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431 - Félicien Rops, Set of 2 engravings. 1882. 1) Le plus belle amour de Don Juan. 1882. Heliogravure with retouching on Japan paper. 225x154 mm. Sheet: 495x320 mm. Signed on the plate in the lower right corner. Title and provenance folder inscribed in brown ink in the lower right corner. Print from the controversial series *Les Diaboliques*. The engravings were conceived as illustrations for Jules Barbey d’Aurevilly’s work, published in 1874 in its second edition, but were abruptly withdrawn from circulation due to their irreverence. The subject dates back to 1882, when the entire portfolio (excluding the frontispiece portrait) was reprinted on Japan paper. 2) Mors Syphilitica. Etching, aquatint, and drypoint on Japan paper. 202x140 mm. Sheet: 510x335 mm. Titled in pencil in the lower right corner. Rops engraved “Mors syphilitica,” symbolized by a hideous, emaciated woman. She leans her shoulder against a door, observing a dying libertine. With her mouth wide open, she casts a defiant glance toward the sky. Behind her, we can see the edge of the scythe. (2) Some scattered irregularities and wrinkles in the paper. Overall in good condition.
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Félicien Rops, Set of 2 engravings. 1882. 1) Le plus belle amour de Don Juan. 1882. Heliogravure with retouching on Japan paper. 225x154 mm. Sheet: 495x320 mm. Signed on the plate in the lower right corner. Title and provenance folder inscribed in brown ink in the lower right corner. Print from the controversial series *Les Diaboliques*. The engravings were conceived as illustrations for Jules Barbey d’Aurevilly’s work, published in 1874 in its second edition, but were abruptly withdrawn from circulation due to their irreverence. The subject dates back to 1882, when the entire portfolio (excluding the frontispiece portrait) was reprinted on Japan paper. 2) Mors Syphilitica. Etching, aquatint, and drypoint on Japan paper. 202x140 mm. Sheet: 510x335 mm. Titled in pencil in the lower right corner. Rops engraved “Mors syphilitica,” symbolized by a hideous, emaciated woman. She leans her shoulder against a door, observing a dying libertine. With her mouth wide open, she casts a defiant glance toward the sky. Behind her, we can see the edge of the scythe. (2) Some scattered irregularities and wrinkles in the paper. Overall in good condition.
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