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This single issue of *Бригада художников* (*Brigada Khudozhnikov*, “Artists’ Brigade”) captures a turning point in Soviet visual culture: one of the last pulses of Constructivist-periodical energy before doctrine tightened. Published in Moscow by OGIZ-IZOGIZ, the journal was short-lived (1931–1932) and survives as a small, finite run of issues. No. 2 (1932) shows artists and designers still deploying the grammar of modernity—hard-edged typography, rhythmic layout, collective voice—under rapidly shifting cultural policy. The involvement of figures such as Aleksandr Deineka and Dmitry Moor gives the issue real documentary weight for the history of graphic art and propaganda imagery. At 63 pages in the original Russian, it reads as both a periodical and a compact artist’s dossier. A scarce, tactile survivor of an ephemeral platform, poised on the threshold between experimental avant-garde practice and the consolidation of Socialist Realism. Condition: good.

Published in 1928 by the NRF, Louis Aragon’s *Traité du style* is a bracing, polemical essay in which “style” is treated not as ornament but as an ethical—and implicitly political—stance. It stands among the most provocative texts of his early, still fiercely experimental period, poised between Dada swagger and Surrealist rigor. In aphoristic bursts, ironic definitions, and sudden reversals, Aragon dismantles the rhetoric of his day and casts the writer as a figure of risk and testimony. The first edition was issued in a deluxe “tirage de tête” of only 100 numbered copies on vergé Lafuma-Navarre, reserved for NRF bibliophiles. This copy is additionally personalized, printed “pour le Dr. Sourdel”, and numbered XLVIII. As both statement and artifact, it is a cornerstone for tracing Aragon’s intellectual momentum in the late 1920s.

This first volume of Gustav Schiefler’s landmark survey, *Die Graphik Ernst Ludwig Kirchners bis 1924*, is simultaneously catalogue, documentary record, and art object. It covers Kirchner’s prints up to 1916 and is lavishly illustrated with original material: 54 original woodcuts (six in colour), alongside 46 line etchings and 38 autotype reproductions after Kirchner. Issued in Berlin by Euphorion in 1926, it was limited to 620 copies; this is No. 113. More than a reference work, it physically embeds Kirchner’s graphic practice through the inclusion of original prints. The polychrome title and sectional woodcuts—such as *Badende* and *Zwei Tänzerinnen*—distill his electric line and bold chromatic decisions. A highly desirable publication that blurs the line between scholarly catalogue and artist’s book.

With *Sept manifestes dada* , Tristan Tzara gathers the core texts through which Dada proclaimed—and performed—itself. This is the true collective first edition in book form: the manifestos are brought together as a single, concentrated burst of language, provocation, and poetic sabotage. Francis Picabia’s drawings—crowned by the famous portrait of Tzara—anchor the volume in Dada’s visual charge. This numbered copy comes from the total edition of 300, no. 35 of the 50 deluxe copies on Madagascar paper. A restrained black half-chagrin bradel binding by J. David lends modern elegance, while the “uncut” state preserves original margins and tactile presence. A cornerstone volume for any serious avant-garde collection.

Published in 1925, L'Ombilic des limbes marks a pivotal moment in Antonin Artaud's early career and his turbulent relationship with Surrealism. This copy holds exceptional historical value due to the handwritten inscription to Paul Souday, the most powerful and feared literary critic in France at the time. Artaud presents his vision of mental fragmentation and the physical pain of existence to the guardian of French rationality. André Masson’s frontispiece, a striking portrait of the author, amplifies the raw energy of the text. The combination of Artaud's feverish prose and the association with a figure like Souday makes this a cornerstone for the avant-garde bibliophile. This volume stands as physical evidence of the collision between radical innovation and the established literary elite.

*Le livre de Mariage* stands among Josef Sima’s earliest and most refined experiments at the intersection of poetry, typography, and image. This Paris edition of 1922 gathers nuptial and love poems by Symbolist and related writers into a carefully orchestrated whole. Sima acted here not only as illustrator, but as the guiding force behind the entire conception. The 31 original woodcuts, both in the text and hors-texte, create a visual rhythm that feels almost musical. The austerity of black and white and the tactile quality of Montval paper deepen the intimacy of the book as object. As an early artist’s book, it already reveals Sima’s gift for fusing literature and image into a single poetic field.

With *Anicet ou le panorama* (Paris, NRF, 1921), Louis Aragon delivers an early, deliberately hybrid novel written at the hinge between Dada disruption and the rise of Surrealism. The book proceeds by visions and sequences—a “panorama” in which identity, desire, and the act of looking continually shift. In this bibliophile form (“tirage de tête” reserved for NRF bibliophiles), the novel also becomes a collectible object intended for a small inner circle. This copy is specifically designated “pour le Dr. Sourdel” and numbered XLVIII, underscoring the selective, personalized nature of the issue. Published under the NRF imprint, Aragon is anchored in the literary center while keeping the book’s formal audacity intact. A key item for understanding the nervous modernity of the early 1920s.

With *Le Cap de Bonne Espérance* (Éditions de la Sirène, 1919), Jean Cocteau offers an early poetic experiment often regarded as one of his first truly ‘modern’ books. The typography is airy, set in broken lines and open spaces, so that the page itself conveys speed and vertigo. This is the first edition, prized for the way design and poem become inseparable. The text moves by sudden images—half lyrical, half montage—advancing in jolts rather than smooth narrative. As an object it remains elegantly compact: a square-format pamphlet in French wrappers with flaps, characteristic of La Sirène’s refined production values. This numbered copy retains the bibliophile aura of a press that helped define modern literary presentation in the immediate postwar years.

This rare first edition of *Messaline* (Paris, La Revue Blanche, 1901) reveals Alfred Jarry working beyond the familiar Ubu constellation. In a handy duodecimo format, the Roman narrative unfolds with uneasy sensuality, biting irony, and satirical clarity. Issued by La Revue Blanche—one of the key fin-de-siècle platforms—the book sits naturally among Symbolist circles and early literary modernity. This copy is attractively bound in havana half-chagrin with striking orange percaline boards, while the original cover and spine have been preserved—an important bibliophilic virtue. Talvart & Place (X, 130) records the edition in Jarry’s bibliography. A compelling early printing that captures Jarry’s historical imagination and stylistic restlessness.

This set of two Sansot first editions from 1906 puts Alfred Jarry exactly where he belongs: not on the margins, but at the ignition point of literary modernity. *Ubu sur la butte* and *Par la taille* appeared in the mischievously titled series *Théâtre mirlitonesque*—small pamphlets with outsized disruptive force. Jarry’s theatre here is not “playwriting” in the classical sense but an assault on morality, power, and logic: grotesque, absurd, deliberately vulgar, yet rhythmically precise. *Ubu sur la butte* offers a two-act reduction of *Ubu roi*, a key text in the Ubu corpus where farce becomes a political engine. *Par la taille*, a “comic and moral” one-act in prose and verse, distills Jarry’s talent for sabotaging conventional dramaturgy. Both were printed in a limited run of 600 copies, with 400 numbered on tinted wove (vergé teinté); *Par la taille* is explicitly No. 62 here. As proto-avant-garde objects—portable, fragile, polemical—these booklets stand on the threshold of Dada, Surrealism, ’pataphysics, and the later theatre of the absurd.