First editions and fine papers of poetry collections, lyrical works, poems in verse and prose, calligrams

First edition, one of 935 numbered copies on vellum, the only printing with 20 on Holland paper and 40 on Arches paper.
Handsome copy.

First edition, one of 250 copies on laid under green cover, only draw with 5 China under blue cover.
Back and marginally insolated boards as usual.
Full copy of his prayer to insert.

First edition, one of the review copies service and also one of 1000 copies numbered and reserved for friends of Threshold.
Exemplary very slightly warped.
Signed autograph of Pierre Emmanuel to Jean Bardet co-founder of the Seuil editions: "... this book which owes him his new birth ..."

First edition, one of 300 numbered copies on Japan, only leading copies after 50 "pur-fil" paper.
Back and flat lightly and marginally insolated, two small lack of blood at the head of the first board
Autograph signed by Yves-Gérard Le Dantec to Dominique Paladilhe: "... poet and several muses ..."

Illustrated first edition of 8 drawings of the author.
Freckles on the boards, nice interior state.
Autograph of Onello Onelli to Edith Mora.

First edition for which it was not drawn large papers.
A hitch in the back of the head.
Signed autograph of Pierre Emmanuel to Jean Bardet co-founder of the editions of Seuil: "... this stone can be corner in a building he helped me to build.

First edition for which it was not drawn large papers.
Exempalire slightly warped.
Signed autograph of Pierre Emmanuel to Jean Bardet co-founder of the editions of Seuil: "... who always welcomed me with the generosity of a host ..."

First edition for which it was not drawn large papers.
Exempalire slightly warped.
Signed autograph of Pierre Emmanuel Jean Bardet co-founder of the editions of Seuil: "... who has always welcomed me so friendly in this house which is mine ..."

«L'An suave»: autograph youth poem dedicated to Marie Laurencin. «Have I neglected the miraculous Nymph, Icarus in the snowy shrubs...»
[ca 1917-1918] | 22.3 x 27.6 cm | single sheet in custom chemise and slipcase

A remarkable autograph poem of youth by André Breton dedicated to Marie Laurencin entitled «L'an suave». 15 verses in ink on vergé paper, composed in April 1914. This manuscript was copied between March 1917 and the beginning of 1918.
This poem is offered for sale in a chemise and case with paper boards decorated with abstract motifs, the spine of the chemise in green morocco, pastedowns and endpapers of beige suede, a sheet of flexible plexiglass protecting the poem, case edged with green morocco, piece of green paper with caption «poème autographe» to bottom of upper cover of case, the whole by Thomas Boichot.

Key poem of the author's pre-Dadaist period, it formed part of the set of 7 manuscript poems by Breton (known as coll. X. in the Œuvres complètes d'André Breton, volume I in La Bibliothèque de la Pléiade, Gallimard, 1988, p. 1071). These poems of his juvenilia are carefully copied out in black ink on watermarked vergé paper. The small collection was addressed to his circle of friends and writers, most notably including Valéry, Apollinaire, Théodore Fraenkel, and his brother in arms André Paris. They were later published in his first collection, Mont de piété, which appeared in June 1919, published by Au Sans Pareil, established not long before by his friend René Hilsum.
The precise dating of this set of autograph poems is made possible by the composition of the final poem in the set («André Derain»), written on 24 March 1917, which provides a definitive terminus post quem. An earlier version of the poem «Age», dedicated to Léon-Paul Fargue, appears in our collection under its original name, «Poème». Dated by the author 19 February 1916, the day of his 20th birthday, and composed 10 days previously (according to his letters), it was not retitled and reworked until its publication in July 1918 in Les Trois Roses. Judging by the similarities to things published before this last poem, the seven autograph poems were probably written during 1917 or at the beginning of 1918, while Breton was doing his residency in Val-de-Grâce and where, significantly, he made the acquaintance of Louis Aragon.

The poems that make up Mont de piété represent a rare and valuable insight into his youthful influences at the dawn of his joining the Dada movement and his discovery of automatic writing. Quite short and sometimes sibylline, one detects Symbolist highlights borrowed from Mallarmé, whom he rediscovered at poetry mornings in the théâtre Antoine and the Vieux-Colombier accompanied by his schoolfriend Théodore Fraenkel. During the first month of the War, Breton also dedicated himself to Rimbaud, plunging into Les Illuminations, the only work he carried with him in the confusion and haste that followed the outbreak of war. From his readings of Rimbaud were born the poems «Décembre», «Age», and «André Derain», while he borrowed Apollinaire's muse Marie Laurencin to whom he dedicated «L'an suave». The author's poetic inheritance was particularly marked by Paul Valéry, with whom he corresponded from 1914. Valéry played a considerable role in the writing of the poems of Mont de piété with the advice he gave the young poet. Admiring his disciple's audacity, who addressed each of these poems to him, he characterized the poem «Façon» (1916) thus: «The theme, language, scope, meter, everything is new, in the style, the manner of the future» (Letter of June 1916, Œuvres complètes d'André Breton, vol. I in La Bibliothèque de la Pléiade, Gallimard, 1988, p. 1072).

These essential buds of Breton's youth were written between his seventeenth and twenty-third year. Taken by surprise in Lorient by the declaration of war, he became a military nurse, serving in several hospitals and on the front during the Meuse offensive. In Nantes, he met Jacques Vaché, who inspired him to undertake a project of collective writing, as well as encouraging him to have illustrated the future collection that was to become Mont de piété, a task eventually undertaken by André Derain. His intimacy with this «dandy revolting against art and war» who shared his admiration for Jarry and his contact with the mental patients of the Saint Dizier neurological and psychiatric centre, marked a decisive stage in the birth of Surrealism. Posted to the Val-de-Grâce from 1917, Breton found in Paris the necessary literary vibrancy for his poetic quest and began reciting Rimbaud in the company of Aragon. It was thanks to Apollinaire that he became friends with Soupault, the future co-author of Champs magnétiques, and Reverdy, founder of the review Nord-Sud, which went on to publish the poems of Mont de piété. The seven poems of the collection were printed in avant-garde reviews (Les Trois Roses, Solstices, Nord-Sud) between 1917 and the beginning of 1919.
Four of the seven poems were dedicated to friends and masters of the author: Léon-Paul Fargue, and above all Apollinaire, to whom Breton devoted a paper in L'éventail. Breton also paid homage to Marie Laurencin and André Derain, creators of «plastic works that are still completely new, exposed to an almost unanimous rejection and intolerance» that were dear to Breton throughout his life (XXe siècle, n°3, June 1952). With these dedications, he increased the number of complex allusions, dedicating to one a poem inspired by the other, as in for instance «Age», dedicated to Léon-Paul Fargue, which echoed Rimbaud and his poem «Aube» (Les Illuminations, 1895).

This poem is dedicated to «Madame Marie Laurencin», whom Breton only knew at the time through her art and her connection to Apollinaire. Valéry gave it a warm welcome: «This sonnet...is a delicious artifice: it is a charming choice of words».The work was first published after our manuscript was copied, in the review Nord-Sud, n° 6-7, in August 1917 and re-published in 1922 in an issue of L'Éventail dedicated to the artist. Written in the first month of the War in 1914, it is among the oldest poems in Mont de piété. One can easily see the influence of Mallarmé in the mythological allusions with which the third stanza is awash: «Did I forget the miraculous Nymph, Icarus among the snowy bushes, you [know, among The gentle arrows – the suave year, [what a friend! And, riddled with song, through Echo, [silence.» Like other Mallarmé-esque pieces of the time («Hymne», «Rieuse» «D'or vert«), Breton decided on a precious mode of expression and one marked by recurring visions, blanched by the «moon», the «snowy bushes», the «desire of feathers», and the «white hat». Breton devoted the first of his three critical essays to Marie Laurencin – followed by Jarry and Apollinaire, as well as an astounding poem to his dog, «Coquito». An extremely rare youthful Symbolist manuscript by the young Breton, dedicated to Marie Laurencin, Apollinaire's «miraculous Nymph» and Breton's imaginary muse, at least for a poem.

Remarkable autobiographical poem of André Breton, entitled "Hymn", [] to black ink on laid paper, composed in April 1914. Our manuscript was written between March 1917 and the beginning of 1918.
An essential poem of the pre-Dadaist contemporary of the author, it is part of a coherent set of seven manuscript poems by Breton (referred to as Coll.X. in André Breton's Complete Works , Volume I of La Library of the Pleiades, Gallimard, 1988, 1071). These poems, from his youthful writing, are carefully calligraphed in black ink on watermarked laid paper. This set was sent to his circle of friends and writers, including Valery, Apollinaire, Theodore Fraenkel, and his brother André Paris. It was later published in his first collection, Mont de Piété , which appeared in June 1919 at the publishing house Au sans Pareil, newly founded by his friend Rene Hilsum.
The exact dating of this set of autograph poems is determined by the writing of the last poem of the collection ("André Derain"), composed March 24, 1917, which offers a terminus post quem absolute. In addition, an older version of the poem "Age", dedicated to Leon-Paul Fargue, appears in our collection under its original name "Poème". Dated by the author of February 19, 1916 - the day of his twenty years - and created 10 days earlier according to his correspondence, it was renamed and reworked only for its publication in July 1918 in The Three Roses . In all likelihood prior to the publication of this last poem, the seven autograph poems, were probably written during 1917 or early 1918, while Breton continues his internship at the Val-de-Grace and makes the decisive meeting of Louis Aragon.
The poems that will constitute Mount of Piety represent a rare and precious testimony of his youthful influences, at the dawn of his adherence to the Dada movement and his discovery of automatic writing. Quite short and sometimes sibylline, we can see symbolic accents borrowed from Mallarme, which he rediscovers during poetic mornings at the Antoine theater, at the Vieux-Colombier, in the company of his high school classmate Théodore Fraenkel. During the first month of the war, Breton also devoted himself to Rimbaud, and immersed himself in The Illuminations, the only work carried away in the confusion and haste that followed the declaration of war. From his Rimbaldian readings came the poems "December", "Age", and "André Derain", while he borrowed from Apollinaire his muse Marie Laurencin to whom he dedicates "The Sweet Year". Moreover, the poetic legacy of the author will be particularly marked by the figure of Paul Valéry, with whom he enters into correspondence in 1914. Valery plays in the writing of the poems of Mont de Piété a considerable role by the attention and the advice he lavishes on the young poet. Admiring the audacity of his disciple, who addressed each of his poems, he appreciates the poem "Facon" (1916) in these terms: " Theme, language, aim, metric, everything is new, future mode, way " ( Letter of June 1916, Complete Works of André Breton , Volume I of The Library of the Pléiade, Gallimard, 1988, p.
These essential jewels of the youth of Breton were composed between his seventeenth and twenty-third year. Surprised in Lorient by the declaration of war, he became a military nurse, then officiated in several hospitals and on the front during the offensive of the Meuse. He made Nantes acquainted with Jacques Vaché, who inspired him with a project of collective writing, as well as the illustration of the future collection Mont de Piété , finally realized by André Derain. The frequentation of this "revolted dandy against art and war", which shares his admiration for Jarry, and the contact of the lunatics of the neuro-psychiatric center of Saint-Dizier mark a decisive step in the genesis of surrealism. Assigned to the Val-de-Grâce from 1917, Breton finds in Paris the literary effervescence necessary for his poetic quest and recites Rimbaud in the company of Aragon. It was through Apollinaire that he became friends with Soupault, future co-author of the Magnetic Fields , and Reverdy, founder of the magazine Nord-Sud , which will publish poems of Mont de Piété . The seven poems of the collection will later be published in avant-garde literary magazines ( The Three Roses , Solstices, North-South ) between 1917 and the beginning of the year 1919.
Four of the seven poems are dedicated to the author's masters and friends: Léon-Paul Fargue, and especially Apollinaire, to whom Breton had devoted a study in the Fan . The author also pays tribute to Marie Laurencin and André Derain, creators of "still brand new plastic works, faced with an almost unanimous decree and intolerance", dear to Breton throughout his life ( twentieth century , no. 3, June 1952). He multiplies with these dedications cross allusions, dedicating to one a poem inspired by the other, the example of "December", dedicated to Apollinaire, which echoes Rimbaud and his poem "Dawn" ( The Illuminations, 1895).


A rare manuscript dating from the symbolist youth of André Breton, then "at the intellectual point of fusion [...] when the Rimbaud, Mallarmé, irreconcilable, are stuck in a poet" (Paul Valéry, letter of January 1916, Complete Works André Breton , Volume I of The Library of the Pléiade, Gallimard, 1988, 1068).

First edition of this pamphlet, one of 33 numbered copies on pure rag paper from the Larroque mill, ours being one of the hors commerce copies distributed to friends of Editions Unes.
This so-called "correspondence" is actually a poetic exchange of savory aphorisms facetiously attributed to various exotic traditions.
The half-title includes a whimsical volume statement: Correspondance complète (I). A second volume obviously never appeared.
Handsome copy.

Cher Roche,
« Si la pierre tombe sur l'œuf,
malheur à l'œuf,
Si l'œuf tombe sur la pierre,
malheur à l'œuf. »
(Proverbe bulgare) ["If the stone falls on the egg, woe to the egg, If the egg falls on the stone, woe to the egg." (Bulgarian proverb)]

Cher Sollers,
« Quand on pédale dans le yaourt,
on fait son beurre. »
(Autre proverbe bulgare) ["When you pedal in yogurt, you make your butter." (Another Bulgarian proverb)]

First edition illustrated with 3 original paintings by Patrick Meunier, one of 60 numbered copies on vellum Arches paper, only leading copies.
Nice copy.
Handwritten signatures of Patrick Cosson and Patrick Meunier at the colophon.

New revised and expanded edition with commentary by M. Viollet Le Duc and illustrated with a portrait of the author engraved by St Aubin and added facing the title page.
Half blonde sheep binding, spine with four raised bands decorated with gilt fleurons and blind fillets, gilt lines highlighting the raised bands, gilt dentelles and multiple gilt fillets at head and foot, marbled paper boards, pastedowns and endpapers. Contemporary binding signed by Thouvenin.
Headcaps and corners rubbed, joints lightly rubbed, foxing.

New edition illustrated with a frontispiece engraved by Ambroise Tardieu.
Half red calf binding, spine with four raised bands decorated with gilt tools and fleurons and blind fillets, gilt fillets highlighting the raised bands, gilt dentelle and fillets at head and foot, marbled paper boards, pastedowns and endpapers, all edges marbled.
Spine lightly faded, headcaps lightly rubbed, occasional foxing.

New edition.
Signed autograph of Pierre Emmanuel to Jean Bardet co-founder of Editions du Seuil.

First edition.
Small marginal gaps, without infringement of the text, on the pages of a notebook which was badly cut, paper yellowed.
Autograph dedication dated and signed by Georges Gheorghiu to Edith Lévi.

New edition illustrated with a frontispiece and 12 figures after new drawings designed and engraved by various artists including Claude Marie François Dien, with commentary by Pierre Tiffon de Saint-Surin.
Half blonde morocco bindings, spines with four raised bands decorated with compartments, double compartments and gilt tools, blind fillets outlining the bands, gilt roulettes and fillets at head and foot, marbled paper boards, pastedowns and endpapers.
Foot headcaps and leading edges rubbed, some corners slightly bumped, corners rubbed, occasional foxing.

First edition, one of 70 copies on Hollande Van Gelder initialed by the author and artist and containing two states of the etchings.
Work illustrated with twelve original color etchings by the artist and twenty-three pencil drawings printed typographically by Edouard Chimot.
Full red and dark brown morocco binding, smooth spine depicting an infernal landscape inlaid with light brown, grey and dark blue morocco, boards illustrated with bronze flame motifs intertwining in inlay, bronze and gilt fillets emphasizing the separation between the red and brown morocco, gilt zigzag fillet at foot of first board, pastedowns framed with red and dark brown morocco, gilt and palladium fillets framing the pastedowns, pastedowns and endpapers lined with red moiré silk, top edge gilt, deckled edges, covers and spine preserved. Slipcase lined with paper and edged with red morocco. Near-contemporary binding signed A. Bianchi.
Paper of the slipcase detached in places.
Very handsome copy in a remarkable Art Deco-inspired decorative binding.

Edition on laid paper illustrated with a frontispiece and its duplicate suite by Desenne engraved by Blanchard.
Contemporary binding in half dark blue straight-grained Russia leather, smooth spine decorated with three gilt cross tools with coral morocco inlays, blind-stamped rosettes, gilt fillets worked in arabesques, edition date in coral morocco roundel, binder's signature at foot, marbled paper boards, pastedowns and endpapers, retaining its deckled edges, signed binding by Brigandat.
Leading edges rubbed with paper loss, corners slightly bumped, some foxing.
Publisher's autograph inscription. Jean-Marie Bernicat's bookplate pasted to front pastedown.

New edition illustrated with a frontispiece drawn by Achille Deveria and engraved by Antoine Fauchery.
Half aubergine straight-grained Russia leather binding, spine with four raised bands decorated with lyre tools, gilt fillets and rolls, marbled paper boards, pastedowns and endpapers. Retaining its deckled edges.
Spine uniformly faded, some foxing. Handsome copy very pleasantly bound.

First edition one of the ten copies off-trade signed to the justification by Tristan Tzara and Jacques Villon.
Autograph dedication signed by Tzara on the fake title page: "to Georges Leblanc with the great sympathy of Tristan Tzara on December 30, 1955".

First edition on ordinary paper.
Former owner's name in pen at the head of the half-title page.
Handsome copy.
Illustrated work with a frontispiece portrait of Paul Verlaine by Louis Hayet on Japan paper.

First edition, one of 20 numbered copies on vellum "pur-fil" paper of Madagascar, head print.
Very nice copy.
Exceptional autograph dedication dated and signed by Charles Le Quintrec running on two pages, starting with a quatrain and thus continuing to a friend poet: "To Jean-Louis Debauve, who saw me grow in the passion of poetry, passion that he shares with me since adolescence and transfiguring especially when it comes to Laforgue and Cadou ... To the obstinate researcher, the brilliant browser, the unrepentant vannetais, this new "Jeunsse de Dieu" that responds that of the guardians of the Word and men of fervor and faith, with my good old affection and my most sincere friendship. "
Signature of the author to the justification of the draw.

First edition, one of 20 numbered copies on vellum Marais, only leading copies.
Very nice complete copy of his trailer.
Exceptional autograph dedication signed and dated by Charles Le Quintrec running on two pages, ending with a manuscript passage and thus beginning with a friend poet: "To Jean-Louis Debauve, the writer, the researcher, the inspired zeller Jules Laforgue, also to the friend of the first hour who, since the castle of Limoges, brought me rue Madame Lagarde near the bed of his dear mother, to which I must undoubtedly a large part of what I became. to dear Jean-Louis, who, I hope, will love this castle built in the middle of the sky between the moor and the river.He was hungry, it was cold, but it happened that happiness spoke there as master. and loving thought. "
Signature of the author to the justification of the draw.

First edition, one of 45 numbered copies on vellum "pur-fil" paper Rives, leading print after 25 Holland paper.
Nice copy.
Beautiful autographed and signed autograph of Charles Le Quintrec to a friend poet: "To Jean-Louis Debauve, who was one of the first to believe the poet of the castle of Limoges, these pages of my fervor, my faith and my friendship and my affectionate and faithful feelings, I kiss him for the sake of his sister Sylvie in the emotional memory of their incomparable parents. "

First edition, one of 45 numbered copies on vellum "pur-fil" paper Rives, leading print after 25 Holland paper.
Nice full copy of his trailer.
Beautiful autographed and signed autograph of Charles Le Quintrec to a friend poet: "To my beloved Jean-Louis Debauve, to the friend of the early days who trusted the young poet, this dream similar to that of the first men, this blood like that of the eternal man, with my sincere friendship. "

First edition, one of 100 numbered copies on laid Holland paper, only leading copies.
Very nice complete copy of his trailer.
Very nice autograph dedication dated and signed full page by Charles Le Quintrec to a friend poet: "To my dear Jean-Louis Debauve, to the friend of the first hour, our elbow elbow Vannes, rue Madame Lagarde and at the castle of Limoges, those pages which owe much to the skies of my country, which we love with the same tenderness in all fidelity, to lead him in his labors on Laforgue, I embrace him. "
Signature of the author to the justification of the draw.

First edition of the French translation printed in small numbers on vellum.
Nice copy.
Book decorated with 2 illustrations of Tudor Banus.
Signed autograph dedication of Mioara Créméné to Nicole Vieussat.

First edition, one of 300 numbered copies on matte coated paper, only leading copies.
Illustrated book of photographs.
Rare and nice complete copy of his prayer to insert.
Signed autograph Pierre Melet to a friend named Laurent: ".... when the shepherd becomes a poet ..."

First edition printed on laid one of the first works of the author he later renounced.
Nice and rare copy.
Signed autograph of Pierre Jean Jouve to René Georgin.

First edition on ordinary paper after 25 numbered copies on Holland paper. A blank invitation card mounted on a stub for a dinner offered on the occasion of the book's publication, to be sent to Mercure de France or Revue Blanche. From MM. Paul Adam, Paul Fort, Stéphane Mallarmé, etc.
Autograph inscription signed by Gustave Kahn to his friend, Belgian painter and artist Georges Lemmen: "A mon vieil ami George Lemmen le bon imagier. Gustave Kahn." ["To my old friend George Lemmen the good imagemaker. Gustave Kahn."]
(The following year (1897), the two friends would collaborate with Brussels publisher Deman on a small editorial gem: Limbes de lumière.
Contemporary binding in half black coarse-grained shagreen, smooth Jansenist spine with raised bands, author's name, title and date gilt, fine marbled paper extended to the endpapers, original wrappers preserved (the first showing traces of rubbing).
Handsome copy.
Bookplate of Belgian poet Georges Marlow on the front pastedown.

New edition, illustrated with a frontispiece, an engraved title and 18 plates, all on steel, and very numerous wood engravings (headpieces, tailpieces, vignettes) after Turner, Birket Foster & John Gilbert. Several facsimiles. Edition with notes, additions and remarks by J. G. Lockhart. Fine careful printing in 2 columns. Each work contains a half-title, an appendix. Clear and well-structured edition, perfectly illustrated with Scottish landscapes and historical scenes.
Publisher's binding in full beveled ultramarine gilt cloth. Smooth spine decorated with a large ornamental composition evoking medieval illuminated books. Large decorative blue and gold plate, very rich, with central cartouche, the whole evoking medieval illuminations. All edges gilt. Spine slightly faded. Headcaps rubbed with micro cuts. Corners rubbed and bumped. Internal hinge of lower board with tears, but the volume remains well bound and cohesive, without play. Copy on fine tinted vellum paper, completely free of foxing, perfectly fresh. Tissue guards still present. A protective covering has been added to protect the binding, we have left it in place.

First edition, one of 50 copies on Holland paper, deluxe copy.
Half black shagreen binding, spine lightly faded with four raised bands, small traces of rubbing to spine, black paper boards, one scratch to front board, marbled endpapers and pastedowns, original wrappers preserved, contemporary binding.
Work illustrated with 8 drawings mounted on China paper including 5 chromolithographs, the sixth chromolithograph appears to be lacking in our copy.
Handsome and rare copy.

First edition, one of 135 numbered copies on laid paper Lafuma-Navarre and reimposed in Tellière quarto format, deluxe copy.
Reproduction of an autograph quatrain as frontispiece.
Half red morocco binding with corners, smooth spine decorated with quintuple gilt cartouches, gilt date at foot, frame of gilt fillets on marbled paper boards, marbled endpapers and pastedowns, top edge gilt, binding signed by Pierre-Lucien Martin.
Handsome copy elegantly bound.

First edition, one of the review copies service.
First cover plate illustrated with a portrait of André Salmon by Amedeo Modigliani.
Back and flat slightly and marginally insolated without gravity, if not nice copy.
Autograph signed by André Salmon to Monsieur de Sacy.

Collective first edition, one of the review copies service.
Back and boards marginally insolated.
Autograph signed by André Salmon Maurice Fombeure.

First edition of the first book published by Vincent Muselli.
Small gaps filled on the back that also include light restorations, a clear wetness at the head of the first board.
Autograph dedication signed by Vincent Muselli to Mrs. Lichnérowicz.
Our copy is exceptionally of a three-page manuscript poem, entitled "Three lieds", signed by Vincent Muselli.

Haveth Childers EverywhereFirst edition, one of 575 numbered copies on handmade pure linen vidalon royal, the only grand papier (deluxe) copies after the 110 on Japan paper. Slipcase missing.
A nice copy.

New edition.
Binding half green sheepskin fir, discolored back with five nerves set with golden dots adorned with double gilded boxes decorated with golden decorative motifs, framing of a double golden net on marble paper plates, guards and contreplats of handmade paper, gilded head, Contemporary binding.
Illustrated book, frontispiece, a portrait of Auguste Dorchain.
Name written in the pen at the top of the page of the title of the book as ex-libris.
Our copy is enriched by a two-page autograph letter signed Auguste Dorchain, dated 1924, and apologizing for the delay in publishing a poem that his correspondent had sent to a magazine where Auguste Dorchain collaborates and who will be inserted later than he expected.

First edition, one of 300 numbered copies, only leading copies.
Pleasant full copy of his prayer to insert.
Signed autograph of Michel Granet to Charles Dobzynski: "... these first songs of love.A hand for the caress and freedom.A stone for the fight."

First edition, one of 50 numbered copies on vellum, head print.
Nice copy in spite of tiny spots without gravity on the first board.
Handwritten signatures of Jean Clair and Pierre Alechinsky at the colophon.
Autograph dedication dated and signed by Jean Clair to the sculptor Raymond (Mason): "... these childish rhymes of a suburb not too gay either ..."

Large original black and white photographic portrait by Marc Trivier.
Original unsigned gelatin silver print, as with most of Trivier's works.
Precious original gelatin silver proof by the celebrated Belgian photographer, one of the most secretive contemporary artists, who despite early international success, preferred to limit his production to preserve the coherence of his work. Marc Trivier does not print new copies of his earlier portraits, and the printing paper he used is no longer commercially available. The artist "makes his own prints on Ilford baryta paper, devoting several days of work to each, with particular concentration on rendering the whites, in contrast with blacks of rare density. A Marc Trivier print resembles no other. When he agrees to exhibit them, he suspends them in stainless steel frames of his own making, allowing free rein to the life of the paper." (Xavier-Gilles, "Marc Trivier et la tragédie de la lumière" in Le Monde Libertaire, 2011). This "life of the paper" participates in the work as much as the various alterations that photographs undergo when they are exposed: "In the boxes, the prints warp, but no matter: the photographer is fond of this kind of accident." (Claire Guillot, "Les face à face sans échappatoire du photographe Marc Trivier", Le Monde, 2011). Marc Trivier has a particular sensitivity to the material aspect of his productions. While photography is essentially about the multiple, this intervention by the artist in the entire creative process confers an autographic aura to these prints.


Photographs of artists, of madmen, of trees or of slaughterhouses, Marc Trivier approaches all these subjects with a gaze as precise as it is intense.

"In his cosmogony, each thing, each being, plant, animal or human, deserves the same respect. For all are confronted with the same iron law: solitude." (Luc Desbenoit).

The beauty that emanates from his photos comes from this nakedness. There are no retouching, no cropping. We find in his work the same square format emphasized by the square of the negative that Trivier leaves on his prints. This frame traps our gaze in photographs where the makeup of color is rejected for an incisive black and white. With all artificiality having disappeared we do not face the staging of a subject but a presence exacerbated by the radiating and singular light, witness to an instant of life and not of pose. It is this light, linked to the photographic medium, that unites Marc Trivier's series:

"Marc Trivier's photographs write a tragedy of light, which welcomes beings - men, trees or beasts - only by burning them, before disappearance." (Xavier-Gilles in Le Monde Libertaire).

It is also this light, delivered from all artifices, that gives his works the aura that makes them so present. This "burn" of light brings us back to a real instant, to Barthes's "that-has-been" (La Chambre Claire, 1980):

"From thirty-five years of photographic practice, of obsessions, this is perhaps what remains: a singular mode of recording the burn of light, declined from one image to another, in a succession of propositions that resemble each other and yet each is as singular as the fraction of time to which it refers." (Marc Trivier).

"Photography says only one thing: 'It was.' One fixes only what has been. If there is a tragedy, it is there." (Marc Trivier)

Warhol, Foucault, Beckett, Dubuffet... the greatest writers and artists have posed for Trivier. Simultaneously the artist is also interested in the margins of society, in what men do not want to see. He then photographs the insane and the slaughterhouses that he places opposite the celebrities. From the end of the 1980s his work is unanimously recognized and he receives the prestigious Young Photographer Award from the International Center of Photography in 1988 as well as the Prix Photographie Ouverte (Charleroi). After the Palais de Tokyo in Paris, the Musée de l'Elysée in Lausanne and the Casino in Luxembourg, the Maison Européenne de la photographie in Paris devoted an important retrospective to him in 2011.



The photographs of the great personalities of his time that Marc Trivier creates do not seek to show the public image of these artists. Taken frontally, with a gaze directed toward the lens, they show us an image of intimacy:

"(...) instead of being a portraitist of writers and artists among so many others, he marginalizes himself through his approach: under the pretext of adjustments, he makes his models wait, he makes them pose for several minutes which gives them a weary air. He perhaps awaits more natural behavior. And we find ourselves facing Francis Bacon in precarious balance, Samuel Beckett, Jean Dubuffet or Michel Foucault more or less slumped in their chairs. Intimate images." (Sylvie Rousselle-Tellier, "Une image de fatigue chez Marc Trivier", Marges 2004).

Photographed in their personal universe, most often their bedroom, the subjects abandon themselves, no longer control their image. The imbalance that results reveals the fragilities of these such strong personalities, and allows Trivier to restore the unity of the intimate body and the public work.

"I was reading Genet; for me Genet was letters on a book. And then one day I saw his portrait, there was like a fracture. How was it possible that these signs were also someone? Making a portrait is welding back together the name and the face." (Marc Trivier).

More than a portrait, each photo is the testimony of an exchange between the subject and the artist, of an instant of real life. The presence of the photographer is perceptible in each of the portraits that Trivier creates:

"What interested me was not simply to photograph a body or a face, but this particular situation which is someone in the process of taking the photo of someone else." (Marc Trivier).

First Edition printed with 150 numbered copies on vellum Ronsard.
boards slightly and marginally insolated and stitched, nice interior state.
Signed autograph signed Yvonne Ferrand-Weyher Jean Lebrau: "... the beautiful poet and the benevolent criticism ..."
We enclose a fragment of envelope on which Yvonne Ferrand-Weyher has indicated his address in Paris.

First edition, one of 47 numbered copies on laid "pur-fil" paper, ours one of 12 with the names of the 12 months of the year, this copy "October" specially numbered and justified by Pierre Pascal for the doctor of Reilhan Carnas.
Back slightly insolated, partially guarded and slightly shaded.
Illustrated book with a frontispiece by Maxime Real del Sarte engraved by Pierre Pascal.
Signed autograph of Pierre Pascal to the doctor of Reilhan de Carnas: "... this Greek liturgy under the sign of the Principle and the most courageous man in France."

First edition, one of 300 numbered copies on laid "pur-fil" paper, ours specially numbered and justified by Pierre Pascal for Pierre de Massot.
Some small foxing mainly affecting the slices of some leaves, nice copy.
Illustrated book with a frontispiece by Maxime Real del Sarte engraved by Pierre Pascal.
Signed autograph of Pierre Pascal to Pierre de Massot: "... in honor of his beautiful consulate pöetique, in whose honor he speaks so perfectly, this liturgy of the future."

First edition, one of 100 numbered copies on vellum Madagascar, leading print after 5 Japan.
Three snags with gaps on the back and the margin of the first board, scattered foxinges.
Autograph signed by Roger Dévigne to Dr. Mawas.
Our copy is enriched by a signed autograph letter from Roger Dévigne to Dr. Mawas referring to this book and a new consultation in his office.

First bilingual edition and for which there is no mention of leading copies.
Back discolored two tears in the head and foot, marginal stings on the boards, the first board had to include a vignette that is missing here, small foxing in the slices of some slips.
Printed stamp indicating the address of the author in Brussels on the fake title page.
Signed autograph of Géo Libbrecht, in French, to the poet Marie-Louise Pérot.
We join a typewritten poem entitled "Young girl, young flower" with this autograph signed by Géo Libbrecht at the foot of the last stanza: "I dedicate this poem with my homage to Marie-Louise Pérot".

First edition, one of 1000 numbered copies on "bouffant" paper Alfa paper.
Some light spots on the boards, marginal stings on the second board, two rips glued to the back of the head, some foxing on the guards.
Signed autograph of Nicolas Beauduin to Jean Lefranc for which he specifies his address in Neuilly at the foot of the page of false title .

First Edition, one of 500 numbered copies on Featherweight, only leading copies after 26 "pur-fil" paper.
Some slight marginal tears on the flat boards, a tear glued back to the head of the back, small foxing mainly affecting the guards.
Autograph dedication signed by Charles Plisnier to the poet Hubert Dubois.

First edition illustrated with a drawing by Jean-Claude Schauenberg.
Handsome copy despite a trace of a price label originally pasted at the foot of the rear board.

First edition, on current paper, of the French translation.
A fold trace at the foot of the first board.
Illustrated book, frontispiece, a drawing of the author.
Signed autograph dedication of Gloria Alcorta: "For you dear Gabrielle franche and beautiful artist, thank you for sharing and supporting my first dramatic efforts." Your Gloria. "

First edition for which it was not drawn large papers.
Illustrated book of drawings by Jacques Clerc.
Nice copy despite a small tear in the back of the head.
Signed autograph Bernard Vargaftig to his friends Eliane and Charles (Dobzynski): "... always on the edge ..." on a card.

First edition.
Contributions of Michel Lucarelli "Women of love", Luc Bérimont, Jean Bouhier, Jean Veyret ...
Nice copy.
Our copy is enriched by an autograph letter signed by Jean Bouhier to Gérard Mouizel, envelope attached, about a text that Gérard Mouizel intended to publish in the magazine and that Jean Bouhier advises him to amputate to finally appear in a future issue.
We also attach a newsletter to the magazine and an open letter to a poetry lover typed in and addressed to Gérard Mouizel, envelope attached.

First Edition printed with 150 numbered copies on pure Lama thread.
Illustrated book of 8 reliefs Marc Pessin.
Rare and pleasant copy despite the back and lightly insolated boards without gravity.
Signed autograph of Marie-Claire Bancquart to Charles Dobzynski on a cardboard.



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First edition on current paper.
Nice copy.
Signed autograph of Georges Soria to Charles Dobzynski: "... in memory of several years of work together and hope ..."

First edition printed in 570 copies.
Morocco, spine slightly browned, covers and spine preserved, all edges gilt, elegant binding signed by Marius Michel.
Handwritten signature of the recipient to head of endpaper as ex-libris.
A nice copy elegantly bound by a master binders of the 20th century.
Rare autograph inscription signed by Paul Verlaine to Emile Le Brun.

Illustrated edition of 79 original etchings by Pierre Falké, one of 125 numbered copies on Montval, ours one of 15 copies of collaborator justified and signed by Pierre Falké .
The 79 etchings are composed as follows: 1 on the double-page cover, 1 on the frontispiece, 1 on the title page, 21 insets, including 1 double-page, 55 initials and culs-de-lampe.
Back of the shirt and the case with wetting, stings on the boards of the case which also have some small gaps of paper.
Rare foxing, otherwise pleasant interior state.
Provenance: from the library of Anne-Marie Frélaut with her ex-libris engraved by her father, the painter Jean Frélaut.

First edition.
Publisher's binding in full orange canvas, smooth back, complete copy of his illustrated jacket
Illustrated book of reproductions of works by Horst Egon Kalinowski.
Nice copy.
Autograph dedication dated and signed by Horst Egon Kalinowski, in German, to Jorg Ortner.

Edition illustrated with 4 original etchings by Jean Frélaut and printed in 150 numbered copies on Arches laid paper.
The chemise and slipcase are absent.
Some foxing affecting mainly the first board and one endpaper.
Provenance: from the library of Anne-Marie Frélaut, the illustrator's daughter, with her manuscript signature in pencil, serving as bookplate at the head of an endpaper.

Bilingual first edition on current paper.
Binding of the publisher in full black cardboard, smooth back of brown canvas, complete copy of his illustrated jacket that has light tears without gravity.
Signed autograph dedication of Nicolas Guillen, written in French, the magazine "Le Thyrse" enriched with an autograph signed by Claude Couffon, the translator, to this same magazine.

First Edition printed in 250 numbered copies on Baroque laid.
Book decorated with illustrations by Albert Facon.
Rare foxing, nice copy.
Signed autograph of Alcanter de Brahm to Marie Facon and Pauline Le Carpentier, mother and sister of the illustrator of the book.
Our copy is enriched with a business card of Albert Facon on which he has split an autograph dedication signed to his mother, his sister and his brother-in-law: "... this first book decorated and edited, with all the circumstantial tralala ... "


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First edition printed on pink paper.
Handsome copy despite the covers being slightly and marginally discolored as usual.



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First edition.
Back and flat slightly and marginally insolated as often, a little lack in the back of the head, rare foxing.
Autograph signed by Alcanter de Brahm to Georges Normandy: "... poet and traveler ..."


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First edition, one of 10 literate copies on BFK Rives, head print.
Book decorated with illustrations of Mitelberg.
Back and flat marginally insolated, nice interior state.
beautiful autograph dedication dated and signed by Alain Guérin to Charles Dobzynski: "... my friend poet, his friend who was, this epitaph, this inner plot, this posthumous poem, this bound of pain, because he died the colored man the snake ate his heart, Alain and the other who sees ... "



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First edition for which it was not drawn large papers.
Preface by Charles Dobzynski.
Nice copy.
Autographed and signed autograph by Alain Guérin to Charles Dobzynski and his wife: "For the baker Eliane and Charles the patissier, the latter said of a simple miller, sharing the brioche of affection ... and in memory of 'Antigone ... Alain their brother'



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First Edition, one of the numbered copies on vellum, ours one of 300 out of trade.
Traces of discoloration of the second board, otherwise nice copy.
Autograph signed by Yves Bonnefoy to Mr. and Mrs. Ellrodt.

First edition, one of the numbered copies on offset.
Nice copy.
Autograph signed by Yves Bonnefoy to Robert Ellrodt and his wife.

First edition for which there is no mention of leading copies.
Pleasant copy featuring a rare autograph signed by the Venezuelan poet.
Beautiful autograph signed Orlando Pichardo, full page, a friend named Brigitte for which he specifies his address to Barquisemito.

First edition for which it was not drawn large papers.
Signed autograph from Hedi Kaddour to Charles Dobzynski.

First edition.
Binding in half green morocco with long grain, back with five nerves, golden monogram tail, slight traces of friction on the joints, marbled paper plates, guards and contreplats of handmade paper, gilded head, Contemporary binding.
Nice copy.
Precious autograph dedication signed by Jean Lorrain to the great tragedian Rachel: "To Rachel Boyer who says my lines so well a year ago."

First edition, one of 200 numbered copies on Holland paper.
Work illustrated, as frontispiece, with an unpublished portrait of Paul Valéry, etched by Jean Texcier.
A tear and lack at foot of spine at the level of the deckled edges, spine lightly sunned.
A full-margined copy.

First edition for which it was not drawn large papers.
Signed autograph of Jean Lescure to Jean-Claude Groshens.
Nice copy.

First edition for which it was not drawn large papers.
Presentation of Marcel Aymé.
Illustrations by Locca and Mouloudji.
Rare autograph dedication signed by Sandra Jayat to Pierre Gamara: "... who always enlightened my poems ..." enriched with a flower that is the first letter of his surname.

First Edition printed with 250 numbered copies on white pearly paper.
Preface by Charles Dobzynski.
Precious autograph dedication signed by Daniel Leduc: "For Charles Dobzynski, in testimony of friendship for a man and a writer tracing, despite everything, his way with strength and humanity".

First edition of Roger Bordier's presentation.
Nice copy decorated with illustrations.
Autograph signed by Roger Bordier to Charles Dobzynski.

First Edition printed in 200 copies.
A small tear in the back of the head.
Signed autograph dedication from René Lacôte to Charles Dobzynski in green ink that turned pale: "To Charles Dobzynski who also knew that season before introducing us in the spring, his friend René Lacôte."

First edition on current paper.
Nice copy.
Signed autograph of Pierre Mac Orlan: "To Madame Janvier, this little collection of songs, my songs, when once, I sang wrong but true ..."

First edition, one of 200 numbered copies on laid paper, great papers, after 60 China.
Binding in half ...
Nice copy.
Precious autograph signed by Adolphe Retté: "To JK Huysmans cordial homage of one who is en route".

First edition, one of 75 numbered copies on Arches paper, only leading copies.
Very beautiful and unique copy.
Like the 75 numbered copies on Arches paper, the cover of ours is painted by Marc Feld and handwritten by Zeno Bianu, each cover being different from the other 74, which makes it an original work.
Book decorated with illustrations by Marc Feld.
Our copy, like all copies of the head print on Arches paper, includes an original engraving, ours in blue nuance, Marc Feld he signed and justified.
The book also includes the Dvd Jean-Jacques Nguyen placed at the end of the volume.
Autographed and signed autograph by Marc Feld to Charles (Dobzynski): "For dear Charles, in the keenest of presence, with my friendship."
Handwritten signatures of Zeno Bianu and Marc Feld at the colophon.

Illustrated edition, frontispiece, an original etching by Jean Frélaut, one of 300 numbered copies on vellum of the Marais, ours one of the few out of trade, draw of head.
Small landfills in the foot of the first guard and the page in his eyes, uniformly shaded back and boards.
Our copy is enriched by a second state of the etching by Jean Frélaut which he signed and dated to a friend.

Collected edition, one of 20 numbered copies on China paper, deluxe edition with 20 Japan paper copies.
Some inevitable foxing given the quality of the China paper.

Edition from the collection of the Bibliothèque littéraire du XXe siècle, decorated with a frontispiece engraved as an etching by Frédéric Massé.
Bradel binding in blue half cloth, smooth spine faded decorated with a gilt floral motif, double gilt fillet at foot, brown shagreen title-label, marbled paper boards marginally soiled, lower corners slightly bumped.
Some light foxing.

First edition, one of 4 lettered copies on Holland paper.
Rare and handsome copy.

First edition, one of the first issue copies numbered to the press, there is no mention of leading copies.
Braid binding in full paper with abstract patterns, smooth back slightly discolored, green canvas title piece, guards and contreplats of handmade paper, speckled slices, binding of the era signed Barast.
Signed autograph of Henri Spiess, in English, to a friend named Suzanne.

first edition for which there is no mention of leading copies.
Book decorated with illustrations by Jean Beauduin.
Small bites on the margin of the first board, a slight angular miss on the second, some foxing on the guards.
Rare.
Signed autograph of Anatole Belval-Delahaye to Pierre Gilbert: "... homage of a literary trainee ..."

First edition on ordinary paper.
Spine split and reglued, slight corner lacks to boards.

First edition, one of 40 numbered copies on Montval, deluxe issue.
Work illustrated with a portrait of the author by Liane Vareille.
A light dampstain at head of spine and first leaves with slight traces of adhesive tape residue on endpapers.