H2SO4 - Rare Book Insider
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H2SO4

Quarto 29x21.5 cm, wrappers, 48 leaves, 96pp. Edition of 1000 copies. Imraklii Gamrekeli (1894-1943) and Beno Gordeziani (1894-1975) were the art editors and designers of this masterpiece of the Georgian avant-garde. Cover with letterpress typographic design by Gamrekeli, photomechanical reproductions of Gamrekeli and Gordeziani throughout, with texts of typographic designs. This audacious and wonderful statement is the most famous of visual productions to come out of avant-garde Georgia under Soviet rule and is the apex of Gamrekeli's graphic production. This work continues the Futurist-into-Dada movement that began with the Zdanevich brothers before WWI and the 41 Degrees group. Carrying on the tradition of the transrational, it drew some of the most creative artists and writers of the time, employing experimental typography as artistic composition and zaum (transrational language) as the poetic vehicle. The H2SO4 group would continue for the next two years to publish experimental work in Tbilisi before submission to the esthetics of the state. This is the first and only number of the symposium-journal to be released. OCLC finds this in Yale and NYPL for North American institutions, but also MOMA 534, illus. pp. 128-129. A very good+ copy of this treasure from the Georgian avant-garde. Chepyzhov No. 3.
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Roial’ v detskoi (The Piano in the Nursery)

Folio 32x28 cm., wrappers, (46) pp. (Piano in the Nursery) The score for eight piano pieces for children, with full page color lithographs and decorations by Pavel Miturich (1887-1956). The October revolution introduced mandatory education in Russia, and brought about a renaissance in children's books and musical works. New values required a new children's literature which often employed a bold visual language set in motion by the Futurists, and articulated by artists eager to promote the avant-garde in the new society. Arthur Lurie (Naum Izrailovich Lur'e,1892-1966) was at the center of the Russian avant-garde before and immediately after the Revolution. As the first Russian Futurist composer, he helped establish experimental music within the new Soviet State. He also set poems by his friends V. V. Mayakovsky and Anna Akhmatova (his lover) to music. Lunacharsky put him in charge of the music division of the Commissariat of Enlightenment, but he quickly grew disillusioned with the Soviet system. He went to Berlin in 1921 on an official mission and never returned to Russia. The present work was composed in 1917 in the midst of the revolution. A reproduction of this book opens the section on Children's Books in the MoMA catalogue The Russian Avant-Garde Book. With color lithos by Petr Miturich (1887-1956), painter and graphic artist. Initially a Futurist and close with Khlebnikov, he later atught at VKhUTEMAS and illustrated many books. Well known for his portraits of Vrubel', Mandelstam, and composer Artur Lurie, he collaborated with the composer on this project with wonderful results. Not in Hellyer. The Russian Avant-Garde Book, p.167. OCLC locates five holdings (Getty, Princeton, NYPL, Morgan, UC Berkeley) in North America. MOMA 309. A near fine copy.