Push Pin Graphic Number 42 (The Diary of a Madman)
Issue number 42 of Push Pin Graphic, published in 1963, based on the 1960 New American Library publication of Nikolai Gogol’s “The Diary of a Madman and other Stories” with illustrations by Seymour Chwast and Allen Vogel. Slim 4to, printed wrappers, 14 pages, illustrated. Pushpin Studios was founded in 1954 by Chwast, Milton Glaser, and Edward Sorel; Push Pin Monthly Graphic launched in 1957 and provided an outlet for the group’s work which, in their own formulation “rejected tradition in favor of reinvigorated interpretations of historical styles (Victorian, art nouveau, art deco), provided a fresh counterpoint to both the numbing rigidity of modernism, and the rote sentimental realism of commercial illustration.” Gentle bumping and some rubbing to extremities, with light damp staining to rear wrapper.
Issue number 42 of Push Pin Graphic, published in 1963, based on the 1960 New American Library publication of Nikolai Gogol’s “The Diary of a Madman and other Stories” with illustrations by Seymour Chwast and Allen Vogel. Slim 4to, printed wrappers, 14 pages, illustrated. Pushpin Studios was founded in 1954 by Chwast, Milton Glaser, and Edward Sorel; Push Pin Monthly Graphic launched in 1957 and provided an outlet for the group’s work which, in their own formulation “rejected tradition in favor of reinvigorated interpretations of historical styles (Victorian, art nouveau, art deco), provided a fresh counterpoint to both the numbing rigidity of modernism, and the rote sentimental realism of commercial illustration.” Gentle bumping and some rubbing to extremities, with light damp staining to rear wrapper.
Issue number 42 of Push Pin Graphic, published in 1963, based on the 1960 New American Library publication of Nikolai Gogol’s “The Diary of a Madman and other Stories” with illustrations by Seymour Chwast and Allen Vogel. Slim 4to, printed wrappers, 14 pages, illustrated. Pushpin Studios was founded in 1954 by Chwast, Milton Glaser, and Edward Sorel; Push Pin Monthly Graphic launched in 1957 and provided an outlet for the group’s work which, in their own formulation “rejected tradition in favor of reinvigorated interpretations of historical styles (Victorian, art nouveau, art deco), provided a fresh counterpoint to both the numbing rigidity of modernism, and the rote sentimental realism of commercial illustration.” Gentle bumping and some rubbing to extremities, with light damp staining to rear wrapper.
