25 BEISPIELHAFTE WERBEFELDZUGE
[25 Publicity Campaigns]
Erberto Carboni, Gillo Dorfles [Introduction]
Erberto Carboni, Gillo Dorfles [Introduction]: 25 BEISPIELHAFTE WERBEFELDZUGE [25 Publicity Campaigns]. Vienna / Würzburg: Verlag Andreas Zettner, 1961. First edition. Text in English, French, German and Italian. Quarto. Yellow cloth titled in black. Printed dust jacket. Photo illustrated endpapers. 178 pp. 667 black and white illustrations. 52 color illustrations. Orange jacket spine uniformly sunned as usual for this edition. Laminated jacket with trivial wear to upper edge. Yellow cloth slightly mottled with faint offsetting to jacket verso. Interior unmarked and very clean. Out-of-print. A nearly fine copy in a nearly fine, vibrant dust jacket. Uncommon in this condition.
9 x 11.5 hardcover book with 178 pages and 717 illustrations [including 50 color plates] of Carboni's trendsetting work in print and exhibition design for Italian industries. Finely printed in Milan by Silvana Editoriale d’Arte, this book features gravure printing and the highest reproduction qualities and was printed under Carboni's supervision. Introduction by Gillo Dorfles.
The coolest Graphic Design book I have ever seen.
This book carefully scrutinizes 25 separate Publicity campaigns and shows Carboni's solutions in a wide variety of media, from single-column newspaper ads, to full-page magazine ads to posters to exhibitions. No other book I am aware of presents such a wide variety of material devoted to single campaigns. It is a true joy to behold a visual concept applied repeatedly to a wide variety of formats and problems. I cannot recommend this book highly enough.
A visually stunning book that spotlights the relatively unknown Carboni's work in from the early 1930s through the late 1950s. This book is a valuable resource because it traces the development of one of Italy's finest modernists through tightly focused case studies of his publicity work for the recovering Italian economy and culture. It is a true joy to see complete campaigns reproduced in full-- my highest recommendation!
From the book: "The Italian Designer Erberto Carboni is a recognized master in the field of publicity through the graphic arts. This book is a collection of his individual poster and advertising work since 1934, on such varied subjects as oil, wine, textiles, machinery, appliances, toothpaste and chemical products."
The Italian designer Erberto Carboni [1899 - 1984] was a recognized master in the field of publicity through the graphic arts. This book is a collection of his individual poster and advertising work since 1934, on such varied subjects as oil, wine, textiles, machinery, appliances, toothpaste and chemical products. Carboni started his studies in architecture in 1921, but became also interested in graphic and industrial design. His career began at the famous Studio Boggeri, but later he worked on his own. He specialized in exhibitions for trade fairs (Olivetti), interior design and graphics. For many years, Carboni worked for RAI (the Italian radio and TV company), but also for clients who mainly manufactured basic consumer products like Motta (ice cream), Pavesi (bread), Barilla (pasta) and Shell Oil. He presented those clients with a complete graphic line, ranging from packaging to posters.
From 1953 to 1960 he worked for Bertolli, for whom he designed a whole series of magazine ads and posters. He mixed photography, graphics and inventive typography and brought a rigorous modernism into his work. In 1954 he designed the ‘Delfino’ (dolphin) chair for Arflex.
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, Imre 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.