Sentence Sans Paroles
Braque / Giacometti. Iliazd (Ilia Zdanevitch)
Paris. Le Degré Qurante et Un. 1961
The important collaboration between Iliazd, Giacometti and Braque.
From the edition limited to 62the frontispiece.
This important collaboration between Iliazd, Georges Braque and Alberto Giacometti was printed in Iliazd's standard format: loose sheets in a parchment wrapper with additional heavy wove paper dust-jacket, initial blank leaves of another heavy wove paper and text and images beautifully printed in Iliazd's mise-en-page.
'Ailleurs sur la peau dorée de 'Sentence sans paroles', la plume de Braque déroule un lacis végétal, feuilles, fleurs, tiges, afin d'y boucler l'attribution 'Pour Iliazd' par ce trait où la force et la tendresse se partagent le cheminement.' (François Chapon).
'[Braque's] device suggested a memorial wreath without overdetermining the image. Since the poems made up a cycle of sonnets in which the fifteenth was composed of the final line of the preceding (each of which was begun with the final line of the one before), the interlocking suggestiveness of the graphic motif announced the form of the text ... '. (Johanna Drucker).
'Giacometti had engraved thirteen plates in the process of making the frontispiece ... One of these did serve that purpose, and the other twelve became 'The Twelve Portraits of the Celebrated Orbandale' [Les Douze Portraits du Célèbre Orbandale].' (Drucker, ibid.).
[Isselbacher 28; Vallier 169 for Braque's etching; Lust 127 for Giacometti's etching; Chapon pp. 216, 295].
From the edition limited to 62the frontispiece.
This important collaboration between Iliazd, Georges Braque and Alberto Giacometti was printed in Iliazd's standard format: loose sheets in a parchment wrapper with additional heavy wove paper dust-jacket, initial blank leaves of another heavy wove paper and text and images beautifully printed in Iliazd's mise-en-page.
'Ailleurs sur la peau dorée de 'Sentence sans paroles', la plume de Braque déroule un lacis végétal, feuilles, fleurs, tiges, afin d'y boucler l'attribution 'Pour Iliazd' par ce trait où la force et la tendresse se partagent le cheminement.' (François Chapon).
'[Braque's] device suggested a memorial wreath without overdetermining the image. Since the poems made up a cycle of sonnets in which the fifteenth was composed of the final line of the preceding (each of which was begun with the final line of the one before), the interlocking suggestiveness of the graphic motif announced the form of the text ... '. (Johanna Drucker).
'Giacometti had engraved thirteen plates in the process of making the frontispiece ... One of these did serve that purpose, and the other twelve became 'The Twelve Portraits of the Celebrated Orbandale' [Les Douze Portraits du Célèbre Orbandale].' (Drucker, ibid.).
[Isselbacher 28; Vallier 169 for Braque's etching; Lust 127 for Giacometti's etching; Chapon pp. 216, 295].
[18 leaves]. 8vo. (210 x 140 mm). Leaf with title in French, leaf with original frontispiece etching ('Portrait of Iliazd') by Giacometti signed in pencil verso, leaf with title in Russian signed by Braque in pencil, leaf with first sonnet verso and Iliazd's verse on following leaves (see below), final leaf with justification and achevé d'imprimer. Loose as issued in original publisher's parchment wrappers with Braque's monochrome etching to front wrapper, additional thick wove paper dust-jacket, original card emboîtage in two sections with flaps.
#48501
