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€ 1.000 - 1.200
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€ 1.536
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Information
Collection of 448 (out of 569) volumes printed by Luigi Bugiani between 1960 and 1994, all perfectly preserved in their original envelopes, in the lot also a letter on headed paper "I libretti di Mal'Aria" where, dated 28 October 1974, Bugiani explains the history of the librettos, the idea behind them, the genesis of some works, the inspiration and developments of those years.
Specialist Notes
Almost complete series (over 80% of the published) of the famous Mal'Aria librettos, tireless and glorious work by the artist/artisan of the typography Arrigo Bugiani.
These are A4 format booklets, printed on waste paper or typographical waste folded in four to form eight small pages, each of which contains a text or a drawing. Numerous artists gave their contribution to the series such as Manzù, Sassu, Guttuso, Boccioni, Parigi, Rosai, Modigliani, Morandi, Purificato with poets and prose writers such as Ceronetti, Marin, Giotti, Ramous, Caproni, Sbarbaro, Barile, Longanesi, Ungaretti, Montale and many others.
"Suggesting definitions have been given: the image of the library has been called into question (the smallest but most substantial library in the world, it is been said), that of the rainbow, of the paper-winged butterflies, of the musical choir and so on. All these images have their own truth and, with the advantage of immediacy, capture some significant characters, above all the small format, the lightness and originality, with particular reference to the material production of the collection..." (Francesco Sarri, The "visible talk" by Arrigo Bugiani. For a historical-literary reading of the "Libretti di Mal'Aria, in “Cartevive”, Lugano, year XXII, n. 46 (August 2011).
The Mal'Aria librettos were usually printed in five hundred copies and distributed by their publisher to a circle of friends that grew with the passage of time. In a 1989 interview, Bugiani stated: “When I came up with the idea of the librettos, Time had already thinned out its former friends. In truth, I thought of more people and hesitated a lot about it. In the end the desire for living communion won out”. It was important for the publisher to have direct contact with his readers, in order to build a community of interlocutors with whom to dialogue, just as it was essential to establish and cultivate significant relationships thanks to the care of the production process of each booklet, which it involved a direct relationship with writers, painters, scholars, printers.
These are A4 format booklets, printed on waste paper or typographical waste folded in four to form eight small pages, each of which contains a text or a drawing. Numerous artists gave their contribution to the series such as Manzù, Sassu, Guttuso, Boccioni, Parigi, Rosai, Modigliani, Morandi, Purificato with poets and prose writers such as Ceronetti, Marin, Giotti, Ramous, Caproni, Sbarbaro, Barile, Longanesi, Ungaretti, Montale and many others.
"Suggesting definitions have been given: the image of the library has been called into question (the smallest but most substantial library in the world, it is been said), that of the rainbow, of the paper-winged butterflies, of the musical choir and so on. All these images have their own truth and, with the advantage of immediacy, capture some significant characters, above all the small format, the lightness and originality, with particular reference to the material production of the collection..." (Francesco Sarri, The "visible talk" by Arrigo Bugiani. For a historical-literary reading of the "Libretti di Mal'Aria, in “Cartevive”, Lugano, year XXII, n. 46 (August 2011).
The Mal'Aria librettos were usually printed in five hundred copies and distributed by their publisher to a circle of friends that grew with the passage of time. In a 1989 interview, Bugiani stated: “When I came up with the idea of the librettos, Time had already thinned out its former friends. In truth, I thought of more people and hesitated a lot about it. In the end the desire for living communion won out”. It was important for the publisher to have direct contact with his readers, in order to build a community of interlocutors with whom to dialogue, just as it was essential to establish and cultivate significant relationships thanks to the care of the production process of each booklet, which it involved a direct relationship with writers, painters, scholars, printers.
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