Kruchenykh, Aleksei and Aliagrov [pseud. i.e. Roman Jakobson]

4to (215 x 185mm.), [limited edition of 140 copies], 10 leaves of rubberstamped text by Kruchenykh, one leaf of letterpress text by Aliagrov, 9 linocuts by Olga Rozanova, printed in yellow, red, varying shades of dark blue and green, one leaf with a collage of pink paper with rubberstamped text, original printed wrappers stapled together, with an original collage on the upper wrapper composed of a lilac paper heart with a white button glued to it, upper cover repaired, creased and slightly torn around staples

Hellyer 258 (microfiche copy only); Ex-Libris 134; The Russian Avant-Garde Book 107

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Kruchenykh's innovative experiments with transrational language, "zaum", began with the publication in 1913 of his poem "Dyr bul shchyl", and are here accompanied by Jakobson's only publication of zaum poetry. Rozanova's striking linocuts are vivid playing-card figures, taken from the series she produced in c. 1914, and bear no relation to the printed text.

This book, whose unusual cover anticipates later developments in the art of the book, demonstrates that the Russian futurists initiated explorations into the semantics of the verbal and the visual. Roman Jakobson later became a pioneer in the study of the meaning of language.

This copy unusually has a matt lilac rather than a red shiny heart on the upper wrapper; as we have found no trace of another copy thus, it is possible that this is either an unrecorded variant or a replacement of the original collage.