Description
This extraordinary 1900 William Bradley lithograph represents the cornerstone of Ault & Wiborg Company’s most ambitious self-promotional initiative—a numbered design series that positioned the Cincinnati ink manufacturer not merely as a commercial enterprise but as a patron of fine art itself. Known colloquially as “Two Men with Basket” due to its distinctive composition of two classical figures bearing an overflowing vessel of golden flowers, this Design No. 1 establishes the visual vocabulary that would define the entire A&W advertising campaign: elegance, abundance, and the chromatic possibilities made possible by modern printing chemistry.
The genius of this poster lies in its layered communication. At the surface level, it presents two idealized figures in classical pose, suggesting timelessness and refinement. Deeper, the overflowing basket symbolizes bounty and innovation—the cornucopia of colors that Ault & Wiborg’s advanced coal-tar dyes and chemical innovations had made available to American printers. Most crucially, the composition itself becomes a color demonstration: Brown Slate, Deep Orange, Light Orange, Light Red, Light Green, Brown Tint, Yellow, and Black work in sophisticated harmony, each hue proving, through visual evidence, what competitors could only claim in words.
What distinguished Ault & Wiborg from lesser ink manufacturers was precisely this understanding: the finest printing companies didn’t simply make products—they elevated the entire aesthetic culture of printing itself. By commissioning Bradley at the peak of his powers, they transformed industrial ephemera into collectible art, ensuring their promotional materials would outlive ordinary advertisements by decades. The Design No. 1 designation confirms this was a curated series, methodically planned and executed.
This original measures 8.75″ x 12.25″ in mint condition, archival-linen-backed and conservation-mounted—exhibition quality from acquisition. The notable absence of the red watermark on this impression adds to its singularity. Finding Bradley’s Design No. 1 in this pristine state represents a landmark opportunity for collectors pursuing comprehensive series documentation or seeking the definitive statement on turn-of-century American printing excellence.
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