*Stéphane MALLARMÉ. L'Après-midi d'un Faune. 2nd and 3rd editions and an English private press. 1) L'Après-midi d'un Faune/ Eglogue // Édition définitive. Paris, À La Revue Indépendante, [late February] MDCCCLXXX[V]II (sic, correct on cover), pet. in-12 br. booklet, modern cloth slipcase, basane title-piece on spine. [2nd corrected edition], also known as the "popular (non-illustrated) edition" at 2 fr, the original then at 80 fr. [f. blue advertisement in the same Revue indépendante from March [1st]] to "improuver toute contrefaçon identique par le format ou le choix des caractères qui viend à se produire en contradiction avec l'avis de l'auteur [c'était celle sans cesse différée de Vanier, cf. below], I have decided to entrust the Revue Indépendante with the task of reprinting the work, both current and definitive: one would not dare say popular, despite the favor that seems to be attached to this short poem" (Galantaris 2014 p. 457, see 34). One of [725] ex. on white laid paper according to Galantaris (ibid.), in fact lightly tinted laid paper, "vergé à la forme" according to the 1st large advert on the 3rd cover of the aforementioned issue of La Revue indépendante, the publisher. However, the paper is well watermarked: according to a fragmentary provisional reading [...] ERS and HT, - different from the more sonorous and glued Van Gelder of the deluxe edition of this review, printed at the same time by Boyer in Asnières. Precious edition for its Bibliography, which announced: "The desire to bring the correction of a verse to the noble original edition", which was done in the penultimate verse p.7: "Rêve, dans un solo long, que nous amusions". Cover restored. 2) L'Après-midi d'un Favne / Eglogve. Nouvelle édition avec frontispice, ex-libris [ajout de l'édition], fleurons & cul[-]de-lampe, Paris, Léon Vanier, Libraire-Editeur (en couv.: Vanier, Bibliopole), [début oct.] 1887; plaquette pet. in-8 demi-chagr. noir à coins bordé d'un filet d'or, dos à nerfs (rel. moderne). [3rd edition corrected and 2nd illustrated by Manet], unjustified. Ex. on simili-Japan at 5 fr. from a unique edition of [500] copies (the price vertically printed in the bottom margin of the 1st cover in parchment paper has disappeared in the binding). New bibliographical data "Tirage indéterminé, mais très faible, sur papier vergé de Hollande. - Price: 2 francs" says Galantaris, and "Quelques exemplaires (?) imprimés sur papier impérial [sic] du Japon. - Price: 5 francs" (ibid. p. 461). In fact, it was 500 copies, according to Vanier's accountant, without specifying the paper, of an edition initially planned at 1000 (Austin Corr. III p. 154). On October 26, after publication, Mallarmé considered himself entitled, according to the contract, to claim a thousand copies (Marchal Corr. 854). The only person to mention an edition on Hollande at 2 fr., without the drawings (sic), is Talvart, who adds a few Japon at 5 fr. (XIII, p. 117); Monda and Montel (p. 16) are imprecise: edition published at 5 fr. but mentioning a few Japon (at what price then!). In fact, we believe the entire edition is on simili-Japon at 5 fr., the only price given by Vicaire, who does not stipulate the paper (V, 474). Vanier's accountant, in the draft given to Mallarmé, notes: "Remains due on the 500 edition of Le Faune (which was only done at 4.50) and that's 4 times too much." (Austin, ibid.). Counted at 4.50 instead of 5 fr." Vanier, in the publications listed on the cover, e.g. in 1889, mentions: "[...] églogue with illustrations by Manet, plaquette d'art sur japon 5 [fr.]". Sotheby's catalogued from the coll. P. Morel "one of the rare head copies on Japon impérial [sic]" at 5 fr. (15/10/2015 n° 116). It was launched by the publisher in early October without the poet's approval (Marchal Corr. 847) who, exasperated by Vanier's procrastination, had decided to issue a definitive, unillustrated edition to "impede any future counterfeiting" (cf. supra). This edition featured Manet's 4illustrations in the most basic photo-engraved reductions... "Vanier counterfeit", said the poet, who, before the affair escalated, nevertheless submitted his correction of the line "Rêve, dans un solo long" (Dream, in a long solo). Covers and some ff. corners a little creased. 3) L'Après-midi d'un Faune. The translation by Aldous Huxley. Drawings by John Buckland Wright. London, Golden Cockerel Press, 1956; gr. in-8 full green morocco with gilt composition in the center, titled spine, slipcase (publisher's binding). Limited edition of 200 copies on green Barcham laid paper from the Chiswick Press. One of 100 special ex., num. 26 in ink, with the morocco binding, and a suite of 4 trial engravings from an edition dating back to 1936 and printed in The Hague at 50 ex. without ill. in French. Of the various experiments