Russian avant-garde. Бригада художников (Brigada Khudozhnikov). № 2.

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.

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.

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.

*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.