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F.A. Bernett Books

Zapiski poeta: povest' [Notes of a poet: a tale]

Zapiski poeta: povest' [Notes of a poet: a tale]

Sel'vinskii, Il'ia and El Lissitsky, designer Moscow-Leningrad: Gosudarstvennoe izdatel'stvo, 1928. Octavo (17 × 12.5 cm). Original photo-illustrated wrappers by El Lissitzky; 91, [3] pp. With the folding sheet (measuring 47 × 44 cm). A very good copy, with only very light wear to spine and wrapper edges; the fold-out is also very well-preserved. An unusually attractive copy. First and only edition of this semi-autobiographical narrative poem, perhaps one of the best-known examples of the constructivist literary style invented by Il'ia Sel'vinskii (1899-1968), the Russian-Jewish writer, playwright, and poet. After serving in the Red Army during the Russian Civil War, Sel'vinskii led the Literary Center of Constructivists in Moscow, where he published collections of poetry and longer poems. Victor Terras notes of his approach: "Selvinsky was one of the first Soviet writers to do serious technical research toward his literary work and to view writing poetry as a goal-directed rational activity" (Terras, Handbook of Russian Literature, 394). Sel'vinskii is known for his experimentations with Yiddishisms, linguistic register, and poetic form and versification, such as taktovat. Following the anti-Formalism campaigns of the late 1920s, he attempted to toe the Party line with his propagandistic poem "From Palestine to Birobidzhan" (written in 1930, published in 1933). The wrappers feature a striking design by El Lissitsky (Lazar M. Lisitsky, 1890-1941), signed by him on the rear wrapper. It juxtaposes a photomontage "double portrait" of the Dadaist poet Hans Arp against the background of an issue of Picabia's Dada periodical 391. The ears of the two different images have been swapped. The name of the poet-protagonist of Selvinsky's work, Evgenii Nei, is printed on Arp's collar. One of 3000 copies. Uncommon in comparable condition, with the large folding sheet fully intact. Getty 700. MoMA 750.
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Biuletyn praski [Praga bulletin], Nos. 18, 21, 22, 23, 27, 28

Warsawa-Praga: Komenda m. st. Warszawy; drukarna "Do boju!", 1944. Single leaves, on blue and yellow newsprint, printed recto and verso; measuring 34 × 25.5 cm. One issue with a photograph. Old horizontal creases; three issues with moisture stains to margins; occasional small tears to folds; overall about very good. Six issues of a rare, ephemeral newsprint bulletin published in the Praga district of Warsaw, on the Eastern side of the Vistula River, where the Polish Home Army and Soviet forces had expelled the Nazis by mid-September. The periodical appears to have been published after the liberation of Praga, but while the fighting continued in Warsaw's center, where the Warsaw Uprising took place from August 1 to October 2, 1944. This was the largest armed resistance campaign carried out during WWII and a tragic failure that led to hundreds of thousands of deaths and the systematic destruction of large parts of Warsaw by German forces. The uprising was initiated once German forces began to retreat due to the approaching Red Army; while Polish fighters initially established control over large parts of the city, the Soviets stalled and ignored calls for assistance, in a strategic play by Stalin aimed at weakening the Home Army, which was opposed to Soviet rule, and instead sought to re-install the exiled Polish government. The present journal contains various pro-Soviet articles, news about the war effort in Praga, Poland, and beyond, as well as a few original poems. One issue illustrated with a photograph of Polish troops operating artillery in Praga. With the printed slogan at the upper right: " mier niemieckim naje d com" (Death to the German occupiers). Published from September 21 through October 27, 1944. Edited by Wiktor Borowski (1905-1976). A scarce survival; war-time publications from the Polish resistance are scarce. January 2020, we cannot trace any copies outside Poland.
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Siuita No. 3, iz baleta "Zolushka": dlia simfonicheskogo orchestra, soch. 109. Partitura [Suite no. 3 from the ballet "Cinderella": for the symphony orchestra, comp. 109. Score]. Full score

Prokofiev (Prokof'ev), Sergei 1954. Moscow: Gosudarstvennoe Muzykal'noe Izdatel'stvo, 1954. Quarto (29 × 22 cm). Original illustrated wrappers; 100 pp. Small chip to upper corner of front wrapper, else very good. First edition. An excerpt from the ballet "Cinderella," considered by many (including Galina Ulanova, who danced the part of Cinderella) to be the best ballet by Sergei Prokofiev. The ballet was written in 1940-1944, with the final sections completed during WWII, while the composer was living in evacuation in Alma-Ata, Kazakhstan. In parallel to his work on this ballet, Prokofiev was also collaborating with Sergei Eisenstein on music for the film "Ivan the Terrible," as well as an opera based on Tolstoy's "War and Peace." The ballet opened at the Bolshoi Theater shortly after the end of the war in the fall of 1945. This is one of the three excerpts authorized by the composer, and the first to be published as a freestanding edition. This selection was first performed independently on the radio in 1947. Sergei Prokofiev (1891-1953) is considered one of the greatest composers of the twentieth century. An early talent and a reputed rebel of classical music, in his creative life he composed eight ballets, seven operas, seven symphonies, nine piano sonatas and much more. In 1918, following the two Russian revolutions, Prokofiev left Russia for the United States, subsequently living in France and Germany before re-settling in the Soviet Union in 1936. Finding himself in Soviet Russia in the darkest of times, Prokofiev continued to lead a productive creative life, even as he was "encouraged" to write patriotic pieces such as his 1939 "Zdravitsa" (Cheers) to celebrate Joseph Stalin's sixtieth birthday. Prokofiev also had the misfortune of dying on the same day as the great leader, on March 3, 1953, with his death going virtually unnoticed by the Soviet press and the public. For more information see Shlifstein S. and Rose Prokofieva (trans.), Sergei Prokofiev: Autobiography, Articles, Reminiscences (2000). Publisher's catalog to rear wrapper. KVK, OCLC show copies at NYPL, Penn, Oberlin, Wayne State, Baylor University (Texas), Cambridge, and Universitatsbibliothek Mainz. One of only 370 copies printed.
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Die Frauen Tribüne. No. 1/2 (January 1933) through No. 8 (Mai 1933) (all published)

A complete run of 6 issues (2 double issues, each issue approx. 16-28 pp.) in one bound volume of the short-lived feminist German journal published at the tail end of the Weimar Republic, edited by Hildegard Barczinski with assistance from Dr. Marga Job, and Dr. Marga Bauer, covering topics related to feminism and the women's movement, such as the youth movement, art, prostitution, the protection of minors, domestic life, craft, and unemployment, with contributions from writers including Gabriele Tergit, Joe Lederer, Elisabeth Langgässer, Nelly Wolffheim, Dr. Alice Salomon, Alix von Falkenhayn, Irma Sernau, Anna von Gierke, Nell Walden Heimann, and many others. Scattered illustrations throughout, primarily from photographs and drawings within advertisements. Clean, 4to. Newer blue canvas boards, original wrpps. bound in, overall very good, some minor bumping to edges and a small split at top of spine. Berlin, 1933. Signed, dated 1935, and inscribed with a poem by Hildegard Barczinski to front flyleaf which alludes to the short-lived nature of the journal and her wish that her work could have continued. Adolf Hitler was sworn in as Chancellor on the morning of January 30, 1933. By mid-February, Reichstsag deputies were being arrested and meetings of left-wing parties were banned. The last multi-party election of the Weimar Republic took place on March 5, 1933, and the Enabling Act was passed at the end of March. The passage of the Act, which enabled the Nazi cabinet to pass legislature - especially laws that ran contrary to the constitution - without the approval of the President or the Reichstag, is widely considered to mark the end of the Weimar Republic and the beginning of the Nazi era. By the time Die Frauen Tribüne was getting underway, many of its contributors were no longer allowed to write, or were only allowed to write apolitical pieces. Very scarce; as of January 2020, WorldCat does not locate a single holding of this journal in a North American library.
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Romeo i Dhul'etta. pervaia siuita. Dlia bol'shogo simfonicheskogo orchestra. Partitura. Op. 64 Bis. ["Romeo and Juliette": first Suite for a large symphony orchestra. Score. Op. 64 Bis.]. Romeo et Juliette. Première Suite pour grand orchestre symphonique. Partition d'orchestre. Op. 64bis

Prokofiev (Prokof'ev), Sergei 1938. Moscow: Muzgiz, 1938. In Russian and French. Quarto (30.5 × 23 cm). Original quarter cloth boards; 131, [1] pp. Light soil to boards; wrapper edges frayed, internally very good. First edition. The first published excerpt from Sergei Prokofiev's 1935 ballet "Romeo and Juliette," this piece was first performed at the Moscow Philharmonic in November 1936. The complete ballet premiered in Brno, Czech Republic only in 1938 and in Soviet Russia not until 1940, leading the ballerina Galina Ulanova (who danced the part of Juliette) to joke: "Never was a tale of greater woe than Prokofiev's music for Romeo." Comissioned initially by the Kirov Theater (today Mariinsky Theater) in Leningrad, the comission fell though and was picked up instead by the Bolshoi Theater only to be stalled due to the overhaul of the theater staff. Prokofiev's departure from Shakespeare's tragedy, providing the ballet with a "happy ending," also seems to have stalled the production. The composer explained that the change was of an entirely practical nature: "living people can dance, the dying can not." He changed his mind (and the ending) when someone remarked during one of the rehersals: "Strictly speaking, your music does not express any real joy at the end." Perhaps because of the difficulties with the production, the composer reused the music from the ballet in three suites, performed in 1936, 1937, and 1946 respectively. Sergei Prokofiev (1891-1953) is considered one of the greatest composers of the twentieth century. An early talent and a reputed rebel of classical music, in his creative life he composed eight ballets, seven operas, seven symphonies, nine piano sonatas and much more. In 1918, following the two Russian revolutions, Prokofiev left Russia for the United States, subsequently living in France and Germany before re-settling in the Soviet Union in 1936. Finding himself in Soviet Russia in the darkest of times, Prokofiev continued to lead a productive creative life, even as he was "encouraged" to write patriotic pieces such as his 1939 "Zdravitsa" (Cheers) to celebrate Joseph Stalin's sixtieth birthday. Prokofiev also had the misfortune of dying on the same day as the great leader, on March š, 1953, with his death going virtually unnoticed by the Soviet press and the public. For more information see Shlifstein S. and Rose Prokofieva (trans.), Sergei Prokofiev: Autobiography, Articles, Reminiscences (2000). KVK, OCLC show only two copies of this edition outside of Russia, at the Danish National Library and the Polish National Library. One of 500 copies printed.
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Op. 66. Boltun'ia: stikhi A. Barto dlia golosa s f-p [The Chatterbox: verse by Agniia Barto for voice and piano]

Prokof'ev, Sergei and Agniia Barto 1937. Moscow: Muzgiz, 1937. Quarto (30.5 × 23 cm). Original decorative wrappers; 13 pp. Very good; very small stamp "Printed in Soviet Union" to lower front wrapper. First edition. A collaboration between Sergei Prokofiev (1891-1953), one of the greatest composers of the 20th century, and Agniia Barto (1906-1981), one of the most famous Soviet children's poets, generations of Soviet children grew up listening and performing this work. Barto wrote the humorous poem about a young girl supposedly too preoccupied with extracurricular activities to "chatter" in 1934. In 1936, Natalya Sats', the director of the Central Children's Theater persuaded Prokofiev to compose the music to Barto's lyrics after the tremendous success of his children's opera "Petia i Volk" (Peter and the Wolf) earlier that year. Due to the success of his children's work, he was rumored to receive many letters form children, some of which he responded to publically in the Soviet children's publication "Pioner". Because of the economic crisis in Europe and North America in the 1930s, Prokofiev was receiving fewer European commissions, and more and more commissions in the Soviet Union. In 1936 he permanently returned to the USSR with his family after living in Europe and the US for nearly two decades. In his reminiscences, Prokofiev writes that there was an especially great demand for children's music in this period. In 1935 he composed twelve pieces for children, later released as "Muzyka dlia detei Op. 65" (Music For Children Op. 65). After re-settling in Moscow, he composed several more works for children, including this piece. Subsequently this work was published in conjunction with two other children's songs "Sweet song" and "The piglets" as "Tri detskie pesni dlia golosa Op. 68" (Thee shildren's songs for the vocals Op. 68) starting in 1946. This item appears to be the first and only freestanding edition of this piece. See Shlifstein S. and Rose Prokofieva (trans.), Sergei Prokofiev: Autobiography, Articles, Reminiscences (2000). One of 5000 copies. KVK, OCLC only show the copy at Library of Congress.
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Early samizdat version of "Rekviem" (Requiem) with variant passages

Akhmatova, Anna Soviet Union, ca. December 1962-1963. Six leaves of typescript to rectos (A4). Old horizontal creases; else very good. Six-page typewritten copy of Akhmatova's "Requiem," formerly owned by the family of Soviet scientist Vladimir Fok (1898-1974) and his wife Alexandra Lermontova, Akhmatova's neighbours in the suburban town of Komarovo. Included with the typescript is a recent hand-written letter detailing the provenance and pinpointing the date of creation to the years 1958-1961. This range seems unlikely, given that the first known typewritten version was produced by Akhmatova's secretary in the poet's presence in early December of 1962. Moreover, the present text includes the verse "Eto bylo, kogda ulybalsia," which was first included in the poem when it was first written down in 1962 (see Lidiia Chukovskaya's memoirs). Nevertheless, these leaves contain an early copy of Akhmatova's poem, likely produced sometime between December 1962 and the mid-1960s. The text also evinces a number of small differences vis-àvis the canonic 1963 text, as well as later revised editions. Notably, the first part features the dedication to "my husband and friend" ("Posviashchaetsia muzhu i drugu"), which is missing in all other editions of the poem. Furthermore, the last line of the fifth stanza features more daring phrasing than the canonical text, which appears to be unknown: " " rather than " ." Later samizdat versions were usually based on the 1963 edition and featured few to no variant passages. They were often bound and contained other texts; this loose-leaf version would have been easier to pass on at a time when both the copying and the possession of the work entailed serious legal risks. An important document of the early reception of "Requiem" in the Soviet Union.
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Tvori: zhurnal studii Moskovskogo Proletkul'ta [Create: a journal of the studios of Moscow Proletcult], nos. 1, 2, 3-4 (all published)

Moscow: 1920-1921. Large octavos (25.5 × 17 cm). Original printed wrappers; 23, 36, 64 pp. First issue lacking wrappers; occasional tears and one issue with private inventory label; overall good or better. Complete run of this Proletkult literary journal issued in three fascicles. "We ourselves need to create!" declare the editors in the first issue of the journal, asserting the idea of Aleksandr Bogdanov that was central to the Proletkult movement: only art made by the proletariat itself can accurately reflect the reality of the proletariat. The journal was to publish prose and poetry by proletarian "non-professional" writers, focusing on contributions by members of Moscow Proletkult writing workshops and helping them hone their skill. In fact, the short-lived publication suffered from the same problem of professionalization as related Proletkult publications such as Gorn (1918-1923), Kuznitsa (1920-1922), and Pereval (1922). A review of this new journal published in Kuznitsa pointed out that all the best work in the first issue is written by established writers such as Boris Arvatov (a theorist of pragmatic art) and Valerian Pletnev (leader of Moscow Proletkult and a major playwright) rather than by "workshoppers." Founded in 1917, at a congress of creative workers' workshops, Proletkult "began as a loose coalition of clubs, factory committees, worker's theaters, and educational societies devoted to the cultural needs of the working class." With support from the minister of education, Anatoly Lunacharsky, and theoretical guidance by Aleksandr Bogdanov, "by 1918 it had expanded into a national movement with a much more ambitious purpose: to define a unique proletarian culture that would inform and inspire the new society" (Lynn Mally, Culture of the Future: The Proletkult Movement in Revolutionary Russia, 1990; pp. xviii). This journal was conceived when the movement was at its zenith, and the high print run (10000 for the first issue and 5000 for the second issue) is indicative of generous financial and political support of the new publication at a time of massive paper shortages due to the ongoing Russian Civil War. The movement began to decline in 1922 after criticism from both Trotsky, who claimed that there is no such thing as purely proletarian culture, and eventually from Lenin, who saw Proletkult activities as too far reaching and thus politically dangerous. Aleksandr Zugrin (1899-1923), an avant-garde painter and member of Proletkult, designed the cubo-futurist wrappers of this publication. Zurgin was one of the top rising artists of Proletkult and designed covers for Gorn as well as numerous Proletkult poetry books in addition to this publication. The issues also contain photographs of Proletkult theater performances and contributions by S. Obradovich, V. Aleksandrovskii, V. Pletnev, St. Krivtsov, B. Arvatov. As of November 2019, KVK and OCLC only locate microform copies.
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Op. 79. Iz Evreiskoi narodnoi poezii: vokal'nyi tsikl dlia soprano, kontral'to i tenora v soprovozhdenii fortepiano [From Jewish folk poetry. A cycle of vocals for soprano, contralto and tenor with piano accompaniment]

Shostakovich, Dmitrii 1955. Moscow: Muzykal'nyi Fond SSSR, 1955. Quarto (29.4 × 22.8 cm). Original decorative wrappers; 59, [1] pp. Very good; wrappers lightly dust-soiled and with one light stain; else very good. First edition of Shostakovich's song-cycle based on Jewish motifs, authored in 1948, but consigned to the drawer until after the Antisemitic campaign of Stalin's last years. Even then, it was printed in a relatively low print run of 3000 copies. This was one of a number of works on Jewish themes by Dmitry Shostakovich (1906-1975), widely considered one of the greatest composers of the twentieth century. The song cycle was based on texts from the collection "Jewish Folk Songs" published in Moscow in 1947. Commenting on this tendency, musicologist Laurel Fay writes: "Shostakovich's interest in Jewish music was of long standing, revealing itself through [...] Piano Trio no. 2, op. 67, which incorporated a Jewish tune into its concluding movement, and the Violin Concerto, with the conspicuously "Jewish" inflections of its scherzo. [...] Shostakovich was attracted by the ambiguities in Jewish music, its ability to project radically different emotions simultaneously. As he later observed to the poet Aron Vergelis: "It seems I comprehend what distinguishes the Jewish melos. A cheerful melody is built here on sad intonations... The 'people' are like a single person... Why does he sing a cheerful song? Because he is sad at heart" (Shostakovch: A Life, p. 169). According to Fay, Shostakovich seems to have written this cycle as a response to the so-called Zhdanov decree, in which he, along with other leading Soviet composers, was accused of "formalism," of writing music that was not accessible to the masses. By setting folk poetry to music, Shostakovich hoped to produce work that was "democratic, melodious, and understandable for the people" (Shostakovich: A Life, p. 170). This intention seems to have backfired, as Stalin's anti-Semitic "anti-cosmopolitan campaign" was unleashed at the end of 1948, making the publication and performance of this work impossible until after Stalin's death in 1953. The work finally received a public premiere in January 1955, with this publication likely timed to appear around the time of the performance. KVK, OCLC show four copies in North America, at Columbia, Toronto, Newberry, and the University of Washington.
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Duen'ia (obruchenie v monastyre). Liriko-komicheskaia opera v 4-kh deistviiakh, 9-ti kartinakh [The Duenna: betrothal in a monastery. A lyrico-comical opera in four acts and nine scenes]. Op. 86. Piano score

Prokofiev (Prokof'ev), Sergei and Maria Mendel'son-Prokofieva (verse texts) 1960. Moscow: Sovetskii kompozitor, 1960. Quarto (29.2 × 21.8 cm). Original embossed cloth boards; 409, [4] pp. Very good. Second edition (first published in 1944). Considered one of the happiest and brightest compositions of Sergei Prokofiev, this comic opera, based on the work of the Irish playwright Richard Sheridan, was completed in 1940, just prior to WWII. The war interfered with the first planned production at the Bolshoi Theater, and the opera opened only in 1946 at the Kirov Theater (Mariinsky Theater) in Leningrad. Prokofiev wrote the score of the opera but collaborated with the young librettist Mira Mendelson (1915-1968), on the verse sections. Mendelson, who would later become his second wife, also wrote the libretto for his subsequent opera "War and Peace." Sergei Prokofiev (1891-1953) is considered one of the greatest composers of the twentieth century. An early talent and a reputed rebel of classical music, in his creative life he composed eight ballets, seven operas, seven symphonies, nine piano sonatas and much more. In 1918, following the two Russian revolutions, Prokofiev left Russia for the United States, subsequently living in France and Germany before re-settling in the Soviet Union in 1936. Finding himself in Soviet Russia in the darkest of times, Prokofiev continued to lead a productive creative life, even as he was "encouraged" to write patriotic pieces such as his 1939 "Zdravitsa" (Cheers) to celebrate Joseph Stalin's sixtieth birthday. Prokofiev also had the misfortune of dying on the same day as the great leader, on March 3, 1953, with his death going virtually unnoticed by the Soviet press and the public. For more information see Shlifstein S. and Rose Prokofieva (trans.), Sergei Prokofiev: Autobiography, Articles, Reminiscences (2000). One of 550 copies printed. KVK, OCLC show copies of this edition at Notre Dame, Indiana, Dallas, Berkeley, Santa Barbara, Goldsmiths (London), Oxford, UDK (Berlin), Austrian National Library, Marburg and Rome.
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"606" i Sifilis ["606" and Syphilis]

Moscow: tip. Rekord, 1910. Octavo (22.5 × 15 cm). Original pictorial wrappers; 82 pp. With a frontis portrait of Prof. Ehrlich and Dr. Sahachiro Hata. Wear and soil to wrappers; lacking rear wrapper; spine with tape repair and fraying to wrapper edges and spine extremities. Still good. First and only edition. Appealing to a broad audience, this brochure promotes compound "606" or Salvarsan, which was the first effective treatment of syphilis and the first chemotherapy agent synthesized in 1909 by the German professor Paul Ehrlich (1854-1915). The compound contained arsenic and was later found to cause infertility, which led to its discontinuation. News of the agent first appeared in the Russian medical press in April 1910. Ehrlich began to introduce the compound in the same year by sending small samples to doctors all over the world, including to Russia, asking for detailed reports in return. The pamphlet contains articles by A. B. Kachkachev and Dr. R. E. Pasternak and likely contributed to the distribution of the drug in the Russian Empire. This publication includes articles on history of Syphilis before "606", as well as an article on chemotherapy and the development of the compound. Also included are a biographical sketch of Professor Ehrlich, who was by then a Nobel laureate, having received the prize in 1908 for his work in immunology, and a sketch on the history of his institute. A large final section is devoted to opinions of contemporary doctors and scientists on the new treatment including those of Prof. Mechnikov with whom Ehrlich shared the Nobel prize and Prof. Zabolotnyi, a leading epidemiologist of the Russian empire and an expert of syphilis. The compound was commissioned by the Moscow City Council for use in city hospitals by the end of 1910. Professor Ehrlich and his collaborator Dr. Sahachiro Hata, who later distributed the compound in his native Japan, are pictured on the frontis portrait of the brochure. As of January 2020, KVK and OCLC show only the copy at the National Library of Medicine.
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The M.W.A.K. Columbian. Vol. I, No. 1 (March 1935) through Vol. III, No. 1 (8 January 1937)

A collection of 58 non-consecutive issues of the newsletter put out by the Safety Department of the Mason-Walsh-Atkinson-Kier Co. (M.W.A.K.) for its workers, together with a single bonus unnumbered newsletter, edited by Pete Shrauger, most issues approx. 6-12 pp. and printed on various colors of paper, with information including notices about safety, safety tips, statistics about injuries on the job site, news about local events, and advertisements for locals stores and movie theaters, as well as details about the progress of the construction itself, including an overview of different types of dams, the completion of the railroad bridge, projected details about the size and cost of the dam, an article on the Mason City gravel pit, an essay on the mess hall, information on the cement plant, details of shaft and tunnel work, and many other relevant stories. Scattered illustrations from hand-drawn sketches which illustrate both the main stories as well as the social and cultural events, such as food specials at restaurants and movie theater showings. Some slight scattered staining and soiling, overall very good. 4to. Original stapled self-wrpps. Mason City, Washington (M.W.A.K. Safety Department) 1935-1937. The Mason-Walsh-Atkinson-Kier Company were the contractors hired to construct the Grand Coulee Dam in Washington state, a concrete dam on the Columbia River. M.W.A.K. was actually a consortium of three companies - Silas Mason Co. from Louisville, KY; Walsh Construction Co. from Davenport, IA and NYC; and the Atkinson-Kier Company from San Francisco and San Diego, CA - who teamed up to propose a joint bid for the project. The dam was built between 1933 and 1942 with two powerhouses, with the goal of producing hydroelectric power and providing irrigation water. After a debate between two groups, one of which wanted to irrigate the ancient riverbed with a gravity canal, the other of which wanted to build a high dam, the dam supporters won out. Initially, for fiscal reasons, a "low dam" was planned which would generate electricity but not irrigation water, but after a visit to the construction site by President Roosevelt in 1934, the "high dam" design was approved. During construction of the dam, workers faces various hurdles and setbacks, including the relocation of Native American graves, the construction of temporary fish ladders, landslides, and the need to protect newly poured concrete from freezing. Scarce; as of January 2020, WorldCat locates six partial holdings in North American libraries. A full list of issues is available upon request.
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Nagrudnye znaki russkoi armii [Medals of the Russian Military]

Andolenko, S[erge] Paris: Tanais, 1966. Octavo (25 × 16.5 cm). Original decorative boards; 227, [5] pp. Illustrations throughout. Some hand coloring of medals (likely by Pavel Pashkov) on pp. 29-33, 45, and 199. Very good. First edition of Serge Andolenko's work on Russian medals. The introduction to the text indicates that the book is printed on special stock intended for coloration, with information about original colors for each medal provided in the notes. Our item includes some hand coloring of medals to pp. 29-33, 45, and 199, likely by the former owner, Pavel Pashkov. Pashkov (1895-1974) was a famous collector of Russian military history and co-founder, along with A. A. Stakhovich, of the Obshchestvo liubitelei russkoi voennoi stariny (Society of the lovers of Russian military relics). He was also one of the editors of the journal "Russkaia voennaia starina" (Russian military relics), a White émigré military journal published in Paris in 1947. In 1961 Pashkov published the first ever work on White Army medals, "Ordena i znaki otlichiia Grazhdanskoi voiny 1917-1922 godov," with the English translation ("The White Army's orders and badges in the civil war 1917-1922") appearing in 1983. Pashkov served in the Russian Imperial Army during WWI and later in the White Army in the South of Russia during the Russian Civil War (1918-1922), eventually fleeing Russia through Constantinople and settling in Paris. In exile he befriended such military history experts as General Oznobishin, Colonels von Richter, Popov and Prikhodkin, amassing broad knowledge of military decorations and becoming one of the eminent experts in Russian phaleristics. His library was donated to the Friends of the "Russian Military History" Society in Paris upon his death.
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Manifesto/Announcement for "Aktion Die Linie von Hamburg" or "The Hamburg Line", with attached text by Pierre Restany

Hundertwasser, Friedensreich; Bazon Brock; & Herbert Schuldt A rare poster anouncing the Happening to take place on December 18, 1959 at 3:11 in the afternoon, at the Hamburg University of Fine Arts, organized by Hundertwasser, Brock, and Schuldt, during which a spiral line was proposed to be drawn continously around Hundertwasser's classroom at the University where he was a visiting lecturer; with text from art critic Pierre Restany affixed to the bottom left of the poster in the form of a long red strip of text, containing information on Hundertwasser, the preparation, and execution of the event, size of Restany text approx. 4.75 x 57 inches. Some overall toning, folding and crease marks, some small tears along folds, slightly fragile. Total overall sheet size approx. 27.5 x 24 inches. Hamburg, 1959. This Happening was set to occur on December 18, 1959, at 3:11 pm, and was one of the earliest pieces of modern performance art and somewhat of a precursor to the environmental art movement. The event was described on the poster as "Der Zug einer Linie aus dem Geist der Wüste - ein Spiraloid jenseits des tachistischen Sumpfes - im Jahr des hervorbrechenden Unheils MCMLIX." According to Hundertwasser, the idea for the happening came from Brock, who proposed that the three men should "draw a never-ending line, in accordance with Hundertwasser's philosophy of the organically drawn line and the continuous spiral" and "as a protest against the T-square straight line, and thus they intended to promote one of the core elements of Hundertwasser's artistic philosophy." (Sara Nicole Lynch, "The Survival of Friedensreich Hundertwasser, 2013) In an essay about the Happening, Hundertwasser wrote, "I wanted to draw a spiral line that climbed the walls horizontally, like the layers of sediment in the rock." He visited an astrologer for advice as to the best date and time to begin the painting of the line, and sent "about a thousand invitations" to the happening. At the specified time, "I began to draw a line counter-clockwise around the room, about an inch from the floor. When I got back to this point, I continued to draw about an inch higher, irregularly parallel to the line I had already drawn, and so the spiral grew. I went over all obstacles, doors, windows, radiators, and other things...I had removed all furniture from the walls in order to clear the way...I first drew the line black, later red, first with dark pencils, then with paint and a brush. When I got tired, I handed the brush over to Bazon Brock, who took my place, like the relay race." According to the official Hundertwasser website, the line was "painted with red and black pigment...an uninterrupted line of about 10 km over walls, doors, and windows of Hundertwasser's guest lecturer classroom, rising in layers of spirals on the walls...On December 19, in the evening, the continuation of the line was forbidden by the director of the Art Institute." Hundertwasser resigned from the University that day, and a few days later the line was scraped off with razor blades and painted over. A scarce relic from an important occasion in the field of performance art; as of January 2020, we could not find this poster listed on WorldCat.
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Butlletí Especial per Als Catalans Absents de la Pàtria. No. 4 (24 June 1937) through No. 64 (31 December 1938)

A significant run of 60 issues (unknown how many total were published, possibly 64) of the bulletin put out by the Propaganda Commission of the Generalitat de Catalunya and targeted at Catalonians not currently in the country, likely exiles, with the goal of keeping the exiled citizens informed about what was happening during the war and around the country, most issues illustrated with a single reproduction of a photograph to the front cover but lacking illustrations within. Overall very good condition, some scattered toning and minor foxing, a few issues with some handwritten pencil notations, minor edgewear, No. 42 with a small loss to the upper corner of one page which does not affect the text. Nos. 4 through 40 4to and small 4to., nos. 41 through 64 8vo. Nos. 4 through 40 are loose unbound pages with two holes punched in each page, as if they were once housed in a binder, nos. 41 through 64 original illustrated self-wrpps., also hole-punched. Barcelona (Comissariat de Propaganda de la Generalitat de Catalunya). The Comissariat de Propaganda de la Generalitat de Catalunya, under the direction of Jaume Miravitlles, was created in Barcelona on October 3rd, 1936 and remained active until February 1939. The main activity of the Commission, as evidenced by its name, was to publish and spread propaganda during the time of the Spanish Civil War. During the few short years that the Commission existed, it published around 200 titles, including magazines, books, titles related to art, children's literature, songbooks, poetry, and postcards. Incredibly scarce; as of January 2020, WorldCat locates only two holdings of this bulletin worldwide and none outside of Spain.
Revista Número. Sí

Revista Número. Sí, Sí; No, No. Numbers 1 (January 1930) through 23/24 (December 1931) (all published)

A complete run in 24 issues bound in one volume of the short-lived Argentinian literary and cultural journal, issues approx. 8-16 pp., edited by Julio Fingerit, containing prose and poetry together with articles of cultural interest on topics such as architecture, romanticism, the modern novel, art, woodcuts, folklore, James Joyce, Thomas Mann, feminism, Cocteau, religious icons, opera, and many others. Several illustrations scattered throughout each issues, featuring contributions from and works by Juan Antonio, Norah Borges, Héctor Basaldúa, Victor Delhez, J.A. Ballester Peña, and others. Some yellowing to paper, especially along edges, minor chipping and edgewear in a couple of spots, first issue with wear and minor losses along spine crease, overall very good. Small folio. Leather-backed marbled boards with gilt title stamped to spine, original issues bound in. Some splitting to leather along spine, spine slightly shaken. Buenos Aires, 1930-1931. Contributors to Número included Miguel Angel Etcheverrigaray, Rafael Jijena Sánchez, César E. Pico, Emiliano Mac Donagh, Tomás de Lara, Osvaldo Horacio Dondo, Ignacio B. Anzoátegui, Dimas Antuña, Carlos A. Sáenz, Manuel Gálvez, Jacobo Fijman, Emiliano Aguirre, Francisco Luis Bernárdez, and others. Scarce; as of December 2019, WorldCat locates six holdings of this title in North American institutions.