.jpg?w=1)
细节
Alfred JARRY (1873-1907). Les Minutes de sable Mémorial. Paris: Mercure de France, 1894. In-12 (139 x 115 mm). 8 bois originaux de l’auteur tirés en différents tons. (Quelques menues et habiles restaurations marginales.) Broché (couverture un peu frottée). – César Antéchrist. Ibid. : id., 1895. In-12 (139 x 115 mm). 13 bois gravés dont 10 hors texte. (Déchirure marginale page 65 sans perte.) Reliure signée D.-H. Mercher, maroquin noir, blason de cuivre (rappel au blason de la couverture) sur le plat supérieur, rappel du même blason à froid sur le second plat, couverture et dos conservées. Les deux volumes dans une chemise de demi-maroquin noir signée Devauchelle, étui assorti.
ÉDITIONS ORIGINALES, chacune tirée à 216 exemplaires (un des 197 sur Arches), des deux premiers livres de Jarry. C’est dans César Antéchrist qu’apparaît pour la première fois Ubu.
« Jarry’s fascination with medieval lore appears in the language of his poems, to the point that the colours of objects (that is, the misleading sable of the title – “sand” in French, “black” in heraldry”) are heraldic designations, and the final woodcut of a bleeding heart over a skull, the drop equated with gules on an escutcheon, is given the form a sablier, (a sand-clock or hourglass), as in the title of the final poem. Jarry’s Les Minutes de sable, ou mémorial was notable for more than its dynamic disharmonies. The typography of the title page designed by Jarry, preceded the better known adventures in arrangements of letters and words of the Italian Futurists, Russian Constructivists, and, more directly, the calligrammes of Guillaume Apollinaire. Jarry was one of a group of writers who were known as the circle of the periodical Mercure de France. It, therefore, might not have been peculiar, if, when Mercure de France published his books, he had artistic control over them. He used several sizes of sans-serif letters, bunched tightly together, both for the title of his book and for the same name of the publisher, balancing the two blocks of types of an otherwise unembellished page. The covers of Les Minutes de sable mémorial and César Anti-Christ were black paper, carrying only a heraldic symbol printed in gold on the front” (Castleman, p. 22). Lhermitte 330 ; Talvart X, 128, 2.
ÉDITIONS ORIGINALES, chacune tirée à 216 exemplaires (un des 197 sur Arches), des deux premiers livres de Jarry. C’est dans César Antéchrist qu’apparaît pour la première fois Ubu.
« Jarry’s fascination with medieval lore appears in the language of his poems, to the point that the colours of objects (that is, the misleading sable of the title – “sand” in French, “black” in heraldry”) are heraldic designations, and the final woodcut of a bleeding heart over a skull, the drop equated with gules on an escutcheon, is given the form a sablier, (a sand-clock or hourglass), as in the title of the final poem. Jarry’s Les Minutes de sable, ou mémorial was notable for more than its dynamic disharmonies. The typography of the title page designed by Jarry, preceded the better known adventures in arrangements of letters and words of the Italian Futurists, Russian Constructivists, and, more directly, the calligrammes of Guillaume Apollinaire. Jarry was one of a group of writers who were known as the circle of the periodical Mercure de France. It, therefore, might not have been peculiar, if, when Mercure de France published his books, he had artistic control over them. He used several sizes of sans-serif letters, bunched tightly together, both for the title of his book and for the same name of the publisher, balancing the two blocks of types of an otherwise unembellished page. The covers of Les Minutes de sable mémorial and César Anti-Christ were black paper, carrying only a heraldic symbol printed in gold on the front” (Castleman, p. 22). Lhermitte 330 ; Talvart X, 128, 2.
更多详情
First editions of the two first books by Alfred Jarry.
荣誉呈献
Lola Regard