A Custom Bound Quaderni di Domus Set
I LIBRA NELLA CASA [Home Libraries]: Vito Latis
GLI STUDI NELLA CASA [Studies in the Home]: Vittorio Gandolfi
L'ILLUMINAZIONE DELLA CASA [Lighting for the Home]: Luigi Claudio Olivieri
TAVOLI E PIANI D’APPOGGIO [Tables and Planned Support]: Luciano Canella and Renato Radici
A custom bound set from the Quaderni di Domus series featuring Volumes 1, 2, 5, and 6 in decorated paper covered boards with tan cloth quarter strip and gold embossed titling. The Quaderni di Domus series documented the Post-War Italian design movement and are actively sought by multiple constituencies. Original wrapper covers not retained. Inked name and date to front free endpaper, otherwise a clean and unmarked set. The final signature of Volume 6 is bound in out of numerical sequence. Textblocks thumbed with mild wear throughout, but a very good set indeed.
Vito Latis: I LIBRA NELLA CASA [Home Libraries]. Milano: Domus, May 1945 [Quaderni di Domus No. 1]. First edition. Text in Italian. 80 pp. Fully illustrated with black and white photo reproductions.
Vittorio Gandolfi: GLI STUDI NELLA CASA [Studies in the Home]. Milano: Domus, June 1945 [Quaderni di Domus No. 2]. First edition. Text in Italian. 96 pp. Fully illustrated with black and white photo reproductions.
Luigi Claudio Olivieri: L'ILLUMINAZIONE DELLA CASA [Lighting for the Home]. Milano: Domus, July 1946 [Quaderni di Domus No. 5]. First edition. Text in Italian. 96 pp.Fully illustrated with black and white photo reproductions of modern lighting solutions, circa 1946. Quaderni di Domus 5 stands as the single finest reference volume for early Italian and International modernist lamp and lighting design that we are aware.
Luciano Canella and Renato Radici: TAVOLI E PIANI D’APPOGGIO [Tables and Planned Support]. Milano: Domus, July 1948 [Quaderni di Domus No. 6]. First edition. Text in Italian. 144 pp. Fully illustrated with black and white photo reproductions.
[4] 7.25 x 9 softcover books with 416 pages profusely illustrated with black and white examples of modern lighting solutions, modern desks, chairs, bookcases and tables. Each illustrated example is identified by designer, making these editions exceptionally valuable reference resources.
Under the editorial direction of Lina Bo and Carlo Pagani, the Quaderni di Domus series sought to highlight the best and brightest designers and products emerging from the carnage of Post-war Europe. Each volume dealt with a specific area of interest (Kitchens, Fireplaces, etc.) with an introductory essay followed by a lengthy selection of photographs and images, many culled from Gio Ponti’s Domus magazine. Ponti can be felt lurking behind the scenes of nearly every page of the Quaderni di Domus series through the impeccable selection of included materials to the contemporary layouts of each volume.
Includes work by Franco Albini, Cor Alons, Carl S. Anderson, Renato Angeli, Felix Augenfeld, Gunnar Asplund, Leland Atwood, Walter Baermann, Gian Luigi Banfi, Maurice Barret, Vera Barros, Melchiorre Bega, Ludovico Belgioioso, Angelo Bianchetti, Max Bill, Bonet (Buenos Aires), Marcel Breuer, Hans Buser, Dominioni Luigi Caccia, Luciano Canella, Alice Morgan Carson, Livio Castiglioni, Pier Giacomo Castiglioni, Serge Chermayeff, Paolo Clausetti, Wells Coates, Carlo De Carli, Jospeh Dex, Van Der Grachte, H. Escher, Wolfgang Ewert, Luigi Figini, Jozsef Fischer, Rudolf Frankel, Ignazio Gardella, Marcel Gascoin, Walter Gropius, Max Haefell, J. Hesoun, Karl Hofmann, Samuel Homsey, Victorine Homsey, Karsten (Amsterdam), George Fred Keck, Alice Kilham, Ludwig Kozma, Pierre Jeanneret, Paul Laszlo, Vito Latis, Le Corbusier, Fl. Lengyel, William Lescaze, Pietro Lingeri, Abel Lopez, Andre Lurcat, Sven Markelius, Paolo Masero, Merkelbach (Amsterdam), Giulio Minoletti, Farkas Molnar, Juan O’Gorman, Luigi Claudio Olivieri, J. J. P. Oud, Giuseppe Pagano, Vinicio Paladini, Giancarlo Palanti, Cesare Pea, Enrico Peressutti, Charlotte Perriand, E. Plisckhe, Gino Pollini, Gio Ponti, Antonin Raymond, Jean Royere, Ernesto Rogers, Giovanni Romano, Alfred Roth, Mario Salvade, Hans Scharoun, W. Shutte, Walter Sobotka, Edward Durell Stone, Giuseppe Terragni, Robert Winkler, Frank Lloyd Wright, Ladislo Zak, Franco Albini, Renato Angeli, Joseph Aronson, Baldwin, Gian Luigi Banti, Boston Barnes, Melchiorre Bega, Ludovico Belgioioso, Bennet, G. A. Berg, Karl Bertsch, Gunvor Bjorkman, Holger Blom, Walter F. Bogner, Piero Bottoni, M. Brandt, Nuova Breck, Marcel Breuer, Franco Buzzi, Dominioni Luigi Caccia, Luciano Canella, Livio Castiglioni, Pier Giacomo Castiglioni, Boston Champney, Carlo De Carli, Derby, Kaj Enghend, Ewert, Ignazio Gardella, Geddes, Gibelli, Parigi Giso, W. H. Gispen, Erno Goldfinger, Giuseppe Gori, Walter Gropius, Halmstao, Harwell Hamilton Harris, Harding, Burnham Hoyt, Hombostel, Ake Huldt, Kelley, Emilio Isotta, Vito Latis, Le Corbusier, Erik Lundberg, Carl Malmstens, Adolfo Meyer, Michael Meredith Hare, Giulio Minoletti, Carlo Mollino, Richard J. Neutra, Nygren, Luigi Claudio Olivieri, J. J. P. Oud, Enrico Peressutti, Adrian Peterson, A. N. Rebori, Ernesto Rogers, Gilbert Rohde, Jean Royere, Julius Rucker, Germania Ruth, Samuel, Sanders, Jens Selemer, Louis Sognot, Raphael S. Soriano, Oscar G. Stonorov, Elias Svedberg, Svenkst Tenn, Tuttle, K. Tutiura, Mies Van der Rohe, Guglielmo Ulrich, Jan Wahlman, Harry Weese and many others.
Long considered Europe's most influential architecture and design magazine, Domus was founded by Gio Ponti in 1928 as a "living diary" in which he could advertise his own work, outline the "aims" of his projects and raise people's awareness about other design issues. Called the "Mediterranean Megaphone, " Domus lauded mass-production and tried to link architecture and artisans in a new, unforeseen ways. Ponti left Domus in 1940 to start his other journal, Stile in which he could focus on art and the impact of the war on Italian architects and architecture. In 1948 Ponti returned to Domus, where he recast it in his own eclectic, exuberant vision of the modern and tirelessly championed designers he admired, notably Carlo Mollino.
In his 1957 book Amate L'Architettura (In Praise of Achitecture) Ponti extolled his audience to "Love architecture, be it ancient or modern. Love it for its fantastic, adventurous and solemn creations; for its inventions; for the abstract, allusive and figurative forms that enchant our spirit and enrapture our thoughts. Love architecture, the stage and support of our lives." This spirit reverberates through every page of Domus.