Dinamo futurista, Anno I, nn. 3–4–5

This inaugural issue of La Révolution surréaliste belongs to one of the most charged founding moments of the European avant-garde periodical. It appeared shortly after Breton’s first Manifesto of Surrealism and immediately gave the new movement a voice that was polemical, experimental, and collective. Far from a luxury book, it presents itself as a fragile yet explosive working document in which essays, dream accounts, inquiries, and visual interventions intersect. The contributors gathered here — Breton, Aragon, Éluard, Desnos, Péret, Reverdy, and others — define the early constellation of Surrealism in the act of formation. The presence of images and reproductions associated with Man Ray, Picasso, and Giorgio de Chirico likewise shows how literature and visual art were intertwined from the outset. For the bibliophile, this first issue is far more than a magazine: it is a source document in which programme, experiment, and group identity remain visibly in the making. This copy is in clearly below-average condition, yet for that very reason it feels deeply authentic in its survival. It remains a fragile, historically charged object from the first hours of Surrealism.

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.

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.

Viridis Candela. Subsidia Pataphysica is a complete run of the third and new series of the Cahiers du Collège de ’Pataphysique, issued between 93 and 102 E.P., corresponding to 1965–1975. The series forms one of the documentary backbones of the later activity of the Collège: it preserves texts, dossiers, commentaries, supplements and internal signals from a world in which literature, fictional science and institutional parody coincide. As the series n° 0–27/28, it is not a single book but a continuous pataphysical constellation. The index number n° 27/28 is especially important because it contains the index to the Cahiers, Dossiers and Subsidia. The run therefore functions both as publication and as access key to a larger corpus. For The Hidden Page this is a core object: not spectacular through luxury or signature, but through completeness, internal coherence and documentary weight. The narrow paperbound fascicles show the avant-garde as archive, ritual and network in printed form.