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A French Miscellany FRENCH MISCELLANY III · 1 MAGGS BROS. LTD · 48 BEDFORD SQUARE · LONDON · WC1B 3DR 1. BAUDELAIRE (Charles) Les Fleurs du mal. Seconde édition augmentée de trente-cinque poëmes nouveaux et ornée d’un portrait de l’auteur dessiné et gravé par Bracquemond. Paris [imp. Simon A Raçon et Comp.]: Poulet-Malassis et de Broise, 1861. £4,500 Portrait frontispiece, author’s name and device on title printed in red. FRENCH 8vo (188 x 117mm). [6], 219pp. 20th-century blue half morocco over blue paper boards, original yellow printed wrappers bound in, half-title (wrappers dusty, MISCELLANY minor wear to extremities). Second edition, revised by the author with previously unpublished PART III. MODERN LITERATURE, 1861-1925 poems. A fine copy. There were two celebrated literary brouhahas in Paris in 1857, one involving Flaubert’s Madame Bovary, and the other TEL. NO. +44 (0)20 7493 7160 involving Baudelaire’s Fleurs du mal which was first published on EMAIL: [email protected] 21 June 1857, in an edition of 1100 copies plus 20 special copies. The prosecution of the book led to copies being mutilated and to cancels being printed. Of the mutilated copies about 200 exist; those with the cancellantia are rare. Poulet-Malassis also kept back a number of un- mutilated copies which he reissued in 1858. This second edition of 1861 was put on sale at the beginning of February 1861. Despite the forced removal of the banned poems, Baudelaire seized the second edition as an opportunity to revise and revitalise his work. The text comprises the 100 poems of the 1857 edition (minus the six pieces condamnées) plus 31 poems written after the 1857 edition and one new poem, La fin de la journée. He also restructured the existing chapters, and what had been 5 divisions in 1857 became 6. The portrait of the author, if less well known than the photograph by Nadar, is finely executed by the artist and engraver Félix Braquemond (1833-1914) an important figure in the introduction of japonisme into France, and a close friend of Edmond de Goncourt as well as the publisher Poulet-Malassis. It had been intended that he should supply an allegorical frontispiece, but this was rejected by Baudelaire around 20 August 1860 ‘voici l’horreur de Braccquemond’. Carteret, Romantique I, 123-4. Clouzot, 26-7. Talvart & Place I, 284. Vicaire I, 343. FRENCH MISCELLANY III · 2 2. BAUDELAIRE (Charles) Les Épaves. Brussels [Typographie de Ch. Vanderauwera]: Chez tous les libraires, 1874. £950 Frontispiece by F. Rops printed on chine volant, with explanation on verso of separate leaf (often found bound before) also on chine volant. Title, ‘Brux- elles’ and Explication du Frontispice printed in red. 8vo (175 x 105mm). [8], 163pp. Contemporary morocco-backed marbled paper boards (a little scuffed and worn at corners). Third edition of this collection of poetry, first published in 1866. The splendid pictorial title, taken from the first edition, is by the Belgian artist and devotee of Baudelaire, Félicien Rops (1833-98) and depicts the seven cardinal sins represented as plants, above which the head of Baudelaire appears in a medallion, being whisked to the heavens on the back of a chimera. Roughly translated as ‘scraps’, Les Épaves was not intended as a collection of entirely new work, but rather a compilation of odd and recent verse; it includes the ‘condemned pieces’ that were suppressed and removed from Les Fleurs du Mal, ’Lesbos’, ‘Femmes Damnées’, Le Léthé, ’A Celle Qui Est Trop Gaie’, ’Les Bijoux’ and ’Les Métamorphoses du Vampire’. Carteret, Romantique I, 128. Talvart & Place I, 288. Thieme/Becker XXVIII, 587-8. Vicaire I, 348. [Third edition not in Clouzot]. FRENCH MISCELLANY III · 3 3. RIMBAUD (Arthur) Poèmes les illuminations - une saison en enfer - Notice par Paul Verlaine. Paris [Evreux, imprimerie de Charles Hérissey]: Léon Vanier, 1892. £1,500 8vo (183 x 125mm). Vii, 151pp. Original printed wrappers, with glassine jacket, partially unopened (upper wrapper detached, text-block split, spine discoloured, minor browning to leaves). Uncommon, first collected edition of Symbolist poet Rimbaud’s two best-known works, Les Illuminations and Une Saison en Enfer, which were first published in 1886 and 1873 respectively. The first work here, Les Illuminations is a collection of experimental poems in verse and prose with a preface by Paul Verlaine, taken from the first edition of 1886. Verlain explains that the poems were written between 1873 and 1875, while travelling around Europe; the working title ‘Illuminations’, used by Rimbaud is taken from English and refers to coloured plates. ’A seize ans,’ Verlain writes, ’il avait écrit les plus beaux vers du monde.’ The autobiographical Une Saison en Enfer, arguably Rimbaud’s most famous collection, was written ‘between April and August 1873, the turbulent period which saw his disastrous last stay in London with Verlaine, and their final separation after the incident in Brussels in which Verlaine shot and wounded Rimbaud’ (Michaelides, 199). Printed in Brussels by the Alliance Typographique, Une Saison en Enfer was the only one of his works to be published by Rimbaud himself; that is, the nineteen-year-old poet persuaded his mother to pay for it. Leaves browned, good copy. C. Michaelides, ‘Stefan Zweig’s copy of Rimbaud, Une Saison en Enfer (1873)’, The British Library Journal, 14.2 (1988), 199-203. Carteret Romantique II, 272. Vicaire VI, 1135. FRENCH MISCELLANY III · 4 4. MALLARMÉ (Stephane). Vers et Prose - Morceaux choisis - Avec un portrait par James M.N. Whistler. Paris [Imprimerie De- slis Frères]: Perrin et Cie, 1893. £1000 Lithographed portrait of Mallarmé on chine collé with serpente, with butterfly signature and embossed Belfond stamp. 8vo (190 x 123mm). I-VIII, [9]- 221, [3]pp. Original blue paper printed wrappers, with glassine jacket, vignette on title page (text block slightly loose, spine tilted and discoloured). First edition of this anthology of Symbolist poet Mallarmé’s verse, containing ‘L’Après-midi d’une faune’ and his version in prose of Edgar Allen Poe’s ’The Raven’, ’Le corbeau’. There are significant textual variations in some of the prose, to the extent that they are almost entirely new works (e.g. Divagation Premier and Seconde Divagation). The frontispiece is a portrait of Mallarmé by his friend James McNeill Whistler. It is recognised as an extremely accomplished likeness of the poet, Mallarmé writing to Whistler in November 1892, ’this portrait is a marvel, the best thing that’s ever been done of me, and I am delighted with it’ (5 Nov. 1892). The artist himself later wrote that ’it is very beautiful - and as a portrait of the poet extraordinary’ (Whistler’s letter to T. Way, 15 Oct. 1894). Ten editions were also printed on Japon paper, and twenty-five on Holland, both editions with two states of the portrait. This copy with the embossed stamp of Belfond at the foot. Mallarmé’s presentation copy of this work to Whistler, printed on Japon paper, is at Glasgow (Sp Coll Whistler 86.1). Carteret, Romantique II, 99. Vicaire V, 476. Talvart & Place XIII, 122. Levy, Whistler Lithographs, no.101. OCLC: (North America: Boston Athenaeum, Philadelphia Museum of Art, Virginia. UK: Glasgow). FRENCH MISCELLANY III · 5 5. RIMBAUD (Arthur) Poésies complètes avec préface de Paul Verlaine et notes de l’éditeur. Paris [Evreux printed by Charles Hérissey]: L. Vanier, 1895. £2,000 Two portraits by Paul Verlaine. 8vo (185 x 117mm.) xxiv, 135p. Half morocco, original wrappers and spine bound in at rear. First edition, “sur papier d’édition” (trade issue, after 25 numbered copies on hollande paper). The volume includes his poem ‘Le bateau ivre’ but ’Les illuminations’ and ’Une saison en Enfer’ had been separately published. Rimbaud died on 10 November 1891 in Marseille after his sojourn in Abyssinia. As is well known Verlaine and Rimbaud had had a spectacular affair which had left Rimbaud wounded and Verlaine in prison, but it was Verlaine (1844-1896) who outlived by five years the young poet. In his preface Verlaine pays tribute to both the poems and the prose writings (some are included in this volume), and justifies some of Rimbaud’s more extreme actions and verses. Verlaine ends thus: ‘Mon dernier mot ne peut-être ici que ceci : Rimbaud fut un poète mort jeune mais vierge de toute platitude ou décadence - comme il fut un homme mort jeune aussi mais dans son vœu bien formulé d’indépendance et de haut dédain de n’importe quelle adhésion à ce qu’il ne lui plaisait pas de faire ni d’être’. The short bibliographical essay which precedes the poems is by the publisher Léon Vanier. Provenance: book label of Charles Whibley (1859-1930) journalist and man of letters who in 1894 became the Paris correspondent of the Pall Mall Gazette. In Paris he knew Mallarmé, Marcel Schwob, and Valéry. He married in Paris Whistler’s sister-in-law who died in 1920, and in 1927 he remarried the daughter of the leading critic Sir Walter Raleigh. Carteret, Romantique II, 274. [Not in Vicaire]. FRENCH MISCELLANY III · 6 6. APOLLINAIRE [KOSTROWITZKY] (Guillaume) Alcools - Poèmes - (1898-1913). Paris [Tours, E. Arrault et Cie]: Mercure de France, 20 April, 1913. £7,500 Frontispiece portrait by Picasso, penultimate leaf with achevé d’imprimer. 8vo (182 x 115mm.) 204, [4]pp. Black half morocco by J.P. Miguet, original yellow wrappers bound in, last leaf a blank (wrappers browned and repair to corner of upper, minor browning to leaves). ‘One of the most astonishing works along with Rimbaud’s Les Illuminations that French poetry has produced’ (Albert Camus quoted by Francis Steegmuller). Handsome first edition, ordinary paper issue, number 378 from a total edition of 567 numbered copies, of which 23 were printed on Hollande van Gelder paper.
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