PM / A-D. PM Volume 2, Nos. 1 – 12, Sept. 1935 to  August 1936. New York: The Composing Room/P.M. Publishing Co., 1936. Publishers bound volume [400 copies].

PM: Volume 2 , Nos. 1 – 12
September 1935 – August 1936

An Intimate Journal For Art Directors, Production Managers,
and their Associates

Robert L. Leslie and Percy Seitlin [Editors]

Twelve issues of PM complete with original covers and all inserts bound into a single decorated cloth volume by the craftsmen at the Composing Room in an edition of 400 copies. Blue cloth boards with leather gilt spine label. Publishers Index for Volume 2 laid in. Boards quite worn and bumped and spine label worn and chipped. Back cover of the September 1935 issue [no. 13] not bound in [as issued], otherwise all 12 bound issues are in near fine condition.

A unique opportunity of own a collection of PM when it was becoming the leading journal for American Graphic Design and a clarion for the Avant-Garde Immigration to the United States.

Robert L. Leslie and Percy Seitlin [Editors]: PM [An Intimate Journal For Art Directors, Production Managers, and their Associates]. NYC: The Composing Room/P.M. Publishing Co., Volume 2, No 1: August 1935. Original edition. Slim 12mo. Cloth-woven cover with Electrotype Bronzed Plaque attached. Decorated endpapers. 32 pp. Illustrated articles and advertisements. Multiple paper stocks. Covers cloth-woven with a Bronzed plaque showing Pied Piper of Hamelin mounted to front panel.

Robert L. Leslie and Percy Seitlin [Editors]: P-M [An Intimate Journal For Art Directors, Production Managers, and their Associates]. New York: The Composing Room/P.M. Publishing Co., Volume 2, No. 2.: October 1935. Original edition. Slim 12mo. Stencilled Nat Karson cover in 4 colors with a tipped in woven label. 32 pp. Illustrated articles and advertisements.

Robert L. Leslie and Percy Seitlin [Editors]: P-M [An Intimate Journal For Art Directors, Production Managers, and their Associates]. New York: The Composing Room/P.M. Publishing Co., Volume 2, No. 3: November 1935. Original edition. Slim 12mo. 4-color similetone process wrappers by Georges Schreiber. 32 pp. Illustrated articles and advertisements. Multiple paper stocks.

Robert L. Leslie and Percy Seitlin [Editors]: PM [An Intimate Journal For Art Directors, Production Managers, and their Associates]. New York: The Composing Room/P.M. Publishing Co., Volume 2, Number 4: December 1935. Original edition. Slim 12mo. Sheet fed Gravure Cover. 32 pp. Decorated endpapers. Illustrated articles and advertisements. Multiple paper stocks. Cover by Robert Lawson.

Robert L. Leslie and Percy Seitlin [Editors]: P-M [An Intimate Journal For Art Directors, Production Managers, and their Associates]. New York: The Composing Room/P.M. Publishing Co., Volume 2, No. 5.: January 1936. Original edition. Slim 12mo. Hot press stamp of Bruce Roger's printers mark on embossed yapped wrappers. 48 pp. Illustrated articles and advertisements.

[Lynd Ward] Robert L. Leslie and Percy Seitlin [Editors]: PM [An Intimate Journal For Art Directors, Production Managers, and their Associates]. New York: The Composing Room/P.M. Publishing Co., Volume 2, No. 6: February 1936. Original edition. Slim 12mo. French-folded Japanese Paper wrappers printed in one color. 32 pp. Illustrated articles and advertisements. Multiple paper stocks. Cover is a wooden engraving by Lynd Ward on Natsume 4006 by Japan Paper Company, reproduced by electrotype by Herald-Nathan Press, Inc.

Robert L. Leslie and Percy Seitlin [Editors]: PM [An Intimate Journal For Art Directors, Production Managers, and their Associates]. New York: The Composing Room/P.M. Publishing Co., Volume 2, No. 7: March 1936. Original edition. Slim 12mo. Thick Lithographed perfect bound and sewn wrappers. 48 pp. Illustrated articles and advertisements. Multiple paper stocks. Covers are Lithographic printed original designs by featured artist and author Lucian Bernhard.

Robert L. Leslie and Percy Seitlin [Editors]: PM [An Intimate Journal For Art Directors, Production Managers, and their Associates]. New York: The Composing Room/P.M. Publishing Co., Volume 2, No. 8: April 1936. Original edition. Slim 12mo. 4 color process cover by some guy named Van Gogh. 36 pp. Illustrated articles and advertisements. Multiple paper stocks.

Robert L. Leslie and Percy Seitlin [Editors]: PM [An Intimate Journal For Art Directors, Production Managers, and their Associates]. New York: The Composing Room/P.M. Publishing Co., Volume 2, No. 9: May 1936. Original edition. Slim 12mo. 5-color lithographic wrappers by George Salter. 56 pp. Illustrated articles and advertisements. Multiple paper stocks.

Robert L. Leslie and Percy Seitlin [Editors]: PM [An Intimate Journal For Art Directors, Production Managers, and their Associates]. New York: The Composing Room/P.M. Publishing Co., Volume 2, No. 10: June 1936. Original edition. 16mo. Printed stapled wrappers. 28 [4] pp Illustrated articles and trade advertisements. Photogelatine 2-color cover by Joseph Sinel.

Robert L. Leslie and Percy Seitlin [Editors]: P-M [An Intimate Journal For Art Directors, Production Managers, and their Associates]. New York: The Composing Room/P.M. Publishing Co., Volume 2, No. 11.: July 1936. Original edition. Slim 12mo. Tipped in portrait on embossed yapped wrappers with paper from the Japan Paper Company. 64 pp. Illustrated articles and advertisements.

Robert L. Leslie and Percy Seitlin [Editors]: PM [An Intimate Journal For Art Directors, Production Managers, and their Associates]. New York: The Composing Room/P.M. Publishing Co., Volume 2, No. 12: August 1936. Original edition. Slim 12mo. Offset litho cover by Dora Abrahams. 32 pp. Illustrated articles and advertisements.

[12] 5.5 x 7.75 volumes with 476 pages of articles and trade advertisements. Issue highlights include:

• Lynd Ward Cover: Wood block print printed on Natsume 4006 by Japan Paper Company, reproduced by electrotype by Herald-Nathan Press, Inc.
• Woodcutters of Our Time -- Franz Masereel and Others by Lynd Ward. 3-page essay with b/w work examples from Franz Masereel, Hans Alexander Mueller, Eric Gill and Clare Leighton.
• Lynd Ward by Percy Seitlin. 2-page appreciation.
• Lynd Ward woodblock letterpress insert: 4-page insert printed on Shojei by Japan Paper Company, reproduced by electrotype by Herald-Nathan Press, Inc. Includes Lynd Ward images from Wild Pilgramage, Frankenstein, Prelude to a Million years, Most Women, and The Green Bough.
• A Note on Technique by Lynd Ward. Photo-illustrated article concerning the production of the cover forthis issue of PM. Photography by Alfred A. Cohn
• Reflections on TypographyFrederic Nelson Phillips
• Color Stencil WorkStencil work by Reba Martin, three pages of color and one tipped in plate.
• Lucian Bernhard - Matter of Applied Arts by Percy Seitlin. A 24-page insert that includes What’s Wrong with the American poster by Lucien Bernhard; Lucian Bernard, Calligrapher and Type Designer; The Making of a 24 Sheet Poster. Text and heads of the Bernhard section are set in Bernhard Booklet and Bernhard Tango. This issue devotion to Lucian Bernhard was the first time an American graphic arts publication had devoted itself to profiling a foreign designer. His early work, for such clients as Manoli Cigarettes and Stiller Shoes, is noted for their simple images and dramatic use of flat color against pale, monochrome backgrounds. In 1920 he was appointed as the first professor of poster design at The Akedemie der Kunst, Berlin. He was also a co-founder of the magazine Das Plakat a predecessor of Gebrauchsgraphik. He moved to New York in 1923. His success as a poster designer enabled him to successfully bridge into type design, furniture design as well as fashion and packaging design. His type designs include Bernhard Antiqua, Bernhard Fraktur, Bernhard Roman, Bernhard Cursive and Bernhard Brush Script for the Bauer Type Foundry. Once in the United states he designed Bernhard Fashion, Bernhard Gothic and Bernhard Tango for the American Type Foundry. After 1930 he turned his attention to sculpture and to painting. In 1997 he was awarded the AIGA medal.
• Woven LabelsPercy Seitlin
• Bruce Rogers Adventurer with Type Ornament
• A Bible in the Great Tradition
• Bruce Rogers Lectern Bible
• Barnacles From many BottomSignatures from the testimonial book, "Barnacles from Many Bottoms" prepared by the Typophiles in honor of Bruce Rogers.
• Barnacles title page
• Bruce Rogers
• The Saga of BRncle Bruce the Sailor
• Georg Salter. A one-page appreciation followed by a 4-page 4-color insert showing a variety of Salter's Dust jacket designs. Georg(e) Salter (1897-1967), was a German-born commercial artist and graphic designer who revolutionized the design of dust jackets and bindings. In the 1920's Salter designed most of the books published by Die Schmiede, but also worked for other Berlin firms such as Fischer, for which he produced his most famous design: the striking dust jacket for Döblin's 'Grossstadtroman' Berlin Alexanderplatz, which brilliantly evokes the novel's vibrant content. After his emigration to the USA in 1934 he produced some 185 book covers for American publishers.
• The Similetone Process A four-page color insert with Norman Petty cheesecake art stitched in.
• The Devils Picture BookPlaying Cards Through the Ages by Eli Cantor.
• Anything Can be Set in Caslon
• Walter Gillis
• Georges Schreiber was an accomplished illustrator whose career started with a series of life portraits of world celebrities. Commissioned in 1925 by a German newspaper syndicate, the portraits include 8 Nobel Prize winners, authors Sinclair Lewis, Thomas Mann, H. G. Wells, Gertrude Stein and scientists Albert Einstein and Paul Von Hindenberg. His formal training consisted of one year at the Academies of Fine Arts in Berlin and Dusseldorf. His informal training came through several years of travel in England, France and Italy as well as visits to the studios of such painters as Derain, Matisse, Chagall, Leger and Braque. He came to New York in 1928 and stayed for nine months. He settled permanently in 1933. He did book illustrations for Farrar and Rhinehart, Simon and Schuster, Houghton Mifflin and John Day. He also was a regular contributor to Vanity Fair, Pictorial Review, Stage, Bookman, The New Yorker and Esquire.
• The 500th Anniversary of Printing
• Printing, A Machine Art by Lewis Mumford
• Joseph SinelNice 13-page Joseph Sinel Insert with layout and design by Sinel.
• Ottmar Mergenthaler --50 Years of Linotype.
• Earl Cavis Kerkam by Elsie Harmon Earl Kerkham (b. 1892 – ?) studied at the Rand School, the Art Student’s League and the School of Design. He designed for the Stanley Company and Warner Brothers and was art editor of Progress. In 1924 he went to Paris and studied at the Academies de la Grand Chaumiere and Academy Colorisie. He was in charge of the exhibits at the American Art Gallery in Paris. His work was exhibited at the Museum of Modern Art, the Corcoran Art Gallery, Art Institute of Chicago and the Mellon Galleries. His clients included the Herald Tribune, the Brooklyn Eagle and the Red Stallion Press.
• Vision and its Relation to PerspectiveMilton Strumpf
• Werner Helmer
• The New School of TypographyA. G. Hoffmann
• Designs by W. A. Dwiggins from the Colophon
• Dora Abrahamsby Robert L. Leslie. Dora Abrahams studied at Pratt Institute. Her fashion illustration work appeared in Vogue, Vanity Fair, The New Yorker, Country Life and New Theatre.
• Photograph Credits: Margaret Bourke-White, etc.
• PM Shorts mention: Harold Bowman, Milton Glick, Lillian Lustig, Franklyn Kelly, George Dearnley, Godfrey Gaumberg, Eunice P. Blake, A. G. Hoffman, Sol Cantor, Bruce Gentry, Russell T. Sanford, Guy Gayler Clark, Milton Ackoff, Roland T. Wental, Evelyn Madsen and Godfrey Gaumberg, Eugene Ettenberg, Joseph Blumenthal, Ben Sackhem, George M. Davison and Larry Malone, Thomas Benrimo, Nathaniel Pousette - Dart American Artists School, Max Weber, Davis Alfaro Siqueros, Elizabeth Olds, Anton Refrgier, Louis Lozowick, Joseph Blumenthal, A. G. Hoffman, and Fritz Eichenberg.
• Cubism and Abstract Art. A weird review of the Museum of Modern Art's Cubism and Abstract Art exhibition
• Books Reviewed: Advertising Layout & Typography by Eugene Lopatecki; Chronology of Books and Printing - by David Greenhood and Helen Gentry;
• Listing of Advertisements: Reliance Reproduction Co.; Weber - Johnson; Composing Room, Inc.; H. Wolfe Book; Manufacturing Co.; Flower Electrotype; Whitney Press, Intertype, Wilbar Photoengraving, American Type Founders, he Walker Engraving Co., Merganthaler Linotype, Trade Bindery, Caxton Press, Japan Paper Company,

Lynd Ward (1905 – 1985) studied theory of design, art history and teaching methods at Columbia University. He spent a year at the State Academy for Graphic Arts in Leipzig, Germany studying with Hans Mueller, Alois Kolp and George Mathey. Ward is known for his wordless novels told entirely through dramatic wood engravings. Ward's first work, God's Man (1929), uses a blend of Art Deco and Expressionist styles to tell the story of an artist's struggle with his craft, his seduction and subsequent abuse by money and power, and his escape to innocence. Ward, in employing the concept of the wordless pictorial narrative, acknowledged as his predecessors the European artists Frans Masereel and Otto Nuckel. Released the week of the 1929 stock market crash, the book was the first of six wood engraving Ward novels produced over the next eight years, including: Madman's Drum (1930); Wild Pilgrimage (1932); Prelude to a Million Years (1933); Song Without Words (1936); and Vertigo (1937). He was a member of the Society of Illustrators and The Society of American Graphic Arts. He won many awards including the Caldecott Medal, the Library of Congress Award and the Limited Editions Club SIlver Medal. He retired in 1974.

Bruce Rogers (1870 - 1957) studied art at Purdue University in Indiana. He worked for a breif time as a newspaper and book illustrator before moving to Boston to become designer at Modern Art magazine. He joined the Riverside Press of the Houghton-Mifflin Co and worked there from 1896 to 1912. He is known as one of America's greatest book designers mostly through the many books designed after leaving Riverside Press. He was a consultant to the presses at Oxford University and Harvard. He designed the typeface Centaur, based on Jenson's 15th century roman face. The face first appeared in the magazine The Centaur and was originally designed for the Museum of Modern Art. His greatest work was done in England when he designed the Oxford Lecturn Bible, also set in Centaur.

Thomas Benrimo (1887 - 1958) was self-taught as an artist and worked in a frame gilding shop and as a billboard painter before leaving the west to come to New York. In New York, he worked for Lee Lash Studios and then became a scene painter at Gates Morange doing work for such shows as the Zeigfeld Follies. He left scene painting to become an illustrator and he was published in several magazines. He taught advertising and design at Pratt Institute from 1935 to 1939. After leaving scene painting he began designing sets for the theatre and doing advertising work. His clients included Atlas Cement, Exide Battery, Mack Trucks and the Aluminum Company of America. His work appears in the Fort Worth Art Museum, Museum of New Mexico and the Denver Art Museum.

George Salter (1897 - 1967) designed his first book jacket in Berlin in 1927. In 1930 he began teaching and was head of the department of commercial art at the Hoehere Graphische Fachschule in Berlin. The Reichskulturkamer declared him persona non grata in 1933, so Salter emigrated to America and began working almost immediately designing book jackets for Alfred A. Knopf. Salter also designed magazine covers for Mercury Publications, of which he was art director from 1939-1958. Salter's life and work bridged two continents and cultures, and spanned the severest political turmoil of the 20th century. Through a tumultuous life, nothing halted his tireless and brilliant design work. Classic Book Jackets tells Salter's story and describes the innovative design thinking he brought to his design students (including his designation of seven different jacket types that are still valid today). It includes more than 200 reproductions of his finest works, and a complete catalog of his jackets, designs, layouts, and lettering jobs for the book trade.

Joseph Claude Sinel (1889 - 1975) was born in Auckland, New Zealand where his father ran a stevedoring operation. He attended the Elam School of Art, then started work as an apprentice in the art department of Wilson & Horton Lithographers, working at the New Zealand Herald from 1904-1909 and studying under Harry Wallace. After a stint in England, he returned to New Zealand and Australia working as a freelance designer, then moved to San Francisco in 1918, where he first worked in advertising, then in 1923 started his own industrial design company in New York City. In 1936, he moved to the San Francisco Bay Area. Sinel claimed to have designed everything from "ads to andirons and automobiles, from beer bottles to book covers, from hammers to hearing aids, from labels and letterheads to packages and pickle jars, from textiles and telephone books to toasters, typewriters and trucks." Although he is perhaps best remembered for his designs of industrial scales, typewriters, and calculators, he also designed trademarks for businesses such as the Art Institute of Chicago, created book jackets for Doubleday, Knopf, and Random House, and for many years designed publications for Mills College. He taught design in a number of schools in the United States, and in 1955 became one of the fourteen founders of the American Society of Industrial Designers (which later merged with other organizations to form the Industrial Designers Society of America). Sinel is sometimes said to have coined the term "industrial design" around the 1920s in the USA. Sinel denied the paternity of this term in an interview in 1969. "... that's the same time [1920] that I was injecting myself into the industrial design field, of which it's claimed (and I'm in several of the books where they claim) that I was the first one, and they even say that I invented the name. I'm sure I didn't do that. I don't know where it originated and I don't know where I got hold of it."

PM magazine was the leading voice of the U. S. Graphic Arts Industry from its inception in 1934 to its end in 1942 (then called A-D). As a publication produced by and for professionals, it spotlighted cutting-edge production technology and the highest possible quality reproduction techniques (from engraving to plates). PM and A-D also championed the Modern movement by showcasing work from the vanguard of the European Avant-Garde well before this type of work was known to a wide audience.