The Furstenberg Sale, 1st July 1994, London, Sotheby’s.
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...
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| Formato: | Article ou chapitre numérique |
| Idioma: | Français |
| Publicado em: |
1994
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| Acesso em linha: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| id |
cairn-BUBIB_320_0243 |
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| record_format |
cairn |
| spelling |
cairn-BUBIB_320_0243BUBIBBulletin du bibliophile https://shs.cairn.info/revue-bulletin-du-bibliophile-1994-2-page-471?lang=en https://doi.org/10.3917/bubib.320.0243 The Furstenberg Sale, 1st July 1994, London, Sotheby’s. Collins, John1994 fre Bulletin du bibliophile | - | 2 | 1994-06-01 | p. 471-475 | 0399-9742 BUBIB_32050 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.Cairn restricted access |
| language |
Français |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/Cairn/ |
| description |
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. |
| author |
Collins, John |
| spellingShingle |
Collins, John The Furstenberg Sale, 1st July 1994, London, Sotheby’s. |
| author_facet |
Collins, John |
| author_sort |
Collins, John |
| title |
The Furstenberg Sale, 1st July 1994, London, Sotheby’s. |
| title_short |
The Furstenberg Sale, 1st July 1994, London, Sotheby’s. |
| title_full |
The Furstenberg Sale, 1st July 1994, London, Sotheby’s. |
| title_fullStr |
The Furstenberg Sale, 1st July 1994, London, Sotheby’s. |
| title_full_unstemmed |
The Furstenberg Sale, 1st July 1994, London, Sotheby’s. |
| title_sort |
furstenberg sale, 1st july 1994, london, sotheby’s. |
| publishDate |
1994 |
| container_title |
|
| container_issue |
|
| url |
https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-bulletin-du-bibliophile-1994-2-page-471?lang=en https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/bubib.320.0243 |
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