#Peignot

[ourladyofomega]

[oldshowbiz]

Hollywood Bowl Market - Italian Deli - Pizzeria - Submarines

[uwmspeccoll]

Staff Pick of the Week - Part One 

In honor of the unusual nature of the Limited Edition Club’s 1938 edition of Oscar Wilde’s one-act play Salomé, my staff pick this round will be a two parter! The Limited Editions Club had approached French artist André Derain to illustrate a volume for the club, and after a back and forth about potential titles, it was Derain who suggested Salomé. It was the intention of the club to print Derain’s illustrations alongside Lord Alfred Douglas’s English translation of the play, but after learning more about the publication history they were struck with the idea to produce a two volume edition: one in Wilde’s original French to accompany the illustrations of this great French artist, and one in English. This post will dive into the French volume, while part two will take a look at the English volume.

Design for the French volume was handed over to René Ben Sussan, with printing completed in Paris by Dehon et Cie. To play off of Derain’s illustrations, Sussan chose the bold Peignot, then a brand new typeface. Peignot was designed by A. M. Cassandre, best known as a commercial poster designer, who was of the opinion that “in most of our faces of type, the lower case letters are all wrong.” Cassandre’s solution was to design a “multi-case” typeface, consisting of twenty-six letters combining capital and lowercase letterforms. The font retains ascenders and descenders for readability, but there is no lowercase in the traditional sense.

Compare the interplay between text and image in the French volume against the English volume (illustrations by Arthur Beardsley with Bembo type):

André Derain produced twenty-four gouache illustrations on coal-black paper for the French volume, of which ten were selected for publication. They were reproduced by hand by Jean Saudé, a master of the pochoir technique. No small feat for an edition of 1,500! No wonder the publishers limited it to ten of Derain’s illustrations. The paper used for the French volume is a brighter white, rag paper made by Arches paper mill in the Vosges region of France. 

Wilde wrote Salomé while living in Paris in 1891, a year of immense success for Wilde. He published four books that year, Intentions, Lord Arthur Savile’s Crime, A House of Pomegranates, and his most enduring work, The Picture of Dorian Gray. Wilde had written two plays during the 1880s, Vera; or, The Nihilists and The Duchess of Padua, but neither had been successful (nor have they been much revived or revisited since). But with his growing acclaim as prose writer, Wilde again turned to drama. In an interview with the Pall Mall Gazette, Wilde explained his decision to write the play in French as a sort of challenge to himself, likened writing in French to picking up a new instrument that he had been listening to his whole life. 

View Part Two of my staff pick! 

You can find more posts about Limited Editions Club here. 

Explore more Staff Picks here. 

-Olivia, Special Collections Graduate Intern

[fontspacedotio]

Peignot Font

Peignot is a neat and smooth sans serif font that was designed by Adolphe Mouron Cassandre and Charles Peignot in 1936. Peignot is a classic type design that is well known for its avante garde lowercase letters. Great from retro and fashion themed projects. This font is free for personal use and No Commercial use is Allowed! If you want to use it for your Commercial purposes, you should purchase…

[garadinervi]

From: Adrian Frutiger – Rémy Peignot, Univers, 21 Variations Specimen, (type specimen), Deberny & Peignot, Paris, ca. 1960 [Design Reviewed, Braford]

[vintage-tech]

Who can turn the world on with her smile?

The Mary Tyler Moore Show ran from 1970 to 1977.

[deadbutbetter]

kathy acker. translations from the diary of laure

[nekozalenky]

colette peignot, from "fragment of a letter" in laure: the collected writings

[bioabsurdity]

Laure, letter to Georges Bataille, 1934 / Georges Bataille, Blue of Noon, 1935 (published in 1957)

[the-acid-pear]

Gentlemen.

[ourladyofomega]

Two movie-couples in black-and-white kissing against hot pink backgrounds under Peignot typeset.

📸: Claude Lelouch (A Man And A Woman) + 🖌️: unknown (both)

[oldshowbiz]

[apocalypticbastards]

Translations of the Diaries of Laure by Kathy Acker; published in Issue 3 of SOUP Magazine (1983)

link to pdf: https://editions-ismael.com/wp-content/uploads/2018/02/1983-Kathy-Acker-Diaries-of-Laure-Colette-Peignot.pdf

(includes higher res and an introduction by the editor/publisher Steve Abbott on translation that’s pretty interesting)

full issue on jstor: https://www.jstor.org/stable/community.28045062?searchText=&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DSteve%2BAbbott&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&searchKey=&refreqid=fastly-default%3A866fcbc6484d397fa45286609f105db4&seq=6

[irresolu]

Lorsque je dépouillais la presse, je cherchais les articles qui contribuaient à révéler les patrons sous leur véritable jour. De cette façon, peu à peu, accumulai-je dans un dossier tout ce qui risquait de m’être utile dans mes discussions avec la Direction. C’est ainsi que, dans une revue professionnelle, je découvris une rubrique intitulée « Le personnel comparé aux autres moyens dont dispose la direction de l’entreprise ». J’y lus : « Si un mètre de profilé et un roulement à billes d’un type déterminé, un tour ou un camion, un mètre carré de magasin ou mille francs en banque matérialisent, pour la direction de l’entreprise, des possibilités bien définies, constantes, indépendantes de tout contexte subjectif, au contraire, tel collaborateur (quels que soient sa fonction ou son grade) peut, selon son tonus psychologique du moment (ardent et gonflé à bloc, ou bien aigri et déprimé), représenter une valeur extrêmement variable. » Alors, si je comprends bien, pensai-je en fermant volontairement les yeux, le personnel passe après le matériel, et, en fait de pépin, l’incompatibilité d’humeur entre un chef et un subordonné après une malfaçon ou une panne ? Ah ! mais, cela ne va pas se passer comme ça ! me jurai-je. Ah ! « un mètre de profilé » vaut mieux qu’un employé ! Eh bien, vous allez voir ce que vous allez voir ! Je déformais le sens de l’article, et, à partir de mauvaises raisons, trépignais comme un enfant. — Jérôme Peignot, Grandeur et misères d’un employé de bureau

[garadinervi]

From: Adrian Frutiger – Rémy Peignot, Univers, 21 Variations Specimen, (type specimen), Deberny & Peignot, Paris, ca. 1960 [Design Reviewed, Braford]

[bartleby-company]

(vía Modernism101.com | PUBLICITE 1936. Paris: Arts et Metiers Graphiques, 1936. Charles Peignot [Directeur]. Jean Carlu cover design.)