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Gunnar Kaldewey - Ossip Mandelstam. In Petersburg · Leningrad. New York 2008. Includes two inkjet prints based on photographs by Gunnar Kaldewey. Wine-red original suede binding with silver embossing (Thomas Zwang, Hamburg). In a slipcase and slip (Judi Conant, Guildhall). Auction start time: approx. 5:16 p.m. (Schedule subject to change) Edition Kaldewey 50. — One of seven copies of the “Deluxe Edition” in suede binding and featuring an extra set of prints on Gampi paper, both signed and numbered (total print run: 32). - Printed on Epson Photo Rag paper as a leporello and bound. - The text is in Cyrillic script; included are two pages with English translations of the poems. - Osip Mandelstam wrote these two poems in 1920 and 1930. In the second poem, he mourns the loss of old St. Petersburg, which had been renamed Leningrad in 1924. The large-format panoramic images—including one featuring the former Winter Palace, the building that houses the Hermitage—each span four pages. Superimposed over these nocturnal images are enlarged details from Kaldewey’s watercolors. From Lucius, p. 301 43.0 × 25.5 cm. [14] pages, 2 inkjet prints. - Spine discolored. - The slipcase cover is slightly foxed. English description: With two inkjet prints based on photographs by Gunnar Kaldewey, wine-red original buckskin binding with silver embossing (Thomas Zwang, Hamburg). Presented in a chemise and slipcase (Judi Conant, Guildhall). Kaldewey Edition 50. - One of seven copies of the “Deluxe Edition” in buckskin binding, featuring an additional set of prints on Gampi paper, both signed and numbered (total print run of 32). - Printed and bound as a leporello on Epson “Photo Rag” paper. - The text is printed in Cyrillic script; included are two pages with English translations of the poems. - “Osip Mandelstam wrote these two poems in 1920 and 1930. The city’s name had been changed from St. Petersburg to Petrograd (in 1914), and then to Leningrad (in 1924). The second poem mourns the loss of his old city, St. Petersburg. The large panoramic views—including one featuring the former Winter Palace building of the Hermitage—span four pages each. Superimposed on these nighttime images are enlarged details from Kaldewey’s watercolors. The cover of the standard edition evokes the aesthetic of simple notebooks. The typography on the cover recalls Russian Constructivist classics such as the works of El Lissitzky. The Russian text is printed using inkjet, as are the watercolors in the background.” (75 artist books, p. 301). The spine of the slipcase is discolored. The cover of the suite is slightly foxed.
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