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Ramures

SKU RAMU-001

This rare first edition of Ramures brings together Tristan Tzara and Alberto Giacometti at a moment when Surrealism still functioned as an intense experimental laboratory. Published in 1936 by GLM in the Repères series, it belongs to a small but prestigious collection that paired poets and artists in very limited editions. Tzara's text is introduced by Giacometti's frontispiece, immediately placing the book within the world of the concentrated modern artist's publication. Its format, loose sheets and edition of only seventy copies give it the character of an intimate, highly selective printed object. This copy is number 63, printed on Normandy and justified by the publisher. It is a characteristic GLM production: modest in scale, but rich in literary and artistic resonance.

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Ramures
1936 | Paris | GLM (Guy Lévis-Mano)
A rare copy from the sole edition of seventy, with Giacometti's frontispiece.

This rare first edition of Ramures brings together Tristan Tzara and Alberto Giacometti at a moment when Surrealism still functioned as an intense experimental laboratory. Published in 1936 by GLM in the Repères series, it belongs to a small but prestigious collection that paired poets and artists in very limited editions. Tzara's text is introduced by Giacometti's frontispiece, immediately placing the book within the world of the concentrated modern artist's publication. Its format, loose sheets and edition of only seventy copies give it the character of an intimate, highly selective printed object. This copy is number 63, printed on Normandy and justified by the publisher. It is a characteristic GLM production: modest in scale, but rich in literary and artistic resonance.

€1,800
Condition Report:
In-Depth Study
References & Bibliography
Format
In-4 (Quarto) approx. 25 × 32 cm
Edition Particulars
Number 63 from the sole edition of 70 copies on Normandy, justified by the publisher.
Print Run
70
Copy Number
No. 63
Paper
Normandy
Inscription
Signed by the Editor

Product DETAIL

Ramures is a brief poetic text by Tristan Tzara centred on images of growth, branching and inner movement. The title, referring to branches or ramifications, suggests a composition that unfolds not linearly but like an organic network. There is no narrative plot in the conventional sense; the work proceeds through association, rhythm and shifts of imagery. Tzara's language evokes a world in which natural motifs, bodily sensation and mental space flow into one another. The text's brevity intensifies its effect: each image carries the weight of an autonomous impulse. In the context of the 1930s, the work reads as a lyrical-surrealist condensation, directed more toward inner resonance than explanation.

Au dépens des mots
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An exceptional oblong in-16 volume bound in a single tome, comprising three editions of Au dépens des mots, including the exceedingly rare tête-de-tête edition on nacré japon.

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Éluard, Paul
Au rendez-vous allemand

Au rendez-vous allemand is one of the emblematic collections of Éluard’s wartime poetry. The book appeared in 1944 from Les Éditions de Minuit, the publishing house that, under the Occupation, became a moral landmark of the French literary Resistance. The volume gathers poems in which love, mourning, revolt and hope appear not as abstractions but as immediate necessities under German rule. The frontispiece, a portrait of the poet after Picasso, gives the book a powerful artistic signature: two voices of modern France, poet and artist, stand here in the same struggle. This is an ordinary, unnumbered copy, but signed by Éluard on the first page. That signature makes the book more than a Resistance document: it becomes a tangible witness to literary presence in a historically charged year. For the collector, it unites the clandestine aura of Minuit, Picasso’s name and Éluard’s own hand.

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Aphorismes et variétés.
Brillat-Savarin, Jean-Anthelme · Dufy, Raoul
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An elegant *livre d’artiste* pairing Brillat-Savarin’s witty gastronomic aphorisms with twenty full-page original etchings by Raoul Dufy. Dufy’s airy, musical line lends the text a radiant cadence, turning the maxims into vignettes of conviviality and taste. Limited to 200 copies on Rives wove; this is no. 19, for the subscriber Mr Bernard-Beaumaine. Untrimmed copy with original covers and spine preserved, luxuriously rebound by F. Rousseau in 2001. Clear provenance enhances its appeal. Wrapper slightly toned; box with only the faintest rubbing. A refined encounter between culinary letters and modernist design.

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Michaux, Henri
Arbres des Tropiques

The first edition of a rare Michaux booklet: twelve pages of text followed by a suite of reproduced black drawings by the author. A compact atlas where observation meets inner theatre; shapes root and levitate at once. Printed on héliona de Navarre, which lends a satiny edge to the lines. This copy is luxuriously rebound by Miguet in red morocco with balsa boards and slipcase. Sources usually count 18 to 19 drawings, depending on method. A crisp, lucid book in which Michaux quite literally writes in images.

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Studies & Dossiers
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When a Signature Becomes Provenance

A signature confirms; a dedication connects; an association copy tells a story.

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The Fragile Meaning of ‘Complet’

In auction descriptions, “complete” often sounds reassuring — but it is only meaningful when verified against the colophon, the justification, and the bibliography. For The Hidden Page, clarity begins where vague market language ends.

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Size does (not) matter

Size does (not) matter: The Paradoxical Power of Format in Avant-Garde Book Art

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