Vollard | Sainte Monique, Paris, 1930, with original drawings by Bonnard, binding by Paul Bonet

Ambroise Vollard

Sainte Monique. Illustrations de Pierre Bonnard. Paris: Ambroise Vollard, 1930

4to (318 x 240mm.), copy no. 9 from a total of 340 copies, one of 25 copies on japon impérial, half-title, 29 lithographs, 17 etched plates (14 unused, 3 index guides) and 178 text illustrations by Pierre Bonnard

EDITION: one of 25 copies with an additional suite of the lithographs on vélin d'arches, initialled by the author and artist on limitation statement, at the end an additional suite of the 14 unused etched plates and a further suite of 15 unused woodcut illustrations, IN ADDITION THE FULL SUITE OF ORIGINAL DRAWINGS BY BONNARD FOR THE 29 LITHOGRAPHS

BINDING: FULL CRUSHED BURGUNDY MOROCCO BINDING SIGNED BY PAUL BONET, covers with a Greek cross above angled concentric circles of white and burgundy morocco, board liners of white crushed morocco with concentric burgundy and white morocco circles, purple watered silk endleaves, gilt edges, in a suede-lined morocco-backed drop-back box, WITH A SIGNED LETTER BY PAUL BONET about the commissioning of this binding, dated 31 July 1931, stating that the work was done by the binder F. Giraldon and the gilder A. Jeanne, mounted at the end of the volume, original printed wrapper bound in, small stains on third version of plates 13 (p.119) and 17 (p. 131), joints weak

AN EXCEPTIONAL COPY CONTAINING PIERRE BONNARD'S ORIGINAL DRAWINGS FOR THE 29 LITHOGRAPHS, FROM THE GASTON LEVY COLLECTION, IN A SOBER BONET BINDING.

Vollard's text had previously been published in 1927 and is considered to be a work of disguised autobiography rather than hagiography (it was banned by the Church on publication). Like St Augustine, Vollard came from abroad to study in the metropolis (Paris rather than Milan) and also had a domineering female in his early life (though it is unclear if St Monica represents Vollard's own mother or his Aunt Noémie).

Bonnard and Vollard had collaborated on previous livres d'artiste, the most famous (or notorious) of which was Verlaine's Paralèllement (1900). Vollard paid Bonnard 46,200 francs on 10 October 1930 for the drawings. On the verso of some of the Bonnard drawings are other sketches of his, such as on plates 22 and 29. Plate 28 seems to have the incorrect drawing before the plates.

THE FINE BINDING BY PAUL BONET is a wonderfully restrained example of his designs. Bonet states in the accompanying letter, "Le décor de cette relieure avait rester très sobre, tant comme motifi principal qui s'inspire la croix, que comme couleurs". François Giraldon executed the binding and André Jeanne the gilding. Paul Bonet is today regarded as perhaps the most celebrated of hte French designer bookbinders. Originally a hat designer, he took up binding professionally in 1924. His clean, geometric and very modern designs display great artistic and technical skill.

LITERATURE:

Bonet, Carnet 170 ("bonne et sobre reliure")

PROVENANCE:

Gaston Lévy, name stamped in gold on inside front cover; Francis Kettaneh (1897-1976), blue morocco gilt booklabel, sale, Paris, 20 May 1980; armorial bookplate of three sickles surmounted by two swan's heads (of Van Syckle)

Gaston Lévy (1893-1977) was a prominent art collector in Paris who had bought numerous works of Pierre Bonnard's from the dealer Ambroise Vollard.