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ANNENKOFF, George. Autograph Letter. (c. 1930's). Autograph letter. First eight pages only, on four blue quarto sheets. An important letter, addressed to Abram Markovitch (Efros) and most likely written in the 1930s. Efros was a well-known art historian and critic who worked in the Moscow Art Theater with Stanislavsky. He began corresponding with Annenkoff in 1922 and introduced him to Stanislavsky. The first four pages of this manuscript are dedicated to thoughts about the life of the painter in Paris. Annenkoff compares the painter to a worker at the Citroen company. As soon as a painter becomes dependent upon his agent he is like a worker on a production line -- which he sees as having both good and bad aspects. This, he contends, is totally different from the painter's life in Russia. Annenkoff further discusses the state of the Russian government, mentions the book 17 Portraits, for which he is well known, and lists the original portraits from the book that he still has in his possession. Very good.
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2,500.00 |
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ANNENKOFF, George (1889-1974). Autograph Manuscript. c. 1920. Autograph notebook, approximately eleven folio sheets, including an early draft of his novel, Novel about Nonsense, eventually published in Berlin in 1934, as well as one page of an important memoir about the opening of the House of Art in Petersburg. The House of Art was inaugurated on 19 November 1919 and became the center of the city’s literary and artistic life until 1922 when its spiritual leader, Maxim Gorky, went abroad. Annenkoff describes the role and structure of the House of Art and lists the members of its board of directors: M. Gorky, A. Blok, A. Benois, K. Chukovsky, V. Sazonov. The notebook also includes various drafts of letters, sketches and notes. A historical document of real significance.
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9,500.00 |
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ANNENKOFF, George (1889-1974). Autograph Manuscript. (c.1930). Fifteen-page autograph manuscript. An extremely important manuscript assembling Annenkoff’s thoughts on the evolution of Russian art from Peter the Great through the Soviet era. Annenkoff is best known for his portraits of Russian writers and artists published in the book Portraits, descriptions of members of the Soviet government published in the book 17 Portraits and illustrations for Alexander Blok’s poem The Twelve. He illustrated many books, worked in theater and as a teacher during the years 1918-1919. He moved to Paris in 1925, where he participated in major exhibitions, worked as a book illustrator, and created works for theater and movies. Annenkoff begins: "Let’s agree: Russian literature and music are in the forefront of world art. The glory of the Russian theater is recognized by everyone. But in painting the situation is drastically different -- we definitely lag behind Western Europe, which is led by Paris." He mentions such artists as Repin, Lentulov, members of the "World of Art" circle, Benois, Somoff, Bilibin and many others. About Chagall he writes: "The first real master in Europe is, of course, Chagall. The bright national characteristics of his art do not absorb the quality of painting, instead -- they only add importance." The manuscript is the size of a small French notebook and is in an excellent state of preservation. (The last two pages, written in pencil, appear to be a rough draft of a letter to unknown recepient.) Extensively corrected and revised.
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3,750.00 |
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ANNENKOFF, George (1889-1974). Autograph Manuscript. (c. 1924). Eleven-page autograph manuscript. Annenkoff lists his own works and articles about him published before 1924, as well as a selection of his portraits, book illustrations and works for theater. Very good.
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3,250.00 |
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ANNENKOFF, George (1889-1974). Autograph Manuscript. n.d. One-page autograph manuscript, of a poem, most likely unpublished, with a distinct anti-revolutionary flavor. Though better known as an artist, Annenkoff's literary literary achievements did not go unnoticed -- his novel, Novel about Nonsense, was published to much acclaim in Berlin in 1934. In addition, Annenkoff worked for numerous Russian magazines, published works on theater and a book of memoirs. Written on a sheet rather carelessly removed from a notebook, and well used.
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1,250.00 |
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GARCÍA LORCA, Federico. Drawing in Ink and Color Pencil, Signed. c. 1933. 8 1/2" x 11" ink and colored pencil drawing of a large multicolored fish standing upright on its tail suggesting the shape of a vase or perhaps even a fountain, with smaller fish flowing forth as if from delicate tendrils. Brings new meaning to the old cliche, which we will now update to include a million words. Very good, on a page removed from a notebook.
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22,500.00 |
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GARCÍA LORCA, Federico. Drawing in Ink and Color Pencil, Signed. c. 1933. 8 ½" x 11" ink and colored pencil drawing, depicting the lower half of a surreal one-eyed face, emerging as in a basin being filled with rain drops. A splendid example of Lorca's whimsical art. Very good, on a page removed from an album. Lorca drawings are extremely scarce in the market.
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22,500.00 |
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GARCÍA LORCA, Federico. Drawing in Ink and Color Pencil, Signed. c. 1933. 8 1/2" x 11" ink and colored pencil drawing of a vase full of drooping flowers, adorned with the shape of a new moon with an open eyeball. A fine example of Lorca's subtle surrealism. Very good, on a page removed from a notebook.
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22,500.00 |
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GARCÍA LORCA, Federico. Drawing in Ink and Color Pencil, Signed. c. 1933. 8 1/2" x 11" ink and colored pencil drawing of a bullfight, once again a fine example of Lorca's subtle surrealistic style. The scene suggests an almost uncanny stillness, while the faceless matador hints at something otherworldly. Very good, on a page removed from a notebook.
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22,500.00 |
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SAROYAN, William. Time of Your Life. New York: Harcourt, Brace and Co. , 1939. Octavo, 247pp. in cloth with dust jacket. 1st edition.
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350.00 |
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