La Folle Journée ou le Mariage de Figaro

BEAUMARCHAIS Pierre-Augustin Caron de La Folle Journée ou le Mariage de Figaro

The true first edition with all the characteristics of the first issue, including the correct collation of p. 237. Title with blank verso, list of eleven booksellers distributing the work and note to reader on verso of half-title; half-title following preface with, on verso, the list of characters, official approval and imprimatur at beginning dated the 25th and 31st January 1785 under the names of Bret and Lenoir, while at the end, the two official approvals are dated 28th February 1784 from Coqueley de Chaussepierre and 21st March 1784 from Bret. Bottom of final page: A Paris, de l'imprimerie de Ph. D. Pierres. This true original edition appeared without engravings; this copy was therefore enriched with a first state set (a later state would see Rosina's chest in Plate V covered up) by Malapeu and Saint Quentin of five images, a suite one generally finds in later editions, especially Kehl's. The edition contains the famous preface by Beaumarchais. A number of more ordinary editions appeared at the same time as the original, which has different characteristics.

Sumptuous late 19th century dark green morocco by A. Valat, reminiscent of 18th century dentelle bindings. Spine in compartments richly decorated. Red morocco title piece, date to foot of spine. Large dentelle panel to covers, followed by a frame of several fillets and roulettes. Large, rich interior frieze. Tope edge gilt. Spine lightly sunned to a uniform brown. Joint very lightly rubbed. One corner bumped. Bottom of upper joint slightly bowed. Small scratch to upper cover. The copy was not cut during binding, which explains the unusual dimensions of the paper (13.5 x 20.7 cm) and the fact that some leaves are shorter in the outer margin. The engravings, cut down at their outer margins, are a centimeter shorter. Paper slightly discolored. A superb copy.

The piece had a difficult birth: Beaumarchais fought tirelessly for more than three years to get government approval for its publication. Written in 1778, it was read at the Comédie Française in 1781, privately played in Gennevilliers castle in 1783 and finally performed for the public at the Théâtre de l'Odéon on 27th April 1784.
The work is considered, because of its virulent critique of the archaic privileges of the bourgeoisie and more specifically the aristocracy, as a harbinger of the French Revolution.
This comic piece with its frenetic pace puts on the airs of a bourgeois drama á la Moliére; it was a distinct success with audiences, as the number of counterfeit editions published since its appearance attest. Testimony to the spread and notoriety of the piece is that Mozart made an opera of it very quickly, given that The Marriage of Figaro was composed in 1785-86.
Ex libris G. Martinet.
A rare copy of the true original with 5 plates from Saint Quentin (published later), in a remarkable binding.