• Original 1960 Wolfgang Paalen exhibition insert 'En Hommage', Librairie Loliée, Paris, recto showing the title in quotation marks, artist name PAALEN Wolfgang with dates 1905–1958, a list of three loaned works — Personnages dans une grotte 1933, Selam Trilogy 1947, Sans titre 1954 — lender credit to Mme Géo Dupin, and a note identifying the sheet as an extract from a contemporary article on the retrospective.
  • Reverse of 1960 Wolfgang Paalen 'En Hommage' insert showing an elegiac French text by Octavio Paz, dated Paris, 5 novembre 1960, describing Paalen's practice as suspended between extremes, moving between poetry, science, pre-Columbian culture, and abstraction, closing with the phrase 'Espace sans rivages'.
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Librairie Loliée

Wolfgang Paalen — “En Hommage” / Octavio Paz Text Insert, Librairie Loliée, Paris, 1960

Wolfgang Paalen — “En Hommage” / Octavio Paz Text Insert, Librairie Loliée, Paris, 1960

Artist
Wolfgang Paalen
Publisher
Librairie Loliée
Place & year
Paris, 1960
Type
Exhibition Insert
Format
Printed text sheet / exhibition insert, printed in black on cream paper
With
Text by Octavio Paz; retrospective organised by Géo Dupin
Condition
Age toning, soft handling creases, light corner wear and minor surface marks consistent with period paper ephemera.
Register
TNR-2026-0174 · 10 June 2026
£150
£150
Sale Placed
Register No. TNR-2026-0174
Registered 10 June 2026
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Notes

Librairie Loliée, Paris, November 1960
Issued in relation to a posthumous Wolfgang Paalen retrospective organised by Géo Dupin

A small posthumous document for Wolfgang Paalen, carrying an elegiac text by Octavio Paz on one side and a concise loan record on the other. The verso lists three works by Paalen loaned by Mme Géo Dupin: Personnages dans une grotte 1933, Selam Trilogy 1947, and Sans titre 1954.

Paalen moved between Surrealism, Mexico, poetry, science, pre-Columbian culture, and abstraction. His work and writing helped open a route away from orthodox European Surrealism toward a more speculative, cosmological modernism. Paz’s text frames this passage directly: painting as flight, solitude, vertigo, and return to space.

This sheet survives as a secondary object from that circulation. Not the painting, not the catalogue, but the retained support: homage, text, loan list, correction, afterlife.

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