Description:

A Paul Verlaine / Emile Loubet / Edouard Champion scrapbook, 1896
Compiled over the years prior by Emile Loubet, a friend of Verlaine's at the time and soon to become Prime Minister of France (1899-1906) along with the young publisher Edouard Champion (1882-1938), comprising 81pp of heavy grey card stock of 27 original sketches and caricatures in pencil, ink, and watercolor, 7 autographed notes, 16 lithographs, and 25 photographic portraits and ephemera, bound in rose buckram decoratively stamped, dated and titled, with marbled end papers; together with two editions of Verlaine's Sagesse, the first is the 1913 facsimile edition of the original manuscript; published by Albert Messein, Paris; in original wraps; the second volume of Sagesse is the 1910 Ambroise Vollard / Jacques Beltrand limited edition illustrated throughout in colors by Maurice Denis, this copy printed for Edouard Champion, as stated on colophon, the third is a copy in wraps of F.A. Cazals' series Paul Verlaine et Ses Portraits. Paris: Bibliotheque De L'Association, 1896. (4)

  • Provenance:
    Collection of Edouard Champion (a gift from the artist).
    Thence by descent to the present owner.

    Footnote:
    This intimate scrapbook folio is a compilation of 27 original sketches and caricatures in pencil, ink, and watercolor, 7 autographed notes, 16 lithographs, and 25 photographic portraits and ephemera.

    Pages 1-43 contain generally an image per page of original lithographic as well as photographic portraits and reproductions of Verlaine by his friends and contemporaries: from the likes of F.A. Cazals, Otto, Genty, Granerolle, Anders Zorn, Austin de Croze, Anquetin, Vibert, Jan Veth, F. Volloton, Robert Vallin, Fernand L'Anglois and Ladislas Loevy.

    Page 45 offers an original drawing by L. Loevy of Verlaine ill in bed.

    Page 47 holds three images, two of which are original portrait drawings by F.A.Cazals, one entitled Verlaine ou Darwin and the other Paul Verlaine en matelot.

    Pages 48-49 exhibit ten original drawings and caricatures eight of which are by F. A. Cazals, then one each by Ernest Delahaye and George Hugon.

    Page 51 is a 28 line Verlaine hand written poem in manuscript entitled Le Bon Larron. The poem bears various corrections and marginalia and is fully signed at the end. Manuscript is in pen; paper is creased and tape repaired; age toned yet clear and legible.

    Page 53 is a hand colored image of Verlaine by Emile Cohl which appeared on the cover of Les Hommes d' Aujourd'hui # 244.

    Page 55 is a tipped in original lithograph of Verlaine in caricature in 1867 after the publication of his collection entitled Poems Saturniens.

    Page 58 is a an original Cazals lithograph in colors Les Sanglots longs... 1896; hand tinted and signed by Cazals.

    Pages 58-59 are both original drawings by Paul Verlaine. The first is Verlaine's 1868 Carte du Parnasse. A 4 x 5in topographical fantastique rendering of Verlaine's idea of Parnasse, complete with the Sea of Ennui, the Ocean of Genius, and the Province of Mediocrity. On the facing side is Verlaine's brilliant self portrait caricature in India ink on paper; signed, titled, and dated 1867.

    Page 61 is a fine sketch in blue pencil of Verlaine and the young Edouard Champion by an unknown artist, but most likely Willette.

    Page 63 is an original Ladislas Loevy ink and etched surface portrait of Verlaine, dated September 1888, and signed.

    Page 67 is an original drawing by Willette in blue pencil entitled The Dancer possibly from the café Francois Ier.

    Pages 72-73 consist of three images by Verlaine are laid out, two are self portraits in caricature and the third is a more traditional effort by Verlaine in watercolors, depicting a stormy summer scene aptly entitled Tempete; to the upper left portion of this painting are four lines of verse in Verlaine's hand.

    Pages 74-75 take on a lighter mood of fantasy and play; both larger drawings with ink by Verlaine, one where he envisions himself as Icarus descending, and the other as a jockey crop in hand pushing his exceedingly thin horse forward.

    Pages 76-77 reveal Verlaine's darker humor as we encounter the full length of a skinned cat in colors with a rope around it's neck and facing is another of Verlaine's self portraits with an imposing mustache along with death at his side.

    Pages 78-79 culminate in some wonderfully fantastical Boschian images in ink and watercolors of a polar moon lit scene with seven figures fishing and ending suitably with Verlaine's masterful ink rendering of his vision of the apocalypse.
  • Dimensions: 11 x 13in (29 x 33cm)
  • Condition: Overall very good. Most pieces are laid down with adhesive over 100 years old, therefore there is age-toning throughout. Binding and hinges are decently strong. All art is generally bright and has been well preserved.

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