I have always been a collector of little things. My first collection was a shoe box full of pine cones. Later I found it more exiting to collect objects that didn’t all look the same, like stamps for instance. My grandfather was a diligent and proud philatelist and used to give me stamps for Christmas. As I child I spent hours organizing and admiring these little artpieces, which is a labour I appreciate now, many years later. As well as being amazing graphic design pieces, these stamps are also icons of a bygone era. A digital print of an Adobe Illustrator file will never be quite the same as a miniature engraving, as many of the old stamps are. Here are some of the favourite pieces from my collection; the rest of the set can be found here: Thirty Stamps
Allthough Wes Wilson is seen as the father of the psychedelic rock poster, the poster art of Victor Moscoso stands for me as the archetypal expression of the hippie era. With vibrating colours and psychedelic imagery, his posters take you straight back to that special vibe of the late 1960s San Fransisco. Victor Moscoso was born in Spain in 1937, but moved with his family to Brooklyn, New York three years later, where he spent most of his youth and childhood. He went on to study art at Yale under the supervision of Josef Albers, whose color theory later became an important inspiration for him. Jack Kerouac’s On the Road was a motivating factor for Moscoso to move on to California and San Fransisco in 1959. But it wasn’t until 1967 with the Summer of Love that Victor Moscoso rose to international fame, with his posters for the Avalon Ballroom (whose concerts featured artists such as Janis Joplin and the Doors). There is an excellent interview with him at The Comics Journal, for those who would like to read more about his fascinating life and refreshing take on art. Victor Moscoso is still active as an artist.
Canned sardines, caught in the fjords of Western Norway, were once a staple food in both Europe and the USA. To appeal to buyers in foreign markets, the Norwegian canning factories came up with an abundance of colorful designs, more or less related to the contents of the tin. In the first half of the 20th century, when the canning industry reached it’s peak, there were dozens of canning factories in the southwestern city of Stavanger. In fact the canning industry was one of the main reasons for the city’s growth in this period. Today, Stavanger’s canning museum is the only memory left of the once booming sardine industry, and crude oil has long since replaced it as the main source of income. Most of the images are borrowed from www.norwegiancollector.com.
In 1899 German biologist, philospher and artist Ernst Haeckel began publishing Art Forms of Nature (Kunstformen der Natur), a series of detailed litographic prints, depicting the fantastic diversity of life. No life form is left out in this astonishing catalogue of illustrations of everything from mosses and lichens to plants and animals, on land and in water. Many of Haeckel’s theories have since his death fallen from grace, as for instance his dubious classification of human races. But Heackel’s artistic vision of nature has defenitely withstood the test of time, by merging science and art in a most beautiful way. All images are from Wikimedia.