Héliogabale by Antonin Artaud
ARTAUD, Antonin. Héliogabale ou l’Anarchiste Couronné. Avec six vignettes de André Derain. Paris, Denoël et Steele, 1934.
First edition, a rare presentation copy, of Artaud’s semi-fictional biography of the Roman emperor Elagabalus, illustrated by the artist and co-founder of Fauvism André Derain.
Avant-garde artist Antonin Artaud (1896-1948) is celebrated for his raw, surreal, and transgressive work, including Héliogabale – his portrayal of Elagabalus, the Roman emperor from 218 to 222, as a dark hero, born into depravity and condemned by society. The book delves into the clash between Greco-Latin culture and Barbarism, capturing the extremes of human experience. Through Héliogabale, Artaud explores themes of societal collapse, collision of civilizations, and the descent into madness. Renowned French writer J.M.G. Le Clézio has described Héliogabale as ‘the most violent book in contemporary literature … [exuding] a beautiful and regenerating violence’ (transl.).
Octavo, pp. 191, [1], with six monochrome illustrations in text; very good in the original white paper wrappers printed in black and green (wrappers a little creased and soiled, foot of spine restored), with glassine wrappers; authorial inscription to half-title: ‘à Wanda Vanel dont le beau visage m’évoque une des grandes figures dont j’ai parlé dans ce livre Antonin Artaud’.
ARTAUD, Antonin. Héliogabale ou l’Anarchiste Couronné. Avec six vignettes de André Derain. Paris, Denoël et Steele, 1934.
First edition, a rare presentation copy, of Artaud’s semi-fictional biography of the Roman emperor Elagabalus, illustrated by the artist and co-founder of Fauvism André Derain.
Avant-garde artist Antonin Artaud (1896-1948) is celebrated for his raw, surreal, and transgressive work, including Héliogabale – his portrayal of Elagabalus, the Roman emperor from 218 to 222, as a dark hero, born into depravity and condemned by society. The book delves into the clash between Greco-Latin culture and Barbarism, capturing the extremes of human experience. Through Héliogabale, Artaud explores themes of societal collapse, collision of civilizations, and the descent into madness. Renowned French writer J.M.G. Le Clézio has described Héliogabale as ‘the most violent book in contemporary literature … [exuding] a beautiful and regenerating violence’ (transl.).
Octavo, pp. 191, [1], with six monochrome illustrations in text; very good in the original white paper wrappers printed in black and green (wrappers a little creased and soiled, foot of spine restored), with glassine wrappers; authorial inscription to half-title: ‘à Wanda Vanel dont le beau visage m’évoque une des grandes figures dont j’ai parlé dans ce livre Antonin Artaud’.
ARTAUD, Antonin. Héliogabale ou l’Anarchiste Couronné. Avec six vignettes de André Derain. Paris, Denoël et Steele, 1934.
First edition, a rare presentation copy, of Artaud’s semi-fictional biography of the Roman emperor Elagabalus, illustrated by the artist and co-founder of Fauvism André Derain.
Avant-garde artist Antonin Artaud (1896-1948) is celebrated for his raw, surreal, and transgressive work, including Héliogabale – his portrayal of Elagabalus, the Roman emperor from 218 to 222, as a dark hero, born into depravity and condemned by society. The book delves into the clash between Greco-Latin culture and Barbarism, capturing the extremes of human experience. Through Héliogabale, Artaud explores themes of societal collapse, collision of civilizations, and the descent into madness. Renowned French writer J.M.G. Le Clézio has described Héliogabale as ‘the most violent book in contemporary literature … [exuding] a beautiful and regenerating violence’ (transl.).
Octavo, pp. 191, [1], with six monochrome illustrations in text; very good in the original white paper wrappers printed in black and green (wrappers a little creased and soiled, foot of spine restored), with glassine wrappers; authorial inscription to half-title: ‘à Wanda Vanel dont le beau visage m’évoque une des grandes figures dont j’ai parlé dans ce livre Antonin Artaud’.