there “überhaupt” ladies who are being part of this highest
authority at the ex libris scene? Is this organization even still livable, in a
time that most of the graphic artists increase each year their prices, as if
the collectors are owners of a gold mine!
I’m Anita Thys, and I’m a collector
since 1999 and owner of nearly sixty bookplates on my name. I’m also married
with the president of the Belgian ex libris society Graphia vzw, but let it be
clear that I’m writing you in my own name. I want to declare you, that I’m
knocking off my ex libris activities. Knocking of collecting and ordering of
bookplates, of course of the adverse effects by the ex libris evolution. I will
tell you WHY !!
1.The F.I.S.A.E. behaves as a dead
institute, without any authority, competence or financial means. It exists in
name only and is unable, maybe even incompetent, to give a solution at the sighs and
complaints of her members and the collectors world-wide: e.g. contracts between
artist and collectors, seizes, original plates, copyrights, prices, …. If my memory doesn’t fail, I’m convinced that
my husband asked to put it on the agenda of the F.I.S.A.E. meeting in Istanbul four years ago.
He even prepared a paper about the “Serious
threat for the ex libris”
I can’t remember that I’ve seen any
comment or reaction on it. Now, four years later the situation is deteriorating
as result of non acting.
2. If artists continue to increase
yearly their rewards, and collectors continue to pay this fee…. believe me ….in
10 years nobody will order still an ex libris, or you wouldn’t find any
collector for exchanging. We already must conclude today, that our children
have other ordinary priorities. How will you find and convince younger members
to participate at our interests?
3. It’s not only the fault of those
artists. It’s very frustrating to exchange expensive bookplates, with
collectors who only are interested in those highly-paid prints, even not in the
quality of the print or the artistic value. In this circumstance my lust and
pleasure to exchange has completely gone. I even won’t start a discussion about
the negative influence of E-Bay on this strategy of prices.
4. Also the organization of the
F.I.S.A.E. is gradually ill in the same bed. The Spanish initiative doesn’t go
only in concurrence with other partners, but even in this season and at that
isolated location is the fee for the
most of European collectors too elitist and will raise an objection. What
argument can prove the necessity for the F.I.S.A.E to organize a supplementary
meeting in Europe, instead of taking profit of yearly organized and popular
meetings e.g. in German, Czech Republic
I should appreciate your transparency
and democratic behavior to distribute this considerations at your members, and If you should
communicate it during the official meeting, so that the participants and the
national representatives can formulate their opinion at this matter.
Antoine Monnoyer était maître imprimeur à Paris en 1618, et
a tenu l’imprimerie jusqu'en 1634, quand (son fils?) Pierre Monnoyer lui a
succédé. Il y a un trou historique jusqu'à ce que Jean Baptiste Monnoyer (né en
1688, †1777, Joinville), reprenne l’imprimerie pour le duc d'Orléans à
Joinville. Charles Monnoyer (né en 1720, Joinville, †1793, Le Mans) est devenu
l'imprimeur du roi et de l'évêque du Mans, où il s'établit en 1751. Il a
dirigé l'entreprise jusqu'en 1789. Charles II Monnoyer (né en 1758, Le
Mans, †1811) a été en charge de 1789 à 1811. Charles III Nicolas Monnoyer
(né en 1793, Le Mans, †1860) a dirigé l'entreprise de 1811 à 1860, et a été
suivie de 1860 à 1889 par Charles IV Edmond Monnoyer (né en 1829, Le Mans, †1899).
Enfin, à partir 1889-1932, l'entreprise
était dans les mains de Charles V Antoine Monnoyer (né en 1868, Le Mans † ?)
et Paul Charles VI Frédéric Monnoyer (né en 1903, Le Mans † ?).
La matrice (bois de bout) de cette marque (ex-libris ou
marque d’imprimeur) est au Musée de la Typographie (15 rue A. Thomas – 37000 Tours
– Tél : 02 47 38 93 25)
Merci de nous contacter à ce propos à : email@example.com