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A scarce Cobra imprint where Claus’s incendiary language meets theatre, music and pantomime. Stage-like directions drive the poem’s pulse, while Alechinsky’s lithographs translate gesture into image. Sober typography, pink plates and an expressive wrapper make for a compact, explosive artist’s book. Issued in Brussels by Draak (Cobra Distribution) in 1950, at the movement’s height. This copy comes from the unnumbered issue and bears a presentation by both poet and artist. Condition typical of avant-garde pamphlets: some sunning and a loosening spine, else fresh.

A stunning visual tribute to bullfighting, curated by Pablo Picasso with text by his friend, the renowned matador Luis Miguel Dominguín. This large-format volume offers a captivating reproduction of Picasso’s sketchbooks, rendered in striking sepia and ink washes that evoke the rituals of the arena. The bilingual text and bold layout make this an arresting artist's book.

Small quarto (27.4 × 22.5 cm). Carefully produced edition, bound in black morocco in Jansenist style, spine with broad decorative raised bands. Inner gilt and blind-tooled fillet borders framing ruby-red moiré silk doublures and endpapers. Original covers preserved and restored. Top edge gilt. Housed in a sturdy black cloth slipcase by Parisian master binder G. de Léotard (1932).
202 pages of text followed by 3 blank leaves. Illustrated with 6 full-page lithographs by Maurice de Vlaminck, with engraved woodcut initials and tailpieces.

In *Tournoiements aveugles* (1987) Francis Ponge returns to compact, exact prose that lets things speak. Issued by L’ire des vents, the book is typographically crisp and bibliophilic: a quarto on handmade paper, luxuriously bound in brown morocco with balsa boards, chemise and slipcase. The material choices—light balsa, warm leather, breathing wove—sharpen the text’s sensorial acuity. Each “whirling” circles its subject through turns and reprises until clarity is released. The spare layout paces both reading and silence. A model fusion of poetic precision and fine press craft.

Trente dessins' is a landmark in post-war Parisian art book publishing, bringing together two giants of the avant-garde: the photographer-artist Brassaï and the poet Jacques Prévert. Published in 1946, just after the Occupation, this work marks a crucial creative period for Brassaï, who had focused on drawing and sculpture during the war. These thirty drawings, often sensual and organic nudes, offer an intimate glimpse into a lesser-known side of his oeuvre. They are introduced by a poem from Prévert, a key figure of Surrealism, creating a profound dialogue between image and word. This particular copy is of historical significance due to its handwritten inscription from Brassaï to Marie-Louise Bousquet. As the influential fashion editor for Harper's Bazaar and host of a famous literary salon, Bousquet was a central figure in Parisian cultural life. This inscription connects the world of Surrealist art with that of emerging haute couture, transforming this book from a work of art into a unique cultural artifact. It stands as tangible evidence of the cross-pollination between artistic and intellectual circles in liberated Paris.

One of the finest French bibliophile pairings of literature and abstract painting from the early 1970s. In *Un balcon en forêt*, Gustave Singier’s original lithographs deepen Gracq’s mood of watchfulness and woodland melancholy. The generous folio format, issued in loose sheets, underscores the book as an art object. Issued by Les Bibliophiles de Provence with meticulous attention to typography, paper, and print. This copy is part of the desirable hors commerce issue on Lana paper, complemented by essays that illuminate author and artist. A benchmark for collectors of post-war French *livres d’artiste*.

Julien Gracq’s second novel (Paris: Librairie José Corti, 1945), a tightly wrought study of fascination and self‑destruction, in which seaside leisure turns into a theatre of destiny. This copy is notable for its bibliographical status: a very scarce copy from the first printing of the first edition, withdrawn at the author’s request because the printing justification faced the title-page. Further enhanced by a signed authorial presentation to Mme and Mr Henri Mongin (a chiromancer), with a witty, quasi‑encyclopedic nod to his ‘crystal balls’.

A poetic bibliophile edition where text and image merge. This 1973 original edition includes sixteen full-page color lithographs by André Masson, giving a dreamlike and expressive visual interpretation of Waldberg’s text. The use of Japanese papers, signatures, and limited print run make it a coveted collector's item. Published by Au Pont des Arts in Paris, a key place for avant-garde art and literature.

Published in Paris in 1965 by Éditions Cercle d’Art, Shakespeare brings together a prose text by Louis Aragon with twelve full-page lithographs after drawings by Pablo Picasso. Conceived for the 400th anniversary of Shakespeare’s birth, the book reads as both homage and reinvention. Green facsimile initials taken from Aragon’s handwriting punctuate the typography. Picasso’s black lithographs operate like stage sets: minimal line, maximum presence. The generous in-folio format and Arches paper signal bibliophilic intent. This copy belongs to the desirable issue carrying an original lithograph signed by Picasso. The red silk binding with matching slipcase provides a modern livery for a classic subject. A landmark of the post-war French livre d’artiste, balancing text and image without hierarchy.

Scarce édition originale from GLM (1936), luxuriously bound by Miguet in red morocco with balsa boards. Strict issue: only seventy copies on Normandy vellum, numbered and signed by Guy Lévis Mano; this is no. 40. Includes a reproduced drawing by Bernal. The terse, nervy texts announce Michaux’s turn to inner cartography and mental travel. Fine GLM typography on selected paper, here elevated by a collector’s binding.