OMAGGIO ALL’OLANDA
[Homage to the Netherlands]
Alliance Graphique Internationale
[Alliance Graphique Internationale]: OMAGGIO ALL’OLANDA [Homage to the Netherlands]. Milan: Arti Grafiche Nidasio, [1986]. First edition [published in an edition of 150 copies]. Quarto. Printed portfolio housing 13 pieces in a variety of sizes and techniques. Elaborate graphic design, production techniques, and materials throughout. Folder lightly handled, but a nearly fine, fresh example.
8.25 x 9.5 commemorative portfolio issued for the 1986 AGI Amsterdam Congress and finely produced under the umbrella of Milan’s Arti Grafiche Nidasio. Each designer contributed an original design referencing Dutch history, and all of the work was produced in Italy via offset lithography, serigraphic printing and other methods on a wide variety of papers, including rag artists paper, vellum, glossy sheets and more. A very elaborate and fun production that must be seen and handled to truly be appreciated.
- Armando Milani: folded vellum sheet printed in 5 colors
- Heinz Waibl: folded die cut heavy matte sheet printed in 2 colors
- Roberto Sambonet: Omaggio a Piet Mondrian, folded vellum sheet printed in 5 colors
- Walter Ballmer: Omaggio all’olanda per Jacobus J. Oud, Vincent van Gogh, i tulipani, Piet Mondrian, Theo van Doesburg ill formaggio di Gouda, Willem de Kooning, Jan e Hubert Van Eyck i mulini a vento, Gerit Th. Rietveld, Hieronymous Bosch, eccetera; four color serigraph
- Italo Lupi: Omaggio all’olanda, folded sheet making a 4-page booklet
- Bob Noorda: glossy single fold 4-page brochure
- Giulio Cittato: Nuova Stampa: single fold 4-page brochure
- Pierluigi Cerri: folded sheet making a 4-page booklet
- Mimmo Castellano: 4 panel folded poster printed in 2 colors
- Egidio Bonfante: glossy single fold 4-page brochure
- Franco Bassi: 4 panel folded poster printed in full color
- Franco Grignani: glossy single fold 4-page brochure
- Unknown: dry point etching [?] or lithograph [?] printed in 2 colors and signed/numbered in pencil
For those of you unfamiliar with the AGI, here is how they describe themselves and their mission on their website: "The AGI unites the world?s leading graphics designers and artists in a professional club of common interest and achievement. It is an élite club. Its members have been collectively responsible for the identity design of most of the world's top corporations and institutions as well as for countless examples of globally known packaging, publications, illustration and posters."
"The AGI holds exhibitions of members work which are highly influential in disseminating new forms, techniques and ideas. There is a book publishing programme based on the thoughts and works of members. There are contacts with colleges and schools, government bodies and commercial institutes, all aimed at promoting graphic design and visual literacy."
"In the 1940s, commercial artists, mural makers, typographers, printmakers, art directors, illustrators and poster designers increasingly realised their common bonds, and the modern profession of graphic design began to be defined. In 1951, five graphic artists two Swiss and three French decided to formalise their relationship into some sort of association. Their idea was simply to share common interests and friendships across national and cultural borders. "
"It was a notion that soon attracted leading exponents of the graphic arts from elsewhere in Europe and in the USA. In 1952 the Alliance Graphique Internationale was incorporated in Paris with 65 members from 10 countries. The first AGI exhibition was held in Paris in 1955 and in 1969 the headquarters moved from Paris to Zurich. Student seminars were introduced in 1979 and the first Young Professional AGI Congress was held in London in 1994."
"Membership of the AGI requires reputation and achievement of the highest order and commitment to the processes of visual learning and perception, unfettered by cultural differences. The AGI remains dedicated to the universal aspect of graphic design as a means of communication and information, and its ideals remain relevant to the new world of visual literacy which its members have helped to bring about. "