Frank Lestringant, Écrire le monde à la Renaissance. Quinze études sur Rabelais, Postel, Bodin et la littérature géographique. Caen, Paradigme, 1993 (Collection Varia, n° 6).
The fifteen year collaboration between Marius Audin and Stanley Morison which led to the publication of Audin’s Livrets typographiques and Cartier’s Bibliographic des de Tournes has received little attention until now, doubtless because of the lack of documentary sources concerning this episode in t...
Guardat en:
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| Format: | Article ou chapitre numérique |
| Idioma: | Français |
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1994
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| Accés en línia: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Sumari: | The fifteen year collaboration between Marius Audin and Stanley Morison which
led to the publication of Audin’s Livrets typographiques and Cartier’s Bibliographic des
de Tournes has received little attention until now, doubtless because of the lack of
documentary sources concerning this episode in the two men’s lives. A series of letters acquired in 1989 by the Lyons Printing and Banking Museum allows us to trace
the slow and often painful progress of this important publishing project while at the
same time shedding light on the role played by John Holroyd Reece — the publisher
under whose imprint these two works finally appeared.
Cartier’s Bibliographie des de Tournes was originally intended as a complement to
Baudrier’s Bibliographie lyonnaise. After the death of Cartier, Marius Audin undertook
the task of completing the former’s notes and getting the work published. Morison
became involved in the project in 1923 during his first visit to Lyons to see Audin.
The two men were both highly enthusiastic about the project which they enlarged
three years later when they decided to also publish Audin’s Livrets typographiques. The
project was however beset from the start by problems stemming on the one hand
from the repercussions of the economic crisis on the bibliophile book market, and
on the other from the natural tendency of Audin and Morison to over-commit themselves in their efforts to follow their typographical enthusiasms. The arrival of John
Holroyd Reece as publisher in 1928, did nothing to resolve matters. Frayed tempers
and strained budgets continued to be the only tangible result of this three-way collaboration until Cartier’s work finally saw the light of day in 1937. |
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