Cruises in North Africa. By camel, by car, by ocean liner.
Monelle Hayot| N° d'inventaire | 31396 |
| Format | 26.5 x 31.5 |
| Détails | Volume 2: 256 pages, 450 illustrations, Volume 2: 208 pages, 350 illustrations, bound in cardboard. |
| Publication | Saint-Rémy-en-l'Eau, 2024 |
| Etat | Nine |
| ISBN | 9791096561230 |
2 volumes
The adventure of the Saharan cruises of the Compagnie Générale Transatlantique, under the presidency of John Dal Piaz from 1920 to 1928, is one of those bold and little-known initiatives that the Company implemented between the two wars by launching into international tourism, without ceasing to strengthen its lines of liners in the Mediterranean.
The journey to Africa, through a French colonial empire then at its height, with its countless riches to discover, offered a very attractive alternative to the destination Egypt, to the cruises on the Nile, very popular with the Anglo-Saxons, especially since the discovery in 1922, by Lord Carnarvon, of the almost intact tomb of Tutankhamun.
Reconstructing the highlights of this adventure, using documents preserved in private and association collections, libraries, or acquired at public sales, seemed an exciting challenge worthy of being taken up.
Volume 2 – Sébastien Meer
Tourism in the Roaring Twenties
seen by Sandoz
When Sandoz set off in 1922 for his first journey along the Algerian coast towards Marrakech, he was a 41-year-old man with an established reputation. The artist therefore set off serenely to discover North Africa, following the itineraries devised by the Compagnie Générale Transatlantique. Between 1922 and 1928, he traveled with privilege on the Transat circuits, between the seaside and the desert sands. During his African journeys, as on all his other trips, Sandoz worked like an ethnologist: he studied, documented, described, represented, or photographed what he saw. The illustrations follow one another throughout the stages, accompanied by a few topographical, botanical, or toponymic indications that mark his narrative of images. A traveling painter, his equipment was limited to a satchel, a few wooden panels, and, as studios, the deck of a ship, the Mitidja, the Djurjura, the Aurès, the Atlas and its foothills, the reg, the desert... These were commissioned trips to the landscapes of North Africa, but they were desired by the artist, who contacted one of his friends, Maurice Regnault, who introduced him to John Dal Piaz. It seems that the two men appreciated each other, since five trips followed. Although produced under a commission, the images brought back by Sandoz depart from the laudatory conformism that one might have expected; the artist delivers a personal account of his travels, filled with scenes of daily life, landscapes, and portraits.
2 volumes
The adventure of the Saharan cruises of the Compagnie Générale Transatlantique, under the presidency of John Dal Piaz from 1920 to 1928, is one of those bold and little-known initiatives that the Company implemented between the two wars by launching into international tourism, without ceasing to strengthen its lines of liners in the Mediterranean.
The journey to Africa, through a French colonial empire then at its height, with its countless riches to discover, offered a very attractive alternative to the destination Egypt, to the cruises on the Nile, very popular with the Anglo-Saxons, especially since the discovery in 1922, by Lord Carnarvon, of the almost intact tomb of Tutankhamun.
Reconstructing the highlights of this adventure, using documents preserved in private and association collections, libraries, or acquired at public sales, seemed an exciting challenge worthy of being taken up.
Volume 2 – Sébastien Meer
Tourism in the Roaring Twenties
seen by Sandoz
When Sandoz set off in 1922 for his first journey along the Algerian coast towards Marrakech, he was a 41-year-old man with an established reputation. The artist therefore set off serenely to discover North Africa, following the itineraries devised by the Compagnie Générale Transatlantique. Between 1922 and 1928, he traveled with privilege on the Transat circuits, between the seaside and the desert sands. During his African journeys, as on all his other trips, Sandoz worked like an ethnologist: he studied, documented, described, represented, or photographed what he saw. The illustrations follow one another throughout the stages, accompanied by a few topographical, botanical, or toponymic indications that mark his narrative of images. A traveling painter, his equipment was limited to a satchel, a few wooden panels, and, as studios, the deck of a ship, the Mitidja, the Djurjura, the Aurès, the Atlas and its foothills, the reg, the desert... These were commissioned trips to the landscapes of North Africa, but they were desired by the artist, who contacted one of his friends, Maurice Regnault, who introduced him to John Dal Piaz. It seems that the two men appreciated each other, since five trips followed. Although produced under a commission, the images brought back by Sandoz depart from the laudatory conformism that one might have expected; the artist delivers a personal account of his travels, filled with scenes of daily life, landscapes, and portraits.