From: REVUE. Opere verbovisuali dalla Collezione Museion“, Curated by Andreas Hapkemeyer (Museion), Schreibmaschinenmuseum Peter Mitterhofer, Parcines (BZ), September 5, 2018 – May 19, 2019 (photos 1-4: Anna Cerrato). W/ Nanni Balestrini, Carlo Belloli, Irma Blank, Ugo Carrega, John Cage/Calvin Sumsion, Eleonora de Barros, Augusto de Campos, Haroldo de Campos, Corrado D’Ottavi, Thomas Feuerstein, Ken Friedman, Heinz Gappmayr, Hiršal/Grögerova, Jiři Kolař, Brenda Miller, Franz Mon, Stelio Maria Martini, Maurizio Nannucci, Seiichi Niikuni, Décio Pignatari, Gerhard Rühm, Adriano Spatola, Jiři Valoch
Image from ‘Cassell’s Library of English Literature. Selected, edited and arranged by H. M. … Illustrated’, 002552484
- Author: MORLEY, Henry Professor of English Literature at University College, London
- Volume: 04
- Page: 466
- Year: 1875
- Place: London
- Publisher:
View this image on Flickr
View all the images from this book
Following the link above will take you to the British Library’s integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the ‘itemViewer’. Click on the 'related items’ to search for the electronic version of this work.
![mechanicalcurator:
“ Image from ‘The Parting of the Ways. A novel’, 001042370
• Author: EDWARDS, Matilda Barbara Betham.
• Volume: 01
• Page: 7
• Year: 1888
• Place: London; Guildford [printed]
• Publisher: Bentley & Son
View this image on...](https://66.media.tumblr.com/e74c6142375a4071f33a35e7b7edb1b8/tumblr_pe317aM7Gr1sjzy3lo1_500h.jpg)
Guillaume Apollinaire, (1918), Calligrammes, Illustrated with sixty-eight lithographs by Giorgio de Chirico, Librairie Gallimard, 1930 [Fine Arts Museums of San Francisco, San Francisco, CA]
Lukas/Markus by Kalle Sanner is the result of a photographic project spanning over a decade, based on two mirrored chapels designed by architect Sven Brolid, Saint Lukas and Saint Markus. Design by Lundgren+Lindqvist.
A visual research project by Moscow based designer Arisha. The goal of the work was to identify the fashion label’s approach to clothing, advertising, graphic and packaging design in the period from 1981 to the end of the 20th century.
(via The Weavers House — Chan + Eayrs)
(Source: chanandeayrs.com)
What brings us joy in the archives? These vintage color images of the Heller rainbow stacking dinnerware! Those colors! Those concentric circles! Bon appetit!
We have many photographs of Vignelli-designed products in the archives. Often we find the original shots for catalogs, publications, and other marketing purposes. But we haven’t seen these images used in any of the promotional materials!
This stacking melamine dinnerware was originally designed in Italy in 1964 and won the Compasso D’oro award. But the manufacturer went out of business and the molds lay dormant for a few years. But Heller brought them to the United States and they eventually created them in rainbow colors.
“The size of the plates, their edge wall concept, their stackability, and the brilliant rainbow colors quickly captured the consumers’ attention and the product became a symbol of contemporary houseware.” design: Vignelli (1981).
We can’t resist joining the fun of the #joyofGLAM. On instagram @rarebkcat and @rutgers_scua [Rutgers University Special Collections and University Archives] are challenging Galleries, Libraries, Archives and Museums (GLAMs) and fans of GLAMS to share something that brings them joy every Wednesday in July! [our apologies for being a day late this week.]
Color transparencies of Heller stacking dinnerware
Massimo and Lella Vignelli papers
Vignelli Center for Design Studies
Rochester, NY