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Ubu roi
[Ubu Roi – Copy from the library of the poet Georges Rodenbach]
Mercure de France|Paris 1896|9.50 x 15.50 cm|relié
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⬨ 69650
The first edition with two portraits of Père Ubu drawn by Alfred Jarry.
Half brown morocco over marbled paper boards by G. Gauché, spine in five compartments, raised bands with blind ruled fillet, gilt date to foot of spine, marbled endpapers and pastedowns, covers and spine (repaired) preserved, top edge gilt.
A rare, handsome autograph inscription signed by Alfred Jarry: “Georges Rodenbach's copy. Alfred Jarry.”
Provenance: from the personal collection of President Georges Pompidou with his ex-libris to endpaper.
“He showed that he could, at the same time, love Racine and Soulages... Poussin and Max Ernst... Virgil and René Char, and from that point of view, he was outstanding.” (Alain Peyrefitte).
From behind a desk in the école Normale and high up in the government administration, in the bank, and finally as a politician, Georges Pompidou put together in the heart of his personal collection an “anthology” of French literature. This handsome copy of Ubu Roi reveals his identity as a man of letters, between classicism and the avant-garde. Pompidou, whose literary training would imbue both his thinking and political speeches, showed a taste, cultivated alongside his wife Claude, for modern art, cinema, and the theatre: we know that he was well acquainted with Jules Romains, read Beckett and was a great admirer of Louis Jouvet. The arts, among other things, owe him a debt for the unfailing support he showed the Théâtre National Populaire of Jean Vilar, who presented a new staging of Ubu Roi in 1958 at Chaillot.
This copy of Jarry's masterpiece also bears witness to its famous first owner, the Belgian Symbolist Georges Rodenbach, “one of the most perfect writers in Flanders,” who received this work with a signed inscription from the author, his fellow contributor to the Revue blanche. They were both disciples of Stéphane Mallarmé, meeting every Tuesday with their master at his salon in the rue de Rome. Also a member of the circle of the Hydropathes in which Jarry was an active participant, Rodenbach published in the same year as Ubu one of his most important collections of poems, Les vies encloses, inspired by the occultism of Novalis and the German Romantics. With Jarry claiming to be a follower of Pantagruel as Rodenbach did of Baudelaire, one of them struggled with the incomprehension of the public, while the other revelled in it: they developed at the two extremes of the Mallarmé spectrum.
An admirable witness of the Parisian literary and bohemian microcosm, this work with its prestigious provenance brings together two great names of the avant-garde theatre and fin-de-siecle poetry: Jarry, the ultimate mystifier, and Rodenbach, the nostalgic poet of cloistered lives.
Half brown morocco over marbled paper boards by G. Gauché, spine in five compartments, raised bands with blind ruled fillet, gilt date to foot of spine, marbled endpapers and pastedowns, covers and spine (repaired) preserved, top edge gilt.
A rare, handsome autograph inscription signed by Alfred Jarry: “Georges Rodenbach's copy. Alfred Jarry.”
Provenance: from the personal collection of President Georges Pompidou with his ex-libris to endpaper.
“He showed that he could, at the same time, love Racine and Soulages... Poussin and Max Ernst... Virgil and René Char, and from that point of view, he was outstanding.” (Alain Peyrefitte).
From behind a desk in the école Normale and high up in the government administration, in the bank, and finally as a politician, Georges Pompidou put together in the heart of his personal collection an “anthology” of French literature. This handsome copy of Ubu Roi reveals his identity as a man of letters, between classicism and the avant-garde. Pompidou, whose literary training would imbue both his thinking and political speeches, showed a taste, cultivated alongside his wife Claude, for modern art, cinema, and the theatre: we know that he was well acquainted with Jules Romains, read Beckett and was a great admirer of Louis Jouvet. The arts, among other things, owe him a debt for the unfailing support he showed the Théâtre National Populaire of Jean Vilar, who presented a new staging of Ubu Roi in 1958 at Chaillot.
This copy of Jarry's masterpiece also bears witness to its famous first owner, the Belgian Symbolist Georges Rodenbach, “one of the most perfect writers in Flanders,” who received this work with a signed inscription from the author, his fellow contributor to the Revue blanche. They were both disciples of Stéphane Mallarmé, meeting every Tuesday with their master at his salon in the rue de Rome. Also a member of the circle of the Hydropathes in which Jarry was an active participant, Rodenbach published in the same year as Ubu one of his most important collections of poems, Les vies encloses, inspired by the occultism of Novalis and the German Romantics. With Jarry claiming to be a follower of Pantagruel as Rodenbach did of Baudelaire, one of them struggled with the incomprehension of the public, while the other revelled in it: they developed at the two extremes of the Mallarmé spectrum.
An admirable witness of the Parisian literary and bohemian microcosm, this work with its prestigious provenance brings together two great names of the avant-garde theatre and fin-de-siecle poetry: Jarry, the ultimate mystifier, and Rodenbach, the nostalgic poet of cloistered lives.
*
Exceptionnel exemplaire du symboliste belge Georges Rodenbach, « l'un des plus parfaits écrivains des Flandres », qui reçut l'ouvrage enrichi d'un envoi signé de l'auteur, son confrère collaborateur de la Revue blanche. Ils firent tous deux partie de la cohorte des disciples de Stéphane Mallarmé se réunissant chaque mardi auprès du Maître dans son salon de la rue de Rome. Egalement affilié au cénacle des Hydropathes auquel Jarry a activement participé, Rodenbach publie la même année que la parution d'Ubu un de ses plus importants recueils de poèmes, Les vies encloses, inspiré par l'occultisme de Novalis et les romantiques allemands. Jarry se réclamant de Pantagruel comme Rodenbach de Baudelaire, l'un lutta contre l'incompréhension publique, l'autre s'en réjouit : ils évoluèrent aux deux extrémités du spectre mallarméen.
Ce chef d'œuvre de Jarry porte également la marque d'un célèbre collectionneur.
« Il a montré qu'on pouvait à la fois aimer Racine et aimer Soulages… Poussin et Max Ernst… Virgile et René Char, et de ce point de vue, il a été exemplaire » (Alain Peyrefitte).
Sur les bancs de l'Ecole Normale et dans la haute administration, la banque et enfin la politique, Georges Pompidou a constitué au sein de sa bibliothèque personnelle une "anthologie" de la littérature française. Ce précieux exemplaire d'Ubu Roi est révélateur de son identité d'homme de lettres, entre classicisme et avant-garde. Pompidou, dont la formation littéraire imprégna la pensée et ses discours politiques, manifesta et cultiva aux côtés de son épouse Claude un goût pour l'art moderne, le cinéma, mais aussi le théâtre : on le sait adepte de Jules Romains, lecteur de Beckett et grand admirateur de Louis Jouvet. Les arts de la scène lui sont entre autres redevables pour le soutien sans faille qu'il exprima au Théâtre National Populaire de Jean Vilar, qui monta justement une nouvelle mise en scène d'Ubu Roi en 1958 au palais de Chaillot.
Admirable témoin du microcosme bohème parisien littéraire, cet ouvrage de provenance et d'appartenance prestigieuse unit entre ses pages deux grands noms du théâtre avant-gardiste et de la poésie fin-de-siècle : Jarry, le mystificateur sans égal et Rodenbach, le nostalgique poète des vies encloses.
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- Year:1896
- Dimensions:9.50 x 15.50 cm
Réf : 69650|Sold
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