Natalia goncharova (41 risultati)

Soft cover. Condizione: Very Good. Paperback. Binding sound, text clean, light shelfwear. Oversize, illustrated exhibition catalogue, 224 pages. Heavy book: priority or international shipping may require additional charges. Book.

Soft Cover. Condizione: Very Good. American Library Edition. 114 + vi pp. Vol. XVI, No. 2, 1980 issue only! Solidly and tightly bound copy with minimal external and overall wear and use. Copy with crisp pages and clean text. Pictures of actual copy -not displayed here!- available upon request. 'Saint-Georges le Victorieux', 1914, by Natalia Goncharova (Cover Illustration) (illustratore). …

Condizione: new. Pages: 64 Language: Russian. Zagadaj zhelanie. Vyberi arkhetip. Zapusti realizatsiju. Vnutri kazhdogo iz nas zhivut moguschestvennye energii arkhetipov grecheskikh bogov i bogin. Kazhdyj daruet unikalnuju silu. Ambitsioznyj Apollon tselitsja v samye dalekie zvezdy. Mudraja Afina pomogaet vybrat luchshuju strategiju. Chuvstvennaja Afrodita pritjagivaet nuzhnykh ljudej i resursy. Kazhdaja mandala v etoj raskraske - instrument dlja tonkoj nastrojki nuzhnogo tebe arkhetipa. Vnutri 16 mandal, s pomoschju kotorykh ty: * pochuvstvuesh, kakaja energija nuzhna tebe segodnja * aktiviruesh tvorcheskuju silu i vojdesh v rezonans s namereniem * sozdash svoj lichnyj artefakt kak simvol zhelanija, kotoroe uzhe nachalo sbyvatsja Meditiruj nad nimi, zarjazhaj vodu, poves na stenu dlja vdokhnovenija! 9785042494376.…

Condizione: new. Pages: 448 Language: Russian. GERA - idealnaja zhena dlja uspeshnogo muzhchiny. ili zhenschina, kotoraja vse sily tratit dlja podderzhanija krasivogo fasada. APOLLON - tot, v kogo vy vljubites s pervogo vzgljada. i kto metodichno razrushit kritikoj vashu samootsenku. ARTEMIDA - sposobna pronzit streloj ljubuju tsel. no ne vidit muzhchin, dostojnykh svoej strely.Arkhetipy po grecheskoj mifologii - metaforicheskij i krasivyj sposob ponjat sebja i okruzhajuschikh. Kazhdyj iz 8 zhenskikh i 8 muzhskikh Bogov-arkhetipov velikolepen v odnoj iz sfer zhizni (SILA ARKHETIPA), no, zatsiklivajas na nej, mozhet ujti v DESTRUKTIVNOE PROJAVLENIE.Iz knigi vy uznaete: kak kazhdyj arkhetip vlijaet na nashu zhizn i na to, kakimi nas vidjat okruzhajuschie; kak ispolzovat Sily raznykh arkhetipov, chtoby nivelirovat Destruktivnoe projavlenie i preuspet v raznykh sferakh zhizni; sojuzy s kakimi arkhetipami usiljat vas i pomogut rasti. BONUS: Vnutri karty s arkhetipami. 9785041978907. …

Softcover. First Italian Edition. Catalog for an exhibition which ran from April through May of 1971 at Galleria Lorenzelli. Text in Italian. Very Good plus in perfect-bound wrappers.

Tapa blanda. Condizione: New. Escritos reunidos de una de las máximas representantes de la vanguardia rusa, Várvara Stepánova, acompañados de escritos de compañeras y autoras de la revolución cultural.El colapso del Imperio ruso y el advenimiento de la Revolución bolchevique comportaron una transformación vertiginosa en todos los ámbitos de la cultura. Los escritos teóricos de Várvara Stepánova (1894-1958) permiten reseguir los cambios en las ideas sobre el papel de las prácticas artísticas durante un periodo convulso de la historia, de la mano de una de las artistas más significativas e interdisciplinares del momento. Con una esclarecedora introducción a cargo de la profesora Irina Aristarkhova, así como un apéndice en el que se incluyen textos de Olga Rozánova, Natalia Gonchárova, Liubov Popova y Esfir Shub (parte de las denominadas "amazonas de la vanguardia rusa"), las autoras incluidas en este libro fueron sin duda protagonistas y fuerzas motrices de este estallido, que quizá todavía hoy no ha agotado sus capacidades de resonancia.…

Hard cover. Sewn binding. Cloth over boards. 304 p. Contains: Illustrations. Audience: General/trade. Good. Shelf wear to cover. Dust spot on textblock corner. Text unmarked.

Soft cover. Condizione: Good. 100 pp.; English and Hebrew. Good condition. Size: 240*170 MM.

Taschenbuch. Condizione: Neu. Druck auf Anfrage Neuware - Printed after ordering - Studienarbeit aus dem Jahr 2015 im Fachbereich Psychologie - Medienpsychologie, International Psychoanalytic University, Sprache: Deutsch, Abstract: In dieser Arbeit wird der Propagandafilm 'Inside Mosul' der Terrororganisation 'Islamischer Staat' im Hinblick auf die darin enthaltenen medialen Propagandastrategien untersucht.Zunächst wird die Organisation 'Islamischer Staat', seine Öffentlichkeitsarbeit, seine Propagandastrategien und sein medialer Flügel 'Al-Hayat Media Center' vorgestellt. Dabei wird der Fokus auf die historische Entwicklung der Organisation und seine medialen Kompetenzen sowie grundlegenden Ziele gelegt. Im dritten Kapitel wird die Narration und der zugrundeliegende Kontext des Propagandavideo 'Inside Mosul' erläutert. Anschließend analysiere ich diesen Werbefilm chronologisch und versuche dabei verschiedene mediale Stilmittel und Strategien herauszuarbeiten. Es werden Filmvorspann und acht verschiedene Szenen nacheinander analysiert.…

hardcover. Condizione: New. In shrink wrap. Looks like an interesting title.

Condizione: Very Good.

Sewn as issued, pictorial wrappers with flaps. Very fine. Paris, Centre Georges Pompidou, 1995. 4to. 29,7 x 23,5 cms. 272 pp. Richly illustrated, partly in colour. Text in French. Essays and catalogue, list of exhibitions and bibliography. Catalogue presenting the works of Michel Larionov and Nathalie Gontcharova held at the Musée National d'Art Moderne. It provides for the first time a documentation on this collection, long unknown, and pays tribute to the fundamental contribution of these two Russian artists to the modern history of the 20th century. It includes a commented reproduction of each work as well as a series of essays on the different influences and directions of their work.…

Hardcover. Condizione: New. One of the original "amazons of the Russian avant garde," Natalia Goncharova (1881-1962) bequeathed a rich and complex body of work to a culture that has only recently begun to recognize it. Like her contemporary Kazimir Malevich, Goncharova drew inspiration from the folklore and art of her country, producing in her early years very colorful and strongly ornamental paintings, as well as religious works influenced by the Russian icon tradition. In the 1910s, Goncharova began experimenting with Cubism, becoming one of the earliest exponents of modern art in Moscow; in 1917, she settled permanently in Paris, where she designed costumes and sets for Sergei Diaghilev's Ballets Russes. This publication, the first to provide a full overview of Goncharova's career (including her later, less documented years in Paris) illuminates the trajectory of Goncharova's career, restoring her work to its former prominence.…

Hardcover. Condizione: New. Explores the life and work of the Russian artist and stage designer Natalia Goncharova (1881-1962).

London, Tate Enterprises Ltd., 2019. 223 pp. Col. ills. Orig. softcover.

Soft cover. Condizione: Fine. 1st Edition. Sm.8° - 54 Color & B/w reproductions. Monograph of Natalia Goncharova (1881-1962) Russian avant-garde artist, painter, costume designer, writer, illustrator, and set designer. Goncharova's lifelong partner was fellow Russian avant-garde artist Mikhail Larionov. Hungarian edition. Original boards. In Fine condition.…

Soft cover. Condizione: Very Good. 1st Edition. Sm.8° - 21pp - B/w reproductions. Exhibition Catalogue: Essential Chronology 1908 - 1928 - curated by Arturo Schwarz (1924-2021) Italian scholar, art historian, poet, writer, lecturer, art consultant and curator of international art exhibitions. Text in Italian, French and English. Original wrappers. In Very good condition.…

Publisher?s wrappers. 18 x 16 cm. [12] pages: illustrations. Text in Russian. One of 2000 copies. A preface is written by N. I. Aleksandrova. A slightly soiled copy with a chipped corner. Natalia Sergeevna Goncharova (1881-1962) was a prominent Russian avant-garde artist known for her diverse talents in painting, costume design, writing, illustration, and set design. She shared a lifelong partnership with fellow Russian avant-garde artist Mikhail Larionov. Goncharova was a key figure in the founding of Moscow's Jack of Diamonds (1909-1911), the city's first independent and radical art exhibiting group, and later, the more radical Donkey's Tail (1912-1913). Together with Larionov, she pioneered Rayonism (1912-1914) and was a member of the German art movement Der Blaue Reiter. Born in Russia, she later relocated to Paris in 1921, where she lived until her passing. Goncharova's innovative art greatly influenced the Russian avant-garde, with her exhibitions in Moscow and St. Petersburg (1913 and 1914) being the first to showcase a "new" artist in an independent gallery. Her modern approach to depicting icons challenged the traditional norms of decorative painting and iconography in pre-revolutionary Russia, making her a leading figure in the Russian avant-garde scene, a legacy she carried with her to Paris.…

Couverture souple/livre broché. Condizione: Assez bon. 1ère Édition. KESSEL, Joseph. Le Thé du capitaine Sogoub. Paris, Au Sans Pareil, 1926. Petit in-8 carré, environ 19 × 14,5 cm, 42 pp., broché sous couverture originale imprimée rempliée. Édition originale en volume. Un des 1 000 exemplaires numérotés sur vélin d'Annonay des frères Montgolfier, celui-ci n° 280, sur un tirage total de 1 260 exemplaires. Illustré de six pointes-sèches originales hors texte de Nathalie Gontcharova, dont un frontispice. Couverture insolée et brunie, dos et bordures passés, avec de petites marques et usures marginales. Intérieur légèrement jauni; les gravures examinées sont bien conservées. Bon exemplaire intérieur sous une couverture défraîchie. Petit in-8 carré; env. 19 × 14,5 cm; 42 pp., dimensions à vérifier. GONTCHAROVA, Nathalie [Natalia Goncharova] (illustratore). Livre.…

Bazetoux, Denise. NATHALIA GONTCHAROVA: Son oeuvre, entre tradition et modernité. Tome 1. 384 pages, including 128 color plates. 4to, wraps. Paris, Arteprint, 2010. The first catalogue raisonné on this important Russian artist. Text in French.

An important work of the Russian avant-garde, with illustrations from Goncharova, Larionov, Guro and the Burliuks. This is a a remarkably fresh example in the original wallpaper wrappers but with a less common flowery design. Sadok Sudei opens with the long Hylaean manifesto calling for a new style of personal freedom and verbal richness, and for the implementation of Zaum, a trans-rational language. First edition, 8vo (18.8 x 16.6 cm); with 15 black and white illustrations after Goncharova (2), Larionov (2), Guro (6), David Burliuk (3) and Volodymyr Burliuk (2); in the original flower wallpaper covers with label pasted to upper cover, repairs to spine; housed in a contemporary marbled slipcase, slightly cracked; text in Russian, a fine copy.…

Major avant-garde lithographs as scrap paper - with interesting notes --- Original lithographs for some of the most famous Russian avant-garde books by two of the main artists of the movement - with curious verso inscriptions on Mayakovsky-led productions of the first Soviet propaganda poster bureau. Some of these lithographs were produced for Pomada [Pomade], a celebrated innovative book by Aleksei Kruchenykh (18861968), printed in 1913 in 480 copies, with illustrations by Mikhail Larionov (18811964) mounted on gold-leaf paper. These include a nude, a male portrait in the rayonist style developed by Larionov, and a smaller male portrait in the same style in four copies. These, together with several other lithographs originally made for Pomada, were also incorporated into Oslinyi khvost i mishen [Donkey's Tail and Target] published in the same year 1913 in 525 copies. The collection includes seven larger plates by Natalia Goncharova (18811962), printed for another of Kruchenykh's groundbreaking and rare avant-garde works, Dve poemy. Pustynniki. Pustynnitsy [Two Poems. Hermits. Hermitess], like Pomada published in Moscow by Kuzmin and Dolinskii in 1913 in an edition limited to 480 copies. This set includes two copies of "Elder on an Ox", bearing the lithographed signature "N" at the lower left; three copies of the rayonist "Trees"; and two impressions of the Gauguin-inspired "Woman with Raised Hands" (or "The Hermitess"). "Elder on an Ox" and "Trees", together with two other lithographs from the same book, were also used in Nataliia Goncharova. Mikhail Larionov, the first book by Ilia Zdanevich (under the pseudonym of Eli Eganbiuri), which, like Oslinyi khvost i mishen, was published by Munster in Moscow in 1913 in an edition of 525 copies. Of particular notice are two copies of blue lithographs by Goncharova, depicting a sprawling flower with a bird and a lion, printed on a folded sheet of thick paper, with the lithograph occupying the upper half and likely intended as the cover of a brochure or small catalogue. Another example we could trace is held at the Mead Art Museum at Amherst College, where it is catalogued as "Cover Design for the Exhibition of the Russian Lubok in Moscow in 1913". Both lubok exhibitions organised in Moscow in 1913the first by Nikolai Vinogradov and, a few months later, the second by Larionovwere accompanied by modest catalogues without illustrations. We could trace just one other copy of this lithograph, sold at auction in Russia. All the plates, with the exception of Goncharova's two blue lithographs, bear inscriptions on their versos relating to productions of the short-lived State news and propaganda agency 'Okna ROSTA' ('Windows of the Russian Telegraph Agency'; 1919-21), headed by Russia's foremost revolutionary poet, Vladimir Mayakovsky, together with the artist Mikhail Cheremnykh (18901962). These notes were most likely made in the 1930s or early 1940s by compilers of ROSTA or Mayakovsky's comprehensive collections, such as V. Duvakin, who published his research of Mayakovsky's opuses for ROSTA in the 1939 and 1949 editions of the poet's complete works. It is possible that our lithographs, printed for Kruchenykh's 1913 editions, were given to Mayakovsky or his ROSTA associates by Kruchenykh himself or his publishers. A close associate of Mayakovsky in the futurist avant-garde, Kruchenykh also worked as an artist in ROSTA's Baku branch in the Caucasus in 191920. A committed bibliophile from the outset of his career, he consistently collected the literary and artistic heritage of his time. Many of the plates carry ROSTA poster verses by Mayakovsky and other authors, noting the artists who illustrated them as well as the dimensions of the works. Some verses were issued by ROSTA in collaboration with Glavpolitprosvet (the Main Political and Educational Committee), which succeeded ROSTA in 1922. Other inscriptions include details of a 1919 contest on the theme of Karl Marx; a grid-like plan of poster serial numbers headed "The Museum of Revolution. ROSTA"; and lists of poster serial numbers with the corresponding names of artistsMayakovsky, Cheremnykh, Vladimir Roskin, and Ivan Maliutintogether with the number of drawings each contributed. One verso records the contents of what appears to have been a ROSTA newspaper issue from late 1919, consisting largely of Mayakovsky's poems satirising the defeats of the White Army and the Entente coalition during the intervention. Two plates also bear inscriptions naming the Soviet military pilots Aleksandr Belogurov, Volkan Goranov, and Vasilii Kharlamov, with a note of the decree of 7 February 1940 awarding them the titles of Heroes of the Soviet Union. Interestingly, such a collection is definitely rare, especially in such an extent, but not unique, as we could trace about a dozen other, scattered examples of such individual lithographs by Goncharova and Larionov with similar inscriptions on the reverse side, each containing different texts. Provenance: By repute from the circle of Lilia Brik (Mayakovsky's muse and mistress; 1891-1978); Private émigré collection, New York. Physical description:16 lithographs of various dimensions. By Larionov: 4 small portraits (11.4 x 8.5 cm), nude (12.8 x 7.1 cm), portrait (12 x 10.3 cm); by Goncharova: 3 "Trees" (18.3 x 14.3 cm), 2 "Elder." (18.6 x 14.4 cm), 2 "Hermitess" (18.3 x 14.2 cm); 2 blue folded lithographs (13.8 x 19.1 cm). Loose as printed. Condition:Minimal edgewear and 1-cm closed tear in one of the small portraits, fold starting to split in one blue lithograph, purple ink and pencil inscriptions on versos. Bibliography:Duvakin V. D. "«Okna Rosta» V. V. Maiakovskogo". T. 4. Agitlubki; Agitplakaty; Okna Rosta, 19171922, 1949, pp. 29-57 // Maiakovskii V. V. Polnoe sobranie sochinenii v 12 t. Gos. izd-vo Khudozh. lit., 19391949.…

With two additional lithographs - one by Larionov and one by Goncharova (which is initialled by the artist). Inscribed to Boris Vasileyvich Anrep (1883-1969), a Russian-born artist and poet, best known in Britain for his monumental mosaics at the National Gallery, the Bank of England, Westminster Cathedral and Tate Britain. Anrep had an extraordinary life and was not only a talented artist but a prolific cultural figure of the first half of the twentieth century. His circle included the most famous artists and poets of the era and amongst his many romantic partners was Anna Akhmatova, with whom he had a passionate affair with which spanned several years. Anrep was born in St Petersburg to an affluent family (his father was a scientist and deputy in the Duma) and attended a school in Kharkiv. He enlisted to study at the prestigious School of Jurisprudence at St Petersburg but around 1908 decided that the life of the poet and artist was preferable. By this stage he had become acquainted with a number of artists in Russia and decided to study at the Acadà mie Julian in Paris. He became friends with Henry Lamb and Augustus John whilst studying in France and they introduced him to the rest of the Bloomsbury Group. It was with these British connections that he was invited to work with Clive Bell on Roger Fry's second Post-Impressionist exhibition in 1912. Anrep oversaw the Russian section and presented pictures by Natalia Goncharova and Mikhail Larionov. The friendship between the three emigre artists clearly continued as this book exemplifies. The show featured mosaics, paintings, drawings, a book of poetry, and blouses embroidered by Anrep's first wife, Yunia. The eclectic nature of the exhibition aligned with the ethos of the Bloomsbury Group and Roger Fry's Omega Workshops. Anrep had by this point decided that his interests lay mainly in mosaics (he was originally inspired by the Byzantine mosaics in Ravenna on a trip with Dmitry Stelletsky in 1904) and his first success in London came in 1914 when his work was commissioned for the ceiling of the crypt in Westminster Cathedral. However, his career was put on hold when WWI broke out, and he enlisted as an officer in the Russian army. The start of the war and a return to St Petersburg also marked the beginning of his affair with Akhmatova. Boris was certainly a prolific womaniser but for Anna it was intense and inspired over 30 poems that trace their relationship from her early hopes and dreams to her bitter disappointment at their parting. He gifted her a wooden alter cross, which she kept until her death, and she gave him a black funeral ring which she'd inherited from her Tatar grandmother and attributed a special power to. The ring disappeared when a bomb hits Anrep's London studio in 1939, the ring disappears. 'Tears of despair filled my eyes. What will I say if A. A. will ask?'. They didn't see each other for decades but reunited in Paris hotel in 1965. Anrep wrote of the encounter, 'I wanted to break through the forest that grew between us. But there was a heavy headstone on top of me. On me and on all the past, and there was no strength to arise'. The portfolio is complete with beautiful avant-garde pochoirs (stencils) and lithographs, some of the best illustrations by the artists who emigrated in 1915: 'Larionov and Goncharova celebrated their arrival in Paris with a large exhibition of their theatrical work in May 1919 at the Galerie Barbazanges. [â¦] Th[is] impressive folio was published concurrently with the exhibition" (Parton 178). It highlights the artists' interest in both stage and costume design, while also emphasising their desire to combine forms of cubism with the representation of movement. As founding members of Rayonism, an abstract art movement developed in 1911, Goncharova and Larionov focused on combining technology, speed and modernity to depict the dynamic character of early 20th-century life. They sought an art that went beyond abstraction to break down barriers between the public and the artist. It may have been short-lived, but Rayonism had huge impact at the time, and we view it now as a crucial step in the development of Russian abstract art. Folio (32.5 x 25 cm). 18 pp. with tipped-in illustrations, [2] pp. table of contents, [1] p. limitation, 6 loose pochoir plates and 8 loose prints, 3 of which are tipped in, all by Goncharova and Larionov, two additional loose lithographs one of which is initialled by Goncharova, central fold marks; in the original wrappers, some staining to wrappers but overall a very good copy. Not in MoMA.…

The scarce and impressive large-scale poster designed by Goncharova. Natalia Goncharova designed this poster for the Grand Bal des Artistes held at the Salle Bullier, Paris, on February 23, 1923. Her poster reveals the influence of Cubism in its fragmented spatial composition against a flat space with hard-edge silhouettes suggestive of figures. The emigrant Russian artistic community in Montparnasse became very active in the years before World War I and the large ball they hosted every year in order to raise money for their association was one of the highlights of the Parisian avant-garde season. This poster appears in two variants: with and without the text which wraps itself around the design. Lithograph in colours on thin wove poster paper laid onto board, fold-marks and skilful repairs, trimmed at the bottom (110 x 76 cm).…

The first edition of Valentin Parnakh's collection of poems with striking lithographs by Goncharova inspired by her travels to Spain. Parnakh left war-torn Russia and moved to Paris in 1916 where he befriended Goncharova and Larionov. The trio had a fruitful artistic relationship, also working together on Slovodvig (1920) and L'Art dà coratif thà âtral moderne (1919). Parnakh had studied music in Russia under Mikhail Gnessin (as well as theatre under Meyerhold) and fell in love with jazz when he heard it for the first time in Paris. He decided to move back to the Soviet Union and formed the first jazz band or 'Eccentic Orchestra' as he called it, using tam-tams, saxophones and trumpet sordinos he'd brought with him from France. The Comintern were fans of his music, inviting his band to play at the Agriculture Expo and were very proud that jazz was being performed at state functions, something which would never happen in the West. Meyerhold also appointed him director of music and choreography at his theatre troupe. Parnakh's poetry was not so popular with the censor, however, and he left for Paris in 1925, only to return to the Soviet Union yet again in WWII where he was evacuated to Chistopol with Tsvetaeva. First edition, 8vo (23 x 16 cm); 43pp., 3 plates after Goncharova, 2 of which are printed in colour; original printed wrappers, spine strengthened, some spotting to covers but otherwise a very good copy.…

A highly uncommon and obscure book designed by Goncharova. Not found in WorldCat. Bezotvetnoe [Unanswered] was the first and only book to be published by Arkady Gurev, a poet and singer of the Russian Silver Age. Not much is known about Gurev's fate after the Revolution but he was a close friend of Pasternak and as this work demonstrates he mixed in Moscow's artistic circles of the time. Pasternak wrote in Liudi i Polozheniia that he had a round head like an onion and behaved incredibly eccentrically, pretending that he couldn't move his heel off the pavement as the devil had pinned him down. Goncharova's cover design in black and white is similar in style to her illustrations for Churilin's poetry which appeared a year earlier. The inscription on the title page reads 'Oblozhka Natalii Goncharovoi. Knigoizdatel'stvo "Osen'" | Moskva MCMXIII' and dated in the corner. There are also a couple of corrections in the text and although we don't know who the owner was it may have well been someone connected to the work. First edition, 8vo (22.7 x 16 cm); contemporary ink inscription to title-page, a few corrections in pencil and ink; original wrappers designed by Goncharova, faint spotting and minor repairs to wrappers, spine strengthened, small contemporary bookseller's stamp to lower wrapper, a very good copy.…

12mo. (167 x 124 mm). [8 leaves; pp. 16]. Leaf with printer's credit verso, printed title and a list of 307 numbered works listed under each contributing artist (see below), final leaf with a list of the contributors and their addresses recto and verso, decorative tail-piece to foot. Original publisher's white glossy printed wrappers stapled as issued with titles in black to front cover. The very scarce catalogue for the first exhibition of 'The Donkey's Tail', the avant-garde Neo-Futurist / Primitivist group that included Larionov, Goncharova, Malevich and Tatlin. 'Donkey's Tail' was a short-lived avant-garde Russian Neo-Futurist / Primitivist group that formed around Mikhail Larionov and the most radical members of the 'Jack of Diamonds'. The rupture with 'Jack of Diamonds', due to disagreements about the influence of French avant-garde ideas and tendencies, occurred in the latter part of 1911 and in December Larionov issued a proclamation 'Ssora 'Khostov' s 'Valetami'' (The Quarrel between the 'Tails' and the 'Jacks') in the 'Voice of Moscow' (Golos Moskvy). The group held only one exhibition - this is the catalogue for it - opening on 11th March, 1912. The group did form a further affiliation (Larionov alludes to the 'Target' in his 1911 announcement) holding a second, albeit amalgamated exhibition, and publishing 'Oslinii Khvost i Mishen' (The Donkey's Tail and Target) in 1913. The major contributors to the exhibition - all contributors are listed in alphabetical order in the catalogue - were Goncharova with 54 works, Mikhail Larionov (as opposed to his brother Ivan who also contributed and exhibited) with 37, Malevich with 24 and Tatlin with 43; other contributors were Chagall (1), Kyrill Zdanevich, brother of Ilya (4), Mikhail Le Dentu (8), Shevchenko (26) as well as the artists Anisimov, Bart, Bobrov, Matvey, Morgunov, Rogovini, Sagaidachny, Skuye, Fon-Visen and Yastrezhemsky. The final leaf - unusual in almost any context - gives the contemporary addresses of the contributors. 'That the 'Tails' and the 'Jacks' had parted company definitively became clear at the debate that the Jack of Diamonds society organized at the Polytechnic Museum, Moscow, on 12 February 1912. As the Cubo-Futurist poet Benedikt Livshits recalls, it was during her lecture on Cubism there that Goncharova condemned the Jack of Diamonds, which 'has replaced creative activity with theorizing', inspiring Larionov to issue a 'dithyramb to the Donkey's Tail'. The debate ended raucously with Larionov walking off the stage to whoops and whistles from the audience.' (John Bowlt). 'For it had been in 1910 that Roland Dorgelès had taken the step of attaching a loaded brush to a donkey's tail, allowing it to swish and sway, and submitting the subsequent painting to that year's Salon des Indépendants under the pseudonym Boronali.' (George Baker). As stated, this catalogue is extremely scarce and we can locate only a handful of copies in institutions: at MoMA, the Getty and Johns Hopkins in the US and at the British Library and Tate in the UK. The book is scarcer still on the market with only two copies appearing at auction in the last 50 years. [not in Rowell & Wye; see John E. Bowlt's 'Jacks and Tails', The Journal of the Walters Art Museum, Vol. 60 / 61, 2002 / 2003; see George Baker's 'The Artwork Caught by the Tail', October, Vol. 97, 2001].…

Oblong 8vo. (165 x 185 mm). [20 leaves; pp. 40]. Title page with printer's credit verso, 4 leaves with the list of paintings followed by 15 leaves of monochrome images printed recto only. Original publisher's cream stapled wrappers, titles in black to front cover. The scarce catalogue of Natalia Goncharova's major retrospective - her second solo exhibition - at Nadezhda Dobychina's salon in St. Petersburg, 1914. The catalogue lists an impressive 249 works produced between 1900 - 1913. The current exhibition, together with her solo show of 1913 in Moscow (which exhibited over 700 works!), were the first in Russia to promote a 'new' artist by an independent gallery, and significantly the first to hold a public one-woman show. Goncharova took her inspiration from primitivist art, icon painting and Cubist and Futurist styles, in 1911 developing 'Rayonism' with her partner Mikhail Larionov. In the context of pre-revolutionary Russian attitudes, namely strict reverence towards religious imagery, Goncharova's depiction of icons was transgressive and problematic. 16 of the religious works in the present exhibition were confiscated and then returned after defence in the local press by Mstislav Dobuzhinsky and others. Natalia Gonchorova (1881 - 1962), was a founding member of the 'Jack of Diamonds' (1909- 1911), Moscow's first group of avant-garde artists, an offshoot of which became the even more radical 'Donkey's Tail' in 1912. In 1913 Ilia Zdanevich published a monograph about her and Larionov, under the pseudonym Eli Eganbiuri. Her artistic influence in Russian avant-garde circles carried over to Paris when she moved there with Larionov. ?Modern French painters opened my eyes, and I grasped the great importance and value of the art of my native land, and through it, the value of the art of the East.? (N. Goncharova, From the 1913 Moscow catalogue). Contemporary annotations in pencil to the list of works; bookseller's stamp with manuscript pricing to rear cover. OCLC reports examples of this very scarce catalogue the Tate and the V & A in London and at the Getty in Los Angeles. Some inoffensive damp staining to cover edges, however, even with these in mind, this copy is remarkably fresh. [Not in Rowell & Rye].…

Hardcover binding, 107[+5]pp. 195 x 170mm. Bound in magenta and dark blue patterned paper-covered boards, retaining original wallpaper wraps, bound in. Some splitting to gutters. External wear to extremities, otherwise good. Printed on pale cyan-coloured paper. A landmark compilation of prose and art, including a call for the implementation of Zaum a new trans-rational language. Rare.Please contact us if you would like to see an image of the book.…

Cover, title-page, initials, headings, endpieces and the 2 full page woodcut illustrations by Natalia Goncharova, each printed in red and black. First edition. One of 150 copies, printed on Vieux Chine paper (this an unnumbered, out-of-series copy) of a total edition of 1150. In publisher's decorated wrappers. 69, (7) p. First edition of Mikhail Tsetlin's poems, with Natalia Goncharova's woodcut illustrations. This copy belonged to Goncharova's lifetime companion, Mikhail Larionov. Goncharova's red and black abstract illustrations (the small cover illustration, two full page plates and 25 smaller illustrations including decorated initials) reflect to her move away form the Russian Futurism while living in Western Europe, where she and Larionov moved in 1915, first to Switzerland and to France in 1918. Mikhail Osipovich Tsetlin was a Russian émigré author who moved to Paris in 1918 and later in 1940 to the United States. He was also a philanthropist and the founder of the literary magazines Okno (Paris, 1923) and Novy Zhurnal (New York, 1942). [Ref.: Compton, S. P.: Russian Avant-Garde Books, 191734. London: British Library, 1992. pp. 14 and 16; Hellyer, P. W.: A Catalogue of Russian Avant-Garde Books 19121934. London: The British Library, 1994. 517.; Getty, Russian Modernism 789. Not in MoMA.] . Mikhail Larionov's collection stamp on front cover. Foxing to wrappers and on some pages, effects mostly only the edges. Untrimmed. Overall in very good condition. In publisher's decorated wrappers First edition. One of 150 copies, printed on Vieux Chine paper (this an unnumbered, out-of-series copy) of a total edition of 1150. Cover, title-page, initials, headings, endpieces and the 2 full page woodcut illustrations by Natalia Goncharova, each printed in red and black. (illustratore).…