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Published by Au Sans Pareil in 1934, *Papiers posthumes* brings together for the first time a carefully curated selection of Jacques Rigaut’s posthumous manuscripts. The volume breathes the spirit of the interwar years: sharp, fragmentary and unflinchingly modern. It includes a previously unpublished portrait of Rigaut by Man Ray that lends the book a striking visual cadence. The meeting of a radical Dada and early Surrealist voice with a leading photographer makes this an emblematic artist’s book. For the bibliophile it offers a rare, coherent witness to literary and photographic avant-garde practice. The restrained typography and uncut gatherings underscore the integrity of the texts. The edition was limited to 300 copies on Vélin de Montgolfier, of which this is number 181. This copy remains very well preserved with only a minor rub to the wrapper.

A rare and sensual livre d’artiste in which Ganzo’s poetry converses with twenty-three lithographs by Gaston-Louis Roux, each heightened by hand. The compact octavo format keeps text and image in intimate proximity. Duhayon’s restrained yet elegant binding lets the lithographic grain and color take center stage. The limited issue on Rives B.F.K. underscores its bibliophilic intent. An exemplary fusion of modernist book design, quiet typography, and expressive imagery.

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This original edition of André Breton’s *Ode à Charles Fourier*, illustrated per the layout by architect‑designer Frans J. Kiesler in a loose illustrated wrapper, stands as an outstanding example of surreal typographic design and avant‑garde book design.

The first Manifesto of Surrealism, published together with Poisson soluble, marks a watershed in European letters. Breton sets out, with provocative clarity, a poetics grounded in dream, chance and automatic writing. This trim 12mo from the daring Sagittaire press captures the pulse of avant-garde Paris in 1924. More than a text, it is a founding gesture that redrew the literary map. For collectors, it remains a cornerstone: typographically spare, historically charged, and strikingly alive.

This facsimile edition of the correspondence between the painter Nicolas de Staël and the poet Pierre Lecuire offers an intimate glimpse into their artistic friendship and creative process. The work, originally published in 1966, was reissued in 2008 with added comments by Lecuire, which add unique depth to the original letters. De Staël's art, characterized by his abstract expressionist style and intense use of color, is reflected in the illustrated cover, based on an original linocut. This book is not only a document of literary and artistic exchange but also tangible proof of an important collaboration in post-war French art history. The addition of photographic reproductions and Lecuire's handwritten notes make this a particularly valuable edition for collectors and lovers of modern art and literature.

With *Le Septième chant. La Mort d’Isidore Ducasse*, Alain Jouffroy composes an incantatory elegy to the tutelary figure of Lautréamont. Issued in 1974 by the Société internationale d’art du XXe siècle, the book is enriched with four original etchings and aquatints by André Masson. The frontispiece, printed in red, sets a fiery, visionary, corporeal tone. Large in scale, issued as loose leaves in wrappers with chemise and slipcase, it belongs to the grand tradition of the livre d’artiste. The encounter between Jouffroy’s ardent prose and Masson’s suggestive line is exemplary. For the bibliophile this is a finely balanced conversation between text and image, executed with care and anchored by a strictly limited edition.

Jean Cocteau’s *Les chevaliers de la table ronde* is his Arthurian three-act play, published in 1937 by Gallimard. Here the Round Table myth is reframed through crystalline dialogue and an oneiric sense of staging. The NRF original edition bears a frontispiece “after Cocteau”, signalling the author’s double gift as draughtsman and playwright. This copy is from the tête de tirage on vélin pur fil, numbered 27 of only 40. Generous margins and quiet typography heighten the ritual clarity of the text. Preserved in mint state, it retains the tactile luxury of Parisian interwar printing. For the bibliophile, it fuses literary invention, fine paper, and a discreet artist’s touch.

First edition of Aragon’s postwar poetry volume, issued by NRF in 1948: a compact book that bridges wartime verse and the literature of rebuilding. Aragon fuses political awakening with intimate lyricism, letting history’s shock reverberate through refined forms. This copy is among the coveted head copies on Hollande vellum, with full margins and in original condition. The small print run of 1,109 underscores its scarcity. Further, it is one of four hors commerce copies, lettered “C,” kept outside the regular trade. True to NRF tradition, the typography is restrained and elegant, foregrounding the text. For collectors of French poetry, it is a hinge work in Aragon’s oeuvre and in postwar literary culture.

La triloterie is an early bibliophile edition by Pierre Albert-Birot at his own Éditions SIC, emblematic of Paris’s experimental moment around 1920. Printed in small numbers on Arches and featuring an engraving by Léopold Survage, it couples poetry with visual avant-garde. The plain wrappers suit SIC’s sober independent-press ethos. The title plays with chance and language—three miniature dramaturgies that tilt the everyday. Survage adds a geometric, rhythmic counterpoint. This copy bears traces of a partly erased presentation, heightening its historical aura. A compact, precisely made object for the discerning bibliophile.