Félicien ROPS. La Grande Lyre, with the inscription Ex Libris, photogravure frontispiece by the photoengraver [Paul Dujardin] for Poésies de la Revue Indépendante, 1887 [see above]. 1a) Unique reverse proof of the crossed-out helio frontispiece on a large blank copperplate (40 x 27) printed in intaglio on yellow paper with a bl border [Pellée], much used in the studio by Rops in the 1880s (original cut-off half-sheet at right 46 x 30, idem no. 48/3). The crossed-out print was torn irregularly around the subject before being transferred to the plate. 1b) A rare copper radiation proof on watermarked tinted laid paper, where the Delâtre address still appears very slightly. It disappeared in a later reprint (see the Japon proof in the Visart de Bocarmé collection at Musée Rops GE0424). "As for the Rops, [Paul] Dujardin's copper, I have seen, is crossed out", Mallarmé wrote to Deman on July 4, 1894 (Marchal Corr. 2175). We enclose 3 unpublished autographs, including 2 letters from his editor at La Revue Indépendante about La Grande Lyre: 2a) Édouard DUJARDIN. L.a.s. to Félicien Rops, January 25, 1887 (2 p. on English laid double f. in-12 on the letterhead of La Revue Indépendante). Important letter confirming our suspicions about Dujardin's direct involvement with the artist. "Cher Monsieur,/ Si vous voulez regarder le prospectus ci-joint (que vous aurez peut-être vu dans le dernier numéro de la Revue Indépendante [en 4e de couv. de janvier 1887 mais paru avant les fêtes le 22 décembre], vous verrez que la Revue prépare une édition autographique des poésies de Mallarmé, à très peu d'exemplaires [...]/ Vous y verrez aussi l'annonce d'un ex-libris... Would you like to make this ex-libris? It would make our attempt infinitely precious... and a few lines, a few strokes would suffice [...] / Of a rare poet like Mallarmé, I would like an edition of a few rare copies; and we cannot wish it with any other bookplate than yours [...]". He quickly requested a reply to announce it "in the imminent print run" of the next issue, which was done in the issue of [1] February 1887, where Rops's name was added on the 4th cover. 2b) Édouard DUJARDIN. L.a.s. to Félicien Rops, July 18, 1887 (2p. on English laid double f. in-12 headed La Revue Indépendante, and envelope addressed rue de Grammont 21, stamped). "Dear Sir, / The complete print run of our Mallarmé edition [Poésies photolithographiées] will be made on the 25th of this month, officially [for the founders-patrons? it was not until September]; will you have finished the ex-libris plate by that date? [...] this publication is a serious matter for the Revue; if it were not completed by the end of the month, it would lead [...] to bankruptcies, and the death of the Revue [...] I most urgently need you to remember your promise [...] the life of the Revue - like my own situation - depends at this moment on your exactitude"... 3) Félicien ROPS. Carte-lettre a.s. à Rodrigues [Erastène Ramiro], son catalographe, à la Demi-Lune, postmarked 11/22/87. This small, unpublished bill amplifies questions about the various processes used by Rops at the time (drawing on reverse proof...). "If my wife [Léontine Duluc] does not ask for this drawing, - for she particularly liked it, & I gave it to her, or rather "offered" it to her; I will sell it to you with great pleasure. I'll ask five hundred francs for it when it's finished. And it's only half done! I'm going to pick it up again, at Dujardin's [Paul, his photoengraver of excellence, cf. n° 46/2] [...]. I want to make it an "exceptional" drawing. I promise not to sell it to anyone but you, if I sell it, & if you want it." He assures her firmly that he will do the frontispiece to his "Rops" cat. Mallarmé's frontispiece dates back to Baudelairian times! - I've been dreaming about this "Grande Lyre" figure for a long time! [Rops did indeed give the rotogravure drawing of La Grande Lyre to his wife, whom he wanted to recover from Paul Dujardin in 1894, as he wrote to Deman for a new edition (see Poésies no. 46/1). Gravure-printed at the earliest in September 1887, it was probably published after the 9th and final volume of Poésies, which came out in early October, even though it was not advertised for sale separately. The different Japon paper from the justification at the head of Poésies suggests a separate, delayed edition, with no doubt the frontispiece. But what would be unfinished in his eyes on November 22! Léontine's drawing of La Grande Lyre is indeed the one heliographed (in reduction) by Dujardin in February 1895. But it may also be another "finished" drawing by Dujardin.