Uniquely bound copy of »Martín Fierro«, the touchstone of Argentine national identity, 1972
José HERNÁNDEZ; J. LAMELA (Illustr.); L. F. MARIOTTI (Binder): MARTÍN FIERRO. With 12 colour offset plates after oil paintings by Juan Lamela. Buenos Aires: s.a. [ca. 1972].
José HERNÁNDEZ; Juan LAMELA (Illustr.); Luis F. MARIOTTI (Binder): MARTÍN FIERRO. El gaucho Martin Fierro. La vuelta de Martin Fierro. With 12, where of 2 double-paged, colour offset plates after oil paintings and numerous, in parts full-paged, ochre coloured and b/w text illustrations after ink drawings and watercolours by Juan Lamela. Introduction by Fermin Chavez. Buenos Aires: Hércules Di Cesare y Floreal Puerta, s.a. [ca. 1972].
4to. [4 leaves (free front endpaper, 2 additional fly leaves, half title)], 199  pages, [3 leaves (2 additional fly leaves, free rear endpaper)]. Colour offset and offset on thick machine mould paper as well as glossy paper (plates), bound in original artist’s half morocco over wooden boards made of natural Peteribí timber including bark, with title letters made of synthetic material tipped-on front cover and hand-made endpapers in the style of blotted paste paper.
Uniquely bound copy of a profusely illustrated edition of this literary touchstone of Argentine national identity, inscribed by the editor.
Binding: The attractive artist’s binding of this volume executed by a bookbinder named Luis F. Mariotti is presumably unique. This at least is suggested by a calligraphic note left on the 2nd fly leaf recto: „Encuaderno / Luis F. Mariotti / Bs [Buenos] As. [Aires] Argentina / Este Ejemplar / Corteza natural / De Peterebi / 1973“. The skilfull binding captivates particularly through Mariotti’s use of natural Peteribí timber, for he also incorporated the bark, with which he gave the cover a „rural“ note corresponding to the atmosphere of the epic poem Mártin Fierro, situated in the rural Argentina of the 19th century. The title letters, made of synthetic material and coloured white, are tipped-on directly to the front cover. Furthermore Mariotti also used exquisite endpapers, paste paper with a striking composition of brown blots. He even perforated the edges in order to imitate the structure of wood.
Provenance: Copy of Luis C. Peyos (?) with this owner’s remark on free front endpaper; with inscription by the editor on the half-title: „Al señor Luis C. Peyos, con todo afecto. Hércules (…)“
Condition: First and last pages minimally finger-stained, else in fine.