Minneapolis, MN: Walker Art Center, 1957. Original edition. Slim quarto. Saddle stitched thick printed wrappers. 28 pp. 46 black and white illustrations. Wrappers lightly worn and sunned at spine edge, otherwise a nearly fine copy.
8.5 x 11 staple-bound magazine with 28 pages and 51 black and white illustrations. This wide ranging overview includes glass, porcelain, cutlery, woodwork, metalwork, etc.
Illustrated profiles of these Finnish Designers:
Kaarina Aho
Rut Bryk
Kaj Franck
Saara Hopea
Friedl Kjellberg
Francesca Mascitti Lindh
Richard Lindh
Toini Muona
Ulla Procope
Kyllikki Salmenhaara
Michael Schilkin
Karl-Heinz Schultz-Köln
Aune Siimes
Raija Tuumi
Sakari Vapaavuori
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 1958, the editors assumed a more international flair in their selection of material to spotlight.
Minneapolis, MN: Walker Art Center, 1957. Original edition. Slim quarto. Saddle stitched thick printed wrappers. 28 pp. 46 black and white illustrations. Wrappers lightly worn and sunned at spine edge, otherwise a nearly fine copy.
8.5 x 11 staple-bound magazine with 28 pages and 51 black and white illustrations. This wide ranging overview includes glass, porcelain, cutlery, woodwork, metalwork, etc.
Illustrated profiles of these Finnish Designers:
Kaarina Aho
Rut Bryk
Kaj Franck
Saara Hopea
Friedl Kjellberg
Francesca Mascitti Lindh
Richard Lindh
Toini Muona
Ulla Procope
Kyllikki Salmenhaara
Michael Schilkin
Karl-Heinz Schultz-Köln
Aune Siimes
Raija Tuumi
Sakari Vapaavuori
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 1958, the editors assumed a more international flair in their selection of material to spotlight.
