EVERYDAY ART QUARTERLY/DESIGN QUARTERLY
Issues No. 25 - 36

Meg Torbert (Editor)

(12) 8.5 x 11 softcover magazines with 24-36 pages -- all magnificent snapshots of the blossoming modern movement after World War II. A very desirable, truly amazing vintage publication in terms of form and content: high quality printing and clean, functional design and typography and excellent photographic reproduction make this a spectacular addition to a midcentury design collection. Highly recommended.

Highlights from this bound volume include articles on 84 Modern Jewelry Designers; Fabrics; Modern Ceramicists; Alvin Lustig on Contemporary Book Design; Sweden's Orrefors Glassworks; the 1955 Milan Triennale exhibition; and more modern furniture and product design than you can posssibly imagine. Check out the contents for these 12 individual issues:

EVERYDAY ART QUARTERLY No. 25, 1953. Contents:

• 25 pages and 45 b/w images.
• Adolph Gottlieb, James Fitzsimmons.
• Fabrics--includes multi-page sections on Ben Rose, Marianne Strengell, Alexander Girard, Donelda Fazakas, Marli Ehrman, Angelo Testa, Evelyn Hill, and Ruth Adler Schnee, with numerous b/w photographs of the artisans and their design work.
• Saul Baizerman, The Story of an Exhibition.
• Book Reviews.

EVERYDAY ART QUARTERLY No. 26, 1953. Contents:

• 23 pages and 30 b/w images.
• George Amberg, 20th Century Ballet Design.
• Product Review‹includes work by Edith Heath, Ralph O. Smith, N. S. Gustin Co., Robin Day, Knoll, Woodcroftery Shops, Rubel & Co., Thonet, Frederick Lunning Inc., Charles Eames, Vermont Tubbs, Inc., Wallace & Sons, and Columbia Mills.
• Book Reviews.

EVERYDAY ART QUARTERLY No. 27, 1953. Contents:

• 31 pages and 37 b/w images.
• Edwin and Mary Scheier: 6 pages and 7 b/w images and statement from the artisans.
• Bernard Leach: 2 pages and 5 b/w images and statement from the artisan.
• Warren and Alixandria MacKenzie: 4 pages and 3 b/w images and statement from the artisans.
• Katherine and Burton Wilson: 4 pages and 7 b/w images and statement from the artisans.
• Leza S. McVey: 7 pages and 10 b/w images and statement from the artisan.
• A Note on the Classical Tradition‹includes work by Naum Gabo, Jose de Rivera, Charmion von Wiegand, Michael Loew, Georges Braque, and Charles G. Shaw.
• Book Reviews.

EVERYDAY ART QUARTERLY No. 28, 1953. Contents:

• 26 pages and 40 b/w images
• William Armbruster: 4 pages and 7 b/w images and statement from the designer.
• Edward J. Wormley: 5 pages and 9 b/w images and statement from the designer.
• Paul McCobb: 3 pages and 5 b/w images with short biography.
• Charles Eames: 2 pages and 4 b/w images.
• Robin Day: 5 pages and 9 b/w images and statement from the designer.
• Hans Hofmann, by James Fitzsimmons.

DESIGN QUARTERLY No. 29, 1954. Contents:

• 24 pages and 30 b/w images
• Half-truths about American Design by Arthur Hald: includes work by Charles McCrea, Freda Diamond, Jon Hedu, Charles Eames, and Eero Saarinen
• Comments on Contemporary Furniture by Josef Singer: includes work by Bertha Schaeler, Ico Parisi, Carlo Mollino, Carlo De Carli, and Gio Ponti
• Robert Motherwell by Jean Fitzsimmons
• Book Reviews

DESIGN QUARTERLY 30, 1954. Contents:

• 28 pages and 49 b/w images.
• Individuality and Style, Robert Goldwater: work by Brancusi, Alberto Giacometti, Joan Miro, Fritz Glarner, Yves Tanguy, Gericault, Ingres, and Jackson Pollock
• 10 Artists in the Margin: Balcomb Greene, Joseph Cornell, Jim Forsberg, Reuben Nakian, Trajan, John Graham, Louise Bourgeois, Corrado di Marca-Relli, Sidney Geist, Harold Paris
• Architecture: Plain or Fancy? Peter Blake: work by Mies van der Rohe, Herbert Bayer, Gyorgy Kepes, Le Corbusier, and Joseph Albers

DESIGN QUARTERLY 31, 1954.Contents:

• 20 pages and 26 b/w images
• Contemporary Book Design: I by Alvin Lustig--designers include Jan Tschichold, Adolph Meyer, Ladislav Sutnar, Marshall Lee, Paul Rand, and Alvin Lustig. Alvin Lustig designed the layout for his article.
• Contemporary Book Design: 2 by Joseph Blumenthal‹designers include P. J. Conkwright, Joseph Blumenthal, Ben Shahn, and Jan Tschichold.
• Design for Paperbounds by Alexander Nesbitt‹designers include Sydney Butchkes, George Giusti, Alvin Lustig, E. McKnight-Kauffer, Antonio Frasconi, Alvin Lustig, George Salter, Bill English, Edward Gorey, Christopher Simon, Joseph Ascherl, and Harry Ford.

DESIGN QUARTERLY 32, 1954. Contents:

• 32 pages and 55 b/w images from the the 1955 Milan Triennale exhibition.
• Triennale Product Review: Manufacturers and distributors include Waertsila Corporation, Kooperativa Forbundet, Fraser¹s, Georg Jensen, Upsala-Ekeby Aktiebolag, and Frederick Lunning.
• Comments on the Triennale
• Triennale Installations: Designers include A. Segal, Sigurd Persson, Henning Koppel, Magnus Stephensen, Hans Henriksen, Harold Nielsen, Sven Erik Skawonius, Arthur Percy, Kay Bojesen, Finn Juhl, Sergio Asti, Sergio Favre, Agenore Fabbri, Gio Ponti, Farnaroli, Roselli, Frattini, Saul Steinberg, Buckminster Fuller, Galvagni & Chessa, Nathan Shapira, and Karl Hagenauer.
• Experimental Film
• Book Reviews

DESIGN QUARTERLY 33, 1955. Contents:

• 32 pages and 106 b/w images.
• Harry Bertoia
• Margaret De Patta
• Sam Kramer
• Philip Morton
• Bob Winston
• 84 Contemporary Jewelers: Harold J. Atwater, Gregory P. Bacopulos, Mildred Lee Ball, Martha Brennan Borns, Jane Beckman, Harry Bertoia, John and Marsha Best, Marsh Bohr, Frances Holmes Boothby, M. N. Boyer, Michael J. Brandt, Howard O. Brown, Juanita F. Brown, Irena Bryner, Eleanor Caldwell, O. K. Chatt, Maxwell M. Chayat, Betty Cooke, J. Defeo, Margaret De Patta, Andrew and Muriel Dey, Robert Dhaemers, Virginia Dudley, D. Lee and Mary Dusell, Roger D. Easton, Audrey and Robert Engstrom, George Faddis, Lester Fader, Phillip Fike, Robert A. Gabriel, Robert E. Gardner, Jerome E. Gates, Marilyn Zirkel Goodman, Wiltz Harrison, Lee Haslam, David P. Hatch, Adda Husted-Anderson, Sam Kramer, Mary Kretsinger, James S. Lanham, Frederick Lauritzen, Bob McCabe, Marjorie McIlroy, Lawrence McKinin, Philip Morton, Earl P. Pardon, Miriam Peck, Coralynn Pence, E. Peter Petersen, Nelle and Daniel Peterson, Angelo Petesch, Carl O. Podzsus, Dorothy Price, F. Jules Reed, Maria Regnier, B. M. Reid, Mary G. Renk, Florence Resnikoff, Ruth Roach, Caroline Rosene, Hermon Roth, Thomas E. Ryder, George K. Salo, Muriel Savin, Alice H. Schell, Christian F. Schmidt, Pearl Shecter, Paul John Smith, Orville H. Soffa, Francis Stephen, Anneliese Steppat, Jean Sterne, Bernice A. Stevens, Paul R. Suttman, John Szymak, Ken Thompson, Edgar J. Trapp, Anne G. Van Kleeck, Arthur A. Vierthaler, Fennell Wallen, Kay White, Byron Wilson, Bob Winston, and Alice E. Zimmerman.
• Includes short biographies and addresses of the designers and artisans.

DESIGN QUARTERLY 34, 1956. Contents:

• 24 pages and 45 b/w images devoted to Sweden's Orrefors Glassworks and includes an overview of the company as well as six profiles of individual artisans.
• Orrefors by Arthur Hald
• Edward Hald
• Edvin Ohrstron
• Ingeborg Lundin
• Nils Landberg
• John Selbing
• Sven Palmquist

DESIGN QUARTERLY 35, 1956. Contents:

• 24 pages and 56 b/w images.
• Product Review: includes work by Malcolm Leland, William Armbruster, Milo Baughman, George Pedersen, Knoll Planning Unit, Erik Buck, Erlin Torvits, Joe Adkinson, Hovmand Olsen, Peter Hvidt and O. Molgarrd Nielsen, Jens Risom, Kip Stewart and Stewart MacDougall, Florence Knoll, Harry Bertoia, Greta Grossman, Emily Belding, Sven Markelius, Raymond Loewy, Don Wallace, Voss, Monica Britt, Stig Lindberg, John Follis and Rex Goode, Ernest N. Wright, and Russel Wright among others
• Book Reviews

DESIGN QUARTERLY 36, 1956. Contents:

• 34 pages and 74 b/w images.
• Design for Prosperity versus Design for Posterity by W. M. de Majo: includes work by Misha Black and W. M. de Majo and L. Bramberg
• 8 British Designers:
• Misha Black
• Lucienne Day
• Robin Day
• Lucienne Day
• Abram Games
• Milner Gray
• W. M. de Majo
• Ernest Race
• Hans Schleger
• Book Reviews

Design Quarterly began as Everyday Art Quarterly, published by the Walker Art Center in Minneapolis starting in 1946. The editorial focus aimed to bring modern design to the masses through thoughtful examination of household objects and their designers. Everyday Art Quarterly was a vocal proponent of the Good Design movement (as represented by MoMA and Chicago's Merchandise Mart) and spotlighted the best in industrial and handcrafted design. When the magazine became Design Quarterly in 1954, the editors assumed a more international flair in their selection of material to spotlight.

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