Original Vintage Posters &
Artworks by Le Corbusier
A classy presentation of Original Vintage Posters & the worldwide largest selection of lithographs and engravings by Le Corbusier – that’s PLACART. We can also offer unique works by LC.
Looking forward to your visit
Tomas Rabara | PLACART
Art! Commerce! Value paper!
Having become popular in Paris at the end of the 19th century, advertising posters soon after also seduced the passers-by in Switzerland with their bright colors and captivating compositons – a new form of art was born.
Each of the posters available at Placart is one of the rare copies of the respective circulation that has survived to this day. The great majority of the posters went missing as they were hung up in the streets. (Picture: Werdmühleplatz Zürich, 1913; source: Baugeschichtliches Archiv Stadt Zürich)
Le Corbusier’s essence cannot be caught without seeing also the painter in him – the art of modernism is his foundation. It is what he dedicates himself to every morning over decades. His development as an architect follows the one that he goes through as an artist.
How poetic, how noble – and reminding of Charles Loupot‘s early (Swiss) style melding Art Nouveau and Art Deco: Original Vintage Poster created ca. 1920 by the Swiss artist Jean-Jacques Mennet (1889 – 1969, active in Lausanne) for a shirt maker with shops at prestigious locations in Geneva and Zurich.
Lithograph, printed by Fretz Bros., A condition, 127x87 cm (not trimmed), available in the gallery and online.
„Bern – Center for Sightseeing and Alpine Panorama Flights“, commissioned around 1929 by Bern’s tourist office from Otto Golder (1903 – 1979), a local artist who later worked mainly as a doctor (“The arteries of the human testis and epididymis, their anastomoses and their significance for surgery”). No idea which aircraft is shown; I doubt anyway it is a realistic depiction…
Lithograph, printed by Armbruster, 99,5x70 cm, condition A, ultra rare, available in the gallery and online.
Spectacular view of the equally spectacular arch bridge over the Muota canyon near Schwyz, right at the valley station of the cable railway to the excursion destination of Stoos. Put in service in 1933 and being the world’s steepest cable railway, it leads to a high plateau at the Fronalpstock where the holiday resort is situated, 1305 m above sea level.
The designer of the poster is unknown (maybe Otto Ernst?, who didn’t sign, because he had a contract with the printer Trüb in Aarau?, while this poster was printed by Orell Füssli in Zurich?) but whoever it was: He rendered the stunning situation excellently, emphasizing it even further by choosing the stark contrast between the dark canyon and the glowing peaks.
Lithograph, ca. 1935, 102x63,5 cm, condition A – available in the gallery and online.
Rudolf Bircher‘s design, 1948 – a few years later he created Swissair‘s legendary jet-like logo, almost ten years before jets were put in service – on the occasion of the first exhibition in Switzerland of the work by the Aaltos. The show was initiated by the Swiss art historian and architecture critic Sigfried Giedion – a further proof of his good nose as it was him too who as soon as 1937 initiated the first major solo exhibition of Le Corbusier‘s artistic work (at the Kunsthaus Zurich, 1938).
Lithographs (two sheets put together as issued), printed at the Museum of Applied Arts itself, 129x89.5 cm, A condition, available in the gallery and online.
Pretty much the only wasp I like. Added by Ernst Leu to his hyperrealistic presentation of a jam jar, commissioned 1951 by a Swiss canning factory. Look at the reflections on the lid. And aren’t the strawberries scrumptious? Could it be more convincing? Some of the Swiss lithographers and printers – Wolfensberger in this case – were artists too, obviously.
The so-called magic realism was established in the 20s by Otto Baumberger in Zurich and Niklaus Stoecklin in Basel, so this is quite a late example. That’s why, I guess, Leu drew the wasp in cartoon style – he wanted to achieve a certain fresh looking contrast.
Following an apprenticeship as an intaglio retoucher at Ringier’s print shop, Leu (1913–1994) was working five years at Conzett & Huber in Zurich, another intaglio printer, whereby he continued his education in evening courses at the school of applied arts in Zurich.
For a change, something that isn’t Swiss? Not really: This bold and striking poster advertising a travelling exhibition starting at the National Gallery of Victoria (“A survey of contemporary Crafts in Victoria including Weaving, Jewellery, Ceramics, [...]“) was designed by Swiss-born Heinz Grunwald. After graduating from the Zurich Arts and Crafts School, he travelled in 1956 to Australia for the Olympic Games. He stayed on and became eventually a senior designer at Ogilvy & Mather before starting his own agency, in 1968. Australia’s Department of Trade and Resources even commissioned him
to prepare major exhibitions in Europe and Asia (source: @recollection_au).
Silkscreen, 127x89 cm, condition A-; the only copy I’ve ever seen on the market, available in the gallery.