MODERN PUBLICITY 1934 – 1935
Frank Mercer and W. Gaunt [Editors]
[Commercial Art Annual]. London and New York: The Studio Ltd. and The Studio Publications, Inc., 1935. Original edition. Slim quarto. Tan cloth decorated in red. 128 [xii] pp. 12 color plates, otherwise fully illustrated in black and white. Interior unmarked and clean. Out-of-print. Former owners inkstamp early and late. Multiple signatures pulled. Tan cloth uniformly soiled with darkened spine. A very good copy.
8.375 x 11.5-inch hardcover book with 140 pages and 12 color plates, otherwise fully illustrated in black and white. Modern Publicity still contains traces of more traditional early-twentieth century design. However, the Modern Art Deco influence prevails not only in the book’s overall style and content, but in its vintage trade advertisements. Beautiful.
Contents
- Foreword
- The Highway of Modern Advertising
- Posters
- Press Advertisements
- Booklets and Folders
- Packs
- Supplements in Colour
- Drawing by Mark Severin
- Poster by Pal C. Molnar for Modiano Cigarettes
- Poster by Graham Sutherland for Shell
- Poster by MacDonald Gill for Ceylon Tea Propaganda
- Photograph by Curtis Moffat
- Type Specimen by Bauer Type Foundry Inc.
- Page from folder produced by Draeger Freres
- Design for booklet cover by Feador Rojan
- Cover of a catalogue designed by Fred. A. Horn
- Illustrations from a folder produced by R. R. Donnelley & Sons
- Brochure cover by Gustav Jensen
- Tobacco packages produced by H. K. McKann Co.
Includes work by Boris Artzybasheff, Ashley Havinden, Edward Bawden, Vladimir Bobritsky, Alexey Brodovitch, A. M. Cassandre, Austin Cooper, Eric Fraser, Milner Gray, Paul Iribe, Marcel Jacno, Gustav Jensen, Leon Karp, Albert Kner, Tom Purvis, Hans Schleger, Otis Shepherd, Grete Stern, Graham Sutherland, George Switzer, and many others.
Includes a full page “Plastic” Advertising by Ellen Rosenberg and Grete Stern, for Komol Hair-Dye, photography by Ringl and Pit, 1935.
“In Berlin in 1927, [Grete] Stern began taking private classes with Walter Peterhans, who was soon to become head of photography at the Bauhaus. A year later, in Peterhans’s studio, she met Ellen (Rosenberg) Auerbach, with whom she opened a pioneering studio specializing in portraiture and advertising. Named after their childhood nicknames, the studio ringl + pit embraced both commercial and avant-garde loyalties, creating proto-feminist works.” — From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola, Museum of Modern Art, 2015