ILIAZD [Il’ia Zdanevitch]. lidantIU fAram. [Ledentu le phare./ Ledentu as a Beacon.] 61, (3)pp., with typographic compositions, printed in letterpress. Sm. 4to. Publisher’s wraps., decorated with an original collage composition by Naum Granowskii of mounted, variously shaped elements of gold and patterned silver foils, leatherette and cork, partly overprinted in black, on printed grey wove stock. One of 500 copies on papier de Rives, from the stated edition of 530 in all. Although the justification states the limitation of the book as 530 copies, François Chapon, in his exhaustively detailed bibliography of Iliazd’s publications, states that no more than 150 copies of the book were ever completed, and the remainder pulped. Loosely inserted: Iliazd. Ledentu le phare, poème dramatique en zaoum. Préface de G. Ribemont-Dessaignes. Couverture de N. Granowsky. Typographie de l'auteur. Paris (Éditions du 41º), 1923. (8)pp. Self-wraps., stapled as issued. Published shortly after Iliazd’s arrival in Paris, “lidantIU fAram” was the culminating work in a series of five plays (or “dra,” as he called them) written in the transrational language known as “zaum,” which is the basis of much Russian Futurist literature.

Isselbacher, Audrey: Iliazd and the Illustrated Book (New York: Museum of Modern Art, 1987), 8-10; Chapon, François: “Bibliographie des livres imprimés édités par Iliazd” (in: Centre Georges Pompidou: Iliazd [Paris, 1978], p. 110, with a reproduction of the original book in its entirety on pp. 99-106); MOMA 458-459, illus. p. 128f.; Getty 249; Markov p. 354ff.; Compton p. 61ff.; Bowlt, John E.: Russian Art of the Avant-Garde: Theory and Criticism 1902-1934 (New York, 1988), p. xxxiii f.; Barron/Tuchman 424; Janacek p. 174ff.; Siena 30; Franklin Furnace 63; Spencer p. 28; Drucker, Johanna: The Visible Word: Experimental Typography and Modern Art, 1909-1923 (Chicago, 1994), p. 169ff.; Andel, Jaroslav: Avant-Garde Page Design 1900-1950 (New York, 2002), p. 113; Logan Collection 37; Dada Global 204; Sanouillet 107; Dachy, Marc: Archives dada: Chronique (Paris, 2005), p. 331ff. (including the full preface of Ribemont-Dessaignes); Pompidou: Dada 1253, illus. p. 724

KULAGINA KLUTSIS, Valentina. Zaumyi Yasyk [Transrational Language in Seifullinia vs. Ivanov, Leonov, Babel, I. Selvinski, A.Veselyi, and others] by Alexei E. Kruchenykh. Moscow: 1925, 8vo, pp; two-color wrappers designed by V. Kulagina-Klutsis. Includes bibliography of A.E. Kruchenykh. Kulagina, the talented wife of Gustav Klutsis, was a well-known poster artist in her own right; she flourished as a designer until 1938 until her husband was arrested and sent to prison. Leclanche-Boule 169. The Russian Avant Garde Book 1910-34, Museum of Modern Art p.205

LARIONOV, Mikhail Fedorovich. Solntse [The Sun], by Vladimir Mayakovsky. Moscow and Petersburg: Krug," 1923. With illustrations by M.F. Larionov. Small 8vo, [28] pp + [2] adverts; two-color decorated self wrappers designed by the artist (minor wear). A lovely copy. Paris Moscou p 447

LISSITZKY, El. USSR en Construction. [1931-1941] 1935. Issue no. 12. A lavishly illustrated magazine in the format of photomontage engaged the talents of Avant-garde artists such as Rodchenko, Stepanova and El Lissitzky to glorify communism and its leaders. [Some wear to the cover] One of the most important issues of the entire run of the periodical. It relates to Airplanes, Parachutes and Pilots. Rare. Avant Garde Page Design 1900-1950, Andel p.274

LISSITZKY, El. Solntse na izlete. [Sun at the End of its Flight], poems by Konstantin Bolshakov. Moscow, 1916. 8vo, 63 pp + [1] advert; two-color lithographed self wrappers designed by Lissitsky (minor soiling). One of 480 copies. A lovely copy with the early Cubo-Futurist covers; soon the artist devoted his full energy to Constructivist principles. Markov pp 266; 286; Compton cp 18; Leclsnche-Boule 192; Nobis 9.

MASIUTIN, Vasilii. Pyesn Torjestvuyuschjay Lyubvi, Moscow: Helikon, 1922. Small 4 to, 78 pp. + (6) pp., including 15 full page lithographs initialled in the plate, vignettes and decorated initials. Original decorated boards illustrated by the artist. One of 100 numbered copies of Turgenev's 1881 tale, The Song of Triumphant Love. Masiutin's striking drawings reflect Symbolist influences in their Egyptian frieze-like compositions. Russian Construcitivist motifs are sometimes apparent within this context, however, infusing the images with a modern feeling.

RODCHCHENKO, Alexandr. Izbran. [Selected Verse] 1912-22 by Nikolai Aseev.

RODCHCHENKO, Alexandr. To Sergei Esenin poem by Vladidmir Mayakovsky. [Moscow]: "Zakniga", 1926. Ed: 10,000. With 2 photomontage plates by A. Rodchenko. Small 8vo, 15 pp; two-color Constructivist photomontage wrappers designed by the artist. Letterpress, 6 7/8 x 5 1/8" The Russian Avant Garde Book 1910-34, Museum of Modern Art p.213.

ROZONOVA, Olga. Utinoe Gnnedyshko....Dyrnykh Slov [Duck's Nest...of Bad Words], poem by Alexei Kruchenykh. St. Petersburg: "EUY", 1913. With 14 lithographs (including 2 adverts) by O. Rozanova, hand-lettered by A. Kruchenykh. 8vo, 24] ff; paper wrappers. One of 500 copies. A fine copy. Rozanova was one of the crucial figures in the early Russian Avant-garde. She was associated with the Realists, the Cubists, the Cubo-Futurists and the Suprematists. Her death in1918, at age 32 ended a most promising career. Markov pp 204-205; Compton p 126; Barron/Tuchman 329; Kunstlerinnen der Russishen Avant-garde 95 (hand colored copy); Andel 60; The Russian Avant Garde Book 1910-34, Museum of Modern Art (handcolored copy) p. 76