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BAL BANAL, organisé par l’Union des Artistes Russes

SKU BALB-001

Original admission ticket for the Bal Banal of the Union des Artistes Russes, held Friday 14 March 1924 at Salle Bullier, Paris. The small colour woodcut ticket, designed 1923/24 by Natalia Gontcharova and plate-signed “N. Gontcharova,” is numbered 2962, printed recto only in two colours, and bears two Union stamps. In a handy c. 16 × 22.5 cm format, it fuses function with graphic flair—a rare survivor of the famed artists’ balls linking the Russian émigré scene to Montparnasse.

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BAL BANAL, organisé par l’Union des Artistes Russes
1924 | Paris
Rare plate-signed admission ticket for the Bal Banal, numbered and stamped. A preserved shard of a night of art, music and masquerade; modest in scale, large in meaning.

Original admission ticket for the Bal Banal of the Union des Artistes Russes, held Friday 14 March 1924 at Salle Bullier, Paris. The small colour woodcut ticket, designed 1923/24 by Natalia Gontcharova and plate-signed “N. Gontcharova,” is numbered 2962, printed recto only in two colours, and bears two Union stamps. In a handy c. 16 × 22.5 cm format, it fuses function with graphic flair—a rare survivor of the famed artists’ balls linking the Russian émigré scene to Montparnasse.

€350
Condition Report:
In-Depth Study
References & Bibliography
Format
Divers
Edition Particulars
Very good condition; two-colour woodcut; two Union stamps.
Copy Number
No. 2962

Product DETAIL

The ticket encapsulates Gontcharova’s blend of folk ornament and modern reduction: a two-colour woodcut that suggests volume and cadence. The plate signature fixes it as an artist’s print on a utilitarian carrier. Colour blocks choreograph the gaze and articulate text fields. As a pocket poster it poises between décor and sign, lure and autonomous image.

12 PHOTOGRAPHIES D'ŒUVRES
Dubuffet, Jean
12 PHOTOGRAPHIES D'ŒUVRES

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In 1967, Jean Dubuffet partnered with London’s Editions Alecto on *Cartes à jouer et à tirer*, playfully recasting his visual vocabulary into the scale of a deck of cards. The set comprises 52 separate cards, each silkscreen-printed, forming a quirky alphabet of lines, planes, and scribbled textures. The title invites action—both “to play” and “to draw”—letting chance and handling shape meaning. Housed in the publisher’s slipcase, the work sits between artist’s book and portable multiple. This hors commerce copy, marked H.C. 11, is in notably fresh condition. It exemplifies Dubuffet’s anti-aesthetic joined to technical exactitude, an irresistible proposition for bibliophiles at the book-object threshold.

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Studies & Dossiers
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