À Rebours illustrated

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Not a comprehensive post by any means but a few items worthy of note for readers of Joris-Karl Huysmans’ Decadent classic. The Vera Bock cover is from a 1930 American edition which turned up here last year. Thanks to Jescie for drawing my attention to the presence of my Haunter of the Dark collection on the same site. Vera Bock is an unusual choice of illustrator for this particular novel, there’s more of her work and details of her career at A Journey Round My Skull.

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Auguste Leroux’s edition (above & below) is from 1920 and can be downloaded at the Internet Archive although the copy there seems to have had many of its full-page plates stolen. The artist produced an illustrated Memoirs of Casanova a few years later and he seems here to have concentrated on the more salacious aspects of Huysmans’ story, as with this brothel scene which is missing from the scanned edition. His depiction of Des Esseintes looks too middle-aged for me but the rendering of the unfortunate jewelled tortoise could hardly be bettered.

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Browsing the archives at Gallica turned up this extraordinary Art Nouveau edition from 1903 illustrated and embellished on every page by Auguste Lèpere. This would be an excessively lavish treatment for most books but for a story of aesthetic obsession it seems quite appropriate. Gallica also allows the downloading of many of their documents although that function kept failing my attempts. But this volume really does need to be seen in its entirety.

Elsewhere on { feuilleton }
The illustrators archive

Previously on { feuilleton }
Arthur Zaidenberg’s À Rebours

Shinichi Maruyama’s water sculptures

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From the Kusho series.

Having attempted a few times to photograph the motion of water in air I’m in awe of Shinichi Maruyama’s high-speed captures which make of the process a very refined and beautiful art. Japanese calligraphy and sumi-e painting are obvious precedents but the artist also refers us to Zen gardens in his Gardens series wherein flares of coloured liquid drift through abstract landscapes. See his website for more.

Mossa’s Salomés

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Salomé (1901).

Monsieur Wiley prompted this post by drawing my attention to the picture above. I’d already seen another Salomé by Gustav Adolf Mossa on this page a few days ago but resisted the temptation to mention it. A bit more searching revealed yet another Mossa rendering of the theme which perhaps isn’t so surprising given the artist’s obsession with lethal women. The first exceeds all previous depictions of the Biblical temptress by having her actually licking blood from the executioner’s sword. In the third picture she’s content merely to use a severed hand as a page-turner while John the Baptist’s mutilated body is carted away by servants.

The search for pictures turned up a blog I hadn’t seen before, Women in the Bible (“This is no religious blog!”), which has several Salomé postings. And there’s also Les voiles de Salomé: Labyrinthique errance, virevoltes et volutes.

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Encor Salomé (1905).

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Salomé (1908).

Elsewhere on { feuilleton }
The Salomé archive

Weekend links 44

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Poster by Will Bradley for Victor Bicycles (c. 1895).

• G. Wayne Clough, chief exective of the Smithsonian Institution, finally admits that he made a hasty decision in removing David Wojnarowicz’s video from the Hide/Seek exhibition of gay art. Related: “Finland’s cultural gifts to the world include Sibelius, the Moomins and an artist that the country has been less eager to celebrate.” The belated homecoming of Tom of Finland.

The Fiend with Twenty Faces: Jonathan Clements examines the legacy of Edogawa Rampo (Hirai Taro), the Japanese master of mystery and imagination.

• RIP Susannah York. The Guardian posted a selection of clips including one from Robert Altman’s Images (1972).

• More mixtapes: Trish Keenan’s Mind Bending Motorway Mix and a selection for Quietus by Chris & Cosey.

• “Ruin photos speak to our desperate desire to have our world re-enchanted.”

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Promo poster by Hapshash and the Coloured Coat for My White Bicycle by Tomorrow (1967).

The Raging Peloton: Iain Sinclair on two wheels good, four wheels bad.

The unknown Jorge Luis Borges: five new anthologies reviewed.

The French house untouched for 100 years (and also here).

Electrotypes on Drugs: old chemists’ labels.

South China Sea Pishkun by Dinh Q. Lê.

Bike (1967) by Pink Floyd | My White Bicycle (1967) by Tomorrow | Trip On An Orange Bicycle (1968) by Orange Bicycle.

The art of Gustav Adolf Mossa, 1883–1971

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Self-portrait.

A French artist and another late Symbolist painter whose idiosyncracies point to Surrealism but whose obsession with femmes fatales looks back to the preoccupations of the fin de siècle. If you don’t mind the implicit misogyny there’s a lot more to be seen here and here.

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Elle (1906).

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Le baiser d’Hélène (1905).

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Bruges-la-morte (1911).

Previously on { feuilleton }
Le Sphinx Mystérieux
La belle sans nom
The Feminine Sphinx
Le Monstre
Carlos Schwabe’s Fleurs du Mal
Empusa
Bruges-la-Morte