First edition, one of 150 numbered copies on Hollande, the only deluxe issue copies after 5 on Japon.
A very fine copy, as issued, with an important manuscript document by Elme-Marie Caro, 1 page in ink on a double leaf, undated [1887 ?].
Maupassant's last novel Notre Coeur is also one of his most autobiographical. The writer was strongly influenced in this piece by famous literary and artistic "Salons" held by high society women, which he frequently attended. The novel confronts a man of letters with one of these strong-headed women of late 19th-century Paris. He describes the main character Michèle de Burne as "a woman of refinement, of indeterminate sensibility, restless, without fixed resolves, her feelings in constant turmoil, who seemed to have made it part of her experience to employ every narcotic that quiets the aching nerves: chloroform that stupefies, ether and morphine that excite to abnormal reverie, kill the senses, and deaden the emotions"
Maupassant sketches the fictional portrait of Countess Potocka, to whom he was one of the most fervent suitors, called "Macchabées" or "morts d'amour" , according to the rules of the literary game created in her famous Salon. He paints the picture of his unrequited love through this modern, liberated although oppressive woman, who only finds pleasure in the enslavement of her lover.
Our copy exceptionally contains a precious "Convocation extraordinaire du Club des Macchabées", an amusing original document written by philosopher Elme-Marie Caro.
Countess Potocka is referred to in the document as "the Patroness, Head of the Executive and Decorative Power of the Macchabees", and the list of her suitors "specially and ex officio summoned, without procrastination or apology" includes some of the Countess's Salon regulars: Clovis Bachelier, Adrien de Montebello, Olivier Taigny and Dubois were members of the administrative committee, painters Jean Béraud and Henri Gervex represented the art world, and writers Georges Legrand, Elme-Marie Caro and Gustave Schlumberger the literary world. The "President" of this society is none other than famous actor Coquelin aîné, member of the Comédie française.
Although he does not appear on this invitation, Maupassant played a major role in this infamous group as "Perpetual Secretary of the Permanent Council of the Club des Macchabées".
A precious document bearing witness to the fascinating Countess who inspired Maupassant, Marcel Proust for his Duchesse de Guermantes and Aimé Guerlain who created for her his Shore's Caprice perfume.
First edition, one of 50 copies on vergé de Hollande, only deluxe issue (with 10 copies on papier Chine).
Contemporary dark red shagreen, probably a publisher's binding, spine in six compartments with gilt fleurons, covers with double gilt fillet frame and gilt fleurons to corners, marbled endpapers and pastedowns, edge of covers ruled in gilt, gilt roulette to head-pieces, top edge gilt, slipcase edged in dark red shagreen.
A very rare and handsome copy perfectly set in a contemporary binding.
First edition, one of 7 numbered copies on Hollande paper, the only large paper copies, this one no. 1, specially printed for Jean Cocteau's mother.
Contemporary vellum Bradel binding by Dupré, gilt date to foot of spine, brown shagreen title label, marbled endpapers and pastedowns, covers and spine preserved. Light worming, principally affecting the margins of some leaves.
A moving and exceptional autograph inscription signed and dated by Jean Cocteau to his mother, in Latin, quoting a verse of Virgils Bucolics: “Incipe, parve puer : cui non risere parentes, nec deus hunc mensa, dea nec dignita cubili est. / Virgile. / Jean”, which in English is: “Realise this, child: the boy at whom his parents never smiled is fit neither to approach the table of the Gods, nor the couch of a Goddess.”
A unique copy.
With the publication of this third collection of poetry Cocteau, a young prodigy then aged 23, was feted by artistic and literary circles. An intimate of Proust's, a friend of Jacques-Emile Blanche, a follower of Nijinski and Diaghilev and a disciple of Anna de Noailles, his ambition was to unite in his own person all the talents that surrounded him.
The Danse de Sophocle [Dance of Sophocles], a reference to the nude dance that “the young and divine Sophocles” did in Athens after the naval victory at Salamis, reflects the ambition and the exaltation of the young Cocteau: novelist, painter, dancer, poet, he felt truly “fit to approach the table of the Gods.”
“As with all the best artists, he was a link between God and Earth.” In his biography, Claude Arnaud dedicates a chapter (“The Living God”) to the psychology of the poet in this period: “He was a piece torn from God, one of the terrestrial organs through which this Being, constantly evolving, thought about and finally acted to improve his creation.”
Thus, Cocteau broke free of his illustrious models and assumed his full artistic divinity, which unfolded in this ecstatic collection, witnessed by the eponymous poem:
Thanks to you, dear pride, I wore the halo
Given by the charming god of words…
Thanks to you, I knew the frenetic struggles
in which pen and paper, the dreary pot of ink
Are the ties of verses you want to shout
You want to scream, sing, sigh, laugh…
And which we must – since they are in us and we feel them –
Let flow like beautiful blood.
The inscription to his mother, on the first of seven rare large paper copies, is a witness to Cocteau's only real great influence: Eugénie Cocteau. A mother idolized by her son, she was a profound influence on both the poet's life and his work, marked by the omnipresence of the Oedipal figure. Claude Arnaud describes at length this “filial outpouring coupled with an almost amorous attention...: ‘only my love for you is rooted in something real, the rest seems to be a bad dream'.”
One can hardly miss in this quotation from Virgil the incestuous ambiguity that bound Cocteau to his mother.
One of the most desirable provenances for this extremely rare copy.
First edition, one of 25 numbered copies on "pur-fil" paper, most limited issue. The book Camus dedicated to his friend René Leynaud.
Rare and handsome copy.
First edition, one of 21 numbered copies on Hollande paper, the tirage de tête.
A fine copy.
