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A rare, intimate issue by Pierre Lecuire: the twenty funeral sonnets appear here as an autonomous text block, in the quiet ritual of en feuilles. The poet-publisher favors a tactile presentation that lets silence and white space speak. Fermin Aguayo’s graphic suite is housed separately, so text and image face each other without hierarchy. This author’s issue on linen paper, signed, is among the most sought-after Lecuire productions. A model postwar Paris livre d’artiste where poetry and painting share the page.

A keystone futurist book in which Marinetti turns his “words-in-freedom” into a visual and sonic event. Programmatic texts and demonstrations wrench typography from classical norms. Letters enlarge, collide and drum the page so that sound becomes image. The folding plates stage monumental layouts on war, speed and the modern city. It is at once poetry and a score for performance. Issued by the Milan futurist press around *Poesia*, it captures the post-war avant-garde’s charge. For bibliophiles it is a landmark of experimental book design.

This Brussels exhibition catalogue records a Georges Mathieu show at Galerie Veranneman in the winter of 1971. It is a concise yet highly distinctive publication in which the force of Mathieu’s calligraphic abstraction remains immediately present. Henri Van Lier’s preface provides a critical frame that does more than describe the work, placing it intellectually within post-war painting. Daniel Frasnay’s photographic contribution gives the booklet a taut visual rhythm and makes it more than a routine gallery handout. That combination of gallery publication, critical text, and images explains much of its appeal to collectors. The present copy is elevated further by an original drawing and a personal inscription from Mathieu to Madame Goldstein. It stands at once as exhibition document, artist-related imprint, and intimate relic.

A rare working document for Dubuffet’s show at Pierre Matisse Gallery, New York (February 1952): the typewritten manuscript of the catalogue text. Onion-skin leaves register studio urgency—emendations, corrections, the hunt for exact phrasing. This copy is accompanied by the original 1952 printed catalogue in which the text appeared, uniting source and publication. Purposefully sent to René Bertelé in Paris, Dubuffet’s editorial partner and relay. Signed on the cover—discreet yet telling.

A rare first edition of Arriver à se réveiller, written by Henri Michaux in the tremulous post-war years. The text unfolds as an inward journey toward lucidity, where sleep and waking mirror each other. Printed and published by Pierre Bettencourt in his own workshop, the edition’s small run preserves the work’s intimacy. The title-page vignette, a linocut by Bettencourt, sets a spare, rhythmic visual key that amplifies Michaux’s vigilant, vulnerable tone. This copy is handsomely bound in brown morocco with balsa boards by Miguet, a tactile nod to lightness under tension. For bibliophiles, it is an exemplary union of poetry, craft, and experiment. The volume embodies the independence of the post-war small press and Michaux’s radical sensitivity.

In Choix de poèmes, Michaux’s poetic trajectory is gathered into a compact, portable compass. This édition originale collective was issued by NRF in 1976; the present copy is from the minute head issue of fifteen on vélin pur fil. Miguet’s sober Havana-morocco binding, with panelled frame, marries elegance to rigor—akin to a voice moving between vision and observation. The selection shows the steady pursuit of inner landscapes and linguistic shock. For bibliophiles, luxury paper, original state and atelier binding make a persuasive triad. Provenance from Jacques Dauchez provides a discreet, eloquent seal.

In Poteaux d’angles, Henri Michaux returns to compact, probing prose balanced between poem and notebook. Issued by L’Herne in 1971, this copy is from the exceedingly scarce head issue on Hollande paper. Miguet’s raspberry-morocco panelled binding lends a mineral poise that suits Michaux’s angular sentences. The brief pieces act as beacons—jottings, sallies, flashes of insight and refusal. For bibliophiles the trio is ideal: original edition, luxury paper, and a fine atelier binding. The Jacques Dauchez provenance seals its pedigree.

Moments is a late, compact Michaux volume where language probes time in brief surges and pauses. The grey-buffalo Jansenist binding—by Miguet—frames the spare layout and lets the text’s rhythm breathe. The title points to flashes of consciousness: halts, starts, reprises. As the édition originale in NRF’s “Le Point du Jour” series, the book exemplifies postwar bibliophile exactitude: precise setting, generous white, tactile paper. This copy is from the very small head issue on vergé de Hollande. The binding’s discreet elegance heightens reading focus.

Les ravagés is a late, taut volume in which Michaux probes inner devastation through brief, charged passages. The taupe box-calf Jansenist binding—plain, unadorned—mirrors the text’s austerity and lends the bibliophile object a quiet weight. Fata Morgana’s lucid typography respects the prose’s breathing. As the édition originale, this copy belongs to the very scarce head issue on Arches. The slipcase by Miguet confirms the material care. An intense work where wound, recovery, and interior mapping are handled with surgical poise.

Bras cassé is a compact, scarce edition in which Michaux’s taut prose-poetry uses bodily fracture as a thinking figure. Issued as loose sheets, the book encourages a fragmentary, rhythmic reading—each page an autonomous pulse. Fata Morgana’s restrained typography conducts rather than dampens the intensity. This is the original 1973 edition, with an exceedingly small head issue on Japan paper. Treille’s chemise and slipcase frame the work as an artist’s object. A model bibliophile format where material and voice converge.