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Oscar WildeBiblio.com

1882#8Oscar Wilde Poems. Fourth Edition. London David Bogue 1882. Octavo. ix pp. 1 blank leaf 234 pp. 2 pp. publisher's catalogue and 1 blank leaf. Publisher's binding. Full white vellum Bradel binding both covers decorated with a symmetrical gilt and blind-stamped floral panel spine likewise adorned with a large gilt floral panel title in gilt lettering top edge gilt untrimmed. Fourth edition. Copy enriched with an autograph inscription signed on the verso of the half-title: "To Alphonse Daudet the greatest novelist of our time homage from the author. Oscar Wilde May 3 83." An exceptional inscription to "the greatest novelist of our time." Having only just returned from New York Oscar Wilde spent the period from February to mid-May in Paris. It was there that he made the acquaintance of Alphonse Daudet whom he met both at his home his wife hosted a celebrated salon and at the residence of the painter Giuseppe de Nittis. Robert Harborough Sherard who was a friend of both Daudet and Wilde testified to the genuine esteem the English writer held for the French novelist. Although their aesthetics may at first appear far apart certain parallels can nevertheless be drawn between their works. Thus it has been written of L'Homme au cerveau d'or one of the tales from Lettres de mon moulin that "one might readily believe it to be the work of an Edgar Allan Poe or an Oscar Wilde." Yet Alphonse Daudet like the vast majority of French writers did not distinguish himself by his courage and even went further: in 1895 after Wilde's sentence to two years' hard labour he refused to sign a petition by Hugues Rebell calling for a reduction of his sentence accompanying his refusal with the remark: "As a father I can only express my horror and indignation." Let us recall that this exemplary family man confided to Gustave Flaubert during a dinner: "To experience pleasure against my own flesh I require the flesh of two women one whom I handle and the other who attends to the backside of the one I am fondling" Journal of Edmond de Goncourt 5 May 1876. This inscription by Oscar Wilde certainly dates from a period when he was seeking to ingratiate himself with the French intellectual milieu yet he was nonetheless fully aware of Alphonse Daudet's great talent and sincere in this fine dedication. David Bogue

Librairie Jean-Claude Vrain · France40 000,00 $US≈ 33 844,00 €

Wilde OscarBiblio.com

Poems

1882#9Oscar Wilde Poems. Fourth Edition. London David Bogue 1882. Octavo. ix pp. 1 blank leaf 234 pp. 2 pp. publisher's catalogue and 1 blank leaf. Publisher's binding. Full white vellum Bradel binding both covers decorated with a symmetrical gilt and blind-stamped floral panel spine likewise adorned with a large gilt floral panel title in gilt lettering top edge gilt untrimmed. Fourth edition. Copy enriched with an autograph inscription signed on the verso of the half-title: "To Alphonse Daudet the greatest novelist of our time homage from the author. Oscar Wilde May 3 83." An exceptional inscription to "the greatest novelist of our time." Having only just returned from New York Oscar Wilde spent the period from February to mid-May in Paris. It was there that he made the acquaintance of Alphonse Daudet whom he met both at his home his wife hosted a celebrated salon and at the residence of the painter Giuseppe de Nittis. Robert Harborough Sherard who was a friend of both Daudet and Wilde testified to the genuine esteem the English writer held for the French novelist. Although their aesthetics may at first appear far apart certain parallels can nevertheless be drawn between their works. Thus it has been written of L'Homme au cerveau d'or one of the tales from Lettres de mon moulin that "one might readily believe it to be the work of an Edgar Allan Poe or an Oscar Wilde." Yet Alphonse Daudet like the vast majority of French writers did not distinguish himself by his courage and even went further: in 1895 after Wilde's sentence to two years' hard labour he refused to sign a petition by Hugues Rebell calling for a reduction of his sentence accompanying his refusal with the remark: "As a father I can only express my horror and indignation." Let us recall that this exemplary family man confided to Gustave Flaubert during a dinner: "To experience pleasure against my own flesh I require the flesh of two women one whom I handle and the other who attends to the backside of the one I am fondling" Journal of Edmond de Goncourt 5 May 1876. This inscription by Oscar Wilde certainly dates from a period when he was seeking to ingratiate himself with the French intellectual milieu yet he was nonetheless fully aware of Alphonse Daudet's great talent and sincere in this fine dedication. David Bogue

Librairie Jean-Claude Vrain · France40 000,00 $US≈ 33 844,00 €

Wilde OscarBiblio.com

Salome

1894#15Oscar Wilde Salome. A Tragedy in One Act: Translated from the French of Oscar Wilde; Pictured by Aubrey Beardsley. Salomé une tragédie en un acte traduite du français illustrée par Aubrey Beardsley. London Elkin Mathews & John Lane; Boston Copeland & Day 1894. Small quarto. 5 unnumbered leaves half-title engraved title dedication to Alfred Douglas list of characters engraved list of illustrations 67 pp. and 16 pp. of publisher's advertisements. 10 engraved plates printed on Japan paper and one historiated tailpiece. A precious copy from the library of Jules Claretie accompanied by an autograph letter and a superb original photograph of Oscar Wilde. Contemporary binding signed by Gruel. Full olive morocco covers framed with a quadruple blind fillet spine with five raised bands extending onto the covers inner dentelles with gilt fillets gilt edges at the head edges ruled. First English edition printed in 500 copies. Copy enriched with: – An original photograph of Oscar Wilde 145 × 105 mm by Alfred Ellis albumen print of the period. – A press clipping announcing Wilde's death and another reporting on his funeral. – An autograph letter signed by Oscar Wilde to Jules Claretie dated "The Cottage Goring-on-Thames" 1894 4 pages 12mo in black ink on a folded vellum paper bifolium. Translation of the letter originally in French: "Dear Monsieur Claretie Pray allow me the pleasure of asking you to accept a copy of my play Salomé and permit me to assure you how highly I value the privilege of meeting the artistic director of the most artistic theatre in the world. I have retired to the country to reflect upon a new play but before the season ends I hope to return to London and to have the opportunity of seeing you again. The only hope I see for our English drama lies in the establishment of a theatre like the French Theatre. I hope we may find a director possessing as much sympathy for art as yourself. Pray accept this expression of my respect and admiration. Oscar Wilde." One year after its first appearance in French the English version of Salome was published. The dedication reads: "To my friend Lord Alfred Bruce Douglas the translator of my play." In fact the translation gave rise to a dispute between Wilde and his young protégé whose command of French was rather limited. Wilde redid the entire work and refused to allow Douglas's name to appear on the title page. Douglas saw between this dedication and the absence of his name on the title page "the difference between a tribute of admiration from an artist and a tradesman's receipt." The book is one of the masterpieces of the English illustrated book featuring the striking compositions of Aubrey Beardsley 1872–1898 who also designed two magnificent historiated borders for the title page and the list of illustrations as well as the final tailpiece. These stylized and sinuous drawings show the artist at the height of his powers playing with bold areas of deep black ink contrasted with untouched white spaces and sophisticated decorative elements inspired equally by Renaissance ornament and the then-fashionable Japanese style. For Salome the young artist created the archetype of the poisonous woman typical of Symbolism surrounded by grotesque and perverse secondary figures. Wilde paid tribute to him declaring that Beardsley was "the only artist who knew what the dance of Salome was and who could see that invisible dance." This copy belonged to the novelist playwright and critic Jules Claretie 1840–1913 who from 1885 until his death served as administrator of the Comédie-Française which Wilde here does not hesitate to call "the most artistic theatre in the world." Claretie introduced contemporary authors such as Henry Bataille and Octave Mirbeau into its repertoire. This was a bold undertaking and Wilde here pays tribute to it: "The only hope I see for our English drama lies in the establishment of a theatre like the French Theatre." The very fine portrait of Oscar Wilde mounted at the beginning of this copy was taken in 1892 by the London photographer Alfred Ellis 1854–1930. The writer is captured as he truly was at the height of his career: impeccably dressed posing in a high-buttoned double-breasted jacket flower in his buttonhole white pocket square a cigarette in his left hand and his gloves in his right the latter resting on his hip. Elkin Mathews & John Lane

Librairie Jean-Claude Vrain · France40 000,00 $US≈ 33 844,00 €

Wilde OscarBiblio.com

Salomé

1893#16Oscar Wilde Salomé. Drame en un acte. Paris Librairie de l'Art indépendant; London Elkin Mathews and John Lane 1893. Square 12mo 196 × 145 mm. 2 blank leaves 84 numbered pages the first 8 unnumbered: half-title title dedication to Pierre Louÿs list of characters; text beginning on p. 9 and 2 unnumbered leaves 1 leaf with the colophon dated 6 February 1893 and 1 blank leaf. Modern binding. Half black morocco with small corner pieces bluish paper sides smooth spine title in gilt untrimmed top edge with matte gilt doublures and endleaves of the same paper. Original violet wrappers and spine the upper cover printed in silver lettering preserved. Excellent condition. A few small spots; upper edges of the boards slightly faded; wrappers somewhat sunned. First edition. This celebrated play was written directly in French by Wilde between 1891 and 1892; first performed in 1896 its text was revised at the author's request by Marcel Schwob Stuart Merrill and Pierre Louÿs. The first English edition appeared the following year. Limited edition of 600 copies with no special issue on large paper. The second blank leaf bears the following autograph inscription signed in black ink: "À Puvis de Chavannes / Hommage respectueux / Oscar Wilde" To Pierre Puvis de Chavannes respectful homage Oscar Wilde. The celebrated painter and muralist Pierre Puvis de Chavannes 1824–1898 like Oscar Wilde 1854–1900 lived in the cult of Beauty. Renowned for his compositions of noble and hieratic character influenced both by Greco-Roman classicism and by Symbolism his work exerted a profound fascination on late nineteenth-century painters and sculptors particularly Edgar Degas Paul Gauguin Aristide Maillol and Maurice Denis. The aesthetic connection between Oscar Wilde and Puvis de Chavannes is to be sought precisely around Salomé since the artist had painted in 1869 a Beheading of Saint John the Baptist that may well have inspired the author. Moreover it is known that when Aubrey Beardsley—who would illustrate the English version of the play in 1894—came to Paris in 1893 he was strongly encouraged by the French painter who introduced him as "a young English artist who produces astonishing things." The inscription in Salomé is therefore particularly significant and of greater import than a simple tribute. A very fine provenance for this celebrated drama written directly in French by Oscar Wilde. Librairie de l’Art indépendant

Librairie Jean-Claude Vrain · France50 000,00 $US≈ 42 305,00 €

Wilde OscarBiblio.com

The Ballad of Reading Goal by C.3.3.

18986Oscar WildeThe Ballad of Reading Goal by C.3.3.Leonard Smithers Royal Arcade London W. 1898.Original white quarter cloth spine lettered in gilt yellow cloth sides.Inscribed in ink on the back of the half-title:To Louis Fabuletfrom the authorin remembrance ofa charming eveningwhen the wine was red and the moonwas silverOscar WildeParis98Autograph note from Louis Fabulet: "This book: "The Ballad of Reading Jail" was given to me by Oscar Wilde in June 1898 a few days after the dinner that after his release from prison in England I persuaded my friend the poet Edouard Ducôté then director of the magazine "L'Ermitage" to offer in his honor. Hugues Rebell André Gide Henri Ghéon René Boylesve and I were the guests. Louis Fabulet. Attached is the business card bearing the name under which Oscar Wilde then lived in Paris. The address in pencil: "Hôtel d'Alsace rue des Beaux-Arts is in his handwriting. "Melmoth" is the man "who sold his soul for eternal youth."Louis Fabulet 1862-1933 was one of the main translators from English to French in his time notably of the works of Kipling and Thoreau. It is said that it was Oscar Wilde who introduced him to The Jungle Book.This inscription exceptionally long and colorful which is almost akin to a brief poem refers to the dinner that Louis Fabulet speaks of in his note.Wilde had arrived in Paris in March and the French literati were keen to pay him public homage with this banquet which he presided over.The inscription makes a nice reference to the event with perhaps a reminiscence of the Ballad itself where we read in the second verse: "For blood and wine are red" .Mounted in the copy is Wilde's rare card in the name of Sebastian Melmoth. The aged ruined writer abandoned by almost everyone hid himself under the name of the hero of Robert Mathurin's novel Melmoth the Wanderer.The card does not have an address. Wilde in fact lived at the Hôtel d'Alsace in Saint-Germain des Prés a shabby establishment at the time "it's so dirty so totally depressing and hopeless" he wrote. He wrote down the address of his hand in pencil. It was there that he died two years later. The hotel took the name "L'Hôtel" in 1963 and became a rather chic place.These combined elements: the poetic inscription which evokes a happy moment and the moving card which evokes his misery make this copy one of the most precious there is. Leonard Smithers

Librairie Jean-Claude Vrain · France85 000,00 $US≈ 71 918,50 €

WILDE, HBiblio.com

On a Property of the Magneto-Electric Current to Control and Render Synchronous the Rotations of the Armatures of a Number of Electromagnetic Induction Machines.

186947911No place 1869. 8vo. In the original printed wrappers no backstrip. Offprint from the "Philosophical Magazine" January 1869. With authors presentation inscription to front wrapper: "With the author's Compliments.". Fine and clean. 9 pp. Offprint issue with author's presentation insciption to front wrapper of Wilde's paper on how to control and render the magneto-electri current which nearly led to the discovery of the principle of self-excitation. This was however achieved by other inventors first notably Charles Wheatstone and the Siemens brothers."In 1856 Wilde established a business in Manchester as an electric-telegraph and lightning-conductor engineer and spent some years on the development of a magneto-electric alphabetic telegraph which was demonstrated at the international exhibition in London in 1862. In December 1863 he patented a twin-armature machine in which a magneto-electric generator provided excitation current for the field winding of another generator. These machines were made in quantity by Wilde & Co. but in use they had the disadvantage of becoming very hot. In 1867 Described in the present paper. he patented an entirely different type of multipolar machine which was used for electro-deposition and arc lighting. Among his other patents was one in 1875 for the making of copper rollers for calico printing.". Oxford DNB. Henry Wilde 1833 - 1919 was a wealthy individual from Manchester England who used his self-made fortune to indulge his interest in electrical engineering. He invented the dynamo-electric machine or self-energising dynamo an invention for which Werner von Siemens is more usually credited and in fact discovered independently. At any rate Wilde was the first to publish his paper was communicated to the Royal Society by Michael Faraday in 1866. The self-energising dynamo replaces the permanent magnets of previous designs with electro-magnets and in so doing achieved an enormous increase in power. The machine was considered remarkable at the time especially since Wilde was fond of spectacular demonstrations such as the ability of his machine to cause iron bars to melt. unknown

Herman H. J. Lynge & Søn A/S · Danemark4 800,00 DKK≈ 644,64 €

Wilde oscar

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