Dans l’eau changeante des résonances

A rare early Futurist imprint in which Papini crosses swords with Rome and the philosopher Benedetto Croce. Delivered at the serata futurista in the Teatro Costanzi (21 February 1913), the text was promptly issued as a standalone pamphlet by the Direzione del Movimento Futurista in Milan. This four-page flyer, printed by A. Taveggia, marries polemical fervour to typographic restraint. The large format and horizontal fold reveal its ephemeral circulation—by post or at the venue. For bibliophiles and scholars it is a keystone linking *Lacerba* to the Milanese Futurist network. A compelling document of militant literature on the eve of the war years.

This sharp postwar intervention belongs to the primary printed matter of the Internationale Lettriste, on the threshold of the Debord milieu and the genealogy of Situationism. *Toutes ces dames au salon !* responds to the Brussels exhibition “L’Industrie du pétrole vue par des artistes” (2–14 June 1956), targeting the moral veneer of the salon system sustained by corporate patronage. The sheet operates as direct action: a text that does not merely speak about art but intervenes in the social field. The convergence of Paris (Internationale Lettriste), Brussels (Les Lèvres Nues) and Milan (Movimento Arte Nucleare) turns it into a rare node of transnational neo-avant-garde exchange. This set is especially desirable because it brings together two material variants: the well-known large two-column placard and the narrow one-column version that also circulates on its own. Ephemera of this kind was made to vanish, and its survival—here in duplicate form—is exactly what gives it bibliophilic force.

L'Éternelle Revue stands as a monument of intellectual resistance during the Occupation of France. Compiled by Paul Éluard and published in the summer of 1944, these issues served as a moral beacon for the underground literary world. Printed clandestinely, they were originally intended to be dropped by parachute over occupied territory. The project bears witness to the indestructible power of the free spirit against oppression. For the bibliophile, these fascicles represent the ultimate symbiosis between poetry and political engagement. This specific lot contains the exceedingly rare first two issues in their original state. The fragile nature of the paper underscores the precarious conditions under which this work was produced.

*Arrière-histoire du poème pulvérisé* is a later illustrated edition of a key text in which René Char looks back on the genesis and inner background of *Le Poème pulvérisé*. Published in 1972 by Imprimerie Union, it opens with a colour frontispiece by Nicolas de Staël. The pairing of Char and de Staël is especially charged: two post-war voices, each seeking concentration, clarity, and rupture in his own medium. This copy is one of only six hors commerce copies on Arches and is signed. The autograph presentation inscription to Doctor Marcel Zara, with poetic quotation and October 1972 dating, makes it a deeply personal copy.