Ein prächtiges Angebot an Originalen Plakaten sowie die grösste Auswahl an Lithographien und Gravuren Le Corbusiers – das ist PLACART. Unikate LCs können wir ebenfalls anbieten.
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Tomas Rabara | PLACART
Kunst! Kommerz! Werdpapier!
Ende des 19. Jahrhunderts in Paris aufgekommen, verführten Werbeplakate bald auch in der Schweiz die Passanten mit leuchtenden Farben und fesselnden Kompositionen – eine neue Form der Kunst war geboren.
Jedes bei uns erhältliche Plakat ist eines der raren Exemplare der jeweiligen Auflage, das bis heute überlebt hat. Der bei weitem grösste Teil der Blätter ging im Aushang verloren. (Abb.: Werdmühleplatz Zürich, 1913; Quelle: Baugeschichtliches Archiv Stadt Zürich)
Le Corbusier ist nicht zu fassen, ohne in ihm auch den Maler zu sehen – die Kunst der Moderne ist sein Fundament, ihr widmet er jahrzehntelang jeden Vormittag; seine Entwicklung als Architekt folgt jener, die er als Künstler durchmacht.
"Parallelism is, as I employ it, either universally valid – and then my work has universal meaning – or I was wrong, and then my art is nothing but delusion." — Ferdinand Hodler
And what does this quote have to do with Otto Baumberger's poster promoting "Tell" shoes? Well, Hodler's view (as well as his pride and self-confidence) had a lasting influence on a lot other (younger) Swiss artists. His impact went even further as it was thank to him that Modern Art started to prevail against historicism and allegories in Switzerland – this cleared the way for, amongst other artists, Baumberger, Cardinaux, Stiefel...
"Marque Tell Shoes", lithograph, 1924, 128x89,5 cm – rare, available in the gallery
Bye-bye — soon at his new place: A rare and hardly ever seen early typographic poster by Mihaly Biro promoting cigarette paper – created in Vienna for the Austrian market after Biro had to flew Hungary 1919 following the collapse of the short lived Hungarian Communist Republic. I don’t know much about Austrian Posters, but this design must have been very unusual for the eyes of the passers-by in 20s Vienna... Lithograph, ca. 1920, printer unknown, 125x92 cm, sold
An exemplar from the first edition of LCs Modulor at his new home — published 1956 by good old Corbu himself and printed by Fernand Mourlot after a collage that LC created 1950.
For the print LC added the following call: "Ami du Modulor, cherche par toi-même, invente, découvre… Apporte tes inventions, elles seront utiles. Merci, ami".
The print run can no longer be determined – probably 200, maybe 300, at the most. If you are wondering now why the hell there are that many out there today: 1962 Heidi Weber published, with LC’s consent, a second edition, followed by at least four more after his death 1965 (the editions of the Fondation LC not counted).
To create a poster advertising a poster exhibition must be one of the most challenging tasks for a designer because he knows: Hardly ever will his conception be eyed more critically – especially by the exhibiting designers.
Walter Käch did a pretty good job 1933 with his work for the first poster exhibition of the Museum of Applied Arts in Zurich (Käch was a student of Ernst Keller – who of the great Swiss names wasn’t – and later a teacher of a certain Adrian Frutiger): In the heydays of typography and avantgarde design in Switzerland Käch didn’t draw the poster, of course; he choose a modernist approach, more conceptual, playing with perspective and depth – and finally succeeding in getting a three-dimensional-effect with two-dimensional means (note the “shadow” on the white rectangle that depicts a poster in the wild).
Lithograph, printed by J. C. Müller, 128x89,5 cm, condition A- (after it’s back from the restorer), available sometimes in March, link in bio.
By the way: For some reason the catalog does list the creators of the historic, but not of the contemporary posters…
One of the few (if not the only) advantages of the renewed lockdown: One has some time available to visit clients, collectors, dealers in their homes – and to see now and then veritable treasures. Hugo Laubi’s “Odeon”, for example, promoting the café at the Bellevue in Zurich. I haven’t ever seen it before with my own eyes (the poster, not the café).
It’s a lighthouse of Swiss Poster History – Laubi did it 1920. 1920! Quite revolutionary in its day, not only by Swiss standards, with the cubist echoes, the interplay of positive and negative, austere means and powerful effect. It still feels fresh. I regret it’s not available, believe me.
Remarkable as well: The columns on the newspaper. It’s not just a cheap dummy record – it’s a real text about the history of coffee and coffeehouses. What a work…
Great little Sweetie – it measures 38x25 cm only, so it was meant to hang in stores – promoting Suchard‘s Hot Chocolate and coated to make it appear even more desirable (the product, not the poster).
Original advertising, ca. 1900, A condition, by anonymous, online soon.
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