This is the Édition définitive, which has twelve added original pieces. Hannon was a Belgian poet and painter and Rimes de Joie was his first and most successful collection, which brought him attention from the literary world. Huysmans was an enthusiastic follower, and his Symbolist novel, À rebours (1884), presents a glowing image of Hannoon. The gruesome frontispiece is by Rops..see full details
FIRST EDITION, EACH OF THE THREE PARTS SIGNED AND HAND NUMBERED BY THE ARTIST, number 25 of 30 copies, each handcoloured by Madeleine Smets-Lefrancq.more...
An extraordinarily dramatic graphic interpretation of Revelation, with linocuts by the Franciscan monk and sceptic Fieullien (1903-1976), who had studied at l’Académie de Bruxelles under the Belgian painter Oswald Poreau. He worked in sculpture, stained glass and paint, but his best work was in his remarkable illustrated books, with their idiosyncratic lettering and unsettling (occasionally lurid) religious imagery..see full details
Les Villages illusoires (1895), by Belgian symbolist Verhaeren, is one of two works (the other being Les Villes tentaculaires) expressing the writer’s growing concern for social problems based on the ‘illusory character’ of human perception. The colourful etchings accompanying the text are the most significant works by Van Santen, a painter and etcher of fragile constitution, who studied under Brussels engraver Jeff Codron. Number 155 on vélin d’Arches, (after 40 copies on japon impérial, 30 on japon and 20 on différents papiers réservés. Total edition 220). This copy contains two additional proofs..see full details
This is the second edition, the first having been printed in oblong format in 1896 without the 12 additional woodcut scenes here. (Example number 91, one 75 copies on Arches, numbered 26 to 100 (there are a further 25 copies on japon nacré blanc à la cuve. Total edition 100).
The Douze Chansons are superbly interpreted in great detail here by Doudelet, an artist who began his professional career after a chance encounter with the prolific photographer Edmond Sacré, who managed to get him a job at the university of Ghent. He worked under the Bacteriologist Emile Van Ermengem, producing the immensely detailed microscopic scientific drawings. Doudelet met Maeterlinck through Louis de Busscher, son of a well-known editor, who invited him to attend a meeting with a group of young writers who wanted to create a new literary magazine. Their first artistic interactions began when Maeterlinck asked the artist to paint six mural paintings for his family chateau in 1895, then, when artist George Minne failed to deliver illustrations for Douze Chansons he asked for Doudelet to illustrate the work. Maeterlinck described the work as ‘un chef-d’oeuvre tout court; synchronisation, harmonie parfaite entre le poète et les images creées par son intreprète’.