L'ombre
First edition, one of 25 numbered copies on Japan, deluxe copies ("tirage de tête").
Beautiful copy wide-margined.
Illustrations by Charles Shoup.
First edition, one of 25 numbered copies on Japan, deluxe copies ("tirage de tête").
Beautiful copy wide-margined.
Illustrations by Charles Shoup.
Edition printed in 50 numbered and justified copies on Arches paper by Bonaventure Fieullien, ours printed for André Bocquetin with his bookplate pasted on a guard.
Pleasant copy.
This calligraphed album, engraved and printed on his hand presses by Bonaventure Fieullien (Franciscan monk who studied at the Academy of Brussels under the direction of the Belgian painter Oswald Poreau and who worked in sculpture, stained glass and painting, but who was especially recognized for his remarkable and spectacular illustrated books with amazing idiosyncratic lettering) was illuminated by Madeleine Smets-Lefrancq.
Signatures of Bonaventure Fieullien and Madeleine Smets-Lefrancq below the justification for the draw.
Edition illustrated with 16 original copper engravings by Jean-Emile Laboureur, one of 25 numbered copies on vieux Japon à la forme, deluxe issue.
Full green box calf binding, smooth spine decorated with inlaid pieces of brown and red box calf forming a pattern of alternating diagonal lines extending onto the boards, a gilt fillet and a palladium fillet on the covers, black watered silk endpapers and doublures framed with a wide strip of green box calf and a geometric composition of red box calf framed in gilt on the doublures, original wrappers and spine preserved, all edges gilt, elegant Art Deco binding dated and signed by Geneviève de Léotard, 1931.
A precious copy housed in an elegant box calf binding with watered silk doublures, an original Art Deco creation by Geneviève de Léotard, pupil of Pierre Legrain: "At the height of Art Deco, Geneviève de Léotard […] was the only binder to rival Rose Adler in elegance. […] Her originality and inventiveness clearly distinguish her." (Yves Peyré, Histoire de la reliure de création, 2015, p. 184). As Fléty notes, "her well-constructed bindings, with very pure decoration and harmonious tonalities, display a reasoned originality which enabled [her] […] to always rank among the top entries at the exhibitions in which she participated. (Julien Fléty. Dictionnaire des relieurs français ayant exercé de 1800 à nos jours. Technorama, 1988. p. 111).
Bookplate pasted onto the front free endpaper.
Our copy, like the copies of the deluxe issue on Japon, is complete with the suite of original engravings.