Ekaterine Bagdavadze [Album] / text by Lili Tabukashvili; artist/designer K. Karashvili, 1958. Text in Georgian, Russian, and English.

ბაღდავაძე, ეკატერინე [ალბომი] / ტექსტის ავტორი ლილი თაბუკაშვილი ; რედაქტორი ნ. ყიასაშვილი ; მხატვარი კ. ყარაშვილი.
თბილისი : გამომცემლობა „ხელოვნება", 1958. 40 გვერდი, ილუსტრირებული. 30 სმ. ტექსტი ქართულ, რუსულ და ინგლისურ ენებზე.
ტირაჟი 3 000 ეგზემპლარი. საგამომცემლო ილუსტრირებული ყდა (რბილი).
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Ekaterine Bagdavadze [Album] / text by Lili Tabukashvili; edited by N. Kiasashvili; artist/designer K. Karashvili.
Tbilisi : "Khelovneba" Publishing House, 1958. 40 pp., illustrated. 30 cm. Text in Georgian, Russian, and English.
Print run of 3,000 copies. Original illustrated paper wrappers.
Condition good: front wrapper with light scattered spotting; rear wrapper with significant, even overall toning/soiling across its surface. Text block good: two small yellow adhesive-residue spots beside the colophon.

A scarce monographic album devoted to Ekaterine Bagdavadze (1916-1975), a Tbilisi-born Georgian painter and Honored Art Worker of the Georgian SSR (1954), issued by the "Khelovneba" (Art) publishing house in a modest run of 3,000 copies. A graduate of the Tbilisi Academy of Arts (1940-41), Bagdavadze studied under two towering figures of twentieth-century Georgian painting, Mose Toidze and Ucha Japaridze, and went on to a long teaching career in painting and composition at Tbilisi State University's Faculty of Art from 1966 to 1975. Her work is characterized, as Georgian sources describe it, by pure, saturated coloring and bold, confident brushwork - qualities evident throughout this album's reproductions, ranging from expressive charcoal character studies (an elderly bearded man rendered in dramatic chiaroscuro) to small oil sketches of female heads in warm, painterly color, and costume or genre studies suggestive of theatrical or literary illustration work. With text by Lili Tabukashvili presented in Georgian, Russian, and English, the album situates Bagdavadze within the broader circle of Toidze-Japaridze students shaping mid-century Georgian Soviet painting, with particular attention to her handling of color and portraiture. A modest but attractively produced monograph, it remains one of the few dedicated treatments of an artist who has drawn renewed attention from Georgian museums and collectors in recent years as part of a broader reassessment of twentieth-century Georgian women painters. Scarce outside Georgia, this trilingual album is of particular interest to collectors of Georgian Soviet art publishing and to students of the Toidze-Japaridze circle of Tbilisi painters.