In the 1930s the Australian artist Adrian Feint (1894 - 1971) would have made you a bookplate as witty and stylish as the ones you see here for ten guineas. For that he would have produced a design for your approval, a woodblock and thirty signed images (more if you wanted). Then you would have been in the swim. No need to be a bibliophile. No matter if the Library of Congress in Washington, DC had held an exhibition of his work in 1930 or the first book of the Australian Ex Libris Society was devoted to his work in 1934, you would be chic.
And I think this was the real source of his success. All the bookplates here use standard popular images of the 1920s and 1930s. The ship in full sail, the ploughman, the elegant classical bust in the manner of Laboureur, the busy bunch of flowers, nymphs and satyrs, even the Scottish terrier - all come from the pool of inter-war hackneyed ideas. It took an artist with Feint's panache and skill to make them live again. He knows they are all faintly absurd in the way of all good archetypes but they work well. Even so, his real ambitions lay elsewhere.
It could all have turned out trite but instead his work stands out from the crowd. To be honest, I'd not come across Feint untill the other day but these little bookplates stood their ground amongst dozens and dozens of others that were fiddly and forgettable. I am sure that it was this originality that took him as far as the hallowed premises of the Library of Congress. It would only be fitting if the archivists wore ivy in their curls and the boilerman ran naked across the lawn.
Very witty and well researched post Charles. And: yet another ploughing team: a miniature jewel, my favorite.
ReplyDeleteYes, the ploughman was just to much to resist.
ReplyDeleteCharles