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Wassily Kandinsky Retrospective
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Monographs or surveys on the history of photography and notable photographers from the mid-19th Century to the present.

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Lohse, Richard et al, Neue Grafik/New Graphic Design/Graphisme Actuel, complete run (Nos.1-17/18), Verlag Otto Walter AG, 1958-1965, first editions, 9 7/8" x 11", square 4tos, softcovers, medium gloss white laminated covers with numbered, consistently laid out, informational design (tri-lingual) in black typeface, Akzidenz Grotesk, Very Good- to Near Fine.

Perfect bindings are all very sound save for a slight slant to that of the thicker double issue (17/18). Some of laminated wraps are lightly age toned at extremities; some copies have a thin dust soiled strip along vertical fold of front covers or along the edge of the laminate trim edge (at top, outer, or bottom margin); issues 1, 4, 5, & 6 have mild creasing to front covers, occasional light wear to spine-heads/feet. Internally clean and unmarked with slight age toning at borders to some copies. Details by issue below. Each copy is covered in archival mylar.

In the Fall of 1958, four Zürich-based graphic designers initiated publication of this seminal design quarterly. Richard Lohse, Josef Müller-Brockmann, Hans Neuburg and Carlo Vivarelli designed and edited their trilingual (English, French, and German) periodical together, occasionally using their combined initials "LMNV" to sign jointly authored articles. Neue Grafik / New Graphic Design / Graphisme Actuel (subtitled: internationale Zeitschrift für Grafik und verwandte Gebiete / International Review of Graphic Design and related subjects / revue internationale pour le graphisme et domaines annexes) was offered by subscription, and ran from Issue #1 in 1958 through to its last in 1965 – Issue #17/18, a double issue. Contributors included Max Bill, Nelly Rudin, Eugen Gomringer, Emil Ruder, Ernst Scheidegger, Gerrit T. Rietveld, Bruno Kammerer and Magrit Staber. "The overriding policy was to demonstrate first that the practices of New Graphic Design was inherently Swiss; second that it was inevitably 'Constructive'; and third, that it was a logical development from Modernism." – From "Swiss Graphic Design" by Richard Hollis. Its influence on graphic design has been profound. As both design and content of Neue Grafik stringently adhered to the principals of the collective editorial group during its brief mid-20th century life, today it represents a pure example of what became known as the "International Typographic Style", "Swiss Grid Style" or “Objective-Functional Typography”.

A rarely offered complete run of this ground-breaking design journal, that is overall a very good or better set with unobtrusive imperfections. Neue Grafik is an essential reference, rich in modernist elements and remains an indispensable part of today’s graphic language. Space does not allow more than the image showing only the covers. Available on request are individual jpegs illustrating the cover and 6–7 interior pages of each of the 17 numbers. Please inquire.

Highlights by No.:

No. 1, September 1958. 76 pages: “Introduction” with the ”manifesto” of the editors. “The Influence of Modern Art on Contemporary Graphic Design” Almost 30 pages long essay accompanied by 104 illustrations. “The Best Recently Designed Swiss Posters 1931-1957”. “The Unknown Present” by Max Bill.

No. 2, July 1959. 64 pages: “Catalogues of Art Exhibitions 1936-1958”. “Graphic Designers of the New Generation”. “Italian Industrial Design”. “Univers, a new sans-serif type by Adrian Frutiger” by Emil Ruder.

No. 3, October 1959. 64 pages: “Italian Pioneers of Graphic Design, 1905-1937” by Carlo Belloli. “30 Years of Constructive Graphic Design”. “The Control of Blank Spaces”.

No. 4, December 1959. 64 pages: “Exhibition Design” by Max Bill. “Posters seen from Three Angles. a) Lettering on the Pictorial Poster. b) The Purely Typographical Poster. c) Concert Posters”. “Photography and Advertising Design”. “The New Haas Sans Serif Type” [Helvetica].

No 5, March 1960. 64 pages: “Early Experimental Photography from Man Ray”. “The Principles in the Design of Trade Marks”. “Record Sleeve Designs”.

No. 6, June 1960. 64 pages: “Recent Advertising Design as a Unity of Idea, Text and Form”, “Package Design”. “Recent New Year Greeting Cards”. “Recent Insurance Advertisements”.

No. 7, September 1960. 64 pages: “Exhibition ‘Swiss Design’”. “The Challenge of Science to Visual Design”. “The Vifa Book of Color Mixing”.

No. 8, December 1960. 64 pages: "Design and Movement; Observations on Film", "The policy of a Museum of Industrial Design", "R.P.Lohse, "A Pioneer in the Art of Photomontage, John Heartfield".

No. 9, March 1961. 64 pages: Henryk Berlewi , “Functional Design of the Twenties in Poland”. “Publicity and Graphic Design”.

No. 10, June 1961. 64 pages: “Piet Zwart, A Pioneer of Functional Typography” by H. L. C. Jaffé. “Graphic Design on the Railway”.

No. 11, December 1961. 64 pages: “New Typographical Design in 1930”. “Standard Printed Matter”.

No. 12, March 1962. 64 pages: “Space and Principles”. “Progressive, Consistent Design for a Multiple Store”. “Basic Principles in Designing Monograms”

No. 13, June 1962. 64 pages: “Alfred Willimann” by Hans Finsler. “Competition for a Trade Mark Electrolux”. “Exterior Lettering”.

No. 14, December 1962. 64 pages: “An Industrial Firm with a Consistent”. ”Attitude to Graphic Design”. “A Method of Design Applied to Advertisements and Business Stationery”. “A Modern Wine List”. “The Graphic Artist and his Design Problems”. “On the Designing of Sans Serif Types” by Günther Gerhard Lange.”

No. 15, March 1963. 64 pages: “Unity of Function, Construction, Design and Information”. “The Physical Properties of Light”. “Graphic and Jazz Records”. “Design and Responsibility”.

No. 16, July 1963. 64 pages: “Swiss Posters of the Past Four Years”. “A Sign System for Electromedica Instruments”. “Pure Photo-Graphic Design”. “Book Jackets of the Thirties”.

No. 17/18, February 1965. 144 pages: “Flags of the Nations”. “Typography, Graphic Design and Advertising at the Bauhaus”. “Advanced Photography of the Thirties (Anton Stankowski and Hugo Herdeg)”. “Japanese Industrial Design”.

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