MHOGD
Chapter 12
12–1. Frank Lloyd Wright, first chapter opening spread for The House Beautiful
12–2. Margaret Macdonald, bookplate design
12–3. Margaret and Frances Macdonald with J. Herbert McNair, poster for the Glasgow Institute of the Fine Art
12–4. Charles Rennie Mackintosh, poster for the Scottish Musical Review
12–5. Jessie Marion King, double title pages for William Morris’s The Defence of Guenevere
12–6. Talwin Morris, binding for The Book of the Home, No. 3
12–7. Talwin Morris, bindings for the Red Letter Shakespeare series
12–8. Talwin Morris, page ornaments from the Red Letter Shakespeare series
12–9. Gustav Klimt, poster for the first Vienna Secession exhibition
12–10. Koloman Moser, fifth Vienna Secession exhibition poster
12–11. Alfred Roller, cover design for Ver Sacrum, initial issue
12–12. Alfred Roller, cover design for Ver Sacrum
12–13. Koloman Moser, cover design for Ver Sacrum
12–14. Alfred Roller, Koloman Moser, and Frederick Koenig, inside front cover advertisements for Ver Sacrum
12–15. Koloman Moser, illustration of a duchess and a page for Rainer Maria Rilke’s poem “Vorfrühling” (Early Spring) from Ver Sacrum
12–16. Alfred Roller (designer and illustrator), Ver Sacrum calendar for November
12–17. Various designers, personal monograms
12–18. Koloman Moser, poster advertising Fromme’s Calendar
12–19. Koloman Moser, poster for the thirteenth Vienna Secession exhibition
12–20. Alfred Roller, poster for the fourteenth Vienna Secession exhibition
12–21. Alfred Roller, poster for the sixteenth Vienna Secession exhibition
12–22. Berthold Löffler, poster for a theater and cabaret production of Fledermaus
12–23. Berthold Löffler, cover for Die Fläche, 25 Plakatenwürfe aus der Schule Berthold Löffler (The Facet, 25 Poster Sketches from the Berthold Löffler School, Vienna)
12–24. Berthold Löffler, poster for a Vienna art exhibition
12–25. The registered trademark and monogram applied to products of the Vienna Workshops
12–26. Peter Behrens, title and dedication pages for Feste des Lebens und der Kunst: eine Betrachtung des Theaters als höchsten Kultursymbols
12–27. Peter Behrens, cover for Dokumente des Modernen Kunstgewerbes . . . (Documents of Modern Applied Arts . . .)
12–28. H. Berthold AG foundry, Akzidenz Grotesk typefaces
12–29. D. Stempel AG foundry, Reform Grotesk
12–30. Peter Behrens, Behrens Kursiv und Schmuck (Italics and Ornaments), Klingspor Type Foundry
12–31. Peter Behrens, Behrens Antiqua
12–32. These diagrams illustrate Dutch architect J. L. Mathieu Lauweriks’s compositional theory
12–33. Peter Behrens, poster for the Anchor Linoleum exhibition pavilion
12–34. Peter Behrens, AEG trademark
12–35. Peter Behrens, guidebook covers for the AEG pavilion at the German Shipbuilding Exhibition
12–36. Peter Behrens, covers for Mitteilungen Der Berliner Elektricitaetswerke (Berlin Electric Works Magazine)
12–37. Peter Behrens, catalogue page for AEG teakettles
12–38. Peter Behrens, AEG arc lamp catalogue page
12–39. Peter Behrens, AEG electric lamp poster
12–40. Peter Behrens (designer) and Karl Bernhard (structural engineer), poster for AEG Turbine Hall
12–41. Peter Behrens, poster for a Deutsche Werkbund exhibition
12–42. Edward Johnston, Johnston’s Railway Type
12–43. The London Underground symbol, revised by Edward Johnston
