152 Proverbes mis au goût du jour
With *152 Proverbes mis au goût du jour*, Paul Éluard and Benjamin Péret published in 1925 one of the most characteristic linguistic experiments of the first phase of organized Surrealism. The book takes one of the most familiar forms of collective wisdom, the proverb, and subjects it to systematic disruption. Familiar expressions are shifted, crossed and rewritten so that their apparently self-evident logic gives way to unexpected meanings. The collaboration brings together two central voices of the young Surrealist movement in a text where humour and poetic subversion are inseparable. The work appeared in the immediate orbit of *La Révolution surréaliste*, the periodical that from late 1924 served as a major organ of the movement. It is also bibliographically significant as the first title of the Éditions Surréalistes, recorded as Sebbag, no. 1 and also referenced as Lhermitte 236. This copy belongs to the ordinary issue on edition paper. As an early independent Surrealist publication, the book has both literary and documentary importance.
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Éluard, Paul
PERET, Benjamin
152 Proverbes mis au goût du jour
1925 | Paris | La Révolution surréaliste
A key 1925 publication in which Éluard and Péret transform the everyday proverb into an instrument of Surrealist linguistic revolt. As the first title of the Éditions Surréalistes, the book also possesses exceptional bibliographical and historical significance.
With *152 Proverbes mis au goût du jour*, Paul Éluard and Benjamin Péret published in 1925 one of the most characteristic linguistic experiments of the first phase of organized Surrealism. The book takes one of the most familiar forms of collective wisdom, the proverb, and subjects it to systematic disruption. Familiar expressions are shifted, crossed and rewritten so that their apparently self-evident logic gives way to unexpected meanings. The collaboration brings together two central voices of the young Surrealist movement in a text where humour and poetic subversion are inseparable. The work appeared in the immediate orbit of *La Révolution surréaliste*, the periodical that from late 1924 served as a major organ of the movement. It is also bibliographically significant as the first title of the Éditions Surréalistes, recorded as Sebbag, no. 1 and also referenced as Lhermitte 236. This copy belongs to the ordinary issue on edition paper. As an early independent Surrealist publication, the book has both literary and documentary importance.
€250
Condition Report:
In-Depth Study
References & Bibliography
Format
In-8 (Octavo) approx. 20 × 26 cm
Edition Particulars
Copy from the ordinary issue on edition paper; the first title of the Éditions Surréalistes, Sebbag, no. 1; Lhermitte 236.
Paper
papier d’édition
Inscription
No inscription
Product DETAIL
The book consists of 152 proverbs and fixed expressions jointly rewritten by Éluard and Péret. The authors begin with familiar French sayings whose repeated everyday use has made them almost automatic. They replace words, combine fragments of different expressions or alter their internal logic, producing a new and frequently absurdly comic statement each time. There is no plot, character or chronological development; the structure consists entirely of the succession of these manipulated sayings. The original proverb often remains recognizable enough for the deviation to be immediately perceptible. This creates a continuous interplay between collective memory and unexpected poetic association. Humour, absurdity and semantic short-circuiting become instruments for exposing the automatic nature of everyday language. The whole forms a concise demonstration of the Surrealist conviction that new meanings can emerge when fixed linguistic relationships are broken open.
Ribemont-Dessaignes, Georges
Ariane
A remarkable copy of *Ariane*, published in the *Les Cahiers Nouveaux* series, inscribed with a poetic and enigmatic message by Ribemont-Dessaignes to Jacques Matarasso. This deluxe Japan paper edition was elegantly rebound in 1994 by Georges Leroux, in a restrained style that echoes the work’s Dadaist spirit.
Book
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Aragon, Louis
Anicet ou le panorama
With *Anicet ou le panorama* (Paris, NRF, 1921), Louis Aragon delivers an early, deliberately hybrid novel written at the hinge between Dada disruption and the rise of Surrealism. The book proceeds by visions and sequences—a “panorama” in which identity, desire, and the act of looking continually shift. In this bibliophile form (“tirage de tête” reserved for NRF bibliophiles), the novel also becomes a collectible object intended for a small inner circle. This copy is specifically designated “pour le Dr. Sourdel” and numbered XLVIII, underscoring the selective, personalized nature of the issue. Published under the NRF imprint, Aragon is anchored in the literary center while keeping the book’s formal audacity intact. A key item for understanding the nervous modernity of the early 1920s.
Book
€1,150
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Poésies. 1917-1920
*Poésies. 1917-1920* gathers poems from a decisive period in Jean Cocteau’s development, at the intersection of poetry, music and the Parisian avant-garde. The collection was published in 1920 by Éditions de la Sirène, a house closely associated with Cocteau during these years. The poems belong to the period of his involvement with Erik Satie, the Groupe des Six and artists connected with Cubism, although Cocteau himself resisted identification with any single movement. Marie Laurencin contributed the printed illustration for the original wrapper, giving the volume a significant visual dimension. In this copy that wrapper has been preserved within an attractive contemporary half-leather binding. Most notably, Cocteau inscribed the book to a friend named Marcelle, possibly the pianist Marcelle Meyer, potentially connecting this individual copy with the artistic circle in which the work originated.
Book
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Gracq, Julien
Au château d'Argol
Julien Gracq’s debut novel, issued by José Corti, sets a gothic castle on the Breton coast as the stage for a charged, almost dream-logic encounter between three figures. The prose is musical and image-rich, favouring symbolic landscapes and metaphysical weather. Born near Surrealism yet distinctly independent, the book establishes Gracq’s lucid enchantment from the start. For bibliophiles this is a key title: an early Corti publication, scarce in appealing condition, and the opening note of a major twentieth-century voice. Its limited print-run and initially slow reception add to the sense of discovery. This copy is on publisher’s stock.
Book
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