ADVERTISING ARTS, November 1932. Frederick C. Kendall [Editor]; Alexey Brodovitch New Jersey Zinc Co. fold-out color poster, Thurman Rotan

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ADVERTISING ARTS
November 1932

Frederick C. Kendall [Editor]

Frederick C. Kendall [Editor]: ADVERTISING ARTS. New York: Advertising and Selling Publishing Co., November 1932.  Original edition.  Letterpressed thick perfect bound wrappers. 40 pp. Text and elaborately-produced advertisements. Wrappers lightly worn.  A very good to near fine 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: sculptured head by Simon Moselsio; photograph by Whiting-Salzman; lettering by Gustav Jensen.
  • Say it with Posters: full-page lithograph by Lucien Bernhard
  • Posters of 1932 by Earnest Elmo Calkins
  • Four etchings by Otto Kuhler
  • Drug Store by Nathan George Horwitt
  • Two Drawings by Herbert F. Roese
  • Bicentennial Vinegar Bottle
  • Two pages of Illustrations for Houbigant
  • Package Design and Display by F. D. Gonda
  • Drawing by Alexey Brodovitch for New Jersey Zinc Co. : fold-out color poster
  • Camera: 16 pages of photographs. Full-page images by Walker Evans, John Funk, William Rittase, Samuel Grierson, Tony Van Horn, Frank Ehrenford, George Platt Lynes, Harold Costain, Anton Bruehl [ x 2 ], Grancel Fitz, Paul Hesse, Howard Lester,  Ruth Nichold, Thurman Rotan and others.
  • Display card for Tung-Sol Radio Tubes: tipped in card designed by Lucien Bernhard
  • Typography in Postage Stamps by Frederick Dannay

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.

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