In the professional biography of Antoni his ability to expand the publishing business as well as to know its limitations and to put at the forefront of each field to the best trained, stands out.
He did it in his small print shop when the success of the National History of Cataloniaof Rovira and Virgili by fascicles, signing for it to Josep Maria Cruzet. In the Catalònia bookstore, taking over the services of a dependent who was the representative of the Waterman pens in Catalonia and then, seeing that no one entered at the beginning.
He kept the intellectual Joan close when he took over the Catalan Editorial and continued to believe in Carles Soldevila not only as director as an author, but as a judge of the good taste of his editorial, work that was not foreign Josep Maria de Sagarra, personal friend. The icing was put by the signing in Argentina of Francisco Porrúa for Sudamericana, the editor of One Hundred Years of Solitude .
In between, perhaps shaken by the experience in Catalonia, in 1946, with the rise of Perón, he had decided to create two of his own stamps: Edhasa, with one foot in Barcelona and Buenos Aires and Hermes, with one in Mexico and one in his city native.
A collection like El Puente, where he wanted to foster dialogue by living exiled authors such as Corpus Barga, Max Aub and Madariaga with thinkers from a bit critical Francoist Spain, such as Azorín or Laín Entralgo, was one of the successes of an editorial that imported political books from Argentina as Sartre.
Camus (with more than one fine for it) and brought the science fiction and literature of the imagination of the boom (Cortázar to the front), renewing a panorama that was reflected very much in the covers, as seen generously in the exhibition.
“Until you can sell 10,000 copies of books in Catalan we will not go anywhere,” he said in the 20s. Those figures and a project like yours still seem fancy today.