1cupidum
In 1925 Sylvain Sauvage decided to produce a personal edition of Daphnis & Chloé. Probably he intended to have it exhibited at the international exhibition of modern decorative and industrial arts, but the book didn't leave the presses until some twenty days after the close of the exhibition.
Typography, printing and wood engraving in colour (as well as in gold and palladium in a few) by Pierre Bouchet who, since 1919, had been master pressman and wood engraver at the atelier of F.L. Schmied.
Edition of 160 copies.
Here are about half of the illustrations:
Typography, printing and wood engraving in colour (as well as in gold and palladium in a few) by Pierre Bouchet who, since 1919, had been master pressman and wood engraver at the atelier of F.L. Schmied.
Edition of 160 copies.
Here are about half of the illustrations:
3SebRinelli
>1 cupidum: looks like another gem in what must be an amazing collection!
4astropi
Gorgeous!
If you ever get the chance, is it possible to make the pictures larger and brighter so we can appreciate the absolutely stunning illustrations and details?
Thanks :)
If you ever get the chance, is it possible to make the pictures larger and brighter so we can appreciate the absolutely stunning illustrations and details?
Thanks :)
5ultrarightist
The illustrations look first rate. Thanks for sharing.
7astropi
>6 cupidum: Yes!
I recommend using
https://postimages.org/
postimages definitely does not store indefinitely, I think it stores images typically for a few years, which of course is plenty of time to enjoy them!
At any rate, you can upload very large images and the look very good. It's also super simple to upload to LT. You can try it and let me know if you have any problems.
I recommend using
https://postimages.org/
postimages definitely does not store indefinitely, I think it stores images typically for a few years, which of course is plenty of time to enjoy them!
At any rate, you can upload very large images and the look very good. It's also super simple to upload to LT. You can try it and let me know if you have any problems.
9cupidum
George Barbier had illustrated Pierre Louys' Les Chansons de Bilitis (and had it produced by F-L Schmied) in 1922. Sylvain Sauvage illustrated it and had it privately published in 1927. Typography, printing and wood engravings in colour by Pierre Bouchet. This copy was printed on handmade Montval paper from the Maillol mill.
10cupidum
In 1928 Sylvain Sauvage published an edition of 237 copies of Voltaire's Candide.
This copy is printed on handmade Montval paper by Frazier-Soye with the colour etchings pulled by Paul Haasen. A. Maillart assisted in making the etchings. S. S. produced it at his own expense and sold it out of his flat on rue Cassini. There are over fifty etchings, all in colour and numerous decorated initial letters.
This copy is printed on handmade Montval paper by Frazier-Soye with the colour etchings pulled by Paul Haasen. A. Maillart assisted in making the etchings. S. S. produced it at his own expense and sold it out of his flat on rue Cassini. There are over fifty etchings, all in colour and numerous decorated initial letters.
11BuzzBuzzard
Thanks for sharing!
12astropi
>10 cupidum: magnifique!
13cupidum
In 1929 it was time for Pierre Louys again, but this time not for Sappho 2.0 but rather a few rather sinister tales from the ancient world, including Bryaxis the sculptor and Theseus amidst 14 youths on a ship with black sails on their way to the minotaur.
Pierre Louys had planned to publish seven stories under the title Contes Antiques at the turn of the century, but never did. In 1929 Sylvain Sauvage gathered eight stories, presumably with the cooperation of Louys' widow who is reported to have visited his studio in 1928.
With this book in large quarto (my copy on handmade Maillol paper), Sylvain Sauvage cooperated again with Maillart and Haasen for the colour etchings while printing of the text was entrusted to
J & J Vaucher.
About half of the illustrations will be showed below.
(As for the previous two books, the cover has been photographed without removing the glassine protection paper).
Pierre Louys had planned to publish seven stories under the title Contes Antiques at the turn of the century, but never did. In 1929 Sylvain Sauvage gathered eight stories, presumably with the cooperation of Louys' widow who is reported to have visited his studio in 1928.
With this book in large quarto (my copy on handmade Maillol paper), Sylvain Sauvage cooperated again with Maillart and Haasen for the colour etchings while printing of the text was entrusted to
J & J Vaucher.
About half of the illustrations will be showed below.
(As for the previous two books, the cover has been photographed without removing the glassine protection paper).
14SebRinelli
Enabled!
15cupidum
>14 SebRinelli:
One on auction tomorrow, estimation 300-500 euros. See interencheres.com.
I won mine at fauveparis a couple of weeks ago for 400 euros • 25%.
Good luck!
One on auction tomorrow, estimation 300-500 euros. See interencheres.com.
I won mine at fauveparis a couple of weeks ago for 400 euros • 25%.
Good luck!
16Glacierman
Excellent productions. Too bad they are in French. *sigh*
17cupidum
The final of Sylvain Sauvage's "personal" editions in this thread came in 1930, two large quarto volumes of Choderlos de Laclos' Les Liaisons Dangereuses. The entire edition of 175 copies was printed on handmade Montval paper. Maillart and Haasen worked with the 50 colour etchings while the text was printed by Pierre Bouchet.
Sylvain Sauvage, whose real name was Félix Roy, illustrated close to a hundred books between 1920 and his death in 1948. In this thread, I have covered the period 1925-1930.
The twenties were exceptional in many ways, new trends in art, an economic boom and quite a few nouveau riches who, among other things, had money to blow on the finer things in life, such as books.
Before WWI there were an estimated 15 publishers of "luxury" books in France, but during the twenties that number grew to over 60. There was an enormous (over-)production of "fine" books - many of no merit whatsoever and completely forgotten nowadays.
A few (I only know of three) illustrators started their personal private presses, while the majority continued to work for different publishers.
Sylvain Sauvage appears to have been unique, because he wanted to produce his own books, but instead of learning all the crafts of the trade and get his own press he sought cooperation with some of the best artisans in Paris, and then sold the finished books from home.
His first "personal" edition was Daphnis & Chloé in 1925 and up to 1930 he published about a dozen, of which I have five in my collection.
Even if he published a couple of minor works in 1931-1932, Liaisons was his grand finale.
When depression hit France with a couple of years delay from the Wall Street crash, almost noone had any money to spend on luxuries, and fine books that had sold at very high prices during the late 1920's dropped in price with up to 80-90%.
In 1932 the future looked bleak for Sylvain Sauvage. Then came a rescuing angel with an order for illustrations. His name was George Macy.
Sylvain Sauvage, whose real name was Félix Roy, illustrated close to a hundred books between 1920 and his death in 1948. In this thread, I have covered the period 1925-1930.
The twenties were exceptional in many ways, new trends in art, an economic boom and quite a few nouveau riches who, among other things, had money to blow on the finer things in life, such as books.
Before WWI there were an estimated 15 publishers of "luxury" books in France, but during the twenties that number grew to over 60. There was an enormous (over-)production of "fine" books - many of no merit whatsoever and completely forgotten nowadays.
A few (I only know of three) illustrators started their personal private presses, while the majority continued to work for different publishers.
Sylvain Sauvage appears to have been unique, because he wanted to produce his own books, but instead of learning all the crafts of the trade and get his own press he sought cooperation with some of the best artisans in Paris, and then sold the finished books from home.
His first "personal" edition was Daphnis & Chloé in 1925 and up to 1930 he published about a dozen, of which I have five in my collection.
Even if he published a couple of minor works in 1931-1932, Liaisons was his grand finale.
When depression hit France with a couple of years delay from the Wall Street crash, almost noone had any money to spend on luxuries, and fine books that had sold at very high prices during the late 1920's dropped in price with up to 80-90%.
In 1932 the future looked bleak for Sylvain Sauvage. Then came a rescuing angel with an order for illustrations. His name was George Macy.
18cupidum
Sylvain Sauvage illustrated, as I have written earlier, close to 100 books between 1920 and 1948. His "personal" editions were exceptional, but that doesn't lessen the beauty of the rest of his production. I will show just a few below, starting with the early 1920's:
During the 1925-1930 period, he also illustrated a few books for other publishers, such as this for Plique (illustrations in pochoir):
When publishing of "luxury" books came to a full stop in the early 1930's, he still received, over a period of a few years, orders for a handful of books from different bibliophile associations, like this one from the Bibliophiles de Provence, edition of 150 copies:
A few times he illustrated the same book twice, for France and for America and the George Macy companies. Candide was published in France in 1928 and in America in 1939, Sterne's Sentimental Journey at the same time in both countries, I believe it was 1941 or 1942, while he actually did Anatole France's At the Sign of the Queen Pedauque three times. The first one, from 1925 is not the full book, but rather a portfolio of illustrations in colour:
He also illustrated one of the LEC Shakespeare volume:
After WWII, his books included La Fontaine with pochoirs by Edmond Vairel:
He didn't illustrate Brillat-Savarin for the LEC, but for a French publisher. The LEC used his illustrations a few years later. The French edition had pochoir colouring, while the LEC had the illustrations printed in different colours:
For Stendhal, he used a softground etching technique. The illustrations look like if they were drawn with a pencil:
For the second of Balzac's Droll Stories:
Sylvain Sauvage's books have been fascinating to collect. At least since 1925, it is clear that he took an interest in the design or the architecure of the entire book. It seems that he wanted each book to be different from the previous one. There are almost never any full page illustrations - they are integarted into the text. (This applies for those that were issued in France. For America, he often made full page illustrations and the books were planned by other people).
One exception is the posthumously published Zadig from 1952. Sylvain Sauvage designed the entire book before he passed away in 1948. It appears like his widow didn't find a publisher in France, but George Macy enthusiastically agreed to publish it in America. It is a jewel, printed on paper of very high quality and finished off with pochoirs. I simply cannot understand that a book like this still can be bought for almost nothing:
During the 1925-1930 period, he also illustrated a few books for other publishers, such as this for Plique (illustrations in pochoir):
When publishing of "luxury" books came to a full stop in the early 1930's, he still received, over a period of a few years, orders for a handful of books from different bibliophile associations, like this one from the Bibliophiles de Provence, edition of 150 copies:
A few times he illustrated the same book twice, for France and for America and the George Macy companies. Candide was published in France in 1928 and in America in 1939, Sterne's Sentimental Journey at the same time in both countries, I believe it was 1941 or 1942, while he actually did Anatole France's At the Sign of the Queen Pedauque three times. The first one, from 1925 is not the full book, but rather a portfolio of illustrations in colour:
He also illustrated one of the LEC Shakespeare volume:
After WWII, his books included La Fontaine with pochoirs by Edmond Vairel:
He didn't illustrate Brillat-Savarin for the LEC, but for a French publisher. The LEC used his illustrations a few years later. The French edition had pochoir colouring, while the LEC had the illustrations printed in different colours:
For Stendhal, he used a softground etching technique. The illustrations look like if they were drawn with a pencil:
For the second of Balzac's Droll Stories:
Sylvain Sauvage's books have been fascinating to collect. At least since 1925, it is clear that he took an interest in the design or the architecure of the entire book. It seems that he wanted each book to be different from the previous one. There are almost never any full page illustrations - they are integarted into the text. (This applies for those that were issued in France. For America, he often made full page illustrations and the books were planned by other people).
One exception is the posthumously published Zadig from 1952. Sylvain Sauvage designed the entire book before he passed away in 1948. It appears like his widow didn't find a publisher in France, but George Macy enthusiastically agreed to publish it in America. It is a jewel, printed on paper of very high quality and finished off with pochoirs. I simply cannot understand that a book like this still can be bought for almost nothing:
19cupidum
When I pulled out a few books for my previous post, I forgot this little book that I had intended to include in the selection because it was shelved in another room.
In 1946, Sylvain Sauvage teamed up again with Pierre Bouchet who printed the book and made the wood engravings in colour and gold. It is the only time since the 1925 Daphnis that gold was used.
Yves Gandon "did a Pierre Louys" in that he claimed that the poems were translated from the Chinese of Tsing Pann Yang and even wrote a biography on him. Later he confessed that he was the author.
In 1946, Sylvain Sauvage teamed up again with Pierre Bouchet who printed the book and made the wood engravings in colour and gold. It is the only time since the 1925 Daphnis that gold was used.
Yves Gandon "did a Pierre Louys" in that he claimed that the poems were translated from the Chinese of Tsing Pann Yang and even wrote a biography on him. Later he confessed that he was the author.
20astropi
Curious why you cover the limitation number? Does it hold some secret to the universe you don't wish to share? ;)
21cupidum
>20 astropi: For the cheaper books that I posted late in this thread, I agree that it was unnecessary, just a habit.
For more expensive books, the main reason is that it happens, though not very often, that I decide to upgrade if a particularly nice binding comes on the market and then sell the other copy. It wouldn't be in my interest, for example, that a prospective buyer would find information here that I bought a book for X when I ask XX for it.
For more expensive books, the main reason is that it happens, though not very often, that I decide to upgrade if a particularly nice binding comes on the market and then sell the other copy. It wouldn't be in my interest, for example, that a prospective buyer would find information here that I bought a book for X when I ask XX for it.
22laotzu225
This is a remarkable photo essay on a wonderful artist! Thank you, cupidum.
I especially enjoyed reading how he was interested in the look and production of the entire book.
I'm glad I've been able to buy some of the Limited Editions Club books Sauvage illustrated at relatively affordable prices, including Pedauque and especially Zadig. I will look for other LECs he did and expand my search to other books he illustrated.
I think this essay would be of interest to members of the George Macy Devotees group and, with your permission, i will post a reference to this post there.
I especially enjoyed reading how he was interested in the look and production of the entire book.
I'm glad I've been able to buy some of the Limited Editions Club books Sauvage illustrated at relatively affordable prices, including Pedauque and especially Zadig. I will look for other LECs he did and expand my search to other books he illustrated.
I think this essay would be of interest to members of the George Macy Devotees group and, with your permission, i will post a reference to this post there.
23cupidum
You don't really need my permission, but you have it. Sylvain Sauvage is one of a number of book artists that have been almost forgotten. Ever since the 1930's French book collectors seem to have focused on artist books instead of finely printed books. Sylvain Sauvage was head of L'ecole estienne since 1934 and clearly a "book architect".
There are a few more of his books that I want to acquire, but certainly not all. During the 1920's several of them were rather more pornographic than erotic (it seems like almost every book artist in France did a few), and they are not my cup of tea, and during the later part of his career he seems to have gone on autopilot a couple of times and not been very inspired. However, his fixed idea that every new book should be something very different from the last, make them interesting anyhow.
Bernard Saugiér's biography, privately published in 300 copies back in 2014, has been of great interest. Since I didn't have much French back then, it has taken me a few years to learn enough French to be able to have full benefit of it (language learning is hopefully a way to fight development of Alzheimers..)
A couple of photos of Sylvain Sauvage from that book:
Collecting these books, when I noted that a few of them (the very best, in my opinion) had Pierre Bouchet as printer or wood engraver, I got very interested. I have a few other books from the 1930's to the 1950's that were printed by him, and I remember that every time one of them arrived, I was completely taken by them. They had that "something special".
I haven't been able to find much information on Bouchet, apart from that he joined Schmied in 1919, set up his own press in 1927 and that his press is still operating today under another name (there is a homepage of that press).
However, I have a feeling that he was much more important than what is known today.
When I read this book, published in Canada, on the great bibliophile and statesman Louis Barthou-
-who seems to have been one of the few people who knew the Schmied/Miklos secret that I have written about in another thread, I found on page 194 "Rare editions, complemented by the coloured engravings of artists like Pierre Bouchet…" Clearly, there is much to discover.
Cichocka's book on Miklos, with the hundreds of drawings and notes, is ample proof to me that Miklos made the illustrations and architecture of Schmied's books, but there have been heated discussions going on in France on the internet. When someone tries to knock down the pedestal supporting a legend, a lot of people will get upset, especially when serious money is involved.
To me (even though those books are not really to my taste - the art is great, but as fine books, well…) the Miklos information makes them much more interesting than they were before.
My point with referring to this is that there are quite a few great book artists that are almost completely forgotten today. I find it more rewarding to collect their books than the books of the "greats" (whose books I wouldn't afford anyway). I steer clear from all literature that lists "The 100 greatest…", and so on, and concentrate on the "ombre".
There are a few more of his books that I want to acquire, but certainly not all. During the 1920's several of them were rather more pornographic than erotic (it seems like almost every book artist in France did a few), and they are not my cup of tea, and during the later part of his career he seems to have gone on autopilot a couple of times and not been very inspired. However, his fixed idea that every new book should be something very different from the last, make them interesting anyhow.
Bernard Saugiér's biography, privately published in 300 copies back in 2014, has been of great interest. Since I didn't have much French back then, it has taken me a few years to learn enough French to be able to have full benefit of it (language learning is hopefully a way to fight development of Alzheimers..)
A couple of photos of Sylvain Sauvage from that book:
Collecting these books, when I noted that a few of them (the very best, in my opinion) had Pierre Bouchet as printer or wood engraver, I got very interested. I have a few other books from the 1930's to the 1950's that were printed by him, and I remember that every time one of them arrived, I was completely taken by them. They had that "something special".
I haven't been able to find much information on Bouchet, apart from that he joined Schmied in 1919, set up his own press in 1927 and that his press is still operating today under another name (there is a homepage of that press).
However, I have a feeling that he was much more important than what is known today.
When I read this book, published in Canada, on the great bibliophile and statesman Louis Barthou-
-who seems to have been one of the few people who knew the Schmied/Miklos secret that I have written about in another thread, I found on page 194 "Rare editions, complemented by the coloured engravings of artists like Pierre Bouchet…" Clearly, there is much to discover.
Cichocka's book on Miklos, with the hundreds of drawings and notes, is ample proof to me that Miklos made the illustrations and architecture of Schmied's books, but there have been heated discussions going on in France on the internet. When someone tries to knock down the pedestal supporting a legend, a lot of people will get upset, especially when serious money is involved.
To me (even though those books are not really to my taste - the art is great, but as fine books, well…) the Miklos information makes them much more interesting than they were before.
My point with referring to this is that there are quite a few great book artists that are almost completely forgotten today. I find it more rewarding to collect their books than the books of the "greats" (whose books I wouldn't afford anyway). I steer clear from all literature that lists "The 100 greatest…", and so on, and concentrate on the "ombre".
24cupidum
>14 SebRinelli: A copy of Contes Antiques will be sold at auction in Bruxelles, Belgium on March 26, lot 326, estimate 250-300 Euros: https://ferraton.auction.fr/
25SebRinelli
>13 cupidum:
Perhaps a futile question but is the whole book contes antiques printed in capital letters?
That would be a huge typographical faux pas imho
Perhaps a futile question but is the whole book contes antiques printed in capital letters?
That would be a huge typographical faux pas imho
26cupidum
>25 SebRinelli:
O TEMPORA, O MORES
There were several photos in my original post showing text pages, but two months ago, you only wrote:
>14 SebRinelli: Enabled!
After which I pointed out two absolutely great opportunities to acquire this book at surprisingly low cost.
And now, two months later, it appears that you hadn't even looked closely at the photos.
QUOUSQUE TANDEM ABUTERE, CATILINA, PATIENTIA NOSTRA?
O TEMPORA, O MORES
There were several photos in my original post showing text pages, but two months ago, you only wrote:
>14 SebRinelli: Enabled!
After which I pointed out two absolutely great opportunities to acquire this book at surprisingly low cost.
And now, two months later, it appears that you hadn't even looked closely at the photos.
QUOUSQUE TANDEM ABUTERE, CATILINA, PATIENTIA NOSTRA?
27Glacierman
Cupidum, I hate you. Because of you, I just bought a nice copy of the LEC Zadig. Of course, I did run it by my wife first. Your excellent photos were what convinced her we should spend the bucks. So, for that, I thank you! Ah, bibliophilia is such a wonderful disease.
ADDED NOTE: The book arrived the other day, and it is as lovely as you showed. Thanks for the tip! (ed. 5/19/21)
ADDED NOTE: The book arrived the other day, and it is as lovely as you showed. Thanks for the tip! (ed. 5/19/21)
29Shadekeep
What beautiful books! Thank you all for sharing. If Taschen is looking for another artist to publish a retrospective of, Sylvain seems right in their wheelhouse. In the meantime I'll see what I can find in related books.
30kermaier
>19 cupidum:
He also illustrated one of the LEC Shakespeare volume
As well as the Heritage Press edition of Romeo & Juliet in 1935.
He also illustrated one of the LEC Shakespeare volume
As well as the Heritage Press edition of Romeo & Juliet in 1935.
31originaux
>30 kermaier:
Here's a complete list of his books in English:
1933 At the Sign of the Queen Pédauque
1935 The Tragedy of Romeo and Juliet
1936 Cyrano de Bergerac
1937 The Crime of Sylvestre Bonnard
1938 Penguin Island
1939 As you like it
1939 Candide
1941 A Sentimental Journey
1949 The Physiology of Taste
1949 The Sleeping Beauty in the Wood
1952 The History of Zadig or, Destiny
Here's a complete list of his books in English:
1933 At the Sign of the Queen Pédauque
1935 The Tragedy of Romeo and Juliet
1936 Cyrano de Bergerac
1937 The Crime of Sylvestre Bonnard
1938 Penguin Island
1939 As you like it
1939 Candide
1941 A Sentimental Journey
1949 The Physiology of Taste
1949 The Sleeping Beauty in the Wood
1952 The History of Zadig or, Destiny
34astropi
If anyone is interested in a copy of the Heritage Press 1935 The Tragedy of Romeo and Juliet, let me know. I'm happy to trade :)
36marceloanciano
>32 originaux: Wow, that's a really nice book, do you know if all the editions had such colour? I've seen some images of the plates in a monotone.
37originaux
>36 marceloanciano: All of them. The book has never been reprinted.
38marceloanciano
>37 originaux: Hmm, been looking for this book and a dealer in Switzerland has this, however all the plates are monochrome! https://www.abebooks.co.uk/bon-plaisir-SAUVAGE-Sylvain-Jonqui%C3%A8res-Paris/187...
Your version is absolutely splendid!
Your version is absolutely splendid!
39originaux
>38 marceloanciano: I believe that etching either was part of a b&w suite or comes from a 1929 book on Sylvain Sauvage, where the "deluxe" copies had an original etching.
Edit: that ad is for one etching only and the price asked almost half of what I paid for the entire book...
Edit: that ad is for one etching only and the price asked almost half of what I paid for the entire book...
40marceloanciano
>39 originaux: Ah, google translate from the Swiss! Sent you a PM!
41originaux
>38 marceloanciano:
I can now confirm that the black and white plates you saw originated from portfolios that accompanied a few of the books, since I have upgraded to one of the twenty copies on handmade Japanese paper:
I can now confirm that the black and white plates you saw originated from portfolios that accompanied a few of the books, since I have upgraded to one of the twenty copies on handmade Japanese paper:
42originaux
Bernard Saugier wrote in his 2016 Sylvain Sauvage biography that Jean Giono's Naissance de l'Odyssée was a book that is difficult to find. Having searched for it for seven years, I finally was able to locate a copy.
Colour printing from copper plates by Paul Haasen.
Jean Giono is mainly known for The man who planted trees (published by The LEC) in the English-speaking world.
Colour printing from copper plates by Paul Haasen.
Jean Giono is mainly known for The man who planted trees (published by The LEC) in the English-speaking world.
43ChestnutPress
>42 originaux: That looks incredible. The French Livre D'Artiste at its finest!!
44Shadekeep
>42 originaux: Jean Giono has been enjoying a bit of a revival here as well thanks to NYRB : https://www.nyrb.com/collections/jean-giono
