Les Fleurs du Mal
This monumental edition of *Les Fleurs du Mal* brings together Baudelaire’s dark music and Léonor Fini’s sensual imagination. Issued as a large in-folio in loose sheets, it is conceived as a true bibliophilic object: reading becomes a ritual of unfolding, touching, and returning. For Le Cercle du Livre Précieux, Fini created 24 original lithographs—mostly in colour according to the notices—making Baudelaire’s erotic charge, dream logic, and looming menace vividly present. The dialogue between text and image is not mere illustration but a parallel poetry, theatrical in tone, where desire and decay echo one another. This copy, no. 436, is from the regular issue and is in very good condition. A classic text reframed through a distinctly twentieth-century artist’s gaze.
Quantity
Baudelaire, Charles
Leonor Fini
Les Fleurs du Mal
1964 | Paris | Le Cercle du Livre Précieux
A rare, large-scale artist’s edition where Baudelaire and Fini meet at full intensity.
This monumental edition of *Les Fleurs du Mal* brings together Baudelaire’s dark music and Léonor Fini’s sensual imagination. Issued as a large in-folio in loose sheets, it is conceived as a true bibliophilic object: reading becomes a ritual of unfolding, touching, and returning. For Le Cercle du Livre Précieux, Fini created 24 original lithographs—mostly in colour according to the notices—making Baudelaire’s erotic charge, dream logic, and looming menace vividly present. The dialogue between text and image is not mere illustration but a parallel poetry, theatrical in tone, where desire and decay echo one another. This copy, no. 436, is from the regular issue and is in very good condition. A classic text reframed through a distinctly twentieth-century artist’s gaze.
€1,150
Condition Report:
In-Depth Study
References & Bibliography
Format
In-folio (Folio) approx. 30 × 40 cm
Edition Particulars
Regular issue copy; no. 436; 24 original lithographs (mostly in colour per notices); very good condition.
Print Run
501
Copy Number
No. 436
Paper
Papier vergé blanc
Inscription
No inscription
Product DETAIL
Baudelaire’s collection probes the modern soul caught between ecstasy and disgust, Ideal and Spleen. Across poems of love, the city, art, and transgression, the same tension returns: the pull of the absolute and the inevitable fall into the everyday. Beauty appears as a perilous force—at once saving and corrupting. With razor-sharp imagery and musical cadence, perfume, night, the body, and metallic melancholy become a single language. What seems like personal confession turns into an era’s mirror: the birth of modernity, with its intoxication and fatigue. In this edition, Fini’s imagery shadows the text as a second, dreamlike register.

Char, Rene · Stael, Nicolas de
Arrière-histoire du poème pulvérisé
*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.
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Arriver à se réveiller
A rare first edition of Arriver à se réveiller, written by Henri Michaux in the tremulous post-war years. The text unfolds as an inward journey toward lucidity, where sleep and waking mirror each other. Printed and published by Pierre Bettencourt in his own workshop, the edition’s small run preserves the work’s intimacy. The title-page vignette, a linocut by Bettencourt, sets a spare, rhythmic visual key that amplifies Michaux’s vigilant, vulnerable tone. This copy is handsomely bound in brown morocco with balsa boards by Miguet, a tactile nod to lightness under tension. For bibliophiles, it is an exemplary union of poetry, craft, and experiment. The volume embodies the independence of the post-war small press and Michaux’s radical sensitivity.
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