Antonin ARTAUD

First edition, printed in a small number of copies, consisting of Antonin Artaud's response to his expulsion from the Surrealist movement by André Breton.
A small tear at the foot of the spine.

First edition of the French translation prepared by Soudeba, with no mention of deluxe copies.
Illustrated with plates by Colette Nel.
The copy is presented in a red half-morocco folder, smooth spine, slipcase edged with red morocco, the whole signed by Goy & Vilaine.
Exceptional and highly important presentation copy inscribed and signed by René Allendy, a pioneer of psychoanalysis in France whose patients included René Crevel, Anaïs Nin and Antonin Artaud, further enriched with the handwritten signature of Colette Nel-Dumonchel, who married Dr. Allendy after he was widowed by her sister: "A notre cher ami Antonin Artaud. Bien affectueusement."

First edition of this issue devoted to Antonin Artaud, one of 50 numbered copies on Marais wove, the only copies on deluxe paper.
Contributions by Antonin Artaud, Georges Braque, René Char, Charles Dullin, Jacques Audiberti, Camille Bryen, André Pieyre de Mandiargues, Arthur Adamov...
A rare and attractive copy.

First edition on current paper.
Precious autograph dedication signed by Antonin Artaud: "To my dear friend André Lhote the only living writer who knows how to speak about painting in a poetic and superior sense."
Illustrated book of 6 vignettes by André Derain.
Very discreet restorations on the back and the boards of covers, tiny angular gaps in heads of the very first leaflets.

Autograph letter dated and signed by Antonin Artaud on Le Dôme brasserie letterhead, addressed to Maurice Martin du Gard, founder and director of Nouvelles Littéraires. 29 lines in blue ink in a nervous handwriting.
Traces of folds and small marginal tears inherent to postal dispatch and handling. Minor stains at the beginning of the letter.

Antonin Artaud fought to have his article on Balthus's painting, exhibited for the first time in France, published. He fiercely defended the artist he considered his 'double', so similar were they physically and intellectually.

 

Original blue ink drawing by Carlo Rim depicting his friend Antonin Artaud in profile.
The drawing, likely preparatory, was executed on tracing paper.
Carlo Rim was a Provençal writer, notably the author of "Ma belle Marseille", as well as a caricaturist and filmmaker. He was a close friend of Fernandel, Raimu, and Marcel Pagnol, as well as of Max Jacob and André Salmon, whom he met in Sanary.

New edition.
Work illustrated with a frontispiece gris-gris by Antonin Artaud.
Handsome copy complete with dust jacket
Full-page bicolored autograph inscription signed by Henri Pichette to Annie Vanpeene: "... regardez il y a un robin dans la signature." ["... look there is a robin in the signature."]

First edition of the issue of this magazine directed by Marcel Hiver and which intends to lambast and wage war on “the traffickers of art and criticism”
Spine and boards slightly discoloured, discrete restorations on the board margins,
Precious handwritten presentation signed by Marcel Hiver: “A Antonin Artaud dont j'ai lu avec le plus vif intérêt la rayonnante réponse aux surréalistes. En signe de très sincère estime intellectuelle.” “To Antonin Artaud, whose radiant response to the Surrealists I have read with the greatest interest. A sign of utmost intellectual respect.”
We also attach a printed carte de visite by Marcel Hiver on which he added these words for the attention of Antonin Artaud: “Il faudrait un «Marat» de la critique, n'est-ce pas ?” “It would take a “Marat” of criticism, right?” in reference to the role of Jean-Pierre Marat played by Antonin Artaud in Abel Gance's 1927 film “Napoléon”.

First edition.
Handsome copy despite the inevitably yellowed paper.
Contributions by Henri Thomas "Poèmes", August Strindberg "Le ciel dans l'oeil", Ernst Jünger "Pages de journal", André Dhôtel "Fragments", Hermann Melville "L'escroc à la confiance", René Crevel "Lettre à Arabelle", Pham Van Ky "Apologues chinois", Robert-Louis Stevenson "Lettre à Henry James", Roger Gilbert-Lecomte "Rêve de mort", Antonin Artaud "C'est qu'un jour. - Je suis l'inerte. - L'erreur est dans le fait"...

First edition, one of 58 numbered copies on Arches vellum, the only deluxe copies.
Iconography, preface by Dr Ferdière.
A very handsome copy.

Antonin ARTAUD & Pablo PICASSO
...Autre chose que de l'enfant beau [...Something Other than a Beautiful Child]
First edition printed in 120 numbered copies on Japon paper, ours is one of 100 copies numbered in Arabic numerals.
Illustrated with an original drypoint in colour by Pablo Picasso, printed in Georges Leblanc's workshops in Paris.
Handwritten signature of Pablo Picasso on the print details page.
Binding in full grey box, title and names of the author and illustrator gold-stamped on the spine, boards decorated with an abstract and geometric decoration of gilt and black fillets, mouse grey box endpapers, covers and spine preserved, top edge gilt, chemise in half mouse grey box, marbled paper boards, slipcase edged in mouse grey box, marbled paper boards, contemporary binding signed Desmules.
Using a process used the previous year for the illustration of Autre chose by P. A. Benoit, the artist pierced the black mould, giving the appearance of an empty circle in the engraving. This circle, not pressed by the plate, forms a white half-sphere in relief, a unique and empty eye of a dismembered character, very surely inspired by one of Artaud's great drawings from 1946, “L'Homme et sa douleur,” preserved at the Cantini museum in Marseille.
Rare and very beautiful copy, perfectly set in a decorative binding, comprising the only intaglio produced in colour by Picasso to illustrate the book.

First edition in French, translated by Antonin Artaud and Bernard Steele, one of 25 numbered copies on alfa, the only large paper copies.
A very good copy.

First edition dans le commerce, one of 32 numbered copies on vélin, the tirage de tête with 21 Hollande.
A rare and good copy.

First edition printed in a small number of copies for which there was no mention of large paper copies.
A rare and good copy.

Original portrait of Antonin Artaud signed and inscribed by Denise Colomb
Original signed portrait of her close friend Antonin Artaud by Denise Colomb, silver print made by the artist in the 1990's after a photograph taken in 1947.
A moving large-format shot of the writer at the very end of his life, looking almost Christ-like, seated in an armchair hands folded in his lap, as if resigned to his tragic fate.
Antonin Artaud was the first of her famous series of artists portraits which also included Giacometti, Picasso, Soulages and Miro pictured in their studio.
Signed and inscribed by Denise Colomb in the lower left and right corners of the photo.

Le Moine [The Monk]
Denoël & Steele | Paris 1931
| 14,5 x 19 cm | original wrappers
First edition on ordinary paper of the French translation of this gothic novel established by Antonin Artaud.

Photographic cover representing Antonin Artaud as a monk.
Precious handwritten autograph inscription by Antonin Artaud to Germaine Beaumont on the front endpaper page.

Very nice copy as issued with its preserved advertising slip quoting Horace: “Dreams, magical terrors, prodigies, pythonisses, night appearances and terrifying prestige”.

The autograph inscriptions of Antonin Artaud on this title are very rare.

First edition of this review edited by Maurice Raynal and Efstrathios Tériade, and in particular illustrated by Georges Braque, Balthus, Roger Vitrac published between April 1935 and February 1936.
An artistic and literary review created by the writers Maurice Raynal and Michel Leiris, La Bête noire was conceived as an attempt at an intellectual counter-attack to the rise of fascism in France, awakened by the Parisian demonstrations of February 1934 . The review was baptized by the wealthy banker Marcel Moré, a friend of Max Jacob, Antonin Artaud, and Georges Bataille - and will also benefit from his financial support.
La Bête noire was placed under the direction of Maurice Raynal, exegete of pictorial abstraction, friend of the Cubists and author of monographs on Fernand Léger, Juan Gris, Pablo Picasso, Georges Braque and Ossip Zadkine. During the 1920s, he wrote under the pseudonym "The Two Blinds" with Efstrathios Tériade, art critic of Greek origin and artistic director of the first nine issues of the luxurious review Minotaure founded by Albert Skira. Moving away from the surrealists, Tériade left the magazine to direct La Bête noire alongside Maurice Raynal between 1935 and 1936. The adventure of La Bête Noire over , Tériade enjoyed great success with his art review Verve and his illustrated books made in collaboration with Picasso.
Directed against the “cowards of the modern spirit”, La Bête Noire favored novelty and literary innovation, and sifted through contemporary pictorial tendencies: Marinetti's futurism, the posterity of cubists and wild beasts, young Italian painters and Spanish exhibitors in Paris . She gave the floor to the painters themselves: Marc Chagall, Fernand Léger each signed a note, Le Corbusier contributed many times, and notably wrote a dithyrambic article on New York, entitled " I am an American ". The pre-first edition contains Antonin Artaud's essays on the theater of cruelty, Doctor Allendy's thesis "Fascism and Homosexuality", and a podium by André Breton, delivered at the Writers' Congress. The review was also a privileged place of poetic research, where Raymond Queneau published for the first time his theatrical poem "Muses and Lizards ", Henri Michaux his poem "But you, when will you come?" " , And Jules Supervielle an extract from La fable du monde, published in its entirety in 1938.
The review includes among others the contributions of Antonin Artaud, Maurice Raynal, Tériade, Jacques Baron, Jean-Louis Barrault, André Breton, Jacques Brunius, Charles-Albert Cingria, René Daumal, Fernand Léger, Marc Chagall, Bernard Fay, Jean Follain , Halicka, Le Corbusier, Michel Leiris, Henri Michaux, Marcel Moré, Léon Pierre-Quint, Raymond Queneau, Henri de Régnier, Pierre Reverdy, André de Richaud, Roger Vitrac ...
We can also admire the pictorial contributions of Balthus who creates an original portrait of Antonin Artaud, as well as two original drawings by Georges Braque, and illustrations by André Beaudin, Suzanne Roger, Francisco Borès, Gea Augsbourg, Roger Vitrac and Jacques Audiberti.

First edition of this review edited by Maurice Raynal and Efstrathios Tériade, and in particular illustrated by Georges Braque, Balthus, Roger Vitrac published between April 1935 and February 1936.
An artistic and literary review created by the writers Maurice Raynal and Michel Leiris, La Bête noire was conceived as an attempt at an intellectual counter-attack to the rise of fascism in France, awakened by the Parisian demonstrations of February 1934 . The review was baptized by the wealthy banker Marcel Moré, a friend of Max Jacob, Antonin Artaud, and Georges Bataille - and will also benefit from his financial support.
La Bête noire was placed under the direction of Maurice Raynal, exegete of pictorial abstraction, friend of the Cubists and author of monographs on Fernand Léger, Juan Gris, Pablo Picasso, Georges Braque and Ossip Zadkine. During the 1920s, he wrote under the pseudonym "The Two Blinds" with Efstrathios Tériade, art critic of Greek origin and artistic director of the first nine issues of the luxurious review Minotaure founded by Albert Skira. Moving away from the surrealists, Tériade left the magazine to direct La Bête noire alongside Maurice Raynal between 1935 and 1936. The adventure of La Bête Noire over , Tériade enjoyed great success with his art review Verve and his illustrated books made in collaboration with Picasso.
Directed against the “cowards of the modern spirit”, La Bête Noire favored novelty and literary innovation, and sifted through contemporary pictorial tendencies: Marinetti's futurism, the posterity of cubists and wild beasts, young Italian painters and Spanish exhibitors in Paris . She gave the floor to the painters themselves: Marc Chagall, Fernand Léger each signed a note, Le Corbusier contributed many times, and notably wrote a dithyrambic article on New York, entitled " I am an American ". The pre-first edition contains Antonin Artaud's essays on the theater of cruelty, Doctor Allendy's thesis "Fascism and Homosexuality", and a podium by André Breton, delivered at the Writers' Congress. The review was also a privileged place of poetic research, where Raymond Queneau published for the first time his theatrical poem "Muses and Lizards ", Henri Michaux his poem "But you, when will you come?" " , And Jules Supervielle an extract from La fable du monde, published in its entirety in 1938.
The review includes among others the contributions of Antonin Artaud, Maurice Raynal, Tériade, Jacques Baron, Jean-Louis Barrault, André Breton, Jacques Brunius, Charles-Albert Cingria, René Daumal, Fernand Léger, Marc Chagall, Bernard Fay, Jean Follain , Halicka, Le Corbusier, Michel Leiris, Henri Michaux, Marcel Moré, Léon Pierre-Quint, Raymond Queneau, Henri de Régnier, Pierre Reverdy, André de Richaud, Roger Vitrac ...
We can also admire the pictorial contributions of Balthus who creates an original portrait of Antonin Artaud, as well as two original drawings by Georges Braque, and illustrations by André Beaudin, Suzanne Roger, Francisco Borès, Gea Augsbourg, Roger Vitrac and Jacques Audiberti.

First edition of this review edited by Maurice Raynal and Efstrathios Tériade, and in particular illustrated by Georges Braque, Balthus, Roger Vitrac published between April 1935 and February 1936.
Marginal tears.
An artistic and literary review created by the writers Maurice Raynal and Michel Leiris, La Bête noire was conceived as an attempt at an intellectual counter-attack to the rise of fascism in France, awakened by the Parisian demonstrations of February 1934 . The review was baptized by the wealthy banker Marcel Moré, a friend of Max Jacob, Antonin Artaud, and Georges Bataille - and will also benefit from his financial support.
La Bête noire was placed under the direction of Maurice Raynal, exegete of pictorial abstraction, friend of the Cubists and author of monographs on Fernand Léger, Juan Gris, Pablo Picasso, Georges Braque and Ossip Zadkine. During the 1920s, he wrote under the pseudonym "The Two Blinds" with Efstrathios Tériade, art critic of Greek origin and artistic director of the first nine issues of the luxurious review Minotaure founded by Albert Skira. Moving away from the surrealists, Tériade left the magazine to direct La Bête noire alongside Maurice Raynal between 1935 and 1936. The adventure of La Bête Noire over , Tériade enjoyed great success with his art review Verve and his illustrated books made in collaboration with Picasso.
Directed against the “cowards of the modern spirit”, La Bête Noire favored novelty and literary innovation, and sifted through contemporary pictorial tendencies: Marinetti's futurism, the posterity of cubists and wild beasts, young Italian painters and Spanish exhibitors in Paris . She gave the floor to the painters themselves: Marc Chagall, Fernand Léger each signed a note, Le Corbusier contributed many times, and notably wrote a dithyrambic article on New York, entitled " I am an American ". The pre-first edition contains Antonin Artaud's essays on the theater of cruelty, Doctor Allendy's thesis "Fascism and Homosexuality", and a podium by André Breton, delivered at the Writers' Congress. The review was also a privileged place of poetic research, where Raymond Queneau published for the first time his theatrical poem "Muses and Lizards ", Henri Michaux his poem "But you, when will you come?" " , And Jules Supervielle an extract from La fable du monde, published in its entirety in 1938.
The review includes among others the contributions of Antonin Artaud, Maurice Raynal, Tériade, Jacques Baron, Jean-Louis Barrault, André Breton, Jacques Brunius, Charles-Albert Cingria, René Daumal, Fernand Léger, Marc Chagall, Bernard Fay, Jean Follain , Halicka, Le Corbusier, Michel Leiris, Henri Michaux, Marcel Moré, Léon Pierre-Quint, Raymond Queneau, Henri de Régnier, Pierre Reverdy, André de Richaud, Roger Vitrac ...
We can also admire the pictorial contributions of Balthus who creates an original portrait of Antonin Artaud, as well as two original drawings by Georges Braque, and illustrations by André Beaudin, Suzanne Roger, Francisco Borès, Gea Augsbourg, Roger Vitrac and Jacques Audiberti.

First edition of this review edited by Maurice Raynal and Efstrathios Tériade, and in particular illustrated by Georges Braque, Balthus, Roger Vitrac published between April 1935 and February 1936.
Marginal tears.
An artistic and literary review created by the writers Maurice Raynal and Michel Leiris, La Bête noire was conceived as an attempt at an intellectual counter-attack to the rise of fascism in France, awakened by the Parisian demonstrations of February 1934 . The review was baptized by the wealthy banker Marcel Moré, a friend of Max Jacob, Antonin Artaud, and Georges Bataille - and will also benefit from his financial support.
La Bête noire was placed under the direction of Maurice Raynal, exegete of pictorial abstraction, friend of the Cubists and author of monographs on Fernand Léger, Juan Gris, Pablo Picasso, Georges Braque and Ossip Zadkine. During the 1920s, he wrote under the pseudonym "The Two Blinds" with Efstrathios Tériade, art critic of Greek origin and artistic director of the first nine issues of the luxurious review Minotaure founded by Albert Skira. Moving away from the surrealists, Tériade left the magazine to direct La Bête noire alongside Maurice Raynal between 1935 and 1936. The adventure of La Bête Noire over , Tériade enjoyed great success with his art review Verve and his illustrated books made in collaboration with Picasso.
Directed against the “cowards of the modern spirit”, La Bête Noire favored novelty and literary innovation, and sifted through contemporary pictorial tendencies: Marinetti's futurism, the posterity of cubists and wild beasts, young Italian painters and Spanish exhibitors in Paris . She gave the floor to the painters themselves: Marc Chagall, Fernand Léger each signed a note, Le Corbusier contributed many times, and notably wrote a dithyrambic article on New York, entitled " I am an American ". The pre-first edition contains Antonin Artaud's essays on the theater of cruelty, Doctor Allendy's thesis "Fascism and Homosexuality", and a podium by André Breton, delivered at the Writers' Congress. The review was also a privileged place of poetic research, where Raymond Queneau published for the first time his theatrical poem "Muses and Lizards ", Henri Michaux his poem "But you, when will you come?" " , And Jules Supervielle an extract from La fable du monde, published in its entirety in 1938.
The review includes among others the contributions of Antonin Artaud, Maurice Raynal, Tériade, Jacques Baron, Jean-Louis Barrault, André Breton, Jacques Brunius, Charles-Albert Cingria, René Daumal, Fernand Léger, Marc Chagall, Bernard Fay, Jean Follain , Halicka, Le Corbusier, Michel Leiris, Henri Michaux, Marcel Moré, Léon Pierre-Quint, Raymond Queneau, Henri de Régnier, Pierre Reverdy, André de Richaud, Roger Vitrac ...
We can also admire the pictorial contributions of Balthus who creates an original portrait of Antonin Artaud, as well as two original drawings by Georges Braque, and illustrations by André Beaudin, Suzanne Roger, Francisco Borès, Gea Augsbourg, Roger Vitrac and Jacques Audiberti.

First edition of this review edited by Maurice Raynal and Efstrathios Tériade, and in particular illustrated by Georges Braque, Balthus, Roger Vitrac published between April 1935 and February 1936.
Marginal tears.
An artistic and literary review created by the writers Maurice Raynal and Michel Leiris, La Bête noire was conceived as an attempt at an intellectual counter-attack to the rise of fascism in France, awakened by the Parisian demonstrations of February 1934 . The review was baptized by the wealthy banker Marcel Moré, a friend of Max Jacob, Antonin Artaud, and Georges Bataille - and will also benefit from his financial support.
La Bête noire was placed under the direction of Maurice Raynal, exegete of pictorial abstraction, friend of the Cubists and author of monographs on Fernand Léger, Juan Gris, Pablo Picasso, Georges Braque and Ossip Zadkine. During the 1920s, he wrote under the pseudonym "The Two Blinds" with Efstrathios Tériade, art critic of Greek origin and artistic director of the first nine issues of the luxurious review Minotaure founded by Albert Skira. Moving away from the surrealists, Tériade left the magazine to direct La Bête noire alongside Maurice Raynal between 1935 and 1936. The adventure of La Bête Noire over , Tériade enjoyed great success with his art review Verve and his illustrated books made in collaboration with Picasso.
Directed against the “cowards of the modern spirit”, La Bête Noire favored novelty and literary innovation, and sifted through contemporary pictorial tendencies: Marinetti's futurism, the posterity of cubists and wild beasts, young Italian painters and Spanish exhibitors in Paris . She gave the floor to the painters themselves: Marc Chagall, Fernand Léger each signed a note, Le Corbusier contributed many times, and notably wrote a dithyrambic article on New York, entitled " I am an American ". The pre-first edition contains Antonin Artaud's essays on the theater of cruelty, Doctor Allendy's thesis "Fascism and Homosexuality", and a podium by André Breton, delivered at the Writers' Congress. The review was also a privileged place of poetic research, where Raymond Queneau published for the first time his theatrical poem "Muses and Lizards ", Henri Michaux his poem "But you, when will you come?" " , And Jules Supervielle an extract from La fable du monde, published in its entirety in 1938.
The review includes among others the contributions of Antonin Artaud, Maurice Raynal, Tériade, Jacques Baron, Jean-Louis Barrault, André Breton, Jacques Brunius, Charles-Albert Cingria, René Daumal, Fernand Léger, Marc Chagall, Bernard Fay, Jean Follain , Halicka, Le Corbusier, Michel Leiris, Henri Michaux, Marcel Moré, Léon Pierre-Quint, Raymond Queneau, Henri de Régnier, Pierre Reverdy, André de Richaud, Roger Vitrac ...
We can also admire the pictorial contributions of Balthus who creates an original portrait of Antonin Artaud, as well as two original drawings by Georges Braque, and illustrations by André Beaudin, Suzanne Roger, Francisco Borès, Gea Augsbourg, Roger Vitrac and Jacques Audiberti.

First edition of this review directed by Maurice Raynal and Efstrathios Tériade, and illustrated by Georges Braque, Balthus, Roger Vitrac. The collection is complete with eight issues published between April 1935 and February 1936. Joints, three newsletter subscriptions to the magazine accompanied by a humorous text.
Folds, marginal tears.
A rare complete collection of The Black Beast, an artistic and literary magazine created by the writers Maurice Raynal and Michel Leiris. It was conceived as an attempt at intellectual counter-attack to the rise of fascism in France, awakened by the Parisian demonstrations of February 1934 . The magazine was baptized by the rich banker Marcel Moré, friend of Max Jacob, Antonin Artaud, and Georges Bataille - and will also benefit from his financial support.
The Black Beast was placed under the direction of Maurice Raynal, exegete of pictorial abstraction, friend of Cubists and author of monographs on Fernand Leger, Juan Gris, Pablo Picasso, Georges Braque and Ossip Zadkine. During the 1920s, he wrote under the pseudonym "The Two Blind" with Efstrathios Tériade, art critic of Greek origin and artistic director of the first nine deliveries of the luxurious magazine Minotaur founded by Albert Skira. Moving away from the surrealists, Tériade left the magazine to direct La Bête noire alongside Maurice Raynal between 1935 and 1936. The adventure of La Bête Noire completed, Teriade was a great success with his art magazine Verve and his illustrated books made in collaboration with Picasso.
Directed against the "cowardice of the modern spirit," the Black Beast privileged novelty and literary innovation, and sifted the contemporary pictorial tendencies: the futurism of Marinetti, the posterity of cubists and beasts, the young Italian painters and Spanish exhibitors in Paris . She gave the floor to the painters themselves: Marc Chagall, Fernand Léger each signed a note, Le Corbusier contributed many times, and wrote including a dithyrambic article on New York, entitled " I am an American ". There is in pre-first edition the essays of Antonin Artaud on the theater of cruelty, Dr. Allendy's thesis "Fascism and Homosexuality", and a tribune of André Breton pronounced at the Congress of Writers. The journal was also a privileged place of poetic research, where Raymond Queneau published for the first time his poem-theatrical "Muses and Lizards ", Henri Michaux his poem "But you, when will you come? " And Jules Supervielle an excerpt from The Fable of the World, published in its entirety in 1938.
The magazine includes, among others, the contributions of Antonin Artaud, Maurice Raynal, Tériade, Jacques Baron, Jean-Louis Barrault, André Breton, Jacques Brunius, Charles Albert Cingria, René Daumal, Fernand Léger, Marc Chagall, Bernard Fay, Jean Follain , Halicka, Le Corbusier, Michel Leiris, Henri Michaux, Marcel Moré, Léon Pierre-Quint, Raymond Queneau, Henri de Regnier, Pierre Reverdy, Andre de Richaud, Roger Vitrac ...
In addition, we can admire the pictorial contributions of Balthus who creates an original portrait of Antonin Artaud, as well as two original drawings by Georges Braque, and illustrations by André Beaudin, Suzanne Roger, Francisco Borès, Gea Augsburg, Roger Vitrac and Jacques Audiberti.
Very rare complete collection of a monthly that played the role of Parisian avant-garde forum.

First edition.
Contributions littéraires de P. Claudel, M. Jouhandeau, A. Artaud, R. Vitrac, H. Arp, T. Tzara.
Illustrated with 9 drawings by Hans Arp.
A very good copy.

First edition on ordinary paper.
Spine and covers marginally sunned, internally good.

First edition on ordinary paper.
With 50 reproductions of works by Vincent Van Gogh.

Collected edition, first for some parts, one of 415 numbered copies on vélin labeur fo each volume, the only large paper copies.
A small dampstain to foot of spine of the first volume.
A good and rare complete set in 28 volumes and 26 books (because of a supplement with the volume I and two supplements with volume 14).

First edition, one of 793 numbered copies on vélin paper.
Black morocco, upper cover with vertical red leather band in the form of a snake, grey paper endpapers and pastedowns, covers preserved.
Autograph inscription signed and dated by Antonin Artaud to Docteur Villefrand.
With a frontispiece portrait of the author by André Masson.
A very good copy.

First edition, one of 100 numbered copies on Arches paper, the only large paper copies.
Spine very slightly sunned, not serious, otherwise a very good copy.

First edition, a 1000 numbered copies on vellum Fontaine, only large paper after 25 rag.
Signed autograph bicolor and full page of Henri Pichette Professor Georges Blin: "... he came he said: the poetry apoésie this would be the opposite of meal where no one eats that which is dead! he dined! he went! he left! on the spot. "
illustrated book, frontispiece, a juju by Antonin Artaud.
spine and marginally insolated boards.

First edition on yellowed paper.
Spine sunned, internally good.

ARTAUD Antonin
L'Art et la Mort [Art and Death]
Denoël & Steele, Paris 1929, 19 x 28,5 cm, Révorim binding
First edition, one of 750 numbered copies on vellum, this copy without justification.
Justified and numbered Révorim binding by Jean de Gonet, grey calf spine, author and title in palladium, covers edged with ribbed chocolate brown limp Révorim and a lighter brown making a brick wall, the covers articulated with grey cloth bands, grey endpapers and pastedowns, wrappers preserved (wrappers faded
all over), the binding signed De Gonet Artefacts. A little light foxing, mostly at beginning and end.
Autograph inscription from Antonin Artaud to the poet Louis de Gonzague-Frick.
With a frontispiece by Jean de Bosschère.
$ 3 800

Original photograph.
Portrait, taken in 1947, of the writer Antonin Artaud, with a so-called "pigeon's wing".
Black and white print on Baryté de luxe paper. Artist's proof signed on lower right.
The photograph is accompanied by a certificate of authenticity from Jean-Luc Mercié, a photographic historian and Denise Colomb's publisher.

First edition, review copy.
Precious autograph signed by Antonin Artaud: "A Léon-Paul Fargue for whom poetry is freedom ..."
6 illustrated book thumbnail André Derain.
A small marginal spot on the first board.

New edition.
Spine slightly faded as usual, a good copy.

First edition of the opening text, one of the few copies on Johannot paper, the only printing.
This volume also includes Jean Genet's 'Les bonnes' and Boris Vian's 'Les poissons morts.'
A fine copy, as new, complete with its errata leaf.

First edition of this issue entirely devoted to A. Artaud.
Contributions by A. Artaud, R. Aron, J.L. Barrault, Dr Ferdière, A. Nin...
Illustrated.
Fine copy.

First edition on ordinary paper.
A good copy.