Cover design by prominent Paris avant-garde book-binder Rose Adler
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ADLER, Rose (illustr.); Margaret SUTHERLAND: How to Make Pipes. With  tunes for pipers & small Percussion Band. Cover design by Rose Adler. Paris: Éditions de l'Oiseau-Lyr . Oblong 4°. 78 pages [4 (2 front leafs)], [1-7 (title, dedication etc.)], 8-28, [29-31], 32-36, [37-40]; [2 (title)], 1-21 [1 (tipped-in errata].
Presentation copy of this collection of tunes for Recorder (fluto dolce) by Australian composer Margaret Sutherland. The scores accompanied by a short illustrated description on how to build the instrument, written by the Australian music educationist Ruth Flockhart. The first title bears a dedication by the editor, hand-written with black ink: „To Miss (??)ona Schauche / in remembrance of her visit / to the Oiseau-Lyre / Louise B. M. Dyer.“
Living in Paris since the late 1920s, the Australian born pianist, patron and publisher Louise Dyer, founded »Éditions de l'Oiseau-Lyr«, a music publishing company fastly gaining reputation in publishing reference works about Early, Baroque and Classical music. However Dyer also promoted modernists like Béla Bartók or Benjamin Britten and foremost French composers with close ties to contemporary local avant-garde movements, like Georges Auric, Darius Milhaud and Henri Sauguet.
It may have been this patronage of modernist composers that led Dyer to the assignment of Rose Adler, one of the most prominent Art Nouveau and Art Déco artist bookbinders and designer in Paris, for the cover design of »How to Make Pipes« and at least one other book of Oiseau-Lyr (»Piper's music,« 1934). Since the early 1920s Adler had already created numerous bindings and also furniture for the bibliophile fashion designer Jacques Doucet, a notorious collector of books and magazines of Dada, Surrealism, mainly composing typografical arrangements, simple geometric forms and strong colour contrasts. Adler actually saw herself as avant-garde artist herself and the extraordinary cover design for this hard to find publication is a particularly splendid proof for it, as it is constructed of three design levels: 1. a typografical title arrangement in black and bright green, 2. horizontal black lines to symbolise musical scores and 3. a bottom layer of blind-stamped geometrically arrange lines.
Front hinge at top and bottom slightly torn, cover paper slightly time-stained and with minimal traces of use, otherwise very well preserved copy.
Duncan/Bartha, 1989, no. 2-13, p. 186 (biography).