Silius Italicus wrote an extremely long epic poem on the second punic war and Richard Miles (in his "Carthage must be Destroyed") mentions it was not received very well. Pliny, for instance, says Silius Italicus had more eagerness to write than he had genius.

Mecenas was a patron of the arts, supporting, amonst others, Horace, Virgil and Propertius. But he also wrote himself and got cited as something completely debased (and subsequently praised ironically) by Seneca in his letters to the governor of Sicily and poet Lucilius. The fact Trimalchio, a liberated Asian slave who's gotten filthy rich, recites his own terrible poetry, in the Satyricon novel by Petronius, may as well have been inspired by Mecenas.

Not exactly what you're asking, but it's one of the earliest parodies of an English novel:

In 1740, Samuel Richardson published Pamela, a very popular epistolary novel about a young woman reforming a libertine man into a proper husband. (A rather popular topic at the time, especially as the novel transitioned from a rambling "fairytale" as a modern reader might consider it to it's more "realistic" basis today and the protagonist were no longer nobility but often lower class--Daniel Defoe was one of the major driving forces of this.)

Anyway, a novel known as Shamela (fully titled An Apology for the Life of Mrs Shamela Andrews) appeared in 1741. (Everyone believes Henry Fielding wrote it, it matches his style, but it was done under a pen name so there's always the chance it wasn't actually him.) Basically, it takes the entire plot of Pamela and points out the absurdities. It's an extremely entertaining read!

(Please forgive any mistakes, I'm on mobile)

"Voltaire's note upon Chapelain's poem of "La Pucelle," etc., concludes as follows :" In the time of Cardinal Richelieu lived one Chapelain, author of a famous poem, entitled 'La Pucelle,' etc., which consisted, according to the opinion of the celebrated Boileau, of twelve times twelve hundred miserable verses. In stating thus much, Boileau, however, was not aware that this renowned poet composed twelve times twenty-four hundred verses ; but that he had sufficient discretion to expunge the half." As a further proof of the estimation in which Chapelain's poem was regarded by the satiric Boileau and his witty associates, it is a known fact, that when the author of the Lutrin inhabited Auteuil in the vicinity of Paris, which house still exists near the church in the wood of Saint Cloud, he took delight in assembling under his roof the eminent geniuses of his age, especially Chapelle, Racine, Moliere, and LaFontaine. When he had these celebrated writers to dine with him, literature was, as might naturally be supposed, the general topic of conversation, and as the "Pucelle " usually lay upon the table, whoever happened to be guilty of a grammatical error in speaking was compelled by way of punishment to read a passage from the work in question."" (Voltaire's own poetry once he died became exhibit A of disposable neoclassical glibness: "the perfection of mediocrity").

"That Skelton's manner is gross and illiberal, was the opinion of his conemporaries; at least of those critics who lived but a few years afterwards, and while his poems yet continued in vogue. Puttenham, the author of the Arte of English Poesie, published in the year 1589, speaking of the species of short metre used in the minstrel-romances, for the convenience of being sung to the harp at feasts, and in Carols and ROUNDS, ' and such other light or lascivious poems which are commonly more commodiously uttered by those buffoons or Vices in playes than by any other person,' and in which the sudden return of the rhyme fatigues the ear, immediately subjoins: 'Such were the rimes of Skelton, being indeed but a rude rayling rimer, and all his doings ridiculous; he used both short distaunces and short measures, pleasing only the popular eare.' And Meres, in his Palladis Tamia, or Wit's Treasury, published in 1598. "Skellon applied his wit to scurilities and ridiculous matters: such among the Greekes were called pantomimi, with us buffoons.""

Outrageously "romantic" dramas like Schiller's The Robbers and Hugo's Hernani--subject of riots for its first few performances--are not quite known for being "bad," but rather infamous for being utterly, deliberately even, absurd; they are beyond good and bad, like Touch of Evil or Bad Lieutenant (either version). Both were strongly influenced by the "irregularity" of Shakespeare: known in France primarily, until Hugo championed "the grotesque," as a disgusting savage (with Voltaire leading the charge).

Various late Roman poets became bywords for barbarism, but that was centuries later. Retrospective bad reputations is sort of a grey area, as well as just who it is that "knows" the work is "bad"; chivalric novels--ridiculed in Don Quixote, after their popularity had fallen--are relevent here. These romances (whose roots were in the middle ages) were highly popular but resented by the elite:

write no jeste ne tale of Robin Hood,

Nor sowe no sparkles, ne sede of viciousnes;

Wise men love vertue, wilde people wantonnes

You might find it interesting that there were a number of poets active in the time of Catullus, some of whom he got along with, and others whom he did not. His 14th poem is notable here -- one of his friends, the lawyer and fellow-poet Licinius Calvus has sent him a book of poetry as a Saturnalia gift, which Catullus hates, and so Catullus responds with this poem, in which he accuses his friend of trying to kill him on "the best of days." Eventually he announces that he will get his revenge by going to the bookshops and purchasing "all the poisons" and lists these terrible authors by name: "the Caesiuses, Aquinuses, and Suffenus." At the end of the poem, he repeats that the aforementioned are "the curse of our time, the worst of poets." I've always been very amused by that poem, and there are a few others in which Catullus calls out other authors of his day as being particularly vile.

I'm late, but I happened across a reference to Maevius while reading Don Juan and remembered this question. The endnote in my editions reads:

"Maevius, a wretched poet contemporary with Virgil and ridiculed in Bucolics 3, 90-91, became a standard name for a poetaster. [...] The Maeviad was a satire of bad writers by William Gifford, whom Byron highly respected and had imitated in EB & SR."

That's from the Penguin edition of Don Juan, edited by T. G. Steffan et. al.

Amanda McKittrick Ros of the 19th century was notoriousky terrible. http://www.smithsonianmag.com/arts-culture/words-to-remember-133116350/