Alvin Lustig miscellany

Beverly Hills High School Commencement, 1942


Philately in Europe brochure, 1939


Incantation, Textile Design, 1947 [via] (see it in fabric form at Alki1's flickr ---> [link])


Christmas card, 1940


Typography Manual, Art Teacher's Association of LA, 1941 [via]


Self-Promotion broadside, 1941


Twenty-Third Commencement - Beverly Hills High School, 1940


Twenty-Fifth Commencement - Beverly Hills High School, 1942


Sheet with typographic shapes, 1939


Ninth Graphic Arts Production Yearbook, 1950


Joints for special install, at the Alvin Lustig exhibition at the A-D Gallery, 1949


Alvin Lustig's Office(?), 1951


Alvin Lustig, 1945
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The fantastic Alvin Lustig website [link]
The Alvin & Elaine Lustig Design flickr pool [link]
Articles & Texticles has a great entry on Mr. Lustig, from which several of the above images are from [link]
More of Lustig's works at the Smithsonian's collection [link]
Great bio and more works at AIGA [link]
More works at Dr. Leslie's project [link]
Books on/of Alvin Lustig's works at worldcat [link]

From the Netherlands Architecture Institute

From various collections at the Netherlands Architecture Institute's website.


City on Pampus, Megastructure, by H. Klopma and J.B. Bakema, from the architectural firm Van den Broek and Bakema, drawing, 1964 [link]


Eindhoven city expansion - an expansion model based on a regional concept, J.M. de Casseres, 1930 [link]


Utrecht Music Society, Jupiter Amans, Schipbreuk, PJ C Klaarhamer, 1924 [link]


Expansion plan for the Left Bank of the Maas - Rotterdam map, Granpré Molière, Verhagen and Kok, 1921 [link]


Spring Clothing from Schocken Store, Johan Niegeman, 1926 [link]


Cover of the magazine De 8 and Opbouw, W. la Croix, 1937 [link]


Holland America Line, W. la Croix, no date [link]


Poster for the seventh CIAM congress, Max Huber, 1949 [link]


De Stijl magazine, Theo van Doesburg, 1917 [link]


Contra-construction - Maison Particulière, Theo van Doesburg and architect Cornelis Van Eesteren, 1923 [link]


Van stoel tot stad, book, J.B. Bakema, 1964 [link]


Architecture Exhibition on Frank Lloyd Wright,H. Th. Wijdeveld, 1931 [link]


City Hall on the Amstel, Wim Brusse, 1958 [link]


Rietveld, Jan Bons, 1959 [link]


Metal Workers’ Union, W. la Croix, 1927 [link]


Dwelling as an urban roof, collage, Piet Blom, 1965 [link]


Design drawing for name stamp, G.F. la Croix and J.M. van der Mey, 1906 [link]

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all images come from the Netherlands Architecture Institute's website [link]

Nikolay Pavlovich Akimov Theatre Posters

I came across a worn Russian book of Nikolay Pavlovich Akimov’s theatre posters, called Teatralʹnyĭ plakat N. Akimova. The book was published in Moscow in 1963 and is now out-of-print, but can be found at a few libraries in the US, UK, and Japan. Below are some of my favorites. EDIT - Huge thanks to Ingvar for providing the below translations.


The Labyrinth

Nikolay Pavlovich Akimov (1901 – 1968) was a "Russian stage designer, director, painter and graphic artist of Ukranian birth. He studied in Petrograd (now St Petersburg) from 1915 to 1919 in an artists' workshop under Mstislav Dobuzhinsky, Aleksandr Yakovlev and Vasily Shukhayev. From 1920 to 1922 he worked as a stage designer in Khar'kov (now Kharkiv). In 1923 he returned to Petrograd, where he worked as a book illustrator and stage designer at the Theatre of Musical Comedy, the Theatre of Drama and the Gor'ky Bol'shoy Theatre of Drama; he also worked in Moscow, at the Theatre of the Revolution, the Vakhtangov Theatre and the Moscow Art Theatre (MKhAT). From 1929 he worked as a director, designing his own productions. He was the Art Director of the Leningrad Theatre of Comedy (1935-49), where the most notable productions he directed and designed were Shakespeare's Twelfth Night (1938), Lope de Vega's Dog in the Manger and Widow of Valencia (1939) and Yevgeny Shvarts's The Shadow (1946), among others. From 1951 to 1955 Akimov was the artistic director of the Leningrad Soviet Theatre; Shadows (by Saltykov-Shchedrin) and The Case (by Sukhovo-Kobylin) stand out among the productions he directed and designed there. From 1955 to the end of his life he was at the Leningrad Theatre of Comedy as Artistic Director; among his best productions there were Shvarts's An Ordinary Miracle (1956) and The Dragon (1962), and Motley Stories (1960) after Chekhov."-answers.com


The Hunter, 1956


1905


Dictatorship


3 Minute Talk


The Profiteer


Night Shindy


Trees Die Upright


The Suitcase


Seat Nr. 16


The Salesmen of Glory


The Tragic Story of Hamlet the Danish Prince






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brief biography at answers.com [link]
@ worldcat [link]
more posters at Museum of Russian Poster [link]
more of his work at Russian Art & Books [link]
see more from the book at my flickr page [link]

Zenit - Зенит (1921 - 1926)

"In February 1921, in Zagreb, the poet Ljubomir Micić launched Zenit, an international magazine for art and culture, as it said in the subtitle; around its zenitist poetics and aesthetics, the magazine gathered representatives of all branches of art, both in the narrow and a broader meaning of the term – of poetry, literature, fine arts, theatre, film, architecture, music – from Yugoslavia, Russia and the West. A total of 43 issues were published, containing contributions in various languages (Ivan Goll’s “The Zenitist Manifesto” was printed in German). After being published regularly for over two years, and after switching the editorial office from Zagreb to Belgrade (the last Zagreb issue, no. 24, was published in May 1923), Zenit was published irregularly, occasionally coming out in the form of a multiple issue (Zenit no. 26-33 was published as an eightfold issue). Apart from the irregularity of its publication, it was characterised by changes of format and changes in outlook in terms of pictural-graphic design.

Zenit was launched at a watershed cultural, political and historical moment: it was preceded by events such as the First World War and all its consequences, the October Revolution (its echo is felt in Branko Ve Poljanski’s “October Manifesto”, published in his authorial periodical Svetokret [Worldturn] in 1921, wherein the author draws a line from the Universe – the turning of the Earth around its axis in cosmos – to the inner, subjective revolution of the spirit), the establishment of a common state, made up of three peoples, separated until then by their immanent processes of national development, and the post-war Europe as a scene where various avant-garde groups and movements pursued their activities. Apart from this, Zenit may be viewed as a dialectical moment of provocation and a turning point in connection with the aesthetisation of the Balkans and its culture, which, until then, had not participated in the artistic and historical events of Europe on an equal footing. These external factors left their mark on the initial programme concept of the periodical, mediated through the most general of slogans about the negation of the war and the building of an international brotherhood of artists, along with a radical calling into question of the “sentry/border guard-like” and the “soldier-like” destiny of the Yugoslav people and arguing in favour of creating a new man and a new art." -Irina Subotić, from the National Library of Serbia


No. 4 - May 1921


No. 8 - October 1921


No. 10 - December 1921


No. 13 - April 1922


No. 15 - June 1922


No. 17-18. - September-October 1922


No. 19-20. - November-December 1922


No. 25 - February 1924


No. 36 - October 1925


No. 41 - May 1926


Jo Klek, advertising, ink, watercolor, 1923.


Jo Klek - collage, Zenit no. 26-33, 1924. 26-33, 1924.


Michael S. Petrov, Poster for the first Zenitovu international exhibitions, kolađ, 1924.


August Černigoj, come attraverso La Strada, collage, 1925.

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everything above comes from the National Serbian Library's Digital Collection [link]