The Complete Pagina Series: 4 Volumes in Slipcases
Carlo Pirovano [Editor], Bruno Monguzzi [Curator/Designer]: LO STUDIO BOGGERI 1933 - 1981. Milan: Electa, 1981. First edition [Pagina series]. Text in Italian. Square quarto. Photographically printed French-folded wrappers. Printed slipcase. 120 pp. 368 color and black and white reproductions. Book spine lightly age-toned. A nearly fine copy housed in a very good or better Publishers printed slipcase: slipcase lightly rubbed and sunned. The most extensive collection to date on the output of this legendary Studio. Rare.
Attilio Rossi [introduction]: CAMPO GRAFICO 1933 - 1939 [RIVISTA DI ESTETICA E DI TECNICA GRAFICA]. Milan: Electa, 1983. First edition [Pagina series]. Text in Italian and English. Square quarto. Photographically printed French-folded wrappers. 90 pp. 171 color and black and white reproductions. A fine copy housed in a nearly fine Publishers printed slipcase.
Carlo Pirovano [Editor], Max Huber [Curator/Designer]: MAX HUBER: PROGETTI GRAFICI 1936 - 1981. Milan: Electa, 1982. First edition [Pagina series]. Text in Italian. Square quarto. Photographically printed French-folded wrappers. Printed slipcase. 120 pp. 368 color and black and white reproductions. Book spine lightly age-toned. A nearly fine copy housed in a very good or better Publishers printed slipcase: slipcase lightly rubbed and sunned.
Carlo Pirovano [Editor], Hans Neuburg [Designer]: HANS NEUBURG: 50 ANNI DI GRAFICA COSTRUTTIVA. Milan: Electa, 1982. First edition [Pagina series]. Text in Italian. Square quarto. Photographically printed French-folded wrappers. Printed slipcase. 104 pp. 157 black and white and color reproductions. Book spine lightly age-toned. A nearly fine copy housed in a very good or better Publishers printed slipcase: slipcase lightly rubbed and sunned. The first -- and only -- monograph to document the 50 year career of Swiss born designer Hans Neuburg.
LO STUDIO BOGGERI 1933 - 1981: In 1933, a new direction in Italian Avant-Garde design were trumpeted by the opening of the Studio Boggeri in Milan in the heart of the industrial north. Former violinist Antonio Boggeri opened his self-named studio to spread the avant-garde stylings of The Ring of New Advertising Artists to the Italian peninsula. This being Italy, things quickly got complicated, with strict Bauhaus dogma yielding to Milan's playful karma. Boggeri's all-star roster started with Bauhaus-trained Xanti Schawinsky and quickly grew to include Marcello Nizzoli, Erberto Carboni, Irme Reiner and Kathe Bernhardt.
Boggeri and his colleagues paid tribute to the homegrown aesthetic of Marinetti’s Futurism, but were firmly forward-looking with their embrace of contemporary trends such as PhotoMontage, Collage and the ideology of the New Typography, while -- in the spirit of inclusiveness -- mixing in every other “Ism” of the 1930s Avant-Garde. The exuberance of early Boggeri output got Mussolini's attention, and Il Duce followed the aesthetic leads of Hitler and Stalin by clamping down on the artistic diversity radiating out of Milan.
Studio Boggeri survived the was and quickly came to the the forefront of the postwar Italian design Renaissance, trading the Avant-Garde stylings of the prewar years for the cool calculations of the Swiss through the fifties al the way into the eighties, all the while maintaining their essential spirit of levity.
Includes work by Walter Ballmer, Kathe Bernhardt, Antonio Boggier, Ezio Bonnie, Ado Calabresi, Erberto Carboni, Deberny & Peignot, Fortunato Depero, Roby D'Silva, Franco Grignani, Honegger-Lavater, Max Huber, Enzo Mari, Rene Martinelli, Armando Milani, Bruno Monguzzi, Remo Muratore, Marcello Nizzoli, Bob Noorda, Hazy Osterwalder, Irme Reiner, Ricas-Munari, Roberto Sambonet, Leone Sbrana, Xanti Schawinsky, Max Schneider, Albe Steiner, and Carlo Vivarelli.
CAMPO GRAFICO 1933 - 1939: Published in conjunction with an exhibition of the same name at the Milan City Library at Palazzo Sormani on the fiftieth anniversary of the foundation of Campo Grafico.
66 issues of Campo Grafico were published between 1933 and 1939 by a loosely confederated group of Italian printers, typographers, designers, and photographers. Subtitled “Magazine Of Aesthetic And Graphical Technique” the contents were designed and printed during off-hours at various presses throughout Italy and assembled and distributed in a similarly freeform fashion. The results were pure examples of Maud Lavin's phrase “design in the service of commerce,” and a magnificent demonstration of the unity of the arts and technological life.
The collective paid tribute to the homegrown aesthetic of Marinetti’s Futurism, but was forward-looking enough to explore contemporary trends such as PhotoMontage, Collage and the ideology of the New Typography, while -- in the spirit of inclusiveness -- mixing in every other “Ism” of the 1930s Avant-Garde.
Few copies of Campo Grafico survived, and the 1983 Milan exhibition codified the legacy of this superb Graphic Arts journal. Campo Grafico is an essential document of a nearly forgotten collective enterprise that mirrored the glory and the turmoil of its time. My highest recommendation.
Includes work by Attilio Rossi, Luigi Minardi, Carlo Darlo Dradi, Enrico Bona, Carlo Baldini, Eligio Bonelli, Giovanni Brenna, Pasquale Casonato, Carla Dradi, Natale Felici, Luigi Ferrari, Luigi Ghiiringhelli, Luigi Laboni, Carlo Lanzani, Giovanni Mazzucatelli, Ezio Mechelotti, Luigi Minardi, Romano Minardi, Achille Moroe, Luigi Negroni, Battista Pallavera, Giovanni Peviani, Giovanni Pirondini, Ricciardi, Giuseppe Scotti, Loris Ticinelli And Umberto Zani.
MAX HUBER: PROGETTI GRAFICI 1936 - 1981: "He was a splendid mix; he had irrepressible natural talent and a faultless drawing hand; he possessed the lively candour of the eternal child; he was a true product of the Swiss School; he loved innovatory research; he boasted a lively curiosity, being quick to latch on - not without irony - to the most unpredictable ideas, and he worked with the serious precision of the first-rate professional." -- Giampiero Bosoni from MAX HUBER [Phaidon Press, 2006]
Max Huber (1919-1992) moved to Milan in order to avoid being drafted into the Swiss army. He worked for Studio Boggeri until Italy joined the war in 1941, forcing Huber to return to his home country where he collaborated with Werner Bischof and Emil Schultness on the influential art magazine 'Du.' As a member of the art group Allianz he exhibits his abstract artwork at the Kunsthaus Zurich with Max Bill, Leo Leuppi, Richard Lohse and Camille Graeser.
After the war Huber returned to Milan where he rubbed shoulders with the postwar Italian intelligentsia [Cesare Pavese, Natalia Ginzburg, Elio Vittorini, Franco Fortini, Ettore Sottsass, Achille Castiglioni and Albe Steiner] all who shared the belief that design had the capacity to restore the human values misplaced during the war.
From 1950 to 1954 Huber worked for the department store La Rinascente, also known as "Elle Erre", the time Albert Steiner was art director of their Advertising Office. The two also worked on the VIII Triennale di Milano. With Achille Castiglioni he designed large-scale installations for RAI, Eni and Montecatini. In 1954 Huber was awarded the prestigious Compasso d’Oro and in 1958 he travels to the US as a speaker to the First International Seminar on Typography (New York Art Directors Club).
In 1965 the Nippon Design Committee organized an exhibition of Huber's work at Matsuya Design Gallery in Tokyo. This trip established close ties with Japan that culminated with his marriage to the artist and illustrator Aoi Kono. Kono was instrumental in the development of m.a.x.museo, a museum dedicated to his name and preserving his personal archive, that opened in Chiasso in 2005.
HANS NEUBURG: 50 ANNI DI GRAFICA COSTRUTTIVA: includes logos, books, posters, exhibitions, advertisements, catalogs, packaging and more with summaries and original thumbnail sketches. Includes a chronology as well as intro texts by Max Bill and Hans Neuburg with text on: art, new graphic design, constructive graphics, typography, advertising, the poster and trademarks.
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