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Les commencements is a late, restrained Michaux book where language probes fresh starts in a halting, breathing cadence. The deluxe red-morocco binding (Miguet) frames a deliberately spare text that lets white space speak. Fata Morgana’s precise typography and intimate scale give the voice full air. As the édition originale, this copy belongs to the scarce head issue on vélin pur fil. The theme of beginnings aligns with Michaux’s inquiry into perception and the body of language. Material care and finish underline its bibliophile nature. An exemplary meeting of text, layout and the art of binding.

Bras cassé is a late, incisive Michaux piece probing fracture and recovery as movements of thought. The plum morocco panel binding (Miguet) frames the pages’ taut cadence. Fata Morgana’s restrained typography lets white space and pause do the work; the voice stays close to the nerve. This édition originale appeared in 1973 in 60 numbered copies on Arches; this is no. 43. The Jansenist discretion of the binding supports the text’s edge without overpowering it. An exemplary bibliophile object where material and rhythm coincide.

This exceptional work is a tribute to Roger Lacourière, a prominent figure in Parisian graphic arts, renowned for his mastery of printing illustrated books. It brings together an impressive array of the greatest artists of the 20th century, including Picasso, Miró, and Max Ernst, each contributing an original etching or drypoint. The publication, orchestrated by the legendary Iliazd, is a pinnacle of bibliophily and artist's books, where the symbiosis between text and image is paramount. This volume embodies not only an artistic collaboration of unparalleled scope but also a monument to the artisanal perfection of the Lacourière workshops. The meticulous execution, from typography to the quality of the prints, makes it a highly sought-after collector's item for modern art enthusiasts. It is a rare example of an illustrated book that is both an artistic document and a masterpiece of book production.

With *Pour un Malherbe*, Francis Ponge reaches one of the high points of his late work. The book is not merely a study of the seventeenth-century poet Malherbe, but a concentrated meditation on language, form, discipline, and literary authority. Ponge uses the historical figure as an interlocutor through whom he clarifies his own poetics. The result is at once a critical essay, a self-portrait, and an ars poetica. This 1965 first edition belongs among the major books of Ponge’s maturity and holds strong intellectual appeal for the bibliophile. Its generous quarto format gives the text a solemn, almost monumental presence. The later chocolate box-calf binding by Miguet, enriched with geometric balsa elements, further turns this copy into a true bibliophilic object.

This edition of *Ubu Roi* brings together one of the founding texts of the modern avant-garde and the vivid, free graphic language of Pierre Alechinsky. Issued as the Centenary edition, it reproduces the text of the 1896 original while re-situating Jarry’s explosive drama within a distinctly bibliophilic framework. The book retains the material lightness of an issue in loose sheets, while the 26 illustrations give it a strong visual rhythm. The encounter between Jarry and Alechinsky is especially fruitful: both share a taste for disruption, grotesque energy, and playful subversion. The result is more than a reprint; it is a contemporary re-reading by a major artist. This copy on papier de chandelle, accompanied by a signed original lithograph, is among the most desirable deluxe issues of the edition. For the collector, it compellingly unites literary canon, artist’s book, and rarity.

Emmène-moi au bout du monde !... marks Blaise Cendrars' triumphant return to the novel after a long hiatus. Published in 1956 by Denoël, this work is an explosive blend of the theatrical world, Parisian intrigue, and Cendrars' signature raw vitality. Dedicated to the actress Marguerite Moreno, the book captures the atmosphere of post-war Paris. This specific deluxe copy on large paper bears witness to Cendrars' status as one of the great masters of modern French literature. The text is a feverish journey through the human soul and the physical city. For the bibliophile, this rare early printing represents the essence of Cendrars' late style.

*Terre sur terre* stands among Tristan Tzara’s notable postwar poetry books and was issued in 1946 by Trois Collines, a publisher that became an important meeting point for poetry and art in the immediate aftermath of the war. The collaboration with André Masson gives the volume a distinctive visual charge without diminishing the lyrical autonomy of Tzara’s text. Masson’s ten compositions echo the book’s cadence through a nervous, organic language of form closely attuned to Tzara’s imagery. This copy, numbered 1543 of 3000 on vergé crème, is further enriched by a warm inscription from Tzara to René Lacôte. It therefore carries not only bibliophilic value but also a clear literary provenance. For the collector, it is a compact yet eloquent witness to poetry, avant-garde legacy, and personal exchange.

*La Dragonne* belongs to the posthumous publications that further deepened the enigmatic and unfinished aspect of Alfred Jarry’s oeuvre. This first edition, with a preface by Jean Saltas, presents a late prose work that still bears the full force of the imagination behind *Ubu roi*. The book moves between novel, satire, and verbal hallucination, revealing Jarry as a writer who continually places narrative logic under strain. That is precisely what gives it such appeal for collectors: one reads here not only a text, but a literary legacy still in formation. The Gallimard edition, dated 1943 and also described in trade sources as an early 1944 issue, reflects the sustained twentieth-century rediscovery of Jarry. This copy also belongs to the extremely small issue on vélin pur fil. In its elegant binding, the volume acquires a classical dignity that beautifully contrasts with the unruly spirit of the

*Dunoyer de Segonzac – 1929* gathers Claude Roger-Marx’s nuanced tribute to the artist, richly illustrated throughout. This copy is from the top tier on Japon impérial and bears the nominative note “imprimé pour le Docteur Lucien-Graux.” It includes a long author’s inscription and two original drawings in Segonzac’s spirit: a larger brush-and-ink head in profile and a smaller vignette. The luxurious binding by René Aussourd adds high bibliophilic refinement. With the “Bibliothèque du Docteur Lucien-Graux” ex-libris, the provenance is impeccable. Text, image, and fine binding converge here in a quintessentially Parisian production of the late 1920s.

In this playful yet razor-sharp book, Pol Bury flips the museum inside out: it is not the objects that are watched, but the watchers themselves. *Le Musée Objectif ou les Voyeurs vus* brings together Charles Henneghien’s photographs and Bury’s brief, dryly witty commentaries—vignettes where humour meets precise observation. The result is a “diary of looking”: poses, glances, and small rituals that gather around art. Published by Le Daily-Bul in La Louvière (1991), the book carries a distinctly Belgian strain of artistic irony—light, subversive, and exact. This deluxe head copy is one of only 40 numbered copies on Leykam, signed by both artist and photographer, and accompanied by an original Pol Bury screenprint, justified and pencil-signed (No. XIII). It also bears a warm inscription to André Stas, co-signed by Bury and Henneghien. A fully realised artist’s edition in which book, image, and handwriting form a single ensemble.