Une autre étude sur Raymond Roussel

*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.

A artist’s book resulting from the collaboration between writer Patrick Waldberg and surrealist master Max Ernst. This first edition includes 19 original lithographs printed on luxurious vélin d'Arches. Published in Paris in 1971 in a limited edition of 174 copies signed by both author and artist, and presented in a custom publisher’s box.

This sumptuously bound book brings a medieval mystery to life through a rare collaboration between ancient literature and modern illustration. The geometric box design on garnet morocco provides striking contrast. André Derain’s 22 color lithographs – including one double and three full-page – enhance the narrative with expressive visual force. Printed on Rives vellum in an edition of 180 numbered copies, this copy (No. 72) was made for Baroness Vaxelaire and includes a suite on fine Japanese paper. The binding by Lucie Weill exemplifies artisanal excellence. A harmonious blend of narrative tradition and graphic daring.

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.