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Livre

Baudelaire Charles

Les Fleurs du mal

Poulet-Malassis & de Broise, 1857

195500,00 €

Feu Follet Librairie (Paris, France)

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Détails

Année
1857
Lieu d'édition
Paris
Auteur
Baudelaire Charles
Éditeurs
Poulet-Malassis & de Broise
Format
12,1x18,8cm
Thème
Littérature|Editions originales
Description
relié
Dédicacée
Oui
Premiére Edition
Oui

Description

- Poulet-Malassis & de Broise, Paris 1857, 12,1x18,8cm, relié sous étui. - Les Fleurs du Mal [Flowers of Evil] Poulet-Malassis & De Broise | Paris 1857 | 12,1 x 18,8 cm | bound in morocco with custom slipcase First edition, printed on vélin d'Angoulême paper, with the usual misprints and including the six condemned poems, one of the few copies given to the author and "intended for friends who do not deliver literary services". Full emerald morocco binding, signed by Marius Michel, original wrappers preserved. Precious presentation copy inscribed and signed by the author in pencil on the half-title page: "à M. Tenré fils, souvenir de bonne camaraderie, Ch. Baudelaire" ("to M. Tenré Jnr, a reminder of good friendship, Ch. Baudelaire") and three handwritten corrections, in pencil on pages 29 and 110 and in ink on page 43. Exceptional inscription to a childhood friend, banker and intellectual, one of the rare contemporary inscriptions that were not motivated by judicial necessity or editorial interests. Indeed, even the few examples on papier hollande were largely devoted to strategic gifts in order to counter or reduce the wrath of justice that, in June 1857, had not yet returned its decision. Poulet-Malassis will hold a bitter memory of it: "Baudelaire got his hands on all thick paper copies and addressed them to more or less influential people as a means of corruption. Since they have not got him out of trouble, I believe he would do well to ask for them back." Baudelaire's correspondence makes it possible to define quite precisely the different types of inscriptions the poet made on the publication of his collection. He himself sent a list to de Broise to mention those to whom the press deliveries were dedicated, mainly possible judicial intercessors and influential literary critics. The poet then requires "twenty-five [copies] on ordinary paper, intended for friends who do not deliver literary services." A letter to his mother tells us that he only got twenty. Some of them were sent in June 1857 to his friends, including one for Louis-Ludovic Tenré. Others were saved by the poet or offered late like the ones for Achille Bourdilliat and Jules de Saint-Félix. If Tenré, this childhood friend whom Baudelaire has just found again in December 1856, is honored with one of the poet's rare personal copies of the Fleurs du mal publication, the three misprints he immediately noticed having been carefully corrected by hand, it is not on account of a service delivered or in anticipation of an immediate benefit. However, as always with Baudelaire, neither did he send his masterpiece to his boarding companion from Louis-le-Grand school as a simple "reminder of good friendship." As early as 1848, Louis-Ludovic Tenré took over from his father, the publisher Louis Tenré, who, like other major publishers, moved into investment, providing loans and discounts exclusively for those in the book industry. These bookseller-bankers played a key role in the fragile publishing economy and contributed to the extreme diversity of literary production in the nineteenth century, supporting the activities of small but bold publishers and liquidating other major judicial clashes. In December 1856, Baudelaire tells Poulet-Malassis that he had deposited an expired banknote with this "old school mate," which Tenré, out of friendship, agreed to accept. It was the initial advance for "the printing of one thousand copies [of a collection] of verses entitled Les Fleurs du Mal." With this copy hot off the presses, Baudelaire then offers Tenré the precious result of the work discounted by his new banker. It is the beginning of a long financial relationship. Amongst all of Baudelaire's discounters, Louis-Ludovic Tenré will be the poet's favorite and the only one to whom an autographed work will be sent. Nicolas Stokopf, in his work Les Patrons du Second Empire, banquiers et financiers parisiens, dedicates a chapter to Louis-Ludovic Tenré and evokes the privileged r