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Autres chefs-d'oeuvre - Emile Zola + Paul Bonet (1889-1971)
Til salg
500 kr.
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Varebeskrivelse
Fulde titel: "Autres chefs-doeuvre - Pot-Bouille - Germinal - La Bête humaine - Avec trente-deux aquarelles par Tibor Csernus, Fontanarosa, Jean Terles":
Avantgarde-indbinding:
Den slags indbindinger blev ikke værdsat på den tid - normen i befolkningerne har altid været alt-ødelæggende for skønhed og fylde - det betød at en del af oplaget blev brændt - men efter nogle år begyndte der at komme samlere - og i dag er den slag indbindinger meget værdsat:
1. udgave og 1. oplag:
Efter design af Paul Bonet:
Sproget er fransk:
Med masse af farvearkvareller af Tibor Csernus (1907-2007), Lucien Joseph Fontanarosa (1912-1975) også kendt som "Eugene Terles" og Jean Terles (1909-1976) - kan du gætte hvilken akvarel jeg selv bedst kan lide?:
Pæn stand (dog er ryggen langsomt ved at gå op): Fantastisk dekoreret kartonnage i et stort oktavbind - Bradel-indbinding (se meeeeeget længere nede) - med flot for- og bagsatspapir indsat - (2.) + 807 sider (2.) sider - fyldt med akvareller - 23x19 cm - vejer 1475 gram - Paris Fasquelle Gallimard NRF 1958.
Prisen er fast.
Avant-garde binding:
This kind of binding was not appreciated at that time - the norm in the populations has always been all-destroying for beauty and fullness - this meant that part of the circulation was burned - but after a few years collectors started to come - and today this kind of binding is very appreciated:
1st edition and 1st printing:
Designed by Paul Bonet:
Language is French:
With lots of color watercolors by Tibor Csernus (1907 - 2007), Lucien Joseph Fontanarosa (1912-1975) also known as "Eugene Terles" and Jean Terles (1909-1976) - can you guess which watercolor I like best?:
Nice condition (however, the spine is slowly opening): Fantastically decorated cardboard in a large octavo binding - Bradel binding (see veeeeeeeet further down) - with beautiful front and back paper inserted - (2nd) + 807 pages (2nd) pages - filled with watercolors - 23x19 cm - weighs 1475 grams - Paris Fasquelle Gallimard NRF 1958.
The price is fixed.
Paul Bonet:
"I 1928 gik digteren René Char (1907-1988) ind i et lille bogbinderi i Paris med et eksemplar af sin "Nadja", André Bretons (1896-1966) hallucinerende beretning om hans forelskelse i en sårbar ung kvinde, der til sidst bliver sindssyg. Char ville have det indbundet og henvendte sig til Paul Bonet, en af de få designere, han mente var i stand til at forstå surrealismens revolutionære principper.
Indbinding, sagde Bonet, er ' une création plastique '. Han forstod, at for hovedpersonerne i denne radikale nye bevægelse var kunst og litteratur ét og det samme, forenet i et ønske om at genskabe det vidunderlige i en verden domineret af modernitetens rationalitet. At rejse med surrealisterne krævede en elasticitet i magisk tænkning, noget Bonet viste sig mere end i stand til.
Bogbinderen havde også et mål af Bretons ego: omslaget, han designede til Nadja, har udskårne portrætter af den selvudråbte leder af surrealismen, der stirrer på det fjerne kosmos, mens den ulykkelige Nadja er æteriseret som et guldbesat hjerte, der svæver over digterens pande.
Bonet havde for vane at bruge uortodokse materialer, i tråd med surrealisternes rebelske følsomhed. Andre materialer, såsom træ, æggeskal, elfenben og nikkel, blev skulptureret, støbt og skåret i en endeløs række af former. Bonets indbinding til en kopi af Breton og Eluards L'Immaculée-koncept fra 1930, som (blandt andet) uddybede det befriende potentiale i galskab og magi, viser et par fotograferede hænder, der klamrer sig til stjerner, der svæver i et dybblåt plasma.
"Han er virkelig enestående. Hans designs er slående originale," sagde Legendre. "Det, der gjorde ham speciel, var hans evne til at tilpasse sig den kunstner eller forfatter, han arbejdede med på det tidspunkt."
Forlæggeren Georges Blaizot huskede, hvordan Bonet behandlede hver bestilling forskelligt, uanset om han havde indbundet bogen mange gange før: "For Picasso og Apollinaire drømte han. For surrealisterne gav han sig selv frie hænder og fremmanede indre visioner. For Dufy smiler han og synger sagte for sig selv."
I 1940'erne var det dog for sine 'strålende' omslag , at han var mest eftertragtet. Disse blændende forløbere for "Op Art"-stilen , der pulserede som solbølger, blev skabt ved omhyggeligt at lægge guldbearbejdede linjer i lag i kugler og soludbrud. "De er helt fantastiske," siger Legendre, "og efter min mening legemliggør de det surrealistiske ønske om at springe fra nødvendighedens rige ind i frihedens rige."
Længe før Victor Vasarely eller Bridget Riley begyndte at male deres desorienterende visioner, var Bonet pioner inden for denne futuristiske stil. I dag er han måske lidt kendt uden for bogbinderverdenen, men hans omslag har inspireret utallige grafikere, især inden for science fiction.
"Han viste sine samtidige, hvordan man tager risici," siger Legendre. "Han var altid kompromisløs. Hver bog er et smukt syn".
Paul Bonet:
"In 1928, the poet René Char walked into a small bookbindery in Paris with a copy of his "Nadja," André Breton's hallucinatory account of his love affair with a vulnerable young woman who eventually goes insane. Char wanted it bound and turned to Paul Bonet, one of the few designers he believed was capable of understanding the revolutionary principles of surrealism.
Binding, Bonet said, is 'une création plastique'. He understood that for the protagonists of this radical new movement, art and literature were one and the same, united in a desire to recreate the wonderful in a world dominated by the rationality of modernity. Traveling with the Surrealists required an elasticity of magical thinking, something Bonet proved more than capable of.
The bookbinder also had a measure of Breton's ego: the cover he designed for Nadja features cut-out portraits of the self-proclaimed leader of surrealism gazing into the distant cosmos, while the hapless Nadja is etherealized as a gold-studded heart hovering above the poet's forehead.
Bonet had a habit of using unorthodox materials, in keeping with the rebellious sensibilities of the Surrealists. Other materials, such as wood, eggshell, ivory, and nickel, were sculpted, cast, and carved into an endless array of shapes. Bonet's binding to a copy of Breton and Eluard's 1930 concept of L'Immaculée, which (among other things) elaborated on the liberating potential of madness and magic, shows a pair of photographed hands clinging to stars floating in a deep blue plasma.
“He is truly unique. His designs are strikingly original,” Legendre said. “What made him special was his ability to adapt to the artist or writer he was working with at the time.”
Publisher Georges Blaizot recalled how Bonet treated each commission differently, regardless of whether he had bound the book many times before: “For Picasso and Apollinaire, he dreamed. For the Surrealists, he gave himself free rein and conjured up inner visions. For Dufy, he smiles and sings softly to himself.”
In the 1940s, however, it was for his ‘radiant’ covers that he was most sought after. These dazzling precursors of the Op Art style, pulsating like solar waves, were created by carefully layering gold-worked lines in spheres and sunbursts. “They are absolutely stunning,” says Legendre, “and in my opinion they embody the surrealist desire to leap from the realm of necessity into the realm of freedom.”
Long before Victor Vasarely or Bridget Riley began painting their disorienting visions, Bonet pioneered this futuristic style. Today he may be little known outside the bookbinding world, but his covers have inspired countless graphic artists, especially in the field of science fiction.
"He showed his contemporaries how to take risks," says Legendre. "He was always uncompromising. Every book is a beautiful sight".
Tibor Csernus:
"Tibor Csernus er en af de mest betydningsfulde mestre inden for ungarsk malerkunst i det 20. århundrede. Han blev født i Kondoros i 1927, hans far var låsesmedmester. Csernus gik oprindeligt på en handelsskole, men han havde en stor lyst til at tegne, og i 1943 startede han den grafiske afdeling på Industritegneskolen. Sideløbende med sine studier arbejdede han som litograflærling på Posner-trykkeriet, hvor András Benkő lærte ham tegningens elementer. I 1944 blev han indskrevet på Skolen for Brugskunst. Han blev taget som krigsfange i 1945.
Efter Anden Verdenskrig fortsatte han sin grafiske uddannelse på Kunstakademiet under Lóránt Sárkány, hvorefter han overgik til malestudiet på Kunstakademiet, hvor hans lærer var Bernáth Aurél. I 1952 modtog Orlay Petrich Soma , især for sit maleriarbejde, Munkácsy-prisen for sit værk "Ungarsk kunstudstilling". Titlen på hans diplomarbejde i 1953: " De 12 punkter er trykt på trykkeriet Landerer ". Han malede sit første portræt i 1954 af digteren Ferenc Juhász (1928-2015), som han var en god ven med. Hans landskabsbilleder blev malet i socialrealistisk stil indtil 1956.
Fra midten af 1950'erne var han på sin egen individuelle rejse, hvor han studerede kubisme og andre kunstretninger fra det 20. århundrede. I 1957 rejste han til Paris, hvor han stiftede bekendtskab med fransk maleri mellem de to verdenskrige, automatistisk kalligrafi (Georges Mathieu, Hantai Simon) og surrealisme (Max Ernst, Tanguy).
Om sommeren arbejdede han på kunstnerkolonien i Szigliget, hvor André Derain påvirkede hans landskabsmaleri. Hans billeder skabt i 1958-1964 er karakteriseret ved en naturmystisk og surrealistisk kreativ proces. I denne periode skaber han adskillige monotypier.
Den surrealistiske maleretning er forbundet med hans navn. Begrebet blev velkendt efter Géza Perneczkys undersøgelse (1966), men det opstod i 1964 i forbindelse med György Korgas soloudstilling. Perneczky kaldte de yngre kunstnere grupperet omkring Tibor Csernus, Korga, László Lakner, Ákos Szabó og László Gyémánt for Szürnaturalisme. Navnene Iván Masznyik, Sándor Altorjai og Ferenc Kóka blev også nævnt i forbindelse med konceptet, hvis malerier udviste karakteristika relateret til overnaturalisme. Surnaturalisme er konstrueret af naturalistisk malede detaljer, der er ødelagte eller forvrængede i varierende grad, hvilket skaber surrealistiske malerier i deres samlede effekt. I deres værker vekslede fotorealistiske detaljer med surrealistiske, amorfe dele. Csernus' "skrabe"-billeder malet i begyndelsen af 60'erne kan betragtes som eksempler på tendensen. Medlemmerne af Csernus-kredsen fulgte primært deres udvalgte mester i at transcendere naturalismen. Gennem Simon Hantaϊs formidling opdagede han inspirerende værker i Max Ernsts malerier. Surnaturalismen blomstrede i anden halvdel af 1960'erne, og unge kunstnere, der blev suveræne skabere, fortsatte senere rejsen i forskellige retninger (hyperrealisme, popkunst etc.). De organiserede ikke en fælles udstilling, forholdet mellem dem var stærkere i teorien end i praksis.
På studiets udstilling i 1966 var det muligt at se deres værker samlet i ét rum. Csernus' aktivitet som bogillustrator var også betydelig (Endre Fejes: Rozsdatemető; Zsigmond Remenyik: Por és hamu; Gongora: Udvalgte digte).
Han boede og arbejdede i Paris fra 1964. I 1970'erne vendte han sig mod hyperrealistiske skildringer og gav ikke sine atelierdetaljer, boligområder og stilleben en titel. I 1980'erne malede han flerfigurige, pseudo-akademiske nøgenkompositioner og bibelske scener og stilleben (med kyllinger, fisk), dyrebilleder (heste, papegøjer, svaner) i Caravaggios stil. Hans mest fremragende monumentale ekspressiv-realistiske serie fra 1990'erne, The Whore's Road, var inspireret af William Hogarths serie af graveringer og indflydelsen fra den italienske billedkunstner Gaspare Traversi".
Tibor Csernus:
"Tibor Csernus is one of the most important masters of Hungarian painting of the 20th century. He was born in Kondoros in 1927, his father was a master locksmith. Csernus initially attended a trade school, but he had a great desire to draw, and in 1943 he started the graphic department of the Industrial Drawing School. Alongside his studies, he worked as an apprentice lithographer at the Posner printing house, where András Benkő taught him the elements of drawing. In 1944 he was enrolled in the School of Applied Arts. He was taken prisoner of war in 1945.
After World War II, he continued his graphic education at the Academy of Fine Arts under Lóránt Sárkány, after which he transferred to the painting studio at the Academy of Fine Arts, where his teacher was Bernáth Aurél. In 1952, Orlay Petrich Soma , especially for his painting work, received the Munkácsy Prize for his work "Hungarian Art Exhibition". The title of his diploma work in 1953: "The 12 points are printed at the Landerer printing house". He painted his first portrait in 1954 of the poet Ferenc Juhász, with whom he was a good friend. His landscape paintings were painted in a social realist style until 1956.
From the mid-1950s he was on his own individual journey, studying Cubism and other 20th-century art movements. In 1957 he traveled to Paris, where he became acquainted with French painting between the two world wars, automatist calligraphy (Georges Mathieu, Hantai Simon) and surrealism (Max Ernst, Tanguy). In the summer he worked at the artist colony in Szigliget, where André Derain influenced his landscape painting. His pictures created in 1958-1964 are characterized by a natural-mystical and surrealistic creative process. During this period he created several monotypes.
The surrealist painting movement is associated with his name. The term became well-known after Géza Perneczky's study (1966), but it emerged in 1964 in connection with György Korga's solo exhibition. Perneczky called the younger artists grouped around Tibor Csernus, Korga, László Lakner, Ákos Szabó and László Gyémánt Szürnaturalism. The names Iván Masznyik, Sándor Altorjai and Ferenc Kóka were also mentioned in connection with the concept, whose paintings exhibited characteristics related to supernaturalism. Surnaturalism is constructed from naturalistically painted details that are destroyed or distorted to varying degrees, creating surrealistic paintings in their overall effect. In their works, photorealistic details alternated with surreal, amorphous parts. Csernus's "scratched" pictures painted in the early 60s can be considered examples of the trend. The members of the Csernus circle primarily followed their chosen master in transcending naturalism. Through the mediation of Simon Hantaϊ, he discovered inspiring works in the paintings of Max Ernst. Surrealism flourished in the second half of the 1960s, and young artists who became independent creators later continued their journey in different directions (hyperrealism, pop art). They did not organize a joint exhibition, the relationship between them was stronger in theory than in practice. At the studio exhibition in 1966, it was possible to see their works gathered in one room. Csernus's activity as a book illustrator was also significant (Endre Fejes: Rozsdatemető; Zsigmond Remenyik: Por és hamu; Gongora: Selected poems).
He lived and worked in Paris from 1964. In the 1970s, he turned to hyperrealistic depictions and did not give his studio details, living spaces and still lifes a title. In the 1980s, he painted multi-figure, pseudo-academic nude compositions and biblical scenes and still lifes (with chickens, fish), animal images (horses, parrots, swans) in the style of Caravaggio. His most outstanding monumental expressive-realist series from the 1990s, The Whore's Road, was inspired by William Hogarth's series of engravings and the influence of the Italian visual artist Gaspare Traversi".
Oktav-bind:
"Oktav er et gammelt bogformat, der fremkommer ved, at hvert af de trykte papirark i en bog er foldet og falset tre gange, hvorved der fremkommer otte blade pr. trykark, hver med 16 tryksider. Det forkortes 8°.
Etymologi ordet "oktav" er afledt af latin octavus 'ottende', af octo 'otte'.
I moderne bogproduktion tilskæres maskinelt fremstillet papir i arkformater tilpasset trykpressens formåen og bogformater beskrives i centimetermål.
Betegnelsen oktav anvendes dog i vore dage alligevel. Normalt om bøger med en traditionel ryghøjde på mellem 15 og 25 cm., som fx de fleste romaner".
Det der ofte kendetegner en stærk minoritetsgruppe (her bogbindere, typografer og folk fra forlagene) er deres helt eget sprog. I bogtrykkerens verden var der mange ord (som fx ordet "oktav") som var totalt ukendte for de fleste mennesker:
En af mine yndlinge er ordet "idiotlinie":
Her kommer der en liste af bogbinder-ord:
Aflæggemaskine, afklaske, anlægsmærke, anlægssteg, bestøde, bestødningsbord, bladviser, blokskrift, blysteg, bogstavkegle, bogstavmaaling, brevliste, buesats, bundsteg, burgis, børsteaftræk, diamantskrift, digelpresse, dobbeltsætning, drittelsats, drægere, eftertrykker, falseapparat, fantasiskrift, farvevalse, fileblok, finalestreg, flademønster, forbindelseslinie, fordelsskib, fratager, gadegespon, galgepresse, gespon, geviert, gnuf, grundskrift, grundstreg, halvfed, halvgeviert, halvpetit, helfed, hovedsteg, hovedtitel, hurtigpresse, huskorrektur, hævespaan, højætsning, haandpresse, haarspatie, imham, indstiksark, jomfrukolumne, jomfrusats, jomfruskrift, jomfrustil, justerer, justernaal, kapitalbogstav, kapitalskrift, kapitalsteg, kapitælskrift, kapitælsteg, kassereol, kiledriver, kileramme, kilesteg, kirkegotisk, klapperholt, klopholt, kloppe, kompres, kontratryk, korpusartikel, korpusstil, krydssteg, kunsttryk, kunsttryk-papir, kvadrathøjde, kvartark, lapidar,
Octave binding:
"Octave is an old book format that results from each of the printed sheets of paper in a book being folded and creased three times, resulting in eight leaves per printed sheet, each with 16 printed pages. It is abbreviated 8°.
Etymology The word octave is derived from the Latin octavus 'eighth', from octo 'eight'.
In modern book production, machine-made paper is cut into sheet formats adapted to the capabilities of the printing press and book formats are described in centimeters.
However, the term octave is still used today. Normally for books with a traditional spine height of between 15 and 25 cm., such as most novels".
What often characterizes a strong minority group (here bookbinders, typographers and people from publishers) is their very own language. In the world of bookbinding, there were many words (such as the word "octave") that were completely unknown to most people:
One of my favorites is the word "idiot line":
Here is a list of bookbinding words - (See how the translator has problems):
Aflegmaschine, afklaske, aflagmark, aflagstek, bestöde, bestödingsbord, pagina, block script, leadstek, letter cone, letter painting, letter list, arch type, bottomstek, burgis, brush draw, diamond type, crucible press, double set, third set, carriers, afterprinter, folding apparatus, fantasy type, color roller, file block, final line, surface pattern, connecting line, advantage ship, deprive, gadegespon..
Bradel-indbinding:
"Bradel er en indbindingsmetode, hvor underskrifterne sys fast på linnedbånd. Båndene limes derefter fast på et "ark papiraffald", som blev syet fast sammen med endepapirerne. Dette ark papiraffald klippes til og er det, der fastgøres til omslagene. På den måde holdes forpermen automatisk nede - når man åbner bogen".
Mere detaljeret (jeg MÅ være autist):
"En bradel- indbinding (også kaldet bonnet- eller bristol board-indbinding) er en type bogbind med hul ryg. Den ligner mest en cover-indbinding , idet den har en hul ryg og en synlig samling, men i modsætning til en cover-indbinding er omslagspladerne og rygafstivningerne samlet med en strimmel kraftigt papir, før de omsluttes.
Et kendetegn ved indbindingen er, at det materiale, der dækker de ydre brædder, er adskilt fra det, der dækker ryggen. Mange bogbindere anser Bradel-indbindingen for at være stærkere end 0mslagsindbinding.
Indbindingen kan spores tilbage til det 18. århundredes Tyskland . Ophavsmanden er usikker, men navnet stammer fra en fransk bogbinder, der arbejdede i Tyskland, Alexis-Pierre Bradel (også kendt som Bradel l'ainé eller Bradel-Derome ). Indbindingen fremstod oprindeligt som en midlertidig indbinding, men resultaterne var holdbare, og indbindingen havde stor succes i det nittende århundrede. I dag er det mest sandsynligt, at man finder den i fotoalbummer og scrapbøger.
Indbindingen har den fordel, at den tillader bogen at åbne helt, hvor traditionelle læderbind er for stive. Den modificeres nogle gange for at give en afrundet ryg. Dette giver bogen et udseende, hvor papiret ikke er egnet til rygagrunding; dette er ogsaa for at give en afrundet ryg til en bog, der er for tynd til, at en rygafrunding kan holde. Indbindingen kan også give en imponerende læderryg til en bog uden at pådrage sig den fulde udgift ved at indbinde en bog i helt eller delvist læder".
Bradel binding:
"Bradel is a binding method in which the signatures are sewn onto linen ribbons. The ribbons are then glued onto a "sheet of scrap paper" which was sewn together with the endpapers. This sheet of scrap paper is cut to size and is what is attached to the covers. This way, the front cover is automatically held down - when you open the book".
In more detail (I MUST be autistic):
"A bradel binding (also called bonnet or bristol board binding) is a type of bookbinding with a hollow spine. It is most similar to a cover binding in that it has a hollow spine and a visible joint, but unlike a cover binding, the cover boards and spine stiffeners are held together with a strip of heavy paper before being enclosed.
A characteristic of the binding is that the material covering the outer boards is separate from that covering the spine. Many bookbinders consider the bradel binding to be stronger than the traditional binding.
The binding can be traced back to 18th century Germany. The originator is uncertain, but the name comes from a French bookbinder who worked in Germany, Alexis-Pierre Bradel (also known as Bradel l'ainé or Bradel-Derome). The binding originally appeared as a temporary binding, but the results were durable, and the binding had great success in the nineteenth century. Today it is most likely to be found in photo albums and scrapbooks.
The binding has the advantage of allowing the book to open fully, where traditional leather bindings are too stiff. It is sometimes modified to give a rounded spine. This gives the book an appearance where the paper is not suitable for spine rounding; this is also to give a rounded spine to a book that is too thin for a spine rounding to hold. The binding can also give a striking leather spine to a book without incurring the full expense of binding a book in full or part leather".
Bemærk: Knappen til at vise den fulde beskrivelse har kun en visuel effekt.
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Sidst redigeret: 29.3.2026 kl. 18:43 ・ Annonce-ID: 19996675
