Donner à voir
€750.00
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.
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Éluard, Paul
ILLUSTRATORS
ILLUSTRATORS
ILLUSTRATORS
Donner à voir
1939 | Paris | Gallimard (NRF)
A first edition that captures Éluard’s thought with compact clarity; the S.P. status and the inscription heighten its historical presence. A handsome, honestly preserved copy in sober NRF dress.
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.
€750
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Edition Particulars
Service de Presse copy from the regular issue; not part of the 83 grand-papier copies (28 on vélin pur fil Lafuma-Navarre, numbered 1–20 + 8 h.c. a–h; 55 on alfa mousse Navarre, numbered 21–60 + 15 h.c. 61–75).
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Product DETAIL
The volume gathers essays, portraits and brief notes in which Éluard conceives “seeing” as an ethical and poetic exercise. He links concrete experience to an ideal of freedom that places the arts above doctrine and propaganda. The pieces breathe the solidarity of an artistic circle and search for a shared sensibility. Rather than systematizing aesthetics, Éluard offers compact, exact formulations that activate the reader. The absence of images is programmatic: words sharpen the gaze. Historically it offers a late, lucid articulation of surrealist seeing in the tense pre-war years.
Jarry, Alfred
La Dragonne
*La Dragonne* belongs to the posthumous publications that further deepened the enigmatic and unfinished aspect of Alfred Jarry’s oeuvre. This first edition, with a preface by Jean Saltas, presents a late prose work that still bears the full force of the imagination behind *Ubu roi*. The book moves between novel, satire, and verbal hallucination, revealing Jarry as a writer who continually places narrative logic under strain. That is precisely what gives it such appeal for collectors: one reads here not only a text, but a literary legacy still in formation. The Gallimard edition, dated 1943 and also described in trade sources as an early 1944 issue, reflects the sustained twentieth-century rediscovery of Jarry. This copy also belongs to the extremely small issue on vélin pur fil. In its elegant binding, the volume acquires a classical dignity that beautifully contrasts with the unruly spirit of the
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Desnos, Robert
La Liberté ou l'Amour !
La Liberté ou l'Amour ! by Robert Desnos is a monument of Surrealist literature, presented here in an exceptional binding by master bookbinder Jean de Gonet. This 1927 edition contains the full text, including the notorious passages censored at the time. The work is a feverish exploration of eroticism and freedom, written in the automatic style that Desnos perfected. The combination of Desnos's rebellious text and De Gonet's industrial, architectural aesthetic makes this copy a unique collector's item. Furthermore, it bears the signature of Czech artist Adolf Hoffmeister, adding to its historical significance. For the bibliophile, this book represents the perfect symbiosis between avant-garde literature and innovative bookbinding art. With its dreamlike logic, unsettling eroticism, and atmosphere of veiled desire, this book can evoke Stanley Kubrick’s film Eyes Wide Shut
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Michaux, Henri
Choix de poèmes
In Choix de poèmes, Michaux’s poetic trajectory is gathered into a compact, portable compass. This édition originale collective was issued by NRF in 1976; the present copy is from the minute head issue of fifteen on vélin pur fil. Miguet’s sober Havana-morocco binding, with panelled frame, marries elegance to rigor—akin to a voice moving between vision and observation. The selection shows the steady pursuit of inner landscapes and linguistic shock. For bibliophiles, luxury paper, original state and atelier binding make a persuasive triad. Provenance from Jacques Dauchez provides a discreet, eloquent seal.
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Michaux, Henri
Poteaux d’angles
In Poteaux d’angles, Henri Michaux returns to compact, probing prose balanced between poem and notebook. Issued by L’Herne in 1971, this copy is from the exceedingly scarce head issue on Hollande paper. Miguet’s raspberry-morocco panelled binding lends a mineral poise that suits Michaux’s angular sentences. The brief pieces act as beacons—jottings, sallies, flashes of insight and refusal. For bibliophiles the trio is ideal: original edition, luxury paper, and a fine atelier binding. The Jacques Dauchez provenance seals its pedigree.
