveau. Le dessin anime by Andre Vigneau: 4 pages with 10 b/w illustrations including work by Walt Disney and Max Fleischer
La Fonderie de letters et les fondeurs francaise by Marius Audin
Actualite Graphique: 7 pages with 19 b/w illustrations and 3 plates [please see Plates below] including work by Cassandre; pages from M. Paul Nelson's "la Cite Hospitaliere"; cover, page and spread from a brochure by Brodovitch for "Aquatone"; Marie-Louise Dolleans; Coulon; Gischia; Ben Sussan; Masereel, Leon Zack; and, Schlumberger
Plates: Lettre autographe de Descartes; Estampe chinoise en couleurs; Planche de vignette de Ben Sussan; Planche extraite de l'album PHOTO 1933-34; Photo by Andre Vigneau; Photo by Germaine Martin

Arts et Metiers Graphiques (AMG) was a prominent French graphic arts journal that published sixty-eight issues in total, on a bi-monthly basis from September 1927 to May 1939. The magazine reported on diverse themes that impacted the graphic arts, including: the history of printing, typography, advertising design, photography, and technical advances of the time.

AMG was conceived by Charles Peignot, head of the French typefoundry, Deberny et Peignot ( the leading company of its kind in France). In AMG, Peignot wanted to cover "all the subjects near or far from printing, of its history, and its diverse contemporary manifestations."

In over ten years of publication, Peignot's wide editorial goal came to encompass subjects ranging from illustration, history of the book, and printing techniques, to the expanding disciplines of advertising design and modern art photography. The magazine also featured regular reviews of fine limited-edition books and reprints of classical literature excerpts in typographically innovative layouts. Each edition was printed on high-quality papers with frequent tip-ins and inserts. Until World War II forced the magazine to cease production, AMG maintained one of the highest standard for graphic arts magazines of its time.

In 1927, Peignot launched the first edition of AMG, a magazine that would become a world forum for trends in the graphic arts. Peignot's goal was to print "the most interesting and luxurious [magazine of art] in the world." He did so by assembling a noteworthy staff that reported on subjects ranging from the history of writing, to photography, to Picasso's latest canvases. The magazine was a fixture of fine printing and journalism for twelve years until the onset World War II disrupted its production.

Approximately 4,000 copies of the magazine were released bimonthly on the fifteenth of the month. This short run enhanced the magazine's status as a collectible item. The magazine was sold mainly through subscriptions, one third of which were foreign from Great Britain, the United States, Germany, and Eastern Europe. Early issues included an insert that summarized articles in English. For binding, the text block was collected as leaves and mechanically bound with wire staples. Printed paper covers were then glued onto the blocks.

The attention to detail on all production fronts -- design, typography, writing, photography, and printing -- was intended to serve the interests of the French intelligentsia who were the connoisseurs of deluxe publications.

The concept of the deluxe publication was critical to AMG's editorial vision because each publication of its caliber it was necessary to collaborate across the lines of the graphic arts. In these books, typography served subject matter, illustration was inspired by theme, and the printing and binding processes contributed to the preciousness of a singular work whose production required a writer, designer, illustrator, typographer, printer, and binder.

Charles Peignot made connections with the key participants in the Deco and Modernist movements around the time of the 1925 Exposition des Arts Decoratifs et Industriels Modernes. A. M. Cassandre, (nee Adolphe Jean-Marie Mouron), won first prize at the Expo for a furniture store's poster design entitled "Au BËšcheron." From this introduction, Peignot commissioned Cassandre to design letters for the foundry.

Following the Art Deco premiere at the 1925 Exposition, Cassandre joined with designer Jean Carlu to form a group of artists whose mission would be to advance Modernist aesthetics in all applications of design and thought. The Union des Artistes Modernes (UAM) was born of this common goal. Charles Peignot, joined the group's membership with the likes of writer Jean Cocteau, Nobel laureate Andre Gide, architect Le Courbusier, decorator Sonia Delaunay, Maxmilien Vox, and other artists.

Peignot later clarified the group's purpose: "Together we tried to break away from the style that survived the first World War. It is not surprising that I tried to accomplish in my field what my friends were doing in theirs."

With a supportive peer group, a willing audience, a rejuvenated economy, and the fine reputation of his firm, Charles Peignot was set to become a leader in his field.

AMG reported consistently on ten mainstay themes. The constant staples were "Book and Printing History," "Illustration," "Bibliophily," "Graphic Arts Techniques," "Contemporary Graphic Design," and a miscellany of articles that can only be described as "Variety."

Articles on typography were a constant presence, but a specific column on foreign typography, only appeared regularly for the first two years. "Autographe" or "Writing Analysis" was a regular topic for a few issues in the 1930s.

The editorial format of AMG changed little through its ten years. The magazine opened with at least two pages of full-page advertisements. Then on a recto page, was the table of contents, along with the imprint, and editorial credits. On the reverse of this leaf was a comprehensive colophon that listed the name of the printer and printing process for each plate in the issue.

An "article de tÍte," (roughly meaning: "thinking article"), followed the colophon. Here, a signature of four pages presented an excerpt from a literary text in a creative typographic layout, printed with additional color plates on fine paper.

"Graphic Arts Techniques," "Book and Printing History," and "Variety" articles rounded out the first half of the magazine. The "Techniques" columns explained common reproduction processes of the time through diagrams and photo-essays. Their content was fairly general since the audience was not typically bluecollar pressmen, but scholars and professionals instead. To reinforce the effects of the technical process, an illustration made from the specific process always accompanied the article.

The "History" articles covered foremost the virtual pantheon of figures in printing history. Each article was a lengthy salute to these individuals, complete with numerous reproductions of printing exemplars and page spreads from first editions. Other articles in this category focused on some aspect of printing history that evolved through a particular era, such as 19th century book design.

The "Variety" articles were an eclectic mix of subjects that were always pertinent to graphic arts even in covering the mundane. Subject matter here included the history of printed handkerchiefs, the design of road-signs, early citrus fruit labels, food sculpture, gourd decoration, and the creation of Indian sand paintings.

The second half of the magazine consistently included a feature article on a successful graphic artist of the period. This "Illustration" article was embellished with reproductions of the artist's work, a short bibliography of his or her publications, and sometimes a photographic or self-drawn portrait.

The column called "L'OEil du Bibliophile," "The Eye of the Bibliophile", often followed with reviews of the finest limited-edition books. AMG provided the service of announcing the deluxe editions and offering an original plate from some of them as proof of their superior quality.

The section, "L'Actualite Graphique,""The Graphics News," dominated the back portion as a portfolio of new and noteworthy graphic design. Here, designs for advertising posters, packaging, booklets, and point-of-purchase displays were reproduced with small captions and little explanatory text. Sumptuous color plates were regularly placed in this section.

Magazine issues concluded with "Notes et …chos," a section for announcements, letters to the editor, short articles, and numerous advertisements by booksellers, publishing companies, paper manufacturers, ad agencies, and foreign graphic arts magazines.

The typographic layout of AMG can be considered as the most pervasive theme of the magazine. Like perpetual advertising, each issue was almost entirely hand-set with Deberny et Peignot typefaces that changed with the trends of the time. In 1927, AMG was first set in Naudin, a traditional serif typeface with long ascenders from the Deberny and Peignot catalogue. As the content became more progressive, sans serifs gradually appeared. Also, when Cassandre's Bifur was introduced, it became an instant signature display typeface for advertisements and articles that needed an ultra-modernistic look. In accordance with the 1937 Exposition, which deemed Peignot as the official type-face of the event, AMG was set entirely in the same uncial-inspired face.

Just as the typeface choices were novel, so too were the text layouts that employed those faces. Aligned with the foundry's mission to sell type, the creative design of AMG needed to be at the vanguard in order to serve Peignot's ambition of creating a magazine that aspired to be the reference in the graphic arts. Excellent journalism and design were on par with each other. Evidence of this is shown in the fact that the magazine's colophon was placed at the front of the issue for all to see, instead as an afterthought squeezed into fine print at the end.

Along with elegant typesetting and design, the magazine frequently published articles that discussed type from different perspectives. Type history, type designers, type classification, and type design aesthetics were subjects all broached in AMG.

Charles Peignot first published AMG in 1927. To do this, he assembled an editorial staff made up of men from his father's generation and peers from his own. In this way, AMG sprung from a perfect balance of time-tested experience and forward-thinking enthusiasm. Each member's expertise served a specific purpose. From the old guard, Peignot collaborated with Henri-Albert Motti, director of Imprimerie de Vaugirard, whose firm printed AMG through its final issue in 1939.

Also, Leon Pichon, an editor, printer, and type designer, and advertising director Walter Maas worked on the director's committee. Lucien Vogel, prolific publisher of three other monthlies, Gazette du Bonton, Jardin des Modes, and Vu, advised on the magazine's audience appeal. Rounding out this group was Francois Haab, who served as the editor-in-chief. From Peignot's generation was Bertrand Guegan who contributed to nearly every issue, first as the "Book History and Bibliophile" columnist, then as a regular book reviewer.

Although not an official staff-member, Maximilien Vox wrote regularly on typographic design through all ten years of the magazine's publication. With this host of talent, Peignot could realize his "most interesting and luxurious [art magazine] in the world."

Thanks to Amelia Hugill-Fontanel and her Graduate Research at the Rochester Institute of Technology for production of this listing.

April 1936

Charles Peignot [Directeur]

Charles Peignot [Directeur]: ARTS ET METIERS GRAPHIQUES 52. Paris: Arts et Metiers Graphiques. Original Edition [April 1936]. Text in French. Published in an edition of 4,000 copies. Slim folio. Perfect bound thick printed wrappers. Side stapled textblock. 68 pp. Multiple paper stocks. Tipped in and bound inserts throughout. Elaborate graphic design and typography. Nick on the spine. Wrappers lightly worn, rubbed and spotted. A good or better copy.

9.5 x 12.25 soft cover magazine with stiff printed wrappers mechanically bound with wire staples. Legendary French Arts magazine published by Charles Peignot that represented the state-of-the-art in fine publishing in pre-war France. Each issue was printed by a wide variety of presses and techniques and collated by Deberny et Peignot. Every issue of Arts et Metiers Graphiques includes tip-ins, lithographs and many other special finishing effects to make them a singular aesthetic experience. Highly recommended.

Contents
Paul Eluard: 4 pages typeset poem
Quatre siecles de canards by Jean Selz: 4 pages
Graphisme de l'univers by Rene Servant
Theophilos, peintre-paysan grec | L'heliophore Dufay by Maurice Reynal
Comment se fabrique un hebdomadaire by Florent Fels
Quelques projets burlesques pour une exposition universelle by Arnold Suter
Naissance et revolution de l'indicateur des chemins de fer by Paul L'huillier
L'Egyptienne
Actualite Graphique
Notes et Echos
Plates: Canard anglais dud XIXe siecle [collection Mademoiselle Bomsel]; Deux peintures de Theophilos, peintre-paysan grec; Masque negre. Page extraite de l'Encyclopedie francaise tome VIII; Calendrier postal par le Studio Levitt-Him [Varsovie]

Arts et Metiers Graphiques (AMG) was a prominent French graphic arts journal that published sixty-eight issues in total, on a bi-monthly basis from September 1927 to May 1939. The magazine reported on diverse themes that impacted the graphic arts, including: the history of printing, typography, advertising design, photography, and technical advances of the time.

AMG was conceived by Charles Peignot, head of the French typefoundry, Deberny et Peignot ( the leading company of its kind in France). In AMG, Peignot wanted to cover "all the subjects near or far from printing, of its history, and its diverse contemporary manifestations."

In over ten years of publication, Peignot's wide editorial goal came to encompass subjects ranging from illustration, history of the book, and printing techniques, to the expanding disciplines of advertising design and modern art photography. The magazine also featured regular reviews of fine limited-edition books and reprints of classical literature excerpts in typographically innovative layouts. Each edition was printed on high-quality papers with frequent tip-ins and inserts. Until World War II forced the magazine to cease production, AMG maintained one of the highest standard for graphic arts magazines of its time.

In 1927, Peignot launched the first edition of AMG, a magazine that would become a world forum for trends in the graphic arts. Peignot's goal was to print "the most interesting and luxurious [magazine of art] in the world." He did so by assembling a noteworthy staff that reported on subjects ranging from the history of writing, to photography, to Picasso's latest canvases. The magazine was a fixture of fine printing and journalism for twelve years until the onset World War II disrupted its production.

Approximately 4,000 copies of the magazine were released bimonthly on the fifteenth of the month. This short run enhanced the magazine's status as a collectible item. The magazine was sold mainly through subscriptions, one third of which were foreign from Great Britain, the United States, Germany, and Eastern Europe. Early issues included an insert that summarized articles in English. For binding, the text block was collected as leaves and mechanically bound with wire staples. Printed paper covers were then glued onto the blocks.

The attention to detail on all production fronts -- design, typography, writing, photography, and printing -- was intended to serve the interests of the French intelligentsia who were the connoisseurs of deluxe publications.

The concept of the deluxe publication was critical to AMG's editorial vision because each publication of its caliber it was necessary to collaborate across the lines of the graphic arts. In these books, typography served subject matter, illustration was inspired by theme, and the printing and binding processes contributed to the preciousness of a singular work whose production required a writer, designer, illustrator, typographer, printer, and binder.

Charles Peignot made connections with the key participants in the Deco and Modernist movements around the time of the 1925 Exposition des Arts Decoratifs et Industriels Modernes. A. M. Cassandre, (nee Adolphe Jean-Marie Mouron), won first prize at the Expo for a furniture store's poster design entitled "Au BËšcheron." From this introduction, Peignot commissioned Cassandre to design letters for the foundry.

Following the Art Deco premiere at the 1925 Exposition, Cassandre joined with designer Jean Carlu to form a group of artists whose mission would be to advance Modernist aesthetics in all applications of design and thought. The Union des Artistes Modernes (UAM) was born of this common goal. Charles Peignot, joined the group's membership with the likes of writer Jean Cocteau, Nobel laureate Andre Gide, architect Le Courbusier, decorator Sonia Delaunay, Maxmilien Vox, and other artists.

Peignot later clarified the group's purpose: "Together we tried to break away from the style that survived the first World War. It is not surprising that I tried to accomplish in my field what my friends were doing in theirs."

With a supportive peer group, a willing audience, a rejuvenated economy, and the fine reputation of his firm, Charles Peignot was set to become a leader in his field.

AMG reported consistently on ten mainstay themes. The constant staples were "Book and Printing History," "Illustration," "Bibliophily," "Graphic Arts Techniques," "Contemporary Graphic Design," and a miscellany of articles that can only be described as "Variety."

Articles on typography were a constant presence, but a specific column on foreign typography, only appeared regularly for the first two years. "Autographe" or "Writing Analysis" was a regular topic for a few issues in the 1930s.

The editorial format of AMG changed little through its ten years. The magazine opened with at least two pages of full-page advertisements. Then on a recto page, was the table of contents, along with the imprint, and editorial credits. On the reverse of this leaf was a comprehensive colophon that listed the name of the printer and printing process for each plate in the issue.

An "article de tÍte," (roughly meaning: "thinking article"), followed the colophon. Here, a signature of four pages presented an excerpt from a literary text in a creative typographic layout, printed with additional color plates on fine paper.

"Graphic Arts Techniques," "Book and Printing History," and "Variety" articles rounded out the first half of the magazine. The "Techniques" columns explained common reproduction processes of the time through diagrams and photo-essays. Their content was fairly general since the audience was not typically bluecollar pressmen, but scholars and professionals instead. To reinforce the effects of the technical process, an illustration made from the specific process always accompanied the article.

The "History" articles covered foremost the virtual pantheon of figures in printing history. Each article was a lengthy salute to these individuals, complete with numerous reproductions of printing exemplars and page spreads from first editions. Other articles in this category focused on some aspect of printing history that evolved through a particular era, such as 19th century book design.

The "Variety" articles were an eclectic mix of subjects that were always pertinent to graphic arts even in covering the mundane. Subject matter here included the history of printed handkerchiefs, the design of road-signs, early citrus fruit labels, food sculpture, gourd decoration, and the creation of Indian sand paintings.

The second half of the magazine consistently included a feature article on a successful graphic artist of the period. This "Illustration" article was embellished with reproductions of the artist's work, a short bibliography of his or her publications, and sometimes a photographic or self-drawn portrait.

The column called "L'OEil du Bibliophile," "The Eye of the Bibliophile", often followed with reviews of the finest limited-edition books. AMG provided the service of announcing the deluxe editions and offering an original plate from some of them as proof of their superior quality.

The section, "L'Actualite Graphique,""The Graphics News," dominated the back portion as a portfolio of new and noteworthy graphic design. Here, designs for advertising posters, packaging, booklets, and point-of-purchase displays were reproduced with small captions and little explanatory text. Sumptuous color plates were regularly placed in this section.

Magazine issues concluded with "Notes et …chos," a section for announcements, letters to the editor, short articles, and numerous advertisements by booksellers, publishing companies, paper manufacturers, ad agencies, and foreign graphic arts magazines.

The typographic layout of AMG can be considered as the most pervasive theme of the magazine. Like perpetual advertising, each issue was almost entirely hand-set with Deberny et Peignot typefaces that changed with the trends of the time. In 1927, AMG was first set in Naudin, a traditional serif typeface with long ascenders from the Deberny and Peignot catalogue. As the content became more progressive, sans serifs gradually appeared. Also, when Cassandre's Bifur was introduced, it became an instant signature display typeface for advertisements and articles that needed an ultra-modernistic look. In accordance with the 1937 Exposition, which deemed Peignot as the official type-face of the event, AMG was set entirely in the same uncial-inspired face.

Just as the typeface choices were novel, so too were the text layouts that employed those faces. Aligned with the foundry's mission to sell type, the creative design of AMG needed to be at the vanguard in order to serve Peignot's ambition of creating a magazine that aspired to be the reference in the graphic arts. Excellent journalism and design were on par with each other. Evidence of this is shown in the fact that the magazine's colophon was placed at the front of the issue for all to see, instead as an afterthought squeezed into fine print at the end.

Along with elegant typesetting and design, the magazine frequently published articles that discussed type from different perspectives. Type history, type designers, type classification, and type design aesthetics were subjects all broached in AMG.

Charles Peignot first published AMG in 1927. To do this, he assembled an editorial staff made up of men from his father's generation and peers from his own. In this way, AMG sprung from a perfect balance of time-tested experience and forward-thinking enthusiasm. Each member's expertise served a specific purpose. From the old guard, Peignot collaborated with Henri-Albert Motti, director of Imprimerie de Vaugirard, whose firm printed AMG through its final issue in 1939.

Also, Leon Pichon, an editor, printer, and type designer, and advertising director Walter Maas worked on the director's committee. Lucien Vogel, prolific publisher of three other monthlies, Gazette du Bonton, Jardin des Modes, and Vu, advised on the magazine's audience appeal. Rounding out this group was Francois Haab, who served as the editor-in-chief. From Peignot's generation was Bertrand Guegan who contributed to nearly every issue, first as the "Book History and Bibliophile" columnist, then as a regular book reviewer.

Although not an official staff-member, Maximilien Vox wrote regularly on typographic design through all ten years of the magazine's publication. With this host of talent, Peignot could realize his "most interesting and luxurious [art magazine] in the world."

Thanks to Amelia Hugill-Fontanel and her Graduate Research at the Rochester Institute of Technology for production of this listing.

November 1936

Charles Peignot [Directeur]

Charles Peignot [Directeur]: ARTS ET METIERS GRAPHIQUES 55. Paris: Arts et Métiers Graphiques, 1936. Issue number 55. Text in French. Published in an edition of 4,000 copies. A very good softcover perfect-bound book in stiff, printed wrappers: covers lightly soiled and spine tips chipped. Increasingly uncommon.

9.5 x 12.25 softcover magazine with stiff printed wrappers mechanically bound with wire staples. Legendary French Arts magazine published by Charles Peignot that represented the state-of-the-art in fine publishing in pre-war France. Each issue was printed by a wide variety of presses and techniques and collated by Deberny et Peignot. Every issue of Arts et Métiers Graphiques includes tip-ins, lithographs and many other special finishing effects to make them a singular aesthetic experience. Highly recommended.

Contents for Arts et Métiers Graphiques Paris Issue No.: 55 [Date Published: 11/1/1936]

• The War of Troy will not take place: 4 page(s): Exercise in typesetting a play.
• Panoramic Papers: 10 page(s): About a panoramic style of wallpaper composed of images printed and hung in register on walls.
• The Secrets and Laws of Sound Printing: 10 page(s): Describes the process of manufacturing phonograph records.
• The Symbolism Exhibition at the Bibliothèque Nationale: 2 page(s)
• First Salon of Graphic Arts and Trades: 1 page(s): Announcement that AMG is sponsoring this Salon to take place for the first time in March 1937.
• The Greek Herbalists: 6 page(s)
• Monkey gathering crocus: fresco of the royal palace of Knossos: 1 page(s)
• Maillol: 5 page(s)
• Old Paper Mills in Auvergne: 6 page(s)
• Paper sample from Auvergne made by Lebon-Bonnefoy: 1 page(s)
• Popular Imagery from Old Russia: 9 page(s): Describes a genre of Russian stories, published with large illustrations. Provides translations for the reproductions published in the article
• Colonies of Woman Painters: 1 page(s)
• The Graphics News: 4 page(s)
• Project for a "House of Advertising": 2 page(s) Architectural drawings for this building, which would be a showcase for French advertising.
• A beautiful book (Review of Guégan's new book on the history of medicine): 1 page(s)
• Bibliography (Announcement for new book releases): 2 page(s)
• The first printed book at Aix-en-Provence? (The first book from Aix was on law, printed in 1552): 3 page(s)
• Vaugirard Printery Is the Typographic Press of Arts et Métiers Graphiques: 1 page(s); Conjectures on the Next State of the Bibliophile: 1 page(s); The King's Party on the Champs-Elysées (wallpaper published around 1816, complete in 25 widths): 1 page(s); Lithography by André Robert illustrating "Didine in the Country of Words": 1 page(s); Cave paintings, Southern Africa. Plates from the French Encyclopedia: 2 page(s); A young pharmacist preparing medicines (miniature from the XIII th century): 1 page(s); A papermaking workshop in the eighteenth century: 1 page(s); A specimen page of the work of Imprimerie Basler Druck: 1 page(s); Party hair with Coloral: 1 page(s).

Arts et Métiers Graphiques (AMG) was a prominent French graphic arts journal that published sixty-eight issues in total, on a bi-monthly basis from September 1927 to May 1939. The magazine reported on diverse themes that impacted the graphic arts, including: the history of printing, typography, advertising design, photography, and technical advances of the time.

AMG was conceived by Charles Peignot, head of the French typefoundry, Deberny et Peignot ( the leading company of its kind in France). In AMG, Peignot wanted to cover "all the subjects near or far from printing, of its history, and its diverse contemporary manifestations."

In over ten years of publication, Peignot's wide editorial goal came to encompass subjects ranging from illustration, history of the book, and printing techniques, to the expanding disciplines of advertising design and modern art photography. The magazine also featured regular reviews of fine limited-edition books and reprints of classical literature excerpts in typographically innovative layouts. Each edition was printed on high-quality papers with frequent tip-ins and inserts. Until World War II forced the magazine to cease production, AMG maintained one of the highest standard for graphic arts magazines of its time.

In 1927, Peignot launched the first edition of AMG, a magazine that would become a world forum for trends in the graphic arts. Peignot's goal was to print "the most interesting and luxurious [magazine of art] in the world." He did so by assembling a noteworthy staff that reported on subjects ranging from the history of writing, to photography, to Picasso's latest canvases. The magazine was a fixture of fine printing and journalism for twelve years until the onset World War II disrupted its production.

Approximately 4,000 copies of the magazine were released bimonthly on the fifteenth of the month. This short run enhanced the magazine's status as a collectible item. The magazine was sold mainly through subscriptions, one third of which were foreign from Great Britain, the United States, Germany, and Eastern Europe. Early issues included an insert that summarized articles in English. For binding, the text block was collected as leaves and mechanically bound with wire staples. Printed paper covers were then glued onto the blocks.

The attention to detail on all production fronts—design, typography, writing, photography, and printing—was intended to serve the interests of the French intelligentsia who were the connoisseurs of deluxe publications.

The concept of the deluxe publication was critical to AMG's editorial vision because each publication of its caliber it was necessary to collaborate across the lines of the graphic arts. In these books, typography served subject matter, illustration was inspired by theme, and the printing and binding processes contributed to the preciousness of a singular work whose production required a writer, designer, illustrator, typographer, printer, and binder.

Charles Peignot made connections with the key participants in the Deco and Modernist movements around the time of the 1925 Exposition des Arts Décoratifs et Industriels Modernes. A. M. Cassandre, (nee Adolphe Jean-Marie Mouron), won first prize at the Expo for a furniture store's poster design entitled "Au Bûcheron." From this introduction, Peignot commissioned Cassandre to design letters for the foundry.

Following the Art Deco premiere at the 1925 Exposition, Cassandre joined with designer Jean Carlu to form a group of artists whose mission would be to advance Modernist aesthetics in all applications of design and thought. The Union des Artistes Modernes (UAM) was born of this common goal. Charles Peignot, joined the group's membership with the likes of writer Jean Cocteau, Nobel laureate André Gide, architect Le Courbusier, decorator Sonia Delaunay, Maxmilien Vox, and other artists.

Peignot later clarified the group's purpose: "Together we tried to break away from the style that survived the first World War. It is not surprising that I tried to accomplish in my field what my friends were doing in theirs."

With a supportive peer group, a willing audience, a rejuvenated economy, and the fine reputation of his firm, Charles Peignot was set to become a leader in his field.

AMG reported consistently on ten mainstay themes. The constant staples were "Book and Printing History," "Illustration," "Bibliophily," "Graphic Arts Techniques," "Contemporary Graphic Design," and a miscellany of articles that can only be described as "Variety."

Articles on typography were a constant presence, but a specific column on foreign typography, only appeared regularly for the first two years. "Autographe" or "Writing Analysis" was a regular topic for a few issues in the 1930s.

The editorial format of AMG changed little through its ten years. The magazine opened with at least two pages of full-page advertisements. Then on a recto page, was the table of contents, along with the imprint, and editorial credits. On the reverse of this leaf was a comprehensive colophon that listed the name of the printer and printing process for each plate in the issue.

An "article de tête," (roughly meaning: "thinking article"), followed the colophon. Here, a signature of four pages presented an excerpt from a literary text in a creative typographic layout, printed with additional color plates on fine paper.

"Graphic Arts Techniques," "Book and Printing History," and "Variety" articles rounded out the first half of the magazine. The "Techniques" columns explained common reproduction processes of the time through diagrams and photo-essays. Their content was fairly general since the audience was not typically bluecollar pressmen, but scholars and professionals instead. To reinforce the effects of the technical process, an illustration made from the specific process always accompanied the article.

The "History" articles covered foremost the virtual pantheon of figures in printing history. Each article was a lengthy salute to these individuals, complete with numerous reproductions of printing exemplars and page spreads from first editions. Other articles in this category focused on some aspect of printing history that evolved through a particular era, such as 19th century book design.

The "Variety" articles were an eclectic mix of subjects that were always pertinent to graphic arts even in covering the mundane. Subject matter here included the history of printed handkerchiefs, the design of road-signs, early citrus fruit labels, food sculpture, gourd decoration, and the creation of Indian sand paintings.

The second half of the magazine consistently included a feature article on a successful graphic artist of the period. This "Illustration" article was embellished with reproductions of the artist's work, a short bibliography of his or her publications, and sometimes a photographic or self-drawn portrait.

The column called "L'OEil du Bibliophile," "The Eye of the Bibliophile", often followed with reviews of the finest limited-edition books. AMG provided the service of announcing the deluxe editions and offering an original plate from some of them as proof of their superior quality.

The section, "L'Actualité Graphique,""The Graphics News," dominated the back portion as a portfolio of new and noteworthy graphic design. Here, designs for advertising posters, packaging, booklets, and point-of-purchase displays were reproduced with small captions and little explanatory text. Sumptuous color plates were regularly placed in this section.

Magazine issues concluded with "Notes et Échos," a section for announcements, letters to the editor, short articles, and numerous advertisements by booksellers, publishing companies, paper manufacturers, ad agencies, and foreign graphic arts magazines.

The typographic layout of AMG can be considered as the most pervasive theme of the magazine. Like perpetual advertising, each issue was almost entirely hand-set with Deberny et Peignot typefaces that changed with the trends of the time. In 1927, AMG was first set in Naudin, a traditional serif typeface with long ascenders from the Deberny and Peignot catalogue. As the content became more progressive, sans serifs gradually appeared. Also, when Cassandre's Bifur was introduced, it became an instant signature display typeface for advertisements and articles that needed an ultra-modernistic look. In accordance with the 1937 Exposition, which deemed Peignot as the official type-face of the event, AMG was set entirely in the same uncial-inspired face.

Just as the typeface choices were novel, so too were the text layouts that employed those faces. Aligned with the foundry's mission to sell type, the creative design of AMG needed to be at the vanguard in order to serve Peignot's ambition of creating a magazine that aspired to be the reference in the graphic arts. Excellent journalism and design were on par with each other. Evidence of this is shown in the fact that the magazine's colophon was placed at the front of the issue for all to see, instead as an afterthought squeezed into fine print at the end.

Along with elegant typesetting and design, the magazine frequently published articles that discussed type from different perspectives. Type history, type designers, type classification, and type design aesthetics were subjects all broached in AMG.

Charles Peignot first published AMG in 1927. To do this, he assembled an editorial staff made up of men from his father's generation and peers from his own. In this way, AMG sprung from a perfect balance of time-tested experience and forward-thinking enthusiasm. Each member's expertise served a specific purpose. From the old guard, Peignot collaborated with Henri-Albert Motti, director of Imprimerie de Vaugirard, whose firm printed AMG through its final issue in 1939.

Also, Léon Pichon, an editor, printer, and type designer, and advertising director Walter Maas worked on the director's committee. Lucien Vogel, prolific publisher of three other monthlies, Gazette du Bonton, Jardin des Modes, and Vu, advised on the magazine's audience appeal. Rounding out this group was François Haab, who served as the editor-in-chief. From Peignot's generation was Bertrand Guégan who contributed to nearly every issue, first as the "Book History and Bibliophile" columnist, then as a regular book reviewer.

Although not an official staff-member, Maximilien Vox wrote regularly on typographic design through all ten years of the magazine's publication. With this host of talent, Peignot could realize his "most interesting and luxurious [art magazine] in the world."

Thanks to Amelia Hugill-Fontanel and her Graduate Research at the Rochester Institute of Technology for production of this listing.

Charles Peignot [Directeur]

Charles Peignot [Directeur]: ARTS ET METIERS GRAPHIQUES 58. Paris: Arts et Metiers Graphiques, July 1937. Original edition. Text in French. Published in an edition of 4,000 copies. Slim folio. Perfect bound thick printed wrappers. Side stapled textblock. 54 pp. [vi]. Multiple paper stocks. Bound inserts throughout. Elaborate graphic design and typography. Wrappers mildly worn with a random pencil mark and ink spot, especially to spine. Side-stapled textblock loosening from perfect bound wrappers. Textblock edges with a couple of tiny nicks . A very good copy.

9.5 x 12.25 softcover magazine with stiff printed wrappers mechanically bound with wire staples. Legendary French Arts magazine published by Charles Peignot that represented the state-of-the-art in fine publishing in pre-war France. Each issue was printed by a wide variety of presses and techniques and collated by Deberny et Peignot. Every issue of Arts et Métiers Graphiques includes tip-ins, lithographs and many other special finishing effects to make them a singular aesthetic experience. Highly recommended.

Contents for Arts et Métiers Graphiques 58 include:

• Full page ads for Photogravure et Offset by Deberny et Peignot; Poste Parisien
• Sur l'Imprimerie [On the Printery]: Jean Baudry. 4 page(s) typeset in Peignot typeface designed by Cassandre.
• Le Trait Contemporain au Petit Palais [The Contemporary Line at the Petit Palais Museum]; Héron de Villefosse. Eleven pages with reproductions of fine art prints by Matisse, Bonnard, Picasso, Apollinaire, Derain, Pouault, Vuillard, Pascin, Dufy, Segonzac, Léger, de Chirico, Juan Gris, Maillol and Despiau.
• Dessin de Henri Matisse [Drawing by Henri Matisse]. One page bound with "Le Trait Contemporain au Petit Palais.”
• Timbrages Précolombiens [Pre-Columbian Stamps]: Heinz Lehmann. Four pages illustrated in black and white.
• Dessins et Décors de Christian Bérard [Drawings and Scenery by Christian Bérard]: André Beucler. Six pages with 2 full page color Bérard drawings from a special issue of "Vogue, “and photography of costume designs for Jean Cocteau’s La Machine Infernale, and Molière’s l’Ecole des femmes.
• Le Saint-Simonisme et l'Image [Saint-Simonianism and the Image]: Pierre Noriey. Ten pages illustrated with popular satyrical image of the Saint-Simonians and a full page color plate Apotres de Mesnil-Montant.
• L'Écriture de Léon Blum, Essai de Graphologie [The writing of Leon Blum, Attempt of Graphology]: Thadée Natanson. Four pages illustrated in black and white.
• Photographie de Bourriez [Photo by Bourriez]. Full page black and white offset litho photograph.
• Les Écoles des Typographie en Amérique [Typography Schools in America]: Chester A. Lyle.  5 pages illustrated in black and white. Lyle writes of Carnegie Institute, Frank Wiggins school in Los Angeles, New York University programs in graphic arts among others.
• L'Actualté Graphique [The Graphics News]. Five pages illustrated in black and white with work by J. P. Junot, Max Huber, Roland Hugon, Raymond Savignac, etc. and interesting photo of an MoMA exhibition designed by Herbert Matter.
• Sweepstake de Monte-Carlo Second Monte-Carlo Sweepstakes]: Guy Serre [Designer]. Magnificent full page color poster reproduction.
• Les Arts et Métiers Graphiques dans les Revues Étrangères [Graphic Arts and Trades in Foreign Magazines]. J. E. Pouterman. Two page new column that comments on the work of "Signature," "Gebrauchsgraphik," "The British Printer," "Printers Ink Monthly" magazines.

Arts et Métiers Graphiques  (AMG) was a prominent French graphic arts journal that published sixty-eight issues in total, on a bi-monthly basis from September 1927 to May 1939. The magazine reported on diverse themes that impacted the graphic arts, including: the history of printing, typography, advertising design, photography, and technical advances of the time.

AMG was conceived by Charles Peignot, head of the French typefoundry, Deberny et Peignot ( the leading company of its kind in France). In AMG, Peignot wanted to cover "all the subjects near or far from printing, of its history, and its diverse contemporary manifestations."

In over ten years of publication, Peignot's wide editorial goal came to encompass subjects ranging from illustration, history of the book, and printing techniques, to the expanding disciplines of advertising design and modern art photography. The magazine also featured regular reviews of fine limited-edition books and reprints of classical literature excerpts in typographically innovative layouts. Each edition was printed on high-quality papers with frequent tip-ins and inserts. Until World War II forced the magazine to cease production, AMG maintained one of the highest standard for graphic arts magazines of its time.

In 1927, Peignot launched the first edition of AMG, a magazine that would become a world forum for trends in the graphic arts. Peignot's goal was to print "the most interesting and luxurious [magazine of art] in the world." He did so by assembling a noteworthy staff that reported on subjects ranging from the history of writing, to photography, to Picasso's latest canvases. The magazine was a fixture of fine printing and journalism for twelve years until the onset World War II disrupted its production.

Approximately 4,000 copies of the magazine were released bimonthly on the fifteenth of the month. This short run enhanced the magazine's status as a collectible item. The magazine was sold mainly through subscriptions, one third of which were foreign from Great Britain, the United States, Germany, and Eastern Europe. Early issues included an insert that summarized articles in English.  For binding, the text block was collected as leaves and mechanically bound with wire staples. Printed paper covers were then glued onto the blocks.

The attention to detail on all production fronts—design, typography, writing, photography, and printing—was intended to serve the interests of the French intelligentsia who were the connoisseurs of deluxe publications.

The concept of the deluxe publication was critical to AMG's editorial vision because each publication of its caliber it was necessary to collaborate across the lines of the graphic arts. In these books, typography served subject matter, illustration was inspired by theme, and the printing and binding processes contributed to the preciousness of a singular work whose production required a writer, designer, illustrator, typographer, printer, and binder.

Charles Peignot made connections with the key participants in the Deco and Modernist movements around the time of the 1925 Exposition des Arts Décoratifs et Industriels Modernes. A. M. Cassandre, (nee Adolphe Jean-Marie Mouron), won first prize at the Expo for a furniture store's poster design entitled "Au Bûcheron."  From this introduction, Peignot commissioned Cassandre to design letters for the foundry.

Following the Art Deco premiere at the 1925 Exposition, Cassandre joined with designer Jean Carlu to form a group of artists whose mission would be to advance Modernist aesthetics in all applications of design and thought. The Union des Artistes Modernes (UAM) was born of this common goal. Charles Peignot, joined the group's membership with the likes of writer Jean Cocteau, Nobel laureate André Gide, architect Le Courbusier, decorator Sonia Delaunay, Maxmilien Vox, and other artists.

Peignot later clarified the group's purpose: "Together we tried to break away from the style that survived the first World War. It is not surprising that I tried to accomplish in my field what my friends were doing in theirs."

With a supportive peer group, a willing audience, a rejuvenated economy, and the fine reputation of his firm, Charles Peignot was set to become a leader in his field.

AMG reported consistently on ten mainstay themes. The constant staples were "Book and Printing History," "Illustration," "Bibliophily," "Graphic Arts Techniques," "Contemporary Graphic Design," and a miscellany of articles that can only be described as "Variety."

Articles on typography were a constant presence, but a specific column on foreign typography, only appeared regularly for the first two years. "Autographe" or "Writing Analysis" was a regular topic for a few issues in the 1930s.

The editorial format of AMG changed little through its ten years. The magazine opened with at least two pages of full-page advertisements. Then on a recto page, was the table of contents, along with the imprint, and editorial credits. On the reverse of this leaf was a comprehensive colophon that listed the name of the printer and printing process for each plate in the issue.

An "article de tête," (roughly meaning: "thinking article"), followed the colophon. Here, a signature of four pages presented an excerpt from a literary text in a creative typographic layout, printed with additional color plates on fine paper.

"Graphic Arts Techniques," "Book and Printing History," and "Variety" articles rounded out the first half of the magazine. The "Techniques" columns explained common reproduction processes of the time through diagrams and photo-essays. Their content was fairly general since the audience was not typically bluecollar pressmen, but scholars and professionals instead. To reinforce the effects of the technical process, an illustration made from the specific process always accompanied the article.

The "History" articles covered foremost the virtual pantheon of figures in printing history. Each article was a lengthy salute to these individuals, complete with numerous reproductions of printing exemplars and page spreads from first editions. Other articles in this category focused on some aspect of printing history that evolved through a particular era, such as 19th century book design.

The "Variety" articles were an eclectic mix of subjects that were always pertinent to graphic arts even in covering the mundane. Subject matter here included the history of printed handkerchiefs, the design of road-signs, early citrus fruit labels, food sculpture, gourd decoration, and the creation of Indian sand paintings.

The second half of the magazine consistently included a feature article on a successful graphic artist of the period. This "Illustration" article was embellished with reproductions of the artist's work, a short bibliography of his or her publications, and sometimes a photographic or self-drawn portrait.

The column called "L'OEil du Bibliophile," "The Eye of the Bibliophile", often followed with reviews of the finest limited-edition books.  AMG provided the service of announcing the deluxe editions and offering an original plate from some of them as proof of their superior quality.

The section, "L'Actualité Graphique,""The Graphics News," dominated the back portion as a portfolio of new and noteworthy graphic design. Here, designs for advertising posters, packaging, booklets, and point-of-purchase displays were reproduced with small captions and little explanatory text. Sumptuous color plates were regularly placed in this section.

Magazine issues concluded with "Notes et Échos," a section for announcements, letters to the editor, short articles, and numerous advertisements by booksellers, publishing companies, paper manufacturers, ad agencies, and foreign graphic arts magazines.

The typographic layout of AMG can be considered as the most pervasive theme of the magazine. Like perpetual advertising, each issue was almost entirely hand-set with Deberny et Peignot typefaces that changed with the trends of the time. In 1927, AMG was first set in Naudin, a traditional serif typeface with long ascenders from the Deberny and Peignot catalogue. As the content became more progressive, sans serifs gradually appeared. Also, when Cassandre's Bifur was introduced, it became an instant signature display typeface for advertisements and articles that needed an ultra-modernistic look. In accordance with the 1937 Exposition, which deemed Peignot as the official type-face of the event, AMG was set entirely in the same uncial-inspired face.

Just as the typeface choices were novel, so too were the text layouts that employed those faces.  Aligned with the foundry's mission to sell type, the creative design of AMG needed to be at the vanguard in order to serve Peignot's ambition of creating a magazine that aspired to be the reference in the graphic arts. Excellent journalism and design were on par with each other. Evidence of this is shown in the fact that the magazine's colophon was placed at the front of the issue for all to see, instead as an afterthought squeezed into fine print at the end.

Along with elegant typesetting and design, the magazine frequently published articles that discussed type from different perspectives. Type history, type designers, type classification, and type design aesthetics were subjects all broached in AMG.

Charles Peignot first published AMG in 1927. To do this, he assembled an editorial staff made up of men from his father's generation and peers from his own. In this way, AMG sprung from a perfect balance of time-tested experience and forward-thinking enthusiasm. Each member's expertise served a specific purpose. From the old guard, Peignot collaborated with Henri-Albert Motti, director of Imprimerie de Vaugirard, whose firm printed AMG through its final issue in 1939.

Also, Léon Pichon, an editor, printer, and type designer, and advertising director Walter Maas worked on the director's committee. Lucien Vogel, prolific publisher of three other monthlies, Gazette du Bonton, Jardin des Modes, and Vu, advised on the magazine's audience appeal. Rounding out this group was François Haab, who served as the editor-in-chief. From Peignot's generation was Bertrand Guégan who contributed to nearly every issue, first as the "Book History and Bibliophile" columnist, then as a regular book reviewer.

Although not an official staff-member, Maximilien Vox wrote regularly on typographic design through all ten years of the magazine's publication. With this host of talent, Peignot could realize his "most interesting and luxurious [art magazine] in the world."

Thanks to Amelia Hugill-Fontanel and her Graduate Research at the Rochester Institute of Technology for production of this listing.

Boris Artzybasheff

[Notes to folios by the artist]. New York: Dodd, Mead & Company, 1954. First edition. Quarto. Full tan cloth decorated in white. Printed dust jacket. Decorated endpapers. Color frontis [102] pp. One color letterpress plate, otherwise fully illustrated with gravures from the Beck Engraving Company. Lower corner gently bumped. Beautiful bright price clipped jacket with trivial edge wear and a faint dampstain to rear panel. Author portrait by Walker Evans. Exceptionally well preserved and the finest copy available: a nearly fine copy in a nearly fine dust jacket. Rare in this condition.

“As I see, so I draw. There is no need for me to smoke marijuana or opium because, being slightly myopic, all I have to do is to take off my glasses and the world around me looks that way.” —Boris Artzybasheff

8.5 x 11.5-inch hardcover book fully illustrated with magnificent Grave plates from the Beck Engraving Company and two color letterpress plates. Author portrait by Walker Evans. Don’t be fooled by the 2008 reprint edition—Artzybasheff’s work has always been about the quality of reproductions, and they don’t get any better than the plates presented in this 1954 edition.

The whimsical endpapers trace the history of human conflict from the first chokehold to our eventual nuclear oblivion fifteen years before Stanley Kubrick retraced the same journey in 2001: A Space Odyssey. This fantastical collection teems with ironic imagery which documents our culture’s vanity, aggression, dreams, and neuroses with biting wit and wisdom. Boris Artzybasheff’s striking graphic style, which includes everything from grotesque experiments in anthropomorphism, to the depiction of vivid and extreme ranges of human psychology and emotion, is displayed to full effect in this seminal collection of his work.

"I am thrilled by machinery’s force, precision and willingness to work at any task, no matter how arduous or monotonous it may be. I would rather watch a thousand ton dredge dig a canal than see it done by a thousand spent slaves lashed into submission... I like machines." - Boris Artzybasheff

Boris Mikhailovich Artzybasheff (Russian, 1899 – 1965) was a Russian-born American illustrator notable for his strongly worked and often surreal designs. Artzybasheff was born in Kharkov, son of the author Mikhail Artsybashev. He is said to have fought as a White Russian. During 1919 he arrived in New York City, where he worked in an engraving shop.

His earliest work appeared in 1922 as illustrations for Verotchka's Tales and The Undertaker's Garland. A number of other book illustrations followed during the 1920s. Dhan Gopal Mukerji's Gay Neck, the Story of a Pigeon, with his illustrations, was awarded the Newbery Medal in 1928. His book Seven Simeons was a Caldecott Honor Book in 1938. Over the course of his career, he illustrated some 50 books, several of which he wrote, most notably As I See.

During his lifetime, however, Artzybasheff was probably known best for his magazine art. He illustrated the major American magazines Life, Fortune, and Time. He painted 219 Time covers from 1942 to 1966, including portraits of Dmitri Shostakovich, Louis Armstrong, and Dave Brubeck. Other illustrators of Time covers during this period, which has been called the golden age of Time covers, included Robert Vickrey, James Ormsbee Chapin, Bernard Safran and Boris Chaliapin.

During World War II, he also served an expert advisor to the U.S. Department of State, Psychological Warfare Branch. After 1940, he devoted himself to commercial art, including advertisements for Xerox, Shell Oil, Pan Am, Casco Power Tools, Alcoa Steamship lines, Parke-Davis, Avco Manufacturing, Scotch Tape, Wickwire Spencer Steel Company, Vultee Aircraft, World Airways, and Parker Pens.

His graphic style is striking. In commercial work he explored grotesque experiments in anthropomorphism, where toiling machines displayed distinctly human attributes. Conversely, one of his works shows Buckminster Fuller's head in the form of Fuller's geodesic structure. In his personal work, he explored the depiction of vivid and extreme ranges of human psychology and emotion.

As the illustrator of Seven Simeons, which he also wrote, Artzybasheff was one of two runners-up for the Caldecott Medal in 1938, when the American Library Association inaugurated its award for children's picture books. Mukerji won the 1928 Newbery Medal for Gay Neck; Young and Hall were among the runners-up for that annual ALA award, which recognizes the "most distinguished contribution to children's literature.” Finney won one of the inaugural, 1935 National Book Awards for The Circus of Dr. Lao.

Gerald Nordland [Curator]

Gerald Nordland [Curator]: RUTH ASAWA: A RETROSPECTIVE VIEW. San Francisco: San Francisco Museum of Art, 1973. First edition. Slim quarto. Thick printed wrappers. 28 pp. 26 black and white images. Wrappers bright and clean with trivial rubbing and edgewear. A nearly fine copy of a scarce catalog.

10 x 10 softcover exhibition catalog organized by the San Francisco Museum of Art, June 29 - August 19, 1973 that then travelled to the California Institute of Technology, October 5 - November 12, 1973.

“I was interested in it because of the economy of a line, making something in space, enclosing it without blocking it out. It’s still transparent. I realized that if I was going to make these forms, which interlock and interweave, it can only be done with a line because a line can go anywhere.” — Ruth Asawa

From  the SFGate Obituary, California sculptor Ruth Asawa dies, published on August 6, 2013: “Ruth Asawa, one of California's most admired sculptors and the first Asian American woman in the nation to achieve recognition in a male-dominated discipline, died Monday night of natural causes at her home in San Francisco. She was 87.

“Ms. Asawa's name perhaps will serve as a reminder of the importance of preserving artwork. This year, a proposed Apple Store threatened her early 1970s "Hyatt on Union Square Fountain," on steps between the Hyatt Hotel and a now-closed, adjacent Levi's store.

“After furious public protest, the city rejected Apple's plans and told the company to redo them to ensure that the fountain sculpture survives.

“Ms. Asawa's other notable public work includes the "Japanese American Internment Memorial" in San Jose and the "Andrea Mermaid Fountain" at Ghirardelli Square in San Francisco. In addition, the M. H. de Young Memorial Museum, which honored Ms. Asawa with a career retrospective in 2006-07, has dedicated the ground-floor lobby area of its tower to ongoing display of her work.

"Ruth Asawa will be remembered for the extraordinary wire sculptures that so beautifully interweave nature and culture," said Timothy Burgard, curator of American art at the Fine Arts Museums of San Francisco. He characterized her "as a pioneering post-World War II modernist whose works have transcended the multiple barriers she faced as an Asian American woman artist working with traditional 'craft' materials and techniques. She lived to see all of these confining categories challenged and redefined."

“Ms. Asawa's signature works consist of lattices or dendrites of woven or entwined wire, defining volumes almost without mass. Her bronzes take the more robust form of human figures and other images modeled in relief or in the round. Ms. Asawa's place in the history of modern art in California is secure, but the wider art world has been slower to acknowledge it.

“That changed abruptly this spring when Christie's auction house in New York presented a sensitively installed exhibition of her wire works, preceding an auction in which a particularly elegant and complex 1960s hanging sculpture by her sold for more than $1.4 million.

“In 1982, Ms. Asawa was a founder of what is now called the Ruth Asawa School of the Arts, a San Francisco Unified School District arts high school, which is slated for relocation to the Civic Center arts district. Her prestige bolstered successful efforts on the part of the San Francisco Unified School District to retain arts programs when so many other districts eliminated theirs.

“Born Jan. 24, 1926, in Norwalk (Los Angeles County), Ms. Asawa was the fourth among seven children of immigrant truck farmers whom state law then prohibited from owning land or applying for citizenship. During childhood, Ms. Asawa did farm work with her family and attended both public school and a "Japanese cultural school," where she learned calligraphy and her parents' native language. Her teachers appreciated her drawing ability.

“In 1942, the federal government began to implement the executive order mandating internment of Japanese Americans on the West Coast. Ms. Asawa's father was separated for six years from the rest of her family, who were housed initially in the Santa Anita racetrack stables, and eventually at an internment camp in Rohwer, Ark.

“Ms. Asawa continued drawing and learned as she could from older internee artists. She completed high school in the camp and won a scholarship to Milwaukee State Teachers College.

“Because of anti-Japanese prejudice, Ms. Asawa was unable to obtain mandatory teaching credentials. She instead entered Black Mountain College in North Carolina, an educational experiment that in its brief life span became a hotbed of artistic innovation. It attracted future luminaries such as Buckminster Fuller, John Cage, Franz Kline, Robert Creeley, Charles Olson and Bauhaus exile Josef Albers who, improbably, acted as Ms. Asawa's mentor.

“Ms. Asawa left Black Mountain after three years, emboldened to devote her life to art. She had met there, and soon married, architect and designer Albert Lanier (1927-2008), with whom she had six children. Ms. Asawa served on the San Francisco Arts Commission and on the board of trustees of the Fine Arts Museums of San Francisco. She received honorary doctorates from San Francisco State University, the San Francisco Art Institute and California College of the Arts.”

Italo Lupi [Designer]

[IDCA] and the Italo Lupi [Design]. THE ITALIAN MANIFESTO OR: THE CULTURE OF THE NINE HUNDRED AND NINETY-NINE CITIES. Aspen, CO: International Design Conference in Aspen, 1989. Original edition. Booklet. 12-page staple-bound booklet in a mailing envelope. A near-fine example in a very good envelope with slight rubbing.

12-page staple-bound booklet [10.75 x 8.5] designed by Italo Lupi. Includes a Manifesto by Bill Lacy and Paolo Viti and a list of participants among other conference information.

From "Italo Lupi Sees All, Does All, Shows All" by Steven Heller on the webiste for Print Magazine [January 7, 2014]: "Italo Lupi and Italian Graphic Design are synonymous. Born in Cagliari in 1934, he lived in various places in Italy before residing in Milan, where he graduated from the faculty of architecture at the Polytechnic University. His design career began in concert with Mario Bellini and Roberto Jewelers as three co-art directors for the Office of Development La Rinascente, the department store. Lupi’s skills included signage and exhibition design in the early ’60s. This was followed by an 'intense collaboration' with Domus where he was design director. At Abitare he was director of graphics and later and then editorial director.

Among his other concurrent feats, he designed the image of the Milan Triennale and communications for IBM/Italy. Lupi has designed graphics and signage for large exhibitions at Palazzo Grassi in Venice, the Papal Stables at the Quirinale in Rome, the National Gallery of Parma."

The seminar's [June 13-18, 1989] participants included Alberto Alessi Anghini, Emilio Ambasz, Gae Aulenti, Mario Bellini, Andrea Branzi, Achille Castiglioni,  Francesco Dal Co, Peter Eisenman, Italo Lupi, Barbara Radice, Aldo Rossi, Joseph Rykwert, Ettore Sottsass and Aurelio Zanotta among others.

William C. Seitz

William C. Seitz: THE ART OF ASSEMBLAGE. New York: The Museum of Modern Art, 1961. First edition. Quarto. Black cloth titled in gold. Printed dust jacket. 176 pp. 1 fold-out. 146 plates in color and black and white.  Jacket design by Ivan Chermayeff. Jacket lightly rubbed and edgeworn, with chipping to spine ends. Interior unmarked and clean. Out-of-print. A very good copy in a very good dust jacket.

8.75 x 9.75 softcover book with 176 pages and 146 plates, including one Marcel Duchamp fold-out. Accompanied an exhibition at The Museum of Modern Art, the Dallas Museum for Contemporary Arts and San Francisco Museum of Art in fall 1961 - spring 1962. "An 'assemblage,' extending the method initiated by the cubist painters, is a work of art made by fastening together cut or torn pieces of paper, clippings from newspapers, photographs, bits of cloth, fragments of wood, metal, or other such materials, shells or stones, or even objects such as knives and forks, chairs and tables, parts of dolls and mannequins, automobile fenders, steel boilers, and stuffed birds and animals"--in short, a very eclectic and often three-dimensional collage.

This fully-illustrated catalog includes several informative essays by Seitz: "The Liberation of Words" focusing on the work of Andre Gide, Guillaume Apollinaire, Stephane Mallarme, and Filippo Tommaso Marinetti; the essay, "The Liberation of Objects" including Dada and Neo-Dada, Surrealism, Futurism as well as the works of Picasso, Braque, and Gris, and other essays pertaining to the realism and poetry of assemblage, collage art, attitudes/issues, and more. Includes artists associated with Dadaism, Cubism, and a few who would later be associated with the Fluxus movement.

• Foreword and Acknowledgments
• Introduction
• The Liberation of Words
• Stephane Mallarme
• Guillaume Apollinaire
• Filippo Tommaso Marinetti
• Andre Gide
• The Liberation of Objects
• Picasso, Braque, and Gris
• Futurism
• Dada and Neo-Dada
• Surrealism
• The Collage Envrionment
• The Realism and Poetry of Assemblage
• Attitudes and Issues
• Notes
• Lenders to the Exhibition
• Catalogue of the Exhibition
• Assemblage: A Working Bibliography
• Index

Works by the following artists are included: Marcel Duchamp, Joseph Cornell, Kurt Schwitters, Arman, Jean Arp, Georges Braque, George Brecht, Andre Breton, Bruce Conner, Jean Dubuffet, Max Ernst, Yolande Fievre, Juan Gris, George Herms, Jess, Edward Kienholz, Willem de Kooning, Rene Magritte, Landes Lewitin, John Latham, Kasimir Malevich, Marisol, Joan Miro, Robert Motherwell, Louise Nevelson, Alfonso Ossorio, Francis Picabia, Pablo Picasso, Robert Rauschenberg, Man Ray, Mimmo Rotella, Lucas Samaras, David Smith, Daniel Spoerri, Richard Stankiewicz, Joseph Stella, Yves Tanguy and  many, others.

Also included is a detailed listing of the 252 pieces of the 144 artists in this historic exhibit; a working bibliography, and a complete index.

From the book: "The Art of Assamblage is the first book to recognize collages, readymades, found objects, surrealist objects, combine-paintings, and the other varieties of assemblage as diverse manifestations of a common tradition which (though fascinating parallels and prototypes can be found for it in orimitive and popular art) is unique to the twentieth century."

"Through a broad selection of illustrations in color and black-and-white, an explanatory text, and statements by many artists and critics, this book gives a concise but rich account of this most recent of modern art forms."

A Modular Alphabet Book

Dana Atchley

Dana Atchley: ABC DESIGN [A Modular Alphabet Book]. New York: Wittenborn and Co., 1965. First edition [200 copies designed by Dana Atchley and screen printed by Gerald Thornton in July 1965. This is signed copy 195]. Octavo. Black paper covered boards. 44 pp. 27 screen printed pages. Plastic stencil laid in. Endpaper gutters foxed. Sunfaded spine, two chips missing along the top fore edge, and two tears along the top fore edge. Gift Inscription to Gene and Helen Federico from Nathan Gluck in 1966 to front free endpaper. A very good copy in a good dust jacket. Rare.

“The alphabet can be made from three basic lines: straight, slanted and curved.”

6.25 x 9.5 hard cover book with 44 pages: 27 of which are multicolor silkscreen prints. “Letters and designs can be made with the stencil. Some letters have only one part; others, like g, have as many as six parts. “

Type designers Theo van Doesburg [De stijl], Jan Tschichold [Transito, 1931], Josef Albers, Andy Mangold, Wim Crouwel and Zuzana Licko have all solved the puzzle of the modular alphabet in a variety of ways. Dana Atchley’s 1965 artist book is a relatively unknown DIY-based treatise on the subject.

Josef Albers: Regarding “Stencil Typeface” [1926]

It is intended to be a typeface for advertisements and posters, especially for larger sizes, which is clearly legible at some distance. The legibility of the most commonly used typefaces decreases with distance, probably the least with “Egyptienne”, which was first developed as a military typeface under Napoleon I. The “stencil typeface” increases legibility at a distance.

It is made up exclusively of basic geometric shapes, as are “Egyptienne” and “Grotesk” in part, and specifically of the following three: the square, the triangle (half of the square cut diagonally), and the quarter circle whose radius corresponds to the side of the square. The elements of the letters combined from these shapes stand unconnected next to each other: the hairstrokesi are replaced by relationships of size and movement of the purely flat elements.

The size ratio is 1:3 throughout. The height of the small main stem [Balken] equals three times the width. The distance between the letters is 1/3 the width of the bar. The sides of the triangle (square divided diagonally in 2) are 2/3 of the total of the squareʼs sides. The minuscules measure 2/3 of the ascender. The distance between the characters is uniform throughout, so there is no compensation or adapting as is otherwise customary with round shapes. The furniture (overhang?)j is, on both sides, equal to the inner distance. In doing so, and by composing it of the same elements, a standardization of the typeface proportions results. The type and furniture can thus be cut precisely with machines.

The line does not have any tracking added to it, it is no longer justified.

The distances between words and letters, giving the impression of variously sized gaps, are no longer the exception, but rather are dispersed all over the writing area. They [the spaces] will enliven it, just as large capital letters did when placed in the middle of a word during the Baroque era. Thus, justified typesetting is abandoned. The vertical orientation of the line may be on the left or right, as one wishes, or not at all, possibly alternating with each paragraph. Because the vertical orientation is not always on the left, the transition from the end of one line to the beginning of the next is made easier when reading. When there are long lines in justified text, the next line is often incorrectly identified or one might re-read the same line. The eye never errs before or after an indented line because it unconsciously notes the distance. If the line is vertically oriented to the left side, finding the beginning of the line is made more difficult.

The standardization of the constitutive elements of the letters allows reducing the letter to its basic elements when there is a modest need for especially large typefaces. The extent of the typesetting material is significantly reduced and at the same time we obtain parts for lines and geometric shapes, arches, circles, etc.; in short, elements for a wide variety of material that may be used for emphasis.

Susan T. Lubowsky

9 x 11 softcover catalog with 54 pages and 41 color and black and white illustrations devoted to the life and work of  the American Scene Precisionist/Realist George Ault. Exhibition catalog for a show organized by the Whitney Museum of American Art from April 8 to June 8, 1988: the first solo exhibition of Ault's work, organized 40 years after his suicide in Woodstock, New York.

George Copeland Ault (1891–1948) was an American painter loosely grouped with the Precisionist movement and, though influenced by Cubism and Surrealism, his most lasting work is of a realist nature.

Ault was born in Cleveland into a wealthy family and spent his youth in London where he studied at the Slade School of Art and St John's Wood School of Art. Returning to the United States in 1911, he spent the rest of his life in New York and New Jersey. His personal life henceforth was troubled. He became alcoholic during the 1920s, after the death of his mother in a mental institution. Each of his three brothers committed suicide, two after the loss of the family fortune in the 1929 stock market crash.

Although he had exhibited his works with some success, by the early 1930s his neurotic behavior and reclusiveness had alienated him from the gallery world. In 1937, Ault moved to Woodstock, New York with Louise Jonas, who would become his second wife, and tried to put his difficulties in the past. In Woodstock the couple lived a penurious existence in a small rented cottage that had no electricity or indoor plumbing. Depending on Louise for income, Ault created some of his finest paintings during this time, but had difficulty selling them. In 1948, Ault was discovered dead five days after drowning in the Sawkill Brook on December 30, when he had taken a solitary walk in stormy and dark weather. The death was deemed a suicide by the coroner. In his lifetime, his works were displayed at the Whitney Museum of American Art and the Addison Gallery of American Art (in Andover, Massachusetts), among others.

Ault worked in oil, watercolor and pencil. He is often grouped with Precisionist painters such as Charles Sheeler and Ralston Crawford because of his unadorned representations of architecture and urban landscapes. However, the ideological aspects of Precisionism and the unabashed modernism of his influences are not so apparent in his work—for instance, he once referred to skyscrapers as the "tombstones of capitalism" and considered the industrialized American city "the Inferno without the fire". Ault painted what he saw around him, simplifying detail slightly into flat shapes and planes, and portraying the underlying geometric patterns of structures. In his wife's words, painting for him was a means of "creating order out of chaos." An analytical painter and ultimately a realist, Ault is noted for his realistic portrayal of light—especially the light of darkness—for he commonly painted nighttime scenes.

Of his later paintings, such as January, Full Moon; Black Night; August Night; and Bright Light at Russell's Corners, Roberta Smith of The New York Times wrote: “. . . The setting is the same in each case—a solitary streetlight, the same bend in the road, the same collection of barns and sheds—but seen from different vantage points. In them, Ault has summoned up the poetry of darkness in an unforgettable way—the implacable solitude and strangeness that night bestows upon once-familiar forms and places.”

Hank Todd Smith [Editor]

Hank Todd Smith [Editor]: AUSTIN: ITS ARCHITECTS AND ARCHITECTURE (1836-1986). Austin, TX: American Institute of Architects, Austin Chapter, 1986. First edition. Slim quarto. Photo illustrated wrappers. 114 pp. 199 black and white photographs. Wrappers lightly edgeworn and rubbed. A very good or better copy of this important work.

8 x 11 softcover book with 114 pages and 199 black and white photographs. This book was part of a joint project of the Austin Chapter of American Institute of Architects (AIA), the Austin History Center, University of Texas Center for the Study of American Architecture, and the Heritage Society of Austin to celebrate Austin’s Sesquicentennial. The project in its entirety consisted of the creation of an architectural drawings collection at the Austin History Center, an exhibition of a selected portion of the drawings collected as a result of the project and the publication of a book about Austin’s architectural heritage from 1836 to 1986.

Austin, Its Architects and Architecture, 1836-1986 contains an essay on Austin architecture and its architects, photo reproductions of the works shown in the exhibit as well as brief biographical monographs on the key architects and firms that made up the architecture profession during this time period. The steering committee for the Sesquicentennial Project consisted of Ruth Parshall (Chair), Audray Bateman, Susan Hoover, Girard Kinney, John Lash, Peggy Pickle, Lila Stillson, Mike Petty and Ex Officio members Hal Box, Hank Smith and Allen McCree.

Includes work by Sinclair Black, SOM, Paul Philippe Cret, Oteri & Tisdale, Lawrence W. Speck, Eugene Wukasch, Chester Nagel, Roland Gommel Roessner,  Harwell Hamilton Harris, Fehr & Granger, Barnes, Landes, Goodman and Youngblood, Brooks, Barr, Graeber and White, Coffee, Crier and Schenck, C. H. Page and Son, Holt + Fatter + Scott, Kinney, Kaler, Sanders & Crews, Niggli and Gustafson, O'Connell Robertson Grobe, Page Brothers, Page, Southerland & Page, Renfro & Steinbomer, Shefelman and Nix, Wade + Associates and many others.

This volume will make you the life of the party as you recite the reasonably impressive architectural heritage of the Capitol of Texas while crowded around the Weber Grill in a tiny backyard, nursing your greivances and IPAs, wondering where all the cool people in the '04 have disappeared.

CALIFORNIA VIEWPOINTS

Hunter Drohojowska [essay]

Hunter Drohojowska [essay]: JOHN BALDESSARI: CALIFORNIA VIEWPOINTS. Santa Barbara: Santa Barbara Museum of Art, 1986. First edition [limited to 1,000 copies]. Slim quarto. Die cut saddle-stiched wrappers. 20 pp. 9 illustrations. Faint handling wear, otherwise a fine, fresh copy.

7.5 x 8.5 catalog of John Baldessari's exhibition at Santa Barbara Museum of Art, August 23 to September 12, 1986. A nice little production.

John Anthony Baldessari (b. 1931) is an American conceptual artist known for his work featuring found photography and appropriated images. He lives and works in Santa Monica and Venice, California. Initially a painter, Baldessari began to incorporate texts and photography into his canvases in the mid-1960s. In 1970 he began working in printmaking, film, video, installation, sculpture and photography. He has created thousands of works that demonstrate--and, in many cases, combine--the narrative potential of images and the associative power of language within the boundaries of the work of art. His art has been featured in more than 200 solo exhibitions in the U.S. and Europe. His work influenced Cindy Sherman, David Salle, and Barbara Kruger among others.

Baldessari is best known for works that blend photographic materials (such as film stills), take them out of their original context and rearrange their form, often including the addition of words or sentences. Related to his early text paintings were his Wrong series (1966-1968), which paired photographic images with lines of text from an amateur photography book, aiming at the violation of a set of basic "rules" on snapshot composition. In one of the works, Baldessari had himself photographed in front of a palm precisely so that it would appear that the tree were growing out of his head. His photographic California Map Project (1969) created physical forms that resembled the letters in "California" geographically near to the very spots on the map that they were printed. In the Binary Code Series, Baldessari used images as information holders by alternating photographs to stand in for the on-off state of binary code; one example alternated photos of a woman holding a cigarette parallel to her mouth and then dropping it away.

Alfred H. Barr, Jr. [Editor]

Alfred H. Barr, Jr. [Editor]: FANTASTIC ART DADA SURREALISM. New York: Museum of Modern Art, December 1936. First Edition of 3,000 copies [note on bottom of page 8 regarding Georges Hugnet’s missing essay]. Quarto. Green cloth decorated in black. 248 pp. 200 + black and white plates. Cloth mildly soiled with spine a bit darkened. Interior unmarked and very clean. Out-of-print. A very good hardcover book without a dust jacket.

7.75 x 10.25 hardcover book with 248 pages and over 200 black and white plates. Title page and cover glyph by Hans Arp. Catalog from a seminal MOMA exhibit, which ran from December 1936 to January 1937. The second and third editions of the catalogue included the essay that Museum director Alfred H. Barr, Jr., had written for this brochure as well as essays by the French poet and critic Georges Hugnet that had arrived too late for inclusion in the first edition.

• Acknowledgements
• Preface by Alfred H. Barr, Jr.
• Brief Chronology by Elodie Courter and A. H. B., Jr.
• Plates
• Catalog of the Exhibition
• Films
• Brief Bibliography

Includes work by Arcimboldo, Hieronymous Bosch, Albrecht Dürer, Peter Huys, Leonardo Da Vinci, Giovanni Battista Bracelli, William Hogarth, Giovanni Battista Piranesi, William Blake, Lewis Carroll, Thomas Cole, Eugène Delacroix, James Ensor, Henry Fuseli, Francisco Goya, Victor Marie Hugo, Edward Lear, Odilon Redon, Henri Rousseau, Marc Chagall, Giorgio de Chirico, Marcel Duchamp, Vasily Kandinsky, Paul Klee, Pablo Picasso, Hans Arp, Johannes Baader, J. T. Baargeld, Max Ernst, Hans Bellmer, Edward Burra, Joseph Cornell, Salvador Dali, Oscar Dominguez, Leonor Fini, Alberto Giacometti, George Grosz, Raoul Haussmann, Hannah Höch, Valentine Hugo, Marcel Jean, René Magritte, André Masson, Edouard Mesens, Joan Miro, Henry Moore, Richard Oelze, Meret Oppenheim, Wolfgang Paalen, Dr. Grace Pailthorpe, Francis Picabia, Man Ray, Christian Schad, Kurt Schwitters, Yves Tanguy, Sophie Henriette Täuber-Arp, Peter Blume, Alexander Calder, Federico Castellón, Arthur Dove, Walker Evans, Wyndham Lewis, Georgia O’Keefe, Wallace Putnam, David Alfaro Siqueiros, James Thurber, Antonio Gaudi, and Kurt Schwitters.

"Fantastic Art, Dada, Surrealism, The Museum of Modern Art’s first exhibition to focus on Dada, was organized by founding director Alfred H. Barr, Jr., in 1936. It was the most comprehensive presentation of Dada works since the Dadaists’ own exhibitions. It was also the first to be organized by a nonparticipant and the first to present Dada as a historical movement. The exhibition was rife with controversy and provoked fierce reactions from battling factions among the Dadaists and the Surrealists. For example, Tristan Tzara, a leader of the Dada movement and one of the exhibition’s most important lenders, threatened to forbid Barr from exhibiting his loans when he learned that the exhibition’s title had been changed from The Fantastic in Art to include Surrealism and that the French Surrealist André Breton was to write the catalogue preface. For their part, Breton and French Surrealist poet Paul Éluard disapproved of the final format of the exhibition; they wanted it to be an official Surrealist “manifestation.” Critical response to the exhibition was mixed. In 1937, when the show circulated around the country, lender Katherine Dreier withdrew her artworks and feuded with Barr over his inclusion of works by children and “the insane,” and A. Conger Goodyear, President of the Museum’s board of trustees, requested that other items be removed." [MoMA]

“The Museum of Modern Art, 11 West 53 Street, announces that its Exhibition of Fantastic Art, Dada and Surrealism will open to the public Wednesday morning, December 9th. The public opening will be preceded by a private preview and reception given by the Trustees to members of the Museum and their guests on Tuesday evening, December 8. The Exhibition will remain on view through Sunday, January 17, except on Christmas and New Year's Days, when the Museum is to be closed.

“The four floors of the Museum will be devoted to the exhibition, which will include more than 700 objects. The earliest date of any object shown will be about 1450; the latest, 1936. More than 157 American and European artists will be represented, ranging from such extremes as Giovanni di Paolo and Leonardo da Vinci of the fifteenth century to Walt Disney, Rube Goldberg and Thurber of the twentieth century, and including such famous names both old and modern as Hieronymus Bosch, Dürer, Arcimboldo, Hogarth, William Blake, Cruickshank, Lewis Carrol, Daumier, Delacroix, Edward Lear, Redon, Chagall, de Chirico, Duchamp, Picasso, Arp, Dali, Ernst, Grosz, Magritte, Miro, Klee, Man Ray, Tanguy, Peter Blume, Georgia O'Keeffe, and Alexander Calder.

“The exhibition is under the direction of Alfred H. Barr, Jr., Director of the Museum, who states in his Preface to the catalog:

"Fantastic art, Dada and Surrealism is the second of a series of exhibitions planned to present in an objective and historical manner the principal movements of modern art. The first of these, Cubism and Abstract Art, was held at the Museum in the spring of this year. The fantastic and marvellous in European and American art of the past five centuries is represented by about one hundred and fifty items.

“The main body of the exhibition is devoted to the Dada and Surrealist movements of the past twenty years together with certain pioneers. A number of artists, both American and European, who have worked along related but independent lines, are brought together in a separate division. There are also special sections on fantastic architecture and on comparative material, including the art of children, and the insane.

“In giving a brief outline of Dada and Surrealism, Mr. Barr states: "In Zurich in 1916, well before the end of the war, Dada was born, the child of disillusion and spiritual exhaustion. The Dadaists scoffed at all conventional values and all pretensions. They rejected every- thing (including modern art) and accepted anything. They made pictures of flotsam, odds and ends, paper, string, snapshots, clock- works, popular illustrations, lace and bus tickets. They made pictures with their eyes shut or their backs turned. After the Armistice Dadaism grow in Paris and Germany. Dada was a bitter gesture made by artists for whom the war, Versailles and inflation had made civilization and art, temporarily at least, a bad joke.

“"Surrealism, which developed in Paris around 1924, was the direct descendent of the Dadaist interest in the bizarre, the spontaneous, and the anti-rational. But while the Surrealist program carried on the iconoclasm of Dada it added serious researches into subconscious images, dreams, visions, automatic and psychoanalytic drawings.

"Surrealism, so far as its serious adherents are concerned, is more than a literary or an art movement: it is a philosophy, a way of life, a cause which has involved some of the most brilliant painters and poets of our age. Since the formation of its nucleus in Paris fifteen years ago Surrealism has spread throughout the world with active groups in London, Brussels, Warsaw, Copenhagen, Prague, Barcelona, Belgrade, Stockholm, Teneriffe, Japan and New York."

“It was in 1922 that André Breton, French poet, writer and editor who had been a practicing psychiatrist during the war, gathered most of the ex-Dadaists into a new group which assumed the name "Surrealist” in 1924, when Breton published the First Manifesto of Surrealism. Breton defined Surrealism as follows:

“SURREALISM: Pure psychic automatism, by which it is express, verbally, in writing, or by other real process of thought. Thought’s dictation, in the absence of all control exercised by the reason and outside all aesthetic or moral preoccupations. Surrealism rests in the belief in the superior reality of certain forms of association neglected heretofore; in the omnipotence of the dream and in the disinterested play of thought. It tends definitely to do away with all other psychic mechanisms and to substitute itself for them in the solution of the principal problems of life.

“Breton also has declared: I am resolved to render powerless that hatred of the marvellous which is so rampant among certain people, that ridicule to which they are no eager to expose it. Briefly: The marvellous is always beautiful, anything that is marvellous in beautiful; indeed, nothing but the marvellous in beautiful.“ [Museum of Modern Art  Press Release, Saturday or Sunday, December 5 or 6, I936]

Alfred H. Barr, Jr.

Alfred H. Barr, Jr.: WHAT IS MODERN PAINTING? New York: Museum of Modern Art, September 1943. First edition [Introductory Series to the Modern Arts 2]. Slim quarto. Printed thick and sewn wrappers. 44 pp. 51 black and white photo plates. Faint spot to upper edge of a few leaves, otherwise a nearly fine copy.

7.5 x 10 softcover book with 44 pages and 51  black and white illustrations. The famed director of MoMA introduced Modern Art to a readership with little previous experience of the subject. Barr discusses the major movments of the 20th century without delivering a fully historical account, yet delivers a very personal, almost polemical manifesto of Modernism for an uninitiated audience. [Lucas p 71. ]

Part of Introductory Series to the Modern Arts 2; chapters and illustrations include the Constructors, Realism, Impressionism, Expressionism, Contrasts, Motion and Commotion, Mystery and Magic, Allegory and Prophecy.

Includes woud by Matisse, Stuart Davis, Clemente Orozco, Winslow Homer, Ben Shahn, Edward Hopper, Charles Sheeler, Grant Wood, William Gropper, John Kane, Auguste Renoir, Pierre Bonnard, Vincent Van Gogh, John Marin, Max Beckmann, Wassily Kandinsky, Pablo Picasso, Juan Gris, Piet Mondrian, Fernand Leger, Georges Braque, Charles Burchfeld, Henri Rousseau, Georgio De Chirico, Salvador Dali, Joan Miro, Paul Klee, Peter Blume, and others.

Alfred H. Barr, Jr. [Editor]

Alfred H. Barr, Jr. [Editor]: FANTASTIC ART DADA SURREALISM. New York: Museum of Modern Art, December 1936. First Edition of 3,000 copies [note on bottom of page 8 regarding Georges Hugnet’s missing essay]. Quarto. Green cloth decorated in black. 248 pp. 200 + black and white plates. Cloth mildly soiled with spine a bit darkened. Endpapers lightly foxed. Interior unmarked and very clean. Out-of-print. A very good hardcover book without a dust jacket.

7.75 x 10.25 hardcover book with 248 pages and over 200 black and white plates. Title page and cover glyph by Hans Arp. Catalog from a seminal MOMA exhibit, which ran from December 1936 to January 1937. The second and third editions of the catalogue included the essay that Museum director Alfred H. Barr, Jr., had written for this brochure as well as essays by the French poet and critic Georges Hugnet that had arrived too late for inclusion in the first edition.

Contents

• Acknowledgements
• Preface by Alfred H. Barr, Jr.
• Brief Chronology by Elodie Courter and A. H. B., Jr.
• Plates
• Catalog of the Exhibition
• Films
• Brief Bibliography

Includes work by Arcimboldo, Hieronymous Bosch, Albrecht Dürer, Peter Huys, Leonardo Da Vinci, Giovanni Battista Bracelli, William Hogarth, Giovanni Battista Piranesi, William Blake, Lewis Carroll, Thomas Cole, Eugène Delacroix, James Ensor, Henry Fuseli, Francisco Goya, Victor Marie Hugo, Edward Lear, Odilon Redon, Henri Rousseau, Marc Chagall, Giorgio de Chirico, Marcel Duchamp, Vasily Kandinsky, Paul Klee, Pablo Picasso, Hans Arp, Johannes Baader, J. T. Baargeld, Max Ernst, Hans Bellmer, Edward Burra, Joseph Cornell, Salvador Dali, Oscar Dominguez, Leonor Fini, Alberto Giacometti, George Grosz, Raoul Haussmann, Hannah Höch, Valentine Hugo, Marcel Jean, René Magritte, André Masson, Edouard Mesens, Joan Miro, Henry Moore, Richard Oelze, Meret Oppenheim, Wolfgang Paalen, Dr. Grace Pailthorpe, Francis Picabia, Man Ray, Christian Schad, Kurt Schwitters, Yves Tanguy, Sophie Henriette Täuber-Arp, Peter Blume, Alexander Calder, Federico Castellón, Arthur Dove, Walker Evans, Wyndham Lewis, Georgia O’Keefe, Wallace Putnam, David Alfaro Siqueiros, James Thurber, Antonio Gaudi, and Kurt Schwitters.

"Fantastic Art, Dada, Surrealism, The Museum of Modern Art’s first exhibition to focus on Dada, was organized by founding director Alfred H. Barr, Jr., in 1936. It was the most comprehensive presentation of Dada works since the Dadaists’ own exhibitions. It was also the first to be organized by a nonparticipant and the first to present Dada as a historical movement. The exhibition was rife with controversy and provoked fierce reactions from battling factions among the Dadaists and the Surrealists. For example, Tristan Tzara, a leader of the Dada movement and one of the exhibition’s most important lenders, threatened to forbid Barr from exhibiting his loans when he learned that the exhibition’s title had been changed from The Fantastic in Art to include Surrealism and that the French Surrealist André Breton was to write the catalogue preface. For their part, Breton and French Surrealist poet Paul Éluard disapproved of the final format of the exhibition; they wanted it to be an official Surrealist “manifestation.” Critical response to the exhibition was mixed. In 1937, when the show circulated around the country, lender Katherine Dreier withdrew her artworks and feuded with Barr over his inclusion of works by children and “the insane,” and A. Conger Goodyear, President of the Museum’s board of trustees, requested that other items be removed." [MoMA]

“The Museum of Modern Art, 11 West 53 Street, announces that its Exhibition of Fantastic Art, Dada and Surrealism will open to the public Wednesday morning, December 9th. The public opening will be preceded by a private preview and reception given by the Trustees to members of the Museum and their guests on Tuesday evening, December 8. The Exhibition will remain on view through Sunday, January 17, except on Christmas and New Year's Days, when the Museum is to be closed.

“The four floors of the Museum will be devoted to the exhibition, which will include more than 700 objects. The earliest date of any object shown will be about 1450; the latest, 1936. More than 157 American and European artists will be represented, ranging from such extremes as Giovanni di Paolo and Leonardo da Vinci of the fifteenth century to Walt Disney, Rube Goldberg and Thurber of the twentieth century, and including such famous names both old and modern as Hieronymus Bosch, Dürer, Arcimboldo, Hogarth, William Blake, Cruickshank, Lewis Carrol, Daumier, Delacroix, Edward Lear, Redon, Chagall, de Chirico, Duchamp, Picasso, Arp, Dali, Ernst, Grosz, Magritte, Miro, Klee, Man Ray, Tanguy, Peter Blume, Georgia O'Keeffe, and Alexander Calder.

“The exhibition is under the direction of Alfred H. Barr, Jr., Director of the Museum, who states in his Preface to the catalog:

"Fantastic art, Dada and Surrealism is the second of a series of exhibitions planned to present in an objective and historical manner the principal movements of modern art. The first of these, Cubism and Abstract Art, was held at the Museum in the spring of this year. The fantastic and marvellous in European and American art of the past five centuries is represented by about one hundred and fifty items.

“The main body of the exhibition is devoted to the Dada and Surrealist movements of the past twenty years together with certain pioneers. A number of artists, both American and European, who have worked along related but independent lines, are brought together in a separate division. There are also special sections on fantastic architecture and on comparative material, including the art of children, and the insane.

“In giving a brief outline of Dada and Surrealism, Mr. Barr states: "In Zurich in 1916, well before the end of the war, Dada was born, the child of disillusion and spiritual exhaustion. The Dadaists scoffed at all conventional values and all pretensions. They rejected every- thing (including modern art) and accepted anything. They made pictures of flotsam, odds and ends, paper, string, snapshots, clock- works, popular illustrations, lace and bus tickets. They made pictures with their eyes shut or their backs turned. After the Armistice Dadaism grow in Paris and Germany. Dada was a bitter gesture made by artists for whom the war, Versailles and inflation had made civilization and art, temporarily at least, a bad joke.

“"Surrealism, which developed in Paris around 1924, was the direct descendent of the Dadaist interest in the bizarre, the spontaneous, and the anti-rational. But while the Surrealist program carried on the iconoclasm of Dada it added serious researches into subconscious images, dreams, visions, automatic and psychoanalytic drawings.

"Surrealism, so far as its serious adherents are concerned, is more than a literary or an art movement: it is a philosophy, a way of life, a cause which has involved some of the most brilliant painters and poets of our age. Since the formation of its nucleus in Paris fifteen years ago Surrealism has spread throughout the world with active groups in London, Brussels, Warsaw, Copenhagen, Prague, Barcelona, Belgrade, Stockholm, Teneriffe, Japan and New York."

“It was in 1922 that André Breton, French poet, writer and editor who had been a practicing psychiatrist during the war, gathered most of the ex-Dadaists into a new group which assumed the name "Surrealist” in 1924, when Breton published the First Manifesto of Surrealism. Breton defined Surrealism as follows:

“SURREALISM: Pure psychic automatism, by which it is express, verbally, in writing, or by other real process of thought. Thought’s dictation, in the absence of all control exercised by the reason and outside all aesthetic or moral preoccupations. Surrealism rests in the belief in the superior reality of certain forms of association neglected heretofore; in the omnipotence of the dream and in the disinterested play of thought. It tends definitely to do away with all other psychic mechanisms and to substitute itself for them in the solution of the principal problems of life.

“Breton also has declared: I am resolved to render powerless that hatred of the marvellous which is so rampant among certain people, that ridicule to which they are no eager to expose it. Briefly: The marvellous is always beautiful, anything that is marvellous in beautiful; indeed, nothing but the marvellous in beautiful.“ [Museum of Modern Art  Press Release, Saturday or Sunday, December 5 or 6, I936]

Alfred H. Barr, Jr.

Alfred H. Barr, Jr.: CUBISM AND ABSTRACT ART [Painting, Sculpture, Constructions, Photography, Architecture, Industrial Art, Theater, Films, Posters, Typography]. New York: Museum of Modern Art, [April 1936]. First edition. Quarto. Tan cloth stamped in black and red. Printed dust jacket. 250 pp. 223 black and white plates. Tipped-in errata sheet. The rare dust jacket edgeworn and lightly chipped to bottom edge. Spine and folds quite sun darkened. Scrape and small hole to front panel. Tan cloth spotted front and back and darkened along top edge. Former owners signature to front free endpaper. First leaves lightly foxed early and late. Uncommon in the first edition and rare with jacket.  A good copy in a good dust jacket. Rare.

7.75 x 10.25 book with 250 pages and 223 black and white plates. Catalog of the groundbreaking Museum of Modern Art exhibition from March 2-April 19, 1936. According to Barr, the exhibition was "intended as an historical survey of an important movement in modern art." It was the first in a series of five exhibitions that were curated between 1936 and 1943 devoted to the principal movements in modern art. The series also included Fantastic Art, Dada, Surrealism (MoMA Exh. #55, December 7, 1936 - January 17, 1937) and Romantic Painting in America (MoMA Exh. #246, November 11, 1943-February 6, 1944).

The idea for the exhibition stemmed from Barr's days as an art history instructor at Wellesley College, where he designed and taught an innovative course in modern art. To a study of modern painting and sculpture, he added photography, architecture, graphic art, music and film. At that time there was no precedent for such a course; it was the first of its kind at an institution of higher learning.

Cubism and Abstract Art occupied all four floors of the Museum's gallery space at 11 West 53rd Street, at that time a five-story town house leased from John D. Rockefeller, Jr., husband of founding Trustee Abby Aldrich Rockefeller. The exhibition included not only painting and sculpture but also examples of photography, architecture, furniture, designs for the theater, typography, posters, and films, for a total of nearly 400 works of art. Alexander Calder's A Mobile (1936) was hung from a flagpole above the street entrance. The opening of the exhibition was delayed for one week while Museum officials and Trustees debated with the United States Customs over the entry of nineteen abstract sculptures into the United States as art objects loaned for the exhibition.

Artists represented in this volume include:

Paintings and Sculpture: Drawings and Constructions: Alexander, Archipenko, Hans Arp, Rudolf Belling, Umberto Boccioni, Constantin Brancusi, Georges Braque, Alexander Calder, Carlo Carra, Paul Cezanne, Giorgio de Chirico, Robert Delaunay, Andre Derain, Theo van Doesburg, Cesar Domela-Nieuwenhuis, Marcel Duchamp, Raymond Duchamp-Villon, Max Ernst, Lyonel Feininger, Nahum Gabo, Eugene-Henri-Paul Gauguin, Alberto Giacometti, Albert Gleizes, Venicent Willem van Gogh, Julio Gonzales, Juan Gris, Jean Helion, Charles Edouard Jeanneret (Le Corbusier), Vasily Kandinsky, Paul Klee, Frank Kupka, Roger de La Fresnaye, Michael larionov, Henri Laurens, Fernand Leger, Wyndham Lewis, Jacques Lipchitz, El Lissitzky, Kasimir Malevich, Franz Marc, Louis Marcoussis, Andre Masson, Henri Matisse, Joan Miro, Ladislaus Moholy-Nagy, Piet Mondrian, Henry Moore, Ben Nicholson, Amedee Ozenfant, Antoine Pevsner, Francis Picabia, Pablo Picasso,Giovanni-Battista Piranesi, Odilon Redon, Alexander Rodchenko, Henri-Julien Rousseau, Luigi Russolo, Kurt Schwitters, George-Pierre Seurat, Gino Severini, Yves Tanguy, Vladimir Evgrafovich Tatlin, Georges Vantongerloo, Jacques Villon.

Photography: Laszlo Moholy-Nagy, Man Ray.

Architecture: Theo van Doesburg, Cornelis van Eesteren, Waler Gropius, Vilmos Huszar, Frederick Kiesler, Le Corbusier, Willem van Leusden, El Lissitzky, Berthold Lubetkin, Erich Mendelsohn, Mies van der Rohe, J.J.P. Oud, Gerrit Thomas Rietveld, Antonio Sant'elia, Vladimir Tatlin.

Furniture: Marcel Breuer, Pierre Chareau, Josef Hartwig, Frederick Kiesler, Le Corbusier, Fernand Leger, Jean Lurcat, Pablo Picasso, Man Ray, Gerrit Thomas Rietveld.

Typography and Posters: Herbert Bayer, A.M. Cassandre, Theo van Doesburg, F.H. Ehmcke, Alexei Gan, W.H. Gispen, Y. Humener, Senkin Klusis, Vladimir Lebedeff, Leistekow Sisters, El Lissitzky, E. McKnight-Kauffer, ladislaus Moholy-Nagy, C.O. Muller, H. Nockur, Alexander Rodchenko, Joost Schmidt, W. and G. Stenberg, David Sterenberg, Jan Tschichold.

Theater: Alexndra Alexandrovna Exter, Irakli Gamrekeli, Natalia Goncharova, Gregory Jakulov, Frederick Kiesler, Michael Larionov, Fernand Leger, I. Nivinski, Pablo Picasso, Lyubov Sergeievna Popova, Enrico Prampolini, Oskar Schlemmer, Lothar Schenk von Trapp, Varvara Stepanova, Vladimir Tatlin.

Films: Viking Eggelin, Hans Richter, Fernand Leger, Man Ray, Alexandra Exter, Walter Reimann.

I have a lot of respect for Alfred Hamilton Barr, Jr. Not because of his role as the first Director of the Museum of Modern Art. Not because he instituted aggressive advertising campaigns for MoMA, insisting that exhibition catalogs be accessible both financially and intellectually to the public. Not because he coined the term "international style" to describe the tectonic shifts occuring in architecture in the late 1920s. Not because he was one of the earliest (and greatest) publicizers of modern art for the american public. Not because his perspective of modern art extended beyond painting, sculpture, and the graphic arts to embrace architecture, industrial design, theater, movies, and even literature and music.

The reason I have so much respect for Alfred Hamilton Barr, Jr. is that he synthesized his wide-ranging and inclusive view of the modern movement and gave it physical form as a diagram -- a flow chart (or family tree) of the Modern Art Movement -- on the dust jacket cover of CUBISM AND ABSTRACT ART. Anybody with any insight into the science of Information Design would certainly recognize Barr’s diagram as a true classic of the genre.

According to the MoMA website, Barr reworked the chart a number times -- he never considered it definitive. The Dust jacket artwork for CUBISM AND ABSTRACT ART is definitive. Barr’s diagram was both high-brow and low-brow ten years before Kirk Varnedoe was even born. With one idiosyncratic diagram, Barr projected his theories of the origins of modern art to his audience in an entirely new way. Isn’t that the essence of modernism?

Alfred H. Barr, Jr., Henry-Russell Hitchcock, Jr.,
Philip Johnson and Lewis Mumford

Alfred H. Barr, Jr., Henry-Russell Hitchcock, Jr., Philip Johnson and Lewis Mumford: MODERN ARCHITECTS. New York: Museum of Modern Art and W. W. Norton and Company, Inc., [1932]. First edition. Octavo. Black cloth titled in yellow. 200 pp. Text, plates and diagrams. Cloth and textblock edges slightly dusty, otherwise a nearly fine copy of a rare title.

7.5 x 10 cloth trade edition of the MODERN ARCHITECTURE: INTERNATIONAL EXHIBITION [February 10 to March 23, 1932] catalog published by MoMA in 1932. The exhibit eventually travelled to eleven different venues, thus the necessity for a trade edition. The exhibition travelled to the Pennsylvania Museum of Art, the Wadsworth Atheneum, Bullock's-Wilshire in Los Angeles, the Buffalo Fine Arts Academy and Albright Art Gallery in Buffalo, the Cleveland Museum of Art, Milwaukee Art Institute, Cincinnati Art Museum, Memorial Art Gallery in Rochester, NY, Toledo Museum of Art, School of Architecture and Fogg Museum at Harvard University and the Worcester Art Museum.

This cloth edition is now less common than the original MoMA catalog.

Includes lengthy illustrated sections with Models, Chronologies and Bibliographies on:

• Frank Lloyd Wright
• Walter Gropius
• Le Corbusier
• J. J. P. Oud
• Mies van der Rohe
• Raymond M. Hood
• Howe and Lescaze
• Richard Neutra
• Bowman Brothers

“Modern architectural developments in America and throughout the world will be graphically illustrated in the first International Exhibition of Modern Architecture which opens to the public Feb. 10 at the Museum of Modern Art, 730 Fifth Avenue.

"Expositions and exhibitions have perhaps changed the character of American architecture of the last forty years more than any other factor” It is  pointed out by Alfred H. Barr, Jr. the Director of the Museum, in his foreword to the catalogue of the exhibition.

"As a result of forty years of successive and simultaneous architectural fashions, the avenues of our greatest cities, our architectural magazines and annual exhibitions are monuments the capriciousness and uncertainty of our architecture.

“The present exhibition is an assertion that the confusion of the past forty years, or rather of the last century, may shortly come to an end.” [Museum of Modern Art press release, February 6, 1932]

Terence Riley noted that the early tastemakers at the Museum of Modern Art understood their job was to separate "the wheat from the chaff." Few people rose to that challenge with more vigor than Philip Johnson, the young head of the Department of Architecture and Design. Alfred Barr’s insistence on including Architecture and Design as a fully functioning department within MoMA was a radical curatorial departure, which seems only obvious today.

Philip Johnson's 1928 visit to the Bauhaus Dessau sparked Johnson's imagination and solidified his role as a proselytizer for the European avant-garde architecture. "We were proud to be avant-gardists; we wore our enthusiasm as a badge of honor that distinguished us as culturally superior to those around us." Johnson said.

From this plateau of cultural superiority, Johnson and his MoMA collaborators Alfred H. Barr, Jr. and Henry-Russell Hitchcock eventually labeled this architecture “The International Style.” These authors argue that architects of the 1910s and 1920s abandoned the imitative "styles" of the nineteenth century in favor of designs prompted by the vision of the individual architect.

Hitchcock and Johnson suggest that this experiment produced, by the early 1930s, a distinct style, as sound and deserving of respect as some of the most revered styles of the past, including classical, Gothic, renaissance, and baroque. Examples of this new style accompanied the original text in the form of blueprints and designs and are reproduced in this book. "The International Style" was written to record the International Exhibition of Modern Architecture held at the Museum of Modern Art in New York City in 1932, and it identified, categorized and expanded upon characteristics common to Modernism across the world and its stylistic aspects.

The aim of Hitchcock and Johnson was to define a style that would encapsulate this modern architecture, and they did this by the inclusion of specific architects. Hitchcock is considered the founder of modern architectural history and his co-author Johnson became an icon of the modern movement, as well as one of its most celebrated and questionable figures.

Isabelle Bleecker and Andrea E. Monfried

Isabelle Bleecker and Andrea E. Monfried: BARRAGAN: ARMANDO SALAS PORTUGAL PHOTOGRAPHS OF THE ARCHITECTURE OF LUIS BARRAGAN. New York: Rizzoli, 1992. First edition. Quarto. Embossed purple cloth titled in white. Photo illustrated dust jacket. Black endpapers. 167 pp. 62 color and 40 black and white photographs. Interior unmarked and very clean. Out-of-print. A fine hardcover book in a fine dustjacket. Rare thus.

9.25 x 12.25 scarce hardcover book with 167 pages and 62 color and 40 black and white photographs. Modernism is a global language. For many modernist architects, although their buildings were situated in a particular place, they didn’t necessarily reference that place conceptually or materially. One exception comes to mind—Walter Gropius’ house in Lincoln, MA employed clapboard siding of all things! And then there’s Barragan who is so obviously a modernist and yet incorporates Mexico’s rich cultural and historic history into his structures. Breathtaking photographs by Mr. Portugal!

Contents

• The Village of Yesteryear, Ernest H. Brooks II
• Luis Barragán: His Work Concepts, Reflections, and Personal Experience, Armando Salas Portugal
• Tribute, Ricardo Legorreta
• The Harmony of Space, Ignacio Diaz Morales
• Architecture and Photography: A Life’s Collaboration, Massimo Vignelli
• A short essay and plan drawing appears before each of the following sections:
• El Pedregal
• Two Houses on Avenida de las Fuentes
• Luis Barragan House
• Eduardo Prieto Lopez House
• Galvez House
• Capuchinas Sacramentarias del Purismo Corazon de Maria Chapel and Convent Restoration
• Satellite City Towers
• Las Arboledas
• Los Clubes
• Gilardi House
• San Cristobal Stable, Pools, and House
• Biographies

One of Mexico's greatest architects, Luis Ramiro Barragán Morfín (1902 – 1988) revolutionized modern architecture in the country with his use of bright colors reminiscent of the traditional architecture of Mexico, and with works such as his Casa Barragán, the Chapel of the Capuchinas, the Torres de Satélite, "Los Clubes" (Cuadra San Cristobal and Fuente de los Amantes), and the Casa Gilardi, among many others.

Barragán was born in Guadalajara, graduating as a civil engineer and architect. Two years later in 1925, he started on a journey of two years in Europe, where he was impressed by the beauty of the gardens of the cities he visited and the strong influence of Mediterranean and Muslim culture, and above all of the International Exposition of Modern Industrial and Decorative Arts. It was on this trip where his interest in landscape architecture began.

The atmosphere of the gardens marked what would be his architectural work, integrating straight and solid walls and courtyards open to the sky. With a career of over 30 built works, his combination of lively block colors and serene gardens earned him the Pritzker Prize in 1980, the Jalisco Award in 1985; finally, a year before his death Barragán received Mexico's National Architecture Award.

In recent years, the discussion around Barragán's work has been rekindled thanks to the bizarre circumstances surrounding his archive. In 1995, the archive was purchased by Rolf Fehlbaum, Chairman of the furniture company Vitra, as an engagement gift for his fiancé Federica Zanco. Since then, the archive has been largely off-limits to researchers as Zanco has attempted to organize and catalog the archive, but many have been angered by the lack of access. The situation came to a head in 2016, when artist Jill Magid presented Zanco with a diamond engagement ring made from the ashes of Luis Barragán himself, in the hope of persuading Zanco to provide researchers more access to her original engagement gift. [xlist_2018]

Emilio Ambasz

Emilio Ambasz: THE ARCHITECTURE OF LUIS BARRAGAN. New York: Museum of Modern Art, 1976. First edition. Slim quarto. Black cloth decorated in red. Photo illustrated dust jacket. 128 pp. 28 color plates and 66 black and white photographs and diagrams, plans, etc.  Jacket lightly curled at top and bottom edges with a couple of tiny nicks. Front flap creased, so a nearly fine copy in a very good dust jacket.

9.5 x 12 hardcover book with 128 pages and 28 color plates and 66 black and white photographs and diagrams, plans, etc.  Photographs by Armando Salas Portugal. Catalog that accompanied the 1976 exhibition at the Museum of Modern Art in New York. The text discusses 7 of Barragan's major works. List of Works (an illustrated list, with some lengthy entries, includes all of Barragan's works and projects, to 1976).

Modernism is a global language. For many modernist architects, although their buildings were situated in a particular place, they didn’t necessarily reference that place conceptually or materially. One exception comes to mind—Walter Gropius’ house in Lincoln, MA employed clapboard siding of all things! And then there’s Barragan who is so obviously a modernist and yet incorporates Mexico’s rich cultural and historic history into his structures.

From the dust jacket: "The illustrations assembled here provide a dazzling visual survey of [Barragan's] work, and the total Barragan oeuvre is documented in a list of works and accompanying bibliography."

"Barragan's magnificent gardens and carefully constructed plazas seem to stand either as great architectural stages for the promenade of horses or as echo chambers for the constant cascade of water. While his design approach is classical and atemporal, the elements of his architecture are deeply rooted in his country's cultural and religious traditions; through the haunting beauty of his heiratic constructions we may begin to understand the ardor and intensity of Mexico's architecture."

One of Mexico's greatest architects, Luis Ramiro Barragán Morfín (1902 – 1988) revolutionized modern architecture in the country with his use of bright colors reminiscent of the traditional architecture of Mexico, and with works such as his Casa Barragán, the Chapel of the Capuchinas, the Torres de Satélite, "Los Clubes" (Cuadra San Cristobal and Fuente de los Amantes), and the Casa Gilardi, among many others.

Barragán was born in Guadalajara, graduating as a civil engineer and architect. Two years later in 1925, he started on a journey of two years in Europe, where he was impressed by the beauty of the gardens of the cities he visited and the strong influence of Mediterranean and Muslim culture, and above all of the International Exposition of Modern Industrial and Decorative Arts. It was on this trip where his interest in landscape architecture began.

The atmosphere of the gardens marked what would be his architectural work, integrating straight and solid walls and courtyards open to the sky. With a career of over 30 built works, his combination of lively block colors and serene gardens earned him the Pritzker Prize in 1980, the Jalisco Award in 1985; finally, a year before his death Barragán received Mexico's National Architecture Award.

In recent years, the discussion around Barragán's work has been rekindled thanks to the bizarre circumstances surrounding his archive. In 1995, the archive was purchased by Rolf Fehlbaum, Chairman of the furniture company Vitra, as an engagement gift for his fiancé Federica Zanco. Since then, the archive has been largely off-limits to researchers as Zanco has attempted to organize and catalog the archive, but many have been angered by the lack of access. The situation came to a head in 2016, when artist Jill Magid presented Zanco with a diamond engagement ring made from the ashes of Luis Barragán himself, in the hope of persuading Zanco to provide researchers more access to her original engagement gift.

Mike Daines [Editor],  Newell and Sorrell  [Art Direction]

Mike Daines [Editor], Newell and Sorrell [Art Direction]: BASELINE 10 [The Cassandre Issue]. London: Esselte Letraset, 1988. Original edition. Folio. Printed photo illustrated saddle-stitched wraparound wrappers. 50 pp. Elaborate graphic design and typography in full color throughout. Cover: Reemtsma Cigaretten OVA i‘m Araber format, poster, 1929. Design by A.M.Cassandre. Trivial wear to spine, so a nearly fine copy.

10.5 x 14.25 saddle-stitched magazine with 50 elaborately-designed pages. Second issue published in the new, oversized format. From the current Publishers: "During 21 years of publication, 'Baseline' has become the leading international magazine about type and typography. It began life in 1979, published by the graphics arts products manufacturer, Letraset. It was originally intended as mainly a vehicle to promote new typeface designs, made available under licence to typesetting system manufacturers. Published "when available material allowed," 'Baseline' nevertheless gained an immediate reputation despite only appearing on average once a year for its first 10 years of existence. Its editorial content, despite the obligatory typeface promotion, struck a chord with the typographic community, because of its objective, and informed approach.

Contents:

• Editorial: Editorial team. A Leading authority on typography; its styles, trends and influences, Baseline combines the very latest in typography with the influences and styles which have coloured the industry through the years. We assess typography on a truly global scale and studying its effects against the backdrop of the demands of the design fraternity. This issue mixes the contemporary with the traditionalist nature of typography with a series of thought provoking articles.
• New work: Editorial team. In the ‘New Work’ section we take a look at some interesting contributions from professional and student typographers and designers.
• Revolution by evolution: Jeremy Leslie. Jeremy Leslie is Art Director of Blitz magazine, one of the leading ‘style’ magazines of the mid 1980s and now firmly established in bookstalls around the world. Baseline talks to Leslie about the Blitz typographic style.
• Type Directors Club New York – TDC 34 Awards Editorial team. Continuing the theme, the Type Directors Club of New York annual competition has been running for 34 years. Baseline reviews the latest offerings.
• Cassandre: Editorial team. The first true commercial artist, A.M.Cassandre became one of the 20th century’s most influential forces in poster design. Less well known for his type design, we examine three of his most famous typefaces developed against the background of his graphics successes. A revolutionary in the best graphic traditions, Cassandre’s contribution to an embryonic industry verges on the legendary.
• Legibility of type: Dr. Linda Reynolds. Breaking the fundamental rules of typography can invoke high drama on the page which sometimes verges on tragedy. Linda Reynolds gets back to basics with a blow by blow account of typographical do’s and don’ts.
• Post Brody: Editorial team. Neville Brody is a legend in his own lifetime and he’s only 31 years old! His radical approach to typography had led a generation of designers to re-evaluate typographical principles. Baseline interviews Brody at a time of torment and self doubt: he’s in danger of becoming a leading light in establishment graphics!
• Morisawa Awards: Colin Brignall. Nobuo Morisawa invented the first Kanji phototypesetting machine back in 1924. Now he runs a major typesetting manufacturing company and is patron of the Morisawa Typographic Awards. In our review of the awards Colin Brignall, Director of Typography at Letraset, comments on the material and Mike Daines reflects on the whole idea of typographic competitions.
• Times Roman: A Revaluation: Peggy Lang. Times New Roman was developed in 1932 and is now established as one of the most widely used text faces. Baseline looks as its ‘raison d’être’ with a fascinating review written just 13 years after its launch.
• Desert Island Type – Paul Smith: Sir Paul Smith. Paul Smith, a London fashion designer, has always had a penchant for type and in our series ‘Desert Island Type’ we look at Paul’s favourite typographic ephemera.
• Reviews: Editorial team. Mike Daines reviews a series of typographical books, which we think you’ll find interesting and on the ‘Back Page’ Mike fills you in on Baseline’s history.
• Imprint: Editorial team

A. M. Cassandre, pseudonym of Adolphe Jean-Marie Mouron (Ukrainian, 1901 – 1968) was a French painter, commercial poster artist, and typeface designer. As a young man, Cassandre moved to Paris, where he studied at the École des Beaux-Arts and at the Académie Julian. The popularity of posters as advertising afforded him an opportunity to work for a Parisian printing house. Inspired by cubism as well as surrealism, he earned a reputation with works such as Bûcheron (Woodcutter), a poster created for a cabinetmaker that won first prize at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes. Cassandre's work during this era is often cited as the largest bridge between the modern fine arts and the commercial arts.

Despite his affinity to the fine arts he always believed there should be a separateness between disciplines. The success of his posters probably lies in his philosophy that his posters were meant to be seen by people who do not try to see them. Cassandre became successful enough that with the help of partners he was able to set up his own advertising agency called Alliance Graphique, serving a wide variety of clients during the 1930s. He is perhaps best known for his posters advertising travel, for clients such as the Compagnie Internationale des Wagons-Lits.

His creations for the Dubonnet wine company were among the first posters designed in a manner that allowed them to be seen by occupants in moving vehicles. His posters are memorable for their innovative graphic solutions and their frequent denotations to such painters as Max Ernst and Pablo Picasso. In addition, he taught graphic design at the École des Arts Décoratifs and then at the École d'Art Graphique.

With typography an important part of poster design, the company created several new typeface styles. Cassandre developed Bifur in 1929, the sans serif Acier Noir in 1935, and in 1937 an all-purpose font called Peignot. In 1936, his works were exhibited at the Museum of Modern Art which led to commissions from fellow Russian Alexey Brodovitch to produce original cover designs for Harper's Bazaar.

“Cassandre’s cover work for this period of Harper’s Bazaar was strange, to say the least. Instead of depicting actual fashions, he depicted the fantasy behind the fashion. He concentrated on the “dream of the idea” of what was being said and what the implication may be. It appealed to an emotional level of otherness and spin. The world on the verge of the second world war must have seemed like a bad nightmare unfolding. So Cassandre depicted floating eyeballs over an outline of France to imagine Paris fashion on the brink of catastrophe. Disturbing stuff—especially weird to see on the cover of a fashion magazine.

“Cassandre’s illustration style was part Dali, part Magritte and a little Max Ernst tossed in for shits and giggles. Cassandre’s imagery was so strange that his work looks psychedelic today (the chemical Surrealism of a later time). For an American magazine of this era, his work must have stood out like a big strange thumb.

“During his brief tenure as cover artist for this high-end fashion publication, Cassandre both brought Surrealism into American editorial illustration and depicted the emotional and mental collapse of an entire world as it rapidly disappeared forever.” — Art Chantry

With the onset of World War II, Cassandre served in the French army until the fall of France. His business long gone, he survived by creating stage sets and costumes for the theatre, something he had dabbled in during the 1930s. After the war, he continued this line of work while also returning to easel painting. He worked with several famous French fashion houses, designing playing cards and scarfs for Hermès and the well-known Yves Saint Laurent logo.

In his later years, Cassandre suffered from bouts of depression prior to his suicide in Paris in 1968.

Mike Daines [Editor],  Newell and Sorrell  [Art Direction]

Mike Daines [Editor],  Newell and Sorrell  [Art Direction]: BASELINE 11 [The Bradbury Thompson Issue]. London: Esselte Letraset, 1988. Original edition. A near-fine magazine in printed stiff wrappers: trace of wear overall. Cover: The letter ‘R’ from the word ‘AMERICA’. Westvaco 1953, No.192. Design by Bradbury Thomson

10.5 x 14.25 saddle-stitched magazine with 50 elaborately-designed pages. Second issue published in the new, oversized format. From the current Publishers: "During 21 years of publication, 'Baseline' has become the leading international magazine about type and typography. It began life in 1979, published by the graphics arts products manufacturer, Letraset. It was originally intended as mainly a vehicle to promote new typeface designs, made available under licence to typesetting system manufacturers. Published "when available material allowed," 'Baseline' nevertheless gained an immediate reputation despite only appearing on average once a year for its first 10 years of existence. Its editorial content, despite the obligatory typeface promotion, struck a chord with the typographic community, because of its objective, and informed approach.

• Editorial
• New Work
• Tibor’s Typo Tips by Tibor Kalman: Typographic wisdom from M&Co. Kalman was best known for the groundbreaking work he created with his New York design firm, M&Co, and his brief yet influential editorship of Colors magazine. Throughout his 30-year career, Kalman brought his restless intellectual curiosity and subversive wit to everything he worked on -- from album covers for the Talking Heads to the redevelopment of Times Square. Kalman incorporated visual elements other designers had never associated with successful design, and used his work to promote his radical politics. The influence of his experiments in typography and images can be seen everywhere, from music videos to the design of magazines such as Wired and Ray Gun.
• Interrelations between Calligraphy and Typography (Werner Schneider and Max Caflish)
• Bradbury Thompson by Steven Heller
• Times Roman through the generations
• Punk Typography and Seattle Punk Culture by Art Chantry. Little has been acknowledged by the design industry of the influences of the Punk era. Yet the radicalism, which drove primarily fashion and the music business in the late 1970’s and early 1980’s, helped shape the culture of today. The Punk movement in graphics and typography remains only as a memory of evocative and provocative symbols and images. The immense power and vitality of those images must surely be seen as the last major influence on mainstream graphic design. It is probably worth nothing that today’s more influential young designers were students of the Punk era, and as their influence on the design scene prevails, the driving force which shaped Punk, while heavily watered down, will increasingly make its mark…
• Punk Typography by Barney Bubbles
• Phil Baines
• Emigré
• Star !
• Designer Spectacles by Prof. Bruce Brown
• Desert Island Type chosen by Dr. Herbert Spencer: includes work samples from Piet Zwart, El Lissitzky, H. N. Werkman, Herbert Bayer, Massin, Brownjohn Chermayeff Geismar, etc.
• Reviews

From THE ART OF GRAPHIC DESIGN by Bradbury Thompson: "The art director of Mademoiselle and design director of Art News and Art News Annual in the decades after World War II, [Thompson] also designed the formats for some three dozen other magazines, including Smithsonian. Thompson is in addition a distinguished designer of limited edition books, postage stamps, rationalized alphabets, corporate identification programs, trademarks, and sacred works (most notable, the Washburn College Bible, in which the words are set in the cadence of speech)."

"His hallmark has ever been the adaptation of classic typography to the modern world. Thompson is perhaps most well known as the designer of more than sixty issues of Westvaco Inspirations, a magazine published by the Westvaco Corporation.... Bradbury Thompson has served on the faculty of the Yale School of Art for over thirty years.... His profession has honored him with all of its highest awards, including those of the American Institute of Graphic Arts, the National Society of Art Directors, the Art Directors Club, the Type Directors Club, [the American Center for Design], and the Society of Publication Designers."

Bradbury Thompson (1911-1995) was born in Topeka, Kansas and graduated from Washburn College in 1934. When it came to the blending of photography, typography and color, nobody did it better than Thompson. In his own quiet way, he expanded the boundaries of the printed page and influenced the design of a generation of art directors.

By simply looking at one year of his career, the scope of his involvement in the field of graphic design can be understood. In 1945, Thompson designed the final issues of three wartime magazines including Victory and USA. Back in New York, before the year was out, he had become art director of Mademoiselle, where he worked for nearly fifteen years. He also accepted the role of design director for Art News and Art News Annual, a position he held for 27 years.

As if that were not enough, he designed a brochure for the Ford Motor Company and began his experiments in typographic reform by creating his "monoalphabet,” which broke with the tradition of separate letterforms for capital and lower-case letters. He first introduced this typographic innovation in an issue of Westvaco Inspirations for Printers, one of four issues that he produced that year. And 1945 was not unusual.

Thompson's first commission to design a stamp for the U.S. Postal Service in 1958 led to over 90 other designs. He often used portions of paintings in his designs, such as a 1980 stamp featuring Glow by Josef Albers. As a member of the Citizens' Advisory Committee, he suggested a U.S. logo for each stamp to show national unity.

Books and their design were also critical in Thompson's career right from the start, as art editor of his high school yearbook to the publishing of The Washburn College Bible  -- a King James translation with revolutionary type and design.

Thompson is one of the few art directors who have received all three major design awards: National Society of Art Directors Art Director of the Year in 1950; AIGA Gold Medal in 1975; and the Art Directors Hall of Fame award in 1977.

Any analysis of Thompson's style and any attempt to assess the value and extent of his influence leads irrevocably to one word: form. Whether by examining his precise cropping and careful placing of images on the printed page or studying his attention to typographic detail, his sense of order and stucture cannot be missed. Recalling his early draftsman experience Thompson said, "It was a critical part of my training as a designer. It taught me discipline and, working with huge sheets of tracing cloth, I learned to cope with space in an orderly way."

From Matthew Haber’s 1999 Obituary notice: “ Kalman was best known for the groundbreaking work he created with his New York design firm, M&Co, and his brief yet influential editorship of Colors magazine. Throughout his 30-year career, Kalman brought his restless intellectual curiosity and subversive wit to everything he worked on -- from album covers for the Talking Heads to the redevelopment of Times Square. Kalman incorporated visual elements other designers had never associated with successful design, and used his work to promote his radical politics. The influence of his experiments in typography and images can be seen everywhere, from music videos to the design of magazines such as Wired and Ray Gun.”

”... Born in Budapest in 1949, Kalman and his parents were forced to flee the Soviet invasion in 1956. They settled in Poughkeepsie, N.Y., when he was 8. Kalman was ostracized in elementary school until he learned to speak English. “

”Kalman parlayed his childhood isolation into some of his most successful design innovations. “He was keenly passionate about things of the American vernacular because he wasn’t American,” Chee Pearlman, editor of I.D. magazine, remarked shortly after Kalman’s funeral. “In that sense, he taught the whole profession to look at things that they may not have seen as closely or taken as seriously.”

Mike Daines [Editor]

[Esselte Letraset] Mike Daines [Editor]: BASELINE Two [International Typographics Magazine]. London: Esselte Letraset 1979. Original edition. Slim quarto. Printed stapled self wrappers. 20 pp. Illustrated typographic essays. Trivial wear overall, but a nearly fine copy.

8.25 x 11.5 [original small format) staple-bound magazine with 20 elaborately-designed pages. The first 9 issues of  "Baseline" were published in a smaller format than the current folio size and are quite uncommon.

• Belwe – a study in design: Mike Daines. “The Belwe family has recently been added to the Letraset range. Its development illustrates the emphasis that Letraset places on producing its own designs, as well as relying on outside sources. Alan Meeks describes the evolution of his design. ‘My first design based on Belwe was called ‘Elizabethan’ designed in 1971. With this face I aimed to tidy up and modernise the original as much as possible. The curved top bars on the ‘r’, ‘v’ and ‘y’, for example, were cleaned and straightened up. The original ‘g’ was more or less totally reformed to make it more up to date.’”
• BfG: Bank für Gemeinwirtschaft – a corporate identity: Wally Olins. “Wolff Olins, London, a leading international design group describe the development of a new typeface as an integral part of a corporate identity programme. This is the first in a series of articles exploring the part played by typeface design in corporate identity. It examines the development of the BfG typeface, the final artwork for which was produced in the TSI studio…”
• Facing the East (Introduction to Arabic script): Walter Tracy. “There are good reasons why graphic designers should know about the Arabic script, which is one of the most important in the world, used by nearly 600 million followers of the Islamic faith in many countries from Morocco to South-East Asia…”
• Letters from America Editorial team
• AWArD’79 Editorial team
• The Type Designs of Eric Gill: Roy Brewer. “Arthur Eric Rowton Gill was born in Brighton in 1882 and apprenticed as an architect of the Ecclesiastical Commissioners in 1900. He married Ethel Mary Moore in 1904 and, three years later, joined a community of artist craftsmen in Ditchling, Sussex, where he did some printing and illustration. He left Ditchling in 1924 and lived in Capel-y-ffin in mis-Wales. No type designed by Gill was cut until 1925 (Perpetua) and most of his work in type design was done in collaboration with The Monotype Corporation. He was also a sculptor, and his work in this medium can still be admired in many places, such as Ariel and Prospero above the main doors of the BBC in Portland Place, and the stations of the, cross in Westminister Cathedral…”
• Garth Graphic – a new typeface: Editorial team
• Letters to the editor: Editorial team
• Newsline: Editorial team

From the current Publishers: "During 21 years of publication, 'Baseline' has become the leading international magazine about type and typography. It began life in 1979, published by the graphics arts products manufacturer, Letraset. It was originally intended as mainly a vehicle to promote new typeface designs, made available under licence to typesetting system manufacturers. Published "when available material allowed," 'Baseline' nevertheless gained an immediate reputation despite only appearing on average once a year for its first 10 years of existence. Its editorial content, despite the obligatory typeface promotion, struck a chord with the typographic community, because of its objective, and informed approach.

Saul Bass [Designer]

Saul Bass [Design]: NAPOLI. Lissone, Italy: Arti Grafiche Meroni , [1984]. Original impression. 39 x 26.75 - inch [99.06 x 67.945 cm] trim size image printed via offset lithography on a semi-gloss sheet. A fine, fresh example.

39 x 26.75 - inch [99.06 x 67.945 cm] poster designed by Saul Bass: “A poster commissioned by Napoli ’99 Foundation as a contribution towards the cultural image of the city.”

The Naples NinetyNine Foundation sponsored a series of 25 posters from 1984 – 1986 with the primary objective of contributing to the knowledge, promotion and enhancement of cultural heritage of Naples and Southern Italy.

The 25 participating designers were Walter Allner, Stuart B. Ash, Saul Bass, Bruce Blackburn, Pierluigi Cerri, Ivan Chermayeff, Giulio Confalonieri, Heinz Edelmann, Gene Federico, Alan Fletcher, Jean-Michel Folon, André François, Milton Glaser, Tomás Gonda, F H K Henrion, David Hillman, Takenobu Igarashi, Mervyn Kurlansky, Italo Lupi, John Mcconnell, Armando Milani, Art Paul, Tullio Pericoli, Arnold Schwartzman, and Massimo Vignelli.

Their interpretations of the city cover a wide range of themes: architecture, poetry, music, the earthquake, pollution, Vesuvius. The 25 posters have been exhibited in Naples, Rome, Los Angeles, Dundee, and Lahti. The project won the award for the best social graphics at the 1987 Lahden Biennal Exhibition. Collect them all!

Saul Bass (1920-1996) enjoyed a storied career as a graphic designer, whose corporate identity work for companies such as AT&T, Bell Telephone, Esso, and United Airlines provided them with some of the most memorable brand recognition of the 20th century. His film titling work and poster design for Hollywood's greatest studios and directors, however, earned Bass a unique place in American graphic arts.

Born in The Bronx, Bass's passion for drawing and illustration appeared early in life, and he studied at both the famous Art Students League and at Brooklyn College where he came under the influence of Gyorgy Kepes and the full sweep of Russian Constructivist typography and Bauhaus design theory. Though he found some opportunities in New York as a freelance graphic artist, his greatest success came after moving to Los Angeles in 1946. His major breakthrough came by way of a commission from the film director Otto Preminger who asked him to design the titling sequences for "Carmen Jones." Bass transformed an otherwise tedious but necessary preamble to the movie into an exciting, anticipatory experience for theatre viewers.

More commissions from other directors soon followed, including Billy Wilder (The Seven Year Itch) and Robert Aldrich (The Big Knife). Then came the film that firmly established his reputation, Preminger's The Man with the Golden Arm, with its still dazzling sequences and memorable cutout image of the addict's arm. Other famous films bearing Bass's edgy and graphically arresting touch included Hitchcock's Vertigo, North by Northwest, and Psycho; Kubrick's Spartacus and The Shining; Scorsese's Goodfellas and Casino; and Speilberg's Schindler's List. Though Bass claimed to have directed Janet Leigh's shower scene sequence in Psycho, most sources credit him only with helping to prepare the storyboards.

Bass also directed the science fiction/horror film, Phase IV, and designed posters for the 1984 Los Angeles Olympic Games and for the Academy Awards celebrations from 1991-1996. His most memorable quote was "Symbolize and summarize."

Saul Bass

Saul Bass [Design]: “Greetings:  Ruth and Saul Bass, Andrea & Bob.” N. P., n. d. Original impression. 12.35 x 4.62 - inch card on cream wove stock with letterpress score [for folding] and deckled edge. Printed recto only. Hand decorated with two different ruber stamp impressions. Verso lightly soiled, but a very good example.

12.35 x 4.62 - inch non-denominational Holiday card designed by Saul Bass and hand stamped prior to mailing.

Saul Bass (American, 1920-1996) enjoyed a storied career as a graphic designer, whose corporate identity work for companies such as AT&T, Bell Telephone, Esso, and United Airlines provided them with some of the most memorable brand recognition of the 20th century. His film titling work and poster design for Hollywood's greatest studios and directors, however, earned Bass a unique place in American graphic arts.

Born in The Bronx, Bass's passion for drawing and illustration appeared early in life, and he studied at both the famous Art Students League and at Brooklyn College where he came under the influence of Gyorgy Kepes and the full sweep of Russian Constructivist typography and Bauhaus design theory. Though he found some opportunities in New York as a freelance graphic artist, his greatest success came after moving to Los Angeles in 1946. His major breakthrough came by way of a commission from the film director Otto Preminger who asked him to design the titling sequences for "Carmen Jones." Bass transformed an otherwise tedious but necessary preamble to the movie into an exciting, anticipatory experience for theatre viewers.

More commissions from other directors soon followed, including Billy Wilder (The Seven Year Itch) and Robert Aldrich (The Big Knife). Then came the film that firmly established his reputation, Preminger's The Man with the Golden Arm, with its still dazzling sequences and memorable cutout image of the addict's arm. Other famous films bearing Bass's edgy and graphically arresting touch included Hitchcock's Vertigo, North by Northwest, and Psycho; Kubrick's Spartacus and The Shining; Scorsese's Goodfellas and Casino; and Speilberg's Schindler's List. Though Bass claimed to have directed Janet Leigh's shower scene sequence in Psycho, most sources credit him only with helping to prepare the storyboards.

Bass also directed the science fiction/horror film, Phase IV, and designed posters for the 1984 Los Angeles Olympic Games and for the Academy Awards celebrations from 1991-1996. His most memorable quote was "Symbolize and summarize."

Kendall T. Bassett, Arthur B. Thurman, Victor D’Amico

Kendall T. Bassett, Arthur B. Thurman, Victor D’Amico: HOW TO MAKE OBJECTS OF WOOD. New York: Museum of Modern Art, 1951. First edition (Art for Beginners Series). Octavo. Gray cloth titled in black. Printed dust jacket. 95 pp. Fully illustrated with black and white halftones and line art.Jacket with light shelf wear and rear panel soiled, otherwise a nearly fine copy in a nearly fine dust jacket. Rare.

7.75 x 10.25 hardcover book with 95 pages devoted to nine projects and a section on the home workshop “to help the beginner design and make objects of wood with hand and power tools.” The published record of the four years of the War Veterans’ Art Center sponsored by the Museum of Modern Art and its’ continuation as the Museum’s People’s Art Center.

Includes work by James Prestini, Eero Saarinen and Charles O. Eames.

The book was the third in the Art for Beginners series, “planned as a means of self-instruction for persons working on their own and as an aid for the teacher in directing large groups.” The authors of the book included Victor D'Amico, a progressive educator who began working as the director of MoMA's Education Project. In that capacity, he created several outreach programs, including MoMA's War Veterans' Art Center and its successor entity when the veterans' center disbanded in 1948, the People's Art Center.

The book's other two authors, Kendall T. Bassett and Arthur B. Thurman, were affiliated with War Veterans' Art Center; Bassett was also affiliated with the People's Art Center.

According to the press release announcing the War Veterans' Art Center's first art show, "The Art Center has a twofold object: to give veterans an opportunity for personal satisfaction in creating some form of art; and to provide preliminary professional training in the fundamentals both of fine and applied art.”

The center, which was founded in 1944, 15 years after MoMA's founding, was open free of charge (for both instruction and materials) to all returned service men and women. The press release described the center as " a place where returned service men and women not only learn but produce painting, sculpture, ceramics, industrial design, jewelry, silk screen printing, graphic arts and allied subjects.”

The first year's divisions included Design Workshop; Drawing and Painting; Graphic Arts; Jewelry and Metalwork; Lettering, Layout, and Typography; Orientation; Sculpture & Ceramics; Silk Screen Printing; Wood Engraving and Book Illustration; and Woodworking Design (taught by Kendall T. Bassett). A typical student was a veteran who, prior to the war, worked as a farmer but "doesn't want to go back to farming and has decided that our class in Woodworking Design offers him an opportunity to develop a new vocation." Another student mentioned by the administration suffered an eye injury in combat and was cautioned to avoid heavy labor. "Attracted by the class in Woodworking Design, he came to the Center where he hopes to learn to make toys and small furniture, thus using his skill without physical strain.”

Modern Art (1944-1948), a master's thesis written about the center, noted that veterans were screened but allowed to enroll at any point of the class and proceed at their own pace at projects that were organized for increased complexity—a system Victor D'Amico developed specifically for veterans, although it has obvious echoes in progressive child education generally.

In its excitement about its individual-centered approach, MoMA proposed to distribute pamphlets directly to veterans for self-instruction; the publication project then grew into the "Art for Beginners" series, a partnership with Simon & Shuster for publication of books for the general public.

How to Make Objects of Wood is a notably straightforward book. There isn't chat about the philosophy of woodworking. The text, which addresses design and construction techniques, and the numerous black & white photographs and sketches, all come right to the point.The tone is encouraging in its matter-of-fact belief that the reader can accomplish a great deal if he or she follows the instruction. The participants from the War Veterans' Art Center were, after all, experienced at following commands. The projects start out with a joint and eventually graduate to a desk and dollhouse. You can do it, the book suggests. We believe in you.

Although MoMA's progressive centers had broad support from its trustees, including members of the Rockefeller family, they withered away with the retirement of their chief champion, Victor D'Amico. The redemptive project of making "objects of wood," as the humble title called them, was forgotten. — Joel Moskowitz

Walter Gropius and László Moholy-Nagy [Editors],
Herbert Bayer [Designer]

Walter Gropius and László Moholy-Nagy [Editors], Herbert Bayer [Designer]: BAUHAUS 1 1928: ZEITSCHRIFT FUR BAU UND GESTALTUNG. Dessau: Bauhaus Dessau, 1928. Text in German. Slim quarto. Thick printed stapled wrappers. 20 pp. Text and illustrations. Cover photograph and interior design by Herbert Bayer. Wrappers edgeworn, lightly soiled and creased with a small chip to upper corner. A good or better copy. Rare.

8.25 x 11.75 saddle-stitched edition with 20 pages illustrated with photographs and illustrations. This cover presents one of the iconic images of twentieth-century graphic design in Herbert Bayer's magnificent typofoto illustration.

The "Quarterly Magazine for Design" served as house organ of the Bauhaus Dessau and provided an extraordinary snapshot of the productivity of the Bauhaus Dessau from its high point under the directorship of Walter Gropius to its sliding decline under Hannes Meyer and Ludwig Mies van der Rohe. This is the last issue produced under the leadership of Gropius and Moholy-Nagy, and reflects the absolute zenith of the publication in terms of editorial content and graphic design.

Published periodically from 1926 to 1931, the most important voices of the European Avant-Garde are recognized in word and image: Bauhaus masters Josef Albers, Walter Gropius, Wassily Kandinsky, Paul Klee, László Moholy-Nagy, and Oskar Schlemmer, as well as Herbert Bayer, Marcel Breuer, Ludwig Mies van der Rohe, Gerrit Rietveld, and many more. They address the developments in and around the Bauhaus, the methods and focal points of their own teaching, and current projects of students and masters. At the time primarily addressed to the members of the “circle of friends of the bauhaus,” the journal published by Gropius and Moholy-Nagy makes tangible the authentic voice of this mouthpiece of the avant-garde.

Includes "Fotografie ist Lictgestaltung" by Moholy-Nagy with photograms and photoplastiks by Moholy and images by Ulrich Klavun, Consemuller, Albert Braun and Lotte Beese, and Bayer-Hecht. Also included is "Typografie und websachengestaltung" by Herbert Bayer, and two pages devoted to a small housing development by Marcel Breuer. The last two pages are vintage advertisements for Marcel Breuer's tubular steel furniture for Standard-Mobel and others.

Fourteen issues of the Bauhaus magazine were produced between 1926 to 1931, and this cover -- featuring Bayer's photo compostion of the Foundation Theory -- is an instantly recognizable icon from the Dessau years. All fourteen issues were assembled with excellent examples of the functional graphic design and new typography, as practiced by the European Avant-Garde in the late 1920s all the way up to the point where the lights went out all over Europe.

Of all the artists to pass through the Bauhaus, none lived the Bauhaus ideal of total integration of the arts into life like Herbert Bayer (1900 - 1985). He was a graphic designer, typographer, photographer, painter, environmental designer, sculptor and exhibition designer. He entered the Bauhaus in 1921 and was greatly influenced by Kandinsky, Moholy-Nagy and El Lissitzky. He left in 1923, but returned in 1925 to become a master in the school. During his tenure as a Bauhaus master he produced many designs that became standards of a Bauhaus "style." Bayer was instrumental in moving the Bauhaus to purely sans serif usage in all its work. In 1928 he left the Bauhaus to work in Berlin. He primarily worked as a designer and art director for the Dorland Agency, an international firm. During his years at Dorland a Bayer style was established. Bayer emigrated to the United States in 1938 and set up practice in New York. His US design included work for NW Ayers, consultant art director for J. Walter Thompson and design work for GE. [bayer_2019]

Herbert Bayer, Walter Gropius and Ise Gropius [Editors]

Herbert Bayer, Walter Gropius and Ise Gropius [Editors]: BAUHAUS 1919 – 1928. Boston: Branford, 1952. Second printing of the original MoMA edition from 1938. Blue cloth decorated in white. Printed dust jacket. 224 pp. 550 black and white illustrations. Book design and typography by Herbert Bayer. Interior unmarked and clean. Blue cloth bright. Dust jacket faintly rubbed. The nicest copy of this edition we have handled: a fine copy in a nearly fine dust jacket.

7.75 x 10.25 hardcover book with 224 pages and 550 illustrations. Reprint of the 1938 MoMA monograph devoted to the influence of the Weimar and Dessau Bauhaus under the directorship of Walter Gropius. Includes work by all the Bauhaus faculty including Walter Gropius, Paul Klee, Wassily Kandinsky, Laszlo Moholy-Nagy, Marcel Breuer, Herbert Bayer, Josef Albers, Oskar Schlemmer, Mies van der Rohe and others. Includes work from the furniture, weaving, metal, typography and painting workshops. Includes work from the furniture, weaving, metal, typography and painting workshops. Highly recommended.

This book is considered one of THE most definitive Bauhaus volumes ever published.

Contents include:

• Preface by Alfred H. Barr, Jr.
• The Background of the Bauhaus by Alexander Dorner
• Weimar Bauhaus 1919-25
• The Theory and Organization of the Bauhaus by Walter Gropius (Weimar, 1923)
• Preliminary Course: Itten
• Klee's Course
• Kandinsky's Course
• Carpentry Workshop
• Stained Glass Workshop
• Pottery Workshop
• Metal Workshop
• Weaving Workshop
• Stage Workshop
• Wall Painting Workshop
• Display Design
• Architecture
• Typography and Layout; the Bauhaus Press
• Preliminary Course: Moholy-Nagy
• Preliminary Course: Albers
• Dessau Bauhaus 1925-1928
• Bauhaus Building
• The Masters' Houses
• Furniture Workshop
• Metal Workshop: Lighting fixtures, et cetera
• Weaving Workshop
• Typography Workshop: Printing, layout, posters
• Photography
• Exhibition Technique
• Wall Painting Workshop: Wall paper
• Sculpture Workshop
• Stage Workshop
• Kandinsky's Course
• Paul Klee speaks
• Painting, Sculpture, Graphic Art, 1919-1928
• Spread of the Bauhaus Idea
• Bauhaus Teaching in the United States
• Biographical Notes by Janet Henrich
• Bibliography by Beaumont Newhall
• Index of Illustrations

“The world began to accept the Bauhaus. In America Bauhaus lighting fixtures and tubular chairs wore imported or the designs pirated. American Bauhaus students began to return; and they were followed, after the revolution of 1933, by Bauhaus and ex-Bauhaus masters who suffered from the new government’s illusion that modern furniture, flat-roofed architecture and abstract painting were degenerate or Bolshevistic. In this way, with the help of the fatherland, Bauhaus designs, Bauhaus men, Bauhaus ideas, which taken together form one of the chief cultural contributions of modern Germany, have been spread throughout the world.”—Alfred H. Barr, Jr.

From the book: "Bauhaus 1919-1928, originally published by The Museum of Modern Art in 1938, remains today one of the most valuable accounts of the magnificent achievements of the school. The book is a point-for-point record of actual programs and projects at the Bauhaus, prepared by Herbert Bayer under the general editorship of Walter Gropius and with the collaboration of a dozen other Bauhaus teachers -- including Kandinsky, Klee, Feininger, Schlemmer, Itten, Moholy-Nagy, Albers, and Breuer. Rather than a retrospective history, here is a collection of photographs, articles, and notes prepared on the field of action. It may be considered as much a work of the Bauhaus as it is a work about it; even the typography and layout for the volume were designed by a former Bauhaus master. "

"This book on the Bauhaus was published in conjunction with the Museum Of Arts exhibition, Bauhaus 1919-28. Like the exhibition, it was for the most part limited to the first nine years of the institution, the period during which Gropius was director. For reasons beyond the control of any of the individuals involved, the last five years of the Bauhaus could not be represented. During those five years much excellent work was done and the international reputation of the Bauhaus increased rapidly, but, unfortunately for the purposes of this book, the fundamental character of the Bauhaus had already been established under Gropius' leadership. This book is primarily a collection of evidence - photographs, articles and notes done on the field of action, and assembled here with a minimum of retrospective revision."

Herbert Bayer, Walter Gropius and Ise Gropius [Editors]

Herbert Bayer, Walter Gropius and Ise Gropius [Editors]: BAUHAUS 1919-1928. Boston: Branford, 1959. Third printing of the original MoMA edition from 1938. Blue cloth stamped in white. Printed dust jacket. 224 pp. 550 black and white illustrations. Book design and typography by Herbert Bayer. Blue cloth clean and lightly dusted along top edges. Jacket lightly rubbed with a chipped spine crown and minor wear to edges. A very good or better copy in a very good, unclipped dust jacket.

7.75 x 10.25 hardcover book with 224 pages and 550 illustrations. Reprint of the 1938 MoMA monograph devoted to the influence of the Weimar and Dessau Bauhaus under the directorship of Walter Gropius.

Includes work by all the Bauhaus faculty including Walter Gropius, Paul Klee, Wassily Kandinsky, László Moholy-Nagy, Marcel Breuer, Herbert Bayer, Josef Albers, Lyonel Feininger, Oskar Schlemmer, Hannes Meyer, Mies van der Rohe, Anni Albers, Otti Berger, Gunta Stolzl, Max Bill, Joost Schmidt, Xanti Schawinsky, Walter Peterhans, Georg Muche, Lilly Reich, Gerhard Marcks, Johannes Itten, Alfred Arndt, Marianne Brandt, Josef Hartwig, Wilhelm Wagenfeld, Christian Dell, Otto Lindig, and many, many others.

This book is considered one of THE most definitive Bauhaus volumes ever published.

Includes work from the furniture, weaving, metal, typography and painting workshops. Highly recommended.

Contents include:

• Preface by Alfred H. Barr, Jr.
• The Background of the Bauhaus by Alexander Dorner
• Weimar Bauhaus 1919-25
• The Theory and Organization of the Bauhaus by Walter Gropius (Weimar, 1923)
• Preliminary Course: Itten
• Klee's Course
• Kandinsky's Course
• Carpentry Workshop
• Stained Glass Workshop
• Pottery Workshop
• Metal Workshop
• Weaving Workshop
• Stage Workshop
• Wall Painting Workshop
• Display Design
• Architecture
• Typography and Layout; the Bauhaus Press
• Preliminary Course: Moholy-Nagy
• Preliminary Course: Albers
• Dessau Bauhaus 1925-1928
• Bauhaus Building
• The Masters' Houses
• Furniture Workshop
• Metal Workshop: Lighting fixtures, et cetera
• Weaving Workshop
• Typography Workshop: Printing, layout, posters
• Photography
• Exhibition Technique
• Wall Painting Workshop: Wall paper
• Sculpture Workshop
• Stage Workshop
• Kandinsky's Course
• Paul Klee speaks
• Painting, Sculpture, Graphic Art, 1919-1928
• Spread of the Bauhaus Idea
• Bauhaus Teaching in the United States
• Biographical Notes by Janet Henrich
• Bibliography by Beaumont Newhall
• Index of Illustrations

From the book: "Bauhaus 1919-1928, originally published by The Museum of Modern Art in 1938, remains today one of the most valuable accounts of the magnificent achievements of the school. The book is a point-for-point record of actual programs and projects at the Bauhaus, prepared by Herbert Bayer under the general editorship of Walter Gropius and with the collaboration of a dozen other Bauhaus teachers -- including Kandinsky, Klee, Feininger, Schlemmer, Itten, Moholy-Nagy, Albers, and Breuer. Rather than a retrospective history, here is a collection of photographs, articles, and notes prepared on the field of action. It may be considered as much a work of the Bauhaus as it is a work about it; even the typography and layout for the volume were designed by a former Bauhaus master. "

"This book on the Bauhaus was published in conjunction with the Museum Of Arts exhibition, Bauhaus 1919-28. Like the exhibition, it was for the most part limited to the first nine years of the institution, the period during which Gropius was director. For reasons beyond the control of any of the individuals involved, the last five years of the Bauhaus could not be represented. During those five years much excellent work was done and the international reputation of the Bauhaus increased rapidly, but, unfortunately for the purposes of this book, the fundamental character of the Bauhaus had already been established under Gropius' leadership. This book is primarily a collection of evidence - photographs, articles and notes done on the field of action, and assembled here with a minimum of retrospective revision."

In 1938 MoMA issued a press memo informing New York City editors that on December 7, the Museum would open “what will probably be considered its most unusual exhibition—and certainly one of its largest.” That exhibition was Bauhaus: 1919–1928, an expansive survey dedicated to this incomparably influential German school of art and design. On display were nearly 700 examples of the school’s output, including works of textile, glass, wood, canvas, metal, and paper. It was a celebration of the remarkable creativity and productivity of the Bauhaus, which had been forced to close under pressure from the Nazi Party just five years prior. The size and scope of this tribute indicated the importance of the Bauhaus to MoMA's development: the school had served as a model for the Museum’s multi-departmental structure, and inspired its multidisciplinary presentation of photography, architecture, painting, graphic design, and theater.

Here is the Museum of Modern press release from December 1938 in its entirety: ”The shapes of "things to come," the forms of things which have recently become a part of everyday life—such as modern lighting fixtures, tubular steel chairs, new typography—and the fundamentally new principles that combine art with industry so that genuinely new forms and shapes can come into being, will be set forth in THE BAUHAUS 1919-1928. The exhibition includes paintings, architectural models and plans, original ballet costumes, photographs and cameraless photographs, typography, furniture, lighting fixtures, rugs, textiles, mobile sculpture, tin and paper sculptures, metal and glass dishes, an abstract motion picture film and many other objects, which the Museum of Modern Art, 14 West 49 Street, New York, will open to the public Wednesday, December 7.

”To bring into a fundamental unity all branches of art, architecture and design the Bauhaus was founded in 1919 in Weimar, Germany, by Walter Gropius, one of the world's leading modern architects and now Chairman of the Department of Architecture at Harvard University. Its success was so remarkable, before it wasclosed in 1933 by the National Socialists, that it became a world influence in modern architecture and design.

”The exhibition is under the auspices of the Museum's Department of Architecture and Industrial Art. It has been organized and installed by Herbert Bayer, one of the former masters at the Bauhaus. It will fill all the Museum's galleries and will comprise about 700 individual items in wood, metal, canvas and paint, textiles, paper, glass and many other substances. The entire installation will exemplify, as far as possible in the given gallery space, the Bauhaus principles of exhibition technique in which clarity and arresting arrangement are combined. For example, the Museum floors—traditionally not part of an exhibition—will be decorated with painted guidelines, footprints and abstract forms which will not only direct the visitor step by step through the exhibition but will bear artistic relation to the actual physical shape of each gallery and the type of the objects exhibited in it.

”In 1919, after much preliminary work, Walter Gropius merged the Weimar Art Academy and the Weimar Arts and Crafts School to form the Bauhaus, Its first proclamation declared that "The complete building is the final aim of the visual arts. Architects, painters and sculptors must recognize anew the composite character of the building as an entity."

”The Baulmus was not merely a school in the ordinarily accepted sense but, much more, a community of architects, painters, sculptors, engineers, photographers and craftsmen who contributed their special talents and experience. The pupils studied and experimented under their direction. All, working together, continued to "learn by doing," discovering new principles and developing new techniques. Designs created in the Bauhaus were used in mass production.

”In this way the Bauhaus bridged the gap between the so called "fine arts" and industry. It also began to solve the problem of fitting the artist to take his place in the machine age. As it grew in influence and reputation the Bauhaus brought together on its faculty more artists of distinguished talent than has any other art school of our time.

”At the beginning the Bauhaus had about 225 students chiefly from Germany and Austria; within a few years at least 50% of its students came from other European countries and the United States. Approximately two-thirds of them were men and most of them were in their early twenties. The Bauhaus masters, or teachers, were Walter Gropius, its founder and first director, Kandinsky, Klee, Feininger, Schlemmer, Itten, Moholy-Nagy, Albers, Bayer, Breuer, Stoelzl and others.

”In 1925 the Bauhaus moved from Weimar to Dessau, where the new Bauhaus building, designed by Gropius and decorated, furnished and equipped in collaboration with the Bauhaus workshops, was completed in 1926. In the development of modern architecture it was  the most important and influential modern building of the 1920's.

”In 1928 Groplus left the active directorship of the Bauhaus., together with Bayer, Breuer and Moholy-Nagy, to devote their time to private practice. During the first decade of its existence hundreds of Bauhaus students went out into the world spreading by their works more than through their words the new doctrine of the Bauhaus unity of art, architecture and industrial design.

” In his preface td the book which the Museum of Modern Art is publishing in connection with the exhibition, Alfred H. Barr, Jr., Director of the Museum, writes:

”The world began to accept the Bauhaus. In America Bauhaus lighting fixtures and tubular chairs wore imported or the designs pirated. American Bauhaus students began to return; and they were followed, after the revolution of 1933, by Bauhaus and ex-Bauhaus masters who suffered from the new government's illusion that modern furniture, flat-roofed architecture and abstract painting were degenerate or Bolshevistic. In this way, with the help of the fatherland, Bauhaus designs, Bauhaus men, Bauhaus ideas, which taken together form one of the chief cultural contributions of modern Germany, have been spread throughout the world.”

”The exhibition will be open to the public from December 7 until the end of January, closing only on Sunday, December 25, Christmas Day, and Sunday, January 1, New Year's Day.

”NOTE: Under existing conditions in Germany it was not possible to bring more actual objects to this country for the exhibition. Limited to objects which were available, supplemented by enlarged photographs, the exhibition does not show the entire scope of the Bauhaus in every field of its work.

”Although most of the objects and designs shown were made more than a decade ago, they were based on such sound principles of beauty and usefulness that even today many of them seem well above the level or ordinary contemporary design.

”However, the principal theme of the exhibition is the Bauhaus as an, idea. That idea seems as valid today as it was in the days when the Bauhaus flourished.”

Herbert Bayer, Walter Gropius and Ise Gropius [Editors]

Herbert Bayer, Walter Gropius and Ise Gropius [Editors]: BAUHAUS 1919 – 1928. New York: Museum of Modern Art, 1938. First edition. Yellow cloth stamped in black and red. 224 pp. 550 black and white illustrations. ‘Additions and Corrections’ sheet paster to rear endpaper. Yellow cloth spine uniformly darkened (as usual with this title), yellow cloth covers lightly soiled and rubbed. Former owner dated ink signature to front free endpaper, otherwise interior unmarked and clean. A very important and scarce book in the original first edition. Book design and typography by Herbert Bayer. Better than normally found: a very good copy lacking the dust jacket.

7.75 x 10.25 hardcover book with 224 pages and 550 illustrations. Orignal edition of the 1938 MoMA monograph devoted to the influence of the Weimar and Dessau Bauhaus under the directorship of Walter Gropius. One ofthe most important art books of the twentieth century.

Includes work by all the Bauhaus faculty including Walter Gropius, Paul Klee, Wassily Kandinsky, László Moholy-Nagy, Marcel Breuer, Herbert Bayer, Josef Albers, Lyonel Feininger, Oskar Schlemmer, Hannes Meyer, Mies van der Rohe, Anni Albers, Otti Berger, Gunta Stolzl, Max Bill, Joost Schmidt, Xanti Schawinsky, Walter Peterhans, Georg Muche, Lilly Reich, Gerhard Marcks, Johannes Itten, Alfred Arndt, Marianne Brandt, Josef Hartwig, Wilhelm Wagenfeld, Christian Dell, Otto Lindig, and many, many others.

This book is considered one of THE most definitive Bauhaus volumes ever published.

Contents

• Preface by Alfred H. Barr, Jr.
• The Background of the Bauhaus by Alexander Dorner
• Walter Gropius - Biographical Notes
• Weimar Bauhaus 1919-25
• From the First Proclamation
• Teachers and Students
• The Theory and Organization of the Bauhaus by Walter Gropius (Weimar, 1923)
• Preliminary Course: Itten
• Klee's Course
• Kandinsky's Course
• Color Experiments
• Carpentry Workshop
• Stained Glass Workshop
• Pottery Workshop
• Metal Workshop
• Weaving Workshop
• Stage Workshop
• Wall Painting Workshop
• Display Design
• Architecture
• Typography and Layout; the Bauhaus Press
• Weimar Exhibition, 1923
• Preliminary Course: Moholy-Nagy
• Preliminary Course: Albers
• Opposition to the Bauhaus
• Press Comments, 1923-32
• The Bauhaus Quits Weimar: a fresh start at Dessau, April 1925
• Dessau Bauhaus 1925-1928
• Bauhaus Building
• The Masters' Houses
• Other Buildings in Dessau
• Architecture Department
• Furniture Workshop
• Metal Workshop: Lighting fixtures, et cetera
• Weaving Workshop
• Typography Workshop: Printing, layout, posters
• Photography
• Exhibition Technique
• Wall Painting Workshop: Wall paper
• Sculpture Workshop
• Stage Workshop
• Kandinsky's Course
• Paul Klee speaks
• Administration
• Extracurricular Activities
• Painting, Sculpture, Graphic Art, 1919-1928
• Administrative Changes, 1928
• Spread of the Bauhaus Idea
• Bauhaus Teaching in the United States
• Biographical Notes by Janet Henrich
• Bibliography by Beaumont Newhall
• Index of Illustrations

From the book: " The book is a point-for-point record of actual programs and projects at the Bauhaus, prepared by Herbert Bayer under the general editorship of Walter Gropius and with the collaboration of a dozen other Bauhaus teachers -- including Kandinsky, Klee, Feininger, Schlemmer, Itten, Moholy-Nagy, Albers, and Breuer. Rather than a retrospective history, here is a collection of photographs, articles, and notes prepared on the field of action. It may be considered as much a work of the Bauhaus as it is a work about it; even the typography and layout for the volume were designed by a former Bauhaus master. "

"This book on the Bauhaus was published in conjunction with the Museum Of Arts exhibition, Bauhaus 1919-28. Like the exhibition, it was for the most part limited to the first nine years of the institution, the period during which Gropius was director. For reasons beyond the control of any of the individuals involved, the last five years of the Bauhaus could not be represented. During those five years much excellent work was done and the international reputation of the Bauhaus increased rapidly, but, unfortunately for the purposes of this book, the fundamental character of the Bauhaus had already been established under Gropius' leadership. This book is primarily a collection of evidence - photographs, articles and notes done on the field of action, and assembled here with a minimum of retrospective revision."

In 1938 MoMA issued a press memo informing New York City editors that on December 7, the Museum would open “what will probably be considered its most unusual exhibition—and certainly one of its largest.” That exhibition was Bauhaus: 1919–1928, an expansive survey dedicated to this incomparably influential German school of art and design. On display were nearly 700 examples of the school’s output, including works of textile, glass, wood, canvas, metal, and paper. It was a celebration of the remarkable creativity and productivity of the Bauhaus, which had been forced to close under pressure from the Nazi Party just five years prior. The size and scope of this tribute indicated the importance of the Bauhaus to MoMA's development: the school had served as a model for the Museum’s multi-departmental structure, and inspired its multidisciplinary presentation of photography, architecture, painting, graphic design, and theater.

Here is the Museum of Modern press release from Deceomber 1938 in its entirety: ”The shapes of "things to come," the forms of things which have recently become a part of everyday life—such as modern lighting fixtures, tubular steel chairs, new typography—and the fundamentally new principles that combine art with industry so that genuinely new forms and shapes can come into being, will be set forth in THE BAUHAUS 1919-1928. The exhibition includes paintings, architectural models and plans, original ballet costumes, photographs and cameraless photographs, typography, furniture, lighting fixtures, rugs, textiles, mobile sculpture, tin and paper sculptures, metal and glass dishes, an abstract motion picture film and many other objects, which the Museum of Modern Art, 14 West 49 Street, New York, will open to the public Wednesday, December 7.

”To bring into a fundamental unity all branches of art, architecture and design the Bauhaus was founded in 1919 in Weimar, Germany, by Walter Gropius, one of the world's leading modern architects and now Chairman of the Department of Architecture at Harvard University. Its success was so remarkable, before it wasclosed in 1933 by the National Socialists, that it became a world influence in modern architecture and design.

”The exhibition is under the auspices of the Museum's Department of Architecture and Industrial Art. It has been organized and installed by Herbert Bayer, one of the former masters at the Bauhaus. It will fill all the Museum's galleries and will comprise about 700 individual items in wood, metal, canvas and paint, textiles, paper, glass and many other substances. The entire installation will exemplify, as far as possible in the given gallery space, the Bauhaus principles of exhibition technique in which clarity and arresting arrangement are combined. For example, the Museum floors—traditionally not part of an exhibition—will be decorated with painted guidelines, footprints and abstract forms which will not only direct the visitor step by step through the exhibition but will bear artistic relation to the actual physical shape of each gallery and the type of the objects exhibited in it.

”In 1919, after much preliminary work, Walter Gropius merged the Weimar Art Academy and the Weimar Arts and Crafts School to form the Bauhaus, Its first proclamation declared that "The complete building is the final aim of the visual arts. Architects, painters and sculptors must recognize anew the composite character of the building as an entity."

”The Baulmus was not merely a school in the ordinarily accepted sense but, much more, a community of architects, painters, sculptors, engineers, photographers and craftsmen who contributed their special talents and experience. The pupils studied and experimented under their direction. All, working together, continued to "learn by doing," discovering new principles and developing new techniques. Designs created in the Bauhaus were used in mass production.

”In this way the Bauhaus bridged the gap between the so called "fine arts" and industry. It also began to solve the problem of fitting the artist to take his place in the machine age. As it grew in influence and reputation the Bauhaus brought together on its faculty more artists of distinguished talent than has any other art school of our time.

”At the beginning the Bauhaus had about 225 students chiefly from Germany and Austria; within a few years at least 50% of its students came from other European countries and the United States. Approximately two-thirds of them were men and most of them were in their early twenties. The Bauhaus masters, or teachers, were Walter Gropius, its founder and first director, Kandinsky, Klee, Feininger, Schlemmer, Itten, Moholy-Nagy, Albers, Bayer, Breuer, Stoelzl and others.

”In 1925 the Bauhaus moved from Weimar to Dessau, where the new Bauhaus building, designed by Gropius and decorated, furnished and equipped in collaboration with the Bauhaus workshops, was completed in 1926. In the development of modern architecture it was  the most important and influential modern building of the 1920's.

”In 1928 Groplus left the active directorship of the Bauhaus., together with Bayer, Breuer and Moholy-Nagy, to devote their time to private practice. During the first decade of its existence hundreds of Bauhaus students went out into the world spreading by their works more than through their words the new doctrine of the Bauhaus unity of art, architecture and industrial design.

” In his preface td the book which the Museum of Modern Art is publishing in connection with the exhibition, Alfred H. Barr, Jr., Director of the Museum, writes:

”The world began to accept the Bauhaus. In America Bauhaus lighting fixtures and tubular chairs wore imported or the designs pirated. American Bauhaus students began to return; and they were followed, after the revolution of 1933, by Bauhaus and ex-Bauhaus masters who suffered from the new government's illusion that modern furniture, flat-roofed architecture and abstract painting were degenerate or Bolshevistic. In this way, with the help of the fatherland, Bauhaus designs, Bauhaus men, Bauhaus ideas, which taken together form one of the chief cultural contributions of modern Germany, have been spread throughout the world.”

”The exhibition will be open to the public from December 7 until the end of January, closing only on Sunday, December 25, Christmas Day, and Sunday, January 1, New Year's Day.

”NOTE: Under existing conditions in Germany it was not possible to bring more actual objects to this country for the exhibition. Limited to objects which were available, supplemented by enlarged photographs, the exhibition does not show the entire scope of the Bauhaus in every field of its work.

”Although most of the objects and designs shown were made more than a decade ago, they were based on such sound principles of beauty and usefulness that even today many of them seem well above the level or ordinary contemporary design.

”However, the principal theme of the exhibition is the Bauhaus as an, idea. That idea seems as valid today as it was in the days when the Bauhaus flourished.”

Herbert Bayer, Walter Gropius and Ise Gropius [Editors]

Herbert Bayer, Walter Gropius and Ise Gropius [Editors]: BAUHAUS 1919 – 1928. Stuttgart: Verlag Gerd Hatje, 1955. German-language edition of the original MoMA edition from 1938. Blue cloth stamped in black. Printed dust jacket. Red endpapers. 230 pp. 550 black and white illustrations. Dust jacket lightly worn and yellowed to edges. Cloth and textblock lightly sunned. Interior unmarked and clean.  Book design and typography by Herbert Bayer. A nice copy of a book that is usually found in much worse condition. A very good hardcover book with a very good dust jacket.

This book is considered one of THE most definitive Bauhaus volumes ever published.

Includes work from the furniture, weaving, metal, typography and painting workshops. Highly recommended.

• This edition features a new introduction by Walter Gropius [Lincoln, Mass. May 1955]
• The Background of the Bauhaus by Alexander Dorner
• Weimar Bauhaus 1919-25
• The Theory and Organization of the Bauhaus by Walter Gropius (Weimar, 1923)
• Preliminary Course: Itten
• Klee's Course
• Kandinsky's Course
• Carpentry Workshop
• Stained Glass Workshop
• Pottery Workshop
• Metal Workshop
• Weaving Workshop
• Stage Workshop
• Wall Painting Workshop
• Display Design
• Architecture
• Typography and Layout; the Bauhaus Press
• Preliminary Course: Moholy-Nagy
• Preliminary Course: Albers
• Dessau Bauhaus 1925-1928
• Bauhaus Building
• The Masters' Houses
• Furniture Workshop
• Metal Workshop: Lighting fixtures, et cetera
• Weaving Workshop
• Typography Workshop: Printing, layout, posters
• Photography
• Exhibition Technique
• Wall Painting Workshop: Wall paper
• Sculpture Workshop
• Stage Workshop
• Kandinsky's Course
• Paul Klee speaks
• Painting, Sculpture, Graphic Art, 1919-1928
• Spread of the Bauhaus Idea
• Bauhaus Teaching in the United States
• Biographical Notes by Janet Henrich
• Bibliography by Beaumont Newhall
• Index of Illustrations

From the book: "Bauhaus 1919-1928, originally published by The Museum of Modern Art in 1938, remains today one of the most valuable accounts of the magnificent achievements of the school. The book is a point-for-point record of actual programs and projects at the Bauhaus, prepared by Herbert Bayer under the general editorship of Walter Gropius and with the collaboration of a dozen other Bauhaus teachers -- including Kandinsky, Klee, Feininger, Schlemmer, Itten, Moholy-Nagy, Albers, and Breuer. Rather than a retrospective history, here is a collection of photographs, articles, and notes prepared on the field of action. It may be considered as much a work of the Bauhaus as it is a work about it; even the typography and layout for the volume were designed by a former Bauhaus master. "

"This book on the Bauhaus was published in conjunction with the Museum Of Arts exhibition, Bauhaus 1919-28. Like the exhibition, it was for the most part limited to the first nine years of the institution, the period during which Gropius was director. For reasons beyond the control of any of the individuals involved, the last five years of the Bauhaus could not be represented. During those five years much excellent work was done and the international reputation of the Bauhaus increased rapidly, but, unfortunately for the purposes of this book, the fundamental character of the Bauhaus had already been established under Gropius' leadership. This book is primarily a collection of evidence - photographs, articles and notes done on the field of action, and assembled here with a minimum of retrospective revision."

Steven Heller [Editor] and Seymour Chwast [Designer]

Steven Heller [Editor] and Seymour Chwast [Designer]: BAUHAUS AND NEW TYPOGRAPHY [DESIGN AND STYLE 7].  Cohoes: Mohawk Papers Mills with The Pushpin Group Inc., 1992. First edition. A near-fine perfect-bound softcover book in stiff wrappers.  Enclosed in publishers Chwast-designed mailing envelope. Production notes laid in.

10.25 x 12 perfect-bound softcover book with 30 pages and including a bound-in 8-page reprinted sample of a FUTURA type specimen catalogue by Paul Renner. Production techniques include 200 line-screen separations, four-color process, duotones, flat color, dull and gloss varnish, metallic ink, foil stamping, die-cutting and letterpress printing.

Includes work samples by Walter Gropius, Laszlo Moholy-Nagy, Herbert Bayer, Joost Schmidt, Ladislav Sutnar, Paul Renner, John Heartfield, Oskar Schlemmer, George Grosz, Josef Albers, Hinnerk Scheper, Georg Muche, Vassily Kandinsky, Paul Klee, Lyonel Feininger, Gunta Stolzl, Max Burchartz, Wilhelm Wagenfeld, Eugen Batz, Ladislav Sutnar, Jan Tschichold, Ludwig Hohlwein, John Heartfield, O. Hadank, and Roy Lichtenstein.

DESIGN AND STYLE was published twice yearly as a survey of historic design style and typography and its influence on contemporary graphic design. Various Mohawk papers and printing techniques were employed in this outstanding aesthetically appealing example of graphic design. Design & Style's mission was to examine the relationship between printing technology and graphic style.

The Second installation STREAMLINE stated: "Mohawk Papers Mills and The Pushpin Group present a journal of resource and inspiration, a twice-yearly survey of historic design styles and their influence on contemporary graphic design. Reproduced on a variety of Mohawk papers using various printing techniques, Design and Style examines the relationship between printing technology and graphic style."

"Future issues will explore French Art Deco, Dutch De Stijl, Italian Futurism, Russian Constructivism, German Expressionism, DaDa, Surrealism, and Post Modernism."

Unfortunately, the Russian Constructivism, German Expressionism, DaDa and Post Modernism editions never materialized. Volume Seven's BAUHAUS tribute was a pretty good bone to throw those of us who anxiously awaited each volumes' publication.

Have you ever scanned the Graphic Design section at your local Barnes and Noble and wondered why nearly every Graphic Design "history" book is crammed full of pretty color reproductions with the history presented as footnotes? It all started in 1986 with the Mohawk Papers Mills of Cohoes, New York.

When Mohawk Papers Mills teamed up with design historian Steven Heller and designer Seymour Chwast to publish a series of paper promotions chronicling the history of Design and Style, nobody could have possibly realized the long-term influence of the venture.

Here's how Mohawk trumpeted their series introduction JUGENSTIL:  "Welcome to "Design and Style, a journal to be published semi-annually by Mohawk Paper Mills, Inc. in collaboration with its creators, Seymour Chwast of The Pushpin Group and Steven Heller, senior Art Director of The New York Times Book Review."

"The rich legacy of design history from right before the turn of the century to the present day, as defined by stylistic movements, affords the unique opportunities for the display of startling historic images made even more visually stimulating when printed on a variety of the colors and textures available from the Mohawk Collection of fine Text and Cover Papers."

This series of paper promotions inadvertently set the tone for modern design history by presenting classic examples of Graphic Design culled from many public and private collections, as selected by Heller and Chwast (aided by their respective spouses Louis Fili and Paula Scher, no doubt).

Heller mastered this dumpster-diving method by first turning it into a book with Chwast (GRAPHIC STYLE: FROM VICTORIAN TO POST-MODERN: NYC: Abrams 1988), and then an entire series for Chronicle Books with spouse Louise Fili (DECO ESPANA, ITALIAN ART DECO, DECO TYPE, JAPANESE MODERN, FRENCH MODERN, STREAMLINE, DUTCH MODERNE, BRITISH MODERNE, etc).

They say that "history belongs to the victors," and nowhere is this more apparent than in the Heller/Fili Chronicle Books. These books all did a great job of unearthing past work and presenting it in a user-friendly  format, but the great messy flow of history doesn't always neatly fit into National and Stylistic publishing categories.

Now I can get off my soapbox and finish up by saying that the Design and Style series was an amazing publishing venture and the most coveted paper promotion that I have ever encountered. All volumes are highly recommended.

Peter Hahn [Editor], Hans M. Wingler [foreword]

Peter Hahn [Editor], Hans M. Wingler [foreword]: BAUHAUS ARCHIV MUSEUM SAMMLUNGS-KATALOG [architektur • design • malerei • graphik • kunstpädagogik]. Berlin: Bauhaus-Archiv Museum für Gestaltung, 1981. First edition. Text in German. Quarto. Thick printed wrappers. 308 pp. 14 color plates and 476 black and white reproductions with descriptions. Wrappers lightly worn, but a very good or better copy of this essential reference volume.

8.25 x 12 softcover book with 308 pages fully illustrated in black and white with a few color plates. Massive catalog showing the holdings of the Bauhaus-Archiv Museum für Gestaltung in Berlin, as of 1981. An excellent reference volume.

Includes work by Walter Gropius, Paul Klee, Wassily Kandinsky, Laszlo Moholy-Nagy, Marcel Breuer, Herbert Bayer, Josef Albers, Lyonel Feininger, Oskar Schlemmer, Hannes Meyer, Mies van der Rohe,  Anni Albers, Otti Berger, Gunta Stolzl, Max Bill,  Joost Schmidt,  Walter Peterhans, Georg Muche, Lilly Reich, Gerhard Marcks, Johannes Itten, Ludwig Hilberseimer, Alfred Arndt, Marianne Brandt, Josef Hartwig, Wilhelm Wagenfeld, Christian Dell, Otto Lindig, Theodor Bogler, James Prestini, Richard Filipowski, Richard Koppe, Angelo Testa, Nathan Lerner, Gyorgy Kepes and many, many others.

Extensive visual coverage of the Weimar years, the transfer to Dessau, Gropius's Dessau years, Meyer's Dessau years, Mies van der Rohe's Dessau years, the Berlin years, and the New Bauhaus at Chicago 1937-38, the Institute of Design and beyond. Includes references to all aspects of the Bauhuas, including: Itten's Preliminary Course, Klee's Course, Kandinsky's Course, Color Experiments, Carpentry Workshop, Stained Glass Workshop, Pottery Workshop, Metal Workshop, Weaving Workshop, Stage Workshop, Wall Painting Workshop, Display Design, Architecture, Typography and Layout; the Bauhaus Press, the Weimar Exhibition, 1923, Moholy-Nagy's Preliminary Course, Albers' Preliminary Course, Bauhaus Building, The Masters' Houses, Other Buildings in Dessau, Architecture Department, Weaving Workshop, Typography Workshop: Printing, layout, posters, Photography, Exhibition Technique, Wall Painting Workshop: Wall paper, Sculpture Workshop,  Stage Workshop, Extracurricular Activities, Spread of the Bauhaus Idea, Bauhaus Teaching in the United States and much more.

Bauhaus Zeitschrift für Gestaltung: 14 issues

Bauhaus-Archiv gmbh

Bauhaus-Archiv gmbh: BAUHAUS DESSAU 1926 –1931 [14 issues of BAUHAUS: ZEITSCHRIFT FUR GESTALTUNG published in facsimile]. Nendeln/Berlin: Kraus/Bauhaus-Archiv, 1976. First edition. All Text in German. 14 facsimile issues of the quarterly house organ of the Bauhaus Dessau and title sheet in Publishers embossed cloth clamshell box. Issues lightly handled and clamshell box with slightly pushed tips. A nearly fine set. Rare.

Extraordinary snapshot of the productivity of the Bauhaus Dessau from its high point under the directorship of Gropius to its sliding decline under Hannes Meyer and Ludwig Mies van der Rohe. Commissioned by the Bauhaus-Archiv in Berlin this set faithfully reproduces all 14 issues of the Bauhaus magazine produced between 1926 to 1931. The reproduction quality leaves a bit to be desired, especially for its noticeable absence of mid-tones in the photographic reproductions, but this set remains an invaluable reference set and an excellent snapshot of life on the Dessau campus. Highly recommended.

Each issue feature the stunning functional graphic design and new typography in vogue amongst the European Avant-Garde in the late 1920s. No single designer was responsible for the production of the journal, so  these issues showcase the graphic skills of a variety of designers, including László Moholy-Nagy, Herbert Bayer, Oskar Schlemmer and others.

Facsimile set includes:

Walter Gropius and László Moholy-Nagy [Editors]: BAUHAUS 1 1926 [Die Zeitschrift Erscheint Vierteljährlich]. Issue design by Moholy-Nagy. 11.5 x 16.5 folded edition with 6 pages overall:

• Gropius Bauhaus Dessau Campus: photo by Lucia Moholy.
• Wassily Kandinsky's Bauhausbucher 9:  a lengthy review.
• A photography article by Moholy-Nagy
• a short piece by George Muche
• Work samples by Gropius, Oskar Schlemmer, Luci moholy, Ruth Hollos, Marianne Brandt, Consemuller and Marcel Breuer.

Walter Gropius and László Moholy-Nagy [Editors]: BAUHAUS 2 1927 [Die Zeitschrift Erscheint Vierteljährlich]. Issue design by Moholy-Nagy. 11.5 x 16.5 folded edition with 6 pages overall:

• Systematische Vorarbeit für Rationellen Wohnungsbau: Walter Gropius.
• Stahlhausbau: George Muche
• Die Petersschule Basel: Hannes Meyer and Hans Wittmer.
• Work samples by Gropius,  Marianne Brandt, Consemuller and Krajewsky-Tumpel.

Walter Gropius and László Moholy-Nagy [Editors]: BAUHAUS 3 1927 [Die Zeitschrift Erscheint Vierteljährlich]. Issue design by Oskar Schlemmer. 11.5 x 16.5 folded edition with 6 pages overall:

• Issue devoted to the Bauhaus Theatre and Oskar Schlemmer's stage and costume designs.  Oskar Schlemmer [Germany, 1888 – 1943] developed his Triadisches Ballett during his tenure as Master of Form at the Bauhaus theatre workshop. The stylized and wildly popular performance featured actors who transformed into geometrical shapes. The Ballett toured from 1922 until 1929 and helped spread the Bauhaus ethos throughout Europe.After his experiences in the First World War, Schlemmer began to conceive the human body as a new artistic medium. He saw ballet and pantomime as free from the historical baggage of theatre and opera and thus able to present his ideas of choreographed geometry, man as dancer, transformed by costume, moving in space. Schlemmer considered the movement of puppets and marionettes as aesthetically superior to that of humans, as it emphasised the artificial nature of every artistic medium. Oskar Schlemmer was invited to Weimar in 1920 by Gropius to run the Bauhaus' sculpture department and stage workshop. He became internationally known with the premiere of hisTriadisches Ballett  in Stuttgart in 1922 . . . . Schlemmer spent the years 1928 to 1930 working on nine murals for the Folkwang Museum in Essen. After Gropius' resignation in 1929, Schlemmer also left the Bauhaus and accepted a post at the Akademie in Breslau. He was given a professorship at theVereinigte Staatsschulen  in Berlin in 1932, but the National Socialists forced him to resign in 1933. During the war, Schlemmer worked at theInstitut für Malstoffe  in Wuppertal . . . . He led a secluded life at the end of his career and made the small series of eighteen mysticalFensterbilder  in 1942.

Walter Gropius and László Moholy-Nagy [Editors]: BAUHAUS 4 1927 [Die Zeitschrift Erscheint Vierteljährlich]. Issue design by Hannes Meyer. 11.5 x 16.5 folded edition with 6 pages overall:

• Issue devoted to devoted to the output of the various Dessau workshops. Includes work by Lis Beyer, Gunta Stolzl, Josef Albers, Walter Gropius, Marianne Brandt, Marcel Breuer, Max Bayer, and more.

Walter Gropius and László Moholy-Nagy [Editors]: BAUHAUS 1928 [Die Zeitschrift Erscheint Vierteljährlich]. Cover and issue design by Herbert Bayer. 8.5 x 11.5 saddle-stitched edition with 20 pages overall:

• Fotografie ist Lictgestaltung  by Moholy-Nagy with photograms and photoplastiks by Moholy and images by Ulrich Klavun, Consemuller, Albert Braun and Lotte Beese, and Bayer-Hecht.
• Typografie und websachengestaltung  by Herbert Bayer.
• Two pages devoted to a small housing development by Marcel Breuer.
• This edition of BAUHAUS features a new, smaller format as well as [the first appearance of advertising for the journal. The last two pages are vintage advertisements for Marcel Breuer's tubular steel furniture for Standard-Mobel and others.  This issue presents one of the iconic images of 20th-century graphic design in Herbert Bayer's magnificent photographic cover.  This edition was was the last issue produced under the leadership of Gropius and Moholy-Nagy, and reflects the absolute zenith of the publication in terms of editorial content and graphic design.

Ernst Kallai [Editor]: BAUHAUS 2/3 1928 [Zeitschrift für Gestaltung].  8.5 x 11.5 saddle-stitched edition with 40 pages overall:

• This edition was the first produced under the new directorship of Hannes Meyer after the departures of Gropius, Moholy-Nagy and Herbert Bayer.  Editor Kallai apparently solicited editorial content from the remaining masters for publication in this deluxe 40-page edition.
• Werklicher Forunterricht  by Josef Albers.
• Kunstpadagogik  by Wassily Kandinsky.
• Die Bundesschule des ADGB in Bernau bei Berlin  by Adolph Behne.
• Erlauterungen zum Schulprojekt  by Hannes Meyer.
• M-Kunst  by Mart Stam.
• Exakte Versuche im Bereich der Kunst  by Paul Klee.
• Schrift?  by Joost Schmidt.
• Plastik... und das am Bauhaus!?!?  by Joost Schmidt.
• Unterrichsgebiete  by Oskar Schlemmer.
• Interview mit Bauhauslern ein Bild, ein Mensch   by Ernst Kallai.
• Junge Bauhausmaler  by Ludwig Grote.
• And more.