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A rare posthumous treasure of Tristan Tzara’s poesie: 40 chansons illustrated by Jacques Hérold in sepia lithographs, issued in 1972 in a top edition, bound in sheets, slipcase and publisher’s folder.

A scarce Arp volume designed by Tschichold, organizing the years 1924–1943 as a poetic timeline. The small book is set with crystalline clarity, generous margins and a page rhythm that lets Arp’s language breathe. Sophie Taeuber-Arp contributes a single concentrated plate, a visual pause. Paper and ink are deliberately modest, matching the texts’ restrained force. Issued by Benteli at Bern-Bümpliz in a small wartime run. This copy is signed by Arp on the colophon, uniting typographic precision with literary intimacy.

"Abracadabra" by Pierre Lecuire, illustrated by Serge Charchoune, is a rare and artistically significant work that explores the boundaries of typography and visual art. This is an original edition that highlights the unique collaboration between poet and artist, where text and image unite in a harmonious and innovative way. The book presents a fascinating series of engravings, lithographs, and facsimile reproductions, immersing the reader in a visual and literary universe. The work is not only an aesthetic feat but also an important document in the history of the illustrated book. It embodies the experimental spirit of its time and offers a profound insight into the artistic synergy between Lecuire's poetry and Charchoune's distinctive visual language. The meticulous execution and luxurious presentation make it a highly sought-after object for collectors and enthusiasts of avant-garde art and literature. This copy, one of the rare numbered editions, adds to the exclusivity and historical value of this extraordinary project.",

This 1981 edition of Henri Michaux's 'Affrontements' is a unique copy, enhanced by a handwritten and signed dedication from the author to Colette Roubaud. The dedication, brief yet profound, bears Michaux's characteristic poetic signature and adds a unique personal dimension to the work. The book is further complemented by an unsent, melancholic letter from Colette Roubaud herself, dated 'Samedi 22 Août' from Paris. This letter, which speaks of a missed encounter and a reluctance that prevented her from seeing Michaux at Beaubourg, creates an intimate and almost tangible document of an unfulfilled connection. This copy is not only a literary edition of Michaux's work but also a window into a personal interaction, frozen in time. The whole constitutes a rare and intriguing find for collectors of modern literature and Michaux's oeuvre.

A rare and highly sought-after edition, Agonie du Général Krivitski marks a highlight in the collaboration between the poet André Frénaud and the visionary artist André Masson. Published by Pierre Jean Oswald in 1960, this work combines Frénaud’s powerful text with Masson's expressionistic and vibrant illustrations. The original etching, reserved for the deluxe copies, and the five full-page drawings testify to a profound artistic dialogue that is rare in 20th-century book production. The book is a crucial example of an artist's book and demonstrates the aesthetic connection between text and image in a unique format. Its printing on Arches paper, signed by both authors, makes it a coveted collector's item for enthusiasts of poetry and modern art.

*Ailleurs* is a keystone in Michaux’s imaginary ethnographies—an atlas of inner geographies, issued by NRF in 1948. Miguet’s sober bordeaux morocco binding matches the text’s clarity and restraint. With dry precision and wry humor, Michaux details peoples, rituals, and languages that are both alien and oddly familiar. The airy layout paces attention and thought. This copy belongs to the small head issue on vélin pur fil and is notably fresh. A book that relocates the reader in place—a cartography of the mind.

What makes this copy especially memorable is not only its tiny limitation but the way it fixes three friendships at once: that between Char and Braque, that between Char and PAB, and that of all of them with the image that outlives them. The eight original photographs are not an illustrative supplement but the true bearers of presence; they preserve gazes, workspaces, and silences. The fact that PAB and Mariette Lachaud signed this copy gives it an almost confidential status, as though the circle of makers were still present within the book. In such editions, bibliophily becomes more than rarity alone: it becomes a form of shared memory.

*À l’intérieur de la vue. 8 poèmes visibles* is one of the most intriguing late collaborations between Paul Éluard and Max Ernst. The book deliberately reverses the traditional relationship between poet and illustrator: Ernst’s visual compositions of 1931 provide the starting point to which Éluard responded in 1946 with eight ‘visible poems’. In this sense, the poet effectively illustrates the images with words. Published by Pierre Seghers, the volume connects Ernst’s pre-war world of collage with Éluard’s post-war poetry. The 39 full-page reproductions of Ernst’s collages, seven of them in colour, give the book a strongly visual character. The first edition was limited to 610 copies, including 600 on Alma Marais; number 388 belongs to this numbered issue. The outstanding feature of the present copy, however, is Éluard’s substantial autograph presentation inscription to the typographer and bibliophile Lucien Jaïs. This association gives an already important artist’s book an exceptional personal and bibliophilic dimension.

A bibliophile edition by José-Miguel Ullán, entirely designed and typographically composed by the author himself. The poetic texts are presented behind die-cut windows and accompanied by nine vibrant color collages — in white, green, red, blue, or orange — featuring graphic elements by the author. The book contains four black drypoints and one etching by Joan Miró, created in 1982 and printed posthumously in 1988. This unique collaboration offers a vivid visual-poetic experiment where graphic art and language converge with intuitive resonance.

The edition was strictly limited to 165 copies, printed on handmade Auvergne paper from Moulin Richard de Bas. This copy bears Miró’s facsimile signature, authenticated by his son Emilio F. Miró. Almario stands as a refined late 20th-century example of avant-garde book art, merging literary and visual expression into a total artwork.

Alternance is a rare collaborative work uniting sixteen French writers and sixteen artists in a 1946 edition. Each unpublished text is paired with an original etching, creating a vivid dialogue between word and image. With contributors like Éluard, Matisse, Laurencin and Giraudoux, the book exudes postwar artistic richness. Printed in Garamond by G. Girard, it exemplifies the elegance of French art publishing. A visual poem in book form.