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Issue 13 of The Vadeboncoeur Collection Of ImageS. 60 pages of the most glorious color art from the turn of the 20th Century. Read more

Palo Alto, CA Theater
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Issue 13 of The Vadeboncoeur Collection Of ImageS. 60 pages of the most glorious color art from the turn of the 20th Century.

Palo Alto, CA Theater
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Stretch Goal #3 – Pledge us up to $15,000 and I'll print a Louis Chalon portfolio AND I'll make ImageS #13 56 pages plus covers with a Stay-Flat square-back binding.

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ImageS Magazine #13 – A Classic in Waiting

"A handsomely-selected tasteful mix of the best, well mounted, printed. It has my vote for its long life." That's how Alex Toth described the first issue. He nicknamed it "JimageS" and subscribed throughout his life.

Hi. I'm Jim Vadeboncoeur, Jr.

I'm the publisher of The Vadeboncoeur Collection of ImageS. I've been a publisher for 45 years and of ImageS for 13 years. While I've been proud of every issue of my magazine and consider each one a success, this next one is going to be so special and so spectacular and so labor-intensive that I've found it necessary to turn to you for help.

My magazine is devoted to public domain illustration art. I scour original source material - magazines and books - from before 1923 for the most beautiful and forgotten images by famous and forgotten illustrators. Using my own methodology, I bring them back to their original glory and re-print them using the best technology available today on museum quality stock. I try to give century-old art the benefit of modern reproduction technology and display these artists as they have never been seen before.

_______________________________________________________

Stretch Goal #1 - EIGHT more pages!
We have lift off.

We've reached the First Stretch Goal already! Here are a few samples I've got in store for the EIGHT extra pages you've given me. For even more potential samples see Update #5.

This was originally a shoe-in, but was bumped for the Mossa piece I found a couple of weeks ago. It's part of another Djer-Kiss ad, this one by the husband & wife team of R.L. and E.D. Forkum.
This was originally a shoe-in, but was bumped for the Mossa piece I found a couple of weeks ago. It's part of another Djer-Kiss ad, this one by the husband & wife team of R.L. and E.D. Forkum.
This is from a color lithographic wine brochure/book published in 1890 by The Continental Bodega Company. The artist is Hermann Vogel and I've been leafing plates into ImageS for years, ever since my friend Bud Plant let me scan his copy.
This is from a color lithographic wine brochure/book published in 1890 by The Continental Bodega Company. The artist is Hermann Vogel and I've been leafing plates into ImageS for years, ever since my friend Bud Plant let me scan his copy.
A great Philip Goodwin piece that in again/out again as the issue firmed up towards the end. I think this is currently out and there are three pages of Norman Lindsay in. Now it's definitely IN.
A great Philip Goodwin piece that in again/out again as the issue firmed up towards the end. I think this is currently out and there are three pages of Norman Lindsay in. Now it's definitely IN.
This is "The Little Mermaid" from 1912 Andersen Kalender by Heinrich Lefler and Joseph Urban. I got the color balance wrong on this one plate. I feel compelled to do it over and do it RIGHT. With 8 more pages, I will.
This is "The Little Mermaid" from 1912 Andersen Kalender by Heinrich Lefler and Joseph Urban. I got the color balance wrong on this one plate. I feel compelled to do it over and do it RIGHT. With 8 more pages, I will.
Georges De Feure - from one of the same L' Figaro's as the Mucha material. I've been debating this for a year. There are three images; each lushly detailed and they could be, like the Barbier's, reduced and shown on one page.
Georges De Feure - from one of the same L' Figaro's as the Mucha material. I've been debating this for a year. There are three images; each lushly detailed and they could be, like the Barbier's, reduced and shown on one page.
George Barbier discovered at the Paris flea market not two weeks ago. Four large plates that would look good reduced to one page. A nice little fillip of Art Deco to offset all the Romantic and Art Nouveau. You'd like it.
George Barbier discovered at the Paris flea market not two weeks ago. Four large plates that would look good reduced to one page. A nice little fillip of Art Deco to offset all the Romantic and Art Nouveau. You'd like it.

Those are some of the illustrations I've got lined up for those extra eight pages. if we can reach the $12,500 Stretch Goal #2 that I'll announce tomorrow or Wednesday (see Update #6), there will be more sparkle and shine to the issue. Keep pledging and watch this space.

_________________________________________________________


ImageS Magazine - A Classic in Waiting  (continued)

About six years ago, I came across this magazine, the December 1899 issue of Figaro Illustré.

Noél 1899 Figaro Illustré
Noél 1899 Figaro Illustré

Within it, I found a suite of eight lithographic color plates by the artist, Louis Chalon, each highlighted by an intricate, ornate and complex gilt component to the art. The gilt was erratic and splotchy and not very bright. It was impressive, but not what it could have been if done right.

One of eight magnificent lithographic plates that I want to reproduce, but with its intricate gold component done RIGHT even if I have to completely recreate the layer myself in order to cleanly reproduce it, in ImageS #13. Each is 12"x18".
One of eight magnificent lithographic plates that I want to reproduce, but with its intricate gold component done RIGHT even if I have to completely recreate the layer myself in order to cleanly reproduce it, in ImageS #13. Each is 12"x18".

I wanted to include those eight lithographic plates as double-page spreads with a fifth gold spot color in an issue of ImageS. After two years of attempting to create that spot color layer with Photoshop filters and another year and a half actually RE-CREATING the intricate overlay for each gold plate, often with a one-pixel pencil tool in Photoshop, I was ready to proceed.

What the gilt layer for the plate above looks like.
What the gilt layer for the plate above looks like.

But, what exactly did I know about printing gold ink? What did my printer know about it? I was about to find out. The printer and I had several discussions, then a couple of meetings where we all learned a lot about what had been done a century ago and just how far we wanted to go to recreate it. We explored different inks and even ran some tests on a small press just to determine in what sequence we should print the colors and the gilt. My printers are artists, too, and they want to do this just as much as I do.

Here I am at the press check of the sample run. Steve's a much better pressman than he is a cameraman -  be assured of that.

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We've lined up a six-color press and figured out how to lay down a varnish just over the gilt to make it really pop and apply them after the other four colors were allowed to dry more completely. The process will be totally digital, using Stochastic, screen-less, direct file-to-plate printing techniques that are state-of-the-art. I couldn't fix all of the registration problems from 115 years ago, but I can promise that I won't cause any more.

So what ensued in the six years since I found these challenging wonders? Well, ImageS issue #10 was a special landscape issue that was already in the works at the time and nearly ready to go to press.

I made ImageS 10, 11 and 12 realities on my own.
I made ImageS 10, 11 and 12 realities on my own.

Issue #11 was being guest-edited by animator Susan Goldberg, and I had already lined up most of the material for ImageS #12. That left #13, which was the last issue for which I had accepted subscriptions. If I wanted to reproduce those gilt-enhanced lithographs, the soonest I would be able to do it would be in ImageS #13.

The gilt Louis Chalon plates will take up sixteen of the 48 pages, plus covers. I have already prepared an incredible array of art to fill most of the rest of the issue: in addition to the glorious cover, I have seven other rare Alphonse Mucha drawings, seven paintings by Charles E. Chambers from The Price of Love, a C. Coles Phillips fade-away girl, Sarah S. Stilwell's illustrations for The Princess Porquois, a Willy Pogany Djer-Kiss ad, five fantastic Maxfield Parrish pieces, Norman Lindsay as the featured pen artist and so much more. All obscure pieces that aren't commonly seen. I'm searching the flea markets and bookstores of Paris right now for the final contents. It's going to be the most impressive and magnificent issue of ImageS ever!

"Bravo" by Alphonse Mucha from an 1896 Le Figaro. The stunning cover for ImageS #13, which will enclose 48 pages.
"Bravo" by Alphonse Mucha from an 1896 Le Figaro. The stunning cover for ImageS #13, which will enclose 48 pages.

The magazine will be printed on 100 lb coated stock with 100 lb coated covers with an aqueous coating. At least 24 pages will be five color (CMYK+Gilt spot color). Stochastic (screen-less) direct file-to-plate printing for perfect resolution. 9"x12", saddle stitched, best quality, with hand-picked contents by someone who is a fan and a true appreciator of classic illustration.

Thornton Oakley - one of the illustrations for the 13th issue.
Thornton Oakley - one of the illustrations for the 13th issue.

I’ve managed to self-finance 12 issues and five B&W specials of ImageS. And I have this next color issue 90% finished and it’s taken me over three years to get this far.

If Time is really Money, it's been 3½ years since issue #12. It has taken me that long to approach the point where I feel that I can reproduce these magnificent illustrations. I've spent all my time. And all my money. I've also gotten three and half years older and that much wiser. And I've decided that this will probably be my final issue of ImageS. I want to go out with glory and make this the best, most exciting and impressive issue ever, but having spent all that time, I need your help. The printer has given me an estimate of $17,000 and change for the print run of 2000 copies and each copy will cost $6 plus to mail. With only 2000 copies printed of this issue, you'll be part of something very special when it happens. Will you help me by pledging half the costs?

If you can do more than that, I'm ready to suggest some awesome incentives:

Stretch Goal #1 : MET

We've reached the $10,000 mark and we've added Eight more pages with at least a dozen more extraordinary and extraordinarily rare illustrations at no extra cost and I will definitely include the Thornton Oakley painting shown above.

But I don't want to get ahead of myself. Maybe we can call this the very first Kickstopper Campaign and try to get me gracefully out of the publishing business with a product that would have made Louis Chalon proud, and my friend Alex Toth happy. Thanks.

Peace, Jim (|:{>

________________________________________

FYI

Let me tell you a bit more about me and my qualifications for creating this project: You might recognize my name from this magazine that I published in 1969 with my friends Bud Plant and Al Davoren. I was all of 22 years old (Al was 25 and Bud was 17), but we put our own money up front and then marketed the final product.

Promethean Enterprises #1-4 - my first publication ventures in 1969-72
Promethean Enterprises #1-4 - my first publication ventures in 1969-72

We produced five issues of Promethean Enterprises, and I used the name to personally publish two other items of which I’m quite proud. Al Williamson: His Work and Doug Wildey’s The Movie Cowboy, both in 1971, the year I turned 25.

Other publications during the ‘70s included Inanity Four, the first in a proposed series of Fandom Lampoons that I did with Bob Napier under the Second Suicide banner. We also produced ten issues of George, the Fanzine Review Magazine with friend Jan Strnad.

For several years of that decade I was the Central Mailer of APA-5, which debuted the writing and graphic talents of folks like Mark Verheiden, Chris Warner, Frank Miller, Paul Chadwick, Ron Harris, and others. I found myself contributing more and more to other people’s publications as I acquired things like a house and a mortgage. I was on the original advisory board for Jerry Bails’ and Hames Ware’s Who’s Who of American Comic Books and an adviser to early editions of Overstreet’s Comic Book Price Guide.

It’s not much  - as I’d sworn off “Publishing” after Promethean Enterprises #5 in 1974, which coincided with my being hired full time at Hewlett-Packard. That cut into my publishing hours considerably. All of these 1970s efforts were financed with our own money and all but the final issue of Promethean Enterprises were done before I was 27 years old. I was a prolific, productive and rather progressive publisher.

I was never really profitable, though. Publishing was never my primary job. Always my 2nd or 3rd occupation. Fast forward a decade to 1984. I got my first computer, an HP-150, and began, what else, desktop-publishing a series of Indispensable Indexes. Apparently I hadn't lost my touch. Three of these indexed the artists in the first 100 issues of Marvel’s Strange Tales comic title of the 1950s and were used ‘as is’ by a microfilm company which acquired the rights to reprint those issues. Another issue, which attempted to explain the drastic drop in the number of Marvel Comics published in late 1957 was reprinted ‘as is’ in Steve Duin and Mike Richardson’s seminal book, Comics Between the Panels, which even had, quite surprisingly, an entry for ME. One other Indispensable Index was the basis for nearly every listing of the work of Alex Toth ever compiled and is still referenced today, 30 years later, by collectors as, wait for it... indispensable.

1987 began a series of published catalogs under the Bud Plant Illustrated Books imprint. Bud, my friend from 20 years prior and my cohort in Promethean, and I were both collectors of illustration art. We found it in books and magazines and we needed both an outlet for our duplicates and an excuse to go look for more. The business provided both.

Somewhere along an unbroken chain of 38 book catalogs and two color original art catalogs (and many dozen updates between them), I discovered that my determination to never publish again had weakened. It was right around 2000 and several factors led up to that decision:

1. The first was that Hewlett-Packard had laid me off in 1998 and must have REALLY wanted me to go because they gave me a bunch of money to leave. By this point in 2000, I had spent nearly half of it and wanted to do something GRAND, something I could be proud of and hold in my hand and point to. I didn’t want to fritter the remainder of it away on necessities.
2. I had just acquired in the course of a book-scouting trip an issue of Jugend Magazine from 1910 that was totally illustrated by Heinrich Kley.

Jugend by Kley from 1910
Jugend by Kley from 1910

Here, THIS is that magazine. I was awed by it and the very first thing I wanted to do was to share it with every person who knew who Heinrich Kley was.
3. Bud and I were doing lots more book shows now that I wasn’t working at HP and way too many people were coming up to me and calling me Bud. And asking me on the phone if I was Bud Plant? And I started to have a very slight identity crisis.
4. Karen had just retired and was helping me full time with the business. For the very first time in my life, I was working ONE job.
5. Quark Xpress was making digital publishing really possible and, though I didn’t know it, Adobe's InDesign was one year in the future.

What I imagined became The Vadeboncoeur Collection of ImageS. (Getting MY name in there, see?) I told no one. I took my time, learned my own way to reproduce the material to my own satisfaction and printed the first issue with my own money and THEN I advertised and sold it.

The Vadeboncoeur Collection of ImageS #1
The Vadeboncoeur Collection of ImageS #1

This is the homage I made to that issue of Jugend and I was able to share my discovery with my friends and make some new friends in the bargain.

By the way, the name comes from the many artist biographies that I wrote for the web around this time. You might consider this “publishing”, too. As I wrote them, I always put a list of references at the end to quote my source material, but quite often I would find that a lot of the information had been gleaned directly from my shelves and the bits of knowledge I’d collected over the decades. So in those cases the final entry in the “References” was “The Vadeboncoeur Collection of Knowledge”. When it came time to name my magazine, with my primary goal of getting Vadeboncoeur out into the world, it wasn’t a stretch to end up with ImageS.

That first issue was pretty slim. But, then so was that first issue of Promethean Enterprises. Just as we poured the “profits” from PE #1 into more pages for #2 and doubled that into #3, I did the same with ImageS. I wasn’t trying to make money - I was trying to make a magazine. And so for seven issues I pumped the “earnings” back into more pages and better paper and better printing – going from 32 pages in #1 to 44 pages in #6 with better paper and cover stock with no increase in price.

Everett Raymond Kinstler - The Artist's Journey through Popular Culture: 1942 - 1962
Everett Raymond Kinstler - The Artist's Journey through Popular Culture: 1942 - 1962

You might also recognize my name from this book which I wrote with and about Everett Raymond Kinster. Another major self-financed achievement of JVJ Publishing.

The two-year hiatus I took from ImageS between #7 and #8 to produce the book was really a breakneck pace and the distraction it created at Bud Plant Illustrated Books led to the realization on both my part and Bud’s that the book business would be better off in someone else's hands. Bud wanted to make some money selling books and I figured I could not make as much money publishing as I was not making in the book biz. We parted on the most friendly terms and we are still good friends today.

Building up the support and financial momentum I’d lost in those two years has been difficult. I even had to trash an entire print run of B&W ImageS Annual Three that I tried to have printed in the Orient as a cost-cutting measure. Quality is what JVJ Publishing is about. That and beautiful and obscure and fantastic art.

I want this final issue to be the most fantastic one ever, and those who have seen the previews of what I have in store are lining up to contribute. I hope you'll join them. Thank you.

Peace, Jim (|:{>

Risks and challenges

Things can always go wrong with any project. I know, I've dealt with my fair share. I've even left a printed job sitting on a dock in China half paid for after rejecting it for poor quality. But, I made my deadline, with my money. I will make this deadline also. I've the experience and the skills to do this job and I've lined up the most incredible project of my long career. My printers are top of the line pros and have been with me from the beginning of ImageS. We can turn the issue around in two weeks - from submission of files to delivery of magazines to my door. If there is a problem, we work together to fix it. I hope you'll entrust me with your support and help me make it something we can all hold in our hands and be proud of. Thanks. (|:{>

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FAQ

  • I didn't want to contrive something just to have a certain pledge level. I have a wonderful Stretch Goal in mind for the $100 level, but it truly necessitate we reach $15K to achieve it. If you pledge at the $60 level, you WILL be able to revise your pledge to the new level when it is revealed. But we have to get there first. And we have to get to the $8,800 and $10,000 levels, too. Please don't refrain from pledging because you can't pledge enough. Thanks, Jim (|:{>

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    SUBSCRIBERS: 105 brave and loyal patrons are owed copies of this issue. We'll sign you up for free. Drop us a note if you are unsure of your status or pledge again if you just want to help. This pledge level reserved for those with existing subscriptions to ImageS.

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    My heartfelt thanks AND your name recorded on the JVJ Publishing/ImageS #13 webpage as a faithful friend of the family.

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    The Alphonse Mucha cover to ImageS #13, sans text, available to you as a high resolution pdf file download. Perfect for printing out at any size you choose for that unique poster or framed print. Plus my thanks and your name on the JVJ/ImageS #13 web page.

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    One copy of ImageS #13 signed "JVJ" PLUS the copy of Figaro Illustré with the Louis Chalon source material - mailed flat via Priority or Air Mail.

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    [a $15,000 stretch bid]
    One copy of the Limited Edition Louis Chalon portfolio. Eight 12½”x18½ five-color plates, suitable for framing, in a gilt-decorated envelope. In a numbered edition of 100, from a total edition of 250.

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    [a $15,000 stretch bid] One copy of the Limited Edition Louis Chalon portfolio. Eight 12½”x18½ five-color plates, suitable for framing, in a gilt-decorated envelope. In a numbered edition of 100, from a total edition of 250.
    Note - this is the portfolio ONLY & does NOT include a copy of ImageS #13

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    [a $15,000 stretch bid]
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    One copy of ImageS #13 signed "JVJ" plus one copy of the Limited Edition Louis Chalon portfolio and mailed flat via Priority or Air Mail. Plus the Alphonse Mucha cover high resolution pdf file download and your name on the JVJ/ImageS #13 web page.

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    [a $15,000 stretch bid] One copy of ImageS #13, the Limited Edition Louis Chalon portfolio, plus all in-print back issues (6-12 color issues and 2-5 B&W Annuals) mailed flat via Priority or Air Mail.

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    [a $15,000 stretch bid] One copy of ImageS #13, plus a 12" x16" poster of the ImageS #13 Mucha cover, the Limited Edition Louis Chalon portfolio, plus all in-print back issues (6-12 color issues and 2-5 B&W Annuals) mailed flat via Priority or Air Mail.

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    Ten hours, non-consecutive, with JVJ (via phone, Skype, Facetime, in person, etc.) consultation/sharing of methodology and discussion of digital techniques for restoring previously-printed source material. Color-correction, descreening, scaling ... you choose. Time and place can be arranged. Oh, yes, and one copy of ImageS #13 signed and all the other rewards created specifically for this Kickstarter campaign - prints, posters, portfolios, etc.

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Funding period

- (30 days)