Summer Holiday Travel Posters
Even though Summer is almost over, why not take another look at a post from August 2011 on Aqua Velvet by Sandi Vincent that featured some fantastic mid-twentieth century travel posters? The work of illustrators Dick Hess, Ziraldo Alves Pinto, Philipp Giegel and Georges Mathieu among several others are featured. Enjoy!
Philipp Giegel, Poster for Lake Balaton, Hungary (1967).
A. H. Fish, Vanity Fair Illustrator
The Blue Lantern recently posted an article on VANITY FAIR Magazine illustrator A.H. (Anne Harriet) Fish, a contemporary of John Held, Jr., and Miguel Covarrubias. While the works of Held and Covarrubias are well known and widely respected today, little is known of A.H.Fish, who, according to The Blue Lantern, designed over thirty covers for VANITY FAIR.
Read The Blue Lantern’s post "Searching for A.H. Fish.” The piece seeks to address the question as to why the work this gifted artist has drifted into obscurity.
Anne Harriet Fish, Vanity Fair Cover Illustration (February, 1926).
Louis Kahn’s Esherick House 1961
Design Notes has recently posted that one of only nine homes designed by architect Louis I. Kahn is on the market. The Esherick House, built in 1961, is located in the Philadelphia neighborhood of Chestnut Hill, and is listed at 1.1 million dollars.
According to the real estate listing on the Prudential Fox and Roach Web site:
Mid-century modern house designed by Louis I. Kahn, an icon of modern architecture. This house stands as one of the most important houses realized by Kahn throughout his luminous career, and is the first residence to illustrate his mature architectural ideals. The Esherick house was commissioned by Margaret Esherick, niece of the famed Philadelphia sculptor Wharton Esherick.
Read more about the house on Design Notes.
Louis I. Kahn, Esherick house (1961), Philadelphia, PA. Photo credit: William Whittaker
An American Look: Fashion, Decorative Arts and Gustav Stickley
(Right) Tall-back inlaid oak armchair designed by Harvey Ellis for Gustav Stickley, c. 1903, (Left) Clifton Pottery Crystal Patina vase #148, 1906; Clifton Pottery Crystal Patina vase #166, 1905; Grueby Pottery low bowl with matte green glaze; contemporary oak tabouret by Mitchell Andrus. Photo credit: Steve Sartori.
The exhibition, “An American Look: Fashion, Decorative Arts and Gustav Stickley,” running now through September 22, 2013 at the Everson Museum of Art in Syracuse, New York, examines the way in which American design increased its influence upon women’s fashions at the turn of the twentieth century. Up until that time women’s fashion had been largely dominated by French designers.
The swiftly changing lifestyles of upper class American women, along with role of women in society in general, led to clothing that allowed more freedom of physical movement. Gone were the corseted hour-glass shapes, bustles and trains glorified by Charles Dana Gibson’s Gibson Girl of the earlier decade; a new elegant silhouette based on the two-thirds proportion exemplified high style for the new woman of the 1910s. This silhouette was evident in the exhibition’s evening gowns with empire waists and the shirtwaist blouse with walking skirt ensembles. The two-thirds proportion could also be seen in both a large Grueby vase and a Gustav Stickley hall clock featured in the show.
Silly Saturday: How I Learned to Love Comic Sans
Thank you to Forever Geek for sharing with us the Comic Sans Project. The brainchild of French designers Thomas Blanc and Florian Amoneau, the Comic Sans Project attempts to reframe the much maligned typeface Comic Sans by reinterpreting many iconic logos using Comic Sans.
The Comic Sans Project manifesto reads, “WE ARE THE COMIC SANS DEFENDERS. WE FEAR NO FONTS AND WE WILL MAKE THE WHOLE WORLD COMIC SANS, BECAUSE HELVETICA IS SOOO 2011,” all written in Comic Sans, naturally.
Here’s a sampling of the logos that can be seen on the Comic Sans Project:
Comic Sans Project, (2012). Nine Logos
The Earliest Television in Great Britain
According to the Baird Televisor site, the first successful demonstration of the device happened on January 26, 1926, and the first image transmitted was that of a head of a ventriloquist’s doll. In 1928, the year that the model below was manufactured, Baird conducted a demonstration of “Stereoscopic” television.
John Logie Baird, Baird Model B Televisor (1928). Photo credit: Copyright British National Media Museum.
Heid’s of Liverpool, NY
Heid’s Drive-in (exterior), Liverpool, NY. Photo credit: Mike Kopack.
Who can forget summertime memories of drives along the lakeshore and perhaps a stop for hotdogs and ice cream at a roadside drive-in?
The photo above may look like a nostalgic shot from bygone days of the 1950s, but it isn’t. Heid’s of Liverpool, NY is still in business today and looks almost exactly as pictured here. In fact, it is virtually impossible to date this photo since the restaurant has remained so unchanged over the years.
Thank you to Mike Kopack of the Nostalgic Syracuse Facebook group for sharing this wonderful retro image.
A. Quincy Jones: Building for Better Living
The work of California architect A. Quincy Jones (1913-1979) is featured in the first major exhibition of his work, “A. Quincy Jones: Building for Better Living" on now through September 8, 2013 at UCLA's Hammer Museum in Los Angeles, CA.
According to the Hammer Museum’s Web site:
Jones is equally well-known for the glamorous homes he designed for clients like the actor Gary Cooper and the art collectors Frances and Sidney Brody, as he is for his sensitive and modest housing developments built in the 1950s and 1960s. From 1946 to 1950 Jones worked with a collaborative team of other architects, engineers, and landscape architects to design the Mutual Housing Association of Crestwood Hills, a unique housing cooperative of more than 160 homes in Los Angeles’s Santa Monica Mountains….In addition to residential architecture, A. Quincy Jones also designed churches, restaurants, libraries, university buildings, schools, and commercial buildings.
A. Quincy Jones and Frederick E. Eammons, Jones and Emmons office building, 1954-55 (phase 1), 1957-59 (addition).
Photo credit: Jason Schmidt. Courtesy Hammer Museum, Los Angeles.