Lacerba. Periodico quindicinale. Anno I, nos. 5–24

This special June issue of *La Danse* documents the first Paris season of Rolf de Maré’s Ballets Suédois. Under De Maré and choreographer Jean Börlin, the company emerged as the principal post-war parallel and rival to Diaghilev’s Ballets Russes. Its establishment at the Théâtre des Champs-Élysées gave this ambition a powerful symbolic continuity. Valentine Hugo designed the cover, lending the programme-periodical a distinct artistic identity. This copy retains the loose programme for the performances of 3, 7 and 12 June. Within it, *Jeux* provides a tangible link with the Ballets Russes repertoire: Debussy’s music and Nijinsky’s original scenario were combined with new choreography by Börlin and a setting by Pierre Bonnard. The issue therefore shows how the Diaghilev model was not merely imitated but reinterpreted by a younger modernist company. Preserving both the periodical and its separate programme, the ensemble is an important document of the transition between two major companies of the Parisian dance avant-garde.

This original December issue of *La Danse* served as the official programme for the thirteenth Russian season at the Théâtre des Champs-Élysées. The publication combines the ephemeral nature of a theatre programme with the visual ambition of an avant-garde periodical. Its colour cover reproduces Picasso’s watercolour design for the Chinese costume in *Parade* and provides the issue’s immediately recognizable artistic focus. Inside are colour reproductions of costumes for *Shéhérazade* after Léon Bakst, a title illustration by Valentine Hugo and numerous photographs of dancers and productions. The issue records how Serge Diaghilev brought painting, music, choreography and publicity design together within a single modern conception of performance. The illustrations are reproductions rather than separate signed original prints. The red and grey-green typography remains crisp, while the cover colours show remarkably little fading for such a fragile publication. Despite its own signs of use, the surviving glassine has evidently protected the original wrappers.

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.

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.