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Rudolf Schnackenberg Bibliography Definition

These wood engravings all come from books published by The Golden Cockerel Press, a private press operating in England between 1920 and 1961.

I was scanning from a 1975 American book, Bibliography of The Golden Cockerel Press, 1921–1949, which combines the three illustrated bibliographies Chanticleer, Pertelote, and Cockalorum.

John O'Connor, wood-engraving for Here's Flowers anthology, 1937

Clifford Webb, wood-engraving for Ana the Runner by Patrick Miller, 1937

Dorothea Braby, wood-engraving for The Ninety-First Psalm, 1944

Eric Ravilious, wood-engraving for The Hansom Cab and the Pigeons by L.A.G. Strong, 1935

John O'Connor, wood-engraving for Together and Alone by C. Whitfield, 1945

John Buckland-Wright, wood-engraving for Endymion by Keats, 1947

John Buckland-Wright, wood-engraving for Endymion by Keats, 1947

Gwenda Morgan, wood-engraving for Tapster's Tapestry by A.E. Coppard, 1938

Eric Ravilious, A Cockerel Device

Robert Gibbings, wood engraving for Samson and Delilah, 1925

David Jones, engraving on wood for The Book of Jonah, 1926

Gertrude Hermes, wood-engraving for Strawberry Time by R.H. Mottram, 1934

Peter Barker-Mill, wood-engraving for A Voyage round the World by Sparrman, 1944

John Buckland-Wright, dedication engraving for Pertelote (a bibliography of the press)

if you google-image emile reiber, you will find only, or almost only, items of domestic use and decor, clocks, vases, and the like covered, each of them, with gorgeous, elaborate, asianesque embellishments. preceding these, however, was leiber's Premier Volume (of which, as far as i could see, there was no Deuxieme) of his albums.
following, you will find a lame, google assisted, translation of a bit of Le Japonisme, the catalogue for l'Orsay's landmark exhibition of the same name in 1989.i hope the translation makes some sense, and will gladly provide the french to anyone who asks.

In this time of new explorations, style-books for artists began to appear. These presented samples of Japanese ornament for craftsmen to study, or simply copy, thus adding to their repertoires examples of the Japonesque: The books featured replicated objects, as in Albums-Reiber, or, more often, the designs of objects or books found in valuable collections.

An attempt was made as well to feature each in its original context. The artists and designers who created the style-books had as a goal the reproduction of the arts of one spot of the world that they may travel off in any and all unexpected directions.

Japanese art, rapidly becoming more and more popular, began to become the subject of books.

In 1877, the first volume of Albums-Reiber appeared. Emile Reiber, a Japonisant from the start, choose almost half of his images from the items of daily life in the Japanese culture, like tea, combs, or items in bronze.

He also featured caricatures drawn from the Manga of Hokusai (see the little mice), which quickly found themselves being used to decorate plates in the factory Vieillard à Bordeaux. Wisely, Reiber gives these Hokusai manga the figurative title of Encyclopedia so as to ensure that they will be appreciated as valuable for as long as interest in Japonisme continued.

It was also regularly reprinted in Japan. After 1880 M. Blanc du Vernet published a series of pieces on Japanese art, and in 1876 the painter Gustave Moreau did the same.

There are also, in Reiber, entries about Japanese costume; a note on one reads "the head-covering of silken crepe in turquoise blue, recalls the fashionable women of Brittany," thus adding important context. That context can be seen easily in the work of the artists of Pont-Aven, Gauguin or Sérusier, when they paint the Breton in the manner of the Japanese.

In the 1880s, collections devoted solely to Japanese motifs multiplied; editions appeared from Thomas Cutler and George Audsley (A Grammar of Japanese Ornament), and Christopher Dresser (Japan, its Architecture, Arts and Art-Manufacture).

Among the other early books covering Japanese art history were Louis Gonse's L'Art Japonaise in France in 1883, and William Anderson's The Pictorial Arts of Japan in London in 1886. The apotheosis of this movement was the luxurious publication by S. Bing's "Artistic Japan," (1888-1891), a vast collection of images and short articles on Japan by the best specialists of the moment. The range of the nationalities of the contributors revealed the existence of a true international society of lovers Japanese art.

translated by me from the French essay by Genevieve Lacambre

to my eyes, generally depictions of anything japanese by one is not japanese is always marked by it's non-japaneseness. reiber's reenactments are so charming. the same, i should add could be said of any two artists of different cultures; you've seen the japanese portrayals of the westerners who barged in in the 1850s. i want to look at this more fully.

Labels: emile reiber, Genevieve Lacambre, hokusai