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In June 1934 Louis Marcoussis completed his remarkable cycle of etchings for Guillaume Apollinaire’s Alcools. Issued small (duodecimo), the suite is loose-leaf in a folder and slipcase devised by the artist. Forty plates make up the set: thirty-four numbered for individual poems, a full-page portrait, a title, a full-page plate for the contents, and three vignettes. Marcoussis renders Apollinaire’s imagery in precise, rhythmic line, balancing lyricism with cubist clarity. The result is among the most coherent graphic readings of Alcools, carefully paced and sequenced. This copy is one of the very scarce author’s copies on Arches wove.

A scarce publication in which Ensor’s writerly voice stands alongside his pictorial imagination. Brief texts and polemics reveal a mind at once sharp and playful. The book captures the 1926 moment, when Ensor consciously inserts himself into Flanders’ cultural debate. The modest format and restrained typography suit the programmatic *Cahiers de La Flandre Littéraire*. This copy is further distinguished by Ensor’s personal inscription. The blend of literary tone and artist’s charisma makes it a desirable bibliophile piece.

En appel de visages is a refined production where Henri Michaux and Yves Peyré meet in a dialogue between voice and gaze. The book probes the face as a site of revelation and evasion, a theme Michaux pursued both in language and gesture. Generous typographic spacing lets the text breathe, each line set like a trace upon the sheet. Verdier’s execution is bibliophilic and restrained—issued in loose quarto leaves on noble paper for an intimate reading. The Lana Royal copies are the most desirable of the run. This copy is additionally signed by both the author and Michaux, making the encounter between poet and artist palpable. The whole radiates the poised elegance of 1980s French fine printing.

Des cristaux naturels sets Ponge’s precise, matter-attentive language within a bibliophile framework that heightens sensory focus. The chocolate box-calf binding with a geometric balsa inlay turns the book into a subtly tactile object. Bettencourt’s L’air du temps favors clean typography and fine paper, rendered here in a lucid page design. Modern without showiness, the object discreetly accompanies the reading. As the original 1949 edition, it typifies postwar small-press craftsmanship. The ensemble radiates concentration, material intelligence, and poised proportion.

A landmark monograph in which Will Grohmann surveys Ernst Ludwig Kirchner’s work while the artist himself controls design and image sequencing. Six original woodcuts structure the book: the title in blue-black, four section openers in blue, and one black in-text woodcut. Around one hundred collotype plates (some in color) and numerous text illustrations cover paintings, drawings, prints, and sculpture. Kirchner conceived the layout and typography so the volume reads as an autonomous artwork. Issued by Kurt Wolff in Munich in 1926 in a limited edition. This copy is the scarcer cloth-bound issue, retaining its slipcase (damaged).

This brisk biography studies Chaplin’s Tramp—not a scholarly treatise but a lively portrait of a myth that gave modernity a face. Issued in 1931 by Plon in the La grande fable series, the small-format book uses spare, elegant design. Soupault reads the Tramp as emblem of resourceful fragility; between slapstick and melancholy he sketches an ethics of the humble. The quick, precise prose moves in scene-like chapters. For bibliophiles it shows an early Surrealist thinking cinema in prose. This copy is enriched with an inserted autograph poem.

A scarce early work by Marinetti, published in Paris in 1908, in which he attacks the cult surrounding d’Annunzio and prepares the modernist break. This copy is notable for a long ink presentation on the half-title—“à mon cher maître et ami / hommage admiratif et dévoué / F.T. Marinetti”—and for an address note on the pastedown: “Poesia / 2 Via Senato / Milan”, a direct link to his journal. The volume is also illustrated with pen drawings by Ugo Valeri, whose sleek Liberty line supplies a visual counter-chant to the polemical energy. Inserted between the lines in graphite, by another hand, appears the name of Laurent Tailhade, likely the addressee. Original wrappers are preserved with protective glassine. As a document of networks and polemical energy, the book shows Marinetti’s French platform on the eve of the *Futurist Manifesto*. A compelling copy for collectors of the historical avant-garde.

Late-Futurist *parole in libertà* printing: *L'altalena dei sensi* (Rome, Edizioni Futuriste di Poesia, n.d. [1934]), octavo (c. 240 × 168 mm), 78, [2] pp., in original orange wrappers. Layouts stress rhythm, speed and shock; no illustrations. Condition: scattered foxing; spotting to covers; small marginal loss to rear cover with a pencil drawing. Housed in a modern chemise with cloth back and matching slipcase; inside glassine fixed with tape. Added: *Divinità spiraliche* (Rome, Edizioni Futuriste di Poesia, 1934), a pendant in the same key. A coherent, appealing pair from the high period of Italian Futurism in book form.

First edition of the landmark Futurist anthology *I nuovi poeti futuristi*, published in Rome by Edizioni Futuriste di Poesia in 1925. Octavo (203 × 142 mm), 361, [1] pp., with several folding ‘parole in libertà’ plates. The book gathers poems, ‘parole in libertà’, and graphic compositions that dissolve the border between poetry and image. This copy shows light foxing (mainly in the second half) and some loosened gatherings; minor joint wear and faint stains. Original publisher’s boards with blue titles; ownership note to title page. As an anthology, it crystallizes a decisive phase in Futurism’s postwar resurgence and remains prized by collectors of the historical avant-garde.

The final, scarce issue of the futurist magazine steered and designed by Fortunato Depero. Issued for the National Tributes to Umberto Boccioni held by the City of Milan, 14–16 June 1933, it differs in format and graphic architecture from earlier numbers and was printed in an enlarged run. The production attains exceptional typographic and visual quality, with crisp Depero layout and photographic plates printed outside the text. Newly assembled, impassioned contributions by Marinetti, Buzzi, Russolo and Notari are interleaved with memorable quotations from Boccioni’s own writings. Two diagrams drawn by Depero articulate a vision of speed, energy and “dinamo” as the motor of modern art. Together with a rich iconographic selection, the issue stands as a simultaneously theoretical and visual homage to the pioneer of Italian Futurism.