287 - André Masson - Arthur Rimbaud. Une saison en enfer. Original etchings by André Masson. Paris, Les Cent-Une [1961]. Includes ten colored aquatint etchings, nine of which are double-sheet size, and one repeated in nine different colors. Loose double sheets in original envelope, folder, and slipcase.

André Masson - Arthur Rimbaud. Une saison en enfer. Original etchings by André Masson. Paris, Les Cent-Une [1961]. Includes ten colored aquatint etchings, nine of which are double-sheet size, and one repeated in nine different colors. Loose double sheets in original envelope, folder, and slipcase. Auction start time: approx. 3:41 p.m. (Schedule subject to change) Subscription copy for Mademoiselle Élise Puiforcat, one of 140 issued to members of the Société de Femmes Bibliophiles. — Signed in the colophon by the artist and the presidents of the bibliophile society. - A very fine copy. - Rimbaud—like his contemporary Isidore Ducasse (Comte de Lautréamont)—was deeply cherished by the Surrealists as a forerunner of their ideals, so much so that many of his works were illustrated. - Noteworthy is the printing technique, in which each aquatint plate was larger than the paper size, so that no plate edge is visible after printing. The wide white margins prevented unforeseen loss of the image. (See Saphire/Cramer, p. 130). Saphire/Cramer 50. – Monod 9764. – ABF, p. 338 39.5 × 29.0 cm. 140, [14] pages. English description: Includes ten color aquatint etchings, nine of which are double-sheet in size, with one repeated in nine different colors. Loose double sheets in their original wrapper. Together in a chemise and slipcase. Subscription copy for Mademoiselle Élise Puiforcat, one of 140 issued to members of the Société de Femmes Bibliophiles. - Signed in the colophon by the artist and the presidents of the bibliophiles’ association. - A very fine copy. “Rimbaud, like his contemporary Isidore Ducasse (Comte de Lautréamont), was dear to the hearts of the Surrealists as a precursor of their ideals. ... Each aquatint plate exceeded the double-page format, so no plate mark is visible. The border around each illustration ensured that no unforeseen problems arose with image loss, a method also used for *Les Hain-Teny* (No. 36), although less obviously. ... The suite of chapter introductions was printed without typography.” (Saphire/Cramer, p. 130).