Ilia Zdanevitch (5 results)

Condition: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

309pp. Prof. illus. Lrg. 4to. Boards, 1/4 cloth. Edition limited to 1030 copies. Published in conjunction with an exhibition at the Muzei Izobrazitel'nykh Iskusstv imeni A.S. Pushkina, Moskva, Dec. 2015-Feb. 2016.

Oblong 4to. (215 x 320 mm). [50 unnumbered leaves including blanks]. Half-title, original aquatint with 'arabesque' title, leaf with justification in Russian verso, leaf with justification in French, leaf with title in French verso, leaf with title in Russian, leaf with original aquatint with second 'arabesque' and Iliazd's verse in Russian in double columns illustrated with 4 engravings with burin by Picasso, final leaf with achevé d'imprimer in Russian. Loose as issued in original publisher's printed parchment wrappers over card boards with title in black to upper cover, original tan patterned paper board chemise and matching slipcase with label with 'ILIAZD / PICASSO' in blue ink to edge. The first of Iliazd's beautiful and typographically inventive illustrated books and the first he produced with Picasso. From the edition limited to 64 copies on 'Montval à la cuve', signed by Picasso and Iliazd in pencil. 'Afat was the first of nine books Iliazd and Picasso collaborated on. All of them were published under the imprint of 'Degré Quarante et Un', a name Iliazd chose in memory of a school of futurist poetry called the 'University of the 41º', which he had founded in Tiflis in 1917 . Afat is a collection of 76 sonnets in Russian by Iliazd, the majority of which were written between January and June, 1938. In his poems, Iliazd writes of love, of feminine beauty, of the poet's difficult métier and the hidden meaning of words. Three sonnets are about the poet's relationship to 'Pablo' (Picasso).' (Patrick Cramer). 'Afat . contained features that would become signature elements of his work. The book was structured as a whole . The sequencing and number of pages were ordered by a mathematical scheme. The image was not linked to directly to the text, thematically or physically, and the interaction produced a dialogue rather than subordinating one to the other as illustration and / or caption. The sequence of blank sheets, title, half title, and justification of the edition were laid out symmetrically so that the closing of the book echoed the opening . The typographic style was restrained, and the pages produce subtle equilibrium instead of dynamic activity - no confusion, no clamor, no crowding, no elaborate display faces. The sole decoration on the cover was the stamped title, Afat (a term that invokes unhappiness / and / or beauty that causes it) rendered in kufic . With this work, Iliazd's architectural approach to book structure, with strong emphasis on symmetry and balance, made its appearance.' (Johanna Drucker). [Cramer 33; see Johanna Drucker's 'Iliazd - A Meta-Biography of a Modernist', 2020, pp. 146 - 147].

Soft cover. Condition: Fine. Dust Jacket Condition: Fine. 1st Edition. Gr.4° (38.1 x 26.7 cm) - The complete set of six original Prints: four etchings and two engravings, on ancient Arches paper, folded in three different ways to overlap forming stairs of one, two or three steps, with text by Iliazd,signed in pencil by Picasso and Iliazd numbered copy out of the total edition of 66, printed by Roger Lacourière, Paris, published by Latitud cuarenta y uno (Le Degré quarante et un), Paris, contained in original parchment cover with etching on front, covered with parchment reinforced by two pieces of gray cardboard, paper jacket with lettering, within stiff parchment made from an entire skin. In Fine condition. Signed by Author(s).

Paris, Chez Gilberte Cournand, mars 1956, 255x195mm, 54p., broché sous couverture rempliée. Tiré à 500 exemplaires numérotés, phototypie de Louis Duval et typographie de l'imprimerie Union.Cet ouvrage fut commandé par Monique de Paravicini, réalisé par Gilberte Cournand et Iliazd, qui utilise ici la photographie pour la seule fois de sa carrière. Réf. : Les Carnets de l'Iliazd Club n°7, Paris 2010, p.87-91 : Argentina, un livre retrouvé d'Iliazd.Bel exemplaire. Illustré de 22 photographies en noir et blanc par Monique de Paravicini d'Ora, accompagnés de texte, certains extraits de la presse.Antonia Mercé y Luque, plus connue sous son nom de scène la Argentina, est une danseuse et chorégraphe espagnole née à Buenos Aires le 4 septembre 1890 et morte à Bayonne le 18 juillet 1936. Elle est considérée par beaucoup comme une des plus grandes novatrices de la danse espagnole du xxe siècle.Connue pour être une grande féministe progressiste, elle hérite de Serge de Diaghilev la direction des Ballets espagnols à Paris. Tout au long de sa carrière, elle sera amenée à collaborer avec des artistes de l'avant-garde espagnole tels que Manuel de Falla, Enrique Granados, Isaac Albéniz, José Padilla Sánchez ou Federico García Lorca. Elle participa au Grand Bal Travesti Transmental le 23 février 1923 ou elle fit la connaissance de nombreux artistes russes dont Iliazd avec qui elle devait rester très liée. (103037).