René CHAR

First edition, one of 500 copies on ordinary paper.
This copy has a chemise and slipcase.
A little light spotting, not serious, nice copy.
Retaining its advertising band and slip.
Handsome autograph inscription signed by René Char: “à Man Ray au voyant carnassier de tout cœur R. Char.” (“To Man Ray to the carnivorous fortune teller, with all my heart, R. Char.”)

First edition, one of the numbered copies on offset paper, the only issue after 42 copies on Arches vellum.

A pleasing copy.

First edition, one of the press copies.

A pleasing copy.

Fine signed autograph inscription from René Char: "A Georges Hugnet affectueusement. René Char."

First edition and complete run of the 9 G.L.M. cahiers issued between May 1936 and March 1939.

A few spines slightly faded, as is often the case; otherwise a pleasing copy, complete with its original publisher’s slipcase in full grey boards, with red printed title label pasted to the spine.

With numerous contributions by most of the Surrealist poets, writers, and artists, including: André Breton, René Char, Paul Éluard, Philippe Soupault, René Crevel, Valentine Penrose, Federico García Lorca, Pablo Neruda, Michel Leiris, Max Ernst, Man Ray, and André Masson, as well as several spiritual forebears of Surrealism such as Franz Kafka, Lewis Carroll, and Raymond Roussel...

First edition featuring the celebrated original color stencil "Aidez l'Espagne!", printed on Arches paper by Joan Miró.
With literary contributions by Christian Zervos on Pablo Picasso's "Guernica", as well as texts by Jean Cassou, Georges Duthuit, Pierre Mabille, Michel Leiris, Paul Éluard, René Char...
Illustrated with numerous reproductions of works by Pablo Picasso and Joan Miró’s "Le faucheur".
Some rubbing and small tears to the spine, as often, a vertical crease to the rear wrapper, otherwise a fresh and well-preserved copy.

"For a few months now, we have been witnessing a regularised passive hunt for patriots, too highly noticed, it seems, at a time when risking their own life and that of their family's was not a shopfront item.
The odious thing about this way of acting is that it is strangely reminiscent of the Hitlerians. We dishonour, then we wait and see. Regardless of the esteem in which a person is regarded, a police visit always leaves a hint of ambiguity, it is believed. Vigilance more than ever, solidarity.” (7 December 1945 addressed by René Char to Francis Ponge)

The first and only edition of this legendary “Céreste Affair” poster printed by...

First edition, one of 170 numbered copies on vélin du Marais, the only issue after 30 copies on Arches.

Custom chemise and slipcase, chemise in half blue box calf, flat spine with blind and palladium-stamped lettering, date in palladium at foot, patterned paper boards, slipcase edged in blue box calf, patterned paper boards, sides and spine in petrol blue paper, signed by Boichot.
A very fine copy.
Illustrated with 3 original etchings in black by Georges Braque and one in black and grey as frontispiece.
Signed by René Char and Georges Braque on the colophon, with an exceptionally added original artist's proof signed in pencil on...

First edition, one of 50 numbered copies on Holland paper, deluxe copies ("tirage de tête").
Beautiful copy.

First edition, one of 500 copies on ordinary paper.
Spine sunned, small tears and two marginal lacks on the covers, a small dampstain to head of first cover, occasional foxing as usual.
Retaining its advertising band.
Handsome autograph inscription signed by René Char to Alexei Remizov : "... dont la rencontre est mieux qu'un moment d'émotion".

First edition, one of 100 numbered copies on vellum, ours unnumbered, the only deluxe papers after 15 copies on Japon.
Illustrated with a frontispiece drawing by Salvador Dalí.
Precious signed autograph presentation from Paul Eluard to René Char : « Exemplaire de mon ami René Char. Paul Eluard. »

First edition on ordinary paper, issued after the destruction of the 1923 printing following a dispute between Tzara and the publisher.
Double autograph inscription, signed and dated by Tristan Tzara, first to Paul Éluard – « à Paul Éluard. Tristan Tzara. Juillet 1929 » – then, after striking through this initial dedication, to René Char in September 1934: « à René Char avec toute l'amitié grande de Tristan Tzara ». This second inscription is further embellished with a small drawing by Tzara, a hand pointing with its index finger to Char’s name.

First trade edition of Albert Camus’s texts and René Char’s postface.

Publisher’s binding in full green cloth, smooth spine, a handsome copy complete with its illustrated dust jacket.

Illustrated with photographs by Henriette Grindat.

First edition of the inaugural issue of this review, directed in part by Albert Camus and René Char.

Contributions by Albert Camus, “Le meurtre et l’absurde”; René Char, “Recherche de la base et du sommet”; Georges Braque, “Suite aux cahiers”; Herman Melville, “Dialogue sur le créateur et la critique”; Jean Grenier, “L’histoire a-t-elle un sens?”; Louis Guilloux, “En mon bel âge”; Yves Battistini, “Empédocle”...

Covers slightly and marginally soiled.

Extremely rare first edition of this pro­gram leaflet by the Studio 28 cinema, founded by Jean Mauclaire, featuring texts by the Surrealist group on Luis Buñuel's film L'Âge d'or.
Slight lacks on the spine, with two small tears at the head and foot, and a shad­ow mark at the head of the first cover.
Handwritten bookplate "Jean Vigo" — likely autograph — inscribed in black ink in the lower right corner of the page featuring Salvador Dalí's illustra­tion.
Literary contributions by Louis Aragon, André Breton, René Char, Salvador Dalí, Paul Éluard, Georges Sadoul and Tristan Tzara.
The program is illustrated with works by Hans Arp, Salvador Dalí, Max Ernst, Man Ray, and Yves...

For a few months now, we have been witnessing a regularised passive hunt for patriots, too highly noticed, it seems, at a time when risking their own life and that of their family's was not a shopfront item.
The odious thing about this way of acting is that it is strangely reminiscent of the Hitlerians. We dishonour, then we wait and see. Regardless of the esteem in which a person is regarded, a police visit always leaves a...