A PLASTIC TOOL
NAKED CITY [Ex-Libris Ralph Ingersoll, Founder of PM Newspaper]
EAU DE COLOGNE [First Two Issues]
[Original Poster for "afro/rock night with Assagai" at Hull University]
HELP YOUR LOCAL JUNKIE KICK
YOUNG FLESH REQUIRED [Original Promotional Poster for THE GREAT ROCK 'N' ROLL SWINDLE]
THE HAIRY WHO SIDESHOW
ARCHIGRAM NINE [9]
FUCK YOU: A Magazine of the Arts - Number 5, Vol. 4

[Original Mourning Card ("Carte de deuil") from Mallarme's Funeral]

[MALLARM…, StÈphane]

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[Paris]: [September, 1898]. 4" x 5" approx. card, letterpress printed on recto, with black borders on both recto and verso, the latter otherwise blank. Mild wear at edges. Near fine. (Item ID: 22097)

Stark and haunting card of mourning from the September 10th, 1898 funeral of Stephane MallarmÈ. MallarmÈ had died two days earlier after a gruesome coughing fit in front of his doctor and horrified family. A similar episode days before had so shaken the poet that he wrote the infamous letter found after his death instructing his family (some of the same family listed on this card) to destroy his archive (ìBr˚lez, par consÈquent: il níy a pas l‡ díhÈritage littÈraire, mes pauvres enfantsî). His funeral was an intimate affair: "On a brilliantly hot Sunday afternoon, guests began to arrive. [They] made their way down into the small garden path where his coffin has been placed [...] in the shade of the chestnut tree which Genevieve [his daughter] had planted when she was a young girl. Famous writers and artists rubbed shoulders with local peasants [...] Once all the guests had assembled, the funeral cortege made its way first to the little church in the neighboring village [...] Then, after a simple ceremony, MallarmÈ was buried next to his son Anatole in a little cemetary close by [...] Henri Roujon made an emotional speech [...] Paul Valery [...] was too upset to speak" (Millan, A THROW OF THE DICE: The Life of Stephane Mallarme, p. 318-19).Given the small scale of the service, we cannot imagine many of these cards were printed, with even fewer surviving. Indeed, our research suggests it is unrecorded. Rare, important, and in many ways revealing: MallarmÈís name is conspicuously (and appropriately) absent from the card, which lists, on five lines, only the family members he left behind (including his wife Marie, daughter Genevieve, and cousin and longtime family confidant Melanie Laurent). In this regard, a poignantly MallarmÈan document that echoes his own influential poetics of elision, obscurity, and ambiguity ó the very poetics that gave birth to Modernism.


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