Tagged: 50 Watts

W. A. Dwiggins

Images from William Addison Dwiggins: Stencilled Ornament and Illustration
by Dorothy Abbe and Bruce Kennett, published by Princeton Architectural Press (2015)

Title page border for The Time Machine, 1931 (printed vertically in the book)
reproduced in William Addison Dwiggins: Stencilled Ornament and Illustration

Title page design for Tales by Poe (Lakeside Press, 1930)
reproduced in William Addison Dwiggins: Stencilled Ornament and Illustration

Elements used to build the Poe designs
reproduced in William Addison Dwiggins: Stencilled Ornament and Illustration

Decoration for “The Fall of the House of Usher” in Poe’s Tales, 1930
reproduced in William Addison Dwiggins: Stencilled Ornament and Illustration

Design for Warren’s Standard Printing Papers, 1920s
reproduced in William Addison Dwiggins: Stencilled Ornament and Illustration

From Attitudes, July 1927
reproduced in William Addison Dwiggins: Stencilled Ornament and Illustration

From Paraphs by W. A. Dwiggins (writing as Hermann Püterschein), Knopf 1928
reproduced in William Addison Dwiggins: Stencilled Ornament and Illustration

Imperial stencil alphabet
reproduced in William Addison Dwiggins: Stencilled Ornament and Illustration

Announcements for Charles Hovey Pepper Exhibitions, 1920s
reproduced in William Addison Dwiggins: Stencilled Ornament and Illustration

Designs for The Treasure in the Forest by H. G. Wells, 1936
reproduced in William Addison Dwiggins: Stencilled Ornament and Illustration

Illustration from The War Against Waak, 1948
reproduced in William Addison Dwiggins: Stencilled Ornament and Illustration

There are many fine examples of Dwiggins’ work floating around the internet. Here are some from the Letterform Archive:

Cover for The Time Machine, 1931
via the Letterform Archive Dwiggins Gallery

Cover for Tales by Poe, 1930
via the Letterform Archive Dwiggins Gallery

Cover for The Creaking Stair, 1949
via the Letterform Archive Dwiggins Gallery

Cover for Marionettes in Motion, 1939
via the Letterform Archive Dwiggins Gallery
(Dwiggins was a big puppet guy)

Cover for American Alphabets, 1930
via the Letterform Archive Dwiggins Gallery

Catalog cover, circa 1920s (also see this)
via the Letterform Archive Dwiggins Gallery

“Type ornament, with landscape attached”
via the Letterform Archive Dwiggins Gallery

Infographic from An Investigation into the Physical Properties of Books
by W. A. Dwiggins and L. B. Siegfried, 1919 via archive.org

Unless otherwise noted, images in this post come from William Addison Dwiggins: Stencilled Ornament and Illustration by Dorothy Abbe and Bruce Kennett, published by Princeton Architectural Press (2015), with permission.
From a 1928 article by Paul M. Hollister:Mr. Dwiggins sits on a high stool and makes dots—but, from the standpoint of calligraphy, Mr. Dwiggins is painting a twelve-league canvas with brushes of comet’s hair. He is one of the few men who can respect the simplicity of a fly-speck, appreciate its possibilities in design, and…treat even dots in a new way.
Read a short post at Writers No One Reads about Dwiggins’ forgotten private-press fiction.
Final note: I look forward to digging through Paul Shaw’s series The Definitive Dwiggins.
This post first appeared on October 1, 2015 on 50 Watts

By: 50 Watts
Via: Feedbin Starred Entries
Source: http://j.mp/1Glm0Z8

W. A. Dwiggins

Images from William Addison Dwiggins: Stencilled Ornament and Illustration
by Dorothy Abbe and Bruce Kennett, published by Princeton Architectural Press (2015)

Title page border for The Time Machine, 1931 (printed vertically in the book)
reproduced in William Addison Dwiggins: Stencilled Ornament and Illustration

Title page design for Tales by Poe (Lakeside Press, 1930)
reproduced in William Addison Dwiggins: Stencilled Ornament and Illustration

Elements used to build the Poe designs
reproduced in William Addison Dwiggins: Stencilled Ornament and Illustration

Decoration for “The Fall of the House of Usher” in Poe’s Tales, 1930
reproduced in William Addison Dwiggins: Stencilled Ornament and Illustration

Design for Warren’s Standard Printing Papers, 1920s
reproduced in William Addison Dwiggins: Stencilled Ornament and Illustration

From Attitudes, July 1927
reproduced in William Addison Dwiggins: Stencilled Ornament and Illustration

From Paraphs by W. A. Dwiggins (writing as Hermann Püterschein), Knopf 1928
reproduced in William Addison Dwiggins: Stencilled Ornament and Illustration

Imperial stencil alphabet
reproduced in William Addison Dwiggins: Stencilled Ornament and Illustration

Announcements for Charles Hovey Pepper Exhibitions, 1920s
reproduced in William Addison Dwiggins: Stencilled Ornament and Illustration

Designs for The Treasure in the Forest by H. G. Wells, 1936
reproduced in William Addison Dwiggins: Stencilled Ornament and Illustration

Illustration from The War Against Waak, 1948
reproduced in William Addison Dwiggins: Stencilled Ornament and Illustration

There are many fine examples of Dwiggins’ work floating around the internet. Here are some from the Letterform Archive:

Cover for The Time Machine, 1931
via the Letterform Archive Dwiggins Gallery

Cover for Tales by Poe, 1930
via the Letterform Archive Dwiggins Gallery

Cover for The Creaking Stair, 1949
via the Letterform Archive Dwiggins Gallery

Cover for Marionettes in Motion, 1939
via the Letterform Archive Dwiggins Gallery
(Dwiggins was a big puppet guy)

Cover for American Alphabets, 1930
via the Letterform Archive Dwiggins Gallery

Catalog cover, circa 1920s (also see this)
via the Letterform Archive Dwiggins Gallery

“Type ornament, with landscape attached”
via the Letterform Archive Dwiggins Gallery

Infographic from An Investigation into the Physical Properties of Books
by W. A. Dwiggins and L. B. Siegfried, 1919 via archive.org

Unless otherwise noted, images in this post come from William Addison Dwiggins: Stencilled Ornament and Illustration by Dorothy Abbe and Bruce Kennett, published by Princeton Architectural Press (2015), with permission.
From a 1928 article by Paul M. Hollister:Mr. Dwiggins sits on a high stool and makes dots—but, from the standpoint of calligraphy, Mr. Dwiggins is painting a twelve-league canvas with brushes of comet’s hair. He is one of the few men who can respect the simplicity of a fly-speck, appreciate its possibilities in design, and…treat even dots in a new way.
Short post at Writers No One Reads about Dwiggins’ forgotten private-press fiction.
Final note: I look forward to digging through Paul Shaw’s series The Definitive Dwiggins.

This post first appeared on October 1, 2015 on 50 Watts

By: 50 Watts
Via: Feedbin Starred Entries
Source: http://j.mp/1Glm0Z8

Okamoto Kiichi

Illustrations by Okamoto Kiichi for the legendary illustrated magazine Kodomo no kuni
(“Children’s Land”), 1922–30

Bio of Okamoto Kiichi (1888–1930) by the Saru Gallery:Okamoto Kiichi studied together with Kuroda Seiki at the school of Hakubakai. He first exhibited woodblock prints in 1912. He was a member of various artists’ societies, and contributed his self-carved woodblock prints to a number of magazines, one of which was Kindai no Yôga. In the latter part of his career he created designs for stage scenery and also worked as an illustrator of children’s stories. His prints were also used as book illustrations by Onchi Kôshirô.
A longer bio can be found at the Kodomo No Kuni site, and there’s even a wikipedia entry. Edmond Dulac and Arthur Rackham have been cited as influences. I think I also see Benjamin Rabier in some of his animal illustrations. There’s one small collection of his work currently available (in Japanese).
About the site that houses 9000 images from the almost 300 issues of Kodomo no kuni: “This program was created as part of the Picture Book Gallery project of the International Library of Children’s Literature to introduce in digital form the story of the picture book genre from its beginnings until the present. The program was designed to reproduce the works contained in the journal Kodomo no kuni [Children’s Land] and convert them to digital images, which have been edited and titled and made available to the public as a virtual exhibit.”

Previous posts from this archive: Hatsuyama Shigeru and Takeo Takei.
This post first appeared on Feb. 5, 2015 on 50 Watts
Dear internet editors: please don’t just reblog this entire post if you can help yourselves.

By: 50 Watts
Via: Feedbin Starred Entries
Source: http://j.mp/1z1uErC

Blues Build the Temple

From the print series Blues Build the Temple by Trevor Naud
“Twenty-One Prints on 285-Gram Watercolor Paper / Foil-Stamped, Letterpressed Sleeve”
(quite a stunning object)
Previously: Mapmaker

From the print series Blues Build the Temple by Trevor Naud

From the print series Blues Build the Temple by Trevor Naud

From the print series Blues Build the Temple by Trevor Naud

From the print series Blues Build the Temple by Trevor Naud

From the print series Blues Build the Temple by Trevor Naud

From the print series Blues Build the Temple by Trevor Naud

From the print series Blues Build the Temple by Trevor Naud

From the print series Blues Build the Temple by Trevor Naud

From the print series Blues Build the Temple by Trevor Naud

This post first appeared on January 28, 2015 on 50 Watts

By: 50 Watts
Via: Feedbin Starred Entries
Source: http://j.mp/18uUFt4

30 Vintage Movie Posters from Japan

Kiyoshi Awazu, poster for Double Suicide, 1969 (Awazu on 50 Watts)

Medea (1971)

Kurosawa’s own artwork for Dodes’ka-den (Clickety Clack), 1970

Kurosawa’s own artwork for Dodes’ka-den (Clickety Clack), 1970

“Young Miss” (Ojo san) movie poster, 1930
via Pink Tentacle

The four posters from the sorely missed Pink Tentacle come from the Japanese-language book Modernism on Paper: Japanese Graphic Design of the 1920s-30s.

“May 1″ movie poster by Hiromu Hara, 1928-1929
via Pink Tentacle

Tadanori Yokoo’s poster for Diary of a Shinjuku Thief, 1969
via Gurafiku

For a Few Dollars More, 1967

A Fistful of Dollars, 1965

Shoot the Piano Player, 1960

Masculin Féminin, 1966
via Zero Focus

The Birds, 1963

Repulsion, 1965

House, 1977
via Gurafiku

Symphonie der Liebe, 1949

Ecstasy, 1930s

Kriemhild’s Revenge, 1925
via Pink Tentacle

In Old Arizona, 1929

Rififi, 1955

Les Enfants Terribles, 1960s

Django

Onibaba, 1964

Pokolenie, 1981

Play it Again, Sam, 1972

Fantastic Voyage, 1966

The 1,000 Eyes of Dr. Mabuse, 1960

The Ghoul, 1933

c.1930s

“An intriguing piece of film history. Bound together in this unique volume is a collection of promotional material (mainly, ‘Chirashi’), touting American films released in Japan in the early 1930s.”

Kuroneko, 1968

Wild Bunch, 1969

Magazine ad for “Seishun Zukai” movie, 1931
via Pink Tentacle

The majority of the scans here are from expired auction listings at Heritage Auctions (ha.com). There’s a whole blog of them too at JapaneseMoviePosters.
I put some Japanese horror movie posters on my tumblr. (Including one which makes Michael Myers look like a Simpsons character.)
This post first appeared on June 9, 2014 on 50 Watts

By: 50 Watts
Via: Feedbin Starred Entries
Source: http://j.mp/1mxlVXy

Walter Schnackenberg 5

Another harvest of images from one of my favorite artists, Walter Schnackenberg (1880–1961). I’m starting to wonder if a proper book overview of his work will even be published in my lifetime.
I pulled most of the images from various expired auction or bookseller listings of the rare publication Kostume / Plakate Und Dekorationen. It’s currently selling for $4000 online so I’m satisfied with these somewhat scrappy photos and scans. It includes “31 color lithograph plates, eight photographic plates and five black and white plates of poster, advertising and costume design.”
See all my posts on Schnackenberg

from Jugend

from Jugend

costume designs!

costume designs!

costume designs!

in his studio with model

for Jugend 1915

for Jugend 1915

See all my posts on Schnackenberg
Repeated from the first post (Sept. 2008):
There doesn’t seem to be much info on him on the web. Here’s a bio from the non-site walterschnackenberg.com: Born in Bad Lauterburg in 1880, Walter Schnackenberg found his vocation as a draughtsman and painter while still very young. At 19 he went to Munich, where he at first attended Heinrich Knirr’s painting school before going on directly, like so many of his contemporaries, to study at the Franz von Stuck Academy. Drawing is Schnackenberg’s strong point. His lively imagination made him particularly good at caricature. He drew for the celebrated magazines ‘Jugend’ and ‘Simplizissimus’. His themes were theatre and the comic muse. Travelling extensively, Schnackenberg often went to Paris, where he was especially interested in the work of Henri de Toulouse-Lautrec. As a print-maker, Schnackenberg devoted himself mainly to poster art and his most mature work is in this genre. He was also well-known as a designer of stage scenery and costumes. With his evident preference for frivolous ladies, he was highly fashionable in his day. Schnackenberg does not have the acutely critical approach of a Grosz or a Hubbuch. Instead, his works resemble those of Jeanne Mammen, who devoted herself to portraying pert Berlin girls. During the late phase of his career, Schnackenberg introduced surreal elements into his work. People with bestial, mask-like faces were intended to symbolize the unsatisfied lusts and addictions of the petty bourgeois. Schnackenberg spent his last years in Rosenheim and died there in 1961.

By: 50 Watts
Via: Feedbin Starred Entries
Source: http://j.mp/1kz1AFm

Image Dive 1

illus. from an 1850s “Materia Medica” book
via Dassaishooku

I’ve decided to reboot the “Image Dive” series I did on A Journey Round My Skull in 2009 and 2010. I’ve posted a handful of these images on facebook, tumblr, or twitter in the past year.

Japanese badger from an 1850s “Materia Medica” book
via Dassaishooku

Gaston de Latenay, 1899, Nausikaa illustration
via Book Graphics

Gaston de Latenay, 1899, Nausikaa illustration
via Book Graphics

illus. by Hiromi Nishizaka via mlle ghoul

Tom Seidmann-Freud, Das Wunderhaus, 1927
via via UB Braunschweig

Previous post on Tom Seidmann-Freud: The Rabbit Dreams of Dr. Freud’s Niece

Tom Seidmann-Freud, Das Wunderhaus, 1927
via via UB Braunschweig
The book has lots of moving parts.

Dodo, from ‘Atlas de Zoologie’ 1844 by Paul Gervais
see the full post on BibliOdyssey

cover illus. by Carlos Gonzalez, 1924, Mexico

Mexican work safety poster, 1938
via Swann Auctions
50 Watts is concerned for your safety

Futuro cover, 1942, Josep Renau

from El perro, el ratón y el gato, 1930 Spain
via Memoria de Madrid
More to come from this publication, some day

“Der Rote” by frequent 50 Watts cover star Richard Teschner
via the Theater Museum

Edmund Dulac, illus. for La Toison d’Or et quelques autres Contes de la Grèce ancienne

Armand Vallee, 1926
I’m not sure of the story behind this image. The artist Christian Schumann shared it on facebook.

Faust illus. by René Clarke, 1932
via Book Graphics

Fullscreen

Marcus Behmer, c. 1900
via Swann
previous feature on Behmer

The Emperor’s New Clothes, DDR style
via the new blog Red Sails

Fumo der Rauchgeist (Fumo the Smoke Spirit) by Elfi & Kurt Wendlandt, 1962
again via Red Sails

illus. by Cesar from Le Canard enchainé
via Multiglom via BibliOdyssey’s tumblr

“Threshold” by Kevin Lucbert, 2014
website / tumblr

recent work by Josh Courlas

I featured Josh Courlas on But Does it Float a couple years ago (pretty please archive your old work Josh!)

recent work by Josh Courlas

Little Red Riding Hood, illus. by Tibor Kárpáti (Hungary, 2006)
via the International Children’s Digital Library

Little Red Riding Hood, illus. by Tibor Kárpáti (Hungary, 2006)
via the International Children’s Digital Library

by Merijn Hos

Childcraft, vol. 14, Quarrie Corporation, 1939
via ha.com

The Fabulous World of Jules Verne, Hungarian poster, 1958
via ha.com
Heritage says it is a “representation of the Czech film The Fabulous World of Jules Verne, based on the 1896 Verne novel Face the Flag. The tale is cleverly filmed in a special process which causes every image on screen to resemble an old-fashioned woodcut engraving, which the poster offered here mimics to great effect.”

Czech Planet of the Apes poster by Vatislav Hlavaty
via ha.com

Romanian Planet of the Apes poster, 1978
via ha.com

Creeping Poison movie poster, 1946, Austria
via ha.com
According to Heritage this film — also known as Schleichendes Gift — is “a post-WWII documentary about venereal disease.”

detail

By: 50 Watts
Via: Feedbin Starred Entries
Source: http://50watts.com/Image-Dive-1

La Grande Illusion: Vintage French Movie Posters

La Grande Illusion, c.1946
signed: Bernard Lancy
These reproductions are from expired auction listings at ha.com. The dates range from 1927 to 1981 with many posters from the 1940s.

Fantômas, 1932
artist unknown

Fantômas, 1947
artist: Jacques Fourastie

The Lodger, 1944
artist: Roger Jacquier Rojac

The Killers, 1964
artist: Guy Gérard Noël

Beauty and the Beast, 1946
artist: Jean-Denis Malclès

Eyes Without a Face, 1960
artist: Jean Mascii

Eyes Without a Face, 1960
artist: Jean Mascii

Earth Versus the Flying Saucers, 1956 artist: Georges Kerfyser

Godzilla, 1956
artist: A. Poucel

Wages of Fear, 1953
artist: Rene Ferracci

The Maltese Falcon, 1941
artist unknown

The Big Sleep, 1946
artist: Vincent Cristellys

Casablanca, 1940s
artist: Pierre Pigeot

Notorious, 1946
artist: Pierre Segogne

Scarlett Empress, 1934
artist: Roger Vacher

The Birds, 1963
artist: Boris Grinsson

The Stranger, 1945
artist: Clement Hurel

The Mysterious Rider, 1927

The Mysterious Island, 1929

Bird of Paradise, 1932
artist: Bernard Lancy

The Big Clock, 1948
artist: Boris Grisson

Miracle in Milan, 1951
artist: Boris Grinsson

Six in Paris, 1965
artist: Folon

More Folon on 50 Watts

Stalker, 1981
artist: Folon

The Holy Mountain, 1973
Previously: The Holy Mountain of Contemporary Polish Posters

This post first appeared on April 24, 2014 on 50 Watts

By: 50 Watts
Via: Feedbin Starred Entries
Source: http://50watts.com/La-Grande-Illusion-Vintage-French-Movie-Posters

Space Teriyaki 7

Visions of space and the future in Japan in the 70s and 80s
See the full series.

Gan Hosoya, 1973, “Silence” poster

The standard spiel:What you are seeing here is a selection of scans from my still-growing stash of books and catalogs on Japanese illustration and design.

I apologize for the stupid series name. I didn’t realize it would be a series when I did the first post on a whim three years ago. I may airbrush it out at some point.

Ikuo Niida, 1975, record cover

Tadami Yamada, c.1975

Genpei Akasegawa, c.1975

Koichi Sato, 1986, Housing Company Calendar

Hajime Sorayama, c.1975

Hiroshi Manabe, early 70s

Hiroshi Manabe, early 70s

Hiroshi Manabe, early 70s

Hisashi Saito, 1983, catalog illustration

Hiroshi Morishima, 1985, handmade folding screens

Katsuji Isaka, c.1975

Kazuyuki Goto, c.1975

Masatoshi Toda, 1986, poster

Mitsuo Katsui, 1986, poster

Mitsuo Katsui, 1986, poster

Sadao Sato, 1983, original work

Goto Shimaoka, 1981, poster

Kenkichi Satao, early 80s
(one of these per installment, 4eva)

Yusaku Kamekura, 1986, poster

Tadanori Yokoo, 1976, Amnesty International Poster

See the full series
This post first appeared on April 14, 2014 on 50 Watts

By: 50 Watts
Via: Feedbin Starred Entries
Source: http://50watts.com/Space-Teriyaki-7

Richard Teschner and His Puppets

Though I’ve featured many illustrations and prints by Richard Teschner, until now I hadn’t found nice-sized images of his legendary puppets. Enjoy.

Richard Teschner with his puppets, 1914

Most of the photos in this post are copyright of the Theater Museum in Vienna, which is holding a large exhibit on Teschner through April 21, 2014.
Repeating from an earlier post:Richard Teschner (1879, Bohemia—1948, Vienna) made prints and illustrated books in turn-of-the-century Prague, hanging out with writers like Meyrink and Paul Leppin and exhibiting with Hugo Steiner-Prag.

He finally settled in Vienna and devoted himself to the puppet theater. Brittanica says he “developed the artistic potentialities of the Javanese rod puppet for western puppet theatre.” I’ll keep digging! (For instance, someone needs to comb through this archive of his puppets.) [update: some photos of Teschner’s puppets here.]

The Princess, from “Prinzessin und Wassermann,” 1913

From the Theater Museum: “In techniques for rod-puppets, Richard Teschner (1879–1948) set new standards. Teschner, one of the most notable representatives of Viennese art nouveau, was a man of exceptionally diverse gifts: he was a painter, graphic designer, sculptor, puppeteer and much more. With his revolutionary theatre of figures, he created an integrated theatrical work of art encompassing everything from puppets to plays, stagecraft and incidental music. Using the Javanese rod-puppets as his model, he developed a new, expressive puppet variety for his pantomimic plays. Overcoming the traditional proscenium stage led to the unique round of the Figure Mirror, which gave rise to images of great beauty and suggestive effect.”

“Zipizip,” 1913
You might recognize this creature from my post Teschner’s Musket

“Fur devil,” 1913
via the Münchner Stadtmuseum

“Nachtstück,” 1913

1913 via digi.ub.uni-heidelberg.de

1913 via digi.ub.uni-heidelberg.de

1913 via digi.ub.uni-heidelberg.de

“Basilisk” from Der Basilisk, 1937

Dragon, 1928

“Der Graue, Hörnchen aus Nachtstück” from Karneval, 1913

“Der Gelbe aus Nachtstück” from Karneval, 1913

“Der Rote aus Nachtstück” from Karneval, 1913

“Bologneser Hündchen” from Karneval, 1929

Wassermann from “Prinzessin und Wassermann,” 1913

another Zipizip

I think this is a frame from a movie version of Karneval

“Die Lebens-Uhr,” 1935

“Künstlerlegende”, 1928

Teschner in his workshop, 1941

exhibit poster

Previously:
Etchings of a Puppeteer
Master of Puppet Masters
Teschner’s Musket
This post first appeared on April 8, 2014 on 50 Watts

By: 50 Watts
Via: Feedbin Starred Entries
Source: http://50watts.com/Richard-Teschner-and-His-Puppets