Pégase

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.

*Führ 4 für vier*, published in 1969, is an iconic collaborative work that completely blurs the boundaries between concrete poetry and concrete art. Edited by Jürgen Brenner and Kurt Weidemann, this large-format book-object brings together an international selection of the most important avant-garde voices of the 1960s. The work is not merely an anthology but a tactile and visual experiment where transparent sheets, serigraphs, and typographic compositions overlap. Featuring contributions from major figures such as Ian Hamilton Finlay, Eugen Gomringer, and François Morellet, it functions as a total work of art questioning the structural essence of language and form. The edition was strictly limited, and each copy was personally signed by all participating artists, confirming its status as a historical document. For the collector of concrete art and conceptual publications, this is an absolute cornerstone. Its physical execution as a blockbook with silver accents reflects the machine-like and minimalist aesthetics of the era.

Hélène chez Archimède is a remarkable example of the collaboration between a poet and a visual artist, in this case the French author André Suarès and the legendary Spanish master Pablo Picasso. The edition, illustrated with wood engravings, reveals the complex interplay between word and image that culminated in the production of illustrated books in the mid-20th century. This work, originally a project by the famous art dealer Ambroise Vollard, shows the enduring relevance of classical themes, here the myth of Helen, in a modernist context. Thanks to its careful execution and the exclusivity of its print run, Hélène chez Archimède is not only a literary work but also an art object, a testament to the artisanal perfection sought by the Nouveau Cercle parisien du Livre. It represents a significant moment in the history of the modern illustrated book, where the line between illustration and autonomous art blurs. The additions to this copy, such as a menu and an announcement leaflet, enrich its bibliographic and historical value and offer a rare glimpse into its publication context.