ON MY WAY. POETRY AND ESSAYS 1912-1947
Inscribed by Paul Rand
with Prospectus and original Arp Woodcut Wittenborn Card
Jean [Hans] Arp
Jean [Hans] Arp: ON MY WAY. POETRY AND ESSAYS 1912-1947. New York: Wittenborn & Schulz, 1948. [The Documents of Modern Art Number 6, Series edited by Robert Motherwell]. First edition. Slim quarto. Letterpress printed thick wrappers. 148 pp. 2 original woodcuts. 48 black and white illustrations. Publishers Prospectus and Wittenborn & Schulz Greeting card laid in. Wrappers lightly toned, as usual for this series. Light wear overall. Cover design and typography by Paul Rand. A very good copy.
Also included: 7.65 x 9.75 heavy yellow wove sheet with an original Arp woodcut printed in red on recto and a typeset greeting from George Wittenborn and Henry Schulz to verso, folded once to make a Greeting card. The Arp woodcut is the same image as “Signes,” published in an edition of 50 in 1949 [Ref: Arntz: 282]. This 1948 image predates the signed edition.
The Paul Rand-designed Publishers Prospectus/Order Form for the Arp Book is also laid in.
Book INSCRIBED BY PAUL RAND: “Merry Xmas / 1948 / Paul.” This copy was a gift to Gene and Helen Federico, Rands’ lifelong friends and colleagues. Helen worked as Rand's assistant at the William Weintraub Agency in the 1940s.
“The outstanding characteristic of the Federicos is that these two graphic artists operate successfully and maintain their artistic integrity in a world which is by and large unsympathetic to artists in general and to the problems involved in their work . . .
“. . . It is perhaps not amiss in these troubled and troublesome times to note the sociological as well as the cultural contributions of sincere, gifted young artists like the Federicos. They not only seek and affirm a higher standard in the all-important communicative arts but they are in their roles of artists with integrity, are to be numbered among that small but potent minority who strive in an age of increasing "conformism" and mass-produced mediocrity to live and create as individuals, who seek inspiration rather than security in tradition, and who in their work testify to their belief in the creative vitality of the human being." -- Paul Rand: "Gene And Helen Federico" in GRAPHIS 43 [Zurich: Graphis Press 1952. Volume 8, No. 43, 1952, pg. 394].
7.5 x 10 book, with 148 pages, 2 original woodcuts and 48 black and white photos. First edition issued in the Documents of Modern Art series edited by Robert Motherwell. Two full-page Original Color Woodcuts, printed in yellow & white and yellow & black made by Arp for this book as frontispece and insert. The poetry and essays appear in the original text and with English translation. The Prefatory Note is by Robert Motherwell, biographical note by Gabrielle Buffet-Picabia and the extensive Bibliography by Bernard Karpel, Librarian, The Museum Of Modern Art, New York.
In an early issue of GRAPHIS, Max Bill reviewed Motherwell's Documents of Modern Art series by stating it was the most important series of modern art documents since Gropius and Moholy-Nagy published the Bauhuasbüchers.
If the word legend has any meaning in the graphic arts and if the term legendary can be applied with accuracy to the career of any designer, it can certainly be applied to Paul Rand (1914-1996). By 1947, the legend was already firmly in place. By then Paul had completed his first career as a designer of media promotion at Esquire-Coronet --and as an outstanding cover designer for Apparel Arts and Directions. He was well along on a second career as an advertising designer at the William Weintraub agency which he had joined as art director at its founding. THOUGHTS ON DESIGN (with reproductions of almost one hundred of his designs and some of the best words yet written on graphic design) had just published -- an event that cemented his international reputation and identified him as a designer of influence from Zurich to Tokyo.
A chronology of Rand's design experience has paralleled the development of the modern design movement. Paul Rand’s first career in media promotion and cover design ran from 1937 to 1941, his second career in advertising design ran from 1941 to 1954, and his third career in corporate identification began in 1954. Paralleling these three careers there has been a consuming interest in design education and Paul Rand's fourth career as an educator started at Cooper Union in 1942. He taught at Pratt Institute in 1946 and in 1956 he accepted a post at Yale University's graduate school of design where he held the title of Professor of Graphic Design.
In 1937 Rand launched his first career at Esquire. Although he was only occasionally involved in the editorial layout of that magazine, he designed material on its behalf and turned out a spectacular series of covers for Apparel Arts, a quarterly published in conjunction with Esquire. In spite of a schedule that paid no heed to regular working hours or minimum wage scales, he managed in these crucial years to find time to design an impressive array of covers for other magazines, particularly Directions. From 1938 on his work was a regular feature of the exhibitions of the Art Directors Club.
Most contemporary designers are aware of Paul Rand's successful and compelling contributions to advertising design. What is not well known is the significant role he played in setting the pattern for future approaches to the advertising concept. Rand was probably the first of a long and distinguished line of art directors to work with and appreciate the unique talent of William Bernbach. Rand described his first meeting with Bernbach as "akin to Columbus discovering America," and went on to say, "This was my first encounter with a copywriter who understood visual ideas and who didn't come in with a yellow copy pad and a preconceived notion of what the layout should look like."
Rand spent fourteen years in advertising where he demonstrated the importance of the art director in advertising and helped break the isolation that once surrounded the art department. The final thought from THOUGHTS ON DESIGN is worth repeating: "Even if it is true that commonplace advertising and exhibitions of bad taste are indicative of the mental capacity of the man in the street, the opposing argument is equally valid. Bromidic advertising catering to that bad taste merely perpetuates that mediocrity and denies him one of the most easily accessible means of aesthetic development."
In 1954 when Paul Rand decided Madison Avenue was no longer a two-way street and he resigned from the Weintraub agency, he was cited as one of the ten best art directors by the Museum of Modern Art. The rest is design history.
Laszlo Moholy-Nagy, a pioneer typographer, photographer, and designer of the modern movement and a master at the Bauhaus in Weimar, may have come closest to defining the Rand style when he said Paul was "an idealist and a realist using the language of the poet and the businessman. He thinks in terms of need and function. He is able to analyze his problems, but his fantasy is boundless."