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This series of twenty original issues documents a decisive phase in the first year of *Lacerba*, a central periodical of Italian Futurism. It runs from no. 5, dated 1 March, through no. 24 of 15 December 1913, forming an almost continuous core of the year. The first four numbers are absent, so the series does not constitute the complete first year. Under the direction of Giovanni Papini and Ardengo Soffici, the journal brought together manifestos, polemics, literary experiment and visual art. Contributions by Marinetti, Apollinaire, Max Jacob and Picasso, among others, reveal the connection between Italian Futurism and a wider European avant-garde network. No. 18 contains Apollinaire’s *L’Antitradition futuriste*, while the issue of 15 October presents early examples of Futurist *parole in libertà*. As an ensemble, the series preserves not only the texts but also the rhythm, typography and polemical energy of the original periodical format. Its substantial scope, original state and historical coherence make it especially appealing to the bibliophile.

This special June issue of *La Danse* documents the first Paris season of Rolf de Maré’s Ballets Suédois. Under De Maré and choreographer Jean Börlin, the company emerged as the principal post-war parallel and rival to Diaghilev’s Ballets Russes. Its establishment at the Théâtre des Champs-Élysées gave this ambition a powerful symbolic continuity. Valentine Hugo designed the cover, lending the programme-periodical a distinct artistic identity. This copy retains the loose programme for the performances of 3, 7 and 12 June. Within it, *Jeux* provides a tangible link with the Ballets Russes repertoire: Debussy’s music and Nijinsky’s original scenario were combined with new choreography by Börlin and a setting by Pierre Bonnard. The issue therefore shows how the Diaghilev model was not merely imitated but reinterpreted by a younger modernist company. Preserving both the periodical and its separate programme, the ensemble is an important document of the transition between two major companies of the Parisian dance avant-garde.

Joan Miró y Cataluña is a fundamental survey in which the Catalan writer Juan Perucho explores Miró's deep roots in his native land. This publication by Ediciones Polígrafa marks a crucial moment in the dissemination of Miró's legacy, blending text and imagery into a tribute to Catalan identity. The rich iconography offers a panoramic view of his evolution, from early earthly landscapes to cosmic abstraction. This specific copy boasts exceptional provenance, inscribed by the artist himself to his Paris-based confidants. It serves as a tangible witness to the close ties between the artist and his most important promoters. For the bibliophile, this volume represents the synthesis of monumental historiography and a personal, intimate history.

*Hommage et profanations* belongs to the refined Parisian tradition of the artist’s book, in which poetry and original printmaking function as equal artistic partners. Octavio Paz, then closely connected with international avant-garde circles, is paired here with the graphic work of Chilean artist Enrique Zañartu. The book was published in Paris by Jean Hugues in 1963 in a limited edition of 300 numbered copies on vélin de Rives. Only the first 75 copies contained three original etchings by Zañartu, while the first 25 also received a separate colour suite. This copy, number 63, therefore belongs to the particularly desirable group of just fifty copies containing the three original etchings but no suite. The combination of Paz’s poetry, Zañartu’s forceful abstract imagery and the carefully conceived material presentation makes this a characteristic post-war livre de peintre. Its original chemise and slipcase further strengthen its bibliophile appeal.

*Entretiens 1913-1952* is a major document of André Breton’s intellectual autobiography and of the history of Surrealism. In conversations with André Parinaud and several other interviewers, Breton looks back on almost four decades of literary, artistic and political activity. The spoken format gives his recollections an immediacy less evident in his manifestos and theoretical essays. The book was published by Gallimard in 1952 as part of the *Le Point du Jour* series. This copy belongs to the large-paper issue and was printed on Lafuma-Navarre pure rag vellum. Numbered 23, it is one of eighty numbered copies on the second paper. Its signed Devauchelle binding adds a distinctly bibliophilic dimension while preserving the original illustrated wrappers.

Ethnologie des Maramouts is a posthumous and highly characteristic publication by Jean Ferry within the world of the Cymbalum Pataphysicum. The work presents itself as an imaginary ethnological study of the “Maramouts”, yet beneath that quasi-scientific form lies a fully pataphysical game with classification, ethnography, drawing and fictive seriousness. Ferry’s own drawings give the dossier a direct, almost manuscript-like presence. The edition appeared on 9 Haha CIV, corresponding to 14 October 1976, as the first volume of the Collection Maramoutéenne. Its material form is striking: not an ordinary bound book, but a dossier of loose leaves printed recto only, accompanied by a separate N.B. or errata-like leaf concerning the difficulty of reproducing Ferry’s handwriting and drawings. This copy is housed in the green folder and bears the printed Ferry emblem marked “n° 2”. As one of the 44 exemplaires de chapelle, it belongs to the most intimate and desirable category of this small pataphysical ethnography.

Every Building on the Sunset Strip is one of Ed Ruscha’s most iconic artist’s books and a defining work in the history of conceptual bookmaking in the 1960s. The book presents the buildings along the Sunset Strip in Los Angeles as a long fold-out photographic sequence. Ruscha treats the city not as romantic scenery, but as rhythm, inventory, and typographic presence. The leporello format turns the book itself into a street: the reader literally unfolds the Strip. This 1966 second issue belongs to the larger printing, yet it remains bibliographically important because it lacks the additional terminal flap found in the earliest copies. That small material distinction makes the copy especially relevant for collectors attentive to the printing and folding history of Ruscha’s books.

Fatras belongs to Jacques Prévert’s late, free-form books, where poem, note, wordplay and visual montage constantly intersect. The title already announces a deliberate disorder: a heap of fragments, finds, voices and visual inventions that together form a recognisably Prévertian world. Its particular interest lies in the 57 black-and-white images composed by Prévert himself, so that the poet also appears here as an image-maker. These collages are not mere additions to the text, but part of the same method of collision, surprise and poetic disruption. The book was published in 1966 by Gallimard/NRF in the Le Point du Jour series. This copy also has the character of a service de presse copy and bears Prévert’s inscription to Monsieur Perset. It therefore gains, beyond its place in Prévert’s printed oeuvre, an immediate personal presence.

Du bon usage du dépôt de marque, v. 1890–1903 is a small but suggestive pataphysical document about ownership, trademark, administration and fictive institutional seriousness. The title plays with a legal and commercial register: trademark deposit normally belongs to the world of protection, registration and property rights, but within the Collège de ’Pataphysique such a bureaucratic formula acquires an added ironic charge. The work belongs to the tradition in which the Collège uses documents, stamps, commissions and pseudo-official forms as literary and conceptual instruments. The date span 1890–1903 evokes the historical world around Alfred Jarry and suggests an archaeology of marks, rights and names. This copy is notable because it is marked with the letter H and belongs to the 24 exemplaires emphatiques. The stamp “La Grande Tête de Chat des Affaires Animales & Végétales” adds a wonderfully absurd administrative sign. The copy thus becomes not only a text-bearing object, but also a pataphysical dossier in which mark, stamp and fictive authority coincide.

Écritures is a substantial and essential collection of writings by Max Ernst, published by Gallimard / NRF in the series Le Point du Jour. The volume gathers the written voice of an artist who shaped Surrealism not only through images but also through language. Its 120 illustrations after Ernst’s works make the book more than a textual anthology: image and word continually echo, disturb, and reframe one another. This copy is exceptional for the blue-ink Surrealist drawing on the half-title, described by Ernst as “oiseau et microbe”. The autograph dedication to Édouard Caen gives the volume a strong Gallimard/NRF provenance. Caen’s long-standing role in Gallimard’s commercial and promotional services helps explain why important presentation copies are associated with him. His proximity to modernist and photographic avant-garde circles further strengthens the curatorial relevance of this object.