FRENCH MISCELLANY III · 1 MAGGS BROS. LTD · 48 BEDFORD SQUARE · LONDON · WC1B 3DR 1. BAUDELAIRE (Charles) . Seconde édition augmentée de trente-cinque poëmes nouveaux et ornée d’un portrait de l’auteur dessiné et gravé par Bracquemond. [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 Second edition, revised by the author with previously unpublished PART III.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 , 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. [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 . 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 ‘’ 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, , 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 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. Apollinaire’s second book, the first being the extremely limitedBestiaire of 1911. This, the ordinary edition initially sold very well, some 350 copies racing off the shelves in the first year. However in the second year only four copies were sold, and in 1915 and 1916 only seven and five. Reviews were mixed, one of them describing Apollinaire as an ‘enchanting junk dealer’. A few of the poems had been published earlier, and there is a substantial group of poems written whilst he was living in the Rhineland serving as a tutor at Neuglück. The portrait frontispice is by Picasso, one of a number of Not all the shell fragments were initially removed from his head, and sketches done by the artist of Apollinaire. because of pressure on the brain he was trepanned. It is with his head Apollinaire had a bizarre geniture and early life. One of the two sons bandaged that Picasso (and others) drew him. Whilst working as a of an itinerant femme galante of distinguished Polish lineage, from censor he fell ill with pulmonary congestion which was exacerbated the moment he settled in Paris he became a noted literary and artistic by his corpulence. It was however Spanish Flu which carried him off figure. He served in WWI and was wounded in the head on March two days before the Armistice on 9 November 1918. 17 1917 when he was removed from the front line to hospital in Paris. Talvart & Place I, 80. FRENCH MISCELLANY III · 7

blood streaming from his head, mounted on a horse with no stirrups. Rouveyre’s drawing (left) equally shows him with head bandaged. Provenance: Signature of Georges Crahay (?1885-1958), possibly the same Crahay who was a member of the Association pour le progrès intellectuel et artistique en Wallonie, formed clandestinely in 1944 during the German occupation of Belgium. Talvart & Place I, 80. (228515)

8. APOLLINAIRE [KOSTROWITZKY] (Guillaume) Les ma- melles de Tirésias drame surréaliste en deux actes et un prologue avec la musique de Germaine Albert-Birot et sept dessins hors texte de Serge Férat. Paris [la Société d’imprimerie Levé]: Éditions SIC, 1918. £900 7 plates by Serge Ferat. 8vo (205 x 150mm. ) 108, [4]p. Pictorial covers, with glassine jacket, unopened, acheve d’imprimer on recto of final leaf (wrappers almost detached, wear at foot of spine and wrapper edges, discoloration of spine and wrapper edges). 7. APOLLINAIRE [KOSTROWITZKY] (Guillaume) Le poète First edition, ordinary paper issue, after 17 numbered grande papier assassiné. Paris: L’Edition Bibliothèque des curieux, 1916. £450 copies, of this seminal work of surrealism. Portrait frontispiece by André Rouveyre. The preface to this work features the second use of the word ‘surrealism’ 8vo (188x 135mm.) 316pp. Loose in original printed pictorial wrappers (by Cappe- – coined by Apollinaire - in print, the first being in the programme lio), with glassine jacket, advertisements on lower cover (upper wrapper detached, spine tilted, small tear at head of lower wrapper). note by the same for the Cocteau-Massine-Satie-Picasso ballet Parade. ‘Combining widely disparate elements in a cubist mosaic’ First edition of Le poète assassiné, (pp. 1-141) written between 1900 and (Bohn) to address the issue of falling birthrates in France, and with 1913, of which the hero is a poet, friend of artists, called Croniamantal. strongly anti-war and feminist overtones, the play was first staged as In chapter 10 we meet the Benin Bird (l’oiseau Benin) who is Picasso; a production by SIC – Pierre Albert-Birot’s modernist review – on 24 Apollinaire owned a 19th-century Benin Bird made of copper and June 1917 to ‘tumultuous reception’ (Bohn) although critical failure wood and here makes a play on the name of the painter Paolo Uccello (Rentzou). (=Pablo Picasso). It was Picasso who introduced the poet to Marie The text is accompanied by the musical score, composed by Birot’s Laurencin, in the story called Tristouse Ballerinette ‘destined to make wife Germaine, along with seven cubist compositions by Serge Férat, men suffer’. She became his lover and in 1909 painted a canvas (Centre who designed the costumes and staging for the performance. Pompidou) of Apollinaire and his friends. Bohn, ‘Selected Apollinaire Letters 1908-1918’, French Forum 4.2 (1979), The second text is Le roi-lune, followed by other short pieces, all of 99-113. E. Rentzou, ‘”Partout et Nulle Part”: Apollinaire’s Body after them dedicated to different friends. The upper cover shows the poet, the War’, Criticism 57.4 (2015), 557-579. Talvart & Place I, 80. FRENCH MISCELLANY III · 8

9. APOLLINAIRE [KOSTROWITZKY] (Guillaume) Le flâneur des deux rives Avec une photographie de l’auteur. Paris [Macon, Protat Frères]: Éditions de la Sirène, 1918. £450 Photograph frontispiece of the wounded Apollinaire. 8vo (176 x 104mm.) 115pp. Original printed green paper wrappers, with glassine jacket (small tear at foot of upper wrapper). Ordinary paper issue after 55 numbered copies on chine (5) and hol- lande (50) paper. A reprint of various pieces written by Apollinaire for the Mercure de France, printed shortly after his death; he saw the first set of proofs, but not the second. He died on 9 November 1918, two days before the Armistice. Together, the essays in the collection paint an affectionate portrait of Paris. The Mermaid Press was founded only the year before by Paul Laffitte and Blaise Cendrars, and this is the second in a series of ‘Tracts’, the first of which was Jean Cocteau’s Le Coq et l’Arlequin; Cocteau also proposed the title for this work. Apol- linaire’s initials ‘G A’ are printed as justification du tirage on the ver- so of the title page. The photographic frontispiece depicts Apollinaire with a bandaged head, following the shrapnel injury he sustained in 1916. Loose exlibris of ‘J.V.P.’ Talvart & Place I, 81.

10. APOLLINAIRE (Guillaume), DUFY (Raoul) Le Bestiaire ou Cortège D’Orphée. Paris [Frazier-Soye]: Èditions de La Sirène, 1919. £450 30 full-page woodcuts by Raoul Dufy, additionally with two woodcut ini- fauna of each poem, ranging from the wise Hibou to the fearsome tials, two tailpieces and one title page ornament. and alien Poulpe. Dufy explains in a short, explanatory foreword 8vo (145 x 200mm). [1 - 80]pp. Later full vellum with gilt rules, black leather onlay that Apollinaire’s sudden death prevented him from presenting this spine label lettered in gilt with binder’s - ‘Basset, Bruxelles’ - label on final endpa- edition to the public himself; in his stead, Dufy dedicates this work to per, original publisher’s yellow paper wrappers bound in. him as a symbol of his friendship and admiration. The second edition of Apollinaire’s first book of poetry, one of 1200 A good copy, binding a little soiled, final 5 leaves with a very short numbered copies (the first fifty printed on Japon paper and the closed tear to fore edge, a handful of early leaves with dog-eared remainder, including this, on papier bouffant). Originally published lower corner, but overall clean and bright. in 1911, it is decorated with Dufy’s striking woodcuts celebrating the Carteret IV, 45. Talvart & Place I, 79. FRENCH MISCELLANY III · 9

11. APOLLINAIRE (Guillaume) Il y a. Préface de Ramon Gomez de la Serna. Paris: Albert Messein, Éditeur, 1925. £400 ’Minuit’ lithograph. 8vo in 16s (189 x 132mm). 245pp, [1]f. Original printed orange paper wrappers, with glassine jacket, vignette on title page, final leaf with achevé d’imprimer on recto (spine and upper wrapper a little faded, minor browning at edges of leaves). Attractive first edition, no. 252 of 1500 numbered copies on paper from a total edition of 1630. A collection of 41 pieces of Apollinaire’s early work and unpublished poems, as well as accounts of key painters and of the period - among them Picasso, Matisse, Jarry, Fort. The preface by Ramon Gomez de la Serna is translated by Jean Cassou. Apollinaire’s work strongly influenced the development of the Ultraist movement in Spain, of which de la Serna was a key proponent. Testament to their friendship and Apollinaire’s influence, in 1921 Serna devoted a chapter to Apollinaire in his El Cubismo e todos los ismos. Leaves browned at edges. Talvart & Place I, 81-2. FRENCH MISCELLANY III · 10

12. BRETON (André) Manifeste du surréalisme. Poisson soluble. Paris [Bruges, Impr. Sainte-Catherine]: Éditions du Sagittaire chez S. Kra, 1924. £2,500 8vo (190 x 120mm). 190, [4] pp. Half-title with limitation on verso, penultimate leaf with Table on recto and achevé d’imprimer on verso, last leaf blank, vignette on title-page. Original printed orange paper wrappers, with glassine jacket (partial offsetting to endpapers, some minor edge wear to wrappers, otherwise an excellent copy). First edition, “sur papier d’édition” (trade issue, after 10 numbered and 9 “hors commerce” copies on pur fil Lafuma paper). A presentation copy, inscribed by Breton (’très sympatique hommage’) to Raoul Simonson (1896-1965) Belgian collector, bookseller and man of letters (his literary collection was sold at Sotheby’s in 2013; the excellent condition of his collection provoked his French colleagues to coin ‘état Simonson’ to denote almost pristine state). Understood to be the definitive statement of surrealism, technically this was, chronologically, the second manifesto of the movement to be written, the first authored by Yvan Goll and published – in the sole issue of his periodical Surréalisme - a matter of weeks before Breton’s text in October 1924. Using the term first coined by Apollinaire in 1917, Breton defined surrealism as ‘pure psychic automism’, ‘the dictation of thought, free from any control by reason and of any aesthetic or moral concern’. Talvart & Place II, 221.