Germany & Austria
Plakat — the Object Poster
The object, the word, and nothing else — the German Sachplakat and the Viennese commercial hand.
Ludwig Hohlwein’s Munich advertising, the Berlin Sachplakat’s reduction of a poster to one object and one word, and the Wiener Werkstätte’s commercial work: the Central-European commercial poster at full strength, before 1931.
1905–1930 · Germany · Austria
Richard Strauss-Woche, festival poster
Hohlwein's Strauss festival poster: one robed figure, one tall staff, and almost nothing else.
Kaloderma Seife, Gelée, Puder
Soap, gel and powder sold Hohlwein-style — a full-page advert torn from Jugend, July 1924.
Zoologischer Garten München
Hohlwein's Munich zoo poster: flat lithographic slabs of colour, no outline, no fuss.
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Opel
The Sachplakat in one move: the car, the word Opel, and nothing else.
Elegante Welt
Thirty-five Pfennig for the elegant world, lettered by Berlin's best poster printer.
Bar Riche
Berlin nightlife rendered in two or three colours and a lot of nerve.
Maxim Bar
Erdt at twenty-four, advertising a bar with a poster that already knows what to leave out.
Hier zeichnet man die Kriegsanleihe
Bernhard strips the war bond appeal to its bones: flat colour, one command, a deadline you cannot miss.
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Wiener Werkstätte Mode Stoffe Kunstgewerbe Messausstellungen, Messepalast und Kärntnerstrasse 32
A woman's hair becomes a grape vine - the Vienna Workshops advertising themselves in their own ornamental language.