ADC 34. George Giusti, Lester Beall, Ladislav Sutnar, Georg Olden [Designers]:THE 34th ANNUAL OF ADVERTISING AND EDITORIAL ART AND DESIGN, 1955.

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The Art Directors Club of New York

The Art Directors Club of New York : THE 34th ANNUAL OF ADVERTISING AND EDITORIAL ART AND DESIGN.  New York:  Farrar, Strauss and Cudahy, 1955.  First edition. Quarto. Printed dust jacket. White cloth decorated in black, red and blue. Illustrataed endpapers.  424 pp.  406 black and white and color illustrations. Graphic design throughout by a variety of designers [see below]. Jacket lightly rubbed and soiled with a thumbnail-sized chip to the upper edge of the rear panel. A very good or better copy in a very good or better dust jacket.

Normally design by committee is not a good thing, but this book proves the exception: George Giusti designed the cover, Lester Beall designed the Editorial Art spread,  Ladislav Sutnar designed the posters/point-of-sale  spread and Georg Olden designed the television art spread. This book is an incredible design object  in and of itself.

8 x 11  book with 424 pages with 406 examples of advertising excellence from 1955 in both color and black and white.

  • advertising layout
  • advertising art
  • editorial layout
  • editorial art
  • posters--point of sale
  • direct mail--booklets
  • television art
  • directory index

Includes work from the following graphic artists and photographers: Walter Allner, Richard Avedon, Saul Bass, Lester Beall, Alexey Brodovitch, Will Burtin, Margaret Bourke-White, Seymour Chwast, Lou Dorfsman, Charles Eames, Gene Federico, Neil Fujita, William Golden, Charles Kratka, Alexander Lieberman,  Sol LeWitt, Leo Lionni, Herb Lubalin, Herbert Matter, George Nelson (for Herman Miller), Arnold newman, Arthur Paul, Irving Penn, Cipe Pineles, Paul Rand, Dr. Seuss, Deborah Sussman, Bradbury Thompson, George Tscherney, Garry Winogrand, and many others.

In 1945, before Jackie Robinson played Major League baseball, or Marian Anderson sang at the Metropolitan Opera, Georg Olden [1920 – 1975], the grandson of a slave, took a job with CBS. There, as head of the network's division of on-air promotions at the dawn of television, Olden pioneered the field of broadcast graphics. Working under CBS's art director, William Golden, he supervised the identities of programs such as I Love Lucy, Lassie and Gunsmoke; helped produce the vote-tallying scoreboard for the first televised presidential election returns (the 1952 race between Dwight D. Eisenhower and Adlai E. Stevenson); and collaborated with esteemed artists and designers, including David Stone Martin, Ed Benguiat, Alex Steinweiss and Bob Gill.

Olden was widely celebrated in his day. The 1981 reference book 250 Years of Afro-American Art: An Annotated Bibliography notes that between 1951 and 1960—the year Olden left CBS to work in advertising—his name appeared 108 times in Graphis and Art Directors Club annuals. By 1970 he had won seven Clio awards and had even designed the Clio statuette in 1962, a figure inspired by Brancusi's Bird in Space sculpture. Olden was respected not only for helping to usher TV from a fledgling industry into a golden age, but also for serving as a model for black America. Ebony magazine profiled him several times in the 1950s and '60s as one who had grasped the opportunities offered by a new communications medium and risen to an executive rank. But it was far from easy. In 1954, Ebony reported that of the 72,400 people employed full-time in television, fewer than 200 were black. The jobs included “print-machine operator” and “wardrobe mistress.” “Acceptance is a matter of talent,” Olden told the magazine in 1963. “In my work I've never felt like a Negro. Maybe I've been lucky.”— Julie Lasky for the AIGA

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."