*Stéphane MALLARMÉ. Berthe Morisot (Madame Eugène Manet) 1841-1895. [Paris, Durand-Ruel, March 5-21, 1896]; br. pet. in-4, chemise, brown chagr. spine titled in gold, suede back covers, slipcase [Atelier Devauchelle]. First edition of the elegant catalog of the great posthumous retrospective of Manet's famous sister-in-law, whose photographed portrait from 1873 adorns the frontispiece. It has not been said enough that this is the 1st reproduction of this Manet, which remained in the Rouart family until 1996 (Musée Marmottan). New information concerning the separate imposition of Mallarmé's preface. The catalog of works consists of 2 quires of 8 ff. on medium white laid paper. Mallarmé's preface was printed separately (late?) on lighter white laid paper. It consists of an 8-f. booklet with a (false) initial title, - the galerist's cover, more commercial, acting as a "title page" with references for the proper use of a visit (Mme Robin received him in advance, for example). The notebook ends with a bl. f., 8th and last, which would not be justified if the layout were continuous with the following 2. Autograph letter signed in ink on back cover: "To Madame Robin / so that she visits the Exhibition // with the homage / of / SM". A friend of writers, a scholar, a great scholar and a bibliophile, Doctor Albert Robin (1847-1928), thanks to Mallarmé, was called upon to diagnose Villiers. And he must necessarily have been one of Méry Laurent's friends, surrounded by doctors... Late? Invited to a "petit dîner d'amis" on March 2, 1896 by his wife Isabelle Robin, along with Goncourt, Grosclaude [see 111], Mirbeau and Montesquiou, Mallarmé had to decline, as Goncourt recounted in his Diary of the same date: "Mallarmé was supposed to be at dinner, but he is prevented by the writing of a preface on Berthe Morisot's paintings, from which he cannot leave" (Austin VIII p. 73). The exhibition opened on March 5. He had already asked Renoir on February 29, "for the proofs of my notice where it's a blank and they're waiting", for the dates the artist would provide him on Impressionist exhibitions (ibid. p. 69). An exquisite copy, as given.