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Untitled [Collection of Six Illustrated Book Covers by S H Raza], Paris: Club du Livre de France, 1955

Each book is a hardbound with an illustration by S H Raza,Text in French. Limited editions.
8 x 5.5 in (20 x 14 cm) each

Selma Lagerlöf, La charrette fantôme Collection les beaux romans
Edition: No. 2971 of 3000
A classic Swedish tale, richly illustrated by Raza, capturing the haunting atmosphere of the narrative.

Prosper Merimee, Colomba
Edition: No. 494 of 3000
Raza's illustrations complement Mérimée's Corsican novella, enhancing its themes of honor and revenge.

Comte de Gobineau, Le Prisonnier Chanceux
Edition: No. 224 of 3000
This adventurous tale is brought to life through Raza's dynamic illustrations, reflecting the protagonist's journey.

Ferreira de Castro, Forêt Vierge
Edition: No. 1493 of 3000
Raza's artwork vividly portrays the lush Amazonian backdrop of this novel, emphasizing the interplay between man and nature.

Henri Troyat, Grandeur Nature
Edition: No. 79 of 3100
The psychological depth of Troyat's narrative is mirrored in Raza's expressive illustrations.

Maurice Donnay, La Reine Margot
Edition: No. 136 of 2900
Raza's depictions of 16th-century France add a visual richness to Donnay's dramatization of Queen Margot's life.

In 1955, S. H. Raza was commissioned by Club des Beaux Livres de France, a French publishing house, to design book covers for writers such as Émile Zola, Edgar Allan Poe, and Prosper Mérimée . This commission marked a significant moment in Raza's early Paris years, merging his artistic vision with French literary classics.

These limited editions, typically numbered out of 3,000 copies, featured Raza's illustrations, reflecting his engagement with French modernism and his evolving artistic style. The books were produced with meticulous typographic standards and issued in fine bindings and slipcases, catering to an elite bibliophilic culture in mid-century France.

Raza's work in these volumes is notable for its translation of text into mood, form, and abstraction. The illustrations range from expressive figurative sketches to structural experiments that foreshadow his later iconic bindu-centric works. His command of line, balance of shadow, and use of suggestive space enhance the literary tone of each volume, creating a synergy between image and narrative.

These books are now exceedingly rare and sought-after collector’s items, bearing witness to Raza’s early assimilation into the French artistic milieu and his rising international stature. Their importance lies not only in the quality of the illustrations but in how they capture a moment of intense cross-cultural dialogue — where an Indian modernist reimagines the French literary canon.

(Set of six)