Czech Advertising Signs [English version; anglickojazyčná verze knihy Staré české reklamní cedule]

Czech Advertising Signs

Formát knihy : 220 × 280 mm
Počet stran : 562
Návrh knihy : Kamil Mittner, Daniel Trávníček
Produkce : Daniel Trávníček, X Production
Odborná spolupráce : Lucie Vlčková
Text : Lucie Vlčková, Petr Štembera, Bohuslav Rejzl, Kamil Mittner
Grafika design a sazba : Marek Pistora
Redakce : Marie Fišerová
Korektor: Philip M. Gammon 
Autor fotografie : Jiří Hloušek / X Production
Postprodukce : Matěj Ryšávka / X Production
Reprodukce : Uměleckoprůmyslové muzeum v Praze
Historické fotografie : Archiv hlavního města Prahy, Muzeum hlavního města Prahy, Muzeum města Brna, Muzeum hl. Východní Čechy v Hradci Králové
Tisk a vazba : Tiskárna Helbich, Brno
Náklad : 300 ks
1. vydání

Vydalo X Production sro v roce 2024

Two collectors have published a unique book, Czech Advertising Signs. The book Czech Advertising Signs presents the most extensive presentation of enamel and tin advertising in the Czech Republic. On 562 pages it presents 715 signs from the period 1900-1948.

BRNO/PRAGUE - Collectors Dan Trávníček and Kamil Mittner have combined in this publication not only the most important signs from their collections, but also their long-standing knowledge and passion for collecting. On more than 562 pages they present 715 tin and enamel signs of companies known from within the Czech and Czechoslovak commercial market from the period 1900 to 1948. The presented collection is unparalleled in the Czech Republic in its scope.

The publication was supervised by Lucie Vlčková and Petr Štembera, curators of the collection of posters and paintings at the Museum of Decorative Arts in Prague, Czech Republic. In the first part of the book, together with other academics, they frame the topic both professionally and engagingly. The generous graphic design of the book was overseen by renowned graphic designer Marek Pistora, the book is published by X Production in cooperation with MyX.

A pinch of theory, a sea of pictures

Lucie Vlčková places tin and enamel advertising in its historical and social context and explains the contribution of this new publication. "In the past, signs were perceived as a purely utilitarian product, completely outside the interest of the art scene. Surprisingly, the signs remained aside of the earliest marketing texts," she points out. This is why the book is a valuable historical document that could only have been created thanks to the contribution of private collectors, as Vlčková admits. "Private collectors, unlike state collection institutions, have the space to specialise narrowly according to their own interests, they do not have to face the pressure to select the collection they are building, and thus they can assemble admirably large collections by 'collecting' across the board," she explains. A collection built up over a quarter of a century is of considerable value not only to the academic community. "It has been possible to preserve and document a completely unique (and unrivalled in the Czech sphere) collection," says Vlčková. She devotes her second part to the visual aspect of advertising signs.

Petr Štembera, in his contribution "Personalities of Czech First Republic Advertising", focuses his attention on both well-known and lesser-known authors, each of whom, according to the unwritten rules of the advertising industry, was above all "a professional who had to know everything and was not here to decide", as Štembera states. He takes a closer look at the most important personalities such as Leo Heilbrunn, Zdeněk Rykr, Rudolf Höns, Emil Weiss, and others. Bohuslav Rejzl, historian and curator of the 20th century collections of the Prague City Museum, is the author of the chapter "Manufacturers of advertising signs in the Czech lands before 1948". Using several examples of Prague and non-Prague companies, he documents the great diversity of protagonists within the commercial advertising market.

The collectors themselves, Dan Trávníček and Kamil Mittner, then describe their motives, goals and limitations in the breadth of their activities. "We deal with old Czech advertising exclusively based on enamel and tin signs," explains Mittner. But this is not a joint and complete catalogue of the two collections. "The published signs are more of an individual selection, which is determined by our focus and personal likes and preferences," the collectors clarify. Neither brewery signs, insurance company signs nor auto-moto-velo themed signs are presented. "It's not that we don't like them, but we just can't collect everything," Trávníček explains. The time frame of the collection is defined by the years 1900-1948. "As Czech signs, we present here mainly signs of domestic trading companies, but to supplement them we also present some different language versions of signs used in the multilingual trade market of Bohemia and Czechoslovakia," the collectors summarise.

The photographic reproductions of the old advertisements are accompanied by information about their dimensions and material, as well as basic information about the manufacturing company that commissioned the advertisement. "In many cases, the history of many companies and brands in our territory can be seen as an interesting part of the cultural history of our countries and, is often even more interesting than the advertisement itself," Mittner emphasises.

A book for enthusiasts - amateurs and professionals alike

The author of the photographic reproductions of old advertisements is Jiří Hloušek from the advertising agency X Production. "The photographs of the signs were taken continuously over many years in Prague and Brno. The enamel signs are a photographic puzzle because of their curvature and glazed surface. Especially in terms of consistent output when shooting in different locations, for example in a confined kitchen or living room. Sometimes it was simply not possible to take the fragile signs off of a wall and shoot them in the studio," the photographer described.

The representative publication has the ambition to introduce the subject of old advertising signs to a wider audience. "It will please not only amateur enthusiasts of documents of the past, collectors and antique dealers, but also professionals in the fields of cultural and visual studies and history lovers," Vlčková said. Last but not least, professionals in the field of advertising who want to gain a deeper and historical context of its creation and functioning.