Paul VERLAINE

First edition on ordinary paper.
Spine very slightly sunned.

First edition on ordinary paper.
Spine slightly sunned, tiny spots, not serious, on the covers.
Autograph inscription signed by Paul Verlaine to Emile Le Brun.

Collected edition, first for some parts, 10 poems appearing for the first time: Les Étrennes des orphelins, Patience, Jeune ménage, Mémoire, Est-elle almée, Fairy, Guerre, Génie, Jeunesse, Solde – the last five “tacked onto” the Illuminations
Important original preface by Paul Verlaine
Contemporary half red morocco over marbled paper boards by Bonleu, spine with gilt floral motif, gilt date to foot of spine, gilt fillet to covers, marbled pastedowns and endpapers, covers preserved, top edge gilt
With two frontispiece drawings of Rimbaud after Verlaine
A very good copy in a fine contemporary signed binding.

first edition.
Binding to bradel full percaline almond green, smooth back with a gold jewel pattern, double golden tail net, as red shagreen piece having a few scratches, guards and blue paper contreplats, corners lightly bumped, binding of 'time.
Signed autograph of Paul Verlaine to his friend Camille Pelletan on the half-title page that includes three marginal restorations.
Illustrated book of a portrait of the author as a frontispiece by Louis Anquetin.

First separate edition.
Spine slightly sunned and with a tiny lack to foot, some marginal spots to covers.

First edition.
Tiny lack to head of spine, endpapers slightly and partly shaded, not serious.

First edition, one of 55 numbered copies on Hollande paper as justified and initialed by the publisher, the only large paper copies
Half grey morocco by J
Weckesser, spine in six compartments, place and date at foot of spine, marbled pastedowns and endpapers, covers and spine preserved, top edge gilt
This copy enriched with an autograph manuscript of two closely-written pages, being the third poem of the collection: “Après la chose faite, après le coup porté... “, dated April 1887, with numerous variants and a few corrections
An exceptional large paper copy enriched with an important autograph poem by Paul Verlaine.

VERLAINE Paul
Chansons pour elle [Songs for Her] Léon Vanier, Paris 1891, 125 x 185 mm (4 15/16 x 7 1/4 ”), 20th-century full morocco, custom slipcase
First edition, one of 25 copies on Japon paper, the only grand papier (deluxe) copies.
A magnificent pale pink morocco binding by A. & R. Maylander, the spine in five compartments with floral decoration, inlaid pieces of red, beige, and green morocco making up the petals and leaves, the covers within a similar frame of garlands of flowers, gilt-rolled decoration to head and foot, double gilt fillets to edges of covers, pale pink morocco frame to pastedowns with a double frame of gilt fillets and floral decoration (as to boards and spine) to corners, pastedowns and endpapers of light brown moiré silk, additional marbled endpapers, covers and spine preserved, all edges gilt; half pale pink morocco chemise over marbled paper boards, spine in six compartments, marbled paper slipcase edged with pale pink morocco, lined with cream felt.
This copy enriched with an autograph poem mounted on guards, signed and dated by Paul Verlaine, entitled: “Tu m'as frappé, c'est ridicule [You hit me, it's absurd],” one of the poems in this collection.
One can spot one variant and two errors not noted by the editors at la Pléiade:
In verse 2 of the autograph version: “Je t'ai frappée et c'est affreux”, while in the printed version: “Je t'ai battue...”.
In verse 3 of the manuscript: “Je m'en repents”, while in the printed version: “Je m'en repens”.
In verse 7 of the manuscript: “morniffles”, while in the printed version: “mornifles”.
Provenances: from the collections of Louis de Sadeleer and Edouard-Henri Fischer with their ex-librises pasted in.
A very good copy exceptionally enriched with a manuscript poem by Paul Verlaine in a superb binding by Maylander.

Edit partly original, one of 55 numbered copies on Holland only major papers.
Full Havana morocco binding, back with five nerves set with black netting, golden tail date guards and contreplats beige paper, preserved covers and backs; shirt half Havana morocco, back with five nerves, golden tail date within black felt, case lined with tan morocco, modern binding.
Our copy is enriched with an autograph poem signed by the author entitled to Gustave Le Rouge contained in this collection.
In addition, the frontispiece of Henry Somm was enhanced with watercolor.
Provenance: the Edouard-Henri Fischer library bookplate pasted on inside cover.

First edition.
Contemporary English navy blue morocco by Wallis, spine in six compartments, bands framed with gilt spots, gilt compartments with gilt floral motifs, date in gilt at foot of spine, gilt roulettes to head- and tailpieces, gilt fillet frame to upper cover, corners with gilt floral motifs, double gilt fillet to edges of covers, cream paper pastedowns with a frame of navy blue morocco and gilt dentelles with gilt floral motifs to corners, endpapers and pastedowns of cream paper, covers preserved at end.
This copy is enhanced with a signed autograph manuscript of the introductory poem, with a number of corrections.
Bookseller's description note pasted onto upper pastedown.
Provenance : library of Georges Heilbronn with his ex libris on same pastedown.
A very good copy exceptionally enhanced with an autograph poem signed by Paul Verlaine and remarkably bound in a charming English contemporary binding.

First edition printed with 253 copies and for which it was not drawn from great papers.
This book is quite complete of the three inset portraits of T. Corbière, A. Rimbaud and S. Mallarmé drawn on China.
Many of Arthur Rimbaud's most famous poems appear here for the first time, including "Voyelles".
Ex-libris L. Ponet pasted on the back of the first board.
Very discreet restorations on the back.
Our copy is presented under a shirt half morocco burgundy, combed paper plates, golden date tail, smooth back and a case bordered with maroon burgundy, flat combed paper.
The copies of "Poets cursed" in this condition, as published, are extremely rare.

Later edition on Hollande paper.
Spine of chemise in dark-green morocco, marbled paper plates, marbled pastedowns and endpapers, slipcase edged in matching morocco and with identical marbled paper boards, the interior lined with light green paper.
Rare autograph inscription from Paul Verlaine to Achille Segard.
Small marginal lack to foot of pp. 15 & 16 due to paper flaw, ink manuscript note “1866” beneath the printed date on upper cover.
A rare, uncut and unsophisticated copy.

VERLAINE Paul. Hombres (Hommes)
Imprimé sous le manteau, Ne se vend nulle part [Paris] 1903, 11,5 x 19 cm, full morocco with custom slipcase
The first edition, one of 525 copies “imprimée sous le manteau” (“printed under the table”), this one of 25 on Japon paper, of the leading copies.
A first impression copy, with pages 44, 45 and 46 mis-numbered 46, 47, 48 and corrected in ink.
Elegant full red morocco by Noulhac dated 1917, spine in five compartments, gilt roulettes on head- and tail-pieces, edges of boards ruled in gilt, gilt filet frame inside covers, pastedowns lined with dark green morocco, matching silk endpapers, further endpapers marbled, all edges gilt, covers and spine preserved, slipcase edged in red morocco and lined in dark green felt.
Very light traces of a little rubbing to slipcase.
Frontispiece portrait in red of Verlaine by Frédéric-Auguste Cazals.
A rare and attractive copy in a perfectly matched binding by Noulhac.

Pre-first edition of the poems "Le Chat noir", "Langueur", "La Princesse Bérénice", "Pantoum négligé", "Paysage", "Conseil falot", "L'Aube à l'envers", "Un pouacre" and "Madrigal" in the issues of March 26, July 14 and August 18.
These poems appeared one year before their publication in the collection Jadis et naguère.
Le Chat noir is a weekly review created by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the aim of promoting the famous cabaret of the same name, of which it intended to be the record. It published the texts declaimed during the performances. It is, moreover, an important literary and artistic testimony of the end of the 19th century, around bohemia and the Parisian effervescence that characterized it.

The first separate edition, of which there were no deluxe copies.
Illustrated work with a frontispiece portrait of the author by Louis Anquetin.
Light foxing of no consequence to the endpapers.