Strictly contemporary binding signed by Allo.
Red half-maroquin with corners. Spine with 5 nerves decorated with gilded fi lts, ornamented boxes. Lining and endpapers with comb. Untrimmed.
First edition with all the characteristics of the first printing: "Feurs" instead of "Fleurs" in the running title on pages 31 and 108, page 45 spelled "44", "capiteux" spelled "captieux" on page 201, etc.
Four autograph corrections by Baudelaire in graphite on p.
29, "errants sur le rivage" corrected to "errant sur les rivages" (p. 43), "sort au parfum", a et u (p. 110).
A copy with full margins of the 6 condemned pieces which were expunged from many copies: "Les Bijoux", "Le Léthé", "À celle qui est trop gaie", "Lesbos", "Femmes damnées" ("À la pâle clarté [...]"), "les Métamorphoses du vampire".
Precious copy with this autograph letter signed in ink on the title page : " To my friend André de Goy, Ch. Baudelaire "
André de Goy, was a fi gure of the literary Bohemia exactly contemporary of Baudelaire. The two men had many reasons and opportunities to socialize. Like Baudelaire, de Goy was a translator of English. We owe him French versions of works by Dickens (The
Battle of Life, 1854, Christmas Tales, 1857), Ainsworth (The Bandit of
London, 1851), Richardson, (Clarisse Harlow, 1851). He introduced Thackeray in the Revue de Paris in 1854, the same journal where Baudelaire had published his study of Poe two years earlier. He died, like Baudelaire, in a nursing home.
A copy bound in the period by Charles Allo who practised in the rue Dauphine and who was, with Lortic, one of Baudelaire's favourite bookbinders.
A very fine copy bound strictly in the period, with a letter to a friend who met a similar fate.