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This second edition of *Vers et prose. Morceaux choisis*, published by Perrin et Cie in 1893, is one of the principal anthologies assembled by Mallarmé during his lifetime. It brings together poetry and prose intended to present his concentrated, suggestive poetics to a broader reading public. The volume is fronted by Whistler's original lithographic portrait of Mallarmé, printed by Belfond & Cie and here on chine appliqué. The conjunction of Mallarmé's writing with Whistler's restrained, atmospheric graphic art makes the book a characteristic fin-de-siècle object in which literature and visual art reinforce one another. This copy has exceptional personal interest through Mallarmé's signed autograph presentation inscription to an excellente et ancienne amie whose name has not yet been securely deciphered. The handsome signed Loutrel binding, preserving the original wrappers, adds a further bibliophilic dimension. Despite slight fading to the spine, staining to the wrappers and evident, at times numerous, foxing throughout, the copy remains structurally sound and is distinguished by its combination of autograph inscription, original Whistler graphic and signed binding.

Viridis Candela. Subsidia Pataphysica is a complete run of the third and new series of the Cahiers du Collège de ’Pataphysique, issued between 93 and 102 E.P., corresponding to 1965–1975. The series forms one of the documentary backbones of the later activity of the Collège: it preserves texts, dossiers, commentaries, supplements and internal signals from a world in which literature, fictional science and institutional parody coincide. As the series n° 0–27/28, it is not a single book but a continuous pataphysical constellation. The index number n° 27/28 is especially important because it contains the index to the Cahiers, Dossiers and Subsidia. The run therefore functions both as publication and as access key to a larger corpus. For The Hidden Page this is a core object: not spectacular through luxury or signature, but through completeness, internal coherence and documentary weight. The narrow paperbound fascicles show the avant-garde as archive, ritual and network in printed form.

A landmark artists book pairing Cyranos visionary lunar and solar voyages with eighteen original drypoints by Bernard Buffet. Issued as loose sheets in wrapper, chemise and box. Strong, inky impressions underscore Buffets taut, ascetic line. Strictly limited edition; this copy well preserved.

Zapiski poeta is a rare Soviet publication in which literature, Constructivist typography, and photomontage meet with exceptional force. Ilya Selvinsky’s text appears in a small, portable format, yet the visual impact of El Lissitzky’s cover turns the book into an icon of the Russian avant-garde. The celebrated double head, based on a photograph of Hans Arp, and the reference to the Dada periodical 391 place this Moscow-Leningrad edition within an international network of modernist imagery. The copy is materially fragile and heavily used, but it retains the original photomontage wrappers and the folding supplement. The contemporary Russian inscription, dated 12/II/1928 and signed “Мура,” adds an enigmatic trace of early ownership.

This first separate book edition of Un coup de dés jamais n’abolira le hasard is one of the decisive moments in the history of the modern book. Mallarmé turns the page from a neutral support into an active field in which silence, white space, type size and rhythm participate in meaning. The poem appeared here in 1914 from the Éditions de la Nouvelle Revue Française, shortly before the major typographic experiments of the twentieth century would unfold with full force. The restrained wrappers printed in black and red preserve the tension between classical French publishing culture and radical formal innovation. This ordinary copy on papier vergé d’édition represents the wider circulation of a work that must initially have seemed both enigmatic and prophetic. Even without deluxe paper or numbering, the book remains a milestone: the moment at which poetry becomes visible space. For collectors of the avant-garde, visual poetry and the artist’s book, it is a source-text.

Une autre étude sur Raymond Roussel is a key publication in the reception of Roussel within the Collège de ’Pataphysique. Jean Ferry, himself a writer, screenwriter, pataphysician and acute reader of the improbable, returns here to Raymond Roussel as to a secret machine of modern literature. The study focuses on cantos I, III and IV of Nouvelles Impressions d’Afrique, one of Roussel’s most enigmatic and formally extreme works. The edition appeared on 11 gidouille XCI, corresponding to 25 June 1964, and thus immediately bears the Collège’s double chronology. As an in-4 publication with frontispiece and illustrations, it is more than a simple essay: it is a ceremonial document of reading, commentary and admiration. This copy belongs to the deluxe issue of 259 copies on Pur Chiffon Ponukéléen Authentique in ivy-green wrappers and is numbered 68. The inserted pink New Year card, signed by five people including Jean Ferry and Lantis, turns the ensemble into a small network object around Roussel, Ferry and the pataphysical circle.

In *Un homme en question*, published in 1979, Eugène Ionesco brought together recent articles, chronicles and interviews to form a highly personal and polemical self-portrait. The great innovator of post-war theatre appears here not only as a dramatist but as an essayist continually questioning his age, his convictions and his own anxieties. Politics, ideology and the cultural crisis of the West alternate with childhood memories, dreams, fantasies and his recurring fear of death. The result is considerably more intimate than a conventional collection of essays. At the same time, the continuity with Ionesco’s theatre is unmistakable: the same distrust of collective certainties, fossilised language and conformity shapes these reflections. Gallimard’s first edition also exists in an exceptionally restricted bibliophile form. Only 25 numbered copies were printed on Arches Arjomari-Prioux wove paper, the sole large-paper issue. This very good to near-fine copy therefore represents one of the scarcest forms of Ionesco’s later prose.

Traduit du silence. Proses is one of Joë Bousquet’s rare pre-war publications, issued in the poetic series of Les Cahiers du Journal des Poètes. Its title already contains the central paradox of the book: writing as if translated from silence, seclusion and inward intensity. This copy is notable for its deluxe issue on Featherweight fort, numbered with the crowned-heart device, but above all for its signed autograph inscription to Jeanne and James Ducellier. The Ducelliers were among Bousquet’s closest confidants in Carcassonne and belonged to the circle where literature, friendship and surrealism converged. This is therefore not merely an early and refined edition, but a tangible document of a personal and artistic network. The book connects Bousquet’s enclosed room with the broader surrealist constellation of Max Ernst, Paul Éluard, Yves Tanguy and Raymond Roussel.

This first edition of *Ubu Roi* is one of the pivotal books of modern theatre. Alfred Jarry transformed a schoolboy caricature into Père Ubu, a grotesque tyrant who remains both ludicrous and disturbing. The Mercure de France published the text in 1896, the same year in which its performance by the Théâtre de l’Œuvre caused a scandal. Two portraits of Père Ubu after Jarry’s woodcuts also reveal the author as the visual creator of his own myth. This copy belongs to the unnumbered ordinary issue, following five copies on Japanese paper and fifteen on Hollande, and bears the owl woodcut as its justification mark. The remarkable presentation inscription to François Coppée adds a subtle and characteristically Jarryesque provocation. Pierre-Lucien Martin’s later half-morocco binding and the exceptional freshness of the book make this a particularly desirable bibliophilic copy.

2 Schock schnelle Weichzeichnungen. 1982 belongs to the group of artist’s books in which Dieter Roth treats drawing not as a finished image but as an event. The title plays with measure and speed: two ‘Schock’ suggests an old counting unit of twice sixty, while ‘Weichzeichnungen’ implies both soft drawings and softened images. In book form, the fleeting gesture is repeated, fixed, and set in motion again. Roth’s artist’s books form a self-contained universe in which handwriting, reproduction, humour, and serial labour continually unsettle one another. This Berlin Rainer Verlag copy is especially appealing as one of only 200 numbered and signed examples. The white boards intensify the book’s apparent modesty, while its restraint is precisely what makes it radical. As an object, it stands close to Roth’s later practice of drawing as daily, bodily registration.