Hermann Scherrer
Hermann Scherrer

Artist: Ludwig Hohlwein German (1874-1949)

Title: Hermann Scherrer

Plate: DWG.18

Description: Condition A

Lithograph Plate from "Die Deutsche Werbe Graphik
Printed by Francken & Lang, Berlin 1927.
Reference: Ref: Hohlwein, 101; Hohlwein/Stuttgart, 3; DFP-III, 1328; Internationale Plakate, 212; Plakate München, 173; Gagel, p. 20

Presented in 16 x 20 in. acid free, archival museum mat, with framing labels. Ready to frame. Shipped boxed flat. 
Certificate of Authenticity.

Image Size: 6 in x 8 1/4 in / 15.2 cm x 21 cm

Sheet Size: 10 in x 14 in / 25.5 cm x 35.6 cm

Price: $275.00

View other examples from this Collection

Full size sold for $8400 Poster Auctions Int. NY Feb 2022

“An absolute masterpiece of modern graphic design, Hohlwein referred to this poster as "The man with the saddle." The use of a subdued background serves to delineate the overall image from the checkered riding pants and scarlet waist coat that Hohlwein constructed in a cut-out fashion, inventing a revolutionary style of illustration in the process. This image was so striking that it became an emblem of the company, which used it on catalogue covers and even on their clothing labels. When the German design magazine Gebrauchsgraphik dedicated an entire issue to Hohlwein, the artist drew a modernized version of the image, which shows just how important it was to Hohlwein himself.” (Swann)

 A favourite part of this iconic poster for me is the classic Bulldog (Greg)

“Hohlwein's design for the sporting tailor Hermann Scherrer became one of his most resounding successes; with it, he created a distinctive style that was much admired and set the trend for German poster art for a decade or more. His own career took off spectacularly and a graphic domination was launched.” (Rennert)

View Greg's Hohlwein Collection

Leading poster historian Alain Weill comments that "Hohlwein was the most prolific and brilliant German posterist of the 20th century...Beginning with his first efforts, Hohlwein found his style with disconcerting facility. It would vary little for the next forty years. The drawing was perfect from the start, nothing seemed alien to him, and in any case, nothing posed a problem for him. His figures are full of touches of color and a play of light and shade that brings them out of their background and gives them substance "(Weill) Self-taught as a graphic designer, he was greatly influenced by the brilliant work of Beggarstaff.

"His special way of applying colors, letting them dry at different times, and printing one on top of the other, producing modulations of shading, has often been copied, but never equaled. He belonged to no school or group, his art and personality are an unprecedented phenomenon in the history of German poster art" (Rademacher, p. 22).

A study of German commercial graphics.
This bound edition printed in 1927 is an important study of a great era of German graphic design : posters, packaging, advertising, book illustration, programs for theater, sports, etc. Profusely illustrated, mostly with tipped-in color plates of work by Bernhard, Hohlwein, Klinger, Preetorius, Gipkens, Kleukens, Cissarz, Pechstein and many others.