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Das Plakat is a tribute to Sachs’ diverse artistic interests, but it is even more important as a history of the early period of European commercialization and industrialization as seen through the lens of graphic art. As a dentist Sachs was less concerned with the function than the end product of design and, therefore, promoted the poster as formal entities that transcended the commonplace needs of business.

The Sachs’ family moved to Berlin in 1899, when Hans was eight years old, a few years before the the poster group of advertising artists known as the Berliner Plakat changed the look of posters from painterly and decorative to graphic and stark. Young Sachs was already a devotee of graphic art when in the early 1900s the Berlin printing and advertising firm Hollerbaum and Schmidt introduced a new wave of posters that wed the sensuality of French Art Nouveau and the bold linearity of German Jugenstil. In 1905 Sachs and fellow collector Hans Meyer founded the Verein der Plakat Freunde. And the next year a novice named Lucian Bernhard won a competition sponsored by the Priester Match Company with a unprecedented design that introduced the sachplakat (object poster), characterized by its total rejection of unnecessary ornament. Sachs quickly befriended the young Bernhard and invited him to both be a Verein boardmember and design its logo and stationary...

He met Lucian Bernhard and he became director of the Society of Friends of the Poster.

Hollerbaum and Schmidt He founded the Verein der Plakat Freunde with Hans Meyer in 1905. They started in a small room with walls covered with posters. Bernhard was asked to do the logo and become the art-counelor. Lectures were held and gregarious evenings were had by all. Membership increased at first, but after the first year the interest plummeted. It was agreed that the society had to be transformed from a club or art lovers ton organisation of professionals. Sachs decided to found a magazine, and a board was organized on Jan 13 1910.

He finished his dental studies with a six month internship in the US. He had no idea about printing, bookbinding, and distributing. “Words like type area, nonparille, scrum, offset, and coated paper were all greek to me.”

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He went to a small by typographically sophisticated printer to print the first issue of 200 copies. There he learned the jargon from experts. And yet the first issue was void of any dilettantism. It was professionally composed and edited. The magazine promoted poster exchanges.

The society grew so fast that it required regional chapters as the magazine grew. Sach’s own collection increased as well, especially among international designers. By 1914 the edition was up to 2400 copies. They included legal advice columns, printers connections. They promoted artist’s competitions that were sponsored by large German companies. In the years of stormy development in poster art, the society had a major impact on the appearance of modern poster and advertising art.

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