Aux poubelles de la gloire. N°
1-13

Viridis Candela. Subsidia Pataphysica is a complete run of the third and new series of the Cahiers du Collège de ’Pataphysique, issued between 93 and 102 E.P., corresponding to 1965–1975. The series forms one of the documentary backbones of the later activity of the Collège: it preserves texts, dossiers, commentaries, supplements and internal signals from a world in which literature, fictional science and institutional parody coincide. As the series n° 0–27/28, it is not a single book but a continuous pataphysical constellation. The index number n° 27/28 is especially important because it contains the index to the Cahiers, Dossiers and Subsidia. The run therefore functions both as publication and as access key to a larger corpus. For The Hidden Page this is a core object: not spectacular through luxury or signature, but through completeness, internal coherence and documentary weight. The narrow paperbound fascicles show the avant-garde as archive, ritual and network in printed form.

*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.