William Blake's books of poetry with his own original hand-colored illustrations sold so poorly upon their appearance that in more than one case only a single copy has survived. His decision to illustrate Young's Night Thoughts was no doubt partly motivated by the thought that the very popular text would bring his own work to the attention of a wider circle of readers. Like later pioneering efforts to unite the artist and the book, Night Thoughts too was a commercial disaster, and the three parts which were to follow never appeared. Nevertheless William Blake remains a touchstone of the development of the livre d'artiste in this century, and his work presents a level of achievement to challenge the greatest artists of our time.

It may be said that modern book illustration begins with this edition of Goethe's Faust, accompanied by eighteen original lithographs by Delacroix. The fact that Delacroix was moved to do these illustrations by a production of Faust he attended in London in 1825 serves only to underline the international crosscurrents which resulted in this classic of Romantic book illustration. Goethe's oft quoted reaction to Delacroix's interpretation deserves repetition here: "And if I must confess that M. Delacroix has, in some scenes, surpassed my own notions, how much more will the reader find all in full life, and surpassing his imagination." Almost fifty years were to pass before a work of comparable magnitude was attempted again: Manet's lithographs for the French translation of The Raven.

Manet and Mallarmé were close friends, and their collaboration on this French edition of Poe's The Raven is a masterpiece of nineteenth-century book production. Published in 1875, it was fully twenty-five years ahead of its time in concept and design. As Eleanor Garvey has pointed out, the "bold simplifications, diagonal compositions, and opposition of tones [in Manet's lithographs] recall his interest in Japanese prints." One lithograph in particular, of an empty chair, with the shadow of the raven cast upon the floor, is amazingly modern and abstract. One has only to think how Doré, Manet's contemporary, might have illustrated The Raven to appreciate the distance which separates these lithographs from traditional illustration of the time. Le Corbeau was a commercial failure in spite of its low price, and the daring venture was not repeated by the publisher. Nevertheless the book remains one of a handful of truly distinguished forerunners of the modern livre d'artiste. The historical nexus of literary and artistic relationships (Manet/ Mallarmée/ Poe) lends it a unique interest for scholars concerned with comparative and interdisciplinary studies.

William Morris and the Kelmscott Press stand at the beginning of the development of modern twentieth-century printing. The importance of this monumental edition of Chaucer rests in the total integration of text, typography, and illustration. Morris personally supervised every detail of the book's production, including the wood engravings by Burne-Jones, and the ornamental borders and initial letters which Morris cut himself. He always aimed at perfection and sought the best materials available for each book. Although he himself was a medievalist, the works produced at his press profoundly influenced the direction of modern book design in this century both in England and Germany.

Kandinsky's central position in the development of modern art is self-evident. His non-objective woodcuts in Über das Geistige in der Kunst (1912) had already demonstrated the thesis that painting could go beyond a depiction of the visible world. In so doing, he opened the way for the development of non-objective book "illustration" as well. Klänge, in which Kandinsky illustrated a series of his own poems, is a seminal document in twentieth-century art and literature. Although well known as an artist, Kandinsky's contribution to literature is largely overlooked. Jean Arp, one of the founders of Dada in Zurich during the First World War, has emphasized the impact that Kandinsky's sonorous poems have had on modern poetry. Kandinsky was later to provide original graphics for special editions of texts by René Char and Tristan Tzara as well.

Along with Kokoschka's Die träumenden Knaben and Max Slevogt's Sindbad, both published in 1908, Klänge is one of the earliest livres d'artiste to be published in Germany.

The third volume in the Matorel trilogy. These are the last of Picasso's early Cubist illustrations and make an interesting comparison with those he did for the first volume, Saint Matorel, in 1911. With the completion of this trilogy and the establishment of artists like Dufy, Derain, and Picasso as book illustrators, the foundations were laid for the newly developing genre of the livre d'artiste.

This book, illustrated with colored reproductions of drawings by the Cubist painter Lhote, is included here for the original sketch by Cocteau which accompanies the presentation inscription to his friend Maurice Sachs. Executed in Cocteau's typical style, it reminds us how doubly talented he was.

This book is a rewritten and newly illustrated version of an earlier text entitled Der weisse Tiertödter, which Kokoschka had exhibited with illustrations at the Vienna Kunstschau in 1909. The text for this edition is lithographed in the hand of E. R. Weiss, and a unique attempt has been made to integrate letter and image. The illustrations are typical examples of Kokoschka's expressive power at this period. Because of the intimate relationship of text and visual elements, Kokoschka is among a handful of artists whose work is given serious attention by both art historians and literary scholars.

Bonnard collaborated twenty-four years earlier on the first book published by Vollard, the epoch-making edition of Verlaine's Parallèlement with 108 lithographs by the artist. This edition of Mirbeau's story of a little dog is notable as the first occasion upon which Bonnard made use of etchings for illustration. Like his more familiar lithographs, they are imbued with a sense of freshness and spontaneity.

Henry Kahnweiler commissioned these illustrations to Salacrou's play Le Casseur d'assiettes. They may be compared with Gris' style in his lithographs for Gertrude Stein's A Book Concluding With As A Wife Has A Cow, A Love Story, 1926 (also exhibited).

This work is one of the finest examples of the Cranach Press, which was founded in Weimar, Germany in 1913. Count Harry Kessler directed the press, and Edward Prince, who had worked for the Kelmscott Press in England, cut a special typeface for him. Craig worked for over sixteen years on these woodcuts, which he developed from his designs for his production of Hamlet at the Moscow Art Theatre in 1912. The carefully conceived integration of typography and illustration, as well as the insistence upon the force of a page in which black predominates, clearly locate this work in the tradition of fine printing originating in late nineteenth-century England. The fact that English artists such as Craig and Eric Gill illustrated editions for this press indicates the international scope of the fine press movement. In this connection Aristide Maillol 's woodcuts for the Cranach edition of Virgil's Eclogae (1926) also deserve special mention.

Brancusi, one of the leading sculptors of the twentieth century, produced little graphic work, but his reputation as an avant-garde abstract artist seems to have been behind his selection to create the frontispiece for this early excerpt from Joyce's Finnegans Wake (1939). (Picasso, who had been approached first, refused on the grounds that he never did commissioned portraits.) It is intended as a representation of Joyce, which Brancusi felt expressed the "sens du pousser" which he found in the Irish writer. Ellmann reports that when the sketch was shown to Joyce's father, he remarked gravely, "The boy seems to have changed a good deal."

The publisher Vollard had long been fascinated by Alfred Jarry 's play Ubu Roi (first performed in 1888), a work which profoundly affected the direction of twentieth-century French drama. Vollard utilized the Ubu figure in an indictment of the 1914 war entitled Ubu à la guerre, which was censored by the military authorities. He continued to expand upon the satirical adventures of his hero, and commissioned Rouault to illustrate the present volume, recounting Ubu's experiences in the colonies. Rouault began work on the project in 1916. The final effect of the mixed etchings was obtained through a process called hand-photogravure, in which his original sketches were transferred to the copperplate by photography and then worked over in a variety of techniques including drypoint, etching, and aquatint. Rouault spent a total of sixteen years working on these illustrations, including the 104 wood engravings.

A rare example of the livre d'artiste in America prior to World War II. George Macy, of the Limited Editions Club, commissioned Matisse to produce these original etchings. Joyce was worried that the Frenchman might not be familiar enough with the Irish terrain to do the job. He attempted to have a friend in Ireland send the artist an illustrated weekly from Dublin around 1904. Although legend has it that Matisse began and finished Ulysses in one evening, he later admitted that he never read Joyce's novel. His "illustrations" depict six episodes from Homer's Odyssey.

The Limited Editions Club text of Ulysses is still the most accurate available to scholars. The decision to include reproductions of the preliminary sketches for the finished etchings also lends the book a special interest. Although much of Matisse's later graphic work was done as book illustration, this is the only example of his use of the soft-ground etching technique. Matisse also produced original graphics for texts by Mallarmé, Henri de Montherlant, Ronsard, Charles d'Orléans, and others.

This work is generally regarded as the most important bestiary published in this century. Picasso's aquatints for Buffon's Histoire naturelle were begun in 1936, commissioned by Vollard. The publisher's death in an automobile accident in 1939, on the eve of the outbreak of the war, was a blow to Picasso and many others. Nevertheless Picasso continued to work on the series, even during the German occupation; and the book was finally brought out in 1942 by Martin Fabiani. Picasso made use here, for the first time, of a new technique demonstrated to him by the master printer Lacourière— the liftground or sugar aquatint process. This process allows the artist to achieve an almost infinite variety of grey and black tones, while maintaining an impression of free-flowing spontaneity. The results of this technique are evident throughout the series, including plates in which Picasso has added texture by using his fingerprints.

The development of Picasso's style may be closely followed in his book illustration, as may be seen in these typical lithographs from the late Forties. The book was reissued in English translation in 1954, and (together with the Limited Editions Club Lysistrata) is one of only two books published in America with original graphics by Picasso. The text was conceived while the author ws in New York, and the title of the work refers to the Indian name for a sector of Brooklyn. The poems are dedicated to Picasso.

Lurçat, a prolific illustrator, was also skilled as a ceramist and maker of tapestries. His bestiary in a surrealist vein is matched by poems they inspired, printed in an equally fanciful mood. They are reminiscent of both Apollinaire and more recent ventures into concrete poetry. Strachan points out that the master-printer of this unusual book was Maurice Darantière, who was responsible for the de Chirico edition of Apollinaire's Calligrammes.

André Salmon, a member of the Cubist circle in Paris, provides an interesting preface to this carefully integrated edition of Murail's text on the circus. He centers upon the theme of the clown, which has had such importance in both art and literature in the past century. Nakache's lithographs appeared only one year after Léger's Cirque, and may be compared as well with Rouault's famous series Cirque de l'étoile filante, published by Vollard in 1938.

Francis Ponge has furnished texts for illustration by numerous important artists, including Jean Dubuffet's first effort in this field (lithographs to Ponge's poetry in 1945). The high relief etchings by Signovert point toward the increased interest of printmakers since 1945 in the tactile qualities of the medium. The almost sculptural effects attained aid the artist in breaking away from the notion of illustration as a solely two-dimensional mode of expression. This copy is inscribed by the author to the famous bibliophile André Lefèvre.

A more recent example of Tanguy's work, these etchings were published only a year before the artist's death. A comparison with his illustrations for Yvan Goll 's text (also exhibited) reveals the consistency of Tanguy's artistic style over the years. Laude's prose has also been illustrated by Raoul Ubac.

This little book serves to remind us that René Char also expresses himself in a visual medium. It offers us a clear example of a work in which we might expect to find a meaningful relationship between word and image. Char broke with Surrealism in 1937, and the establishment of his reputation as a poet has been largely post-World War II.

André Masson first illustrated a text by his friend Desnos in 1926, with etchings in the surrealist manner. In the intervening years he established himself both as a painter and as a prolific book illustrator (for texts by such authors as Coleridge, Malraux, Jean Paulhan, and, more recently, Rimbaud). Masson's diverse literary preferences include Nietzsche, Joyce, and Robbe-Grillet. The etchings for Mines de rien reflect a later stage in the artist's style, and Masson has recently spoken of his work as being situated between Kandinsky and Pollock in spirit.

An example of the continuation of the private press movement in Germany in the post-World War II era. The text as well as the full-page illustrations are block-prints, and, in the tradition of William Morris, the artist is solely responsible for the total visual effect of the work. Dante has continued to attract both artists and bookmakers in the twentieth century.

This charming work is one of several which demonstrate that the livre d'artiste does not necessarily have to be unwieldy in its physical dimensions. Miró was preparing the etchings for these poems in the same year in which his color woodcuts for Paul Éluard's À toute épreuve appeared. In addition he has illustrated texts by Tristan Tzara, Benjamin Péeret, André Breton, Alfred Jarry, and others.

The writings of Max Jacob continue to attract the interest of artists and publishers. These etchings are representative of Villon's style during the last years of his life (d. 1963). A comparison with his more familiar etchings for Poèmes de Brandebourg (1947, also exhibited) reveals his abandonment of the linear patterns for a free-flowing and spontaneous combination of form and color.

This book contains a hitherto unpublished text by Éluard, as well as twelve love poems by him. The entire book was conceived and executed by the artist, who has inscribed this copy to the Lilly Library "in the hope that I have not betrayed the sun of Éluard." An original colored collage by Guansé is laid in.

The third book in a series of special limited editions published by the Museum of Modern Art. Here the text of Moore's poems is reproduced in her hand, and the artist has hand-colored the line drawings. The copy is also inscribed by the poet. Parker's illustrations may be compared with his drawings for Randall Jarrell's The Death of the Ball Turret Gunner (also exhibited).

André Martel draws inspiration from Lewis Carroll in such texts as Gorgomar, the story of a giant octopus. The text is written in a special nonsense language which is still closely enough related to French to allow the meaning to filter through. Martel's invention is referred to as "langage parolloïdre." The artist Tamari makes use of both the freedom and the inspiration inherent in the text in creating the colored etchings of the monster.

Gischia is well known as a costume designer for the Theâtre National Populaire in France, and the Scala in Milan. His interest in the theatre was already in evidence over twenty years ago, when he paid homage to Shakespeare in a series of illustrations for The Phoenix and the Turtle (1944). His style has since developed toward the solid colors and abstract shapes exhibited in these wood engravings for Lescure's text, which Strachan feels achieve " a kind of contrapuntal music that weds well with [his] poems."

A typical example of a multi-artist project in the French livre d'artiste. Each artist is asked to provide an original graphic on a particular theme or common text. In this case, the artists have provided a series of views of Paris inspired by an unpublished text by Léon-Paul Fargue.

A rare example of a livre d'artiste published by an American university press. Pozzatti, one of the best contemporary American print-makers, has created a series of original illustrations which inevitably demand comparison with other major bestiaries of this century. On several occasions, Pozzatti has solved the traditional problem of the double-page spread illustration with true originality.

This is the first livre d'artiste with Beckett's work produced in West Germany. The tri-lingual edition is the work of the Manus Presse, perhaps the finest press in this field east of the Rhine. Erhardt was inspired to do these illustrations while attending Deryk Mendel's performance of the pantomimes; and he has dedicated these illustrations to him. The Manus Presse has also published such major works as Francisco Borè's lino-cuts for the poetry of Lorca, Horst Antes' lithographs for a text by Saint-John Perse, and Max Ernst's lithographs for texts by Lewis Carroll.

The whimsical animal figures created on these pages are in fact much closer to traditional illustration than they at first appear, being carefully integrated with the text. The inclusion of one original collage by the artist allows the reader direct access to the source of inspiration for the graphics.

Avigdor Arikha, an Israeli artist living in Paris, is a close friend of Beckett's and has illustrated several of his works (including, in addition to those exhibited here, Stories and Texts for Nothing, Malone Dies, Happy Days, and Waiting for Godot). Beckett has, in turn, paid a rare tribute to Arikha in a condensed word-portrait accompanying the artist's volume of Drawings 1965/6. The colored etchings for L'Issue reveal the subtle and intuitive feeling with which Arikha approaches Beckett's work.

Michel Butor, one of the best known contemporary French authors and considered a practitioner of the "new novel," has consistently published works in conjunction with important contemporary artists. Although much critical attention has been given to Butor's work, this aspect has yet to be explored in depth. A second copy of this work, as issued with the original etching printed on blue silk for the binding, is also exhibited.

Ribemont-Dessaignes's surrealist texts have been illustrated by Georges Braque and others. This is the first edition of these poems. Max Papart is a well known contemporary French painter, who has contributed original collages to one of the books in the Lilly Library's Le Livre Unique series (also exhibited).

A fine example of the work of a contemporary American poet in the form of a livre d'artiste printed in Japan. Tanaka's etchings bear a direct and intelligible relationship to the poems they illustrate, while retaining the quality and expressive power of independent works of art.

The practice of heightening original graphics by hand with color is often followed in France, thus bringing the artist into even more direct and intimate contact with the text in its physical expression as book.

Bernard Dufour (b. 1922) is one of an important group of post-World War II painters who have turned away from abstract painting to reintegrate the concrete world into their art. Their work may be viewed as a modern development related to Surrealism without having any formal ties with it. Claude Ollier's text has been etched into the plate, so that illustration and poem fuse. The text consists solely of a series of wordplays upon the title transforming it into sexual imagery.

These lithographs by Ernst are typical of his recent work and include some of his favorite motifs. Ernst has remained an active illustrator in the surrealist mode and in the past decade has illustrated, or re-illustrated, texts by Samuel Beckett, Lewis Carroll, and others.

Eugène Guillevic is a contemporary French poet best known for his text Les Murs, which was illustrated with original lithographs by Dubuffet (1950). This more recent text, accompanied by abstrict wood engravings, is typical of the broad range of livres d'artiste currently being produced in France.

These color serigraphs may be compared with the artist's original gouaches for the eighth volume in the Lilly Library's Livre Unique series. In this case as well, the book is the result of a true collaboration between author and artist.

An example of American fine printing from Boston. Robert Marx's somber and powerful etchings reflect the mood of despair which permeates these poems.

As in other modern books designed to be both read and seen, this text is printed with continuous accompanying illustration so that the pages may either be turned in the traditional manner or the whole of the text expanded to a single sheet for viewing. The delicate coloring of the graphic work also evolves from page to page so as to carry the eye forward with the text.

Le Soleil Noir is a major publisher of livres objet in France. The editions range from a very small tirage with original sculptures and illustrations to a slightly larger, but still limited, printing including an original signed graphic. The example exhibited here includes a colored lithograph by Adami which has been mounted by the artist as a triptych for display. Alain Jouffroy's text includes concrete poems as well as more traditional prose.

This book represents a communal effort by poets and artist. The preface points out that the poems came first, then the graphics, but that in the act of printing, the sequence of graphics determined the sequence of poems.

This book is part of a series which combines classical texts with original graphics by contemporary English and American illustrators. Gross was invited to illustrate Theocritus when the publisher saw an exhibition of his work in 1968. He has illustrated several other books, including John Galsworthy 's The Forsyte Saga and Emily Brontë's Wuthering Heights.

Alain Bosquet is a major French poet whose works have been translated by Samuel Beckett, Lawrence Durrell, Wallace Fowlie, and others. Durrell has said of his poetry that it "has the elegance of a private algebra where each symbol, each word, seems perfectly selected for the support it gives to the theorem." This elegance is reflected in the highly refined wood engravings of Bosquet's contemporary Jean Piaubert.

This French livre objet consists of eight elements for free montage in a wooden box. The "reader" is left to assemble the given verbal and visual elements into an aesthetic object and reassemble it at will. A sculptural element is thus added to post-war experimentation in random text ordering.

Like L'Issue, this text is a prepublication excerpt from Beckett's longer text The Lost Ones. The book has been beautifully printed by Will and Sebastian Carter at the Rampant Lions Press in Cambridge, England. Once again the illustrations are provided by Beckett's friend Arikha, who has achieved, in Beckett's words, "truce for a space and the marks of what it is to be and be in face of."

This book may be compared with the first volume in the series Le Livre Unique (also exhibited), which contains the original manuscript of the opening poem. There too may be found the type of original collage which serves as an inspiration for the lithographs in this edition. Breton and Guansé are close friends; and the text is dedicated by the poet to the artist, "grâce à qui, une fois pour toutes, ces poèmes ont trouvé leur espace."

Yet another example of the careful relationship established between text and original illustrations through mise-en-page in most fine French books of this decade.

This book-object, printed on various colored paper in an imitation pocket-album binding, may be read as a normal illustrated book of poetry, or folded out for display. In any case, the album concept calls attention pointedly to the fact that this is a book to be looked at as well as read.

An excellent example of the book as a total work of art. The text has been integrated into the visual effect by both unusual typography and actual calligraphy. As in Staritsky's illustrations for Butor 's Don Juan (also exhibited), the deeply impressed etchings on the soft, tinted handmade paper blend perfectly with the flowing lines of the text.

Sugaï's etchings for these poems by the contemporary French author Cauda are deceptively simple, like the poems themselves, yet they reveal a most subtle and intriguing textural variation.

Raoul Ubac is perhaps best known for his use of slate lithographs. The etchings included with this text by Jean Laude (whose work has also been illustrated by Tanguy) are remarkable for their finely modulated texture. The relatively small format of this book allows the reader the intimate relationship necessary to appreciate Ubac's work. He has also illustrated texts by Yves Bonnefoy, André Frénaud, Paul Éluard, and others.

Zao Wou-ki was born in China and has been living in Paris since 1948. He is one of the finest contemporary graphic artists working with book illustration, and the etchings are of typical beauty and delicacy. In addition to this book, Zao Wou-ki has illustrated texts by André Malraux, Henri Michaux, and René Char, among others.

Pierre Mathieu wrote this text and illustrated it with reliefs in blind on soft handmade paper specially tinted for this edition. The depth varies from barely discernible depressions in the page to high reliefs with a sculptural effect. The varied and intricate patterns often function as illustrations on both sides of the page, and the artist has not hesitated to print text directly upon the relief. Mathieu has made use of a new sand-press technique in producing this work. He has also bound each copy by hand in an original tapestry binding.

Another example of Staritsky's concept of the integration of text and image through mise-en-page. The deep relief etchings are combined with the unusual folding format of the pages in such a way that what is a colored etching on one page becomes a blind relief illustration for the text of the poem on the other side of the page. Thus one plate serves a double visual function in the book. This technique may be compared with Pierre Mathieu's edition of Sonorités charnues (also exhibited).

These fine lithographs to a text by Lescoëet are typical of the quality of series produced by such publishers as Éditions Saint-Germain-des-Prés. Their intention is to bring contemporary authors and artists together by publishing a small number of initial copies of their new books with original graphics. In so doing they are simply continuing a cultural tradition established in France in the early part of this century.

A beautifully printed example of a joint project within a community of university authors and artists, combining poetry and original signed graphics. The book was sponsored by the Arizona University Foundation and provides a model example of the possibilities existing on many campuses for encouraging significant interaction in literature and art.

Another example of the mixed etchings of Papart, with two artist's proofs laid in, and a signed inscription by the artist. The poems by Jacques Prévert are published here for the first time, and each is illustrated with a separate original graphic. Prévert, at seventy-five years of age, continues as an active collaborator in livres d'artiste.

The inner book, bound in velvet with an original inlaid watercolor on aluminum, stands in sharp contrast to the painted wood box-sculpture of wire screen and broken mirror. As in other book-objects of mixed media, the total aesthetic effect should reside in the interplay of box, binding, illustration, and text.

This binding was executed by Legrain personally in 1929. Legrain is widely recognized as the father of contemporary design in modern book-binding. Marius Michel, in the 1880's, had infused new life into bookbinding in France, as Cobden-Sanderson had, in his own way, in England. As Michon has pointed out, "Marius Michel had shown that a good binder must know how to draw. Pierre Legrain made it clear that he must also know how to read." This binding was completed in the year of Legrain's death. He had been active as a binder for only a little over ten years.

This copy of Mauriac's Orages is inscribed by the author to Maurice Martin du Gard: "Ces vers qui, sans lui, j'eusse negligé de polir—et que je n'aurais pas osé publier."

Creuzevault is one of the most important modern French binders. In this rather restrained example of his style, we find a clear relationship between binding and text.

This example of the work of Paul Bonet may be compared with two others in the present exhibition. Here we find a much more representational style, which is carried over into the inner covers of the book, where Bonet has tooled a street map of the quartier Pigalle in leather. The binding also conforms nicely to the spirit of Vertès' illustrations.

This example of Leroux's work may be compared with two others by him in the present exhibition. Taken together they give some idea of the range and variety of his techniques and designs. In the case of his binding for this book, which unites Picasso's drypoints with the first edition of Max Jacob's memoirs of the Cubist period, his choice of style seems particularly appropriate.

This sculpture-binding by Bocquel creates a livre objet in conjunction with a text which is printed on octagonally trimmed sheets of varying width and which may be folded out in variety of patterns. The book acquires, by these means, an undeniable three-dimensional presence, which, regardless of the substance of the text, must affect the reader's reaction to it.

The editions of Guy Lévis Mano played an important role in the cultural life of France for many years. In addition to important livres d'artiste, he published translations of authors such as Franz Kafka at a time when they were largely unknown in France. The binding is a good example of one possible relationship of design and illustration. Leroux has taken up the motif of colored dots from Miró's accompanying lithograph and utilized it to establish a visual connection between the exterior and the interior of the book.

An example of Leroux's willingness to combine "illustrative" elements directly reflecting the story involved with abstract elements in design. This book is not illustrated, but the French collector frequently prefers to have his special first editions bound by a major binder rather than left in the original wrappers. Thus the binder becomes the artist who provides the visual component complementing the text.

An example of a directly illustrative design executed by Leo Lewis at the Ashley Bindery in Croscombe, Somerset.

With ten original collages by Goetz. The second book in the series "'Temps et Désir,' Le Livre Unique," consisting of the original manuscript of the text illustrated with original works of art, created especially for the Lilly Library, and signed by the artist and author. Size: 32.4 x 28.1 cm.

With fourteen original mixed collages by Papart. The third book in the series "'Temps et Désir,' Le Livre Unique," consisting of the original manuscript of the text illustrated with original works of art, created especially for the Lilly Library and signed by the artist and author. Size: 32.2 x 26.4 cm. Ref: PC 430.

With ten original ink drawings by Nakache. The fourth book in the series "'Temps et Désir,' Le Livre Unique," consisting of the original manuscript of the text illustrated with original works of art, created especially for the Lilly Library and signed by the artist and author. Size: 32 x 26.7 cm. Ref: PC 168.

With nine original gouaches by Benrath. The fifth book in the series "'Temps et Désir,' Le Livre Unique," consisting of the original manuscript of the text illustrated with original works of art, created especially for the Lilly Library and signed by the artist and author. Size: 38.2 x 28.2 cm. Ref: PC 107.

With nineteen original mixed collages by Bertholle. The sixth book in the series "'Temps et Désir,' Le Livre Unique," consisting of the original manuscript of the text illustrated with original works of art, created especially for the Lilly Library and signed by the artist and author. Size: 32.3 x 26.5 cm. Ref: PC 103.

With twelve original watercolors by Zack. The seventh book in the series "'Temps et Désir,' Le Livre Unique," consisting of the original manuscript of the text illustrated with original works of art, created especially for the Lilly Library and signed by the artist and author. Size: 38.4 x 28.7 cm. Ref: PC 144.

With numerous original air brush stencils by Le Boul'ch. The ninth book in the series "'Temps et Désir,' Le Livre Unique," consisting of the original manuscript of the text illustrated with original works of art, created especially for the Lilly Library and signed by the artist and author. Size: 38.2 x 28.5 cm. Ref: PC 483.

With four original gouaches by Martin. The tenth book in the series "'Temps et Désir,' Le Livre Unique," consisting of the original manuscript of the text illustrated with original works of art, created especially for the Lilly Library and signed by the artist and author. Size: 38.2 x 28.5 cm. Ref: PC 479.