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A MANIFESTO OF THE PROLETARIAN THEATRE] Osnovnyye zadachi teatral'nogo rukovodstva: Ispr. stenogramma doklada na Soveshchanii direktorov len. teatrov [i.e. The Main Tasks of Theatre Directing: A Revised Transcript of the Report from the Meeting of the Directors of Leningrad Theatres]

A MANIFESTO OF THE PROLETARIAN THEATRE] Osnovnyye zadachi teatral’nogo rukovodstva: Ispr. stenogramma doklada na Soveshchanii direktorov len. teatrov [i.e. The Main Tasks of Theatre Directing: A Revised Transcript of the Report from the Meeting of the Directors of Leningrad Theatres]

Smirnov, Ya [Moscow]: Ogiz - Gos. izdvo khud. lit-ry, 1931. 44 pp. 16,6x11,5 cm. In original illustrated publisher's wrappers. Fine. First edition. Scarce. This report provides a valuable insight into the process of reformation that the Soviet avant-garde theatre was compelled to go through in the early 1930s. The 4th decade of the 20th century witnessed the suppression of all innovative studios and theaters across the Soviet Union. This transitional period from Meyerhold's provocative experiments to the rigid frames of Socialist Realism was accompanied by a literary campaign aimed at defining essence of the new Communist theatre. Published during an early period of Socialist Realism, this report focuses on the tasks and problems the Soviet and, in particular, Leningrad theaters were facing on their road of reformation. The edition is based upon the idea of creating "an integrated theatre", where a playwright would closely collaborate with other organic elements of the Soviet theatre, thus ruling out any possibility of non-organized and inconsistent work. The author also underlines the fallacy of the assumption that the genuine proletarian theatre excludes artistic heritage of the past, and states that the future of dramaturgy is constituted by a synthesis of the upcoming generation and pre-Revolutionary art adapted to the political and social needs of the time. Starting from the problem of proletarian aesthetics and the necessity of collaboration between ideologically identical theatres (including amateur), the report deals with the topics of the staff and theatre shortages, repertoire production, set decorations, tours in regions, etc. Each chapter of the book is dedicated to a specific subject and scrutinized on examples of plays from different Leningrad theatres (Tovstonogov Bolshoi Drama Theater, Alexandrinsky Theatre, Theatre of Young Spectators, Workers' Youth Theatre, etc.), such as: "Inga" (1929; Bolshoi Drama Theater; directed by Boris Dmokhovskiy, stage design by P. Snopkov), "Robesp'yer" [i.e. Robespierre] (1931; Alexandrinsky Theatre; directed by N. Petrov, stage design by N. Akimov), "Avangard" (1930; Bolshoi Drama Theater; directed by Andrey Lavrentiev, stage design by M. Levin), etc. The last chapter of the report features an excerpt from the 16 October 1930 order of Leningrad Regional Committee of Komsomol. The excerpt comprises 11 articles with each one of them focusing on the ways of the artistic staff development. Overall, the report offers interesting details on the transitional process of the avant-garde theatre to the official realistic style of Socialist Realism. Worldcat doesn't locate any copies.
A FAREWELL TO ONE OF THE FOUNDERS OF THE SOVIET FORENSIC PSYCHIATRY] Professoru N.P. Brukhanskomu (20 let psikhiatrich. raboty). Problemy psikhiatrii i psikhopatologii: Sb. statey [i.e. To the Professor N.P. Brukhansky (20 Years of Psychiatric Work). Problems of Psychiatry and Psychopathology: A Collection of Articles]

A FAREWELL TO ONE OF THE FOUNDERS OF THE SOVIET FORENSIC PSYCHIATRY] Professoru N.P. Brukhanskomu (20 let psikhiatrich. raboty). Problemy psikhiatrii i psikhopatologii: Sb. statey [i.e. To the Professor N.P. Brukhansky (20 Years of Psychiatric Work). Problems of Psychiatry and Psychopathology: A Collection of Articles]

XVI, 728pp., a portrait and a table: ill., tables. 23.1x16cm. In original full cloth with gilt lettering on the front cover and the spine. Private library stamp: "Doctor V. E. Iashvili" on the title-page and the pp. 89, 513, occasional pen/pencil markings. Otherwise very good. First edition. Scarce. Title-page, table of contents and introductory letter in Russian and German. Published only a year before the arrest of Nikolay Brukhansky (1893-1948), this book can be viewed as an inadvertent farewell to one of the greatest psychiatrists in the history of the Soviet Union. A son of the famous Russian psychiatrist Pavel Brukhansky (1868-1930), Nikolay graduated from the medical faculty of the Moscow Imperial University in 1916. Soon after finishing his studies, Brukhansky was appointed a role of the county doctor at Mikhailovsky district of the Ryazan province. From 1923 Brukhansky worked in the Serbsky State Scientific Center for Social and Forensic Psychiatry. He went on to publish numerous scientific works dedicated to the topics of personality disorders, psychopathologies (including schizophrenia), and correlation between crimes/suicides and socio-economic factors ("Materialy po seksual'noy psikhopatologii: Psikhiatricheskiye ekspertizy" [i.e.Materials on Sexual Psychopathology: Psychiatric Examination], 1927; "Samoubiytsy" [i.e. Suiciders], 1927; "Ocherki po sotsial'noy psikhopatologii" [i.e. Sketches on Social Psychopathology], 1928, etc). In 1928, Brukhansky printed a book "Sudebnaya psikhiatriya" [i.e. Forensic Psychiatry] which forever cemented his name as a founder of the Soviet forensic psychiatry. In the edition, the author paid particular attention to psychiatric disorders and their forensic psychiatric assessment. Even despite his outstanding achievements in the development of the Soviet psychiatry, Brukhansky was accused of counter-revolutionary activity after his suggestion at the II Congress of Psychiatrists and Neuropathologists (1936) to exempt psychopathic persons from criminal responsibility. He was arrested and sent into exile in 1945 (where he died in 1948). For decades Brukhansky's name obliterated from the common memory: his books were seized from public libraries and vigorously destroyed as works of the "Soviet enemy". "Problems of Psychiatry and Psychopathology" was published on the occasion of Nikolay Brukhansky's 20 years of psychiatric work. The edition includes an introduction by the famous Russian scientist and founder of clinical neurogenetics, Sergey Davidenkov (1880-1961). The book features over 50 articles written by some of the best representatives of both Soviet and foreign psychiatry: Evgeniy Shevelev (1878-1946), Arthur Kronfeld (1886-1941), Nikolay Bogolepov (1900-1980), Vladimir Shostakovich (1898-?), Dmitriy Amenitsky, etc. "Involvement of the prominent Western European psychiatrists in the production of the collection underlines the interest that Brukhansky's research aroused outside of our union"- stated Davidenkov. The authors (many of whom, in accordance to Davidenkov, where Brukhansky's students) focus on the different fields of psychiatry and examine topics such as a process-psychosis, alcoholism and schizophrenia, treatment of various forms of psychiatric disorders, suicide in children, etc. Worldcat locates a copy at Bavarian State Library.
ABC OF JOB PRINTING BY SOLOMON TELINGATER] Iskusstvo aktsidentnogo nabora [i.e. The Art of Job Printing]

ABC OF JOB PRINTING BY SOLOMON TELINGATER] Iskusstvo aktsidentnogo nabora [i.e. The Art of Job Printing]

Telingater S., Kaplan L. 228 pp.: ill. 22x17.7 cm. In original cloth with the letterpress design and constructivist dust-wrapper by Solomon Telingater. Dust-wrapper with a couple of tears. Otherwise fine. First edition. Rare. Both a brief account of the book history and an extensive study of the origins and later development of job printing. Published in 1965, the book is written by one of the biggest names in Russian book art, Solomon Telingater (1903-1969) and the author of numerous typography studies, Lev Kaplan. The former, alongside El Lissitzky (1890-1941), Gustav Klutsis (1895-1938) and Alexander Rodchenko (1891-1956), was a founding member of the October group - a collective of Constructivist artists responsible for revolutionizing standards of the 1930s Soviet typography and book design. Influenced by the avant-garde tendencies of the time, Telingater made a name for himself as a daring experimenter who applied the trends of the emerging film industry and the features of photographic technology to book art. Solomon stood out above the rest of the graphic artists not only because of his modernist inclinations, but because of his masterly knowledge of typography. He paid particular attention to the drawn types (prints), regarding them to increase the expressiveness of book design. His most famous works include: "Dvenadtsat'" [i.e.Twelve] (1923), "S meshkom za smert'yu" [i.e. With a Sack after Death] (1927), "Slovo predostavlyayetsya Kirsanovu" [i.e. The Word Belongs to Kirsanov] (1930), "Tragediynaya noch'" [i.e. Tragical Night] (1931), Govorit Il'ich [i.e. Lenin Speaking] (1932), etc. One of the most vocal theorists of constructivist book/poster design, Telingater infused his decades-long typographical experience into a book dedicated not to the craft, but to the art of job printing. The book consists of two main sections: Job Printing by Solomon Telingater and The Techniques of Job Printing by Lev Kaplan. The first section of the edition elaborates upon the book and job printing history, since the author believed that the past contained typographic riches for the future. Telingater pays particular attention to the visual side of the job printing and focuses on the ways of avoiding tricks of optical illusion. The author thoroughly examines various sorts of fonts, typefaces, rules and ornaments and gives advice on their proper use. The first section of the book also deals with the topics of the compositional arrangement of the job printing elements (initials, headpieces, etc) in book design and different job printing types, such as forms, diplomas, certificates, invitations, ads, etc. The author occasionally offers comparisons between the Soviet and foreign job printing specimens: "In socialist countries, advertising serves the interests of the consumer" while "in bourgeois press ads often have a blatant and ugly pattern". While assessing contemporary state of this specific field of typography, Telingater states that the interest towards job printing decreased after a short revival period that was mirrored in the editions published between 1925-1930 and the 1st All-Union Printing Trade Exhibition in Moscow, 1927 (the exhibition, distinguished with its constructivist slant, was designed by El Lissitzky and was attended by Solomon Telingater, Gustav Klutsis, etc). The edition presents constructivist cover designs of "Kak izobreli telegraf" [i.e. How the Telegraph was Invented] (1928; written by P. Albychev; design by Telingater) and "Khorosho!" [i.e. Good!] (1927; written by Mayakovsky; design by El Lissitzky) as examples of proper job printing. The second section of the book, in contrast to the first chapter, focuses on the technical side of the job printing. The author elaborates upon such topics as the typesetting techniques of various job printing elements and the equipment and instruments necessary for the procedure. Aside from the aforementioned, Kaplan provides information on the proper organization of the working space, storage conditions of the materials, and on the mechanisation of the job prints. The edition is densely illustrated and features an array of job printing specimens (ornaments, initials, headpieces, rules, title-pages, ex-libris and various compositions designed using the technology, etc), in most cases, accompanied by the comments of the author. The book also showcases schemes of properly organized working space and illustrations of different instruments. "The Art of Job Printing" can be considered to be one of the most significant Soviet studies of this special field of typography. Worldcat locates a copy at Library of Congress.
EXPRESSIONISM OF THE 1930s] Osen-vesna. Stihi i poemy [i.e. Autumn-Spring. Poems]

EXPRESSIONISM OF THE 1930s] Osen-vesna. Stihi i poemy [i.e. Autumn-Spring. Poems]

Zharov, A.A. 42, [2] p., 25 ill. 30?23 cm. Original publishers binding. Fine. Twenty five full-page illustrations by Yuri Pimenov (1903-1977), as well as the design of endpapers. Pimenov is best known for his concept of 'revived impressionism' in his art, being one of the most popular Russian artists of XX century. Pimenov also was working in book and poster design in the 1920-1940s. Originally influenced by German expressionists Pimenov also was one of the forming members of OST group (along with Shterenberg, Daineka, Annekov and other VKHUTEMAS graduates). OST was divided in two groups 'projectionists' and 'concretivists', and three artists were separate from that structure, those where Pimenov, Daineka and Goncharov. OST always was proclaiming its connection to the European surrealists and expressionists, and Yuri Pimenov was probably their strongest link. In 1932 OST was closed after the decree 'On the transformations of writers' and artists' unions'. That decree marked thebeginning of the fight against 'formalism' (i.e. avant-garde, constructivism, abstract art) in Soviet culture. The design for this collection of poems of the proletarian poet Alexandr Zharov is done by Pimenov in blunt expressionist manner with the elements of book constructivism. Richly coloured chromolithographic plates are printed on the special paper. Because of the size of the book and its quality it's quite different from the usual OGIZ production of the time. This book could be one of the last examples of Russian expressionist book-design as the tendency has changed and social realism was becoming to take over. Very rare, especially in such mint condition.
method-draw-image (23)

LISSITZKY] Vladimir Mayakovsky: (“Misteriia” ili “Buff”) [i.e. Vladimir Mayakovsky: (“Mystery” or “Bouffe”)]

Ivanov-Razumnik, R. 56 pp. 22,5x15 cm. In original illustrated wrappers with letterpress design. Restored spine, copy faded, otherwise very good. First separate edition. A stunning letterpress design on the front cover was created by El Lissitzky in Berlin period. The crossword motif appeared on several book covers he produced. Here the artist put the vertical line of alphabet cross the horizontal lines of author's name and title. Later the book 'For the Voice' (1923) featured the crossword design on the cover and the vertical line of the index on inside. This is devastating criticism of the Russian futurism and his creator, blaming Mayakovsky in primitive performing of ideas he announced. Occasionally the author complimented Mayakovsky and called him "a heavy truck of the Russian poetry" for the hard work on the truly machine, realistic rhymes. The book was written by the critic Razumnik Ivanov-Razumnik (1878-1946), Tiflis born leader of the pre-revolutionary literary group 'Skify' (Scythians) that were close enough to the Left Socialist Revolutionaries. A little earlier he published this work in the collection 'The Old and New Art' (1921), printing it among the theatre criticism articles. MoMA 412. Worldcat shows the copies in Library of Congress, Yale University, Getty Institute, University of California, University of Kansas, Indiana University, Harvard College, University of Colorado Boulder, Duke University, Syracuse University, Yivo Institute for Jewish Research, Los Angeles County Museum of Art.
CREATE YOUR OWN NEWSPAPER] Osnovy gazetnogo dela: kratkoe rukovodstvo [i.e. Newspaper Business Basics: Short Manual]

CREATE YOUR OWN NEWSPAPER] Osnovy gazetnogo dela: kratkoe rukovodstvo [i.e. Newspaper Business Basics: Short Manual]

Sredinskii, S. 75 pp.: ill., 1 folding ill. loosely inserted. Book: 18x14 cm. Leaf: 24x22,5 cm. In original illustrated wrappers with printed newspaper front page in red. First and only edition. Extremely rare. This is the earliest Soviet manual on editing and printing mass periodical that was compiled for the provincial publishers. The book is divided into two sections. The first one is written for editors: explains what kind of text people need and how to arrange articles one by one, how many lines the front article may occupy and where to place advertisements, how to work with readers' messages sent via postal service, telegraphy, telephone and radio. Separately selected that the provincial publisher needs to focus on cleaning up any typographical errors before the manuscript is typeset - and what proofreading symbols he should use. The book contains a double-page illustration that shows how the text looks with these symbols. The second section features an instruction on how to organize a print shop, what types existed, how the Russian letter case looked like and how to highlight headlines. The folding leaf shows three examples of how newspaper titles may be designed. Two pictures of the linotype machine and rotary printing press are included with description of their working process. Finally, this textbook shortly explains how to organize a subscription and when to sell newspaper copies. At the end of this book, the ?harter of the Union of Soviet Journalists is printed. Interesting that the printing process underwent a lot of changes, but proofreading symbols have mainly stayed the same. Only paper copy located in Yale University.
HOW TO DESIGN A NEWSPAPER] Tekhnicheskoye oformleniye gazety [i.e. Technical Design of a Newspaper]

HOW TO DESIGN A NEWSPAPER] Tekhnicheskoye oformleniye gazety [i.e. Technical Design of a Newspaper]

Vyazemskiy B.A., Urlaub M.K. Moscow; Leningrad: Gizlegprom, 1933. 216 pp., 1 table: ill. 25.4x17.5cm. In original illustrated publisher's wrappers. Wrappers slightly age-toned, a couple of tears of the spine. Otherwise a very good clean copy. First edition. Rare. Written by the Soviet art critics Boris Viazemsky (1899-?) and M. Urlaub, this manual provides a detailed information on the technical design of the newspaper. The book is grounded on the concept that the newspaper design constitutes a purely political matter and any type of technical mistake in the arrangement of material can both "kill" a newspaper and become a problem of political importance. In each chapter the authors examine various elements of the newspaper design and scrutinize them on multiple examples from the proletarian, pre-revolutionary and foreign periodicals, such as "Smena" [i.e. A Change], "Novoye vremya" [i.e. New Time], "Pravda" [i.e. Truth], "The Evening News", "Daily Herald", "Kölnische Zeitung" [i.e Cologne Newspaper], "Krasnaya gazeta" [i.e. A Red Newspaper], etc. Every specimen is accompanied by captions that showcase the authors' assessments of the quality of the newspaper design. The book also elaborates upon the main tricks used by various newspapers to minimize or highlight political importance of specific news: sensational headlines, concealment of specific information, font sizes, etc. The authors pay particular attention to the different types of illustrations (caricature, photograph, photomontage, photolitomontage, diagramas, etc.) and draw a parallel between their use in the Soviet and foreign periodicals. The edition defines a photomontage as a tool that helps to comprehend various aspects of an idea, while concentrating attention on one specific matter. The authors underline the importance of logical and thematic sequence while creating a photomontage and state that a good photomontage is that which has a political goal and doesn't need a caption to fathom its meaning. The edition features, among other illustrations, examples of photomontages by A. Vasilieva and unidentified artists. From the basic principles of the newspaper design to the various types of printing techniques, this densely illustrated book focuses on the different topics of the newspaper design: various types of layout, instruments of a typesetter, productions of cliches, techniques of proofreading, design of proletarian and bourgeois newspapers, zincography, models of the newspaper design, headlines, material arrangement, etc. Worldcat doesn't locate any copies.
SOVIET VOYAGE TO THE PACIFIC REGION] Tikhookeanskii dnevnik [i.e. The Pacific Ocean Diary]

SOVIET VOYAGE TO THE PACIFIC REGION] Tikhookeanskii dnevnik [i.e. The Pacific Ocean Diary]

Lapin, B. 222, [2] pp. 19,5x14 cm. In original illustrated wrappers. Tears of the spine with small fragments lost, vertical crease of the front cover and some leaves, otherwise very good and clean copy. Signed by author on the half title (1929). First edition. One of 4000 copies. Cover design by artist Ivan Rerberg who depicted the upper part of the Pacific Ocean where both continents come near each other and surrounded by islands. This interesting witness account describes a voyage of the Soviet journalist from Vladivostok through Chukotka to coasts of Alaska and Japan. The diary was written by Boris Lapin (1905-1941) who was a travel journalist observing life from Arctic islands to Central Asian steppe. In 1928, he met the Pacific Ocean with enthusiasm. "Doors of the whole world are opened and nothing blocks me anymore. I came out to an alien world", - wrote Lapin in introduction adding that he was interested in people who settled the Pacific Ocean and relied on it. He started from Chukchi lands and lived there trying to understand the radically different lifestyle. The Soviet rule poorly influenced Chukchi people throughout the 1920s and Lapin in detail noticed unchanged customs and social relations. After that, he joined American ship selling goods between Alaska and Chukotka and crossed Bering Strait. Lapin visited Nome city in Alaska, that particularly impressed him with international emigre population, and turned back to Asia. He reached Hokkaido and sought to go to Vladivostok. As he desired, Lapin got acquainted with 'ocean' people, their personal stories and living conditions. Gained personal experience in settlements and on board of ships, the author mixed his notes with narratives he heard about local people and visitors from other lands. Worldcat shows copies located in LoC, Yale and Stanford Universities.
WHO WANTS RATIONAL ADVERTISING IN CAUCASUS RESORTS] "Dvigatel'" na Kavkazskikh mineral'nykh vodakh [i.e. 'Engine' on Caucasus Mineral Springs]

WHO WANTS RATIONAL ADVERTISING IN CAUCASUS RESORTS] “Dvigatel'” na Kavkazskikh mineral’nykh vodakh [i.e. ‘Engine’ on Caucasus Mineral Springs]

Two full-colored leaves with a double parallel fold, with illustrated front cover. 13x10 cm. Tears of the outer crease, staple lost, otherwise very good. One of 500 copies. ?over design is probably produced by local artist Nikolai Shuvalov. Extremely rare survival of prints issued by the early Soviet advertising agency "Dvigatel'" (Engine). This Moscow enterprise was established in 1922 under direction of newspaper 'Economic Life' and soon after that widespread over the country. 'Engine' had a monopoly on hanging posters in all provincial towns. In the southern part of the country, the main branch was located in Rostov-on-Don while six smaller agencies placed in Tbilisi, Baku and nearby Soviet cities. They provided "all kinds of rational advertisement", including agitational moving pictures, posters, signboards, advertisements on trams, published guides and directories. For example, this brochure contains railway timetable for direct trains from Tbilisi and Baku to Moscow/Leningrad and back. A range of rail-related information is printed as well. Six pages are occupied by advertisements of 'Engine' itself, the newspaper 'Economic Life', tobacco and wine companies as well as buses plying along seaside. The curious facts were published in 'Pravda' (January 1926) announcing that this 'advertising whale' spent money irrationally and was unprofitable. Not in the Worldcat.
BOOK ILLUSTRATION DESIGN] Verstka illyustratsiy v knige [i.e. Book Illustration Design]

BOOK ILLUSTRATION DESIGN] Verstka illyustratsiy v knige [i.e. Book Illustration Design]

Gessen, L. Moscow; Leningrad: Gos. izd-vo legkoy prom-sti, 1932. 3-94, [2]pp.: ill. 27x20.4cm. In original publisher's cloth with lettering on the front cover and the spine. Loss of the front endpaper. Otherwise in a very good condition. First edition. Scarce. This is a comprehensive guide to the layout of illustrations in a book. Lazar Gessen (1889-1932) was a pedagogue at the Leningrad State Tekhnikum of Poligraphy, one of the first Russian technical editors and an author of numerous publications on book design. His most famous works include: "Oformleniye knigi" [i.e. Book Layout] (1928), "Arkhitektura knigi" [i.e. Book Architecture] (1931) and "Ekonom'te bumagu" [i.e. Save Paper] (1932). The edition consists of five chapters: 1) Techniques of Image Arrangement on a Page 2) Image, Text, Paper 3) Basics of Image Arrangement in Text 4) Positioning Two Images on the Spread Separating them with Lines 5) Image Captions. The author provides a detailed information on the various types of page layout organization and elaborates upon the main factors of proper image arrangement. Importantly, the book includes An Appendix which both visually and textually showcases the most widespread mistakes in design (such as overly long captions, incorrect spacing, inaccurate image arrangement, etc) and offers Gessen's personal assessments and advices on achieving the best result. The edition is extensively illustrated and features an array of corresponding examples. Lazar Gessen died under unknown circumstances in 1932 and "Book Illustration Design" turned out to be his last work. Worldcat locates copies at Library of Congress and Bavarian State Library.
THEATRE AS A TOOL OF THE SOVIET PROPAGANDA] Leningradskiy teatr yunykh zriteley. Zadachi i organizatsiya / Sostavil L. Makar'yev [i.e. The Leningrad Theatre of Yong Spectators. Tasks and Organization / Compiled by L. Makariev]

THEATRE AS A TOOL OF THE SOVIET PROPAGANDA] Leningradskiy teatr yunykh zriteley. Zadachi i organizatsiya / Sostavil L. Makar’yev [i.e. The Leningrad Theatre of Yong Spectators. Tasks and Organization / Compiled by L. Makariev]

46, [3]pp.: ill., scheme. 17x11.8cm. In original illustrated publisher's wrappers. The spine is slightly rubbed. Otherwise near a very good copy. First edition. Scarce. Wrapper design by the Russian painter and theatre artist, Mikhail Grigoriev (1899-1960). Compiled by the Russian actor, director and pedagogue, Leonid Makariev (1892-1975). General editing by the founder of the theatre, Alexander Bryantsev (1883-1961). Dedicated to the Leningrad Theatre of Young Spectators, this interesting publication unfolds now lesser-known details of the organization and working process of the Leningrad TYUZ (Young Spectator's Theatre). The Leningrad TYUZ was founded by the director, teacher and People's Artist of the USSR, Alexander Bryantsev in 1921. Opening its doors to the spectators only three years after the establishment of the first Moscow TYUZ (1918), the Leningrad theatre soon turned into one of the most popular theatres in the Soviet Union. The book consists of five chapters: Main Provisions; Tasks and Organization; Repertoire; Provisions on the Delegate Conferences; and Rules of Attendance. The third section of the edition showcases the entire repertoire of the Leningrad TYUZ from 1922 until 1929. The theatre featured puppet shows for the kids (5-8 years old) and plays for the youth. The puppet shows were directed either by L. Yakovleva or Evgeniy Demmeni (1898-1969). The repertoire corresponded to the ideological requirements of the time and featured plays such as "Deti Indii" [i.e. Children of India] by N. Zhukovskiy (on the fight against religious superstitions), "Tak bylo" [i.e. So it was] by A. Brushtein and B. Sohn (on the fight against anti-Semitism), "Na pereval'noy trope" [i.e. On a Trail] by N. Gorlova (on the Civil War), etc. Other plays were directed by Alexander Bryantsev, Elena Pashkova-Gorlova (1899-1971), Evgeniy Gakkel (1892-1953), etc. Decorations were chiefly produced by V. Beier, E. Iakobson, K. Sokolov, Mikhail Grigoriev, and Moisei Levin (1895-1946). The edition comprises an abundance of illustrations depicting set decorations, various scenes from the plays, plans of the stage, and a wall newspaper produced by the delegates. Worldcat locates a copy at Harvard College Library.
PHOTO-DOCUMENTATION OF TOYS PRODUCED FOR KINDERGARTEN CHILDREN] Sat'amashoebis laboratoriis ek'sponatebis albomi [i.e An Album of the Toy Laboratory Exhibits]

PHOTO-DOCUMENTATION OF TOYS PRODUCED FOR KINDERGARTEN CHILDREN] Sat’amashoebis laboratoriis ek’sponatebis albomi [i.e An Album of the Toy Laboratory Exhibits]

80 pp: ill. 18x27.6 cm. In original cloth with lettering and decoration on the front board. Near fine. Loss of the endpapers. Scarce. One of 800 copies. A special anniversary edition of the Georgian SSR Ministry of Education. The album showcases 32 full page and 4 half-page illustrations (4 color; 32 black and white) of toys and educational materials for kindergarten children produced by the scientific-research institute. The work is particularly important as it promoted toys that later became mainstream. The album is divided into four parts: Educational Toys, Construction Toys, Folk Toys (based on the famous Georgian folk tales), and Outdoor Toys. The chapters comprise articles that define the usage rules and describe learning opportunities for children. Every article names the author of the idea (B. Khachapuridze, N. Unafqoshvili, N. Lortkipanidze, B. Avalishvili, R. Natadze, F. Farvariuk, etc.) and, in some cases, masters (M. Gudiashvili, P. Starodubtsev, A. Andreev, etc.). The most fascinating thing about the work is that each article is supplemented with the unique illustrations giving a valuable insight into the process of learning in Soviet Georgian kindergartens. The photos date back to the late 1930s. The album features 4 colored illustrations of the educational toys "Triala" (author of the idea - B. Khachapurhidze, master - M. Gudiashvili), "Seqtorina" (author of the idea - B. Khachapurhidze, master - M. Gudiashvili), and "Tsibruti" (author of the idea - B. Khachapuridze), as well as 12 black and white photographs depicting teachers and kids using preschooler toys produced by the institute. The collection also houses over 20 photos of different toys. Each illustration has captions. As stated in the introduction, the edition was intended to provide kindergarten teachers with precise information on the use policy of toys, give assistance in defining pedagogical purposes of games, and represent achievements of the laboratory so that toy manufacturing companies could start the mass production. The album design and color illustrations by the Georgian artist T. Kechkhoashvili; Photographs are by I. Pamfilov. As stated in the edition, special credits go to the distinguished workers of the kindergarten #1 founded in 1921 - the Georgian pedagogue and the founder of the kindergarten, Natalia Unafqoshvili (1892-1975) and E. Kargareteli. The album includes 2 photographs of both women playing with kids. Worldcat doesn't locate this edition.
THEORY OF PHOTOMONTAGE] Iskusstvo dnia [i.e. The Art of the Day. What to Know In Order to Make a Poster

THEORY OF PHOTOMONTAGE] Iskusstvo dnia [i.e. The Art of the Day. What to Know In Order to Make a Poster, Lubok, Advertising, Assemble a Book, Newspaper, Billboard, and What Abilities Photo-technics Provide]

Tarabukin, N. 135, [2] pp. 22x15 cm. Original publisher's cover. Covers restored, bookstore stamp on back cover, otherwise very good. First edition. One of 3000 copies. Very rare. The program work by art critic Nikolay Tarabukin (1889-1956), one of the ideologists of Proletkult, who at the time taught at VKHUTEMAS. The art of the day is the art that is born in the day, that is dying with the dawn of the day - that's how Tarabukin defines the new art, however admitting its importance, he explains the purpose of creating this book as a guidance for the artists, designing billboards, wrappers of the books, posters, advertising, newspapers etc. He calls the poster 'the weapon of mass influence' and puts in above all other forms of 'minor art' in its importance for the masses. In the second chapter Tarabukin gives the principles of the Soviet advertising, in the third called 'old folk lubok and new agit-lubok', explains how to transform old tradition of the luboks printed for the people into weapon of propaganda. The seventh chapter is dedicated to the new abilities of photo design. Among other things, the definition of photomontage is given with advises how to use it. Tarabukin calls photomontage 'the new era in pictorial art'. This could be one of the first explanations of how photomontage as a technique fits into leftist design. Tarabukin always underlines the anonymity of the art he describes. In his understanding, it's better not to advertise the artist's name as this art is created by the people for the people. This statement could be the reason why so many times when we work with outstanding book design of the 1920s, we can't find the name of the artist mentioned anywhere. This book was used both as a textbook for students and as a guidebook for the artists and designers which explains its rarity. Worldcat shows copies located in Princeton and Yale Universities.
A CATALOGUE OF THE KIROV MEAT-PACKING PLANT] Leningradskiy myasokombinat im. S.M. Kirova / Vsesoyuznaya promyshlennaya vystavka [i.e. S.M. Kirov Meat-Packing Plant in Leningrad / All-Union Industrial Exhibition]

A CATALOGUE OF THE KIROV MEAT-PACKING PLANT] Leningradskiy myasokombinat im. S.M. Kirova / Vsesoyuznaya promyshlennaya vystavka [i.e. S.M. Kirov Meat-Packing Plant in Leningrad / All-Union Industrial Exhibition]

[32] pp., ill. 26.8x18.5 cm. In original illustrated publisher's wrappers. Closed tear on the upper right corner of the front wrapper. Otherwise near fine. First edition. Extremely rare. The front cover depicts one of the most vibrant examples of the Soviet constructivist architecture - a building of the Kirov Meat-Packing Plant in Leningrad. Erected by the leading Soviet architects Noi Trotsky (1895-1940), Boris Svelitskiy, and R. Zelikman in 1930-1933, the plant was awarded a Grand Prix for its outstanding engineering and architectural features on the international exhibition in Paris in 1937. This richly illustrated brochure offers a visual insight into the working process of the Kirov Meat-Packing Plant in Leningrad. Commissioned in 1934, the grand factory was to provide meat products to the whole city. By 1935 the Kirov plant produced 5 times more meat products than all Leningrad enterprises in the 1920s. The production process was maximally mechanised and the factory chiefly incorporated American facilities. In 2000 the factory went bankrupt. At the moment, the complex is in disrepair. The edition continues the tradition of the photobooks dedicated to the meat industry, kick-started in the 1930s by El Lissitzky with the publication of the two versions of the book "Pischevaya industriya" [i.e. The Food Industry], co-designed with his wife Sophie Küppers. The edition was compiled for the 1956 All-Union Industrial Exhibition (Moscow) to showcase achievements of the second-largest enterprise in the Soviet Union.
SOVIET ARCHITECTURE: GINZBURG

SOVIET ARCHITECTURE: GINZBURG , KHIGER AND SEMENOV] Voprosy arkhitektury: Sbornik statei [i.e. Architecture Issues: A Collection of Articles]

[Moscow]: Izogiz, 1935. 208 pp.: ill. 30x21,5 cm. In original printed wrappers. Covers slightly soiled and spine chipped, otherwise a very good and internally clean copy. A valuable piece of a historical evidence on Moscow reconstruction of 1935, Ginzburg's constructivist project of Moscow-Donbass Highway and Khiger's civil housing critics (communal houses). First and only edition. One of 6000 copies. Illustrated throughout with black and white photographs, plans and drawings. Wrappers and title page by I.F. Rerberg (1892-1957), master of the Soviet wrapper design. The collection was published by the Union of Soviet Architects (the union was formed in 1932 after the demolition of all other architectural unions). It's interesting that in the preface it is stated that a few statements from the authors are controversial (regarding historical aspects) but they were not removed to generate a healthy creative discussion. The edition is divided into two sections - a historical part includes works on Egyptian architecture, sculpture in architecture, architecture and planning of Versailles Park, but most valuable articles in the second part on architectural reconstruction of Moscow (by Vladimir Semenov), architectural design of Moscow-Donbass Railroad (by famous Soviet architect Moisei Ginzburg), problems of civil housing on Soviet architecture (by Roman Khiger, architecture critic and writer). "Moscow must become the best city in the world" - that was the intent of a massive reconstruction planned in 1935. It was the first complex reconstruction plan of Moscow. Semenov was one of the architects responsible for the General plan. In his article he describes the problems, tasks and aims, gives statistical data but the most interesting part is a short analysis of 7 competition projects by Le Corbusier, Ernst May, Hannes Meyer, Nikolai Ladovsky and others. For every project a plan is given. For example, Le Corbusier's plan was rejected because he wanted to redo the existing radial-circular system of the city and create a new one according to his urban views, and the main point of the General plan was to keep the existing system and improve it. None of the competition's projects announced earlier was recognized as sufficiently convincing to become the basis of the future real plan for the reconstruction of Moscow. Semenov and another responsible for the final plan architect Sergei Chernyshev were consulted by many eminent architects, including constructivists Nikolaev, Vesnin brothers, Kolli. The city's shape was improved and became more clean by the end of the decade, and that look was unchanged for many decades. This article is very important as one can see what Moscow could have been looked like and what it was supposed to look like according to architect of the General plan, what they had in mind when planning the new look of the capital. Simple yet striking designs by Moisei Ginzburg for Moscow-Donbass Railroad stand out in this edition. In the article the architect stated that was a completely new task for Soviet architecture. Ginzburg with such architects like Vesnin brothers, Golosov, Nikolaev, Ladovsky (all from the Union) started to work on the project in 1933. The most difficult thing, he said, is the achievement of integrity and architectural unity of all structures. The article provides wonderful constructivist designs of stations, technical departures, apartment houses, roadblocks, road houses, dorms (communal houses), dining rooms. Khiger gives a detailed analysis of civil housing starting from pre-Revolutionary buildings and discussing reconstructive period of the second half of the 1920s - search for a new forms of housing due to a new socialist alteration of the day to day life. Worldcat locatescopies in NYPL, Princeton, Michigan, Getty, Columbia and Cornell Universities.
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CONSTRUCTIVIST GLANCE ON LENINGRAD AS THE MODEL CITY] Za obraztsovyi sotsialisticheskii Leningrad [i.e. For the Exemplary Socialistic Leningrad]

Maliuga, E. 80 pp.: ill. 15,5x23 cm. In original photomontage wrappers. Near fine, neatly restored. One of 15000 copies. Extremely rare. One of the main books on constructivist architecture of Leningrad. The book is the lesser known masterpiece of constructivist design, with multiple photomontage illustrations, the variations of fonts and uneven layouts. The designer responsible is Leningrad-based Nikolai Muratov (1908-1992), who is better known for his caricatures in 1930s and anti-fascist posters during the war. Photographs are taken by Semen Magaziner (1886-1940), the classic of Leningrad photography, in 1912 he became the first person to bird's eye view photos of St. Petersburg . This edition shows the process of Leningrad becoming the socialist city. The phenomenon of the socialist city itself intended to be the collective living area which made daily pursuits easier and safer because everything was well-organized and based on the technical progress. Called after the first party leader, Leningrad was one of the key cities in industrialization changes. The city dwellers obtained the kitchen factories with mechanized bakery-machines and dishwashers, mechanized laundries, bathhouses, new schools, kindergartens and nurseries. The systems of water supply and filtering, sewerage, electric power and gas supply were organized as well as the new areas for leisure time. All changes are neatly put in order one by one, reflected in the text and photographs. Also, the book gained the constructivist-style laconic chapters, some of them are named 'The City Wants to Drink', 'Leningrad Is Having Lunch', 'The City Transport Outdrives the Industry'. Worldcat doesn't track this edition.
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LEARNING TO FANTASIZE LIKE CHERNIKHOV] Iskusstvo nachertania [i.e. The Art of Graphic Representation]

Chernikhov, Y.G. 77, [3] pp.: ill. 18x13 cm. In original illustrated wrappers. Near fine copy. Tiny tear of the spine. First edition of the first book. Yakov Chernikhov (1889-1951) was one of the most unusual and innovative talents of the time, known for his Architectural Fantasies, and here are these fantasies in the making. This is a textbook on a special subject developed Chernikhov himself, which he called «the art of graphic representation». It was not a drawing textbook, as one might understand from the title. Under the old-fashioned title Chernikhov meant something very modern. It is about graphic, spatial, and abstract compositions, and seeks to encourage students to use lines, planes, and solid to express beauty and movement without depicting anything known or recognizable, experimenting with all the boundless possibilities open to them. This book was designed for beginners, for people who had not so far been involved in drawing, and not burdened with education at all. It was this kind of youth that filled the Soviet secondary and higher educational institutions in the 1920s. The more amazing is Cherninov's task that he brought up on himself. His architectural fantasies have not lost their nutritive power to this day and serve a powerful source of inspiration. Publications like this were very unusual, since for the previous fifteen years, modern art had been used to express slogans, manifestoes, and statements of principle. The essence of Chernikhov's first book, as well as the remaining unnoticed by critics, was revolutionary in relation to the academic school of architectural drawing, which he himself passed. Not recognized by contemporaries, a unique textbook on the development of spatial thinking has not lost its significance even today. Later, he was reproached in the formalistic approach, the poor presentation of the theory but the graphics were always praised. Worldcat locates copies at Cleveland Library, Getty Research Institute, NYPL.
ATLAS OF BORIS DORN'S SCIENTIFIC EXPEDITION] Atlas k puteshestviyu B.A. Dorna po Kavkazu i Yuzhnomu poberezh'yu Kaspiyskogo moray/ Izdaniye Imperatorskogo Russkogo Arkheologicheskogo Obshchestva [i.e. Travels of B.A. Dorn around the Caucasus and Southern Coast of the Caspian Sea/ Produced by the Russian Imperial Archaeological Society]

ATLAS OF BORIS DORN’S SCIENTIFIC EXPEDITION] Atlas k puteshestviyu B.A. Dorna po Kavkazu i Yuzhnomu poberezh’yu Kaspiyskogo moray/ Izdaniye Imperatorskogo Russkogo Arkheologicheskogo Obshchestva [i.e. Travels of B.A. Dorn around the Caucasus and Southern Coast of the Caspian Sea/ Produced by the Russian Imperial Archaeological Society]

[2], 9 pp., 44 ill. 42x29.8 cm. Period half-leather with gilt lettering on the spine. Slightly worn, but generally in very good condition. Scarce. First edition. This album of monochrome lithographs displays views and linguistic material collected during one of the most important expeditions to the Caucasus and the Southern shore of the Caspian Sea at the time. In 1860 the Imperial Academy of Sciences decided to send Boris Dorn (1805-1881) - a German orientalist specializing in the history and the languages of Iran, Russia and Afghanistan - on a scientific trip to Southern Caucasus. Primary objective of the expedition was to collect information about oriental languages, culture, manuscripts, coins and other rarities: "Many secrets that cannot be explained here will be uncovered during the expedition.and many riddles that seem inexplicable will finally be solved" (B.D). Dorn left St. Petersburg on the 17th of August 1860 and embarked upon a 10-month journey to Azerbaijan, Georgia, Persia, Uzbekistan and Dagestan. A scientific report of the expedition was first published in German in a Bulletin de l'Ac. Imp. Des Sciences de St. P., 1861. The Russian translation was printed as a separate edition (A Report on a Scientific Trip to the Caucasus and the Southern Coast of the Caspian Sea) the same year. In spite of Dorn's multiple attempts to issue an atlas illustrating scientific results of the expedition, the endeavor could not be completed during his life and the atlas was published posthumously under the supervision of the Russian Imperial Archaeological Society in 1895. The first section of the edition features 20 positions produced by the artist Karl Gippius (he was accompanying Dorn during the expedition) and showing rare views of Baku, Madzhalis (Dagestan), Derbent (Dagestan) and Kubachi (Dagestan). The lithographs depict cemeteries in Derbent and Baku, a number of caravanserais and gravestones in Azerbaijan and Dagestan, Siniggala and Bibi-Heybat mosques and Pir Mardakan monument in Azerbaijan. There is also a lithograph displaying one of the biggest discoveries of the voyage, a grave of the German explorer Samuel Gmelin (1744-1774) who tragically died during an expedition to the Caucasus (Gmelin died of fever and starvation when his expedition was captured by the Nogai Khan Usmey-Asmir-Amzy). Dorn's intention to "erect a monument on the forgotten grave of a worthy person who fell victim to science" was fulfilled in 1861, when he managed to find the lost grave and erected a wooden cross over it. The first section of the atlas, among other interesting materials, offers 45 Kubachian reliefs depicting figural subjects, floral ornaments and fantastic beasts. The second section of the atlas comprises Arabic and Persian inscriptions found in Persia and Dagestan: "On our way we (Dorn and Gippius) examined Islamic monuments and wrote down inscriptions from them. The most wonderful ones my companion transferred to paper". The dates of the inscriptions range from the 12th century to the 18th century with the earliest one of them being an Arabic inscription on the gravestone of Qadi Abu-l-Qassim in Amol, Mazanderan (1120). Majority of the inscriptions come from caravanserais and tombs and mention builders or cite excerpts from Koran. The second section of the atlas also features 8 Arabic inscriptions from Kubachi. The third and final section of the atlas presents 14 inscriptions (in Sanskrit/Punjabi) found in the Zoroastrian Fire Temple - Ateshgah (Baku). A surviving proof of the ancient relationship between India and Azerbaijan, the old monastery traces its origins to Zoroastrianism which was practiced in Azerbaijan from the first millennium BC. The current temple was built in the 17th-18th centuries in the place of a Zoroastrian sanctuary (which existed until the introduction of Islam) by the Indian pilgrims who visited Azerbaijan for the Silk Road Trade and erected the temple as a site for practicing religious ceremonies. The inscriptions in the temple in Sanskrit and Punjabi identify the site as a place of Hindu and Sikh worship, and state it was built and consecrated for Jwala Ji, the modern Hindu fire deity. The inscriptions were sketched by Doctor Kirsten who assisted Dorn during his expedition. Overall the atlas provides a vivid insight into the scientific outcomes of Dorn's expedition.