1893 · Paris and London
by WILDE, OSCAR
Paris and London: Librairie de l'Art Indépendant; Elkin Mathews et John Lane, 1893. FIRST EDITION. ONE OF 600 COPIES (500 of which were for sale). 243 x 150 mm. (8 x 5 5/8"). 84 pp., [1] leaf.
Pleasing red very coarse-grained morocco by Sangroski & Sutcliffe (stamp-signed in gilt on rear turn-in), covers with gilt coat of arms surrounded by a gilt oval, raised bands, gilt lettering, gilt-ruled turn-ins, upper edge gilt, others untrimmed. With the original purple wrappers bound in. Housed in a a deluxe suede-lined modern red morocco case by Antonio Perez-Noriega, covers with elaborate twining wood onlays. A PRESENTATION COPY FROM WILDE TO ADOLPHE RETTÉ, WITH WILDE'S INSCRIPTION AND SIGNATURE ON THE FRONT FLYLEAF. Mason 348. See also: Mikhail, "Oscar Wilde: Interviews and Recollections," pp. 190-91. Spine faintly sunned, covers with a few small bumps and dents (perhaps original with the skin or intentionally made by the binder), one or two negligible finger smudges, but a fine, clean copy, with just insignificant imperfections.
This is a very special presentation copy of Wilde's most controversial play, inscribed to one of three writers the author invited to edit the original French script. In the Gospel of Luke, Herodias, the haughty wife of Antipas, tetrarch of Galilee, is so incensed by the preaching of John the Baptist against her sins that she determines to be revenged. She persuades her daughter Salomé to ask Antipas (the girl's stepfather) for John's head as the reward for her seductive dancing. Wilde's fertile imagination converts this story into a tale of juvenile infatuation scorned and turned into demented hate. Written and first published in French, "Salomé" was to have been staged in London with Sarah Bernhardt in the title role, but this was prevented by the Lord Chamberlain, the theater censor. Thus, the play was first performed in 1896 in Paris (with Bernhardt in the title role), but without Wilde in attendance, since he was confined at the time in Reading Gaol. It was not performed in London until 1905 in a private performance, and the censor's ban was not lifted until 1932. Adolphe Retté (1863-1930) was a French poet, essayist, and literary figure who initially was celebrated for his decadent and symbolist poetry, but later experienced a profound spiritual awakening that led him to renounce his earlier works and embrace Catholicism. He was one of three French-speaking poets (along with Stuart Merrill and Pierre Louÿs) Wilde solicited to look over the original script and correct any overt anglicisms. Retté, who had met Wilde in Paris, wrote about his involvement with "Salomé" in his memoir, where he describes his admiration for the work: "Not only were [Wilde's] ideas subtle and delightful, [but] he knew how to enhance them, seeming to caress each word with his irresistible way of speaking." Retté marveled at Wilde's "talent as a conversationalist, or rather as a monopolizer of the conversation, and the wonderful way he would set forth the philosophy of 'hedonism.'" Wilde presentation copies are not exceptionally rare in general, but we could find few such copies of this important first edition, and none any more important as this one.. (Inventory #: ST20128)
Pleasing red very coarse-grained morocco by Sangroski & Sutcliffe (stamp-signed in gilt on rear turn-in), covers with gilt coat of arms surrounded by a gilt oval, raised bands, gilt lettering, gilt-ruled turn-ins, upper edge gilt, others untrimmed. With the original purple wrappers bound in. Housed in a a deluxe suede-lined modern red morocco case by Antonio Perez-Noriega, covers with elaborate twining wood onlays. A PRESENTATION COPY FROM WILDE TO ADOLPHE RETTÉ, WITH WILDE'S INSCRIPTION AND SIGNATURE ON THE FRONT FLYLEAF. Mason 348. See also: Mikhail, "Oscar Wilde: Interviews and Recollections," pp. 190-91. Spine faintly sunned, covers with a few small bumps and dents (perhaps original with the skin or intentionally made by the binder), one or two negligible finger smudges, but a fine, clean copy, with just insignificant imperfections.
This is a very special presentation copy of Wilde's most controversial play, inscribed to one of three writers the author invited to edit the original French script. In the Gospel of Luke, Herodias, the haughty wife of Antipas, tetrarch of Galilee, is so incensed by the preaching of John the Baptist against her sins that she determines to be revenged. She persuades her daughter Salomé to ask Antipas (the girl's stepfather) for John's head as the reward for her seductive dancing. Wilde's fertile imagination converts this story into a tale of juvenile infatuation scorned and turned into demented hate. Written and first published in French, "Salomé" was to have been staged in London with Sarah Bernhardt in the title role, but this was prevented by the Lord Chamberlain, the theater censor. Thus, the play was first performed in 1896 in Paris (with Bernhardt in the title role), but without Wilde in attendance, since he was confined at the time in Reading Gaol. It was not performed in London until 1905 in a private performance, and the censor's ban was not lifted until 1932. Adolphe Retté (1863-1930) was a French poet, essayist, and literary figure who initially was celebrated for his decadent and symbolist poetry, but later experienced a profound spiritual awakening that led him to renounce his earlier works and embrace Catholicism. He was one of three French-speaking poets (along with Stuart Merrill and Pierre Louÿs) Wilde solicited to look over the original script and correct any overt anglicisms. Retté, who had met Wilde in Paris, wrote about his involvement with "Salomé" in his memoir, where he describes his admiration for the work: "Not only were [Wilde's] ideas subtle and delightful, [but] he knew how to enhance them, seeming to caress each word with his irresistible way of speaking." Retté marveled at Wilde's "talent as a conversationalist, or rather as a monopolizer of the conversation, and the wonderful way he would set forth the philosophy of 'hedonism.'" Wilde presentation copies are not exceptionally rare in general, but we could find few such copies of this important first edition, and none any more important as this one.. (Inventory #: ST20128)
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