Poetry

First edition, one of 75 numbered copies on surfine colored paper.
Work illustrated with 3 aquatints by Mimi Parent.
One scratch with three light stains on the first cover.
Handsome copy.
Precious and surrealist autograph inscription signed by José Pierre to Marie Cermínová Toyen: "A Toyen, les violons monégasques fabriqués secrètement dans les presbytères en partant de l'anémone de mer, José." (To Toyen, the Monégasque violins secretly manufactured in presbyteries starting from the sea anemone, José.)
Signatures of José Pierre and Mimi Parent below the justification page.

Lettre autographe signée de Pierre Drieu la Rochelle. Une page à l'encre noire sur un feuillet. Traces de plis transversaux inhérentes à l'envoi.
L'écrivain offre une très belle analyse de ses vers inspirés du front, rassemblés sous le titre provocateur de Fond de cantine, paru en 1920. Il demande l'avis de la poétesse Renée de Brimont, petite nièce de Lamartine, qui publia également à la Nrf : "Merci Madame de la décision très fine de ces vers me coupent comme un regret. Que chacun se retire dans soi-même. Que puis-je espérer que vous pensez de ces rythmes militaires [...]".

Esthétique et rare lettre de Drieu la Rochelle.

First edition printed in a small number of copies, being the sixth booklet of the first series of the Cahiers de l'Ecole de Rochefort.

A rare and pleasing copy. René Debresse’s address has been added in black ink opposite the autograph inscription.

A valuable autograph inscription signed by Luc Bérimont to Jean Follain.

First edition printed in 20 numbered copies on hand-made "papier rose jouvencelle" produced by Georges Duchêne.

Illustrated with original engravings by Ania Staritsky, who also designed the original layout of the work.

This copy is exceptionally enhanced with an original collage by Ania Staritsky, signed by her, and with an 8-line autograph manuscript text by Gaston Puel, together with an additional suite of the engravings by Ania Staritsky (one of which bears two small holes).

The spine of the chemise and the boards of the slipcase are slightly and marginally faded, without seriousness.

A rare and very fine copy, complete with its chemise and its grey cloth slipcase.

First edition, one of 35 copies printed on B.F.K. de Rives paper, numbered and signed by Michel Seuphor and Ania Staritsky at the colophon, our copy being one of the few hors commerce.

Illustrated with original engravings by Ania Staritsky, who also designed the original layout of the work.

A rare and pleasing copy, complete with its chemise and slipcase in full anise cloth.

Our copy is exceptionally enriched with an original collage signed by Ania Staritsky and an 8-line autograph manuscript text signed by Michel Seuphor,  

First edition, one of 37 numbered copies on handmade paper "Ecume de cépage" under "Chaume de Juillet" wrappers, the only issue after 8 copies on handmade paper "Tabac du moulin".

The work is illustrated with 9 original colour engravings by Ania Staritsky, who also designed the original layout of the book.

A rare and very fine copy, complete with its chemise and slipcase in full orange cloth.

Pencil signatures of Jean Follain and Ania Staritsky on the colophon.

First edition, one of the press copies.

Paper browned as usual.

Signed autograph inscription from André Dhôtel to the philosopher Raymond Bayer.

First edition, one of 535 numbered copies on Navarre laid paper, the only issue together with 10 copies on Japan paper.

Illustrated with a portrait of the author as frontispiece by Man Ray.

A fine copy despite a small, minor tear at the head of the spine.

Signed autograph inscription by Jacques Baron: " à Jeanne, Pierre et Jacques et X Collet. De tout coeur. Vraiment. Jacques."

First edition, one of 35 numbered copies on Rives paper, the deluxe issue.

At the colophon, manuscript signatures in pencil by Micheline Catti and Ghérasim Luca.

A rare and handsome copy.

As stated in the limitation, our copy is complete with the original drypoint by Micheline Catti and the original etching by Ghérasim Luca, both signed by them in pencil.

First edition, one of the only issue of 35 numbered copies on handmade "Olive" and "Coquillage" papers, our copy one of the 5 hors commerce copies signed and numbered in pencil by Ania Staritsky.

Original engravings by Ania Staritsky ; entirely hand-set by Arlette Albert-Birot after Ania Staritsky’s original design.

The "Olive" and "Coquillage" papers, as well as the cover, were designed by Georges Duchêne.

Our copy is complete with the original collage by Ania Staritsky, signed by the artist.

A rare and very attractive copy housed in its chemise and slipcase in olive-green cloth.

First edition, one of 56 copies numbered on Arches paper, deluxe issue.

A handsome copy complete with its brown full board slipcase.

As stated in the limitation page, our copy is complete with the metallic frontispiece signed by Nicolas Schoffer.

Foreword by Henri Chopin.

First edition of the French translation by Eugène Guillevic, printed in 35 copies numbered and signed in the colophon on japon ancien, ours one of the 10 hors commerce lettered copies.

Presentation copy, signed and inscribed by Hélène Iliazd to Claude Nardin in pencil in the colophon.

A rare copy complete with its folders and guards made of various papers, its folded parchment chemise with a large outward flap, and its blue cloth chemise and slipcase.

This first edition, conceived and produced by Hélène Iliazd and Ania Staritsky in memory of Iliazd, contains an unpublished poem by the Russian poet, with his autograph Russian manuscript in facsimile along with its French translation by Eugène Guillevic.

The work is illustrated with 6 original copper plates by Staritsky, including 2 double-page plates; the artist also designed the book.

We include the invitation card for the opening presentation of the book by Hélène Iliazd at the Alexandre Loewy bookshop on Tuesday 1 February 1983.

Our copy exceptionally contains a signed autograph letter from Hélène Iliazd to Claude Nardin (two pages with its envelope), concerning the distribution of the work and an invitation to the gallery opening.

First edition, one of 200 copies numbered on wove paper, the only issue after 25 copies on Normandy vellum.

Spine and boards slightly and marginally sunned, without seriousness.

First edition, one of 250 numbered copies on vellum, the only printing after 25 copies on Holland paper.

Spine and boards slightly and marginally faded, as generally encountered.

Autograph inscription signed by Céline Arnauld to the poet Henri Hertz.

First English edition, printed after the first edition published in Milan in 1959 and the American edition published that same year, on ordinary paper, complete with its original unclipped dust jacket.
Publisher's red cloth binding, title and names of author and publisher to spine in gilt. Manuscript inscription, dated February 1964, on the front free endpaper.
Spine of the dust jacket sunned as is often the case, joints of the front board very slightly split, small tears at the head of the front board and a few minute red offsetting to that same board.
Scattered foxing and light browning to the pastedowns and endpapers.

First edition printed in 35 numbered copies on B.F.K. de Rives paper, signed by Michel Seuphor and Ania Staritsky at the colophon, our copy one of the few hors commerce.

Illustrated with original engravings by Ania Staritsky.

A rare and pleasing copy, complete with its chemise and matching brown cloth slipcase.

Our copy, like the first 10 copies, is exceptionally enriched with an original collage signed by Ania Staritsky, a 9-line manuscript text signed by Michel Seuphor,  a suite of all the engravings by Ania Staritsky, and finally, in pencil, an autograph inscription signed by Ania Staritsky: "Le manchot inspiré à son bras dévoué. Staritsky."

First edition printed in a small number of copies, being the seventh booklet of the first series of the Cahiers de l'Ecole de Rochefort.

A rare and pleasing copy.

Valuable autograph inscription signed by Maurice Fombeure to Jean Follain.

First edition of this poetry collection, which was awarded the Cholmondeley Prize on publication, complete with its dust jacket illustrated by Leigh Taylor.

Publisher's binding in brown half-cloth, title, author's name and publisher's device gilt to spine, bronze-coloured glossy paper to boards. To recto of rear endpaper, a manuscript quotation in black pen by a celebrated English poet: "the mind can only repose on the stability of truth... Samuel Johnson."

Head of spine very slightly pushed. To the dust jacket, head of spine and upper left corner slightly chipped, old crease to head of upper board, a tiny tear to lower board, price clipped.

A further compilation bringing together several successes of the troubadour from Sète, including "Le temps ne fait rien à l'affaire", "Dans l'eau de la claire fontaine", "La traîtresse", "La ballade des cimetières"; "La complainte des filles de joie", "Tonton Nestor - La noce de Jeannette", "Le temps passé" and "La fille à cent sous".

A pleasant copy despite very slight rubbing to the margins of the sleeve.

A name and an initial in blue ballpoint pen at the head of the second panel of the sleeve.

Manuscript signature of Georges Brassens in the left margin of the front panel of the sleeve.

First edition, one of 2,000 numbered copies on alfa paper.

Manuscript initials at the head of the upper cover and of the title page serving as an ex-libris.

A pleasant copy.

First edition, one of 119 numbered copies on edition paper, the only issue after 1 on chine, 10 on japon and 20 on hollande paper.

Contemporary half hazelnut shagreen with bands, smooth spine slightly faded, boards covered with wood-patterned paper, light rubbing to the corners and to the right margin of the upper board, wood-patterned endpapers and pastedowns, covers preserved and slightly discoloured at the margins.

A pleasing copy internally.

Copy of the thirteenth printing of the first edition illustrated by the author.
Publisher's full bottle-green binding, smooth spine decorated in black with the title and author's name at the head and the publisher's name at the foot, upper board decorated in black with the title and author's name within a blind-stamped border, complete with its illustrated dust jacket. Author's inscription in blue ink on the first free endpaper, followed by a slightly faded ex-dono on the next: "I hope you will still feel like reading this. Love, Sisi."
Headcaps slightly bumped, losses, folds and tears to the dust jacket.

First edition, one of the press review copies.

Precious signed autograph inscription by Eugène Guillevic: "à Tristan Tzara, ces trente et un sonnets qu'il n'aime pas, avec espoir quand-même et affection. Guillevic."

First edition, at one time attributed to Bernard Le Bouyer de Fontenelle, on the loves of a shepherd of illustrious lineage: Mirtil, son of Venus and Adonis. Complete copy with its engraved title page by Louis Legrand and its six plates drawn by Hubert François Gravelot and engraved by Louis Legrand.

Half marbled calf binding, spine with five raised bands decorated with dotted gilt fillets, five compartments richly gilt with fillets and fleurons, pebble-pattern marbled paper boards, red edges, pastedowns and endpapers also in pebble-pattern marbled paper, pastiche binding in fine condition.

A few discreet marginal dampstains.

First trade edition, with the title page printed in black and red, issued after the exceedingly rare original edition limited to 10 copies.

Half navy blue shagreen binding, spine slightly faded with five raised bands, gilt date at the foot, marbled paper boards, marbled endpapers and pastedowns, original wrappers sunned and restored spine, preserved, gilt top edge.

Pleasant copy illustrated with ornamental initials, headpieces, and tailpieces.

First edition, one of the numbered copies on laid paper, the only issue after 1 copy on large Arches vellum, 50 on Japan paper, and 10 hors commerce.

The upper cover slightly and marginally toned; a pleasing copy.

Illustrated with wood engravings by Raoul Dufy.

First edition, for which no deluxe paper issue is recorded.

Brittle paper to the margins of some leaves, resulting in a few small losses.

Signed autograph inscription by Oscar Venceslas de L. Milosz to the poet Pierre André-May : "à mon ami monsieur Pierre André-May avec ma pensée la plus fraternelle et mes sentiments les meilleurs."

Rare first edition printed in a small number of copies.

Covers slightly faded and sun-toned at the edges, as is usually the case.

Illustrated edition with a frontispiece by Ossip Zadkine, one of 60 numbered copies on B.F.K. Rives mould-made vellum, the only deluxe paper issue.

Rare and fine copy.

First edition, one of 30 numbered copies on pur fil paper, this copy one of five not for sale.

A rare and fine copy.

A rare 1750 reimpression of two works first published together in 1669, brought together by the fabulist from that first date.

Contemporary full brown sheep, spine with five raised bands highlighted with a gilt fillet and decorated with five compartments tooled with dandelion-shaped gilt fleurons, red morocco lettering piece, blind-ruled fillet framing the boards, gilt fillet on board edges, red edges, shell pattern marbled pastedowns and endpapers.

Head and tail caps slightly split, discreet loss of leather and light scratches to boards, corners worn.

Marginal tear to p. 197, light scattered foxing, otherwise in fine condition.

First illustrated edition with 19 original lithographs by Miklos Bokor, printed in 175 numbered copies on Arches vellum, this copy being one of the 15 artist’s proofs signed and justified by the artist.

Autograph signatures of Yves Bonnefoy and Miklos Bokor at the colophon.

Signed autograph inscription by Yves Bonnefoy to a couple of close friends.

A fine copy, complete with its chemise and slipcase.

First collected edition of Paul Celan’s German translation of the poems of Ossip Mandelstam, whom he deeply admired.

Publisher’s original full white cloth, smooth spine, a copy complete with its dust jacket, which shows a few small tears at the head of the spine.

Valuable dated and signed autograph inscription from Paul Celan to his friend, the poet and translator of his works Lydia Kerr: "Für Lydia Kerr, herzlich, 12.2.1963. Paul Celan."

Later edition.

A pleasing copy, despite slight rubbing to the joints.

Rare dated and signed presentation inscription from Paul Celan to his friend, the poet and translator of his works Lydia Kerr.

First edition entirely hand-painted by Jacques Capdeville and printed in 30 numbered copies on vellum, with a small number of hors-commerce copies also issued.

Rare and fine copy, complete with its full flexible paperboard slipcase and with the musical setting of the poem by John Supko, on tracing paper.

Handwritten signatures of Philippe Denis and Jacques Capdeville in the colophon.

First edition illustrated with 12 full-page plates by Françoise Gilot, one of only 115 numbered copies on Arches vellum, the deluxe issue.

Our copy is indeed accompanied by an original lithograph by Françoise Gilot on a separate leaf.

A very good copy.

Paul Éluard’s handwritten signature on the limitation page, lightly and partially shaded as on the facing page.

New compilation of the celebrated songs by the troubadour from Sète, including "La mauvaise réputation", "Le parapluie", "Le petit cheval", "Le fossoyeur", "Le gorille", "Corne d'auroch", "La chasse aux papillons" and "Hécatombe".
Inevitable creasing and light rubbing along the margins of the record sleeve.

A small ballpoint pen doodle in blue ink on the lower cover.
Autograph signature of Georges Brassens in the lower right margin of the upper cover.

First collected edition, one of 13 numbered copies on pur fil paper, our copy being one of 3 hors commerce, the only copies on deluxe paper.

A fine copy.

First public edition of this text written under the pseudonym François la Colère, one of 50 numbered copies on Madagascar paper, the deluxe issue.

Rare and fine copy.

Third edition and the last revised by the author, partly original as 25 poems appear here for the first time, bringing the total to 151 poems (as against 100 in the 1857 edition). Copy of the second issue, with a title page dated 1869 and bearing the statement of third edition.
Illustrated with a steel-engraved portrait of Charles Baudelaire by Nargeot as frontispiece.
A few minor spots of foxing, as often encountered.
The upper cover and the half-title page bear the wording: "Oeuvres complètes". According to Clouzot, the volume was sold either separately on its own or as the first volume of the collected works, whose publication extended over several years.
It should be noted that the wrappers of this third edition are always dated 1869, while certain copies, the rarest, carry a title page dated 1868.
Notice by Théophile Gautier.

First edition of the Petits poëmes en prose, later entitled Le Spleen de Paris – Petits poëmes en prose. Second edition of Les Paradis artificiels.

Some foxing, mainly at the beginning and end of the volume.
Contemporary half black shagreen binding, spine with five raised bands ruled in gilt and decorated with gilt tools, marbled paper sides, marbled endpapers and pastedowns, speckled edges, corners slightly rubbed.
The half-title bears the designation: "Oeuvres complètes". The work was issued separately, either on its own or as the fourth volume of the complete works, the publication of which extended over several years.
Clouzot notes: "Très rare en reliure d'époque sans tomaison au dos".
Particularly sought after.


 

First edition, limited to 59 numbered copies on Arches vellum, signed in pink pencil by André Masson beneath the limitation statement.
Rare and fine copy.
Illustrated with two original etchings by André Masson, printed full-bleed and issued hors texte.

First edition, one of 647 numbered copies on pure rag paper, being the only deluxe paper issue after 109 reimposed copies.

Fine copy.

First edition, printed in 170 numbered copies on Holland paper, this copy being one of the 100 reserved for Robert J. Godet.

Illustrated with ten burin engravings by Gaston-Louis Roux.

A very good copy, with only a few negligible and faint spots to some leaves.

Edition partly original, one of 90 numbered copies on Dutch paper, the only issue following 10 on Japan, 2 on Chapelle and 2 not-for-sale copies.

Volume illustrated with 8 wood engravings by Manolo, four of which are full-page.

Manuscript signatures of Manolo and Pierre Reverdy on the colophon.

A rare and handsome copy of the only work illustrated by Manolo.

First edition of a poetry collection printed in a very small number of copies. 

No copy recorded in the CCF. A single copy held in WorldCat (National Library of Australia).

Light, scattered foxing.

Half brown percaline Bradel binding, smooth spine, date and place gilt at the foot of the spine, marbled paper boards, original wrappers preserved, corners slightly rubbed, contemporary binding.

Rare first edition of this work by the author, one of 150 numbered copies on antique paper, the only issue after three deluxe copies.

Some light foxing.

No copies recorded in the CCF. Only three copies listed in WorldCat.

This slender booklet brings together pieces belonging to the earliest poetic experiments of Félix-Conrad Laventure (1902–1995), who was also known for his political career in ministerial, legal, legislative and municipal life (he served as Mayor of Port-Louis and as a minister).

His first verses appeared in 1921 (in Le Mauricien and L'Essor, of which he later became editor, and where in 1924 he published a critical study of the works of Mallarmé).

First edition of this anthology of French poetry compiled by the former French headmistress of an American boarding school, comprising 128 poems by the foremost French poets, from Malherbe to Victor Hugo, which the editor assigned to her pupils during her tenure.

Publisher’s full violet cloth, spine lightly faded, headcaps slightly frayed, upper cover blocked in gilt at centre with a swan, brown endpapers and pastedowns, hinges slightly split.

On the front free endpaper, a violet stamp bearing the name “Consuelo”. This very likely refers to Consuelo Suncin Sandoval (1901–1979), the Salvadoran artist who married Antoine de Saint-Exupéry in 1931 and was one of the muses of the Surrealist circle.

During the Second World War, after a period of separation, the beautiful and capricious Consuelo rejoined her husband in New York in 1942.

She watched over him while he was writing the story of Le Petit Prince, in which Saint-Exupéry portrayed her in the guise of the Rose.

Very scarce first edition of David’s first work, dedicated to Léonville l’Homme and Edgar Janson (cf. Toussaint & Adolphe A. 1411).

Spine lacking; copy cockled.

Illustrated edition with drawings by D. Rahoult and numerous wood engravings by E. Dardelet (Vicaire I, 812–813; Carteret III, 95–96).

Preface by George Sand. Grenoble, Rahoult et Dardelet, 1864–1874, issued in two parts bound in one volume, large quarto.

Half brown morocco over corners, spine with five raised bands decorated with gilt fleurons and blind tooling, minor rubbing to the spine, covers of marbled paper framed with double gilt fillets, surface wear to the boards, comb-marbled endpapers and pastedowns, gilt top edge.

The first part, issued in nine instalments between 1859 and 1864, consists of a poem in local patois on the flooding of Grenoble in 1733, first published in that year.

The author, François Blanc (1662–1742), known as La Goutte, was a grocer in Grenoble, described as “impotent and consumed by gout”.

The second part, published in 1874 and illustrated by the same artists, contains a copy of the letter written by François Blanc to one of his friends concerning the flood that struck Grenoble on 20 December 1740; Jacquety de le Comare by the same author (pp. [23]–53); and a glossary by Michal-Ladichère (pp. [55]–78).

These last two items appear to be lacking from the copies described by Vicaire and Carteret, who record only 21 pages.

Printed stamp used as an ex-libris of G. Magnin of Grenoble on an endpaper.

Some foxing, and a light waterstain in the right-hand margin of a few leaves.

First edition illustrated with 2 engraved plates of this rare anonymous collection of poems, recently and definitively attributed to the poet from Réunion Antoine de Bertin (1752-1790), and believed to constitute his earliest works (cf. Seth, Poète créoles, 304. Ryckebusch, Bibliographie… Réunion, 750. Conlon 71: 879.)

Contemporary-style half black sheep with corners, spine with five raised bands ruled in blind, comb-marbled paper boards, some rubbing to the covers, corners bumped, modern binding.

They were never included in subsequent editions of his Œuvres complètes.

Bertin alludes to his island in his “Vers à Jeannette. A l'Orient” (p. 68): « …Mais aurez-vous la cruauté / D'oublier un petit sauvage, / De son Isle autrefois jetté, / Sur votre florissant rivage /… ».

The edition, bearing a false London imprint, is illustrated with 2 etched plates, one as frontispiece, after drawings by Claude-Louis Desrais dated 1771.

Rare first edition of this poem, printed on bluish paper and composed by Tissot in honour of the birth of the King of Rome, the Emperor’s son.

Not in Quérard.

Our copy is preserved in its original wrappers, under a modern marbled paper cover. Not in Quérard. A fine copy.

A very rare Brescia imprint, dedicated to Prince Eugène and celebrating Napoleon’s successes in the German campaign of 1805.

No copy recorded in the CCF.

A dampstain to the upper right corner of the leaves.

Contemporary cream paper-covered boards, smooth spine without lettering with tears,  boards soiled, title within a black frame on the upper board and address likewise on the lower board, tears with losses on the lower board, contemporary binding. 

However, dated 26 November of that year, it could not yet include the victory of Austerlitz. Niccolo Bettoni (1770-1842) was a prominent figure of Italian typography at the beginning of the nineteenth century, and was nicknamed the "Italian Didot" by his Parisian admirers: having developed a passion for the art following a meeting with Bodoni, he first acquired the Tipografia dipartimentale di Mella (in Brescia, which became the finest printing house in Lombardy), before opening four further workshops in Padua (1808-1819), in Alvisopoli (1810-1813) and finally in Milan and Portogruaro (1819-1832).

In 1835 he secretly departed for Paris, where he died, somewhat forgotten and pursued by his creditors.

First edition, one of the rare copies printed on laid paper.
This 4-page issue features a comic strip by Steinlen: "La mauvaise aventure de Maigriou."
Includes literary contributions by Charles Cros (“Pour en avoir le coeur net”), Charles Chincholle (“Les jours d’absinthe”), George Auriol (“La saint Charlemagne”), François Coppée (“L’esclave ivre”), ...
A well-preserved copy.
Le Chat Noir was a weekly magazine founded by Rodolphe Salis and Emile Goudeau, published from 1882 to 1897, with the aim of promoting the famed cabaret of the same name, of which it served as a living memory. It featured the texts performed during the shows. The publication also stands as a significant literary and artistic testimony of the late 19th century, centered on the bohemian world and the vibrant cultural scene of Paris at the time.

Autograph letter dated 3 June 1941, signed and addressed to Frédéric Lefèvre, comprising 40 lines in blue ink on two pages of a bifolium, written from Lyon.

Folds from original mailing, envelope present.

During these troubled times, Frédéric Lefèvre was difficult to reach for his friend Francis Carco: "J'ai appris par Raymond Millet - qui me donne ton adresse - que tu es à Vichy ! On m'avait dit que tu étais retourné à Paris... [...] c'est pour cette raison que je ne t'ai pas envoyé mon dernier livre mais je dois recevoir des exemplaires prochainement et le premier sera pour toi."

Francis Carco discusses his future plans: "J'irai me poser en Haute Savoie afin d'écrire le roman que je dois à Gringoire. [...] un éditeur suisse désire publier une petite plaquette de mes vers inédits. N'aurais-tu pas une copie de ceux que je t'ai envoyés à Cannes, l'automne dernier, et de ceux qui commencent par : C'est le pays de Gérard de Nerval..."

First edition of Pierre Drieu la Rochelle's first book, one of 150 numbered copies on Hollande laid paper, the only deluxe copies.
Precious autograph inscription signed by Pierre Drieu la Rochelle : « to Charles Maurras this anxious testimony. Pierre Drieu la Rochelle ex. sergeant in the 146^th Infantry. October 1^st, 1917. »
Important testimony of the young Drieu la Rochelle's admiration – then in full intellectual development – for the « master of Martigues » to whom he sends this copy of his war poems composed in 1916 after being wounded at Verdun.
Demobilized and disillusioned by a war for which he had enlisted hoping to wash away the defeat of 1870, Drieu oscillates between Aragon's communism and Maurras's integral nationalism. Having discovered the latter in adolescence, he considers him from then on as one of his intellectual masters alongside Maurice Barrès, Rudyard Kipling and Friedrich Nietzsche. In November 1918, he would write to him: « It is you, it is your prudent thought that destroyed in me, around 1915 or 1916, my Germanic conception of joyful war. Having fought in the infantry during the first winter, I already knew all too well that war was not joyful... »
Glorifying Maurras as « the greatest political thinker of the last century » (Gilles), he is – like many young people of his generation – seduced by the patriotic aura as well as the taste for action and morality embodied by the leader of Action Française. Throughout the 1920s, the ambivalent Drieu will hesitate on which political path to take, before evolving toward fascism, definitively abandoning Maurrassian conservative ideology.

First edition of this important and very rare magazine, complete with 4 issues in 3 volumes. 

Complete collection of this luxurious Surrealist magazine, edited and funded by Lise Deharme and characterized by its emphasis on photography. Covers illustrated by Man Ray, illustrations in black.

Contributions by Salvador Dali, Hans Arp, Dora Maar, Oscar Dominguez, Brassaï, Lee Miller, Jacques Lacan, James Joyce, Georges Ribemont-Dessaignes, Ilarie Voronca, Nathalie Barney, Benjamin Fondane, Pierre Drieu La Rochelle, Alejo Carpentier, Eugène Jolas, Lise Hirtz [Lise Deharme], Raymond Queneau, Claude Sernet, Roger Vitrac, Robert Desnos, Jean Follain, Léon-Paul Fargue, Pierre Keffer, Jacques Baron, Gottried Benn, Céline Arnauld, Monny de Boully, Georgette Camille, André de Richaud, Jules Supervielle, Claire Goll, Paul Laforgue, David Herbert Lawrence, Marcel Jouhandeau, Paul Dermée, Jean Painlevé, Nadar, Pétrus Borel and Stendhal. Sunned spine on the No. 3/4 issue. Spine-ends and corners slightly rubbed, otherwise a wonderfully preserved copy. 

A very fine example of this rare avant-garde magazine, which "came into being over the course of a few dinners that brought together the dissidents of Surrealism and other poets in this hospitable abode [of Lise Deharme]. Robert Desnos provided the title. Georges Ribemont-Dessaignes was the editor. Man Ray had designed the cover: a silhouette of a lighthouse against a photographic background of sailing boats. [...] It contains curiosities: a tale by Petrus Borel, a photo by Nadar, popular songs, an investigation into the neurosis of war, epitaphs taken from a cemetery of animals. Among other curiosities, a sonnet by the famous psychoanalyst Jacques Lacan. It is entitled Hiatus irrationalis." (Jacques Baron, Cahiers de l'Herne Raymond Queneau, p. 333).