Fiat Nox

Gerhard Altzenbach, 17th c. Skeleton wearing woman’s fashionable hat and gown, holding bouquet of wilted flowers; church and graveyard in background, Christ enthroned and angels in sky; engraved Latin text.

Herbert Cole. The Critic, 1900.

La Mort: C’est moi qui te rends serieuse; enlaçons-nous (Death: It Is I Who Makes You Serious; Let Us Embrace) from La Tentation de Sainte-Antoine. Odilon Redon.

[BAUDELAIRE (CHARLES)Les Fleurs du mal], FIRST EDITION, FIRST ISSUE, without title-page, dark morocco gilt by Charles Meunier (signed in blind on covers, and gilt on front turn-in), covers with central pictorial panels worked in coloured onlays (upper panel depicting a skeleton and flowers rising up with from a bed of skulls, entwined with a snake against a backdrop of the sun emerging from behind the mountains, captioned “Les fleurs du mal”; lower panel of a skull resting on an open book and thistles, entwined with a banner “Amor A Mort”), purple watersilked endpapers, gilt dentelles with skull cornerpieces„ g.e., central original printed wrappers bound in, half morocco chemise [Carteret I, pp.118-123], 8vo, Paris, Poulet-Malassis et de Broise, 1858

Laurie Lipton

Alberto Martini. Illustrations for Poe.

Alexander Ver Huel

Sometimes a horrible marionette
Came out, and smoked its cigarette
Upon the steps like a live thing.

Louis Henri Brévière.

Alexander Mair, 1605.

Les Epaves. Félicien Rops, 1866.