All Products

Dehors la nuit est gouvernée is one of René Char’s early and decisive collections, published by GLM in Paris in 1938. It was issued as the second volume in the series Poètes d’aujourd’hui, a collection that held a distinct place in modern French poetry of the 1930s. Char stands here at a turning point: still close to Surrealist intensity, yet already shaping a denser, harsher, more oracular voice of his own. GLM’s restrained design suits that concentrated force perfectly. As so often with Guy Lévis Mano, the object is modest in means yet remarkably present: a refined typographic book for readers who value poetry as a material form as well as a text. The small number of deluxe copies on Hollande Pannekoek heightens its bibliophile appeal. For collectors, this is an edition where poetic modernity and publishing finesse meet with unusual precision.

La Parole en archipel is one of the major collections of René Char’s mature period and was published by the NRF in Paris in 1962. It is not merely a new gathering of poems, but a collective edition bringing together several earlier sequences, sometimes in revised form or with variants. The volume thus takes on the character of a poetic constellation: not a closed cycle, but an archipelago of voices, flashes, and tensions. Its title expresses that principle perfectly, since Char allows the individual parts to coexist without dissolving their singularity. The result is a broad yet highly concentrated view of his poetry from the 1950s and early 1960s. The deluxe issue on Madagascar Navarre further underscores the bibliophile prestige of the first edition. This copy, number 12 of the 18 de tête, thus combines literary substance with marked rarity.

This edition of *L’Amour absolu, suivi de L’Autre Alceste* brings together two key texts from Alfred Jarry’s singular imaginative world. It was issued by Mercure de France in 1952 with a preface by Maurice Saillet, at a moment when Jarry’s rediscovery was closely tied to the Collège de ’Pataphysique. For the bibliophile, it is more than a neat post-war reissue: it is a material witness to Jarry’s continuing influence on twentieth-century avant-garde culture. *L’Amour absolu* is among his most inward and elusive prose works, where autobiography, mysticism, and parody become inseparable. *L’Autre Alceste* adds a dramatic and mythological counterpoint. This copy is made more significant by its strongly marked pataphysical provenance. The red circular stamps of the Ordre de la Grande Gidouille, together with name-stamps associated with Eugène Ionesco, Raymond Queneau, and Noël Arnaud, give it an exceptional collegiate resonance. It is therefore not merely a reading copy, but an object that visibly circulated within Jarry’s living afterlife.

*Lettres d’Espagne*, published in 1944, marks a pivotal moment in Antoni Clavé's career and is among the most sought-after 'livres d'artiste' from the war years. The Catalan artist, having recently fled to Paris, found in Prosper Mérimée's texts the perfect opportunity to express his nostalgia and passion for Spanish culture. The 27 original lithographs burst with color and baroque energy, showcasing Clavé's legendary mastery of lithography. This specific copy is of museum-grade rarity: it is enriched with an original gouache by the master himself, as well as two complete suites of the lithographs. The combination of Mérimée's classic prose and Clavé's spirited imagery creates a visual spectacle that captures the Spanish soul in all its facets. For the discerning bibliophile, this copy represents the ultimate synthesis of unique artistry and high-end bookmaking.

*Une aventure méthodique* brings together Pierre Reverdy’s concentrated poetic prose and Georges Braque’s austere visual language. It belongs among the major post-war French livres d’artiste, where text, lithography and typography meet as equal forces. Braque contributed 27 original lithographs, supplemented by colour reproductions after his paintings, giving the volume both intimacy and monumentality. Printed by Mourlot, the celebrated Paris lithographic workshop, the book has exceptional technical refinement. This copy, on vélin d’Arches and signed by both author and artist, preserves a rare encounter between modern poetry and pictorial invention.

This large and sumptuous edition of Sombre printemps brings together one of Unica Zürn’s most haunting texts and an original burin frontispiece by Hans Bellmer. Issued by Pierre Belfond as the French translation of Dunkler Frühling, it appeared when Zürn’s name had become inseparable from Bellmer’s. That proximity is not merely biographical here; it shapes the entire aura of the book, in which text and image seem to emerge from the same disturbed inner world. The deluxe issue, printed on vélin d’Arches and accompanied by an additional proof on japon nacré, gives the volume a distinctly bibliophilic status. Bellmer’s signed frontispiece does not simply decorate the text, but stands as a visual counterpoint to Zürn’s claustrophobic prose. The publication is all the more poignant for having followed so closely upon Zürn’s death, as though the book became both tribute and posthumous memorial. Within the Cahiers du Regard, it ranks among the most charged and desirable collaborations. For the collector, this copy unites literary intensity, surrealist resonance, and exceptional material refinement.

A rare illustrated book that explores the decadence and sensual darkness of Catholicism. Hans Bellmer's engravings transform Bouvier's texts into a graphic exploration of forbidden desires. This work, situated at the intersection of literature and art, reveals a unique symbiosis between the provocative texts on the dark side of religion and Bellmer's unsettling, surrealist aesthetic. Bellmer's nine original burin engravings unveil a world of physical and psychological ambiguity and attest to his mastery as a printmaker and his fascination with the human form in all its distortions. The book is a testament to the subversive power of the illustrated edition and the way art and literature can reinforce each other to create an unforgettable statement.

This spectacular bibliophile edition of *Le Cœur à gaz* merges poetry and avant-garde theatre in a visually striking object. Illustrated with twelve lithographs by Sonia Delaunay, including seven full-page plates, it showcases the collaboration between Dadaist poet Tristan Tzara and modernist artist Delaunay. The prints are based on her 1923 costume designs, evoking the radical spirit of the time.

*La guerre et la paix*, published in 1954, is a monumental overview of Pablo Picasso's work for the Vallauris chapel, accompanied by Claude Roy's text. This edition by Cercle d’Art forms an essential synthesis of Picasso’s post-war humanism and his resistance to the horrors of conflict. The book contains, alongside numerous reproductions, original lithographs that expose the dynamics of his artistic process. For the bibliophile, this work is a crucial testimony to the dialogue between word and image in the early 1950s.

*Führ 4 für vier*, published in 1969, is an iconic collaborative work that completely blurs the boundaries between concrete poetry and concrete art. Edited by Jürgen Brenner and Kurt Weidemann, this large-format book-object brings together an international selection of the most important avant-garde voices of the 1960s. The work is not merely an anthology but a tactile and visual experiment where transparent sheets, serigraphs, and typographic compositions overlap. Featuring contributions from major figures such as Ian Hamilton Finlay, Eugen Gomringer, and François Morellet, it functions as a total work of art questioning the structural essence of language and form. The edition was strictly limited, and each copy was personally signed by all participating artists, confirming its status as a historical document. For the collector of concrete art and conceptual publications, this is an absolute cornerstone. Its physical execution as a blockbook with silver accents reflects the machine-like and minimalist aesthetics of the era.