Match (Folded Story, no. 3)

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Match (Folded Story, no. 3)

Artist Warja Honegger Lavater Swiss, 1913-2007

Publisher Basilius Presse, Basel, etc., 1962

Printer Atelier Emil Matthieu, Zurich

Date1962

DimensionsBook: H: 4 3/4 in. (121 mm); W: 3 9/16 in. (91 mm); Depth: 7/16 in. (11 mm).
Page: H: 4 11/16 in. (119 mm); W: 3 9/16 in. (90 mm).
Sheet: H: 4 11/16 in. (119 mm); W: 84 1/2 in. (2147 mm).

MediumOriginal prints: lithographs on cream wove paper. Text: photolithography (typeface: Akzidenz Grotesk).

ClassificationBooks

Credit LineGift of Molly and Walter Bareiss

Object number

1984.570

Not on View

Collections

Works on Paper

Exhibition HistoryToledo Museum of Art, Splendid Pages: The Molly and Walter Bareiss Collection of Modern Illustrated Books, Feb. 14--May 11, 2003.Label TextWarja Honegger-Lavater’s Accordion Books 1. William Tell (1962) 2. Match (1962) 3. Homo sapiens? (1965) 4. Le petit chaperon rouge (Little Red Riding Hood) (1965) 5. Blanche Neige (Snow White) (1974) “…it is the sign—a thing between word and picture—that transmits the information, making it independent of language and enabling it to communicate either the playful or the earnest message. I should like, quite simply, to let my signs speak.” (Warja Honegger-Lavater, 1962) Warja Honegger-Lavater was born in Switzerland and began her career as a painter, illustrator, and art director for a Swiss youth magazine. Her work took a different route in 1960 after seeing Chinese painted texts in a New York bookstore. These inspired her to present pictographic stories in long strips. This idea evolved into her “Folded Stories” or “imageries”. These are accordion-folded books that open out into a continuous narrative of images. She developed a symbolic language, through which she could “see writing turned back into drawing, and drawing into writing.” She often used fairy tales, fables, and legends. Her simplified symbols allow the viewer to recreate the story according to his or her own memory, language, and experience. “Instead of human figures,” she explained in 1962, “I employed points and lines. I soon found that they are much more flexible… They do not merely copy—they create.”