DOI issue:
No. 350 (May 1922)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21395#0305
STUDIO-TALK
WOODCUT HEADPIECE TO “ LES
PLUS JOLIES ROSES DE L’ANTHO-
LOGIE GRECQUE.” BY CARL^GLE
(Published by L£on Pichon)
Chancey. The accompanying illustrations
give some idea of the wealth of an exhibition
such as had never before been got together
and may never be repeated, so difficult is it
to persuade collectors like Olivier, Bernard
Franck, Blot - Gamier and Henri
d'Allemagne to allow their most precious
pieces to leave their cabinets. The two
smaller illustrations depict early 17th
century watches from three collections,
mostly watches of small dimensions in the
form of crosses, books, etc., elaborately
chased and with cut crystal covers ; whilst
the other group shows specimens from the
same collections, and those of M, and Mme.
Emile Bloch, who contributed many if not
all of their finest watches. G. F. L.
The second exhibition of the Societe
de la Gravure sur bois originale, at the
Musee des Arts Decoratifs, in January,
was particularly interesting in more respects
than one. A manifestation of such
significance, revealing as it did under the
most diverse aspects the wealth and range
of the process of wood engraving, which,
long disdained, is now enjoying a great
vogue, is worthy of profound and serious
study, but on this occasion we must limit
our attention to a single feature—the new
and truly original contribution consisting
of the publications of Mons. Leon Pichon,
“ imprimeur, editeur, et graveur,” three
288
titles to which M. Pichon, perfect practi-
tioner as he is in all the arts of book pro-
duction, has a rightful claim at a time
when there are all too many who turn out
books by the dozen without knowing
anything about this craft, or rather this
art, which requires for its exercise know-
ledge of so many and varied kinds and
such a wide general culture. 0 a
If there is one reproach that no one has
a right to apply to the productions of
Mons. Pichon, it is that of betraying any
sense of haste, of carelessness or improvisa-
tion. We shall not be doing him an in-
justice by saying that herein he follows
the example of one of a man who during
his hardworking career did so much to
restore the livre d.'art to honour—-M.
Edouard Pelletan. Like Pelletan, M.
Pichon is conscious that in practising his
craft he is accomplishing a noble mission.
The books bearing his sign may differ
completely, both in design and execution,
from those which carry the mark of M.
Pelletan, but one feels at any rate that they
are “ realised ” down to the slightest
detail with the same scrupulous regard for
logic and perfection. What is particularly
remarkable in the books composed and
published by M. Pichon is their unity.
He excels not only in arranging the mise
en page of a text according to the typo-
WOODCUT HEADPIECE TO “ LES
PLUS JOLIES ROSES DE L’ANTHO-
LOGIE GRECQUE.” BY CARL^GLE
(Published by L£on Pichon)
Chancey. The accompanying illustrations
give some idea of the wealth of an exhibition
such as had never before been got together
and may never be repeated, so difficult is it
to persuade collectors like Olivier, Bernard
Franck, Blot - Gamier and Henri
d'Allemagne to allow their most precious
pieces to leave their cabinets. The two
smaller illustrations depict early 17th
century watches from three collections,
mostly watches of small dimensions in the
form of crosses, books, etc., elaborately
chased and with cut crystal covers ; whilst
the other group shows specimens from the
same collections, and those of M, and Mme.
Emile Bloch, who contributed many if not
all of their finest watches. G. F. L.
The second exhibition of the Societe
de la Gravure sur bois originale, at the
Musee des Arts Decoratifs, in January,
was particularly interesting in more respects
than one. A manifestation of such
significance, revealing as it did under the
most diverse aspects the wealth and range
of the process of wood engraving, which,
long disdained, is now enjoying a great
vogue, is worthy of profound and serious
study, but on this occasion we must limit
our attention to a single feature—the new
and truly original contribution consisting
of the publications of Mons. Leon Pichon,
“ imprimeur, editeur, et graveur,” three
288
titles to which M. Pichon, perfect practi-
tioner as he is in all the arts of book pro-
duction, has a rightful claim at a time
when there are all too many who turn out
books by the dozen without knowing
anything about this craft, or rather this
art, which requires for its exercise know-
ledge of so many and varied kinds and
such a wide general culture. 0 a
If there is one reproach that no one has
a right to apply to the productions of
Mons. Pichon, it is that of betraying any
sense of haste, of carelessness or improvisa-
tion. We shall not be doing him an in-
justice by saying that herein he follows
the example of one of a man who during
his hardworking career did so much to
restore the livre d.'art to honour—-M.
Edouard Pelletan. Like Pelletan, M.
Pichon is conscious that in practising his
craft he is accomplishing a noble mission.
The books bearing his sign may differ
completely, both in design and execution,
from those which carry the mark of M.
Pelletan, but one feels at any rate that they
are “ realised ” down to the slightest
detail with the same scrupulous regard for
logic and perfection. What is particularly
remarkable in the books composed and
published by M. Pichon is their unity.
He excels not only in arranging the mise
en page of a text according to the typo-