iliazd (36 Ergebnisse)

Zustand: Used - Very Good. 2017. Translation. Paperback. Very Good.

8°, Ln. m. SU. 383 S. Neuwertiges Ex. // Dieser Roman ist ein Ereignis: rasante Verschwörungsgeschichte, hinreißende Beichte eines Taugenichts und detailreicher Dokumentarroman einer Zeit der Flucht und der Unruhen. Das Vermächtnis eines durch die europäische Geschichte des 20. Jahrhunderts irrlichternden Künstlers, der die Moderne miterfand und mit den Großen seiner Zeit auf Du und Du stand. Iliazd, ein Georgier, der Russisch sprach, in Frankreich lebte und starb und sich zwischendurch in die Stadt Konstantinopel verliebte, wo er eines seiner aufregendsten Jahre verbrachte. Philosophia berichtet in übermütiger Fabulierlust aus den Jahren 1920/21, in denen die Stadt überfüllt ist von Tausenden russischen Soldaten der Weißen Armee, die von den roten Truppen zurückgeschlagen wurden, Aristokraten mit ihren Familien, Lebedamen, heruntergekommenen Intellektuellen und verarmten Künstlern. Ein Sprachkunstwerk, das seinesgleichen sucht. ISBN: 9783957574756 Sprache: Deutsch Gewicht in Gramm: 607.

Softcover. Zustand: Bon. Ancien livre de bibliothèque. Salissures sur la tranche. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Good. Former library book. Stains on the edge. Ammareal gives back up to 15% of this item's net price to charity organizations.

8°, Ppbd. m. SU. 321 S. Neuwertiges Ex. // Im Gebirge, unterhalb des Quecksilbersees, leben Ivlita und der spätere Post- und Bankräuber Lavrenti in einem einsamen »Dörfchen mit dem unaussprechlichen Namen«, bevölkert mit Kropfigen und Blöden, die absonderliche Lieder singen. Ivlita bewegt sich in Gedanken frei in der Zeit, die sie weit über die Berge hinaus ins Land der Flügel bringt, sie versteht die Natur, ist selbst ein »übernatürliches Ereignis«. Ihre große Liebe, der junge, christusgleiche Lavrenti, aber gehorcht den Gesetzen des Raumes und desertiert auf schwindelerregenden Talfahrten im wilden Zickzackkurs trotz seiner Gefühle zu Ivlita aus Freiheitsliebe und Abenteuerlust in die Ebene. Lavrenti beginnt Reichtümer anzuhäufen und verliert dabei seine Freiheit und Reinheit und mit seinem eigenen Niedergang beginnt die Zerstörung der Liebe. Dieser in der wilden Bergwelt Georgiens angesiedelte anspielungsreiche und unsentimentale Liebesroman ist unvergleichlich sprachmächtig, lust- und kunstvoll; kongenial übersetzt von Regine Kühn. ISBN: 9783957576194 Sprache: Deutsch Gewicht in Gramm: 402.

Zustand: Neuf.

382 S. Orig.Ln m.OU. Gut erhalten.

Hardcover. Zustand: Bon. Traces d'usure sur la couverture. Edition 1990. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Good. Signs of wear on the cover. Edition 1990. Ammareal gives back up to 15% of this item's net price to charity organizations.

P., Musée d'Art moderne de la Ville de Paris, 1976, in-4 à l'italienne, couv. ill., non paginé, photo des deux artistes en frontispice, illustrations en noir. (DC25) Catalogue établi par François Chapon, de l'exposition au Musée d'Art moderne de la ville de Paris du 20 mai au 20 juin 1976 (joint la liste des 56 oeuvres exposées).Introduction de Jacques Lassaigne. Illustrations des neuf livres d'Iliazd illustrés par Pablo Picasso.

New York, Tle Museum of Modern Art, 1987, in-4 à l'italienne, br., 85 pp., photo et illustrations en noir, chronologie, liste des expositions, bibliographie. (DB4) Publié à l'occasion de l'exposition organisée par Audrey Isselbacher au Museumù of Modern Art à New York. Texte en anglais.

P., Centre Georges Pompidou / Musée national d'Art moderne, 1978, in-4 à l'italienne, br., couv. ill., 117 pp., nombreuses vignettes in-texte, dessins, fac-similés, photos en noir, bibliographie. Texte sur deux colonnes. (DC25) Catalogue d'exposition au Centre Georges Pompidou du 10 mai au 25 juin 1978Couverture illustrée par Nathalia Gontcharova, Portrait d'Ilia Zdanevitch, 1913.

S.l., s.n. [Presses de l'Imprimerie Union à Paris], 1984, in-4 à l'italienne, photos de couv., 29 pp., nombreuses photos et illustrations en noir. (DD13) Chronologie établie par Hélène Iliazd, assistée de Régis Gayraud à l'occasion de l'exposition Iliazd Maître d'oeuvre du livre moderne à la Galerie d'Art de l'Université du Québec à Montréal du 5 au 28 septembre 1984.

38 S. Kartoniert mit Umschlagklappen. 8°. Sauberes Exemplar ohne Stempel und Anstreichungen. Zahlreiche Abbildungen und Tafeln. Einband minimal berieben. Sonst sehr gut erhalten. Sprache: fra.

Zustand: Comme neuf. ILIAZD - Ledentu le phare Paris, Editions Allia, 1995, 18 x 22, 165 pp, 18 x 22, 165 pp,

Zustand: Très bon état. in-4 oblong, broché, couverture illustrée à rabats, 38 pp., nombreuses reproductions et fac-similés. Tirage limité.

Reliure et étui éditeur. Zustand: Très bon. Nouvelle édition. Textes en français et en russe dans la traduction d'André Markowicz. Hors texte portrait d'Iliazd par Giacometti et composition en brun de Braque sur le second plat. Originale reliure de l'éditeur : double cartonnage toilé assemblé en accordéon, & étui assorti. >Suite de sonnets, initialement publiée en édition limitée en 1961.

Soft cover. Zustand: Very Good. 1st Edition. 8°Ob. - 38pp - B/w reproductions. Exhibition Catalog: Galerie Flak, Paris 23rd May to 15th June 19991. Text in French language, published in 1000 numbered copies. Original wrappers. Very good condition.

12mo. (186 x 136 mm). [6 folded sheets: 24 leaves including initial and terminal blanks]. Leaf with title, leaf with dedication ('Olga'), leaf with text recto, 11 leaves with text recto and verso, leaf with conclusion of text recto (text pages numbered 6 - 28 at lower right, final page dated '1946') final leaf with achevé d'imprimer and justification; printed text with Iliazd's verse in four-line stanzas in Russian in Cyrillic throughout on uncut sheets, printed at L'Imprimerie Union. Loose as issued in original thick wove jacket with printed title to front cover in black. The first edition of Iliazd's poem 'Pis'mo' (The Letter) inspired by the poet's meeting with fellow emigré Princess Olga Djordjadze in Cannes in 1946. From the edition limited to 60 copies each signed and numbered by Iliazd in pencil, with this one of 30 on vélin pur fil du Marais; Iliazd has dated the justification '9449' in pencil in his characteristic format. The poem 'Pis'mo', one of very few written in France that were published, was inspired by Iliazd's meeting of Olga Djordjadze in 1946 and composed at the end of the same year . Djordjadze had accused Iliazd of undertaking 'shameful' work (he was engaged in writing a doctoral thesis in Russian for another). Iliazd's response to Djordjadze was: 'For whom, then, do you want me to write in Russian?' to which she responded: 'I would wish that it be only for me'. The result was a poem filled with romantic love, nostalgia and the impossibility of fulfilment. The printed poem - first published in 1948 in characteristic Iliazd format with clear and exact typography and meticulous printing by Dmitri Snegarov and Volf Chalit at l'Imprimerie Union in limited numbers on special paper and enclosed in sheets of different blank wrappers - marks the beginning of Iliazd's major period of book production and led to one of Iliazd's most important collaborations with Picasso. The second collaboration with Picasso (the first was 'Afat' of 1940) 'Pis'mo: Escrito por Iliazd. Grabado por Picasso', also published in 1948 takes the text of the poem 'Pis'mo' but features two title pages, one in Russian (for Djordjadze) and one in Spanish (for Picasso) and is illustrated with 6 of Picasso's engravings. 'One of Iliazd's last Russian-language books, it was written at the urging of Olga Djordjadze . Their mutual enthusiasm at their common languages promted a hiking trip in Provence . the text of The Letter was full of longing, unrequited and unrequitable love . Details of Iliazd's relationship with Djordjadze surfaced in a series of letters that give evidence of a strong connection and emotional bond, and the 'Letter' of the title details an impossible romantic love.' (Johanna Drucker). This version of 'Pis'mo', limited to 60 copies, is scarce and we can trace copies at the Bibliothèque Nationale in France, the Bayerische Staatsbibliothek in Germany and at the NYPL and Yale in the US only. [see Johanna Drucker's 'Iliazd - A Meta-Biography of a Modernist', 2020; not in Cramer but see 48; not in Isselbacher].

First edition. First edition. Inscribed to Lajos Kassák. Limited, numbered, one of 500 copies on "Rubel paper.". Green wrappers with collage of cork, faux leather, gold and silver paper on front panel. With the loosely inserted, scarce 8-page preface in French by Ribemont-Dessaignes, and an advertisement flyer in Russian for Iliazd's novel "Parijatchi.". 61 [3] p. An association copy of this scarce Iliazd volume, inscribed to Lajos Kassák, the leading figure of the Hungarian Avant-garde movement. First edition of this poem in Zaoum, Russian form of literary Dadaism, dedicated to the Russian painter Michel Ledentu, who died accidentally in 1917. Although a print run of 530 copies was announced, the cover collage was done by Naum Granovsky to order. Demand was much lower, and the unassembled copies of the edition were destroyed. Arriving in Paris in 1921, Ilia Zdanevitch met his friends Larionov and Gontcharova and quickly encountered writers and artists like Tzara and the Delaunays. Ledentu le Phare is the culmination of Zdanevitch's "Zaoum" research, from which he became known under the pseudonym Iliazd, a contraction of his name. In a preface by Georges Ribemont-Dessaignes, Zaoum is defined as "a language of Russian appearance whose words and onomatopoeias are such that they allow the support of the meaning of several words of neighboring sounds." Lajos Kassák (1887-1967) was a Hungarian writer, poet, painter, and editor, widely considered the leading figure of the Hungarian Avant-garde movement. He was a pioneer in introducing modernist and avant-garde ideas to Hungary through his works and the literary magazine MA, which he founded and edited. Corners slightly bumped, spine very slightly worn at the head and tail. Inside in fine condition. The separately printed preface is artistically restored and in fine condition. Green wrappers with collage of cork, faux leather, gold and silver paper on front panel. With the loosely inserted, scarce 8-page preface in French by Ribemont-Dessaignes, and an advertisement flyer in Russian for Iliazd's novel "Parijatchi." First edition. First edition. Inscribed to Lajos Kassák. Limited, numbered, one of 500 copies on "Rubel paper.".

Small folio. (330 x 245 mm). [9 unnumbered bifolia]. Leaf with original drypoint frontispiece by Picasso signed in pencil verso, leaf with title and Iliazd's text printed to the interior of six bifolia, final leaf with justification and achevé d'imprimer. Loose as issued in arches wove wrappers, additional marbled parchment wrapper and additional printed papier de boucher dust-jacket with title to front cover, original coarse-weave cloth chemise with Iliazd's monogram to spine and matching slipcase. Iliazd's and Picasso?s homage - their final collaboration - to the painter Niko Pirosmanachvili. From the edition limited to 78 copies on japon ancien, signed on the justification by Iliazd in pencil and with Picasso's signed drypoint frontispiece; this example is inscribed 'ép[reuve] d'a[uteur]' in pencil by Iliazd to the justification. Although Iliazd had written the text for this book and published it in 1914, it did not appear again, translated now into French by Andrée Robel and André du Bouchet, until the publication of the present book. Iliazd had prepared the copperplate in late 1971 before he fell seriously ill and had to be committed to hospital. He made a remarkable recovery and persuaded Picasso to create the portrait of the artist Niko Pirosmanachvili ('Pirosmanachvili à son Chevalet') in February 1972. Picasso made only three further prints (all in March 1972) before his death in April, 1973. Iliazd published one final book, bringing to the press his long-planned collaboration with Miró, 'Le Courtisan Grotesque', before his own death in December, 1975. 'Pirosmanachvili', as a text a return to Iliazd's own youth, seems a fitting full stop to the book collaborations of Picasso and Iliazd, begun more than 30 years before with 'Afat'. According to Baer (see below), Iliazd had great difficulty finding the correct Japon paper for his edition. It appears that he had to settle for two different tranches of Japon of different sizes: copies 1 - 39 (Baer's 'format B') were folded sheets measuring 280 x 213 mm; copies 40 - 78 were of a larger size (Baer's 'format A') measuring 300 x 193 mm. The format of the present copy is 308 x 184 mm. Baer lists another copy inscribed 'ép[reuve] d'a[uteur]' in 'format A' at the Bibliothèque nationale. 'In 1912, the brothers Kyril and Ilia Zdanevitch and their friend, Michel Ledentu, all three fervent Futurists, met the painter Niko Pirosmanachvili. Shocked by the misery in which the artist lived and eager to draw attention to his exceptional talents, Ilia published a sort of manifesto about Pirosmanachvili's art in a local paper in 1914. In the summer of 1971, nearly 60 years after their meeting, Iliazd decided to reprint this article as a loyal tribute to his long unrecognised friend . Iliazd prepared a small copperplate hoping that Picasso would consent to engrave a frontispiece. On February 21, 1972 he went to see Picasso at Mougins, and the artist made for him a remarkable, idealized portrait of the Georgian painter in drypoint .' (Cramer). 'A cause de difficultés rencontrées par Iliazd pour trouver un nombre suffisant de feuillets de japon ancien de même format, les exemplaires se présentent de deux façons différentes: mêmes emboîtage, couverture et page de garde, mais la taille des feuillets est différente.' (see Baer). [Cramer 154; Baer 2020b].

Soft cover. Zustand: Near Fine. 1st Edition. Sm.4° (311x130mm) - Unpaginated (18 Japon ancien + 24 glossy). First edition of 70 copies signed and numbered by Iliazd containing one original etching / aquatint, signed and numbered by Max Ernst. Original boards. In near Fine condition. Signed by Illustrator(s).

Soft cover. Zustand: Fine. Zustand des Schutzumschlags: 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).

Limited edition, one of 52 copies on vieux Japon from a total edition of 68 signed by Picasso and Ililazd; folio (32 x 22 cm); with 12 engravings, of which 2 are hors texte and 10 are in text; pages are folded in three with engraving in centre and text either side; in original vellum wrappers with a drypoint etching on the cover, in a folded vellum sleeve with the spine imprinted with the title, vellum wrappers slightly stained otherwise a fine copy. One of 52 copies, Chevaux de minuit is one of Picasso and Iliazd's most successful collaborations. 'Picasso's stylistic range from the animals of the 1942 Buffon to these horses is a vast one. Here he has restricted himself to an extreme simplification of outline, accented only by the drypoint burr, yet vividly descriptive of movement. The typographic layout by Iliazd carefully balances and sometimes echoes the design of the plates' (Artist and the Book) The poem Chevaux de Minuit by Roch Grey (pseudonym of Baroness Hélène Oettingen) was edited by Iliazd after her death in 1950. The two had been friends and Ilia Zdanevich felt that the writer's work had been under-appreciated in her lifetime, having not received recognition in either mainstream or avant-garde literary circles. It was his aim, especially in the later part of his career to bring to light the work of marginal writers by collaborating with famous artists, many of whom were his close companions.

2 vols. Tall 8vo. (316 x 125 mm). [10 unnumbered leaves from 5 bifolia of japon ancien; 14 unnumbered leaves from 7 bifolia of glossy paper]. Original etching with aquatint by Max Ernst, signed in pencil at lower right (sheet size: 310 x 106 mm; image size: 201 x 54 mm); the accompanying booklet, in matching format on glossy white paper features 12 reproductions of monochrome photographs. Original publisher's grey / green wrappers with printed vignette in black to front covers and white glossy wrappers with title to front cover in black, loose in original publisher's envelope with matching vignette and numbered at upper right in pencil in Iliazd's hand as per the book. A very fine copy in the original printed envelope of the very scarce Iliazd and Ernst collaboration to mark the publication of Maximiliana. From the edition limited to 70 copies on japon ancien numbered and signed by Iliazd in pencil and with Ernst's signed etching. This copy also includes the original invitation - a sheet of red card (303 x 102 mm) with printed text in black, the typography by Iliazd, recto only - to the vernissage of the exhibition of the collaboration between Iliazd and Ernst 'Au Point Cardinal' in rue Jacob, 'le Mercredi 29 Avril', 1964. 'L'art de voir de Guillaume Tempel', was published to coincide with the exhibition of the text and etchings for Iliazd and Ernst's forthcoming collaboration 'Maximiliana, ou l'exercise illégal de l'astronomie', held at 'Point Cardinal', 3 rue Jacob in Paris, from April 29th to May 30th, 1964. Both works were inspired by the work of the self-taught astronomer, poet and lithographer Wilhelm Lebrecht Tempel (1821 - 1889) who had discovered the asteroid 'Maximiliana' (later 'Cybèle') on March 8th, 1861. Iliazd had made his own discovery - Tempel's poems, notes, drawings and lithograph charts - and proposed the book which Max Ernst regarded ultimately as his masterpiece. The additional booklet, on glossy paper, presents a time-line of Tempel's life and discoveries with quotations from his letters. [Spies 96B; I Libri di Iliazd 26; see Isselbacher 4].

Zustand: In very good conditions. 4 p. 11x 15 cm. With an invitation to Georges Ribemont Dessaignes for Boustrophédon au miroir (1971).