Paris: Librairie Albert Messein, 1914-1926. First edition. One of 500 copies on “papier Vélin à la forme,” out of a total edition of 550 numbered copies. Eighteen large octavo volumes (9 13/16 x 6 1/4 inches; 249 x 160 mm.). All illustrations in pochoir. Publisher’s harlequin leather (calf and morocco) in brown, purple, tan, red, green, gray, orange, black, and maroon by René Kieffer (with his ticket on front free endpaper of most volumes). Covers decoratively stamped in blind, spines decoratively stamped in blind and lettered in gilt with three raised bands, top edge gilt, others uncut, decorative endpapers. Original wrappers bound in. Spines gently faded, otherwise an excellent set.

Comprising: Poèmes Saturniens. Illustrations de H. Bouché-Leclercq (1914); La Bonne chanson. Illustrations de Paul Guignebault (1914); Fêtes galantes. Croquis et vignettes de Robert Bonfils (1915); Romances sans paroles. Illustrations en couleurs de Ch. Picart le Doux (1920); Parallèlement. Illustrations de R. Drouart (1921); Jadis et naguère. Illustrations de Léon Voguet (1921); Amour. Illustrations de Th. Hummel (1922); Bonheur. Illustrations de Pierre Peltier (1923); Chansons pour elle. Illustrations de Quint (1923); Liturgies intimes. Illustrations de G. Assire (1923); Sagesse. Illustrations de Daniel Girard (1924); Élégies. Illustrations de André Cahard (1924); Dans les limbes. Illustrations de Gaston Nick (1924); Odes en son honneur. Illustrations de Paul Baudier (1924); Chair. Illustrations de Maurice Guy-Loé (1925); Dédicaces. 220 Dessins d’Alfred Le Petit (1925); Épigrammes. Dessins d’Alexandre Barte (1926); and Invectives. Illustrations de Maurice Tellier (1926).

French lyric poet Paul Verlaine (1844-1896) was “first associated with the Parnassians and later a leader of the Symbolists. With Stéphane Mallarmé and Charles Baudelaire he formed the so-called Decadents…[In 1886] his first volume of poetry appeared. In addition to virtuoso imitations of Baudelaire and Charles Leconte de Lisle, Poèmes saturniens included several poignant expressions of love and melancholy. In 1870 Verlaine married Mathilde Mauté; in the delicious poems written during their engagement (La Bonne Chanson, 1870), he sees her as his long-hoped-for savior from his erring ways. Their marriage, however, was soon shattered by Verlaine’s infatuation with the poet Arthur Rimbaud…Verlaine abandoned his wife and infant son in July 1872 to wander with Rimbaud and write ‘impressionist’ sketches for his next collection, Romances sans paroles (1874; ‘Songs Without Words’)…At the time of publication the author was serving a two-year sentence at Mons for shooting Rimbaud during a quarrel in July 1873. Leaving prison in January 1875, Verlaine tried a Trappist retreat, then hurried to Stuttgart to meet Rimbaud, who apparently repulsed him with violence. He took refuge in England and taught for more than a year before returning to France. From this period (1873-78) date most of the poems in Sagesse (‘Wisdom’), including outstanding poetical expressions of simple Roman Catholic faith as well as of his emotional odyssey…The death of his favorite pupil in 1883, as well as that of the poet’s mother in 1886, and the failure of all attempts at reconciliation with his wife broke down whatever will to respectability remained, and he relapsed into drink and debauchery. Jadis et naguère (1884; ‘Yesteryear and Yesterday’) consists mostly of pieces written years before but not fitting into previous carefully grouped collections. Similarly, Parallèlement (1889) comprises bohemian and erotic pieces often contemporary with, and technically equal to, his ‘respectable’ ones” (Merriam-Webster’s Encyclopedia of Literature). Near Fine (Item #6098)