Dinamo futurista, Anno I, nn. 3–4–5
€1,350.00
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.
Quantity
Depero, Fortunato
Boccioni, Umberto
Dinamo futurista, Anno I, nn. 3–4–5
1933 | Rovereto | Arte Dinamo futurista
A keystone piece where Boccioni speaks again through type, image and rhythm. As the final number and in excellent condition, it retains lasting collector appeal. A rare intersection of graphic experiment and historical document.
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.
€1,350
Condition Report:
In-Depth Study
References & Bibliography
Format
In-4 (Quarto) approx. 25 × 32 cm
Edition Particulars
Copy from the enlarged print-run; lacking the rare translucent pergamino wrapper.
Paper
carta patinata (tavole fuori testo)
1
Edition Particulars:
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Product DETAIL
With 1 coated-paper plate bearing Boccioni’s photographic portrait and 7 coated-paper plates reproducing his works; all black and white and outside the text. The tone is at once celebratory and programmatic, splicing manifestos, recollections and press excerpts. Layout deploys dynamic typography, large display faces and montage to convey rhythm and “dinamismo.” Depero’s diagrams act as visual summaries of futurist principles. As a whole the issue compresses Boccioni’s legacy and the living rhetoric of 1930s Futurism.
Deineka, A. · Moor, D. · Perelman, V. · Sokolov-Skalya, P.
Russian avant-garde. Бригада художников (Brigada Khudozhnikov). № 2.
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.
Revue
€500
Paris, Union des Artistes Russes à · Picasso, Pablo
Bal olympique. Vrai bal sportif costumé
Programme for the costumed sports ball of the Union des Artistes Russes à Paris at the Taverne de l’Olympia, Friday 11 July 1924, staged alongside the Paris Games. The richly illustrated booklet comprises [12] pages with a cover by Victor Barthe; inside are contributions by Picasso, Marie Vassilieff, S. Fotinsky, N. Granovsky and Chatzman, with a nod to Manet’s *Olympia*. It distills the émigré energy of Montparnasse, fusing festivity with avant-garde graphics. Large oblong format; typographic work by François Bernouard on vélin Normandy. A finely preserved piece of ephemera uniting sport, art and spectacle. For bibliophiles, a rare hinge between dance programme, artist’s print culture, and Olympic memorabilia.
Revue
€850
Marinetti, Filippo Tommaso
Futurismo – Le Futurisme. Revue
synthétique illustrée
This rare group brings together three issues of *Futurismo – Le Futurisme*, a bilingual and internationally minded Futurist review from the early 1920s. The leaves show Futurism moving beyond the manifesto, fusing theatre, typography, image, and mechanical modernity into a single provocative form. Especially notable is the pairing of the French and Italian versions of *Le Théâtre de la Surprise / Il Teatro della Sorpresa* with the later French issue devoted to *L’Art mécanique*. The group reflects the Futurist ambition to accelerate art, internationalize it, and insert it directly into modern life. For collectors of the avant-garde, such ephemeral periodical material is often rarer than canonical book publications.
Revue
€620
Bodson, Guy · Gervereau, Laurent
Aux poubelles de la gloire. N°
1-13
*Aux poubelles de la gloire* is a striking French journal published between 1977 and 1979, exploring the boundaries between art, literature, and social criticism. Edited by Guy Bodson and Laurent Gervereau, this publication serves as an intellectual crossroads where 'Pataphysics and Situationism meet. Its design, strongly reminiscent of the *Cahiers du Collège de ’Pataphysique*, reveals a deep affinity with the absurd science of imaginary solutions. Simultaneously, its visual language echoes the radical aesthetics of the Situationist International. For the bibliophile, it represents a rare document of a fleeting yet influential artistic dialogue.
