Though it took longer to catch fire, the lithographic magazine has proved to be as capable of brilliant design and compelling timelessness as the vintage poster. Whereas the poster is limited to public wall display of a specific product or event, the magazine—particularly its cover—can be omnipresent and pertain to a vast range of enticing subjects, made even more timely by a striking cover image.
We ‘ve chosen to start with the oldest and most limited of our items, in a publication, from 1894, promoting a theater-piece pertaining to Falstaff. Why? Because its Arts and Crafts cover strategy, by art nouveau graphic design stalwart, Eugene Grasset maintains an avant-gardist context (still operative) for a long forgotten occasion.
Leonetto Cappiello’s light and deep glimpse, title, “Here’s the Sea!”(1908) carries the necessity for the new and refreshing (even though the contents show black and white photos of dowdy, fussy apparel).
The New Woman—Buenos Aires- style–in 1931. The great cover litho on divine paper gives us a pensive, melancholy entry into contents far less equivocal about the joys of urban modernity.
This stunning cover design (also provided with splendid paper stock) by the prolific and perfect Umberto Brunelleschi, adds rococo lightness rising to art deco edge for an approach to content redolent of the hard work of spending a lot of money.
Leo Benigni, a deco saint if ever there was, gracing a 1933 social study of photos revealing that mothers with certain advantages can look as young as their marriageable daughters. Provocative content and graphic energies that challenge frivolity.
It’s 1939 and yet it’s already looking to 1950s moderne in its smashing cover and brilliant graphics inside—both illustrative and photographic.