EVERYDAY ART QUARTERLY No. 21
A Guide To Well Designed Products
Meg Torbert [Editor]
Meg Torbert [Editor]: EVERYDAY ART QUARTERLY [A Guide To Well Designed Products]. Minneapolis: Walker Art Center, Winter 1951 – 1952, Number 21. Original edition. Slim quarto. Thick photo-illustrated stapled wrappers. 16 pp. 26 black and white images. Advertisements. White wrappers lightly worn and rubbed, subscriber address typed to rear panel, but a very good copy.
Striking cover includes cups by Herman Gretsch, Edith Heath, Mary K. Grant, Eva Zeisel, and Russel Wright.
8.5 x 11 softcover magazine with 16 pages and 26 black and white images. This issue of EVERYDAY ART QUARTERLY is devoted to dinnerware, plastics, glassware, and flatware with an additonal Artists’ Studio section. This issue of Everyday Art Quarterly offers a magnificent snapshot of the blossoming modern movement after World War II. A very desirable, truly amazing vintage publication in terms of form and content: high quality printing and clean, functional design and typography and excellent photographic reproduction make this a spectacular addition to a midcentury design collection. Highly recommended.
- USEFUL OBJECTS:
- Dinnerware: includes work by Eva Zeisel.
- Plastic: includes work by Charles McCrea and Peter Holt.
- Designed for Use: includes work by Harald Nielsen, M. J. Zimmer and James Chandler, and George Nelson.
- Glassware: includes work by Freda Diamond and pieces imported/manusfactured by Van Dugteren, Brodegaard, Bryce, Kraft, Libbey, Enright-Le Carboulec, and Borgfeldt.
- Stainless Flatware—includes work by Herman Gretsch, Gio Ponti, Harald Nielsen, Folke Arstrom.
- Artists’ Workshop—includes work by Malcolm Myers, Philip Morton, Harold Tovish, and Merle Hoesly.
Everyday Art Quarterly was published by the Walker Art Center in Minneapolis starting in 1946. The editorial focus aimed to bring modern design to the masses through thoughtful examination of household objects and their designers. Everyday Art Quarterly was a vocal proponent of the Good Design movement (as represented by MoMA and Chicago's Merchandise Mart) and spotlighted the best in industrial and handcrafted design. When the magazine became Design Quarterly in 1954, the editors assumed a more international flair in their selection of material to spotlight.