Les Fleurs du Mal. Interprétations par Odilon Redon
Redon
Brussels. Edmond Deman. 1890
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A very rare example of Redon's Les Fleurs du Mal printed before letters or numbers.
From the edition limited to 43 copies (see below), this copy before letters and numbers.
Armand Clavaud, a naturalist and fellow native of Bordeaux, whose microscope and intimacy with Buddhist and Hindu esoterica stimulated the young Redon, was responsible too for introducing Redon to the poetry of Baudelaire and, likely in the translations made by Baudelaire, to the stories of Poe. These influences proved lasting and important and provided the impetus for much of Redon's later oeuvre.
Although Mellerio is specific about an edition of 43 copies, with one copy on Chine and one before letters, it appears that there may be a very few more. Additional research has suggested that there may be five copies on Chine before letters, however, the copy presented here - printed before letters - does not appear to be on Chine but on a very smooth yellow-ish thick wove paper or card with defined platemarks and very good impressions; it is clear that copies of Les Fleurs du Mal printed before letters on any paper are of the utmost scarcity.
Deman issued two versions of Les Fleurs du Mal in 1890, the first in large format as here and with a stated limitation of 50 copies, and a further issue of 100 copies in reduced octavo format. Henri Floury reprinted the plates for a posthumous edition in 1923.
'Tirage par le procédé sur cuivre d'Evely .... L'édition était annoncée à 50 exemplaires, mais en realité il n'en a été tiré que 43, dont: 41 sur vélin teinté, 1 sur Chine et 1 avant lettre.' (Mellerio).
'Decadent writers obsessed with the morbid recognised in the disturbing and sometimes macabre work of Redon a kindred spirit for whom Poe, Baudelaire's Fleurs du Mal, and Flaubert had set precedents.' (Barbara Larson).
[Mellerio 198 - 206; see 'The Dark Side of Nature. Science, Society, and the Fantastic in the Work of Odilon Redon' by Barbara Larson, Pennsylvania State University, 2005].
From the edition limited to 43 copies (see below), this copy before letters and numbers.
Armand Clavaud, a naturalist and fellow native of Bordeaux, whose microscope and intimacy with Buddhist and Hindu esoterica stimulated the young Redon, was responsible too for introducing Redon to the poetry of Baudelaire and, likely in the translations made by Baudelaire, to the stories of Poe. These influences proved lasting and important and provided the impetus for much of Redon's later oeuvre.
Although Mellerio is specific about an edition of 43 copies, with one copy on Chine and one before letters, it appears that there may be a very few more. Additional research has suggested that there may be five copies on Chine before letters, however, the copy presented here - printed before letters - does not appear to be on Chine but on a very smooth yellow-ish thick wove paper or card with defined platemarks and very good impressions; it is clear that copies of Les Fleurs du Mal printed before letters on any paper are of the utmost scarcity.
Deman issued two versions of Les Fleurs du Mal in 1890, the first in large format as here and with a stated limitation of 50 copies, and a further issue of 100 copies in reduced octavo format. Henri Floury reprinted the plates for a posthumous edition in 1923.
'Tirage par le procédé sur cuivre d'Evely .... L'édition était annoncée à 50 exemplaires, mais en realité il n'en a été tiré que 43, dont: 41 sur vélin teinté, 1 sur Chine et 1 avant lettre.' (Mellerio).
'Decadent writers obsessed with the morbid recognised in the disturbing and sometimes macabre work of Redon a kindred spirit for whom Poe, Baudelaire's Fleurs du Mal, and Flaubert had set precedents.' (Barbara Larson).
[Mellerio 198 - 206; see 'The Dark Side of Nature. Science, Society, and the Fantastic in the Work of Odilon Redon' by Barbara Larson, Pennsylvania State University, 2005].
[Nine unnumbered leaves]. Folio. The complete set of eight Evely process engravings (and an additional copy of the cover engraving not called for by Mellerio), each printed recto only before letters or numbers; (sheet size: c.450 x 318 mm). Loose as issued in original publisher's blue / grey paper printed wrappers with Redon's engraving and printed title to front wrapper, date and publisher's vignette to rear wrapper.
#43608
