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A scarce textual piece by Jean Dubuffet, printed in 1962 at Imprimerie Union. *La Vache au Pré Noir* is playful and caustic at once: a brief suite where language lows, sniffs and scrapes. The very plain wrappers foreground the typography; nothing distracts from the beat of Dubuffet’s voice. It embodies his anti-rhetorical poetics and his claim for an immediate, “brut” art. This copy bears a handwritten New Year greeting, attesting to private circulation. From the library of Jacques Dauchez.

This scarce booklet was published in 1948 by Galerie Nina Dausset — known as La Dragonne — for an exhibition devoted to the Surrealist game of “Exquisite Corpse.” It contains a seven-page essay by André Breton explaining the principle of collective drawing and situating it historically. A black-and-white reproduction of an exquisite-corpse drawing makes the practice tangible. The roster features core Surrealists: Breton, Desnos, Aragon, Brauner, Éluard, Hérold, Ernst, Hugo, Masson, Miró, Tanguy, Man Ray, Tzara, and others. The final page advertises *Néon* no. 4 and announces “Solution Surréaliste,” an event organized by the gallery. Small in format, simply staplebound, it functions as a lively trace of postwar Parisian avant-garde life. First edition, 515 copies. This copy shows moderate edge toning, scattered foxing and early staple rust, yet remains in fine condition.

A rare *édition originale* of Albert-Birot’s experimental prose, issued by his *Éditions SIC* circle in 1919. The book extends the spirit of *SIC*: freedom, direct diction, and economy. Between prose and poetry, *Larountala* unfolds a fluid monologue on identity and metamorphosis. The spare design and paper wrappers underscore its laboratory nature. For bibliophiles, a keystone of post-war Parisian avant-garde. This copy is one of 120 numbered on Arches.

La Joie des Sept Couleurs is a key SIC book turning colour into subject, rhythm and order; five hors-texte “poèmes-paysages” open reading into space; small edition with a tiny head issue on Chine fort; issued by Éditions “SIC”, Paris; this Arches copy no. 109 retains early postwar freshness and precision.

A refined French edition introducing modern Swedish poetry to a francophone readership, compiled and translated by Jean-Clarence Lambert. Issued by Falaize in 1956, it features illustrations by Raoul Ubac. This copy is part of the very limited subset carrying an original colour engraving by Ubac, signed and numbered. It also includes one black hors-texte and six tail-pieces. The handy 8vo format (217 × 167 mm) on Pur Fil d’Arches enhances the crisp typography. A rare encounter between literary discovery and avant-garde imagery for the bibliophile.

The literary collaboration between the post-Expressionist poet Paul van Ostaijen and the graphic artist Joris Minne culminated in this limited bibliophile edition of Intermezzo (1929). Although Van Ostaijen died in 1928, this work captures the artistic spirit of the Antwerp avant-garde circles. It combines Van Ostaijen's sharp, modern prose with Minne's dynamic, often Expressionistic woodcuts, a key figure in the revival of Flemish graphic art. The choice of an exclusive print run on handmade Pannekoek paper and the illustrator's signature emphasize the bibliophile nature of the work. The book is a rare testament to the dialogue between literature and visual arts in the interwar period, and its publication by Bibliofielen Vereeniging Tijl highlights the appreciation for high-quality book production. It is a crucial object for the study of both Flemish modern poetry and graphic art history. The three woodcuts provide a visual 'intermezzo' to the text. This is an exceptionally fine and complete copy.

This 1920 work is a key text of Parisian Dadaism, authored by one of the movement's central figures, Francis Picabia. It is a raw, challenging, and satirical attack on the hypocrisy of bourgeois morality and the religious dogmas of the time. Picabia's prose is an explosion of language, imbued with the Dadaist spirit of nihilism, absurdity, and provocation. The collection combines essays, short texts, and poetry to deliver a sharp and hilarious critique of Western culture. The book, with its explicitly shocking title, definitively established Picabia as a radical voice in the post-war avant-garde. The rare original edition, published by 'Collection Dada', is a tangible artifact from the movement's heyday.

This exceptional ensemble surrounding Hans Bellmer serves as a unique testament to the post-war surrealist dynamics in Paris. The core of the lot is the rare first edition of Vingt-cinq reproductions 1934-1950, a survey work capturing the essence of Bellmer's unsettling aesthetic. However, what makes this copy truly museum-quality is the inclusion of three extremely rare ephemeral documents: a prospectus for Nora Mitrani’s never-published Rose au cœur violet, an announcement for the unfinished project Ici et ailleurs, and an original invitation card for the 1947 exhibition at Galerie du Luxembourg. These documents shed light on the 'ghost publications' of the avant-garde and the close ties between Bellmer and his intellectual circle. For the bibliophile, this dossier represents the fragile boundary between the realized publication and the unfulfilled artistic dream.

A rare homage in which German and international artists reengage with the experimental legacy of Hendrik Nicolaas Werkman. Under the banner of The Next Call, facsimiles of Werkman's clandestine sheets are paired with newly created original prints. The blend of woodcut, letterpress and vigorous layout channels the spirit of De Blauwe Schuit. Essays by Henkels, Sandberg, Martin and Greve ground its context and reception. Half-cloth binding with a protective cardboard box keeps the sensitive materials safe.

With *Donner à voir*, Paul Éluard gathers reflections on looking, on friendship, and on his dialogue with the artists of his time. In lucid, elliptical prose he shows how poetry and the visual arts nourish and mirror one another. The tone is intimate yet programmatic: to see is to learn what imagination sets free. Published by Gallimard (NRF) in 1939 on the eve of war and censorship, it reads like a quiet manifesto. This first-edition trade copy is a Service de Presse and bears a warm authorial presentation. Unillustrated, the book underlines the image-making power of language itself. For bibliophiles it is a touchstone of surrealist poetics in restrained NRF dress.