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An exceptional collaboration around Molière’s *Les Fâcheux*, newly staged for Serge de Diaghilev. This two-volume set fuses text, music, and image: Braque’s color pochoirs, commentaries by Cocteau and Laloy, and a facsimile of Auric’s score. The second volume records the production with a Man Ray portrait of Braque and twenty-two photographs by Georges Detaille. The result is a rare, holistic view of an interwar, modernist Molière. Published by Éditions des Quatre Chemins in 1924, here preserved uncut on Arches. A touchstone for bibliophiles at the intersection of theatre, book arts, and the avant-garde. Complete in two volumes as issued.

In *Le Flâneur des deux rives*, Apollinaire celebrates Parisian wandering between the Left and Right Banks. In a compact, narrow 12mo he guides readers through cafés, quays and bridges with a voice at once modern and wistful. The frontispiece photograph lends an almost intimate authorial presence. This is the original edition, issued in 1918 by Éditions de la Sirène, retaining the discreet charm of the original wrappers. No statement of limitation is present. Moving from jotting to vignette to critique, the book refreshes the flâneur tradition. For bibliophiles, it is a touchstone of Parisian modernity on the cusp of the postwar era.

A refined *édition originale* of Cocteau’s tragedy in a luxury binding mirroring the play’s classical setting. The design — symmetry, restraint, gilt on dark morocco — amplifies Cocteau’s play with ancient myth and modern cadence. Sixteen previously unpublished plates by the author follow the 224 pages of text. The handy duodecimo scale belies the work’s monumental themes, while preserved wrappers and a protective case attest to careful stewardship. An exemplary fusion of literature, drawing, and bookcraft.

This exceptional ensemble of works by Paul Fort, from the collection La France à travers les Ballades françaises, serves as an intimate monument to the friendship between the poet and bibliophile Jules Riollot. Printed by the renowned typographer Armand Jules Klein, these 'hors commerce' first editions embody the revival of French lyricism in a luxurious, private setting. Each volume is enriched with original contributions from leading artists such as Gino Severini and Ignacio Zuloaga, seamlessly blending text and image. The inclusion of handwritten poems and personal dedications elevates these copies to unique literary archives. For the collector, this represents a rare opportunity to acquire the heart of Fort’s poetic universe. The ensemble reflects the sophisticated aesthetic of the interwar period, where fine press printing and poetry formed an inseparable bond.

Programme for the costumed sports ball of the Union des Artistes Russes à Paris at the Taverne de l’Olympia, Friday 11 July 1924, staged alongside the Paris Games. The richly illustrated booklet comprises [12] pages with a cover by Victor Barthe; inside are contributions by Picasso, Marie Vassilieff, S. Fotinsky, N. Granovsky and Chatzman, with a nod to Manet’s *Olympia*. It distills the émigré energy of Montparnasse, fusing festivity with avant-garde graphics. Large oblong format; typographic work by François Bernouard on vélin Normandy. A finely preserved piece of ephemera uniting sport, art and spectacle. For bibliophiles, a rare hinge between dance programme, artist’s print culture, and Olympic memorabilia.

Guillevic’s first book, issued by NRF in 1942, here in an elegant later binding by Mercher. The austere, elemental verse matches the crisp presentation. This review copy bears a fine presentation to “Bizza,” dated 1942, lending notable provenance. With no large-paper issue, attractive copies of the original edition are scarce. A key item for collectors of French poetry and art bindings.

In 1979, Edition Hansjörg Mayer issued Trophies. 125 Two-Handed Speedy Drawings, an artist’s book in which Dieter Roth multiplies his drawing practice through the book form. The English issue shown is yellow cloth in a matching slipcase. The colophon specifies an English edition of 1,000 copies, clothbound in slipcase, each supplied with an original “trophy” by Roth. Thus every set couples the printed sequence with a unique artist’s intervention. With speed, humour and self-scrutiny, Roth deflates the very notion of the prestigious trophy. The set fuses serial publication with a one-off—exactly the tension that animates his work.

Soleils bas marks a pivotal moment in the history of the modern illustrated book as the very first work enriched with etchings by André Masson. This 1924 edition unites the poetry of Georges Limbour with Masson’s dense, linear graphic style, then on the cusp of his full surrealist development. The four original etchings display a fascinating interaction between text and image, where the engraving enhances the lyricism of the words. For the bibliophile, this copy represents Masson's debut as a 'peintre-graveur'. The sober yet powerful design is characteristic of early French avant-garde publications. The book bears witness to the deep intellectual friendship between the poet and the artist within the Rue Blomet group.

In 1966 the Museum of Art at the Rhode Island School of Design presented Recent Still Life. The accompanying softcover catalogue, edited by Daniel Robbins, was issued by the museum. Part of the run received a direct cover intervention by Dieter Roth: swift marks, initials and numbering that render each copy unique. The present copy is from that sought-after variant, numbered 787/1000 and bearing the artist’s initials. Roth’s gesture shifts the book from document to singular object within a series. The catalogue thus carries both information and a performative trace by Roth.

An early collection in which Paul Éluard’s developing poetics already come to the fore, here accompanied by lithographs by Jean Bazaine. Bazaine’s gentle color fields and lyrical lines mirror the restrained intensity of the youthful poems. Rather than illustrate, the prints extend the poems’ inner movement, creating a poised dialogue of word and image. Issued in a small limitation that included a distinct run of companion copies. The present copy belongs to that suite and is signed by the artist and the publisher.