The Artwork-Book: words and art in discourse
As a child, Priscillia Leal Torres was captivated by books, thrilled equally by the imagination of their content and the feel of them: their weight, size and illustrations. In 2020, she tied in her passion for art and creation to found Les Éditions Leal Torres — a publisher specialised in “artwork-books” of distinction.
In an increasingly digital world, Torres feels deeply about the importance of physical books. In this discussion with Laurent Issaurat, our Head of Art Banking Services, she relates her artistic vision and the singularity of her exquisite creative process.
What is an artwork-book?
Priscillia Leal Torres: An artwork-book is a rare object. It is derived from a dialogue between writer and artist, and formed by the savoir-faire of artisans and the fine workmanship of master craftsmen and craftswomen. Its avant-garde content, the meticulous, heirloom-quality of its manufacture, its aesthetics and its rarity are what make the book an artwork in its own right.
While it remains a relatively niche term in the book world, I love that it encompasses all sorts of works, like the artist’s book or livre d’artiste, contemporary fine press books and livre de peintre.
How is an artwork-book conceived?
PLT: Each project follows its own story and the journey is never the same. The same is true of the initial spark that springs from the work of an artist or a writer. My role is to choose the creator(s) capable of entering into dialogue with that writer or artist, and according to the singularity of the original idea.
The spark of our inaugural creation came from the artist Gérard Traquandi whose work conveys wonder and resonance with nature — and the sensations it inspires. From there we selected poems by Fernando Pessoa — specifically by his primary heteronym, Alberto Caeiro — who invites us to see the world though the fresh and innocent gaze of a child.
To bring the dialogue to life, we commissioned the poet Patrick Quillier, who is also a translator for the Bibliothèque de la Pléiade editorial collection and an expert on Pessoa himself, to do a new French translation of Gardeur de troupeaux (from the Portuguese O Guardador de Rebanhos). Choosing the right creators is fundamental; the dialogue is the genesis of the artwork-book, allowing it to be a space for encounter and co-creation.
To stage the dialogue, we worked with artisans and master craftsmen and craftswomen. Jacques Bréjou of the Moulin du Verger stamp mill in Charentes, southwestern France, manufactured the custom paper. Both rough and smooth, it echoes the language of the earth and the nature embodied in Pessoa’s poems. The French text was hand-typeset by the teams at the Atelier du Livre d’Art & de l’Estampe of the French National Printers (IN Groupe), the legacy of the Royal Printers founded in 1640. The text was then printing using letter press, giving each letter superb depth and creating a magical communion of ink and paper.
The thirty books are individually watercoloured by Gérard Traquandi, bound in leather and placed in a special box slipcase. Each book contains approximately fifteen original watercolours, making every copy a unique object that immerses the reader in a universe of colour, light and joy.
Le Gardeur de Troupeaux, poems by Alberto Caeiro and original watercolors by Gérard Traquandi ©Remi Mino
The choice of craftspeople is therefore an essential part of the creation process.
PLT: Absolutely — they stage the dialogue between artist and writer. As the publisher, we oversee the selection step with utmost care. But it is becoming more challenging: the quality of training in the arts and crafts is deteriorating, which compromises the transmission of expertise.
Very few people today master the seventy steps of traditional French bookbinding, for instance. But Louise Bescond does: her precise craftsmanship ensures the flawless integrity of the work over time. We’re currently collaborating with her on a project called Comment naît un livre about the book in its nascent state in both ink and paper. She contributes not as a bookbinder but as an artist, producing ten original engravings.
Für Ingeborf Bachmann, text by Ingeborg Bachmann and Artwork by Susanna Fritscher ©François Goizé
Is there a market for artwork-books?
PLT: It is a dynamic, niche market that attracts bibliophiles, book lovers and collectors of art related to specific artists and writers. Collectors of Susanna Fritscher’s or Joseph Kosuth’s works may consider adding these artists’ artwork-books to their collection.
Publications by Éditions Leal Torres cost between €2,500 to €8,000. Like all art, their value will evolve over time depending on the artist’s popularity and the availability of their pieces.
Institutions such as museums and libraries boasting rare collections (Albert Camus in Antibes, Caroline in Monaco, André Malraux in Strasbourg and the Alcazar in Marseille) also have a stake in this market. By acquiring and integrating artwork-books in their collections, they play a vital role in the preservation, dissemination and celebration of these exceptional pieces.
What place do books hold in todays increasingly online world?
PLT: Books are the custodians of a millennia-old culture; they anchor us in a world marked by uncertainty. We should celebrate them — not out of nostalgia or a fear of modernity, but to reaffirm their place as cultural and intellectual guardians in the face of a future unknown.
Priscillia Leal Torres
Priscillia Leal Torres founded in 2020 Éditions Leal Torres, an independent publishing house dedicated to creating original works that bring together authors, artists, and craftsmen.
She conceives the book as a true work of art, a space where text and image interact and a field for creative expression in its own right.
Image above (header): Le hautbois de Delphes, poems by Patrick Quillier and works by Alexandre Capan ©François Goizé
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