Thanks for stopping by Flash of the Hand and joining me during my first year of blogging!! These are some of my most favorite posts during the past year. Join me in 2013 for more bookbinders and book artists, plus tons of art and a weekly dose of cats!
Posts Tagged ‘rose adler’
December 31, 2012 by Erin Fletcher
October 28, 2012 by Erin Fletcher
Bound in full black calf is this 1927 edition of Auguste de Villiers de L’Isle-Adam’s Trois contes cruels with illustrations by Jean-Emile Laboureur. Rose Adler created the design for the binding in 1929, which was then executed by Emmanuel Lecarpentier. The scroll design is created with ivory and beige calf onlays with a purple calf line onlay running behind and roundels are tooled in solid gilt. Title is tooled in aluminum, inlays of purple calf and gilt tooling, author’s name and title tooled in gilt on the spine. Doublures in beige calf with a pattern of black and purple calf at the bottom where Rose Adler’s signature can be found. Endleaves of alternating purple and aluminum watered silk; second endleaves of glazed aluminum paper.
The design is representative of the geometric focus of the first period of the Art Deco era. The design is quite striking, the roundels and descending title create a perfect balance along either side of the scroll.
Check out Art Deco Bookbindings: The Work of Pierre Legrain and Rose Adler for more of Rose Adler’s work.
October 21, 2012 by Erin Fletcher
Simulacre, a surrealist novella by Michel Leiris with illustration by French artist André Masson was printed in 1925. The binding was designed by Rose Adler and executed by Emmanuel Lecarpentier in 1927. Bound in full black calf with an inlay of cabochon of agate capping off a semi-oval of coral-pink crocodile set within an aluminum fillet. Title on the spine overlaps an inlay of red calf, tooled with aluminum on the black and black on the red.
The edges are gilt in aluminum, full leather doublures lacquered in gilt with endleaves of black watered silk. This is an impeccable binding, the vast negative space is perfectly balance against the bold and highly textured crocodile skin.
October 14, 2012 by Erin Fletcher
In 1930, Rose Adler created this design for Francis de Croisset’s Aux fétes de Kapurthala, the binding was executed by Emmanuel Lecarpentier for Jacque Doucet’s collection. Bound in citron calf, the front cover has an inlay of cabochon of chrysoprase topped with a patterned band of black and ivory calf outlined in a gold gilt fillet, at the base of the cover is an inlay of black calf. The title and author’s name has been tooled blind along the spine. Edges are gilt with aluminum. Doublures of ivory calf line the inside of each board paired with black watered silk flyleaves.
The book is housed in a wrapper and slipcase decorated with black, orange and gold paper, bordered with citron calf. The wrapper doublure is done with almond-green, hard-grained leather.
October 7, 2012 by Erin Fletcher
In 1918, this copy of Guillaume Apollinaire’s Calligrammes: Poémes de la paix et de la guerre was printed with an original etching by Pablo Picasso (engraved by René Jaudon) and an original drawing by René Jaudon. In 1925, Rose Adler created the design and the binding was executed by Adolphe Cuzin for Jacques Doucet’s collection.
Bound in ivory calfskin with overlapping inlays of black calf and beige goatskin. All tooling on cover and gilding on the edges has been done in aluminum. The turn-ins are ivory calf embellished with aluminum fillets bordering an inlay panel of black calf with a mosaic of beige goatskin. The fly leaf is silver lamé (fabric woven or knit with thin ribbons of metallic threads). The binding is housed in a wrapper and slipcase of aluminum paper framed by red and black calf. The title and author’s name are tooled over three inlays of beige goatskin in aluminum over a black spine.
October 1, 2012 by Erin Fletcher
This copy of Colette’s L’Envers du Music-Hall with illustrations by Jean-Emile Laboureur was printed in Paris in 1926. The binding was signed and designed by Rose Adler and executed by Emmanuel Lecarpentier in 1929 for the bibliophile Jacques Doucet. Bound in ivory calf, the dancer’s legs are highlighted with royal blue, red, beige and black calf. On the spine the author’s name has been tooled in aluminum with an inlay of royal blue calf for the initial, while the title has been tooled in both gold and aluminum with an inlay of pink calf for the initial and royal blue for the apostrophe.
Unfortunately there is not a lot written about Rose Adler. However, she is one of my favorite binders, working and living during one of the most exciting eras in terms of art and culture: Art Deco of the 1920’s and 30’s. Rose took on the profession of offering her design work as both a cabinetmaker and bookbinder. As a bookbinder she worked closely with her teacher, Pierre Legrain, who greatly influenced her design work and craftsmanship and much of her work was commissioned by Jacques Doucet.
Rose was particularly fond of calfskin because of its smooth qualities. She masterfully designed bindings, carefully considering the book itself and the materials. Like many other binders at the time, she incorporated an assortment of other materials into her work like lizard and crocodile skins, agate and lapis stones, aluminum for edge gilding and tooling, and lacquer as a finish.
Rose was born in 1892 and lived until 1959.