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Lectures, 104, septembre - octobre 1998
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This being the third book and my fourth post on Montorgeuil, I am sticking with the spelling as it appears on the editions we are viewing. Having explored the spelling of the name and having established via communication with Camillemm and Christophe Bier, that the spelling as it appears on the Bel-Rose editions both printed and signed, is not typically French either in sound or meaning. The only other progress I have made regarding the name is that it does appear to have a place in the Catalan language, and that there is a rue Montorgeuil in Paris.
As interesting as this may be it takes no further forward with who the artist illustrator was and whether or not his work was in circulation prior to I will not name him because that would not be fair, however given that I have paid for the book I feel at liberty to quote his description of it. For those who do not read French, the interesting bit is the suggestion that the name Montorgeuil or Montorgueil, is a collective pseudonym fabricated by Schors the publishers of Bel-Rose, I have no idea where the information to support this idea comes from but I must admit that I think it is most likely correct.
But how do we verify this? A bit of a chicken and egg scenario, which came first the artwork or the name? Also a small matter of due diligence requires resolution on the part of the auction house. Well I am hoping that someone can fill in the gaps and put me right if I am wrong. Because the most important thing is that the artwork although completely twisted is stunning and very funny, I would dearly love to read the text in English.
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Bernard Montorgeuil, Vier Donnerstage. The heroine appears to have gone off of her rather effeminate looking lover, preferring a lusty brunette as her paramour. From the scans it looks as though the images may have been copied from paintings, or at least from a colour version. My copy appears to vary from the two listed below, as it does not have an illustrated cover.
Having, rather rashly declared that I would not be posting anymore of these titles, I found another, and despite the fact that no one other than myself appears to be interested in these books, I have generously decided to share it with you anyway. This is an oddity, looks to be an amateur photographer who has had to use the lottery to find his models, and at one point looks to have been reduced to convincing his Mum to flash her knickers in the back garden.
Any information or questions about this title please complete a contact form. With thanks to Camillemm, who brought this matter to my attention when I accidentally, misspelled the name several times in my first post on the the mysterious Montorg?? I have checked all of my Editions Bel-Rose, titles in both the French and German editions, and they all use the spelling above, and although the legibility of the signature differs they are generally clear enough to confirm that the e precedes the u in the spelling of the name and confirms the printed version as correct.
This leaves me with a serious question, why does the spelling on auction records and later editions change? Four works in four volumes, quarto x mm , comprising a total of pages of manuscript text in black ink with initials and titles in red, and 59 full-page pencil drawings with touches of colour; or, vol. The present manuscripts are the source for the Belrose edition of , and the many subsequent reprints by Leroy which introduced Montorgueil to a much wider audience.
Little is known of the author, whose work was produced between the wars, but began to circulate clandestinely in the s. In-4 x mm. As despite the fact that the Bel-Rose editions have a variant spelling and are signed, and that at least in the latter date wise of the two auctions these editions are referenced, then how come they missed the spelling of the name? I will continue to pursue this interesting puzzle and anyone who would like to contribute would be most welcome. So are the Bel-Rose editions the real thing, are the two lots by the same hand, and why did no one pick up on the anomaly?
As the second part in my series I am listing a French edition, and from the limitation it is now obvious that the French edition differs from the German, in two ways, it is printed in calligraphic text from the manuscript, and is in a smaller limitation of only copies as opposed to the German version of It is interesting to note that despite the many coloured versions that appear in various editions, that the originals were largely mono coloured with just traces of colouration as described below.
From the auction record of the Christies sale of from the collection of Tony Fekete:. It is my intention to seek permission to reproduce the images from these titles, but whether or not consent will be given remains to be seen.