Dans l’eau changeante des résonances

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.

This large and sumptuous edition of Sombre printemps brings together one of Unica Zürn’s most haunting texts and an original burin frontispiece by Hans Bellmer. Issued by Pierre Belfond as the French translation of Dunkler Frühling, it appeared when Zürn’s name had become inseparable from Bellmer’s. That proximity is not merely biographical here; it shapes the entire aura of the book, in which text and image seem to emerge from the same disturbed inner world. The deluxe issue, printed on vélin d’Arches and accompanied by an additional proof on japon nacré, gives the volume a distinctly bibliophilic status. Bellmer’s signed frontispiece does not simply decorate the text, but stands as a visual counterpoint to Zürn’s claustrophobic prose. The publication is all the more poignant for having followed so closely upon Zürn’s death, as though the book became both tribute and posthumous memorial. Within the Cahiers du Regard, it ranks among the most charged and desirable collaborations. For the collector, this copy unites literary intensity, surrealist resonance, and exceptional material refinement.

A rare illustrated book that explores the decadence and sensual darkness of Catholicism. Hans Bellmer's engravings transform Bouvier's texts into a graphic exploration of forbidden desires. This work, situated at the intersection of literature and art, reveals a unique symbiosis between the provocative texts on the dark side of religion and Bellmer's unsettling, surrealist aesthetic. Bellmer's nine original burin engravings unveil a world of physical and psychological ambiguity and attest to his mastery as a printmaker and his fascination with the human form in all its distortions. The book is a testament to the subversive power of the illustrated edition and the way art and literature can reinforce each other to create an unforgettable statement.