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Philadelphia College of Art expresses its gratitude to those foundations ivithout ivhose 
major, sponsoring grants this exhibition and catalogue could not have been achieved: 
The American Metal Climax Foundation; The Catherwood Foundation; The Samuel S. 
Fels Fund. 

In addition, generous supporting gifts from the following are gratefully acknou'ledged: 
Mr. and Mrs. George R. Bunker; The William Randolph Hearst Foundation; 
Mr. Morton Jenks; Saks Fifth Avenue. 

The exhibition and catalogue have been produced hv the Philadelphia College of Art 
in collaboration with, the Smithsonian Inslilulion, Washington, D.C. 
April 7, 1972 Philadelphia. Pennsylvania 



firing the winter of 1969 I had 
an opportunity to visit Alexey Brodovitch in le Thor, a small, quiet 
town in the south of France. I had gone there to tell him that the 
College had wanted to give him a degree and an exhibition, and 
that we hoped this still might be possible. 

That first meeting was strange and compelling. Outside that day, 
there was a clear winter light, and inside his back-lit room, all was 
shadowed and Brodovitch himself scarcely more than a silhouette, 
indistinct but also somehow very much a presence. Strained courte- 
sies in French and English began the visit, but soon gave way to 
another level of intensity, alwavs just below the surface of what we 
said. In that simple, lean room, this gaunt and ravaged man. ill 
and half-paralyzed, anguished by a recent and terrible accident to 
his son, was by turns gallant and passionate, courteous, friendly 
and desperately alone. It was impossible to remain aloof from him; 
he had a way of compelling involvement. Old and ill and near the 
bitter end, his force was extraordinary: possessive, mysterious and 

More meetings /olloived and a great deal more talk, and later 
still, correspondence. His illness was never allowed to be an issue. 
His urgency even at long distance was impressive. He willed it all 
to happen and I to become simply the last one in his long line of 

Since that lime I have been in pursuit of the Brodovitch era. 
His death in the spring of 1971 changed little, only gave brief, 
sad pause, and then added impetus to the search. Since then I have 
met or been in correspondence with half a hundred of his friends 
and colleagues, his students and acijuainlances. I have read every- 
thing there is in print about him, and I have pored over whatever 

work of his thai is left to see. It has been fascinating and frustrat- 
ing, for he will not stand clear. No two people of those I have 
talked to knew him the same way, nor is the person I have come 
to know as Alexev quite like any other view of him. 

Brodovitch the artist is no less elusive. Scientific theories and 
rnatheniatics interested him; new materials and techniques and com- 
binations were his pleasure. In the beginning there were interiors 
and stage sets, posters, ads, books, furniture and packaging designs. 
And then there was photography; and type, and the two combined. 
And finally, the most inventive of them all. the magazine, perfect to 
his nature, always fluid and full of contrasts. But at the end of the 
.search, for all of his versatility and tremendous influence, there is 
no adequate ivay to get back to him through his own work. Much 
has been lost or destroyed, and the most vigorous part of it is ir- 
revocably past. 

It is by his influence that we can know him best: his influence 
as a teacher, whose students and their works are everywhere to be 
seen; as a discoverer, whose collaborators are still in his debt for 
the wide audience his discernment gave to them. 

In the end, the substance of his influence is all around us, though 
nearly invisible by its prevalence— in the new graphic ways we view 
the world and ourselves. As a matter of education, it seems im- 
portant to recall that this was not always so. Alexey Brodovitch 
got it started, and before the newer media lend to obscure those 
adventurous beginnings such a short while ago, I suggest ive pause 
long enough to remember and to acknowledge the part he played. 
George R. Bunker, Dean of Faculty Philadelphia, 1972 

LEXEY BRODOl ITCH once owned two bull terriers— Fearless and his son. Mis- 
clia. He was greadv allactwd to these dogs and they in turn expressed a most uncommon 
devotion to him: their rapport with Brodovilch seemed almost human, it was as though they 
understood and were responding to the sensibilitv of this extraordinary^ artist-teacher~a 
sensibilitY so exquisite and re/ined that anyone who was touched by him Jelt it with the im- 
pact of a physical force. 

fVhx'n Misclia grew up. he developed a deadly animosity t<ntards his father and they 
fought often; uidess se/xiratcd. they woidd have fiughl to the death, which is the nature of 
bull terriers. (I luconipromisingly ferocious in the canine worlil. but in the ctintpany of men 
the sweetest anil most docile of pets.) To mainlain peace. Brodovilch— then living on an old 
Chester County firnistcad— kept FciiHess in one part of the house and Misclia in another. 

and exercised tlieni at different times of the day. But this soon became an intolerable bur- 
den and Brodovitch was faced with giving up one of his beloved pets. At this time my two 
young daughters were clamoring for a neiv dog to replace one we had just lost, so we inher- 
ited Mischa who, after a period of pining, became a cherished member of our family. 

Brodovitch did not see Mischa until five years later when he came to a dinner party at 
my home. The scene remains vivid in my mind. I had answered the doorbell and Brodovitch 
was standing there as I shall always picture him-— lean Borzoi-like features, taut, slightly 
stooped figure, elegant and vital, a true Russian aristocrat straight out of the pages ofTur- 
genev. Suddenly, a while thunderbolt shot past me and hurtled into Brodovilch's arms, al- 
most knocking him down. It was Mischa, overjoyed at the sight of his old uiiislcr, kii.'sing 
hini with his long pink tongue, barking with uneon fined pleasure— Ulysses could not have 
had a mare heart-ivarming welcome from his dog Argos after returning frcmi liLs long odys- 
sey. 1 couldn't believe it. I did not think that Mischa would ever remember Brodovitch. But 

there he was, our dog behaving as if he had been ivaiting all those years for Brodovitch to 
come back and reclaim him. 

That whole evening Mischa would not let Brodovitch out of his sight. WTien we sat down 
to dinner. Mischa lay at his feet. When we retired to the living room, Mischa leapt onto the 
sofa next to Brodovitch and would not be dislodged, nuzzling and kissing him. It was a 
strangely ajfecting sight and I was moved, for the dog's behavior seemed to symboltze feel- 
ings of loyalty, devotion, and gratitude I myself felt for Brodovitch: deep, personal emotions 
I could not analyze but ivhich 1 knew were shared by everyone who worked and studied 
with him. 

The party broke up soon after midnight. 11' e coaxed Mischa into an upstairs bedroom 
and locked him in, so that he would not run a/ier Bro(hnilch 's car. I could siccur there were 
tears in Mischa's eyes when liroilovitch patlcil him a s(hI goodbye. That is hou' I best 
remember my friend and master, Ale.\ey Brodovitch. Frank Zachary 

He was a genius and he was difficult. Now it's easy to 
deal with him. Too easv to give him honors that he had 
contempt for in his lifetime, now that he can V refuse them. 
He was my only teacher. I learned from his impatience, 
his arrogance, his dissatisfaction. Richard Avedon 

I have often been asked what it was that Brodovitch 
had or did or said that made him the teacher he was. this 
curious, remarkable man who managed somehow to ger- 
minate seeds of talent unknown even to the person who 
carried them. He did this with such regularity and over 
such a long period of time that chance could not be the 
explanation. But having said this much I feel no nearer 
an understanding of the process lie was able to start so 
many times within, such a variety of students. I must say 
that Brodovitch differed greatly from my idea of the great 
teacher. He ivas rarely supportive, had little human con- 
cern, showed only minor pleasure in a student's burst of 
growth and achievement. The climate around him was 
never warm and ea.fy, there was no room for levity, a stu- 
dent was expected never to have a fnancial problem, an 
upset stomach, or even a private life. But within these 
austere and forbidding circumstances, when the student 
did somehow manage to push forward into new ground, 
Brodovitch glumly, even grudgingly left no doubt that 
something remarkable had been done. And it .secnwd that 
the very sparseness of his recognition lent it an intensity 


of meaning and importance hard to explain to someone 
who did not actually experience it. Irving Penn 

Brodoi'itch was one of the greatest forces in mr life. He 
encouraged me, brought out the best in me, teaching me to 
draw upon myself. His classes sparked me: it was one of 
tire most joyful periods of my life. 
One day at lunch, I asked Brodovitch what it was that 
inspired his approach to education. He told me to read a 
book by Krishnamurti called Education and the Sis- 
nificance of Life. It clued me in on his teaching, his 
thinking, and opened many doors for me. I read it over 
and over again. I haven t been the same since. 
He taught me to stay young and curious. He was the 
youngest man I ever knew. Thoughts ironld come out of 
his head that wouldn't come from any other. He had an 
insatiable curiosity. I learned you have to maintain your 
curiosity in order to maintain your youthfulness. He 
taught me to be intolerant of mediocrity. He taught me to 
worship the unknown. Art Kane 

In some ways Brodovitch ivas my father I can say that 
even without much tenderness for him, but with the great- 
est respect and a curious kind of love. I had known him 
for many years and, even when I didn't like him, I ivas 
always vulnerable to the least word he ever said. 
One recollection— a number of years ago Brodovitch was 
in the hospital and they .said he was dying. 1 went to the 
hospital thinking it would be my last visit. There he was 
lying on the bed and J said hello. He said thank you, 
Penn, for sending me a copy of your book, but. frankly, I 
must tell you it is terrible. I thought, i.s that the last word 

I would ever have from him? He really let me have it right 
there and I just took it. The important thing is that there 
ivas enough acid reaction in him to make him get well. 
You see, he was not charming. He was a special person 
and they don 't come often. Tfiere isn 't a designer or pho- 
tographer in our time ivho hasn't felt the influence of Bro- 
dovitch. The waves that went out from Harper's Bazaar 
since his first issue are still rippling. Irving Penn 

In 1947. I became Alexer's "man Friday'' and all 
around assistant in New York. I drove his car, worked at 
Junior Bazaar and "Big" Bazaar, cooked for him, kept 
the attendance books at school, did the shopping in New 
York, and generally kept things together for him and 
Mrs. B. 

I had been involved ivith the jazz scene for many rears 
and it gave Alexey a great deal of pleasure to play host to 
my many musician friends, who would drop by to talk 
and drink scotch with us. He loved their street language, 
and was pleased by their direct and open admiration of 
his furniture designs. I never heard Alexey laugh as much 
as he did with the musicians. They had no idea who or 
what he was, they only recognized his warmth and his 
human respect for them. There ivere many long hours 
spent with him on east 57th Street, and to this day I can- 
not pass that building without some memory coming back 
to me. He was a marvellous, marvellous man. I love him, 
and all the things he so lovingly bestowed upon me. 

Bob Cato 

In the fall of 1954, I was a first year graduate student 
at the Yak University School of Design. Brodoviteh came 


up once a week to talk with tlxe second rear graduate stu- 
dents. Although I was not officially enrolled in his class, I 
would come in and stand in the back. I remember one of 
his classes vividly. A stonn had hit the Eastern seaboard. 
Brodovitch came late into the group of painters, sculptors, 
and designers who waited for him. He began by telling of 
the destruction of the storm on hisfann. He told of riding 
horseback along the beach, where large birds lay em- 
bedded in the wet sand. He saw trees thai he knew, down 
everywhere, and the roof partly gone from his bam. The 
destruction would take more than A/.s' lifetime for nature 
to renew. I think I .sy/h' Brodovitch the man in a moment 
when the personal pain of destruction created in him the 
need to communicate. Bruce Davidson 

He is a little like the sand that gets into the oyster and 
makes a pearl. His great genius as a teacher is the ability 
to get inside his students and irritate them until they 
make a pearl. Ted Croner 

I learned from him that if, when you look in your cam- 
era, you see an image you have ever seen before, don't 
click the shutter Hire 

The last time I ever .saiv him. just before his departure 
for France, we lunched together in. a small restaurant in 
Greenivich Village. I think we both knew we would never 
meet again. He asked me to tell him about work I was 
doing. I sfjoke of some long-range private experiments. He 
listened carefully but with already dulled comprehension 
and then said, "I don't understand what you are saying, 
Penn, but I believe in it. " Irving Penn 

Akxey Brodoviuh was the first art director, in his quiet 
unaggressive manner, to make me conscious that a photo- 
graph must relate to the page. 

I think, too. that both Mrs. Snow and Alexey Brod- 
ovitch were ver\- jinn in their belief that an artist should 
be left alone to work out his problem. I ivas never told 
what to do in color or my backgrounds, etc., and Brod- 
ovitch never came to a sitting unless one got into diffi- 
culties and needed his advice. He was sYmpathetic when 
needed, might give a suggestion— but never, never looked 
through a groundglass or dominated another artist. If he 
used your work, he believed in Your capability as an art- 
ist and not as just a mechanic in the field of photog- 
raphy. Louise Dahl-Wolfe 

It is with a kind of love and of passion, but also with a 
very sure instinct and rare taste that he has always cho- 
sen the quintessence of a group of pictures. I can say that 
from experience. My own pictures, reviewed and 'di- 
rected" by Alexey Brodovitch (for he was more a 'direc- 
tor" than a 'layout man " with pictures), have always 
given ine a pleasant surprise. Brassdi 

Although I ivas never officially a student of Alexey 
Brodcwitch, he was a strong influence on me— through 
friends of mine who were his students, through his oim 
work, and as tlw residt of working with him from 1946 to 
1948. One time. I jokingly told Brodovitch that / was his 





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student bv "osmosis", and was both amused and flattered 
to find that after that time he alwavs listed me as one of 
his students. 

I met Brodovitch for the flrst time in 1946. when I re- 
turned to live and work in New York. He gave me a num- 
ber of assignments for Harper's Bazaar over a period of 
two years. Wliat was to become my best known and most 
widely reproduced photograph, the 1946 portrait of 
Stravinsky, was assigned by Brodovitch for Harper's Ba- 
zaar, but never used; "It is too good a picture, " he said, 
"to be used small. " 

Despite our inability to achieve a steady working relation- 
ship, we remained good friends over the years. I consider 
him one of the most signiflcant influences on twentieth 
century photography. Arnold Newman 

During my years in the U..S., I saw him only sporad- 
ically, but always with keen pleasure; we ivere very close 
friends. I was alivays very impressed to notice the in- 
fluence and the sway he held over his regular collabora- 
tors, his former pupils, or any person tvho had worked 
under him. 

. . . he was an extremely imaginative, sensitive, and gener- 
ous person. Although our fields of work and thinking cd- 
most never crossed, I find it now a privilege to render 
homage to llw great creative (jualities and most attractive 
human characteristics of this very unusual man and art- 
ist . . . Eugene Berman 










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The~mri T3r~rDmorrouj 

IS WORK . . . Brodovitch was art director 

of Harper's Bazaar magazine for tiventyfour years. He started u design concept for maga- 
zines. He had a whole theory about it, in terms of scale, in tenns of flow, the beginning to the 
middle to the end, like music. And once he established that concept, I think all magazines ten- 
ded to follow it. Talking about what the concept ivwi always sounds a little silly. But I found 
it incredibly moving. Brodovitch was always an aesthetician. 

I think one of the most moving limes I ever .spent with him ivas when I got mv job at the 
Bazaar. I went to him and .said Fd like to ask his opinion (after all. he recdlr was the Jl inston 
Churchill of the magazines). He look down these books, volumes, fifteen years of Harper's Ba- 
zaar. He was suddeidy very paternal, like a falher showing me the family scrapbook to let nw 

see ivhal the familv looked like and what they had done so that I could look like thai and do 
the same. And I did. 

The nature of magazine life is that you're always in advance of the present: icorking with 
Brodovitch, you were ahead of the advance. You were tndng to create a thing that had never 
happened before, well before it was ever going to happen. Ona' you did, it was a fact. The evi- 
dence was that everybody around town began to do it. That came totally from him. He was 
obsessed with change. Each issue had in .some way to be unique. And before it was even out. 
there was aiwther one going. I think it was a .state ofperpetucd optimism. Marvin Israel 

Mr. Brodovitch sat quietly in an alc(we off the art department. Stacks of clear while layout 
paper beside him, and photostats of different sizes of chosen, photographs. 

A total Russian, he was, lofty-minded and noble in every part of his work. He loved white 


paper, the more the better and it was very- hard indeed for him to allow eien the most beautiful 
blow-up of a Carlier-Bresson photo to spoil the immaculate claritv and whiteness. 

He loved his photographers, and with them he blossomed. He treated them with such heart 
and intelligence and passionate interest, and with them he was totally instructive. 

He loved riding horses, his faniiW, and his memories, and one felt that when he was alone 
with his while paper, he was resting in the snows of his native Ru.ssia, and finding a puntv 
and cleanliness Ik could not find elsewhere. Diana Vreeland 

It was sheer genius on tlie part of Carnwl Snow that led her to travel to Hearst's castle in 
Wales in order to persuade "the Chief that the one man who could make his ailing Bazaar 
look contemporary was a Russian from Philadelphia, Alexev Brodovitch. I remember Bro- 
dovitch's first appearance at the ojfce. Unmistakably Russian, essentially a gentleman, quietly 


but eleganth dressed in dun tones that suited his faded blue eyes and drowned bhnd hair— 
"like the chauffeur of a Rolls Rovce. " he once said of himself. Had he really been a captain in 
a cavalry regiment, or did I just imagine it? It would not have been difficult to imagine. He 
was used to respect and lie inspired it. His office adjoined mine, but to step over the threshold 
was to cross the Atlantic. On his side one was in Paris. The young men or women who ivorked 
for him were disciples rather than assistants. They changed rather often: thanks to the training 
of their cher maitre. they were always getting picked off for better jobs. Even when the press of 
work was at fever pitch. I would usually find artists or photographers with huge portfolios wait- 
ing patiendy to show their work to the master. Many of these were refugees from Nazi-ridden 
Europe. Some, like Saul Steinberg, immensely talented. When talent came unannounced, Brodo- 
vitch rejoiced. 

// ivas a pleasure to watch him at work. He was so swift and so sure. In emergencies, like the 
time the Clipper beating the report of the Paris Collections was held up in Bermuda, his speed 
ivas dazzling. A quick splash or two on the cutting board, a minute's juggling of the photo- 
stats, a slather of art gum, and the sixteen pages ivere complete. His layouts, of course, ivere the 
despair of copywriters ivhose cherished tone poems on girdles or minks had to be sacrificed to 
his sacred white space. Just before ive went to press, all the layouts were laid out in sequence on 
Carmel Snow 's floor and there, under his eye, rearranged until the rhythm of the magazine 
suited him. 

How he managed to maintain, in that swarm of frantic females, his male detachment, his 
impeccable manners, and the glint oj amusement in his eye, I'll never know. But he did. 

Frances McFadden 

THE EXHIBITION . . . Dr/„-mJI,i-.'nn arailah/e 
gii/lcn- space, fewer items than those listed may be included in ihv exhihiliivi. hi 
genera/, the entire listing iviU be accessible for study purposes. 
ALEXEY BRODOVITCII: (1) Si.\ colored paper collages on black conslniction pa- 
per. (2) Three Harper's Bazaar co} vis, one Junior Bazaar corer. (3) Photostat of 
ALBRO (Alphabet Brodovitch) letter-face, designed by Brodoritch and based on 
musical notation. (4} Four rough camps and tear sheet of final Container Corpora- 
lion advertisement, © 1962. (5) Poster: "Libertad de Palabra, " 1942. (6) Original 
and printed designs and photostats, from the period 1924-1932. All of the above are 
on loan from the Graphic Design Study Collection of the Museum of Modern Art, 
New York. New York. 

( 71 Photostats oj si.\ pngej from the Museum of Modern Art ^ catalogue Prize De- 
signs for Modem Furniture.' 1938. and jibotographs of Bnidoiilch furniture models 
from the collection of Georges Brodovitch. (8.9A0A 1) Photographic eidargements 
from Brodovitcli's book Bullet, published by J.J. Augustin. 1946. (12) Photo- 
graphic enlargements of photos taken by Brodovitch with a concealed camera in the 
Manhattan State Hospital on Wards Island. Enlargements made from proof sheets 
in the rollertion of David Attie. (13} Photostat of the Bal Banal poster by Bro- 
dovitch. from the collection of Marcia Keegan. (II) Origuud gouache and airbrush 
design "Standard Coal." dated Paris. 1921. from the collevtioii of Gordon Baker. 
(15) Original layouts for Ohsen^ulions. 1959. photographs by Richard Avedon, 
text by Truman Capote: from the collection of Richard Avedon. (16) Copies of De- 
sign Laborator)- announcements; proof sheets of ClimiL\ Molybdenum Company ad- 
vertisements, designed by Nelson Gruppo and illustrated by Brodovitch for N. ff'. 
Ayer & Son. Inc.. and one copy of Today, a booklet designed by Hmdovitch f>r 
AQUATONE. ad from the collection of Nelson Grappa 

DAVID ATTIE: (17) WASHINGTON ARCH .iND PIGEONS, black /white photo. 
photo, Duell, Sloan. & Pearce. ! 959. (18) FL4TIR0N BUILDING AND PIGEONS, 
black/ white photo. Harper's Bazaar, 1961. (19) Three portraits of Alexey Brodo- 
vitch. eklacolor prinis. 1963. Copy of photograph of Ale.xry Brodovitch as a young 
man in Russia^ original c. 1917 (ratalogne only). 

Mr. Attie was a Design Lab student with Brodovitch and Inter an associate at 
Harper's Bazaar. He now lives and works in New York. 
RICHARD AVEDON: (21)) ALEXEY BliODOlTTCn. hlark/ white photo. 1970. 
(21) EZR.4 POUND, black/ white photo. 1958 (22) 'THE REl EREND M.IRTIN 
CYRIL D'ARCY S.J.. black/ white photo. 1958. (2.3) .4le.xey Brodovitch working 
on layout for Observations, black/ white photo. 1958. 

Mr. Avedon was a protege of Brodovitcli's at Harper's Bazaar and eventually his 
assistant lliere. He naw works as a photographer in New York City. 
RAYMOND BALLINGER: (24) Dustjackets of hooks written and designed In Mr. 
Ballinger; one if them. Sign. .Syoihol tK: Form, co-oulhorrd In Id.s wife, Louise 
Bowen Ballinger 

Mr. Ballinger. a student if Broilovitch's at PC\. was his successor as Director of the 
College's Department of Advertising Design: he luiiv miiinlains his inrn design stu- 
dio in Pbdadf.lphia. 

EUGENE BIORMAN: (25) MEXICO, gouache drawing, 191-9, and (26) BA- 
ROQUE FANTASY, gouache drawing, 1041. courtesy Richard K. Larcada Gal- 
lery. New York. New York. 

Mr. Berman was a friend of lirodovitch's from bis earliest student da\s in Riis.sia. 
lie later rollaboraled with Brodovitib at Harper's Bazaar anil other magazines. 
Mr. Herman is an artist, painter, and set designer, now living in Rome. 

BILL BRANDT: (27) GRAHAM GREENE, hhrk/ivhilc photo. Haqier's Bazaar, 
1943. (28) GORDON CH'iJG. black/ white photo, Hoqier's Bazaar, 1956. EM 
FORSTER. black/ white photo. Harper's Bazaar, 1947 (catalogue only). 
Mr. Brandt never met Bradovitcli, but contributed jreipiently to Harper's Bazaar at 
Brodovitch s invitation. He lives and works as a photographer in London. 
BRASSAi: (29) BIJOV. black/ white photo, 1932. (30) PICASSO (Dans son ate- 
lier, rue des Grands-Angastins), 1939. LA BAL4NC01RE, black/white photo, 
1937 imtahigue only). 

Brn.s.sai /ir/.s ii friend and as.wriatc of Brodovitch. He is also a friend of and 
iiiitbiir of (I monograph on. Pirasso. fir now liics in Paris. 
after the partition between India and Pakistan, 1947, black/ white photo. Portfolio, 
1951. (32) GOLD RUSH, Shanghai, black/white photo. Portfolio. 1951. (33) 
ALEXIS BRODOVITCH (sic), black/white photo. REFUGEE TENTS, black/ 
while photo. 1947 Portfolio. 1951 (catalogue onh ). 

M. Ctirtier-Bresson rottaborated with Mr. Brodmilch. both for Harper's Bazaar, 
find later at Portfolio: the, beranir good fririnls and r/ assadatrs. M. Carlicr- 
Bresson now lives in Paris. 

BOB CATO: (34) SIMON AND GARFVNKEL pnnied offset collage. Columbia 
Records. 1968. (.35) MILES DA ITS. color photo. United Arti.sis Records, 1970. 
Mr. Cato was a student of and studio assistant to Mr. Brodovitch. He now works as 
an art ilircttor and gniphic designer, anil is President of Sipiiulra Galtileo. Inc.. in 
New Yuri: Cit\. 

BiUCF. DAMDSON: (:',6. 37} EAST Idiiih .STREET two blark/ white photos. 
Magnum Photos. Inc.. 1968. 

Mr. Dniidson never o(ficiall\ simlwd with Brodovitch but was in/lurnced bv bis 
leaching, and Mr Brodovitch thought highly of bis icork- 

LOL'ISE DAHL-WOLFE: (.38) Oner for Harpers Bazaar. April. 1958. color 
photo. 139) ERMINE CIPE. .ulnr photo. Harper's Bazaar. Ortoher !95<x 
Mrs. ilolfe icas a ftishion photographer at Harper's Bazaar during inneh of Pro- 
dm itch s tenure then' <is art director: \he iras parlu ulorlv noted for her color work. 
M IR Y FIUI.CONER: (10) Silk .screen reproductions: SPICES AND HERBS. The 
Americon Weekly. 196L art director, Alfred Lowr,-: and THE QUEEN OF FOR- 
TUNE, The Canal Press, art director. Allen Saalbnrg 

Mary Faulcoiier (Mrs. Allen Saalbnrg) was a PCA student when firodoeitcb taught 
at the Cullcgi-: she as-,i-,lrd him with his first Design Lahonitor\ in Philadelphia 
anil went on to beeome tin adierlisiiig designer and exhibiting painter, now living 
in New York. 

BENEDirT J. FERNANDF7.: (41) fl'A.SHINGTON D.C.. black/white photo, 
196.5. (12) PUERTO RICO, black/ white photo. 1971. Si.\ photographs of Alcxey 
Brodovitch at his studio on East ll)ilt Street. New )'ork City. 196-1 (eatalogne only). 
Mr. Fernandez tvas working as a mine operator and pnrt-lime photographer whet 
he first met Brodovitch.<pienllv, Brodovitch gave him a scholarship to the De- 
.sign Lab and encouraged him to take up photography professionally. .■{! present he 
teaclie\ and maintains his men lommen iai studio in New York. 
KOIiEiri' FKANK. (13) 1 //'!/ Kll'Pl it NYC. black/ while photo. 19.55 (14) 
COODHVF. Mli. imoUOiircil. black/ whiw photo. IU72. 
Mr Frank, a forincr sindent of lirodovilch's, now leinhes at Nathan Iaoiis' Photo- 
graphic Workshop in Rochester. New York. 
illUO: (45) HO) niTll FISH, color phoio. Harper's liazaar, I'Mifi (46) FACE 


AND PLASTIC MASK, color photo. Harper's Bazaar. 1966. EMBItiCE. black/ 
white photo. Harper's Bazaar. 1971 (catalof^ue only I. 

Hiro. sfiuleitf and jriend of Brodovitch. i.\ now an editorial and commercial photog- 
rapher based in New York City. 

MARVIN ISRAEL: (47) Preliminan. Unottt for Nothing Personal. Ic.xf by James 
Baldwin, photographs by Richard .4vedon, published 61 Alhencum Publishers, 
1963. Also., proof of a foldout secUon from the book. 

Air. Israel studied under Brodovitch at Yale and later collaborated with hint on sev- 
eral projects. He was art director of Harper's Bazaar from 1960 to 1963. Cur- 
rendy, Mr. Israel is working as a painter and designer in New ) ork. 
MARC KACZMAREK: (48,49) Two untitled studies in plwtorhylhm.s. black/ white 
photos. 1968. (50) .llEXEY BRODOVITCH. black/ white photo. 1965. 
Mr. Kaczmarek studied only briefly with Brodovitch. but remained a close person- 
al friend until Alejtey's final departure for France. He now works as a free-lance 
and experimental photographer in New York. 

ARTICANE: (.511 KIBBI. color photo Melm-Goldwyn-Mayer. 1968. (52) GREEN 
FLAG, color photo. Look 1969. 

As .student at the AWc S<-luinl for Social Research and later as gne.-it lecturer and 
sub.stilule teacher at the Design Lab. Mr. Kane had a long and close association 
with Brodovitch. He now works as a commercial photographer in New York City. 
MARCIA KEEGAN: (53.54) SOVTIWEST INDIANS color photos. 197L (55) 

ALEXEY BRODOVITCH. color photo. Two black/ white photographic portraits of 
Alexey Brodovitch (catalogue only). 

Miss Keegan .'Studied with and was assistant to Brodovitch the year before his de- 
parture for France. She has been included in llw Time-Life .series on photography 
and now worh as a free-lance commercial photographer in New York. 
ANDRE KERTESZ: (56) Nine page sample rfa layout by Brodovitch of Kerlesz' 
photographs of New York. Patterned after Mr. Kerlesz' book "Day of Paris,'' pub- 
lished by J.J. Augnstin in 19 IS. the New York book was never published. 
Artist, photographer, and painter. Mr. was a close friend of Brodovilch's 
dating from the early 1920's in Paris: he now hies in iS'rw )iirk. 
HARVEY LLOYD: (.57..58) POINT LO BOS black/ white plu.ios. I9t>9. 
Mr. Lloyd was a student, a.ssislani and devoted friend of Mr Brodovitch. For .sev- 
eral years he managed and ran the Design Lab at his studio. At present he main- 
tains an active commercial studio in New York. 

HERBERT MATFER: (59) SWITZERLAND: E.xciirsioiis by Car: printed poster, 
Swiss Natioiud Tourist Office. 1934. (60) GIACOMETTL offset printed poster, 
Kunslhallc, Basel. 1966. INDIAN DANCER: Study in Motion, ofsel printing, 
Reinhold Book Corporation. 1918 (catalogue only}. 

Mr. Matter, a Swiss emigre, was given his first work in the I'nifed States In Broil- 
ovitch in 1936. They remained good friends ami 1 olloboralors until Brofhivitch left 
for Europe. 

SOLMEDNICK: (61) MUMMERS, black/ white photo, circa 1950 (62) FEMALE 
IMPERSONATOR, black/ white photo, circa 1950. 

Mr Medniek studied under Brodovitch at PC.-l. He remained at the College and, 
befire his death in 1970, was Director of the Department of Photography and Film. 
LlSI':i'll'; MODEL; (63) FASHION SHOW: Hotel Piem-. black/ white photo. //»/■- 
pr-r's Bazaar, 1956. (&l) WOMAN WITH VEIL: San Franci.^ro. hlark/white 
photo. Harper's Bazaar. 1952 FAMOUS GAMBLER: Monte Corh: black/white 
photo, 1938 (calnlogiw only). 

Miss Miulei ill additidii lo her mirk for Bradovitch ul Harper t; Baziuir. has exhib- 
ited at the Museum of Modem Art and elsewhere. At presenU she is on the faculty of 
the New School for Social Research. New York. 

HANS NAMUTH: (65) JOSEPH ALBERS. black/ white photo. Museum at Large, 
Inc., 1970. (66) WILLEM DE KOONING, black/ white photo. Vogue. I960. THE 
PAINTER J.-iCKSON POLLOCK, black / while plwto. Portfolio, 1950 (catalogue 

In addition to his other commercial iviirk. Mr. Naniuth has concentrated on portraits 
(f famous artists, and is firrj^enlh working on a jilm abonl the architect. Louis 

ARNOLD NEWMAN: (67) STR.4riNSKy. black/ white photo. Harper's Bazaar. 
1946. (68) ADOLPH GOTTLIEB, black/ white photo. 1970. ALERIED KRUPP. 
black/white photo. 1963 (catalogue only). 

Given his start by Bradovitch, Mr. Newman is now a nvll-esfahlished I^ew York- 
hased photographer, best known for his portrait work. 

IRVING PENN: (69) PICASSO, Cannes 1957, black/ white photo. (70) MARCEL 
DVCH.4MP. New York. 1948. black/ while photo. (71) NEW YORK CHILD. New 
York. 1949, black/white photo. All of the above photographs are used by permis- 
sion of In'ing Penn, Vogue, and Conde Nasi Publications. Inc. 
Mr. Pcnii .studied under Brodovitch at PCA and later became his assi.-itani at Har- 
per's Bazaar, .lutlior of Moments Preserved, a hook of his own photographs, Mr. 
Penn has for many years now worked fir J ogue magazine. 
ALUN PORTER: (72) TOR ZVR WELT, black/ white photo, 1969 
.4 fomwr student and friend. Mr. Porter is the author of much written material on 
Mr. Brodomtch. He is at present editor of C.4MEIt4 magazine, published lu Lu- 
cerne. Stvitzerland. 

BEN ROSE: (73) STOCKINGS, color photo. Harpers Bazaar (74) MOTION 
STUDY, color photo. 

New York fashion and commercial pholografiher. Mr. Rose was a student of Brod- 
oi'itch ot PCA and was later employed by him /or photographic assignments at 
Haqwr's Bazaar. 

PETE TURNER: (75) CANNONBALL, dye transfer. Holiday. 1970. (76) 
TWINS, dye transfer. Ujok 1967. 

Mr Turner, photographer and traveler, was a student of Brodovitch at the Rochester 
Institute of Technology. Later, Brodovitch invited him to show his ivork and lecture 
to Design Lah students. 

Contrihutors of written inatenal only: 

TED CKONER: Student, friend, and confident. Mr. Croner worked for Brodovitch 
at Ilarfter's Bazaar and on various other magazines and projects. He now has a 
photographic -studio in New York City, and is head of the Photography Department 
at Bennett College in Millbrook, New York. 

FRANCES McFADDEN: Miss McFadden was f-r many years the literary' editor 
of Harper's Bazaar. She is now retired and lives in Cambridge. Ala.ssoehnsett.'i. 
DIANA VREELAND, (MRS. T. REED VREELAND): M/s. i'rceland was the 
fashion, editor of Harper's Bazaar for fifteen years; .siibse<jnently. she became 
editor-in-chief of Vogue, where she now serves as a connulling editor. 
FRANK ZAr:[IARY; Mr. Zaehary was a.ssocialed with Brodovitch most closely 
when the%- created Portfolio magazine. He is now art director of Travel & Leisure, 
published by the Amrricnn Express publishing lompaiiy. 

EARLY YEARS 1898 Alexer Brodovitch was bom in a hunting lodge near the Finnish 
border. His father, Cheslav, was of Polish origin, a physician, psychiatrist and huntsman: his 
mother, a talented amateur painter 1905 During the Russo-Japanese war, Brodovitch's 
father was sent to Moscow to administer a hospital for Japanese prisoners, and later was 
transferred to St. Petersburg to take charge of a mental institution. The family inherited a 
sizeable fortune in property and lived comfortably; Alcxey studied at the best and most pro- 
gressive school in the city, and was intended for the Impeded Art Academy. 1914 At the 
start of the First World War, Brodovitch. then aged 16, ran aivay to join the fighting. His 
father had him brought back, but finally yielded to Alexey's wishes and allowed him to 
enroll in the Corps de Pages, a training school for officers in the Czaiist army. He graduated 
as a lieutenant and joined the Archtirsky Hussars, a regiment of the Russiaji Imperial 
Cavalry: Later he ivas sent to Rumania, and rose to the rank of Captain. 1918-20 During 
the Civil War, Brodovitch served with the White Army. Fighting agcdnst tlie Bolslieviks at 
Odessa, he ivas badly wounded and subsequently hospitalized in Kislovodsk, in the Caucasus. 
Late in 1918, the town was surrounded, and Brodovitch, along with some four hundred 
soldiers and three thousand refugees retreated to the south. 

Sometime during the retreat, he met his future wife, Nina. His brother Nicolas turned up 
as one of the soldiers guarding the refugees. Finally, safe at Novorosysk, Brodovitch located 
his father, and severed months later, the entire Brodovitch family (Alexey, his parents, five 
other children, and Nina) were reunited in Constaiitinople. Together, tlwy made their way 
to France. 

PARIS 1920 Brodovitch and Nina were married and for a time Nina worked as a seaiti- 
slress and Alexey as a housepainler. However, within fmr months he had a job painting sets 
for the Ballet Russe, and iwt long after that began to work on fabric designs. 1920-24 



Brodovitch worked on layouts for Arts et Metiers 
Graphiques and Cahiers d'Art; he designed and illus- 
trated books for Editions de la Pleiade and the Black- 
amore Press in London: he exhibited paintings and 
drawings in Paris and elsewhere; he designed china, 
textiles, jewelry; and began to do interior decora- 
tion. 1924-25 Then, winning first prize in a poster 
competition, organized to advertise the Bed Banal, Bro- 
dovitch earned wide recognition in his neiv career as 
graphic designer. Many commissions followed and in 
1925, at the International Exhibition of Decorative 
Arts, he received gold medals for kiosk and jewelry de- 
sign, two silver medals for fabric designs, and the top 
aivard for the best pavilion. 1925-30 He began to 
concentrate his efforts on graphic design, producing 
posters for Martini vermouth, Printemps, and Bon 
Marche. He served as art director for Ailv Trois Quar- 
tiers and Madelios, two large department stores. 1 930 
In this year .John Storwfenks. then Vice President of the 
Philadelphia Museum of Art, met Brodovitch and per- 


suaded him to move to Philadelphia to establish a new 
department of Advertising Design at the Museum's 
School of Industrial Art (now the Philadelphia College 
of Art). 1930-34 Shortly after founding the College's 
advertising design department, Brodovitch began an ex- 
tensive free-lance practice and then around 1933 fonned 
his first Design Laboratory' at the College. 1934 WTiile ar- 
ranging an exhibition for the Art Director's Club of New 
York, his work was seen by Carniel Snow of Harper's 
Bazaar who cjuickly persuaded IFilliam Randolph 
Hearst to employ him as the magazine's art director. 
NEW YORK 1934-58 Dimng his early years at 
Harper's Bazaar. Bralovitch still spent a part of each 
year in Paris. This enabled him to maintain contact 
with many notable European artists whom he per- 
suaded to work for Bazaar: these included LurQat, 
Kertes, Leonor Fini, Saul Steinberg, Cocteau, Dufy, 
Topolski, Chagall and Tchelitchew among many oth- 
ers. During these years he also worked as a free-lance 
art director, book designer, illustrator and advertising 
director. In 1938 he won third prize in an international 
competition for the design of low cost, "krujck-down" 


furniture, sponsored by the Museum of Modem Art, and, in 1939 he executed a mural for 
the educational pavilion at the New York World's Fair. Also, in 1939. he took on a two-year 
assignment as art director for Saks Fifth Avenue, and I. Miller & Son; and, in 1941. he 
worked as a consultant with the American Red Cross and the USIA in Washington, D.C. 
1938 Following a fre in his countn- home in Connecticut, Brodovitch bought an old fann- in Phoenixville. Pennsylvania. About this time he also bought an old stone mill house 
in Oppede-le VieiLx in the south of France. 1940-55 He continued a wide free-lance practice, 
and in 1945 produced Ballet, a book of his own photographs of the Ballet Russe publislied 
by J.J. Augustin, Off and on throughout this period the Design Lab was revived in one loca- 
tion after another; during 1947-49 it was held at the studio of Richard Avedon. In 1949 
Brodovitch was hit by a truck while crossing the street and was hospitalized for several months. 
In the same year, he teamed up with Frank Zachary, as art director and editor respectively, 
to produce three extraordinary issues of a new graphic arts magazine. Portfolio. 1953-55 
He designed for the Ballet Russe de Monte Carlo; served as guest critic at the Yale School of 
Design; received the Robert Leavitt Memorial Award, presented by the American Society of 
Magazine Photographers: and contributed to an exhibition at the Museum of Modern Art 
on graphics and architecture. 1956-58 A disastrous studio fire in his Phoenixville farmhouse 
destroyed much of his work, including the original negatives for Ballet. He moved to East 
Hampton, Long Island, only to suffer still another fire, which forced him and his wife to 
move into an apartment over the garage. Then, in 1958, he left Harper's Bazaar. 

LATE YEARS 1959-65 Already suffering ill health, Brodovitch was plunged into an acute 
state of depression on the death of his luife, Nina, in 1959; during the next two years he 
ivas hospitcdized intennittently. Hoivever, in 1964 he again set up the Design Laboratory in 
the studio of Richard Avedon. He also helped design the first six issues of Sky magazine, and 
then, during 1964-65, a Workshop, based on the Design Lab model, was set up in the Young 
& Rubicam advertising agency. But again, plagued, by ill health, Brodovitch was sent to the 
Manhattan State Hospital on Wards Island. 1966-68 Brodovitch broke his hip, and decided 
to relurn to France with his son, Nikita, to live at Oppede-le- Vie ilx. However, the steep lull 
town .soon proved too difficult for him, and in 1968 he moved permanently to le Thar, where 
he could be close to his younger brother. Georges, an architect living in Avignon. 1971 
Alexey Brodovitch died on April 15th at le Thor. In June he was awarded an honorary 
Doctor of Firw Arts degree, posthumously, by the Ptuladelphia College of Art. 


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AswelL Man' Louise, and Carmel Snou:. The World of Carmel Snow. McGraiv Hill. 1962. 212 pp. (This book was 
also designed by Ale.xey Brodovitch.) 

Bondi, Inge, (in discussion with Alexey Bwdovitrh) ''The Photographer's 'Tivn Masters]" Print, 13; March, 1959, pp- 

Brodovitch. Ale.xey. 'Aphorisms/' Popular Photography. 49: December. 1961, p. 92. 

Brodovitch. Ale.xey, "Brodovitch on Photography.'' Popular Photography, 49; December. 1961. pp. 82-83 + . 

Brodovitch, Alexey, "Libres de miseria," Art and Industry. 39; September, 1945, p. 69. 

Brodovitch, Alexey, ''Unforgettable." Popular Photography, 54: June, 1964, pp. 84-85. 

Brodovitch. Alexey, '^''hat Pleases the Modern Man.'' Commercial Art, 9: August. 1930. pp. 60-70. 

Doivnes, Bruce, "Brodovitch and Ballet." Popular Photography, 17; September. 1945. pp. 31-34. 

Downes, Bruce, "Critic's Choice,'^ Popular Photography. 55; August. 1964, pp. 64-65. 

Depuy, R.L., "A. Brodovitch: a Graphic Alchemist." Gehrauchsgraphik, 7; January, 1930, pp. 44-49. 

Ebin, David Jon, 'A Master Teaches the Experts," Photography, 36: January, 1955, pp. 48-51. 

Ettenberg. Eugene M., "The Remarkable Alexey Brodovitch," American Artist, 25; December, 1961. pp. 25-3L 

Herrick. George, "Alexey Brodovitch," Art and Industry. 29: November, 1940, pp. 164-169. 

Hurlhurt, Allen F., "Alexey Brodovitch: the Revolution in Magazine Design, "* Print, 23; January. 1969. pp. 55-59 + . 

Interiors, 108; February, 1949, p. 16 (editorial). 

Kraus, H. Felix, "Modern Photography," Tricolor Magazine, III, 13; June, 1945, pp. 62-77. 

Lloyd, Harvey, and Peter Larson, "Brodovitch," Photography, 19; 1964, (a British publication). 

Maingois. Michel, "Hommage a Alexey Brodovitch," ZOOM, 9; November-December, 1971. pp. 25-35. (See also the ed- 
itorial, p. 5 of the same issue.) 

New York Times, The, April 4, 1954; II, 16: 4. February 12. 1967: II 29: I. April 24, 1971; II 32; 4. 

Penn, Irving, an untitled appreciation of Ballet, Infinity, 11; July, 1965, p. 10. This issue contains eight pages of 
photo-reproductions from the book, rephotogruphed hy Brodovitch after his original negatives were lost. 

"Photographers on Brodovitch," a symposium. Popular Photography, 49; December. 1961, pp. 86-87. 

Porter, Allan, "Brodovitch on Brodovitch," Camera, 47; February, 1968, pp. 6-19. 

Reynolds, Charles, "Focus on Alexey Brodovitch," Popular Photography, 49; December, 1961, pp. 80-81 +. 

Reynolds, Charles, "Alexey Brodovitch, 1900 ■ 1971," Popular Photography, 69; September, 1971, p. 60. 

SoupauU, Philippe, "Alexey Brodovitch," The Bulletin (published by the American ff'omen's Club of Paris, Inc.), Au- 
gust, 1930, pp. 908-9J0. 






ACKNOWTEDGEMENTS On behalf of the Philadelphia College of Art, I would like to thank the following for 
their kind and thoughtful assistance in the planning and preparation of the exhibition and this catalogue: Richard Ave- 
don, Georges Brodovilch. Benedict and Siiri Fernandez, John Garrigan, Dennis Gould and Eileen Rose, Marvin Israel, 
Harvey' Lloyd, Patricia McCabe. and Irving Penn; and to the many, many others who have contributed information. 
commentar)'' and encouragement. Special thanks are also due those individuals who have so generously loaned work by 
Alexev Brodovilch, from their own collections, for use in the exhibition: David, and Dorothy Attie, Richard Avedon, Gor- 
don Baker, Raymond Bollinger, Nelson Gruppo, Marcia Keegan. and Andre Kerteszi and the Graphic Design Study 
Collection of the Museum of Modern Art, New York. 

Additionally, I would like to express my appreciation to Eugene Berman, Bob Cato. Bruce Davidson, Marvin Israel. 
Frances McFadden, Arnold Newman, Diana Vreeland, and Frank Zachary for preparing written material especially for 
this catalogue. I am also grateful to the Ziff-Davis Publishing Company for their permission to reprint commentar)^ from 
the December. 1961 issue of Popular Photography by Louise Dahl-W olfe (p. 19), Ted Croner (p. 16), Brassdi (p. 19), 
and Hiro (p. 16). Also, to the Ziff-Davis Publishing Company for permission to reprint, from Photography Annual. 
1972, written work by the following contributors: Richard Avedon (p. 10), Art Kane (p. 13), and Irving Penn (p. 16). 
As well, thanks are due Irving Penn for permission to reprint his piece, on page 33 in the November-December, 1971 
issue of ZOOM magazine: and for permission to print an edited segment (p. 13-14), from a transcript of the November 
18. 1964 meeting of Brodovitch^s Design Laboratory Workshop in the Young and Rubicam Agency. —GRB 

Graphic and photographic materials included in the catalogue are credited as follows: p. 1, frontispiece: Richard Ave- 
don, Alexey Brodovitch, 1970; p. 4: Marcia Keegan, Alexey Brodovitch, and p. 7, Alexey Brodovilch, with birth- 
day cake; pp. 8 & 9: Benedict Fernandez, Alexey Brodovitch in his studio, 1964: p. 11: David Attie, Washington 
Arch and Pigeons, Duell, Sloan & Pearce, 1959; p. 12: Irving Penn, Picasso, Cannes, 1957,© 1960 Irving Penn, cour- 
tesy of Vogue and Condi Nasi Publications, Inc.; p. 14: Hiro, Embrace, Harper's Bazaar, 1971; p. 1 7: Richard Ave- 
don, The Reverend Martin Cyril D'Arcy, SJ., 1958; p. 18: Brassai, La Balancoire, 1937; p. 20: Hans Namuth, The 
Painter Jackson Pollock. Portfolio. 1951; p. 22: Robert Frank, Yaum Kippur, 1955; p. 23: Herbert Matter, Indian 
Dancer: Study in Motion, Reinhold Book Corporation, 1948; pp. 24 & 25: Henri Cartier-Bresson. Refugee Tents, 
1947, Portfolio, 1951; p. 26: Bill Brandt, E.M. Forster, Harper's Bazaar, 1947; p. 27: Sol Mednick, Female imper- 
sonator, circa 1950; p. 28: Lisette Model, Famous Gambler, Monte Carlo, 1938; p. 29: Arnold Newman, Alfried 
Krupp, 1963; p. 30: cover design by Brodovitch. Haiper's Bazaar, February, 1939, with permission of The Hearst Cor- 
poration, courtesy of the Graphic Design Study Collection, Museum of Modern Art, New York; p. 31: poster design by 
Brodovitch, Bal Banal, 1924; pp. .32, 33, 34 & 35: photographs from Ballet by Alexey Brodovitch, 1945, with permis- 
sion of J. J. Augustin, publishers; p. 40: portrait of Brodovitch and a younger brother (presumably Georges Brodovitch), 
circa 1917, photographer unknown, print courtesy of David Attie; p. 42: portrait of Brodovitch, circa 1950, photo- 
grapher unknown, print courtesy of Harvey Lloyd; pp. 44 & 45: illustrations for Climax Molybdenum Company adver- 
tisements, 1934, by Brodovitch, designed by Nelson Grappa for N W. Ayer & Son, Inc., fragment of Saks Fifth Avenue 
advertisement, circa 1940, designed by Brodovitch and photographs of law-cast furniture, designed by Brodovitch; p. 
47: Marc Kaczmarek, Alexey Brodovitch, 1965. 

This catalogue has been prepared at 

Philadelphia College of Art. 

Editor/George R. Bunker 

Editorial Assistant/ Nancy Smith 

Catalogue Design/ Richard Hood 

Typography / Cypher Press, Inc. and Typographic Service, Inc. 

Set in Bodoni Book Italic, Bodoni Italic and Torino. 

Printed by Consolidated/ Drake Press on 100 lb Cameo 

Brilliant Dull Coated, with Double Thick Slrathmorc. Cover Stock. 

Copyrifrht© 1972 Philadelphia College of Art