Meyer Schonbrunn (14 results)

24,5 x 19 cm. Unpaginiert. Mit zahlreichen Abbildungen auf Tafeln. Orig.-Kartoniert. (Monographien Deutscher Reklamekünstler, Heft 3). Namenseintrag im oberen Rand des Vorderdeckels. - Gutes Exemplar.

24,5 x 19 cm. Unpaginiert. Mit zahlreichen Abbildungen und montierten farbigen Original-Mustern. Orig.-Kartoniert. (Monographien Deutscher Reklamekünstler, Heft 7). Gutes Exemplar.

Soft cover. Condition: Near Fine. Mounted Plates In Color; Color And B/W Plates (illustrator). 1st Edition. Softcover2 Pp Text, Remainder Is Posters, Prints, Ads. Very Near Fine. Per Wikipedia, Emil Preetorius (1883 - 1973) Was A German Illustrator And Graphic Artist. He Is Considered One Of The Most Important Stage Designers Of The First Half Of The 20Th Century. He Studied Law, Art History And Natural Sciences In Munich, Berlin And Giessen, Where He Was Awarded A Doctorate. He Then Attended The Munich School Of Applied Arts For A Short Time, But Mainly Trained Himself As A Painter And Draftsman.[1] In 1909 He Founded The School For Illustration And Book Trade In Munich Together With Paul Renner, Headed The Munich Training Workshops From 1910 And Became Head Of A Class For Illustration And A Class For Stage Art At The University Of Fine Arts In Munich In 1926, At Which He Became A Professor In 1928. In 1914 Preetorius, Franz Paul Glass, Friedrich Heubner, Carl Moos, Max Schwarzer, Valentin Zietara Founded The Artist Association "Die Sechs", One Of The First Artist Groups For The Marketing Of Advertising Orders, Especially Posters. Preetorius Created Illustrations For Numerous Fiction Works From 1908. He Belonged To The Circle Of Friends Of Thomas Mann, And Designed The Book Covers For The Novella A Man And His Dog, And The 1954 Novel Confessions Of Felix Krull. Preetorius Also Designed The Cover To The First Public Issue Of Heinrich Mann's Novel The Subject (1918). Preetorius Worked For The Munich Kammerspiele From 1923. In 1932 Preetorius Became The Stage Director Of The Bayreuth Festival. In 1941 Preetorius With The Help Of Both Winifred Wagner And Heinz Tietjen Attempted To Help A Dutch Jew Who Had Been Head Of The Wagner Society Of Amsterdam But The Following Year Preetorius Was Denounced To The Gestapo As "Philo-Semitic" Or "Jew Friend". Officially, His Accuser Was Dr. Gk, Namely Herbert Gerigk, The Head Of The Music Directorate In The Office Of The Fuhrer's Commissioner For The Supervision Of The Entire Intellectual And Ideological Training And Education Of The Nsdap (Ofcs), And The Co-Editor Of The Notorious Lexicon Of Jews In Music: But Preetorius Always Suspected That Someone Else Was His Real Accuser. Wieland Wagner, The Oldest Son Of Siegried And Winifred, And The Grandson Of The Composer Richard Wagner, Had For Some Time Been Attempting To Claim What He Regarded As His Rightful Inheritance, Namely The Artistic Directorship Of The Festival. Wieland Was Hitler's Favourite Of Winifred's Children And In Order To Ensure That Wieland Would One Day Become The Festival's Director, Hitler Had Exempted Wieland, Along With 24 Other Young Men, From Military Conscription. Others That Were Considered "Divinely Blessed" Included The Tenor Peter Anders, The Stage Designer Ulrich Roller, And The Composer Gottfried Muller.[3] Preetorius Was Briefly Held In Gestapo Detention, And Interrogated, His House Was Searched And His Mail Opened. It Was Discovered That Preetorius Had Been Corresponding On Friendly Terms With Jews In Holland. Preetorius Was Initially Forbidden To Work, And Declared An 'Enemy Of The State' By Gauletier Paul Giesler Of Munic. Preetorius Presented A Difficult Case For The Munich Authorities: As Well As His Closeness To Winifred And Tietjen, Preetorius Was Also Ranked By Hitler As One Of The Most Important Set Designers In Germany. Brigitte Hamannn Argues That The Intervention That Led To Preetorius' Reprieve Was Made By Hermann Goering, Initiated By Tietjen. When The Munich Authorities Contacted Hitler Asking What To Do Wih This Enemy Of The State Hitler Played The Whole Situation Down And Decided That Preetorius Should Be Freed And That He Could Continue To Work Despite His Attitude. Preetorius, However, Did Not Return To Bayreuth And He Didn't Enter The Festpielhaus For Ten Years. He Always Suspected That Wieland Was The Gestapo Informer And His Real Accuser. In 1951 Preetorius Retired. From 1947 To 1961 Preetorius Was A Member Of The Bavarian Senate.

25 : 19 cm. 3 leaves,33 plates with many, partly coloured, partly mounted, many full-page plates. Illustrated original boards. Good overview of the artistic work of Emil Preetorius. - Monographien deutscher Reklamekünstler, VII. - Partly foxed, not effecting the images.

Softcover. Small quarto. Softcover. Plain rust wraps with black titles and seal. 53 pages, illustrations with German text. 25cm. G+. Wrap seperated from the text block. Some wear and soiling to wrapper. Housed in archival folder.

Softcover. Small octavo. Softcover. Dark purple wraps with grey titles and Gipkens seal in green/white pasted center front. 54 pages : chiefly illustrations (some mounted color) ; 25 x 19 cm. German text. G+. wear to spine with some paper loss at the tail. Some wear around the edges, and a few light scuffs/rubbing to panels. Interior is clean and unmarked besides previous owners name stamped inside. Housed in high quality archival folder.

Softcover. Small quarto. Softcover. Illustrated wraps. 40 pages : illustrations (some color) ; 23 cm. German text. VG-. Mostly disbound, but all pieces present, bright and clean. Housed in a high quality archival folder.

Softcover. Small quarto. Softcover. Red wraps with black titles and seal. 56 pages : illustrations (some color) ; 25 cm. VG. Lightest wear to wrapper, but otherwise in remarkable condition for being of 110 years old. Housed in archival folder.

Soft cover. Condition: Near Fine. Plates In B/W (illustrator). 1st Edition. Softcover, 2 Pp Text, Remainder Is Posters, Prints, Ads Designed By Behrens. Scarce.

Soft cover. Condition: Near Fine. 1st Edition. 40 Pp. Softcover15 Pp Text, Remainder Is Posters, Prints, Etc. Designed By Bernhard. 1913 Title Page Although Text Dated March 1912. Scarce.

Soft cover. Condition: Near Fine. Mounted Plates And Illustrated Fabrics, In Color; Color And B/W Plates (illustrator). 1st Edition. 54 Pp. Softcover2 Pp Text, Remainder Is Posters, Prints, Ads, Illustrated Fabrics. Very Scarce. Per Wikipedia, Julius E. F. Gipkens (1883 - 1968) Was A German Painter, Illustrator And Graphic Designer. He Was Born In Hannover, Germany. Gipkens Was Self-Taught And Found Inspiration In Lucian Bernhard's Work, Eventually Contributing Greatly To The Sachplakat (Plakatstil) Style Himself. Gipkens Moved To Berlin And Started Working. Alongside Lucian Bernhard, Hans Rudi Erdt And Julius Klinger He Was Employed On An Exclusive Contract With Hollerbaum & Schmidt. He Created Posters For Germany During World War I. After The War, He Created Illustrations For Advertising And Design Firms, And Newspapers. He Immigrated To The United States In 1933. His Work Is Held In The Collections Of The Library Of Congress And Victoria & Albert Museum.

4°. Originalleinen. Condition: Gut. Der Einband fleckig. Ein Aussengelenk mit kleinem Einriss am unteren Rand. Besitzvermerk. Innen sauber. XXVI, (2), 31 S. 115 Bl. (Zeichnungen). Deutsch 1550g.

Gr. 8°. 54 Seiten. Mit zahlr., teils farbigen Reklamemustern. OBroschur. Deckel lose und mit Randausrissen. Im Block gebrochen. Innen gut erhalten. Selten. Mit schönen, teilweise aufgezogenen farbigen Reklambildern.

gebundene Ausgabe. Condition: Gut. 115 Seiten 28 cm x 23 cm, mit altersbedingten Gebrauchsspuren, Einband etwas fleckig, Vorsatz mit Namensaufkleber, einige Seiten ebenfalls etwas fleckig, sonst innen ordentlich LP104 Sprache: Deutsch Gewicht in Gramm: 1540.