Tuesday, 19 January 2010
Thursday, 14 January 2010
Saul Bass
Saul Bass' body of work distinguishes him as one of the most versatile and innovative graphic designers of the 20th Century. Alongside his talent for creating definitive visual references in the form of film poster campaigns and title sequences stands his later work as an Academy Award Winning director for his short film 'Why Man Creates' (1969). In the course of his career, Bass worked with Otto Preminger and Alfred Hitchcock, and his legacy is evident in the work of numerous contemporary designers and directors. But it is his posters that are currently causing the biggest stir.
In the past 15 years of working as an original vintage film poster dealer and gallery owner, I have handled some of the rarest posters in the world. Auction prices for posters of The Mummy (1932- $452,000), Metropolis (1926- $356,000) and King Kong (1933- $245,000) have recently reached all time highs. In my opinion, Saul Bass posters for films like 'Vertigo' and 'Anatomy Of A Murder' as exciting as these high-value posters. Contemporary poster collectors of all kinds are giving Bass' designs special attention, and even building collections around key pieces. The effectiveness of his imagery is undeniable, resulting from his constant striving for perfection and his optimistic rejection of stuffy and uninspired conventions, which governed the majority of American poster designers from the 1940s.
In the past 15 years of working as an original vintage film poster dealer and gallery owner, I have handled some of the rarest posters in the world. Auction prices for posters of The Mummy (1932- $452,000), Metropolis (1926- $356,000) and King Kong (1933- $245,000) have recently reached all time highs. In my opinion, Saul Bass posters for films like 'Vertigo' and 'Anatomy Of A Murder' as exciting as these high-value posters. Contemporary poster collectors of all kinds are giving Bass' designs special attention, and even building collections around key pieces. The effectiveness of his imagery is undeniable, resulting from his constant striving for perfection and his optimistic rejection of stuffy and uninspired conventions, which governed the majority of American poster designers from the 1940s.
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