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*Silex. Poèmes des cavernes* is a sculptural book of poems where primal signs meet modern verbal cadence. Issued as the second title in the *Cahiers de la Barbacane* series directed by Max Pons, it opens with a frontispiece by Ossip Zadkine. The interplay of prehistoric imagination and refined layout creates a deliberate archaic–modern tension. The generous folio typography lets the poems reverberate like in a cavern. Image and text proceed on parallel tracks rather than illustration and caption. The artisanal, limited issue underlines its bibliophilic intent. This Rives BFK copy bears a signed presentation at the colophon. A rare ensemble binding 1960s sensibility to a mythic deep time.

Queneau’s first substantial collected volume of poems spans three decades, from playful early pieces to pivotal 1940s texts. Issued by Gallimard in the Le Point du jour series, it crystallises his poetic voice. It gathers Chêne et chien, La Fête au village, Les Ziaux, L’Instant fatal, and adds nine previously unpublished poems. The register is elastic: parlando, slang, metrical play, and witty trivialisation of the sublime. Everyday logic crackles through linguistic pirouettes. This copy bears a cordial presentation to Max-Pol Fouchet, a key advocate of modern poetry. A cornerstone volume in original state with notable provenance.

An intimate artist’s book in which Éluard’s inquiry into twoness and solitude meets Hans Erni’s visual counter-chant. The first 31 lines of *Poésie ininterrompue* are followed by 31 copper engravings that mirror the poem’s cadence. The leporello format unfolds like breath, merging reading with seeing. Au Vent d’Arles chose restrained materials—vellum boards, clear typography, crisp impressions. The result is a lucid, tactile book-object where modernist line and lyrical language converge. The edition is strictly limited to 125 numbered copies with a few hors commerce. This copy belongs to the scarce HC for artist and collaborators.

A rare bibliophile edition in which poet René Char pays brief yet powerful tribute. This intimate book, published by artist-printer PAB, merges poetry with a delicate engraving on celluloid, printed on fine Chine paper. The result breathes simplicity, stillness and refinement — a hallmark of Char’s collaborative works with visual artists.

A rare, large-format artist’s album distilling Masson’s gesture in its most immediate state. Issued by Galerie Louise Leiris in 1950 in only 37 copies, *Sur le vif* comprises seventeen original lithographs: one on the cover and twelve hors-texte, complemented by anchoring leaves. A brief prefatory text from Zhuangzi frames notions of spontaneity and emptiness. The printing, rich in grain, suits Masson’s nervous, automatic line. This copy is one of twenty-five on handmade japon, signed by the artist on the justification; most plates are also signed on the stone. Kept as loose sheets with only minor handling, the work retains its monumental presence.

An exceptional author’s mock-up of *Sur Picasso*, Ponge’s sharp yet playful homage to the painter. This is the offprint used as a prepublication trial for the *Nouvelle Revue Française* (no. 258, June 1974), heavily marked by Ponge with layout and typographic instructions. The piece displays his hallmark prose-poetry—precise, material, rhythmically lucid. It opens a window onto the making of the text, where words and page are still in flux. Inscribed to his friend Marcel Arland, a central figure at the NRF, it unites literary substance with process and distinguished provenance.

Original GLM edition of *Tauromachies*, issued in Paris in August 1937. Quarto, loose sheets, unpaginated, in yellow printed wrappers, with GLM’s characteristically clean typography. Includes a full-page drawing by André Masson depicting a bull with a sword, reinforcing the text’s ritual charge. Strict limitation to 70 copies on Normandy vellum, each numbered and signed by publisher Guy Lévis-Mano; this copy is no. 59/70 with his signature. A very good copy in which Leiris’s ritual prose meets Masson’s graphic force.

A refined and playful bibliophile work, where the poetic language of Pierre-André Benoit is visually amplified by the gestural energy of Pierre Alechinsky. The blue waves, stenciled by hand, swirl around the typography with rhythmic precision.

A key statement of Picabia’s Dada poetics, written and drawn in one breath. Fifty-one poems collide playful nonsense with cool mechanics; eighteen drawings interrupt reading as ironic asides. Soberly composed yet volatile—erotics, automobiles, masquerade, absurd theatre. In this first edition the page becomes a laboratory where word and line provoke each other. A rare, influential book linking Swiss and Paris Dada. Copy with light edge foxing, otherwise well kept.

An iconic collaboration between poet Paul Éluard and surrealist painter Oscar Dominguez. This 1942 original edition contains 33 original etchings, including a color frontispiece and a cover vignette. Éluard’s manuscript is reproduced in full facsimile, adding a tactile, poetic dimension. Dominguez’s imagery oscillates between playful and grim. Published in 221 copies, 185 on pur chiffon de Lana.