Paris, La Sirène, 1921
A fine example of Pushkin's fairy tale in verse, Conte de Tsar Saltan with wonderful pochoir illustrations.
Natalia Goncharova's great-aunt Natalia Nikolaevna Goncharova was married to the poet Alexander Pushkin, who originally wrote this text (based on a traditional Russian folk tale) in 1831. This book brings together the charm of Pushkin's lyricism and the beauty of Goncharova's colourful and sympathetic designs. The intricate floral motifs are redolent of peasant embroidery which Goncharova was surrounded by in her childhood. As Bilibin said (who also liked including rich fabrics in his work) there is a certain poetry in Russian textile design.
Goncharova was also inspired by lubki, cheaply produced popular prints which were hand-coloured with diluted tempera. Their bold lines, flattened figures and high-contrast bright colours attracted Goncharova and other avant-garde artists for their 'primitive' nature. Especially now exiled in Paris she was keen to establish an eastern lineage to her style, having said before 'now I shake the dust from my feet and leave the West, considering its vulgarising significance trivial and insignificant – my path is towards the source of all arts, the East. The West has taught me one thing: everything it has is from the East'.
Limited edition, one of 529 numbered copies on papier velin, from a total edition of 599, 4to (29.7 x 23 cm); 48pp., 10 full-page illustrations and 6 carpet pages, decorative borders and ornamental initials throughout, all after designs by Goncharova hand coloured by pochoir, pages uncucut and unbound, some very minor staining to margins; in the original lithographed portfolio with floral paper lining, without the fabric tie, spine faded but the original boards exceptionally bright, a fine copy.
Natalia Goncharova's great-aunt Natalia Nikolaevna Goncharova was married to the poet Alexander Pushkin, who originally wrote this text (based on a traditional Russian folk tale) in 1831. This book brings together the charm of Pushkin's lyricism and the beauty of Goncharova's colourful and sympathetic designs. The intricate floral motifs are redolent of peasant embroidery which Goncharova was surrounded by in her childhood. As Bilibin said (who also liked including rich fabrics in his work) there is a certain poetry in Russian textile design.
Goncharova was also inspired by lubki, cheaply produced popular prints which were hand-coloured with diluted tempera. Their bold lines, flattened figures and high-contrast bright colours attracted Goncharova and other avant-garde artists for their 'primitive' nature. Especially now exiled in Paris she was keen to establish an eastern lineage to her style, having said before 'now I shake the dust from my feet and leave the West, considering its vulgarising significance trivial and insignificant – my path is towards the source of all arts, the East. The West has taught me one thing: everything it has is from the East'.
Limited edition, one of 529 numbered copies on papier velin, from a total edition of 599, 4to (29.7 x 23 cm); 48pp., 10 full-page illustrations and 6 carpet pages, decorative borders and ornamental initials throughout, all after designs by Goncharova hand coloured by pochoir, pages uncucut and unbound, some very minor staining to margins; in the original lithographed portfolio with floral paper lining, without the fabric tie, spine faded but the original boards exceptionally bright, a fine copy.
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