20 alfabeti brevemente illustrati

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  Fra tipi e copie

  € 20,00

  Fra tipi e copie (Between Types and Copies) is a mine of memories, anecdotes, and considerations, a lively and well-written picture of the world revolving around the world of printing and publishing in the fifty years preceding the Great War. This book is a collection of about forty articles written by Giacomo Bobbio, printer, Garibaldian volunteer in Bezzecca and Monterotondo, inspirer and agitator of trade union initiatives, journalist and self-taught writer with a passion for the printing trades – all of them: from thirteen-year-old apprentice to director of the Senate Printing House, to (unfortunate) owner of a printing house.

  The articles were largely published in L’Arte della Stampa and, brought together in a volume in 1913, were so successful that a second edition was needed the following year. This too Fra tipi e copie, like other titles of 19th century typography, is rare to find on the antiquarian market, even at high prices. The Ronzani publishing proposal aims to make up for these difficulties by offering those interested in the world of books a new accurate edition in a beautiful and easy-to-read format.

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  Published by Ronzani Editore
  382 pages
  Paperback
  Isbn 979-12-59600-26-4

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  A new method of analysing printed type: the case of 15th-century Venetian romans

  Riccardo Olocco

  € 65,00

  This research introduces and discusses a new method of analysing printed typefaces and applies it to 15th-century Venetian romans. It aims to revise and improve the traditional methods of type analysis used in bibliographic research. It is based on photographic enlargements of printed types, image editing and detailed analysis of letterforms. Comparisons of printers’ typeforms are made by superimposing images – a practice that clearly highlights differences and similarities between letters.

  Drawing on printed material preserved in Italian and British libraries, this new method is applied to four important samples of early Venetian type design, including Nicolas Jenson’s Roman, which can safely be considered the prototype of all Roman types to date. The historical scope of the research covers the last three decades of the 15th century and focuses on the presses operating in Venice and the Venetian territories. Also taken into consideration are presses in the rest of Italy and throughout Europe that employed the Venetian types discussed here, both before and after 1500.

  Olocco’s work documents the trade in typographic material (cast and matrix typefaces) and the widespread use of certain types – areas that historians have generally ignored for this early period. It also documents the punchcutters’ ability to imitate existing types so well made that it can be very difficult to distinguish them from their original models – a practice that has not been studied previously.

  This research is supported by an extensive apparatus of images of letterforms shown at different magnification sizes. It is intended to provide new insights into the early development of Roman types and to aid bibliographical research by providing more in-depth information on the typefaces in use.

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  Text and book design by Riccardo Olocco

  29.7 × 22 cm
  454 pages
  English

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  Some Kind of Reality

  € 40,00

  Published in 1997, this volume, the catalogue of the Roy Lichtenstein exhibition held at the Anthony d’Offay Gallery in London from 23 October to 27 November – only three weeks after his death –, contains six lithographic plaquettes of new paintings and two interviews with the artist, both recorded by David Sylvester, the influential British modern art critic of the second half of the 20th century. The first was recorded in January 1966, the second in April 1997 – a few months before Lichtenstein’s death.

  The first interview was commissioned by the BBC’s Third Programme for a non-specialist audience, who might have been interested in learning about the then exciting new phenomenon called Pop Art, probably largely without ever having seen an example of it in the original, and therefore altogether more general and theoretical. The second interview is a brief collection of information about an interesting new technical development in Lichtenstein’s work; as it was to be published in the catalogue of an exhibition for a specialised audience, the interviewer assumed the reader’s knowledge of the artist’s long previous career.

  Sylvester, unaware of the events, thus arrives at some considerations that, with hindsight, sound like a definitive summary of Lichtenstein’s work, which he has always claimed to have been inspired by Cubism, and likens him – perhaps unexpectedly – more to Braque and Picasso than to Gleizes and Metzinger.

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  Published by Anthony d’Offay Gallery, 1997
  16.3 × 29 cm
  40 pages
  6 colour plates
  Hardback
  English
  Isbn 094756473X

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  L’estetica tipografica e altri scritti sulla tipografia (1871-1879)

  € 12,00

  “… we cannot place anything else but the Manualetto d’estetica tipografica by ‘Signor’ Giulio Pozzoli and the Manualetto d’estetica tipografica by ‘Signor’ Giuseppe Chiantore [1813-1902]. The latter work especially deserves praise as much for the beauty of its literary form as for the goodness of the teachings it contains”. (G. Bobbio, 1879, p. 168).

  Giuseppe Chiantore’s Dissertazione estetica sulla tipografia is a text that has never been reprinted since 1874, when it came out as an appendix to the Preface to Giambattista Bodoni’s Manuale tipografico, in the edition edited by Salvadore Landi and printed in Florence.
  Not much is known about Giuseppe Chiantore (1814-1902), but the Dissertazione estetica and the other writings collected in this book qualify him as an important figure in 19th century typography. He was an apprentice at the Turin printing house of Carlo Chirio and Carlo Mina. In 1839, he obtained a printer’s patent for the city of Alba. He entered into partnership with Gioacchino Sansoldi and in 1840 began operating under the name Tipografia Chiantore e Sansoldi. After about ten years he was in Pinerolo as printer to the Town Hall, and then to His Majesty. From 1873 to 1880 he went on to manage the Unione Tipografica di Torino founded by Giuseppe Pomba.

  In addition to the Dissertation, it appears that Giuseppe Chiantore wrote only a few short occasional texts, all of which are reproduced here; the volume closes with a series of plates of Bodoni frontispieces taken from L’arte di Giambattista Bodoni by Raffaello Bertieri, Milan, 1913.

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  Published by Ronzani Editore
  136 pages
  Paperback
  Isbn 978-88-87007-82-4

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