Michel LEIRIS

First edition of which there were no grand papier (deluxe) copies.
Texts by Michel Leiris, Jacques Prévert, Vercors, Hervé Bazin and commentaries by Jean-Paul Sartre.
Autograph inscription signed by Jean-Paul Sartre to Mademoiselle Marchais.

First edition, 15 issues in 15 separate installments, abundantly illustrated with black and white photographs. Complete with the special issue "Hommage à Picasso" (No. 3, 1930) and the index for the year 1929, published as a separate 8-page stapled booklet.

Some spines slightly faded not affecting the text, occasional minor foxing along the margins of certain covers.

Complete series of this legendary and non-conformist magazine founded by Georges Bataille, which gave voice to "fields of art and knowledge unrecognized by official culture or considered controversial: popular literature, jazz, cabaret, advertising, everyday life" (Annie Pirabot), along with so-called primitive art and objects.

New edition without iconography.
Spine very slightly sunned.
Signed autograph inscription reading: "Amitié d'un ami du Centre Patrice Lumumba. Michel Leiris" ["Friendship from a friend of the Patrice Lumumba Center. Michel Leiris"].

First edition, one of the few numbered copies on pure linen paper.
Other contributions by Julien Benda "Les démocraties devant l'Allemagne", Jean Giraudoux "Choix des élues (Partie I)", Armand Petitjean "Prière pour les copains", Jean Schlumberger "Contre l'humiliation", Marcel Arland, Jean Grenier...
Spine and covers marginally sunned, first page and rear endpaper darkened.

First edition of this issue of this important journal dealing notably with archaeology, fine arts and ethnography and whose principal editors were Georges Bataille and Carl Einstein.
Fine copy despite a light stain affecting the margins of the leaves which are slightly and partially cockled.
Contributions by Marcel Griaule: "Légende illustrée de la reine de Saba", Jacques Baron: "Jacques Lipchitz", Georges Bataille "Le bas matérialisme et la gnose", Jiujiro Nakaya: "Figurines néolithiques du Japon", Robert Desnos: "Pygmalion et le Sphynx", Carl Einstein, Michel Leiris, Georges Henri Rivière...
Issue illustrated with photographs by Jacques-André Boiffard.

First edition of this issue of this important journal dealing notably with archaeology, fine arts and ethnography and whose principal editors were Georges Bataille and Carl Einstein.
A small tear at the foot of the spine, a slight tear without loss at the foot of pages 21-22.
Contributions by Heinrich Ehl: "L'heure de naissance de l'art européen occidental", Georges Bataille "La mutilation sacrificielle et l'oreille coupée de Vincent Van Gogh", Michel Leiris: "Le "caput mortuum" ou la femme de l'alchimiste", Jean Bourdeillette: "Franz Xaver Messerschmidt", Zdenko Reich: "Le massacre des porcs", Carl Einstein: "L'enfance néoloithique (Hans Arp)", Jacques Prévert, Maurice Leenhardt.
Issue illustrated with photographs by Jacques-André Boiffard.

First edition of this issue of this important review dealing notably with archaeology, fine arts and ethnography and having Georges Bataille and Carl Einstein as its principal driving forces.
A very small tear at the lower left corner of the first cover, light dampstain at head and foot of the leaves.
Contributions by Leo Frobenius: "Dessins rupestres du sud de la Rhodésie", Carl Einstein: "Léger : oeuvres récentes", Georges Bataille "Les pieds nickelés", Robert Desnos: "La ligne générale", Henry-Charles Puech: "Les prisons de Jean-Baptiste Piranèse", Michel Leiris, Georges Ribemont-Desaignes, Docteur Pudelko...

First edition of this issue of the important review dealing notably with archaeology, fine arts and ethnography, with Georges Bataille and Carl Einstein as its principal editors.
Very handsome copy.
Contributions by Georges Ribemont-Dessaignes: "Giorgio de Chirico", Emile Waldamnn: "The Schmitz Collection", Dr Eckart von Sydow "Janus Masks from Cross River (Cameroon)"...

First edition of this issue of the important journal dealing notably with archaeology, fine arts and ethnography with Georges Bataille and Carl Einstein as principal editors.
Very handsome copy.
Contributions by Heinrich Ehl: "L'heure de naissance de l'art européen occidental", Georges Bataille "La mutilation sacrificielle et l'oreille coupée de Vincent Van Gogh", Michel Leiris: "Le "caput mortuum" ou la femme de l'alchimiste", Jean Bourdeillette: "Franz Xaver Messerschmidt", Zdenko Reich: "Le massacre des porcs", Carl Einstein: "L'enfance néoloithique (Hans Arp)", Jacques Prévert, Maurice Leenhardt.
Issue illustrated with photographs by Jacques-André Boiffard

First edition on ordinary paper, with mention of second edition.
Handsome copy.
Autograph inscription dated and signed by Michel Leiris to Jean Claval.

First edition, one of the copies on chestnut paper.
Handsome copy.

Pocket book format edition.
Handsome copy.
Dated autograph inscription signed by Michel Leiris to Catherine Tramoux.

Autograph postcard signed by Michel Leiris and his wife Louise Godon (nicknamed "Zette") addressed to Lucienne Salacrou, wife of the writer Armand Salacrou. Thirteen lines (10 in Zette's hand and 3 in Michel's) written in blue ballpoint pen on the back of a black and white view of the Apses of Clermont-Ferrand.
A small tear to the upper margin of the recto, not serious.
Michel Leiris made the acquaintance of the Salacrou couple at the Kahnweiler gallery.

First collected edition, one of 1200 numbered copies on Plutarque vellum, the only deluxe copies after 20 on Arches paper.
Small adhesive paper residue at foot of first endpaper and facing page.
Work illustrated with 4 drawings by André Masson.

First edition of which there were no large paper copies.
Spine and covers marginally faded, not serious, as usual.

First edition, one of 30 numbered copies on Arches, tirage de tête after 15 Hollande.
A good copy.

First edition, one of 40 numbered copies on Arches laid paper, deluxe copy.
First cover illustrated with a stamped vignette after Aubrey Beardsley.
Handsome copy.

First edition of which there were no large paper copies, one advance (service de presse) copy.
Handsome autograph inscription signed by Michel Leiris to Jeanine and Raymond (Queneau) : "... avec toute l'affection de leur ami..."
Spine and covers faded in the margins as usual.

First edition, one of 25 hors commerce copies on green paper, deluxe issue with 25 Arches.
Cover illustrated by Mario Prassinos.
Margins very lightly and marginally bleached without significance.

Edition en format livre de poche, un des exemplaires du service de presse.
spine légèrement insolé.
Envoi autographe signé de Michel Leiris à un ami : "Pour Jacques, qui a vécu avec moi une bonne part de tout cela ! Affectueusement."

first edition on current paper.
Paper generally yellowed.
Autograph dated and signed by Michel Leiris to Jean-Claude Paupert.

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.

L'Afrique fantôme [Phantom Africa]
Gallimard | Paris 1934 | 14 x 23 cm | original wrappers
The first edition, of which there were no large paper copies, an advance (service de presse) copy.
Covers and spine lightly sunned as usual, small lacks to upper edge of leaves in first gathering due to work being cut down.
32 photographic plates.
Rare autograph inscription signed by Michel Leiris to Roland (Tual).
An artist without works (except two films in 1941 and 1943 with Robert Desnos and Henri Jeanson), Roland Tual nonetheless exercised a major influence on a number of writers and artists of the avant-garde, serving as a sort of guardian angel for them.
He met Leiris at Kahnweiler's house when he was 18 and introduced him to André Masson, and later Juan Miro
and Antonin Artaud; he took part with them in the Surrealist adventure from 1924 to 1929. The "Pope" himself was floored by the outstanding intelligence of this man who "trepaned the works of his contemporaries." "Of all the Surrealist lot [as we were] after the War of 1914-18, [Roland Tual] was the most promising, on account of his intelligence, his irresistible charm and his extraordinary social ease and casualness - and also the only one who, inexplicably, left no writings behind him" (Michel Leiris).

Collective first edition, one of 1200 numbered copies on vellum Plutarch, only leading copies after 20 Arches paper.
Back and flat slightly and marginally discolored as usual.
Illustrated book of 4 drawings by André Masson.
Autograph signed by Michel Leiris to François Maspéro.

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 on current paper.
Nice copy.
Autograph signed by Michel Leiris Antoine Albalat.

first edition, one of the review copies service.
Michel Leiris' signed autograph signed by Michel Leiris ?, who did not know how to collect this copy to finally offer it to Paul Aveline: "Delayed friendly to Paul Aveline, January 24, 1973" .
Back slightly insolated, a trace of folding on the first board which also includes marginal punctures.

Second edition with 32 photographs.
Spine sunned and with a small clear dampstain to foot.

First edition, one of 30 numbered copies on Arches paper on our unjustified, deluxe edition after 15 Holland paper.
Signed autograph of Michel Leiris to Professor Jean-Philippe Mery and his wife.
Nice copy.

first edition on the current paper.
Signed autograph full page of Michel Leiris to Professor Jean-Philippe Mery and his wife. "... With my regrets for not being able to send them this book already a bit old but, hopefully another one will come soon. very friendly Tribute Michel Leiris. Paris 9 January 1964 (and, of course, New year very sincere wishes). "
Nice copy.

Edition illustrated with a frontispiece by Joan Miro.
A good copy.

Second edition illustrated with 32 photographs.
Spine and covers marginally sunned, internally good.

First edition, review copy.
autograph dedication of the author autograph signed and dated by Michel Leiris Professor Georges Blin.
Back insolated first dive marginally flat, small foxing in the margins, nice interior state.
complete copy of his prayer to insert.

First edition, one of the copies of the press service.
Signed autograph of the author Brice Godfather.
Small tears stuck back in the top and bottom of a jaw.

Autograph manuscript of the author of four and a half pages in-8 published in the issue dated 1 September 1943 the Journal of Debates and resumed the same year in Faux-Pas. Complete manuscript writing very dense, with many erasures, corrections and additions. Literary review published on the occasion of the releases of "High Evil" by Michel Leiris and "The ziaux Raymond Queneau. Complete typescript is attached.
In this fundamental test of poetic theory (integrated corpus Faux appeared immediately after) Blanchot makes a deconstruction of traditional hermeneutic categories poetry Leiris renders inoperative:
"The role of images in the poetic universe is not always assume the network under multiple correspondence unit inexpressible reality to which advance, but never reach, the coordinated metaphors. There is a final image that keeps darkly under his attraction fragments of images that our memory offers us the matching, the latter metaphor justifies the most disparate comparisons, we do not know and we do not ask in poetry we learn. It is the quality of the images Top evil to escape this allegorical sighting and succeed according sequences confirms that no provocative unit. "
By comparing two incomparable, Leiris and Queneau poets, Blanchot redefines the relationship of the poem to its kind: "Each piece is poetry and it raises the need for an exclusive basis. [...] There is a poem in every act which brings us to the interview poetry in its essence, essence which itself may not interview and exists only in this poem. "
Between April 1941 and August 1944, Maurice Blanchot published in the "Chronicle of the intellectual life" of the Journal of Debates 173 articles on recently published books. In a half-page newspaper (about seven pages in-8), the young author of "Thomas the Obscure" his first steps in the field of literary criticism and inaugurates a theoretical work that develop later Many in these essays, "The Share of fire" to "The Infinite Conversation" and "The Writing disaster." From the very first articles, Blanchot demonstrates a sharp analysis far beyond the current literature that motivates writing. Oscillating between classical and modern writers of the first order and minor novelists, he puts in his columns, the foundations of critical thinking which will mark the second half of the twentieth. Transformed by writing and by war, Blanchot breaks, over a thought exerted "on behalf of the other," with violent maurassiennes certainties of his youth. Not without paradox, then it transforms literary criticism philosophical act of intellectual resistance to barbarism at the heart of an "openly marechalist" newspaper: "Burning a book, write, are the two acts between culture which registered its oscillations opposites "(The Book, In Journal of Debates, January 20, 1943). In 2007, Cahiers de la NRF together under the direction of Christophe Bident all literary chronic unpublished volumes with critical analysis of the relevant work of Blanchot "novels, poems, essays give rise to a singular reflection, always safer his own rhetoric, delivered more to echo the impossible or the lure of extinction. (...) Not without contradictions or step aside, and the certainty of a feverish work begins (... ) these articles reveal the genealogy of a critic who has transformed during the chronicle necessity of thought. " (C. Bident). The autograph manuscripts of Maurice Blanchot are of great rarity.

New edition, review copy.
Precious autograph signed by Michel Leiris Maurice Blanchot.
A small spot without gravity on the first board, nice copy.

First edition of 700 numbered copies on vergé paper.
A good copy.

New edition printed on vergé teinté paper.
With illustrations by André Masson.
A very good copy.

First edition, an advance (service de presse) copy.
Autograph inscription from Michel Leiris to Claude Morgan.
Small tear, glued down, to lower cover.

First edition, one of 750 numbered copies on Rives paper, the only issue alongside 25 Japan paper copies.
Handsome copy.

First edition on ordinary paper, from a limited edition of only 35 copies printed on deluxe paper.
First cover very slightly and marginally shaded without consequence, otherwise handsome copy retaining publisher's wraparound band.

First edition, one of 960 numbered copies on Ivoire vellum, ours unnumbered, the only issue with 40 on Arches vellum.
Autograph inscription signed by Michel Leiris on a card.
A handsome copy.

First edition, one of 750 numbered copies on Rives laid paper, the only issue with 25 Japan copies.
Handsome copy.