Viridis Candela. Subsidia Pataphysica — Cahiers du Collège de ’Pataphysique, ...

*N.E.O.N.* ranks among the most distinctive Surrealist journals of the immediate postwar period and was conceived as a four-page broadsheet rather than a conventionally bound review. Its third issue appeared in Paris in May 1948 under the editorial responsibility of Sarane Alexandrian, Jindřich Heisler, Véra Hérold, Stanislas Rodanski and Claude Tarnaud. The title itself unfolds as a poetic programme: N’être rien, Être tout, Ouvrir l’être, and, in reverse, Néant, Oubli, Être. Poems, polemics, book notices and images are interwoven in a restless, collage-like layout. Heisler’s graphic conception makes text and page inseparable, while the broad circle of contributors connects the young postwar generation with figures such as Breton, Péret, Brauner, Toyen and Gracq. This copy belongs to the rare issue on blue paper, whose fading reveals the material history of the sheet. For the bibliophile, it is both a record of Surrealism’s renewal after 1945 and an exceptionally fragile graphic object.

*N.E.O.N.* ranks among the rarest and most graphically distinctive Surrealist reviews produced in post-war Paris. Its title forms a poetic acronym: N’être rien, Être tout, Ouvrir l’être, Néant, Oubli, Être. The editorial group comprised Sarane Alexandrian, Jindřich Heisler, Véra Hérold, Stanislas Rodanski and Claude Tarnaud. The Czech Surrealist Heisler was chiefly responsible for the publication’s striking visual identity. Text, photography, drawings, facsimile handwriting and typography merge into a collage-like whole. The large newspaper format makes the unfolding of each issue an essential part of the reading experience. This group contains four of the only five issues published and therefore represents an exceptionally substantial run of the short-lived review.

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 series of twenty original issues documents a decisive phase in the first year of *Lacerba*, a central periodical of Italian Futurism. It runs from no. 5, dated 1 March, through no. 24 of 15 December 1913, forming an almost continuous core of the year. The first four numbers are absent, so the series does not constitute the complete first year. Under the direction of Giovanni Papini and Ardengo Soffici, the journal brought together manifestos, polemics, literary experiment and visual art. Contributions by Marinetti, Apollinaire, Max Jacob and Picasso, among others, reveal the connection between Italian Futurism and a wider European avant-garde network. No. 18 contains Apollinaire’s *L’Antitradition futuriste*, while the issue of 15 October presents early examples of Futurist *parole in libertà*. As an ensemble, the series preserves not only the texts but also the rhythm, typography and polemical energy of the original periodical format. Its substantial scope, original state and historical coherence make it especially appealing to the bibliophile.