Dança e balé

1887 · ref. 88480 — No Location: s. n. 1887. Fine. s. n. No Location 1887 20 x 32 cm 1 portrait-frontispice 1 titre à l'encre 83 p. manuscrites qq. feuillets vierges Exceptional illuminated manuscript of 35 poems by Stéphane Mallarmé probably copied by Joris-Karl Huysmans on watermarked Hollande laid paper after pre-first editions of the poems published in journals. Most of the poems are preceded by a separate title-page noting the source from which it is taken. The manuscript includes a fine charcoal portrait of Mallarmé as a frontispiece by Charles Tichon after a photographic portrait by Van Bosch. The portrait was published in the Mallarmé issue of Empreintes Bruxelles L’Écran du Monde n° 10-11. Another version was published in 1889 Caprice Revue 2e année n° 60. two floral compositions in gouache and watercolor illustrating the poems Les Fleurs and Apparition as well the calligraphed author's name as a title-page. Although unsigned the illutrations are attributed to Louise or Marie Danse. Bradel binding contemporary cream silk boards with floral motif two embroidered green silk markers with floral motif gilt semis patternerd flyleaves and pastedowns slightly faded red edges. Dampstains on the lower part of the lower board rubbed corners a few silk threads loosened on the spine rubbed boards. Outstanding manuscript of 35 poems by Stéphane Mallarmé written shortly before the first collected edition of his poetry of which only 47 copies were ever printed Poésies photolithographed Revue indépendante 1887. This carefully calligraphed collection is attributed to the hand of writer Joris-Karl Huysmans a great admirer of the poet who is said to have given the manuscripts to his friend Jules Destrée. This scribal manuscript which includes some of Mallarmé’s most celebrated pieces such as Hérodiade L'Après-midi d'un faune Le tombeau d'Edgar Poe Prose pour des Esseintes Le vierge le vivace et le bel aujourd'hui appeared for the first time in the posthumous sale of the Belgian politician and writer Jules Destrée in 1936 at the Galerie Leopold in Brussels. A pencil note on the title page of the collection reads: “According to Mr. Simonson expert at the Destrée sale this manuscript was sent by J.K. Huysmans to Jul. Destrée who wanted to read Mallarmé's poems which remained unpublished at the time. Verified through Huysmans' correspondence sold on the same day as this manuscript.” As evidenced in their letters Destrée did seek out the help of his friend Huysmans to obtain Mallarmé poems as his work was not readily accessible being for the most part published in journals L'Artiste Les Lettres et les Arts La République des lettres etc. and in the collections of Le Parnasse contemporain. In a letter to Destrée Huysmans wrote “You ask me where Mallarmé's poems can be found. They are untraceable but they are in this envelope. Published in 1876 in La République des Lettres they were copied at least the best ones by Le Chat Noir in 1886. I bought two issues which allows me to send them to you. You will see that they are superb written in clear incisive and very strange language.” 30 November 1887. It is possible that the poems “in this envelope” mentioned by Huysmans are the ones Destrée later had bound in this manuscript collection. Huysmans may have copied for Destrée the poems from the journals he only had one copy of and sent him his extra copy of Le Chat Noir from 1886 which included the prose poems Plaintes d'automne Frisson d'hiver I et II and Le Phénomène futur. The writing style of the poems in the collection is indeed very similar to Huysmans' own handwriting – his manuscript of his poem collection Le Drageoir à épices displays the same rounded curling style. However Huysmans' handwriting varies considerably depending on the circumstances: novel manuscripts letters first drafts etc. The excessively neat calligraphy of the poems contrasts with the hasty tall and cramped handwriting of sever s. n. hardcover