Topaze

“The collaboration between these two great figures of the South of France, the writer Marcel Pagnol and the illustrator Albert Dubout, is considered essential to understanding the work of each. Yet it only began in 1936, although Pagnol had been writing for the theater since 1923. Dubout, then thirty-one, was already famous. It was through the caricaturist Toé, head of publicity for the writer’s film company, that Dubout met Pagnol and created the first poster for César, which had just been adapted for the screen. From then on, from Fanny to Manon des Sources, Dubout created posters for all of Pagnol’s films, contributing significantly to the playwright’s immense popularity. At the same time, the quality of Dubout’s illustrations contributed to the commercial success of Pagnol’s novels (…). A master of his craft, Dubout gave free rein to his unbridled imagination, punctuated with comic and bawdy touches. He favored the most striking contrasts and sometimes used high- and low-angle effects reminiscent of cinema. This is the case in the illustrations for Topaze, for instance, used to reinforce the economic and political power of certain characters, or to highlight the social context in which they move” (Solange Vernois, “Marcel Pagnol et Albert Dubout: la dynamique de la création,” in Tierce, Université de Poitiers, no. 2-2017).

After César, Marcel Pagnol entrusted Dubout with the illustrations for the trilogy Marius, Fanny, César in 1948. It was an enormous success. This Topaze followed in 1952, then the Souvenirs d’enfance trilogy between 1958 and 1965, after Dubout had already produced numerous posters for Pagnol’s films: the famous series including La Fille du puisatier, La Femme du boulanger, Topaze, La Gloire de mon père, Le Château de ma mère, Le Temps des secrets, Merlusse, Angèle, Naïs, and others.

Upon the publication of the second trilogy in 1958, Pagnol wrote: “My dear Albert, I admire our book. It is a very beautiful achievement and I believe you have reached the height of your talent. Your colors are as beautiful, as original as your drawing. You are without doubt the greatest illustrator of our time, and your line is incomparable. A sureness, a strength and a delicacy that recall the greatest Asian masters. […] A feast for the eyes, Albert, you are the king.” (Letter from Pagnol to Dubout, Cagnes, 20 March 1959).

Accompanied by a certificate, dated and signed 23 April 2021, from Didier Dubout (grandson and heir of Albert Dubout), certifying that this copy did indeed belong to Albert Dubout’s personal library and that “it is the only known inscription from Marcel Pagnol’s family to Albert Dubout.”

A second copy relating to a joint work has since come to light and been brought to the family’s attention: the first edition of Marius, illustrated by Dubout at the Liberation in 1945, bearing this inscription:

“pour mon cher Albert Dubout, avec mon affection et mon admiration, son ami, Marcel Pagnol,”

as well as an edition of a text alone, that of La Gloire de mon père and Le Château de ma mère, with these inscriptions:

“pour mon cher Albert, avec mon affection, Marcel Pagnol, 1957”;

“pour Albert Dubout, hommage au travailleur! Marcel.”

Accompanied by a portrait of Dubout by Albert Decossy, inscribed.