Magritte

This rare exhibition catalogue accompanied the joint presentation of Émilie Delbrouck and Marcel Defize at Galerie Van Leer in Paris from 1 to 15 April 1929. The small publication comprises eight pages and reproduces two works. Its particular significance lies in André Breton’s preface, which places the exhibition directly within the Surrealist context of the period. The conjunction of two Belgian artists, a Parisian avant-garde gallery and Breton as advocate makes the pamphlet more than a passing exhibition document. Breton’s text later acquired a second life when it was reused under the title *Exposition X…, Y…*. The catalogue therefore preserves a tangible trace of the international exchanges surrounding Surrealism at the end of the 1920s. For the bibliophile, this meeting of art, programmatic writing and ephemeral print is especially compelling. The fragile condition of the present copy also emphasizes the inherently vulnerable nature of such exhibition catalogues.

This Brussels exhibition catalogue records a Georges Mathieu show at Galerie Veranneman in the winter of 1971. It is a concise yet highly distinctive publication in which the force of Mathieu’s calligraphic abstraction remains immediately present. Henri Van Lier’s preface provides a critical frame that does more than describe the work, placing it intellectually within post-war painting. Daniel Frasnay’s photographic contribution gives the booklet a taut visual rhythm and makes it more than a routine gallery handout. That combination of gallery publication, critical text, and images explains much of its appeal to collectors. The present copy is elevated further by an original drawing and a personal inscription from Mathieu to Madame Goldstein. It stands at once as exhibition document, artist-related imprint, and intimate relic.

This rare Fluxus portfolio, designed by Ben Vautier, embodies late-1960s dematerialised art: the work *is* a bundle of ideas, instructions, and attitudes. *Participations…* operates as a catalogue for a “non-material” exhibition and, at the same time, as a logistical trace of a festival announced as worldwide, from 1 to 15 June 1969. Instead of objects, the folder offers contributions reproduced through plain printing, stencil, or photocopy—an aesthetic of speed, circulation, and intention. It gathers voices that redrew the boundaries of art: from George Maciunas and Robert Filliou to Daniel Buren, Dieter Roth, Wolf Vostell, Joseph Beuys, with Marcel Duchamp as a conceptual horizon. The deliberately ironic tables of contents and playful notes on the submissions affirm a Fluxus principle: seriousness needs play. As a numbered first edition limited to 502 copies, it stands as an emblematic document of the moment when art became protocol, performance, and network.

A rare first edition of Arriver à se réveiller, written by Henri Michaux in the tremulous post-war years. The text unfolds as an inward journey toward lucidity, where sleep and waking mirror each other. Printed and published by Pierre Bettencourt in his own workshop, the edition’s small run preserves the work’s intimacy. The title-page vignette, a linocut by Bettencourt, sets a spare, rhythmic visual key that amplifies Michaux’s vigilant, vulnerable tone. This copy is handsomely bound in brown morocco with balsa boards by Miguet, a tactile nod to lightness under tension. For bibliophiles, it is an exemplary union of poetry, craft, and experiment. The volume embodies the independence of the post-war small press and Michaux’s radical sensitivity.