"It would indeed be difficult to trace in the twentieth century, and not only in Italy, a complex and highly important publishing and typographic enterprise such as that of Gabriele D'Annunzio's Opera omnia, so strongly characterized and made unique by editorial and entrepreneurial elements , self-congratulatory, economic, political, typographical, advertising, literary: a company that in the space of a few years will attract the protagonists of the publishing and typographic world of the time (Arnoldo and Remo Mondadori, Raffaello Bertieri and Hans Mardersteig), personalities of the business world (Senator Borletti), writers and publishing men (Francesco Pastonchi, Angelo Sodini), publishers by now at sunset (Guido Treves), kings, dictators and party men (Vittorio Emanuele II, Benito Mussolini and Pietro Fedele, Minister of 'National Education), and finally becoming a crossroads in the vast sector of D'Annunzio's bibliophilia. (...) even, and perhaps above all, for the set of strictly graphic-typographic elements that distinguish it. (...) & nbsp; The man of letters, although not strictly speaking a scholar of typography, had a great passion for beautiful characters, hand-made paper and ancient codes. He was convinced that the validity and importance of a book, or of an entire editorial series, should have an adequate and harmonious typographic construction, especially with regard to the characters used; he remained faithful to this aesthetic canon both for his works and for those of others. (...) "(Massimo Gatta, From Oneglia to Villa Cargnacco. The Opera omnia by Gabriele D'Annunzio, in News from Delfico, 2-3, 2007).
< p> The result is all in the 49 volumes of this lot, a tangible sign of an unprecedented editorial success, especially in terms of quality. & nbsp;