Bal olympique. Vrai bal sportif costumé

This single issue of *Бригада художников* (*Brigada Khudozhnikov*, “Artists’ Brigade”) captures a turning point in Soviet visual culture: one of the last pulses of Constructivist-periodical energy before doctrine tightened. Published in Moscow by OGIZ-IZOGIZ, the journal was short-lived (1931–1932) and survives as a small, finite run of issues. No. 2 (1932) shows artists and designers still deploying the grammar of modernity—hard-edged typography, rhythmic layout, collective voice—under rapidly shifting cultural policy. The involvement of figures such as Aleksandr Deineka and Dmitry Moor gives the issue real documentary weight for the history of graphic art and propaganda imagery. At 63 pages in the original Russian, it reads as both a periodical and a compact artist’s dossier. A scarce, tactile survivor of an ephemeral platform, poised on the threshold between experimental avant-garde practice and the consolidation of Socialist Realism. Condition: good.

The final, scarce issue of the futurist magazine steered and designed by Fortunato Depero. Issued for the National Tributes to Umberto Boccioni held by the City of Milan, 14–16 June 1933, it differs in format and graphic architecture from earlier numbers and was printed in an enlarged run. The production attains exceptional typographic and visual quality, with crisp Depero layout and photographic plates printed outside the text. Newly assembled, impassioned contributions by Marinetti, Buzzi, Russolo and Notari are interleaved with memorable quotations from Boccioni’s own writings. Two diagrams drawn by Depero articulate a vision of speed, energy and “dinamo” as the motor of modern art. Together with a rich iconographic selection, the issue stands as a simultaneously theoretical and visual homage to the pioneer of Italian Futurism.

Two original program booklets from Serge Diaghilev’s legendary Ballets Russes, featuring contributions by avant-garde artists such as Picasso, Matisse, Sert, and de Chirico. Rare artifacts of interdisciplinary modernism spanning dance, visual art, and typography during the interwar period.

La Danse Futuriste is one of the key texts of Italian Futurism in its most direct, militant, and performative form. It is a separately issued French manifesto by Filippo Tommaso Marinetti, founder and tireless propagandist of the movement. Rather than a deluxe book, it is a tract, designed for the rapid circulation of ideas and for immediate impact. That modest physical form is precisely what makes it so faithful to Futurist practice, in which print was used as an instrument of artistic intervention. The text transfers the Futurist glorification of speed, violence, and mechanism into the realm of dance, doing so with the aggressive clarity that is so characteristic of Marinetti. As a separate French issue, the pamphlet is bibliographically intriguing, since specialists have catalogued it both as 1917 and as circa 1920. That uncertainty only adds to its interest rather than diminishing its importance. For collectors, this is above all a primary avant-garde document: scarce, fragile, and historically charged.