Window Display (9 results)

21 : 14 cm. 319 Seiten mit sehr vielen Abbildungen. Farbig illustrierter Original Karton.

35 pp. Germ./Eng.text. I.a.: uniform display for S.A. and S.S., background skilful sketching of banner bearers.

4to. 403, [7] pp., plus 4 pp. publ. ads. 100s of photo illusts., diagrams, text illusts., plates. Brown embossed publisher's cloth, gilt lettering & border on front cover, gilt lettering on spine (minor shelfwear, minor bumping to corners, some minor rubbing, edgewear, slightly shaken), still VG- copy. Third edition of this fascinating and lavishly illustrated guide to preparing window displays and advertising displays in shops, mercantiles, department stores, grocery stores, exhibitions, and more. This work offers an early visual record of the explosion of shop window advertising that emerged as a marketing force in the late 1890s when many cities were electrified, and window displays could be lit at night creating a fairy tale splendor. Charles Tracy details the efforts of the shop decorators, and how shop window mannequins became established above all other marketing in the textile and fashion industry. Automatons, lighting fixtures, mechanical engineering, and many other skills were combined into creating amazing special effects at the beginning of the 20th century, replete with Art Nouveau and Victorian design elements. Theme windows became wildly popular, and the new idea of window shopping changed perceptions of city shopping districts, as well as offered women a new freedom to move around in public without chaperones. This substantially expanded edition over the 1904 printing, adds substantial material and illustrations to the "Electricity in the Windows," "Mechanical Displays", "Electro-Mechanical Displays," "Photographing Windows displays," and many others. See: Window Shopping - A photographic history of the shop window (2011).

Oblong 4to. 12 x 8.6 in. [105 leaves (unnumbered)]. With diagram colour chart, text illustrations, and nearly 100 printed photographic plates. Gray embossed publisher's split-pin binder, gilt lettering stamped, embossed borders, 3 brass split pins at gutter margin (minor fold crease to front cover, minor soiling, thumbing, edgewear), still VG- copy. Second edition, stated, of this fascinating and scarce Edwardian catalogue on eye-catching window displays for men's shops, haberdasheries, and department stores. This portfolio volume was designed so window display departments and decorators could remove and display certain types of displays, as well as add their own. The photographs are divided into sections of Clothing Windows for men's clothing, Children's clothing, Men's furnishing goods, Neckware displays, Hat windows, and Suggestions for window trims. Department stores and men's stores across the country are represented including Mullen & Bluett Co. in Los Angeles, Strawbridge & Clothier in Philadelphia, PA, The Mode in Washington, D.C., and John Wanamaker in New York. The Clothier and Furnisher magazine for the clothing and tailoring trades first began as the Clothier and Hatter from 1872-1879, before being divided into Clothier and Furnisher and Hatter & Furrier, later merged in 1927 into the Haberdasher and the Clothier and Furnisher. Worldcat locates 1 copy (Winterthur with only 103 leaves).

Folio. 10.75 x 14.25 in. 98 pp. Numerous colour plates, many double-page, colour photographs, 23 (of 30) fabric samples tipped-in, photo illustrations, colour photo illustrations. Quarter-blue cloth over colour-illustrated photo boards, cover art of divers in swim suits from high dive platforms (edgewear, rubbing, rubbing to corners, some dustsoiling), still VG- copy. First edition of this World War II-era trade magazine launched in 1931 in the depths of the Great Depression by Weintraub, Smart & Gingrich from the Menswear Service Corporation. This issue features illustrations, and advertisements by such artists as John Lagatta (1894-1977); Allen for Portis hats, the modernist master Paul Rand's (1914-1996) Summer 1941 poster, the iconic fashion illustrator Laurence Fellows (1885-1964), and other mainstays. This installment features advertisements from such menswear brands as Botany Worsted Mills, Jockey, Manhattan Shirt Co., Dobbs Hats, Hickok, John Cyril Woolen Co., and even Pittsburgh Plate Glass Co. fashion displays. By the 1940's, the magazine was printed by Esquire, Inc., issued 8 times a year, continuing in print until replaced by Gentlemen's Quarterly (GQ) in 1959. See: Marianne Brown, Apparel Arts & Conde Nast (May 10, 2017).

Fifteen vols. sized 4to. 9.5 x 12 in. up to Folio. 14 x 17 in. [Approx. 1414 pp (nearly all unpaginated, or unnumbered).], including 295 silver gelatin & silver print photographs, Polaroid, and albumen images, sized from 2 x 2 in. up to 13 x 15 in. hand-coloured silver prints, the majority of the photographs are tipped-in 8 x 10 in. images into albums with thick black paper stock, some linen-backed, some are hand-coloured, many of the silver print designs have been hand-painted, or hand-coloured, most on glossy photo stock, 1 albumen photo mounted on studio card sized 6 x 12 in., many w/ annotations on versos, some w/ captions in lettering below, or dittoed and/or mimeographed explanatory texts on versos, or mounted below the images; the majority of the silver print designs are mounted on beige or black linen hinges; with four of the photo albums still preserving all, or at least have of the original binding covers (2 renewed), 1 w/ hand-lettered title page and table of contents; many TLS, ALS, promotional inserts, printed catalogues, printed, mimeographed, and dittoed text, several telegrams, and all preserved in archival mylar sleeves together with the remainder of the archive. With 229 original designs, paintings, pen & ink, pencil, and water-coloured drawings, artist's renderings, blueprints, cyanotype blue-prints, ranging in size from 6 x 8 in. up to 17 x 38 in., some framed by studio board, others mounted on glossy paper stock, and a significant portion on tinted paper stocks of gray, brown, taupe, and tan, some loose, and others mounted with linen hinges, most having either the Display Products Co. printed at lower fore-edges, or printed in the explanatory texts below or on versos, with some signed by artist at lower edge of the image (occasional soiling, creasing, lifting & chipping to fore-edges of some renderings, others with minor creasing, or curling), still nearly all bright, and all preserved in post-binders, or portfolio cases with stamping on covers. This incomparable archive of photographs and original advertising art was created by Ray Whitnah, his company Display Products Co., and later his son Kaye Whitnah, who were innovative commercial artists and industrial designers through the Jazz Age, Great Depression, World War II, and the post-War era. Ray Whitnah's displays incorporated life-like scenes, wax models, and often inventive display apparatus and mechanical elements incorporating stunning Art Deco graphics, and story telling, all heavily influenced by the displays of L. Frank Baum, Ernst Goldsman, and Gordon Selfridge, pioneering window display artists at Marshall Field in Chicago at the beginning of the 20th century. The first volume includes prize-winning letters for displays across the Midwest for the Pugh Store Co. department stores, and later for Crosby Bros. Co. department stores in Topeka, KS, incorporating photos, documents, announcements, and trade journals. Photographs in the second volume reveal how Whitnah created striking sales tableaux for women's furs, hosiery, girdles, bathing suits, Hoover Vacuums, Motorola heaters, and kitchen ware. Of special interest are the surrealist bathing suit windows superimposed behind a reverse painted clock face, featuring undersea flower & shell arrangements, and large sea snail. Other images show striking windows for Kotex Sanitary products, DeFildiss Perfumizer, Eline's candies and apple bars, Nemo-Flex Corsettes, Phoenix Hosiery, and others. Volume III entitled the "Championship Class" album provides a superb overview of Whitnah's prize-winning displays including an elaborate Chinese rugs window, with Chinese mah jong players; Pyrex ware window featuring four & 20 blackbirds flying from the pie; a mechanical bathing display; toy display featuring paraffin falls imitating frozen water; an elaborate Congoleum flooring display; and his tour-de-force mechanical Nemo Corset Display featuring a large turntable revolving with women's figures representing seven ages appearing in order within four minutes per revolution, and a ribbon to pull the layered photos to recreate the effect in the album. The fourth album incorporates inventive millinery and women's fashions, in minimalist vignettes for the Crosby Bros. Department store, with some incorporating Moorish or Oriental inspired designs, vivid Art Deco backdrops and historiated scenes, reflective of the fashions in the opening years of the Roaring 20s. The fifth volume reflects the increasing creativity and daring of Whitnah including window displays showing flying Hoover vacuums, increased storytelling, and elaborate displays for Christmas, Radiola record players, an elaborate fairy tale scene for Hickock belts, Maytag washers featuring backdrop of children dancing around the Maypole, and series of Santa Fe RR windows celebrating travel on the Honeymoon. Of particular interest in this album is the large elaborate Kotex Sanitary Specialties window, entitled "Kotex: A "Justice" to the World" featuring a lady justice on top of a globe, Kotex packaging balanced in the scales, and other products displayed around the window.The sixth & seventh albums mark the 1930 shift by Ray Whitnah to establish not only his own manufacturing company for window display fixtures and apparatus, but also an Automotive Displays, Inc., intending to target the burgeoning window display market with automobile dealers across the country, producing lithograph posters, newspaper camera ready ads, catalogues, along with flood lights, backgrounds, finished products (no chassis), and one-lithograph signs. The company was incorporated in Delaware in 1931, with Whitnah holding 51% of the voting stock. The sixth volume shows many different devices for displaying men's clothes, wooden shirt stands, adjustable clothes stands, and even their introduction into the Cohn-Storthz men's shop in St. Louis, MO. The famed St. Louis Mart and Terminal Warehouse was a massive Art Deco edifice later named the Robert A. Yo.

Oblong 4to. With 13 original silver gelatin photographs, sized 4.75 x 11 in. to 7 x 11 in., with most sized 8 x 10 in., nearly all printed on glossy photo paper stock, nearly all with ink annotations in lower blank margin, or on verso neatly dating and locating the image, all preserved in archival mylar sleeves. Recent limp black cloth post-binder, gilt lettering stamped on front cover, NF exemplar. These splendid photographs document the entrepreneurial efforts of a commercial decorator in southern Oregon at the end of the Jazz Age. Heine (1892-1967) was an orchestra band leader at the beginning of the 1920s, who set up a window display and decorating business which specialized in decorating for dances, special events at fraternal lodges, parades, window displays, and exhibitions. These images show his talents at the Elks' Hall in Nov., 1927 for the opening dance for the winter season; Hilarity Hall in Medford, OR; the Queen's Float in Medford, OR for the Jubilee of Visions Realized as the city celebrated the completion of the new water system, and much of their "City Beautiful Movement" efforts; installing the bunting and decorations for the Klamath County Fairs in 1928 and 1930; the Coos & County Fair along Main Street in Myrtle Point, OR in 1929; along with window displays for the Gates & Lydiard Groceteria in Medford, which was the first modern style self-service grocery in the state of Oregon, and one of the earliest established on the West Coast. In addition, he also installed large bunting and patriotic displays for the Klamath County Courthouse, the California-Oregon Power Company, and the Oregon Bank building. The commercial photographers include Harwood Photo Service operated by Burhl Renell Harwood from 1925 to 1931 in Medford, OR, and were well known for supplying panoramic postcard souvenirs of Crater Lake, and Southern Oregon views, as well as commercial photography services; Anderson Studio operated by Alfred J. Anderson from 1925 to 1931 on East Main in Medford, who has purchased the California Studio and changed the name, and specialized in portraits but shot extensive amounts of commercial photos; and finally May King Conradi (1891-1986) who set up her studio in Klamath Falls in 1926 by purchasing the Stinson Studio, and for the next 25 years operated as a commercial photographer. See: Robert D. Russell, Unrealized Visions: Medford and the City Beautiful Movement, In: Oregon Historical Quarterly, Vol. 102, No. 2 (2001), pp. 196-205; Ben Truwe, Notes on Rogue Valley Photographers & Medford Pioneers: William A. Gates (2017).

Oblong 4to. 13.25 x 10 in. With 34 original silver gelatin photos, sized 8 x 10 in. (10 linen-backed, 8 on white linen hinges), most of them preserved by mounting, or slipped-into corner slits in large thick black paper stock, couple with photographer's imprint (minor scuffing, edgewear to couple photos), 1 printed photo on thick heavy cardstock of the exteriors of the two Kline & Co. Hardware store with large advertising signs hanging from the corner. Contemporary embossed simulated black calf 2-ring binder, embossed gilt lettering on front cover (slight shelfwear, very slight rubbing, minor tear to gutter margin of one of the photo linen hinges not affecting image), still a NF exemplar. First edition of this exceedingly scarce window display advertising photo catalogue for a designer working for Kline & Co. Hardware store in Williamsport, PA at the end of the Jazz Age. These splendid photos of the window and floor displays for products show the window designer's talents in promoting the products for sale in the store. The designs offer an invaluable visual representation of how the hardware and architectural home building products were displayed, including Carborundum stone, and sharpening stones, showing large samples of the product, the Jazz Age packaging, framed photo in center, and even promotions for the Carborundum band; Congoleum flooring showing the window displays, counter display advertisements, installed Congoleum in kitchent fitted with Bengal Stove, counters and refrigerator, with large rolls of Congoleum standing like pillars; two images devoted to the Arts & Crafts desks, chairs, lamps, gun racks, tool display racks, file cabinets, and more built by the Manual Training Department at the Williamsport, PA High School using Kline & Co. tools; two interior floor displays showing the large Lucas Gloss Paint sample display, Corbin door and lock hardware, Curtis Woodwork, Tuttle & Bailey floor and wall grates, and much more. Also shown are displays created for parade floats sponsored by the store such as for the HURRS Kiddies Hour for WRAK, interior shots of all the products displayed against the walls, and in vast bins of products, a wonderful display filled with Star-Rite fans, and even a photographs showing the construction space in the Kline & Co. hardware store where the stands, and display cabinets were built. These displays include the large cardboard counter display advertisements, product assortments of varying sizes, as well as many endorsement ads. James N. Kline (1847-1925) was a Civil War veteran who served in Co. H, 36th Pennsylvania, who began working in saw mills and lumber yards following the War, and by the end of the 1880s had established Kline & Co. hardware. The store expanded quickly over the decades and by the time these photos were taken in the 1920s it occupied two large store fronts. Hammer (1898-1962) was a longtime native to Pennsylvania, served in the Navy during World War I, and by 1926 had moved his photographic studio to the 435 State St. address in Pennsylvania where he would remain well into the Great Depression.

4to. 27 leaves, w/ 56 original silver gelatin photographs, many w/ annotations on versos, two w/ photographers stamps, some w/ annotations or dates in lower blank margin, sized from 7.5 x 8 in. up to 8 x 10 in. (occasional creasing, a few w/ corners chipped, minor edgewear, couple closed tears, 1 leaf w/ printed architectural photo of Durham, NC store, business statistics on verso (edgewear, rubbing). Preserved in 3-ring binder, stamping on front cover, VG exemplar. An excellent small photo archive of successful window displays by one of Kress's in-house designers during the Jazz Age. The group opens with 10 photographs for the window displays from 1923 to 1926 at the Shawnee, OK Kress Department Store. The Kress building was erected in 1907 in downtown Shawnee, and would remain in continuous operation until 1980, and now houses the Pottawatomie Book and Office Supply, along with a US Postal station. These window designs include those for Cameo Records, Kress Spring cleaning supplies, an Japanese-themed flower & candy display, soaps, socks, wash ties, and women's shoes. In addition, there are in-store images of beads, handkerchiefs, and bathroom fixtures all wonderfully arranged. Several photos are included of the splendid new Art Deco landmark of the Durham, NC Kress building completed in 1930, with photos of the lunch counter, opening day flower display, candies, and even excellent photo showing all the women clerks for the store. The last of the images show several displays for the Augusta, GA Kress store which first opened in 1913, including jewelry, Colgate products, and hat novelties. Davis (1906-1955) began as a window display artist for the Kress 5-10-25˘ stores in the early 1920s, and quickly rose through the ranks as a successful merchandiser, and the company rewarded him by promoting him to manager of the store in Chickasha, OK, and then still later for their larger store in Hollywood, California. By the mid-1930s, he had been successfully recruited by the J.J. Newberry Co., and was later the manager for their store # 398 in Los Angeles, California.