Linocut on vélin vergé ancien paper. Paper size: 18.62 x 13.19 inches. Excellent condition. Unsigned and unnumbered, as issued. Notes: From the folio, Pougny, dix linogravures originales, 1964. Published by Au Vent d'Arles, Saint Paul de Vence; rendered by Cardin et Bogratchew, Paris; printed by Ateliers Rigal, Paris, 1964. Excerpted from the folio (translated from French), The original linocuts in this album were engraved by Pougny in Iningrad, Vitebsk and Berlin between 1914 and 1920. Each board was stenciled after the artist's original models by Cardin et Bogratchew. The hand-composed text in Vendôme Corps 20 has been printed on papier havane satiné by Ateliers Rigal who ensured the printing of the original linocuts on their arm presses. It has been shot: 5 examples of the linocuts on Japon impérial accompanied by a black suite of the first state, a definitive suite on papier havane satiné, a definitive suite on vergé ancien, and an original drawing by Pougny, numbered from 1 to 5; 20 examples of the linocuts on Auvergne ancien accompanied by a black suite of the first state, and a final suite on papier havane satiné, numbered from 6 to 25. 140 examples of the linocuts on vergé ancien, numbered from 26 to 165. 30 examples on havane satiné, marked НС. 1 to НС. 30. JEAN POUGNY (1892-1956), also known as Ivan Albertovich Puni, was a Russian avant-garde Suprematist, Cubo-Futurist and French artist, who intensively changed his style until it went into lyric Primitivism in the direction of Pierre Bonnard and Edouard Vuillard. continued his formal training in Paris in 1910–11 at the Académie Julien and other schools, where he painted in a derivative fauviste style. Upon his return to Russia in 1912, he married fellow artist Xenia Boguslavskaya, and met, and exhibited with, members of the St Petersburg avant-garde, including Kazimir Malevich and Vladimir Tatlin. He made a second trip to Paris in 1914, returning to St. Petersburg with the outbreak of WWI. At this point, he began painting in a Cubist style reminiscent of Juan Gris. In 1915, Puni organized the exhibitions Tramway V and 0.10, both held in St Petersburg, in which Malevich, Tatlin, Aleksandra Ekster, Liubov Popova, Ivan Kliun, Olga Rozanova, Nadezhda Udaltsova, Boguslavskaya and others participated, and to which Puni contributed constructions, readymades, and paintings. In 1915-1916 Puni, together with other Suprematist artists, worked at Verbovka Village Folk Centre. In 1919, he taught at the Vitebsk Art School under Marc Chagall. Puni and his wife, Xenia Boguslavskaya, emigrated from Russia in 1920 (end of January), first to Finland, then to Berlin, where his solo exhibition was held at the Galerie der Sturm (February 1920). While in Berlin, Puni also designed costumes and sets for theatrical productions, and published a theoretical book Modern Painting. Puni and Boguslavskaya relocated to Paris in 1923, where he carried on with development of his style, which experienced several metamorphoses until it stabilized at approximately 1943 to a variant of Post-Impressionism or lyric Primitivism in the direction of Pierre Bonnard and Edouard Vuillard. In France he became "Jean Pougny" and in 1947 obtained French citizenship. He died in Paris.