DESIGN AND PAPER No. 16.
Walter M. Westervelt [Pictures] and Guy Gayler Clark [text]
Walter M. Westervelt [Pictures] and Guy Gayler Clark [text]: DESIGN AND PAPER No. 16. New York: Marquardt & Company Fine Papers, n.d. (circa 1944). A very good or better staple-bound booklet in Beckett Canary cover stock. Interior unmarked and very clean. Out-of-print.
4.75 x 7.75 softcover booklet with 16 pages of pictures by Walter M. Westervelt and words by Guy Gayler Clark. Westervelt was an advertising photographer and designer based in Great Notch, New Jersey. His clients included Dobbs Hats and Kodak. He began as an illustrator in the 1920's before turning to photography.
The first six of Marquardt’s DESIGN AND PAPER series of promotional booklets were portfolios showcasing a variety of artists. From Number Seven on, each issue was devoted to an individual artist. The DESIGN AND PAPER series published original booklets designed by Ladislav Sutnar, Saul Steinberg, Raymond Loewy, E. McKnight Kauffer, Erik Nitsche, George Krikorian, Georges Wilmet, Ugo Mochi, Walter Westerveldt, Clarence John Laughlin, and others. Since the booklets promoted Marquardt papers, the design and printing of each issue met the highest production standards of the day.
From “The House Organ: Design and Paper” by P. K. Thomajan from Print Vol. 5, No. 3, 1947: “The idea for this typographic gem started with Edward Alonzo Miller, then associated with The Marchbanks Press. He suggested to Oswald F. Marquardt exactly 10 years ago, the project of issuing an attractive quarterly presenting fine artwork on fine papers, thereby inspiring the increased usage of the latter. Mr. Marquardt promptly O.K.’d the idea and ever since has been O.K.’ing more and more ambitious issues.”
“The early issues were devoted to impressive assemblages of trademarks, title pages, woodcuts, specimens of hand lettering and distinctive typefaces by prominent designers. These were printed on varying shades of antique papers, wire-stitched and thread-tied for that extra touch.”
“Distribution is directed principally to printers , art directors, trade press, and important executives. In addition, many copies go to non-customers, such as instructors of journalism and the graphic arts, who use copies as noteworthy specimens for classroom discussion.”