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SUMMER CATALOGUE 2018

1 F O R E W O R D

Dear friends and collegues,

Bookvica team is excited to present to you the summer catalogue of 2018! The catalogue include some of our usual sections along with new experimental ones. Interesting that many books from our selection explore experiments in different fields like art and science themselves. For example our usual sections of art exhibition catalogues and science include such names as Goncharova and Mendeleev - both were great exepimenters. Theatre section keeps exploring experiments on and off stage of the 1920s under striking constrictivist wrappers. We continue to explore early Soviet period with an important section on art for the masses where we gathered editions which shed light on how Soviets used all available matters to create a new citizen on shatters of the past and how to make him a loyal tool of propaganda. Photography and art of that period is gathered in a separate section with such names like Zdanevich and Telingater among the artists. Books on architecture include Chernikhov fantasies, Stepanova’s design of metro book, study of Soviet workers’ clubs and the most spectacular item is account of the work made by architecture studios in early 1930s led by most famous Russian architects. Probably the jewel of our selection is a rare collection of sheet music from 1920s-30s or more precisely cover designs. We have been gathering them for a year and are happy to finally share our discoveries on this subject with you. Don’t miss too small but very interesting sections of Ukrainian books and items on Women. A separate section is dedicated to Vladimir Mayakovsky’s rare lifetime editions.

Bookvica team

2 I ARCHITECTURE

01 [A BRIDGE TO UTOPIA] Chernikhov, Y. Arkhitekturnyye fantazii: 101 kompozitsiya v kraskakh. 101 arkhitekturnaya miniatyura [i.e. Architectural Fantasies: 101 Compositions in Color. 101 Architectural Miniatures]. Leningrad: Leningr. obl. otd- niye Vses. ob»yedineniya «Mezhdunar. kniga», 1933. 102 pp., 101 ill. in color mounted on the leaves: ill. 30,8x22,3cm. In original publisher’s cardboards. Loss of the dust-wrapper, minor wear to the lower right edge, loss of the tiny piece of the spine. Near fine.

First edition. Scarce. One of 3000 copies. This is the last and one of the most powerful works published during Yakov Chernikhov’s lifetime (1889-1951). Standing somewhat aside from the 1920s avant-garde circles, Chernikhov investigated the constructive principles of architecture and developed his own unique style characterized by the amalgam of different movements, namely suprematism, cubism, and expressionism. This kind of architectural eclecticism and an idea of a new world proposed by the architecture were unsurprisingly met with considerable resistance from the authorities. Written in 1933, Architectural Fantasies was a culmination of the author’s search for the form and images of a new architecture initiated by him in his previous books: The Art of Graphic Representation (1927), Fundamentals of Contemporary Architecture (1930), The Construction of Architectural and Machine Forms (1931), etc. Although the Soviet Piranesi (as Chernikhov was often referred to) was always distinguished for his revolutionary tendencies, Architectural Fantasies exceeded all expectations: meticulous compositions depicting utopian cities and buildings, fantasies envisioning an industrialized future and colorful designs unordinary for the ‘cloudy’ architecture of the 1920s Soviet Union practically shook society. Against this background, it is a mystery how the censorship allowed something so extraordinary to appear in print.

ARCHITECTURE 3 The seeds of the architect’s fantasies never had a chance to germinate in the Soviet Union: his graphical work was denounced as merely fantastical and formal. Chernikhov had no other choice but to continue his practice under the new social-realist revival. From 1935 until his death in 1951, the architect worked continuously on series of drawings in the majority of which he inclined towards historical traditions. The potential of Architectural Fantasies lay dormant until Chernikov and other Constructivist architects were ‘‘rediscovered’’ in the 1980s, inspiring a new generation of architects worldwide in a movement that was labeled ‘‘deconstructivist’’. It is important to note, that few of his designs were built and very few appear to have survived. Amongst the latter is the tower of the Red Carnation factory in St. Petersburg. $8,500

Binding. No 01 Illustration. No 01

ARCHITECTURE 4 Illustrations. No 01

ARCHITECTURE 5 02 [POST CONSTRUCTIVIST SCHOOLS] Shkoly gotovy! Kak my borolis’ za vypolnenie postanovleniia SNK SSSR i CK VKP(b) o novom shkol’nom stroitel’stve [i.e. Schools Are Ready! How We Fought for the Implementation of the Resolution of the Council of People’s Commissars of the USSR and the Central Committee of the CPSU (b.) on the New School Construction]. Moscow: Sovet RK i KD Kirovskogo raiona, 1935. In original cardboards with gilt lettering on the front cover. Very good.

No copies located First and only edition. One of 300 copies. Extremely rare. in the Worldcat. This is a triumphal report of the fulfilled plan of school construction in the transitional stage between avant-garde and Stalinist architecture. In 1935 a new plan required the construction of 72 Moscow schools for several months. It was implemented thanks to the early socialist emulation which grew up in the Stalinist era. The five schools were built in Kirov district (on Balchug island and the nearest area) and the creation of these buildings is presented in the book. Two of them are recognized as the evidence of post constructivism. The architects looked for the new images retaining the constructivist forms and combining it with the portals and columns. The first school was designed by architect Leonid Grinshpun (1906-1981), contributed to the construction of Russian State Library and pavilions of VDNKh. The young architect created the experimental plan placing the main entrance on the corner of asymmetric building. In the middle of 1930s the plans lacking symmetry were almost disused in the urban construction and Grinshpun’s design was criticized. The book permits us to compare the drawing itself and the result of building. Another school is the only listed post constructivist memorial building in Moscow. Designed by Ivan Zvezdin (1899-1979), it was called Moscow Suburban Experimental School. The details of design were realized as the architect wanted, but in general his idea was never completely embodied. Zvezdin also planned the gym, stadium and workshops: the gym appeared in almost 20 years, but the innovative workshops didn’t. The report looks really democratic, each school construction was analyzed by different people describing the progress at their site, who helped them and what prevented them from increasing the labor capacity. They paid attention to sabotages of the former kulaks and

ARCHITECTURE 6 actions taken against them. Each construction story has a turning point when the disorganized teams rallied, overcame a material shortage and had met the deadline. There are numerous portrait photographs of contributors, the littered areas that were before the construction, the impressive facades and the interior of schools. $1,250

Cover. No 02

Illustrations. No 02

ARCHITECTURE 7 03 [ARCHITECTURE STUDIOS: A NEW ERA] Raboty arkhitekturnykh masterskikh [i.e. Designs of Architecture Studios]. Moscow, [1936]. 2 folders (portfolios) with 12 brochures. 30x22,5 cm (folder), 29x21,5 cm (brochures). Folders in full cloth with blue lettering, brochures in wrappers. All very good, folders with rubbing and a couple of tears, all brochures with ink stamps of the USSR soap making factory in Erevan on front covers, brochure #7 with light soiling and spots on the covers. Every brochure of the print run of 3500 copies. Art director I.I. Lazarevsky, literary editor S.Ya. Zabello, graphics by B.S. Nikiforov. Contents of each folder in Russian and French on a side flap of each folder. Titles, captions, title and half title pages, lists of context and all indexes in Russian and French. Sections 8 and 9 were never published.

Worldcat locates First and only edition. Extremely rare, especially complete and copies in NYPL, in such a good condition. Virginia Tech, Getty, University This is the first and only collection of works of architecture and of Michigan, design studios of Mossovet (city administration of Moscow from 1918 to Berkeley and Cleveland Public 1993). It consists of mostly projects of 1934, the first year of the studios. Library. There are 10 issues for each studio (with additional brochure with summary and introduction and a brochure with indexes). The main mass of the projects was created for Moscow, partially the implementation of the general plan for reconstruction. Designs for periphery were created as well: Arkhangelsk, Alma-Ata, Nalchik, Novosibirsk, Tbilisi, Stalinsk and others. In 1933, under the Moscow Soviet, Lazar Kaganovich initiated a new structure: 12 architectural design and 10 architectural engineering studios (or workshops). Together they were called upon to replace (or imitate) the diversity of architectural groupings, bureaus and schools, liquidated in 1932 when the Union of Architects was created. Each studio was lead by an established architect (with vigilant control of party deputies): Zholtovsky, Shchusev, Fomin, Golosov, Fridman, Kolli, Melnikov, Kokorin, Kriukov, Borov. For each brochure architects wrote a short introduction - ‘Principles of Designing Architecture’. Overall there are 156 design projects in this edition. Each project comes with a short annotation, plans, facades, sections, perspectives, details, interior design projects, photos. There was a big diversity of the projects for example street kiosks, metro stations, large public buildings, complexes and city ensembles, living, industrial and technical buildings, furniture, interiors,

ARCHITECTURE 8 Folders. No 03

No 03

ARCHITECTURE 9 Illustration. No 03

ARCHITECTURE 10 Illustrations. No 03

ARCHITECTURE 11 Illustrations. No 03

ARCHITECTURE 12 etc. Most of the projects were never realized and this is the only evidence of their existence. One of the most interesting and controversial was Konstantin Melnikov’s studio (No. 7). Since the 1930’s it had become increasingly difficult to implement innovative ideas in architecture for the architect - his projects were often criticized, and the new aesthetic system of the Soviet architecture was not compatible with his principles. In the editorial to the brochure it was stated that many Melnikov’s works were righteously critisized as ‘‘manifestations of unprincipled innovation, innovation that turned into an end in itself’’. Yet it was believed that socialistic aims will get to him and change his ways. Melnikov was an architect of the world significance so it is understandable that even though he was under pressure he was very well respected and could not be not included. Among designs presented in the brochure the most remarkable is a design project of the Narkomtiazhprom Building which was a portmanteau for the People’s Commissariat of Heavy Industry that was conducting a 1934 architectural design contest for its building with construction in the Red Square (other notable entrants included Ivan Leonidov, Vesnin brothers and Ivan Fomin). This and his other designs in the brochure bear his signature constructivist style and elements. A very special position was taken by workshop No. 12: unlike all the rest, it had a specialization - designing interiors, furniture design and lighting. The collective consisted not of architects, but of artists- designers. In the introduction it is stated that the studio was closed in 1935 due to ‘not finding right specific methods of work for finding solutions in a very responsible issue of Soviet interior design’. That probably meant that they were too familiar with European and American designs - the art deco aesthetic in its monumental interpretation of the 1930s was mastered by them and adapted to the Soviet realities of production. The designs in the brochure are of Okhotny Ryad metro station, interior design of the Pravda newspaper building (both were realized). The most interesting are designs of the furniture and equipment for the metro station, Pravda offices, Soyuzpechat’ kiosks, Moscow Council’s baths, club of Narkomat of Light Industry. Even though the new era was of Stalin empire style many of presented architects went through constructivist period and a few designs carried that legacy in 1934. $4,500

ARCHITECTURE 13 04 [RARE FOOTAGE FROM THE LIFE OF THE TILE MAKING FACTORY]

Keramiko-plitochny zavod imeni N.A. Bulganina [i.e. N.A. Bulganin Ceramic Tile Factory]. Moscow, [1937]. 25 leaves with 47 mounted photographs, 5 charts. 29x41 cm. In original full-cloth with lettering on mounted metal plate. One photograph lost, otherwise very good.

A unique photo album depicting the mechanization and experimental projects of the largest ceramic tile factory in the USSR with extraordinary constructivist styled design. Founded in 1890s, this manufactory was a significant phenomenon in the long and rich history of production of decorative tile for the Russian houses. It was nationalized after the October Revolution and contributed to the Soviet design until 1990s. In the period of great achievements and increases in output in the Soviet Union there was a revival of the facing ceramics production. Since the 1930s the plant had become a kind of a testing ground for the technological and art experiments in ceramics. It was entrusted with design of the grandiose project of Moscow metro stations. In 1935 the factory faced with tiles an interior of the first stage of the Moscow metro from Park Cultury to Sokolniki, in 1950s - the stations of the triumphal Circle line. There such an abundance of ceramic details first appeared in the wall covering, figured panels, elements of light fixtures. The pavilions of VDNKh, Luzhniki Stadium were decorated with the products of this factory as well. The album presents the visual report of full mechanization occurred at each department. The captions to photographs declare the increase in productivity and overfulfilment of quotas. Among the photographs is also a chart of production stages for all types of products, the examples of tile with the different patterns including composite design. $1,900

05 [ARCHITECTURE OF WORKERS’ CLUBS] Arkhitektura rabochikh klubov i dvortsov kultury [i.e. Architecture of Workers’ Clubs and Palaces of Culture]. Moscow: Gosizdat po stroitel’stvu i arkhitekture, 1953. 311 pp.: ill. 27x21 cm. In original card boards with

ARCHITECTURE 14 Cover. No 04

No 04

ARCHITECTURE 15 No 04

ARCHITECTURE 16 cloth spine. Very good, slightly rubbed and torn on the extremeties of the boards.

First and only edition. One of 4000 copies. Very rare. Binding, title pages and ornamention of the book by Y.M. Sigov. This edition was compiled by a collective of architects and engineers from the Research Institute of Architecture - I.P. Domshlak, V.E. Bykov, Y.A. Kornfeld and others. It is a first of its kind account which generalized the experience of designing and building clubs in the USSR by systematizing and analyzing basic composition of clubs’ designs. To be able to do it the Institute gathered information from many towns across the country (field work and gathering information from mail questioning and graphic materials from different architecture contests and projects). Interesting that even though the data used for this book was primarily from the end of the 1940s there are also early buildings which are recognised by the authors as ‘‘alien to Soviet architecture relics of constructivism’’ (e.g., Palace of Culture in Kiev district in Moscow by Kornfeld, Palace of Culture of Promcooperation in Leningrad by Levinson and Munts and others, Vesnin brothers’ design projects). Despite the common notion that some of the early constructivist buildings go against Soviet architecture some of them are mentioned. Numerous illustrations and plans are in the text as well as the big addition with photographs of interior and exterior and floor plans seperately from the text. All illustrations are captioned and divided into categories (small clubs up to 400 visitors, medium up to 750, palaces with capacity from 1000). The addition is followed by numbered list of illustrations. The first part is dedicated to history of development of clubs and palaces. Second part is a classification system (workers’ clubs, kolkhoz clubs, children’s clubs, clubs of city intelligentsia, military clubs, clubs of management workers, palaces of culture). The second classification is based on the placement - general city, city district, factory, village. The last classification is based on capacity. Third chapter is more technical and focused on different standard ways of designing clubs. A very rich material on the one of the most important architectural and social features of Soviet Union. $850

ARCHITECTURE 17 Cover. No 05

Illustrations. No 05

ARCHITECTURE 18 06 [DESIGN BY VARVARA STEPANOVA] Moskovskii metropoliten [i.e. Moscow Metro]. Moscow: Izogiz, 1953. [126] pp.: ill. 30x22,5 cm. In original grey cloth with the red lettering and stamped emblem. Two minor ink stains on the top edge and back cover, previous owner’s note on the free leaf of front endpaper, otherwise very good.

First and only edition. One of the last book designs by constructivist artist Varvara Stepanova (1894-1958) in collaboration with leading Soviet photographers. This album summed up the results of the first and the most opulent period of Moscow metro construction which occurred under Stalin. In 1953 Soviet metro system consisted of five lines and 40 stations, some of them were presented for the first time. There are overall 170 full color and monochrome photographs by Georgi Petrusov (1903-1971) and Ivan Shagin (1904-1982), the well-known photojournalists of wartime. They both were contributors to the magazine ‘USSR in Construction’ and adopted Rodchenko’s composition techniques. Ivan Shagin is considered as one of the main Soviet experts on color photography. Their works include images of the glorified Circle line stations, these designs reflect the victory of Soviet people in World War II. The last pages show the new stations Arbatskaia, Smolenskaia, Kievskaia, Paveletskaia opened on April 5, 1953. This is an interesting edition richly illustrated with general views of stations, exterior and interior in the details. The captions describe the ideas developed in these designs and the materials that were used. $1,000

Cover. No 06

ARCHITECTURE 19 Illustrations. No 06

ARCHITECTURE 20 II ART & PHOTOGRAPHY

07 [FULL SET OF AN EARLY SOVIET ART MAGAZINE] Tvorchestvo [i.e. Creation]. # 1-9 for 1918, # 1/3, 4/5, 6/7, 8/9, 10/11, 12 for 1919, # 1, 2/4, 5/6, 7/10, 11/12 for 1920, # 1/3, 4/6 1921, # 1/4 1922. Moscow: Mosk. sovet r. k. i k. d., 1918-1922. 34,5x26,5 cm. Each issue in original illustrated wrappers, the whole set in cardboard folder. Most issues in very good condition, few minor fragments of spine lost (#6 for 1918, #6/7 for 1919), some soiling of the front cover (#9 for 1918). Four issues in good condition: tears of the spine and few rust stains (#1/3 for 1919), covers detached from the text block, general soiling, few losses of spine (#7/10 for 1920), no spine (#4/6 for 1921, #1/4 for 1922).

Worldcat shows Very rare as a complete set of 23 issues. Print run gradually only 3 complete decreased: 10200-20200 copies in 1920, 10000 copies in 1921, 5000 sets (Illinois, Ohio, Harvard). copies in 1922. Cover design changes two times. In 1918 it was probably produced by the first illustrator of the Soviet science-fiction Anatolii Shpir (?-1951). Dmitrii Mel’nikov (1889–1956) completed the cover design of other issues, created the linocuts for internal design and has written some articles. He was a propaganda poster maker and the artist of satirical magazines ‘Krokodil’ and ‘Bezbozhnik’. At the same time the magazine design had a notable contributor, artist Nikolai Sinezubov (1891-1948), close to the art of Kandinsky and supporting him in theoretical discussions. In this period he participated in the Exhibition of the Four (1920) with Rodchenko, Kandinsky and Stepanova. Sinezubov created the linocut for one cover and a number of linocuts for the internal design. This is one of the first experiments of creating a Soviet critical and literary magazine. The edition issued throughout the Civil War and was closed in 1922 in connection with a New Economic Policy, when this good printed magazine was removed from state subsidies. The party sought to use a newspaper as the best tool influencing for the masses. The literary magazine was less common periodical which mov-

ART & PHOTOGRAPHY 21 No 07

ART & PHOTOGRAPHY 22 Illustrations. No 07

ART & PHOTOGRAPHY 23 ed to the shadows. The first-year publications in ‘Creation’ were principally literary and were full of revolutionary traces. Later the magazine began to contain the critical articles on contemporary art. The young art history developed itself on these pages. The edition includes the early publications by Soviet art historian Aleksei Sidorov (1891— 1978), notable figure in the Soviet art, especially book design. Some of his articles criticized the new Museum of Painting Culture which opened for the decade of 1919-1929 and has been the first museum of modern art in Russia. At that time it was directed by V. Kandinsky (1919- 20) and A. Rodchenko (1921-22). The innovator idea and avant-garde content of this museum sought to promote modern art to the broad masses of the people, to raise the level of culture in the country. The articles are supplemented with the reproductions of painting works by A. Lentulov, V. Kandinsky, M. Larionov, N. Goncharova, O. Rozanova, D. Shterenberg which were bought to the museum collection. The first three issues included inserted reproductions, but later the magazine focused on linocuts in the text. $6,500

08 [KIRILL ZDANEVICH’S MASTERPIECE] [Kruchonykh, A., Zdanevich, K.] Uchites’ khudogi! Stikhi A. Kruchonykh, kartiny Kirilla Zdanevicha [i.e. Poems by A. Kruchonykh, pictures by Kirill Zdanevich]. Tiflis: [Self-published], 1917. [26] leaves. 24х19 cm. Lithographed edition. 16 lithographed illustrations. Lithographed manuscript text includes manuscript designs by Kruchonykh. In original lithographed wrappers by Zdanevich. Near fine.

Worldcat locates First and only edition. Very rare. Approximately 250 copies copies in Yale, printed. Stanford, NYPL, Columbia, Art This is the best and most celebrated book designed by Kirill Institute of Zdanevich as well as a striking example of collaboration between him Chicago. and Kruchonykh where “boundaries between text and illustrations are blurred”. The handwritten font becomes so sweeping and large, that it takes on almost a poster character. This is not just poems but poems-slogans, poems-posters which perhaps most consonant with the language of the time. And these slogans are written as befits such ‘‘agitation’’ - emotionally and expressively. The cover of the book is

ART & PHOTOGRAPHY 24 Cover and illustration. No 08

ART & PHOTOGRAPHY 25 solved in a futuristically peremptory manner. Half of it is filled with a black rectangle, which is most associated with the ‘‘Black Square’’ by Malevich and produces quite a strong impression. It is known that in the 1910s art life in Tiflis was thriving. Besides Zdanevich brothers there were Kruchonykh, Terentiev, Kolau Chernyavsky, U.N. Marr, Gudiashvili, Kakabadze, and many others. All roads led to Tiflis in that short period of time. No wonder that some of the best examples of Russian avant-garde books were created there. In the spring of 1917 Kruchonykh published a book of poems that can be roughly translated as ‘‘Learn Artists!’’ in which S. Valishevsky and K. Zdanevich took part. This publication can be considered the first actual performance of the Syndicate of Futurists (Tiflis futurist art group). The collection includes eight poems by Kruchenykh, some of which are illustrated by himself, one poem by S. Valishevsky and 17 drawings by Zdanevich. On the back cover of the book there was announced, probably not published, the collection Zhlam (A. Kruchonykh, K. and I. Zdanevich, N. Chernyavsky, Ziga Valishevsky, etc.). Earlier same year there was Kirill Zdanevich’s personal show held which became one of the first significant moments in Tiflis avant- garde life. His art was called ‘orchestral’ stressing the complexity of his style combining other influences (among others he was inspired by Larionov and Goncharova and exhibited with them at Donkey’s Tail, Target and other famous shows). He was an active member of Syndicate of Futurists working closely with Kruchonykh and Terentiev. His abstract drawings evoked associations with Malevich’s suprematism, and his cubo-futuristic illustrations based on play of forms and textures created an image of constant improvisation and energy. MoMA #152, Vzorval’ #29. $10,500

ART & PHOTOGRAPHY 26 09 [AVANT-GARDE MEETS COSMISM] Vygotsky, L.S. Grafika A. Bykhovskogo [i.e Graphics by A. Bykhovsky]. [Kazan’]: Sovremennaia Rossiia, 1926. 22 pp. with printed and mounted illustrations. 27,5x20 cm. In original constructivist wrappers. Very good, spine repaired, minor tears of the edges.

No copies located First and only edition. One of 500 copies. Extremely rare. in the USA The first work dedicated to the art of Alexander Bykhovsky (the according to the Worldcat. second one came out in 2007), one of the most insular figure in Russian avant-garde of 1920s. His style varied from constructivism to cubism and a certain closeness to Kazan’ school of Vsadnik could be recognised. The book itself is overviewing the cosmist ideas of avant-garde artist through the eyes of a founder of experimental psychological theory. It was written by Soviet psychologist Lev Vygotsky (1896-1934) who established a ‘‘new psychology’’, since 1950s widely spread as the cultural-historical psychology. In 1924 his research rapidly developed on the base of psychology of art. Vygotsky became the first of a small number of scholars analyzing the art of Aleksandr Bykhovsky (1888- 1978). This Jewish artist stayed away from the avant-garde art groups. He defined his own principles in the early 1920s and the following years he remained faithful to the style and pathos of that time. In the book Vygotsky touched the early Bykhovsky’s drawings. One of the most important aspects of his art was cosmism - the Russian phylosophical movements that proclaimed the life extension, resurrection and possible colonisation of other planets (those ideas drove Konstantin Tsiolkovsky as well) . The artists sought to move beyond the old art opening a new dimension and transform the reality according to ideas of the universal revolution. A number of Bykhovsky’s works were associated with the ideas of cosmism, but it found the most complete expression in the drawing ‘Leviathan’ (presented in this book). Apart from this one, the edition includes 15 works: self-portraits, posters, book plates. The edition issued under the direction of Petr Dulsky, art historian, book expert and critic who created the standards of Tatar book design of 1920s. $2,750

ART & PHOTOGRAPHY 27 Covet. No 09 Self-portrait. No 09

Illustrations. No 09

ART & PHOTOGRAPHY 28 Illustration. No 09

ART & PHOTOGRAPHY 29 10 [THE FIRST AND MAIN SOVIET PHOTO MAGAZINE] Sovetskoe foto [i.e. Soviet Photo]. #1-16, 21-24 for 1930 (overall 20 issues). 1-512, 585-712 pp.: ill. 25x18,5 cm. The issues in illustrated wrappers under one contemporary binding. No covers of #15, some edges cut with minor losses of front covers (#2, 5, 9, 10, 12; not affecting the internal text), otherwise very good.

Two-weekly magazine “Soviet Photo’ was established in 1926 by Mikhail Kol’tsov and issued throughout the Soviet era. The periodical depicted the great construction of young country using the most effective visual method of propaganda. The core section ‘How the Life Changes’ overviews the new works provided by contemporary photographers (later it was called ‘The Face of Soviet Country’). There are the works by A. Shaikhet, S. Fridliand, R. Karmen, M. Penson, B. Ignatovich, S. Strunnikov, et al. They experimented with photography against daily light or welding sparks, inside the darkness of factories, captured the dancing and running people, flying airplane, driving car or running horse. Every work has a caption consisting of the name, conditions and technical aspects. In this section the last portrait of V. Mayakovsky (post-mortem) was published as the best document of this event, which “had to inspire the Soviet people to fight for the socialist base of life”. The magazine regularly organized the photography competitions reflecting the socialist life. It was not limited to the successes in construction, radio engineering and aviation. One of the major stream in propaganda demonstrated how the women were involved in the building of Soviet future. The remarkable changes occured in the Soviet Central Asia and the photographers sought to show that portraying the women on the streets. An important part of propaganda art was a photomontage which the edition spread among amateur photographers. ‘‘The photomontage technically raised with revolution’’, written in the article on this topic and confirmed that with two photomontages depicting pioneers and worker’s club. Another kind of propaganda art was a photo caricature that could surpass the drawn one. The magazine presented the bold creative experiments in this sphere and enlighted the readers how they should make it. An interesting edition presents a common photography as a tool increasing the labor enthusiasm of the broad proletarian masses. $1,300

ART & PHOTOGRAPHY 30 Covers. No 10

ART & PHOTOGRAPHY 31 Cover and illustration. No 10

ART & PHOTOGRAPHY 32 Illustrations and photomontage. No 10

ART & PHOTOGRAPHY 33 11 [SHANGHAI CONSTRUCTIVISM] Grosse, L.Y. Ya, vy i on: Roman iz zhizni shankhaiskikh emigrantov [i.e. Me, You and Him: A Novel from the Life of Shanghai Emigrants]. [Shanghai]: N.p., 1930. [6], 317 pp. 13x9 cm. In original illustrated wrappers by A.A. Yaron. Very good/near fine condition. The spine is very carefully fixed.

Worldcat locates Extremely rare. First and only edition. copies in Yale, Lev Grosse (1906-1950), writer and son of Viktor Grosse University of North Carolina, (1869-1931), Russian diplomat, one of the active members of the first UC Berkeley. emigration wave in Shanghai (this book is dedicated to him). His son Lev was one of a few Russian far eastern poets who were published in Europe and America up until 1941. He worked a lot as a translator, published his works in Harbin and Shanghai (even several poetry books), he led active literary life there but he was desperate for Russian language environment. In 1948 he came to USSR and worked as a translator for year, later he was arrested and died in camps in 1950s. Wrappers were designed by artist Alexander Yaron (1910- 1911), son of architect A. Yaron and brother of another architect I. Yaron. Their family emigrated from Vladivostok to Shanghai. Alexander didn’t receive a proper art education but achieved all his success by self teaching and working with leading artists of Shanghai (V.S. Podgursky, V. Zasypkin, et al.). The wrapper design echoes the constructivist designs of Soviet books of the 1920s which is very unusual for the Russian Chinese books as they usually followed pre-revolutionary patterns. $1,000

12 [BOOK DESIGN BY SOLOMON TELINGATER] Shvetsov, S.A. Napostovsky svistok: Stikhi i epigrammy [i.e. Post Whistle: Poems and Epigrams]. [Moscow]: Gosizdat, 1932. [42] pp.: ill. 20x12 cm. In original illustrated cardboards. Very good, loss of the spine, covers rubbed, illustrated bookplate on the front pastedown (from the collection of O.S. Kuzmy).

First and only edition. One of 3000 copies. A rare poetry book by satire poet Sergei Shvetsov (1903-1969) with an extraordinary book

ART & PHOTOGRAPHY 34 Cover. No 11

Cover. No 12 Illustration. No 12

ART & PHOTOGRAPHY 35 Worldcat design focused on cartoons by classic collective Kukryniksy as well locates copies in Columbia, as types, spaces and other polygraphic elements created by Solomon Stanford and Telingater, Soviet constructivist designer and innovator who created University of North Carolina. some of the most memorable books of Soviet era. The pioneer in printing arts was El Lissitzky who saw the book as a visual object, but the widespread acceptance of these ideas did not occur until the turn of the 1920s and ‘30s as a result of the efforts of his young followers. First among them was Telingater. He designed books as if they were films or monumental posters - sophisticated artistic constructions. Such books were produced primarily for its collective impact, not merely for the joy of the individual reader. His work is akin to the art of declamation: letters react to slightest fluctuations of poetic intonation instantly changing the size or position on the page. All elements of the book, including the text itself, are connected as one visual art object which makes a very strong impression on its readers. This is the second book of the young poet and in 1932 Gorky came across it and noted it in a letter to M. Koltsov. Koltsov then engaged in the organization of the magazine Za rubezhom [i.e. ‘Abroad’] and Gorky advised him to create there a department like ‘‘Whistle’’ and invite Shvetsov, M. Zoshchenko, Y, Olesha and others to participate. Whether Koltsov proposed to Shvetsov work in a new journal is not known, but soon Shvetsov became the head of the poetry department of the first major monthly magazine ‘Krasnaya Nov’, where he worked until it was closed in 1942. $750

Type design. No 12

ART & PHOTOGRAPHY 36 III ART FOR THE MASSES

13 [THEORY OF ART TO THE MASSES] Tarabukin, Nikolay. Ot molberta k mashine [i.e. From the easel to the machine]. Moscow: Rabotnik prosvesceniya, 1923. 44 pp. 23x16 cm. Original publisher’s covers. Tears of the spine near fine condition. Owner’s signature on the title page. Constructivist wrapper designed by Antonina Safronova (1892-1966). She started as the ember of ‘Jack of Diamonds’, in 1920-21 she alongside with Mikhail Sokolov had developed an art school in Tver. They both were involved in proto- constructivist book design in Tver. From 1922 on Safronova moved to Moscow and joined the constructivist agenda.

Only copy is First and only edition. One of 2000 copies. Extremely rare. at the Getty The Program work by art critic Nikolay Tarabukin (1889- according to the Worldcat. 1956) one of the ideologists of Proletkult, who at the time taught at VKHUTEMAS. Taraburkin is also associated with LEF, he was one of the theoreticians of the ‘art for the masses’, alongside with Gan and Chuzhak. Tarabukin wrote several key texts in 1920s that defined his revolutionary approach towards new art. This particular publication starts with the chapter ‘diagnosis’ in which Tarabukin calls for the crisis in European art. According to him the cultural shift happened at 1921 exhibition 5x5=25, particularly done by Alexander Rodchenko’s work ‘Red. Yellow. Blue’. To the author this work put the end of the art as it was known before and became an invitation to the new forms. The logical new step for Tarabukin is the construction rather than classical art form, that has to be inspired by the industry rather than the classical art. He mentions the meeting held by ‘Institute of art culture’ in Moscow led by Osip Brik in 1921, during which 25 leftist artist have declared the abortion of panel art. All in all Tarabukin’s work should be considered one of the milestones of leftist art, giving the fact that he has formulated a lot of principles that were taken on by the state in 1920s and even in 1930s. $2,500

ART FOR THE MASSES 37 Cover. No 14

Cover. No 13

ART FOR THE MASSES 38 14 [CELEBRATIONS IN WORKERS’ CLUBS] Pervoe Maia v klube: sbornik instsenirovok, stikhotvorenii, khorovykh i muzykal’nykh proizvedenii [i.e. The May Day in the Club: Collection of Staging, Poems, Choral and Musical Works]. Moscow: Trud i kniga, 1924. 72 pp., 12 sheet music. 22,5x15 cm. In contemporary cardboards, the original constructivist covers preserved. Very good, rubbed, library stamps on the t.p. with cancellations stamps over them.

The only copy First and only edition. One of 8000 copies produced. Rare. located at This is a collection of works reflected the early experimental the Library of Congress. period in celebrating of the May Day (First of May). This celebration had unprecedented importance in Soviet Union. A rally looked good as a weapon in the period of the revolution and Civil War. After that the country required another form ensuring the mass involvement of people. The first attempts to theatricalise the processions widely spread and transformed the festive demonstration into political carnival. It became possible because of the amateur performances in the worker’s clubs. In 1924 the USSR organized the first May Day without Lenin. The organization of event differed from the previous years, but the celebration had occurred. This book gathered the works by Mayakovsky, Tretiakov, Gorodetskii, Aseev for the mass choral declamation. It was performed by a crowd or groups using the loud voices and, for the better organization, the works were published with the indicated different pauses. Some of them were accompanied by the music. The book is supplemented with 12 sheet music containing 3 works. The last one was created by a film composer Kliment Korchmariov on Gorodetskii’s chastushki. A list of books on the history and contemporary organization of the May Day contains 18 titles. $650

15 [IDEALOGICALLY CORRECT DANCES] Burtseva, M.E. Massovye pliaski khorovodnye dlia klubnykh vecherov, ekskursii i progulok [i.e. Mass Khorovod Dances for Club Gatherings, Trips and Walks]. Kharkiv: Vestnik fizicheskoi kultury, 1929. 64 pp.: ill. 17x12,5 cm. In original illustrated wrappers. Near fine. Some rubbing of the spine, stamp of the not existing library on the title page and p.17, some

ART FOR THE MASSES 39 foxing.

Not found in First and only edition. One of 5000 copies. Very rare especially Worldcat. in such good condition. This is a manual for mass dances as an activity for people gatherings in clubs, for trips and other collective needs. All dances in this book based on a song (‘if it’s ideologically correct’) or taken from folk dances which most people were familiar with. The author also developed dances for clubs which were based on mechanized movements. All dances came as a result of the work made by section of mass dances of the Institute of the Physical Culture. The book gives five main tips to make dances into an educational tool: dance must be cheerful, movements should consist of steps, running and hopping, order of changing places should be simple, dances must be organized that way so many people could participate even in small spaces, musical material must be simple. The most interesting part of the book is manual itself. For each dance there is a textual description and sequence, scheme of movements, photographs, musical notes and illustrations (photographs by V.R. Zhivago, drawings by N. Kononova). Post-revolutionary ideology based on positive culture of the second half of the 19th century denied dance as an aesthetic phenomenon, tried to find the scope of its utilitarian use. It propagandized and supported a massive dance in Russia in forms that appeared to be socially useful: in the form of rhythmics, considered as the basis for the formation of a man of the future; biomechanics which was supposed to help increase labor productivity in production. In the second half of the 1920s the dance was included in the program of physical education and health improvement of the nation; it also had to serve as a means of propaganda. Despite the importance of the social experiment to establish a connection between dance and social practice, a miscalculation of ideology was the abandonment of traditional urban dance, its persecution and prohibitions, an attempt to replace artificially created genre formations. Overall a very interesting Ukrainian imprint with the material for studying early Soviet years. $900

ART FOR THE MASSES 40 Cover. No 15

Illustrations. No 15

ART FOR THE MASSES 41 Illustration. No 15

16 [SOVIET ‘ELITE’ SCHOOL] Slivkin, B., Goldberg, G. Radishchevka nashikh dnei [i.e. Radishchevka of Our Days]. Moscow; Leningrad: Uchgiz-Narkompros RSFSR, 1931. 124 pp.: ill. 22x16 cm. In original photomontage wrappers. Very good, foxing of the wrappers and endpapers.

No copies in First and only edition. Very rare. One of 5000 copies. Worldcat. This book is written by two former students of the Radishchevka - the A.N. Radishchev model school #7 of the People’s Commissariat for Education, the best school in the Soviet union. Children of the Soviet elite attended the school like Marshak, Tupolev, Prokofiev, etc. Sadly many of that elite was later in 1930s called enemies of the state and sent to camps or executed. The A.N. Radishchev model school was created in 1918 on the base of Elizabeth Institute for Noble Maidens (a finishing school), originally founded in 1825 which accepted children from noble and wealthy families. After it’s cease a part of the girl students orphans were left there in what was to become a school. Some of the teachers remained on their positions as well. The teaching staff of the school consisted of highly qualified teachers of the classical old school (Favorsky, Shevlyakov, Erik and others). Their method of teaching consisted in encouraging pupils to work independently, and for those who wished to study the subject more closely organized circles. The school differed in composition of the students as well. To get into the school one had to pass exams. At school, the children of the old Bolsheviks, political prisoners, and children of prominent figures of Soviet science and culture, the children of TsAGI, children of the

ART FOR THE MASSES 42 Cover. No 16

Illustration. No 16

ART FOR THE MASSES 43 command staff of the military school and units. A feature of the school was the absence of a party cell. Such model schools were also a field of experiments in a newly formed country in 1920s. Teacher’s stuff created their own concept of educational work. In schools, there was an active introduction of practices of psychological testing, the bundling of classes, the organization of the school regime, etc. Children were admitted to admission on intellectual development, which was later condemned, as it did not correspond to the spirit of «group education» of the Soviet man. Interesting that this was the first school to change old forms of teaching. For example in 1924 Dalton plan was introduced: a few hours a day students could do what they want which gave a push or initiative to show off. Another thing was cease of groups, students were studying in links. There were no obligatory lectures which made students more responsible for their studying and time scheduling. In the book authors described short history of the school and focused on current state of the studying process from insider’s perspective as well as interesting stories. Numerous rare photographs from the life of students are in the text. The photographs show many activities in which students were involved: chemical and biological experiments (club of timiryazevtsy named after the famous biologist), photo club, radio club, aeromodelling club, after-school likbez lessons for illiterate, military club and others. Such schools were a rare thing and existed only for a short period of time in a form described above. $1,200

17 [PALACE FOR THE SOVIET YOUTH] Dvorets pionerov i oktiabriat [i.e. Palace of Pioneers and Octobrists]. Odessa: Detizdat, 1935. 123 pp.: ill., 6 ill. 30x23 cm. In original grey cloth with embossed lettering and design, with mounted red cloth flag, illustrated endpapers. Original dust jacket lost. Slightly rubbed, some defects of the rear endpapers, note on the front flyleaf (To the memory of 7th Congress of Soviets of the USSR/ 6 February 1935/ To son Gerard from father), otherwise very good and clean internally.

Not in the First and only edition. One of 5000 copies. Very rare. Worldcat. An attractive edition dedicated to the very first Pioneer Palace in the Soviet Union. It was officially opened 6 September 1935 and

ART FOR THE MASSES 44 launched the chain of Palaces over the country. Actually, it partly began to work earlier and this book combined the dreams of future institution and the achievements of few existed clubs. Being completely free of charge, the Palace initiated interest in labour, creativity and amateur talent activities. Many rooms were dedicated to various sport, cultural, technical, artistic and young naturalist clubs. Kharkiv Pioneer Palace was special, it was opened only to honor pupils who received the recommendations of the school teachers and the approval of the pioneer organization. It was definitely Palace of Pioneers which contained the first club of Arctic researchers in the country as well as the first club of firefighter assistants, the first geological clubs. There were electric, technical, chemical laboratories where the boy or girl could conduct a small power station or learned to construct the whole vehicle, small appliances (and tested its power consumption). For the educational purposes the children also watched films and attended exhibitions there. The book has several sections, including ‘Creators of Models’, ‘Art to the Children’, ‘For the Iron Muscles, For the Steel Nerves’, ‘Friendship with a Book and a Newspaper’, ‘Club of the Young Arctic Researchers’. The last one is the most impressive, with the opening portrait of explorer Otto Schmidt, the plans of exploration, the children’s connection with the contemporary explorers and then - the trip itself to Kola Peninsula. The edition was co-created by the large group of artists: the illustrations by I. Daits, V. Nevskii, M. Glukhov, G. Bondarenko, the linocuts by P. Pitenko, I. Kuchkin, V. Burachkovskii, D. Zeldovich, F. Kostomakhin, D. Gromov. Each section is richly illustrated with the designs and photographs of the rooms and laboratories, the portraits of pioneers. The book contains 6 colorful full-page designs of the rooms reproduced from architectural projects, the margins present the small curious sketches of the children. Photographs were produced by B. Zelinger, E. Bryzgalin, among their works are the portraits of party leaders P. Postyshev and S. Kosior. In fact, they initiated this institution for the children’s joy and shortly after that implemented the Stalinist repressions. A lesser known photo-book on Soviet children propaganda. $2,500

ART FOR THE MASSES 45 Cover. No 17

Illustration. No 17

ART FOR THE MASSES 46 Illustrations. No 17

ART FOR THE MASSES 47 18 [SELF MADE TOYS] Nash tsekh: Igrushki-samodelki. Sbornik 1 [i.e. Our Workshop: Self Made Toys. First Book]. Moscow: Vsekokhudozhnik, 1935. 104, [4] pp.: ill., 3 pl. 25x18 cm. In original illustrated wrappers. Restoration of the front cover (back cover is new) and front endpaper, marks on the front cover and front endpaper, damp stain on the lower margin on few pages. Otherwise very good.

Not in the One of the most important Soviet artists of a children’s book Worldcat. Vladimir Konashevich participated in the making of this book on toys. First and only edition of the first and only collection. One of 10300 copies. Scarce. Wrappers and endpapers designed by V.M. Konashevich. Edited by Y. Perelman, S.F. Dubyansky, P.V. Leontiev and Konashevich. The book is addressed to young readers in order to create a new workshop - ‘our workshop’ where kids are workers who don’t play but rather build and construct proper toys. Articles by Konashevich, V. Tambi, A. Perelman with illustrations by Tambi, S. Mochalov, Konashevich on making different kind of toys by children themselves. There are instructions on how to build human and animal figures, vehicles (autos, different kinds of tractors, trucks, bus, timber carrier, fire truck, etc.), mills (wind turbines), planes and boats; puzzles; indoors sport games; wooden animal toys as well as instructions on what materials and instruments to use, how to dye toys and which dye to use. In the late 1920s a new publishing trend emerged - ‘samodelka’ book [i.e. book for self-making]. There were other types of illustrated books at that time like books-riddles, books-toys, coloring books but samodelka stood out and in a way was a part of a Soviet ideology (interesting that these illustrated polytechnic books replaced fairy tales which dominated before). The end of 1920s-beginning of 1930s was marked by industrial boom. Future builders of socialism were supposed to get involved as soon as possible, starting with games. That was the tusk that publishing houses faced - to introduce young readers to modern technologies, professions and manufacturing. Not only they were told about all of that but also they were proposed to build toy factories, cars and other things themselves (the title of the book ‘Our Workshop’ speaks for itself). The serial nature of books with the same format and layout

ART FOR THE MASSES 48 pushed back individual editions. The small format of school notebooks which was familiar for children prevailed. This often allowed to print books on scraps or even on one sheet of paper. Chromolithography was the main print type for these books. The high quality of this new type of books is due to the talent of their creators - illustrators (like Vera Ermolaeva, Vladimir Konashevich, Eleonore Kondiain, Konstantin Kuznetsov, Natalie Paren, Lidia Popova and others) and writers (Boris Zhitkov, Mikhail Ilyin, Samuel Marshak, Yakov Perelman). Ideas of constructivism often found its way onto pages of these books. General tagline for these books could have been El Lissizky’s plea: «Don’t read - take - papers - stakes - pieces of wood - fold - paint - build». $1,250

Cover. No 18

ART FOR THE MASSES 49 Illustrations. No 18

ART FOR THE MASSES 50 IV UKRAINE

19 [KIEV PECHERSK LAVRA] Kievo-Pecherskiy Paterik [i.e. Kiev Pechersk Patericon]. Manuscript. [Ukraine, 1770s]. Date seen on the watermark ‘1764’. 23x17,5 cm. Full leather period binding. No clasps. Very good condition. Text is complete. Modern miniature on the first page.

The manuscript version of one of the most important and influential texts in Medieval Ukraine, the collection of the lives of saints that were celebrated in Kiev Pechersk Lavra from 11th century on. Written in XIIIth century, the earliest known manuscript is dates 1406. Written as the chronicle of life in the cave monastery, Paterik is an important documentation of Kiev Rus’. At the same time it could be regarded as one of the most important reading books for the educated people across Rus’ and Russia. Paterik was created in the form used in Byzantine tradition but the content and the composition are different from such examples as Sinai Paterik, etc. The text was changing over time, the new lives of saints were being added. The most important alteration was made in 17th century,when the version of Iosif Trizna (1647-1656) was created. Iosif was preparing the first printed edition that came out in 1661. Our text is tied with the same version. Trizna editing transformed Paterik from collection of biographies of important personalities of Lavra to something bigger: the events are regarded in context with Russian and even universal spiritual life. The existence of approximately 200 manuscript versions are known, mostly in Russian and Ukrainian State Collections. Our copy is significant because of the contemporary marginalia comments, like ‘look what the blessed youth has done’ that could have been done by the priest preparing for the sermon. The manuscript is coming from the collection of Minsk collector Valentin Lavrov. $6,500

UKRAINE 51 No 19

UKRAINE 52 20 [UKRAINAIN EARLY PRINT] Abba Dorotheus. Poucheniya [i.e. The Teachings]. Kiev: Lavra Typography, 1628. 9-142, 165-229 leaves. 20x16 cm. Original full leather binding. Good interior condition with the signs of the aged paper, soiling and occasional dirt on the pages. The book is lacking 8 leaves in the beginning and 23 in the middle as well as one at the end of the book. Provenance: originally from Romania, old stamps of the Romanian House church (Casa Biserici) on several pages.

First edition. The first printed edition of anything by Abba in any Slavic language. All in all it’s the third printed book by Abba, first being ‘Monumenta S. Patrum Orthodoxographa’ (Basileae, 1569) and the second ‘Auctarium Bibliothecae Patrum Ducaenum’ (P., 1624). The latter was used by Kiev scholars when they prepared this edition. The edition is an interesting example of Kiev book tradition leading the way for Slavic theosophical knowledge. Abba Dorotheus (505-565) had been always considered as one of the most important theologists, along with Ephrem The Syrian he had the reputation of one of the best-read authors in Rus in Middle Ages and New Times. By the time this book came out Moscow printed tradition was still recovering from the turmoil of the Smutnoe Vremia (i.e. Time of Troubles), and most of their printing repertoire contained liturgical books. It was only in 1640s Abba together with Efrem was printed on Moscow Print Yard using this edition prepared in Kiev 15-20 years before. The edition is also interesting because of this printing history this translation created in Kiev in 1620s became the canonical in Old Believers tradition, alongside with other works by Pavmo Berynda and his companions. Pavmo Berynda (1560-1632) who was one of the founders of Lavra typography is credited for making this edition. Originally from Galicia he learnt Hebrew, Latin, Old Greek and together with Gedeon Balaban, the important Lviv bishop and typographer, founded the typography in Stryatin (now close to Ivano-Frankovsk). When it was moved to Kiev in 1619 became the typography of Lavra. Filophey Kizarevich, the head of the monastery at the time alongside with archbishop Peter Mohyla (to whom this book is dedicated to), have worked with Pavmo on a new translation using the manuscript slavonic version but also the Greek original. The anonymous preface was added. $5,000

UKRAINE 53 V MUSIC

21 [PETRUSHKA BY STRAVINSKY] Stravinsky, I. Suita z ballet Petrushka [i.e. The Suite to Petrushka Ballet. Piano Version by the Author]. Kiev: Muzgiz, [ca. 1927]. 35 pp. 34x25.5 cm. Some tears and stains on the wrappers and lower margin, otherwise very good.

Not in the First Ukrainian edition. Rare. Worldcat. This is a piano transcription of Igor Stravinsky’s early composition ‘Petrushka’. He began to create the ballet in Ukrainian town Ustyluh in 1907. Performed for the first time in 1911, the composition has been one of the most popular Ballets Russes. Its piano version presented not mere piano reduction of the composition, but an attractive independent work that is now known as ‘‘Trois mouvements de Petrouchka’’. Stravinsky created piano version of the suite in 1921

Cover. No 21

MUSIC 54 for his friend pianist Arthur Rubinstein. He was the only musician who made Stravinsky believe in the soft sounds of piano performance. This is one of the early publications of the music. The edition is designed by Moishe Berkovich-Erko (1904- 1944), a Jewish avant-garde artist who spent most of his life in Romania, although was associated with Parisian scene. He died in a concentration camp. $3,500

22 [SOVIET JAZZ] A collection of twenty seven Russian sheet music brochures which reveals a little known phenomenon of extraordinary cover designs for sheet music that existed in Russia and USSR for a short period of time. Low print runs and active use made the sheets extremely rare survivals of the time. Mass design of sheet music began in mid-19th century and practically died out at the end of the 1960s. The beginning of the 20th century was a time of economic and cultural growth in Russia. As for the Soviet Union until 1930s it did not concern itself too much with the arts as there were other more important issues to resolve. As a result artists continued to experience a relative freedom. Of course in 1930s the direct control of all aspects of Soviet man’s life put an end to this kind of creativity. Most of sheet music was of a standard size (36x26 cm) and lithographed. Almost all of them have illustrated covers but not all these covers are signed, especially before the Revolution - cover designs were mostly anonymous. On the other hand some of the brightest artists of the avant-garde period (Goncharova, Stenberg brothers, Zdanevich) also worked in this field. But the most common names are Rogachev, Frolov, Golstein, Berkovich. The Golden age of the sheet music covers happened in many ways thanks to them and fits into first three decades of the 20th century. Most of the examples from our collection are self-published by the composers. Jazz appeared in Russia first time in 1922, its rise being connected with the name of Valentin Parnakh, but the earliest jazz (or ‘jazz-like’) records date back only to 1926. There was a a considerable

MUSIC 55 resemblance with contemporary American and German dance music examples, but some attempts to create the own jazz works were not rare, too. Jazz in the USSR was mostly an independently developing phenomenon, as certain difficulties in contacts with Western jazzmen existed, so Soviet musicians had to learn after gramophone records. The other important trait of the Soviet jazz originality was its synthesis with theatre and song, prepared by the whole course of the Russian light music school development, where vaudeville and vocal art played the main roles. At some point the regime started to advance but free creative spirit of 1920s was still alive, and this short period of time surprise us today with its ‘double life’. Like all the surrounding reality, the world of variety at the beginning of Soviet era was very colorful. The public, which was thrown into military communism, then back to the ‘old regime’, demanded a rampage. The people, exhausted by the revolution and Civil war, wanted to ‘rest’. Songs that were listened to by the new masters of NEPmen’s life reflected a harsh and at the same time comical surrounding reality. The period of the 1920s was special in the history of the stage. The whole color of the old school left the country, and the niche was quickly occupied by others. Then there was almost no attention to the stage, it was here that courageous couplets (anti-Soviet sentiments, longing for old times) could appear. Opened a large number of restaurants, cabarets, pubs with foxtrot, gypsies, balalaikas. In such places, they played NEPmen’s music. But in the late 1930s the authorities tighten the grip on every part of the Soviet man’s life, and music became censored as well.

1) Nishchaya [iz] Stambula. Foks-trot. Muzyka V. Kruchinina [i.e. Poor from Stambul. Foxtrot. Music by V. Kruchinin]. Moscow: Self-published, 1924. 6 pp. 34,5x26,5 cm. In original wrappers designed by Nikolay Rogachev. Very good, a few tears of the wrappers and p.3. One of 3000 copies. Nikolai Rogachev (1890-1954), one of the most productive and interesting artists of sheet music covers. He was among few masters of Art Deco in the Soviet era who dedicated themselves to sheet music design, and over a very short period of time (8-10 years) created a considerable number of beautiful works.

2) Draif. M. Blanter. Moscow: Self-publsihed, 1925. 4 pp. 35x26 cm. In original wrappers designed by Nikolay Rogachev. Very good. Pencil notes markings, corporate library ink stamp on the back cover, soiling.

MUSIC 56 Covers. No 22

MUSIC 57 One of 3150 copies.

3) Bagdadsky vor. Muzyka Borisa Fomina. Slova K.N. Podrevskogo [i.e. Baghdad Thief. Music by Boris Fomin. Words by K.N. Podrevsky]. Moscow: Self-published, 1925. 4 pp. 35x25,5 cm. In original illustrated wrappers by Nikolay Rogachev. Very good, tears of the margins, some foxing, Soviet bookshops’ stamps on the back cover, private library stamp on the front cover. One of 5000 copies.

4) Aleksandr Levin. Valse Boston. Moscow: publ. by author, 1926. 6 pp. 33x26 cm. In original illustrated wrappers by Nikolai Rogachyov. Very good. Pages separated from each other, tears of the extremities. One of 1050 copies.

5) Florida. Charleston. K. Midav-Amid. Moscow: Self-published, 1926. 4 pp. 31x24 cm. In original illustrated wrappers by Nikolay Rogachev. Very good, some light soiling, signature on the front cover, ink stamps of corporate libraries on all pages. One of 1000 copies.

6) B.A. Prozorovsky. Slova Borisa Timofeeva. Zhivaya model is tsikla ‘Grimasy zapada’ [i.e. Music by B.A. Prozorovsky. Words by Boris Timofeev. Live Model from series ‘Grimaces of the West’]. Leningrad: Self-published, 1927. 6 pp. 36x27 cm. In original illustrated wraooers designed by Nikolay Rogachev. Very good. Some soiling and a couple of tears, Soviet bookshops’ stamps on the back cover. One of 3000 copies.

7) Ambra. Muzyka Oskara Mints [i.e. Music by Oskar Mints]. Moscow: Self- published, 1927. 4 pp. 35x26,5 cm. In original wrappers designed by Nikolay Rogachev. Very good. Bookshop’s stamp on the front cover, couple of tears. One of 2000 copies.

8) Madiarsky tanets. Muzyka Ya. Rozenfeld [i.e. Magyar Dance. Music by Ya. Rozenfeld]. Moscow: Publ. by Author, 1926. 2, 7-8 pp. 35x26 cm, In original wrappers, back wrapper designed by Aleksandr Frolov. Loss of pp.3-6, pages not attached, small tears and pale stains, pencil markings. Otherwise good. One of 1050 copies.

9) My boy. Muzyka Pol’ Erlikh [i.e. Music by Pol’ Erlikh]. Moscow: Self- published, 1926. 6 pp. 35x26,5 cm. In original wrappers designed by

MUSIC 58 Covers. No 22

MUSIC 59 Alexander Frolov. Very good, some soiling, pages are separated, red ink stamp of bookshop on the front cover. One of 1050 copies.

10) Ping-pong. Shimmy fox. Muzyka Oskara Mints [i.e. Music by Oskar Mints]. Moscow: Self-published, 1926. 4 pp. 35x26,5 cm. In original wrappers by Alexander Frolov. Very good, soiling and light stains, tears of the spine and margins, signature on the front cover. One of 1050 copies.

11) Zelionoe yablochko. Slova Borisa Timofeeva. Muzyka s gitary Borisa Kremotata. Aranzhirovana Aleksandrom Zuevym [i.e. Green Apple. Words by Boris Timofeev. guitar Music by Boris Kremotat. Arranged by Aleksandr Zuev]. Moscow: Self-published, 1926. 4 pp. 36x26,5 cm. In original illustrated wrappers by Evgeny Golstein. Signature and Soviet bookshop’s stamp on the front cover, couple of spots on the front cover. Otherwise very good. One of 1050 copies.

12) Fuziyama. Ochen’ tonko, ochen’ tonko. Muzyka Matveya Blantera [i.e. Fujiama. Very Thinly, Very Thinly. Music by Matvei Blanter]. Moscow: Self-published, 1926. 6 pp. 35x26 cm. In original wrappers designed by Evgeny Golstein. Good, pages are not attached, tears and small losses (not affecting the text or notes), vertical crease, rubbing, Soviet bookshops’ stamps on the back cover. One of 3000 copies.

13) Van’ka-amerikanets. Khoreografichesky grotesk. Muzyka Mirona Levina [i.e. Van’ka the American. Сhoreographic Grotesque. Music by Miron Levin]. Moscow: Self-published, 1927. 4 pp. 34x25 cm. In original illustrated wrappers by Evgeny Golstein. Very good. Ink stamps of corporate libraries on pp. 1,3,4, small tear of the spine. One of 1000 copies.

14) M. Krasev. Polevaya pesnya. Dlia golosa c fortepiano. Slova I. Doronina [i.e. Field Song. For the Voice and Piano]. Moscow; Leningrad: Gosizdat, [1920s]. 6 pp. 35,5x26 cm. In original covers designed by most likely Boris Titov. Very good, a couple of tears, Soviet bookshop’s stamp on the front cover. One of 5000 copies. Boris Titov (1897-1951), Soviet constructivist graphic artist who also developed his own art deco style. He holds a record for the most number of works in book design.

15) Glupaya pesenka [i.e. Silly Song. Vertinsky]. Moscow: Maski, [1920s].

MUSIC 60 Covers. No 22

MUSIC 61 4 pp. 32x25 cm. In original wrappers designed by Boris Titov. Very good, signature on the front cover, some foxing and spotting. One of 1000 copies.

16) Marchetta. Tekst Dm. Ugriumova. Musique de Victor L. Schertzinger [i.e. Marchetta. Text by D. Ugriumov. Music by V. L. Schertzinger]. Kiev, [1920s]. 4 pp. 33x25,5 cm. In original illustrated wrappers by Grigorii Berkovich. Pages not attached, foxing, tears, faded Soviet bookshop’s stamp on the front cover, markings and signatures on the front cover. One of 2000 copies. Grigory Berkovich (1905-1976), Soviet Ukrainian graphic artists, who studied under Eleva and Krichevsky at the Kiev Art Institute. Later he taught there and Kharkiv Institute of Print Arts.

17) N. Sizov i A. Kozlovsky. Printsessa Turandot. Muzyka k skazke Karlo Gotsi v postanovke Tretiei Studii MHAT [i.e. N. Sizov and A. Kozlovsky. Princess Turandot. Music for the Fairy Tale by Karlo Gozzi Production of MHAT’s Third Studio]. Moscow; Petrograd: Gosizdat, 1924. [4], 21 pp. 35,5x26,5 cm. In original constructivist wrappers by K. Mironov. Small closed tears of the spine, ink bookshops’ stamps on the front cover and t.p. Otherwise very good. One of 2000 copies.

18) V uglu kafe. Slova Os. Osenina. Muzyka Rob. Lei [i.e. In the Corner of Cafe. Words by O. Osenin. Music by Rob. Lei]. Kiev, 1926. 4 pp. 34x25,5 cm. In original illustrated wrappers. Very good, pencil signatures on front cover and p.2, small closed tear of the spine. One of 2000 copies. Images of swastika and hammer and sickle haven’t been settled yet in the early 1920s so artists drew them as they wish, for example, here swastika is mirrored.

19) Robin Gud. Pol’ Erlikh. Slova Borisa Timofeeva [i.e. Music by Pol Erlikh. Words by Boris Timofeev]. Moscow: Self-published, [1920s]. 6 pp. 35x26 cm. In original illustrated wrappers designed by M. Litvak. Very good, some tears of the margins and light soiling, ink bookshop’s stamps on the back cover. One of 3000 copies.

20) Plyaska Sakharet. Foks-trot. Muzyka M. Blantera, Slova K. Podrevskogo [i.e. Dance of Sakharet. Foxtrot. Music by M. Blanter. Words by K. Podrevsky]. Moscow: Self-published, [1924]. 6 pp. 32x25 cm. In original illustrated wrappers. Signature on the front cover, Soviet bookshops’ stamps.

MUSIC 62 Covers. No 22

MUSIC 63 Otherwise very good. One of 2000 copies.

21) Charleston. Pol’ Erlikh. Vladimir Shtamm. Leningrad: Self-published, [1920s]. 6 pp. 34x26,5 cm. In original illustrated wrappers. Very good, damp stains and some foxing, bookshop’s stamp on the back cover. One of 1250 copies.

22) ‘‘D.E.’’ [i.e. ‘D.E’ (Suets Performed in the Play ‘D.E’ at Meyerhold Theatre). Transcribed by Pol’ Erlikh]. Leningrad: Self-published, 1926. 4 pp. 35x26 cm. In original wrappers designed by Mikhail Tager-Karielli. Tears and creases, margins of the back cover cut, bookshop’s stamp on the front and back covers. Otherwise good. One of 3000 copies. Mikhail Tager- Karielli (1892-1937), a Jewish deaf artist and director.

23) Kometa Galleya. Val’s. Soch. N. Kamenskogo [i.e. Halley Comet. Valse by N. Kamensky]. Moscow: Torgovyi Dom F.I. Detlaf, [1910s]. [4] pp. 35x26 cm. In original illustrated wrappers. Small tears and losses, spots on the back cover, otherwise very good.

24) Rozita. Muzyka M. Blantera [i.e. Music by M. Blanter]. Slova Pavla Germana. Moscow: Self-published, 1926. 6 pp. 33x25 cm. In original wrappers. Very good, signature on the front cover, Soviet bookshop’s stamp on the back cover. One of 3000 copies.

25) La Satisfaction (Udovletvorenie). Val’s. Muzyka A. Petrova [i.e. Satisfactionl Valse. Music by A. Petrov]. St. Petersburg: N. Kh. Davingof, [1910s]. 8 pp. 33x26 cm. In original wrappers in art deco style. Taken from binding, a few stains. Otherwise very good. Nikolay Davingof, musician and publisher.

26) A. Rogar. Uchis’ boksu, krasavitsa. Tu-step [i.e. Learn Box, Pretty Girl. Two step. Music by A. Rogar]. Moscow: Maski, [1920s]. 6 pp. 32x24 cm. In original wrappers (signed DT). Extracted from the binding, some soiling. Otherwise very good. One of 1000 copies.

27) M. Unanov. Maraba (Negrityansky tanets) [i.e. Maraba, Negro Dance. Music by M. Unanov]. N.p., [1920s]. 4 pp. 31x24,5 cm. In original wrappers designed by Kandelaki and Mdivani. Good, tears and foxing, back cover ‘s margins cut. $7,500

MUSIC 64 VI THEATRE

23 [MEYERHOLD THEATRE] Brukson, Y.B. Teatr Meierholda [i.e. The Meyerhold Theatre]. Leningrad; Moscow: Kniga, 1925. 135, [1] pp. 21x15 cm. In original avant-garde wrappers. Very good, some tears of the extremities and spine, foxing of the spines, few stains of the wrappers, owner’s signature on the front and back cover and title page, few pencil markings in the text, few pages are inserted in the wrong sequence.

Worldcat locates First and only edition. One of 3000 copies. Rare. physical copies Front wrapper designed by Aleksei Ushin (1904-1942), Soviet in University of Wisconsin, graphic artist who was at the peak of the career in the 1920s and the Getty Research 1930s. In two decades he provided art work for more than 500 books. Institute, University of In addition to that he contributed to development of Soviet typography Iowa, Stanford, creating some of the most remarkable fonts. UC Berkeley. The book of the Soviet theater expert and film critic Yakov Brukson (1878-1933) is dedicated to a new theatrical system created by Vsevolod Meyerhold (1874-1940), famous Russian theatrical producer, director, and actor. Here Brukson shows how old theatre has to be forgotten in order for a new art to take its place which speaks to the proletariat masses using new theatrical language and forms. It is interesting how back in 1925 Meyerhold and his art was celebrated when we know that later in 1930s all avant-garde and experimenetal art was repressed and its adepts were sentenced and killed. Meyerhold himself was executed in 1940. $950

24 [DRAMA LESSONS]

Petrov, N.V. Trinadtsat’ urokov dramy [i.e. Thirteen Lessons of Drama]. Leningrad; Moscow: teakinopechat’, 1929. 106, [2] pp. 22x15 cm. In original wrappers. Very good, with a few small tears of the wrapper, So-

THEATRE 65 Cover. No 23

Cover. No 24

THEATRE 66 viet bookshop’s stamp on the back cover, signature in the t.p. and some foxing, two tiny holes on p. 93 (not affecting text).

No copies in USA First and only edition. One of 5000 copies. Very rare. according to the Constructivist wrapper designed by wunderkind of Petrograd Worldcat. theatre world Nikolay Akimov (1901-1968). Akimov was working as a book designer full time but at the same time his career as a theatre designer had started already in BDT with the help of Nikolay Evreinov. Akimov can be regarded as one of the most multifunctional personas in Russian constructivism as he was active as poster and book designer while working as a stage designer, and later as a theatre director. His first work as a theatre director was ‘Hamlet’ staged in 1932 in Vakhtangov theatre (Shostakovich wrote the score for that particular performance). In 1927 ‘Academia’ printed a book dedicated entirely to 26-year-old Akimov and the same year his first personal exhibition was held. This is the second book of Nikolay Petrov (1890-1964), Soviet theatre director. He started his way in Nemirovich-Danchenko director’s classes at the MHAT. Later he worked as director in the Alexandrinsky Theatre, Tovstonogov Bolshoi Drama Theater and many other small and provincial theatres (he even together with Evreinov and Annenkov created theatre ‘Free Comedy’). He actively embedded Soviet drama to the stage and produced plays by Bill-Belotserkovsky, Ivanov, Yanovsky, Afinogenov. In 1910 Petrov started to teach himself. In this book he put together thirteen lessons (or ‘talks’) on basic elements of drama. $950

25 [LESSER KNOWN MOSCOW EXPERIMENTAL THEATRE] 5 let raboty Moskovskogo teatra yunogo zritelia. 1927-1932 [i.e. Five Years of Moscow Young Spectator’s Theatre. 1927-1932]. Moscow: Izd- vo Mosoblispolkoma, 1933. 38, [2] pp.: ill. 21x15 cm. In original constructivist wrappers. Very good. Two small tears of the spine, light browning of the first and last pages from the covers. Inscribed by S.A. Auslender to Y.M. Slonov («In memory of hard and happy years of the first five years of MTYuZ»). Worldcat locates an only copy at Harvard. First and only edition. One of 2000 copies. Very rare.

THEATRE 67 Cover. No 25 Illustration. No 25

Illustration. No 25

THEATRE 68 Moscow Young Spectator’s Theatre (MTYuZ) was founded in 1926 by a small group of acting youth under the leadership of O.V. Rudakova (not to confuse with the first theatre for children and youth founded in 1920 under the same name, TYuZ was a standard name for such theatres across the Soviet Union). MTYuZ was a mobile theatre company which staged productions in worker’s clubs, schools, squares. Its work was dedicated to bringing theatre to children of working suburbs (while two other Moscow children’s theatre were stationary and mostly attended by people living in the centre). Another difference was the repertoire. MTYuZ was focused on bringing political agenda and other social issues to children’s attention. They also developed a new form of a play - a play-game where spectators became its participants. Later this form was adopted in many other children’s theatres. The theatre also actively used smaller forms for their performances because they toured even on the farthest outskirts where there were no stages or any equipment. In the first year the theatre gave 132 performances, mostly in Moscow suburbs. Third year was marked by 590 shows and establishment of the second collective. They played for different audiences, even for blind, deaf and difficult children. Theatre also created ‘pioneer asset’ - a form of exchange in which children help theatre with creative work and theatre stuff help them with their performing initiatives. This book is an account of first five years of the theatre: list of productions, actors, directors and composers, places theatre went to, educational and pedological work, The text is accompanied by rare photographs of the theatre stuff, actors, performances, and even transporting wagon. In 1932 the theatre got its own place in the centre of Moscow. $1,200

Illustration. No 25

THEATRE 69 VII ART EXHIBITION CATALOGUES

26 [NATALIA GONCHAROVA] [Catalogue] Goncharova. 3rd edition. Moscow: Tipo-lit. V. Rikhter, 1913. 8 pp. 20,5x15.6 cm. In original illustrated wrappers. Near fine.

Worldcat doesn’t Extremely rare especially in such mint condition. Reproduction locate any copy of this third edition of a rayonist work of the artist on the front cover. in the USA. This is the third edition of the famous first catalogue for the first retrospective show held by Natalia Goncharova (1881-1962) in Moscow in the fall of 1913. All three editions differ from each other by the front cover and contents. The third edition has only the list of exhibition items. Almost 800 works were exhibited at that show from early expressionist studies to abstract series ‘’Artistic possibilities about peacock’’ (1911) and rayonist works. Critics regarded this quality as evidence of eclecticism and ‘‘illegibility’’: «Impressionism, Cubism, futurism, Larionov’s radiant energy, some theory of some Firsov ... and where is Natalia Goncharova herself, her artistic self?». But voices were heard in her defense, and the most authoritative ones. One of them belonged to Alexander Benois. Usually quite conservative in his assessments, Benoit confessed that he «experienced very much during these two days at the Goncharova exhibition» and resolutely revised his attitude to the artist. Soon after his article full of genuine delight, Goncharova received an order from Sergei Diaghilev for the design of the opera-ballet ‘The Golden Cockerel’ and went to Paris. Thus began her world fame; according to the memoirs of Marina Tsvetaeva, her name then ‘sounded as victory’. $3,500

ART EXHIBITION CATALOGUES 70 Cover. No 26

Cover. No 27 Cover. No 28

ART EXHIBITION CATALOGUES 71 27 [RARE PROVINCIAL CATALOGUE] Vystavka proizvedenii leningradskikh khudozhnikov: Katalog [i.e. Art Exhibition of Leningrad Artists: Catalogue]. Stalinabad: Lenizo, 1938. 12 pp. 14,5x11 cm. In original printed wrappers. Very good, tiny tears near staples.

Not found in First and only edition. One of 1200 copies. Very rare. Worldcat. The catalogue features 117 items of paintings and graphics (sculpture was featured on photographs) by Leningrad artists which were brought to Stalinabad (now Dushanbe, Tajikistan) in 1938. Among them were Vasily Zverev, Georgy Vereisky, Vsevolod Voinov, Elizaveta Kruglikova, Anna Ostroumova-Lebedeva, Solomon Yudovin, Evgeny Charushin, Dmitry Mitrokhin and others. $1,500

28 [WOMEN ARTISTS] Katalog vystavki zhivopisi, grafiki, skul’ptury i dekorativnogo iskusstva zhenshchin-khudozhnikov k Mezhdunarodnomu zhenskomu dniu - 8 marta [i.e. Catalogue of the Exhibition of Paintings, Graphics, Sculpture and Decorative Art of Female Artists Dedicated to the International Women’s Day 8th of March]. [Leningrad], 1948. [12] pp. 14x11 cm. In original printed wrappers. Fine.

Not found First and only edition. One of 250 copies. Extremely rare and in in Russian a mint condition. or American libraries. This catalog of 233 items all of which made by women artists is a rare treat as usually exhibitions aren’t focused on gender. Not only it’s interesting for its content but also the size and the print run make it a rare survival. All items are divided into categories - painting, graphics, sculpture, theatre decorative art, decorative textiles. Among artists are Lidia Popova, Elena Sakhnovskaya, Ekaterina Zernova, Serafima Ryangina, Irina Shtange, Ada Varnovitskaya, Sophia Uranova, Fialka Shterenberg and many others. $1,200

ART EXHIBITION CATALOGUES 72 VIII WOMEN

29 [WOMEN OF RUSSIAN THEATRE] Yureneva, V.L. Zhenshchiny teatra [i.e. Women of Theatre]. Petrograd: Mysl’, 1923. 68, [3] pp. In original printed wrappers. Soviet bookshop’s stamp on the back cover, pencil marks on the back cover, damp stain on the lower margin on the front cover, small tears of the spine and extremities of the wrappers.

Worldcat First and only editions. One of 3000 copies. Very rare. locates copies in University of Vera Yureneva (1876-1962), Russian dramatic actress who North Carolina, worked in MHAT, Aleksandrinsky Theatre, Korsh theatre and many University others. In her book she passionately in a form of essay described work of Arizona, University of in theatre and work of women in theatre industry. The most interesting Chicago. parts of the book are the details, work and life stories, memories and personal opinions she gave on actresses of the time like Savina, Repina, Komissarzhevskaya, Granovskaya, Kaminskaya, Klara Yung (as well as foreign actresses like Sara Bernar and Eleonora Duze). In the last part she named even more actresses in a kind of a rollcall including Ermolova, Koonen, Rubenstein and many others. $900

30 [RUSSIAN SUFFRAGETTES] Golosuite za spisok #7 [i.e. Vote for List No.7]. [Petrograd: Tsentr. Tipograf, 1917]. One sided leaflet. 36,5x22 cm. Near fine.

A unique survival of the time and a historical evidence of the most important time in Russia’s history. This is a flyer printed by the All-Russian League of Equal Rights for Women in 1917 for their political campaign for the election to the Constituent Assembly in November of 1917. The translation of the text on the flyer: ‘‘[Female] Citizens and [male] citizens! The League of

WOMEN 73 Cover. No 29

No 30

WOMEN 74 Equality for Women, wishing that the right of women to participate in the Constituent Assembly was not only on paper, expose its candidates to the Constituent Assembly. Vote for the list number 7. If you want our children not to grow up without a home and the old people to not die on the street - send women to the Constituent Assembly. In America, Australia and other countries where women take part in the drafting of laws the number of schools is multiplied, prisons are empty, debauchery and drunkenness noticeably diminish, the protection of children and the elderly is fully secured by law. Let’s send women to the Constituent Assembly too. The old Russia was built only by men, and the grief and misfortunes of the motherland were always shared with them by mothers, wives and daughters. A new Russia should be built by women and men together! The most important Russian laws will be written in the Constituent Assembly. From the laws that will be created in the Constituent Assembly, the fate and life of many generations depends not only on men, but also on women, and so send women to the Constituent Assembly...’’ The movement for women’s political rights which was given the name ‘‘women’s liberation movement’’ in Russia became possible only with the beginning of the revolution of 1905 when the question of democratization of the political system of Russia as a whole arose. In the campaign to provide women with political rights, the oldest women’s association - the All-Russian Women’s Mutual Charity Society, established in 1895 - was actively involved. New women’s organizations were created that put before political demands on the first place: the Union for the Equality of Women (1905), Women’s Progressive Party (1905), All-Russian League of Equal Rights for Women (1907). The most influential organization was the Union for the Equality of Women which had 48 offices in various cities of Russia and actively conducted agitation among women workers and peasants. After its disintegration the League of Equal Rights for Women became its successor. Members of the League deliberately abandoned the broad political program and focused their attention only on the suffragistic demands, that is, on the voting right. It should be noted that at this time in the speeches of the Russian equal rights activists, the support of the tactics of those Western feminists, which aimed at achieving censorial suffrage, was increasingly sounded. This was facilitated by the tougher electoral policy of the Russian government and the futility of efforts to achieve universal suffrage. Members of the League practiced agitation

WOMEN 75 tours around the provinces (Orel, Saratov, Rostov-on-Don, Kremenets, Tomsk, Kiev, Simferopol, Narva). As a result, branches of the League emerged in many cities, including Moscow (1910), Kharkov (1912), Tomsk (1914), Yekaterinburg (1914). The following departments were established under the League: a reading room for street children with a view to fight child prostitution and its prevention, a department against the involvement of women in debauchery, a publishing committee that published cheap pamphlets and books on the women’s issue, an editorial commission that published the proceedings of the congress, lecture department. Every day reports were given on the issues of women’s equality in the League’s premises. The League became the largest and the most wide spread organization. Already in February after the revolution delegates from the League repeatedly met with the leaders of the Soviet of Workers ‘and Soldiers’ Deputies on the issue of women’s suffrage. But, as it turned out, the Soviet of Workers ‘and Soldiers’ Deputies was not ready in practice to implement the program guidelines of its party. The refusal to immediately grant (to the League’s demand) political rights to women was again motivated by the notorious conservatism of the Russian peasant woman or was proposed for solution at the Constituent Assembly. So the League organized the famous mass march on March 19, 1917 which brought together about forty thousand women. Its solemn decoration with theatrical elements undoubtedly contained references to the first suffragette parade in Washington on March 3, 1913. This was the most numerous and memorable performance of the Russian women’s movement which indicated its political weight: as is known, the result of the manifestation was the adoption by the Provisional Government of a decree on universal suffrage. Already in May the first local election was held in which women participated. Later in Septmeber women like men became politically capable in the conduct of elections to the supreme authority of the country - the Constituent Assembly. The League participated in election as its own party under the number 7. This flyer is the evidence of that historical moment. $2,750

WOMEN 76 IX SCIENCE

31 [THEORY OF PROBABILITY] Bunyakovsky, V.Y. Osnovania matematicheskoy teorii veroyatnostey [i.e. Foundations of the Mathematical Theory of Probability]. St. Petersburg: v tipogra i Imperatorskoy Akademii Nauk, 1846. [4], XVII, [3], 478, [2] pp., 1 table. Modern half leather. Very good, foxing throughout.

First edition. Rare. Viktor Yakovlevich Bunyakovsky (1804-1889) was a celebrated Russian mathematician of Ukrainian descent. He got his Bachelor degree from the Sorbonne in France where he read the latest works on the theory of probability before returning to St. Petersburg. The Department of Probability Theory was created at St. Petersburg University as early as 1830, and Viktor Bunyakovsky became the rst Head of the Department. In writing this book, Bunyakovsky wanted to adapt Laplace’s theory for a general audience—because the classic study, Le Theorie Analitique des Probabilites (1812) was ‘’intelligible only for a few readers’’. Here Bunyakovsky developed Russian terminology for the theory of probability much of which is still used today. According to O. Sheynin, Bunyakovsky transferred the analytical theory of probability to Applied mathematics. He also connected the theory with statistics, e.g. to the statistical control of quality, the eld to which he would contribute later in his life (O. B. Sheynin, On V Ya Buniakovsky’s work in the theory of probability, Arch. Hist. Exact Sci. 43 (3) (1991) p. 205). The book had great success in Russia at the time because of its practical emphasis, its use of multiple examples and the analysis of how probability works in everyday life. For example, Bunyakovsky dedicated around 60 pages of this text to the treatment of election results, to the study of testimonies and decisions passed by tribunals. Bunyakovsky also examined demographic and social issues in his book such as the increase of the population; he compared various methods of compiling mortality tables. The book is listed in the catalog of Nikolay Berezin Ruskie knizhnie redkosti (i.e. Rare Russian Books, 1902) No 77 with the note: ‘’a

SCIENCE 77 Binding. No 31 Diagrams. No 31

Binding. No 32 Illustration. No 32

SCIENCE 78 quite signifcant work in the field of mathematics, containing not only theoretical but some very useful practical applications to different fields. Sold out a long time ago and according to Volf’s catalog (1880) is rare and can be priced up to 25 roubles.’’ $3,000

32 [MENDELEEV’S LESSER KNOWN WORK] Gerhardt, Сh.F., Chancel, G. Analiticheskaya khimia: Kachestvennyi analiz [i.e. Analytical Chemistry: Qualitative Analysis]. St. Petersburg: Obshchestvennaya pol’za, 1864. [2], VI, 547 pp.: ill. 22x15 cm. In later half leather binding with gilt lettering on the spine and stained edges. Very good. Bleak stain on margins throughout the book, ink and pencil markings on the t.p., few spots.

Worldcat locates First edition. Very rare. only one copy in ‘Analytical Chemistry’ was translated, supplemented and National Library of Israel. published under the editorship of Dmitry Mendeleev (1834-1907). It is less known that the famous Principles of Chemistry was one of several chemistry textbooks Mendeleev wrote for a Russian audience. Among these were a textbook Organic Chemistry (1861) and this edition (1864), a translation of Charles Gerhardt and Gustave Chancel’s Précis d’analyse chimique qualitative (1862), both of which appeared prior to the publication of the Principles. More than anyone else, Mendeleev brought the modern chemistry textbook written in the Russian language to Russia. In 1864 he was appointed professor at St. Petersburg Technological Institute where he gave lectures. He supervised laboratory works and discovered a lack of manuals on analytical chemistry in Russian which led him to publish this translation to provide his students with proper materials for studying. Text is supplemented with numerous illustrations and graphs. Later Mendeleev translated and supplemented a second part of Analytical Chemistry - Quantitive analysis. $2,500

SCIENCE 79 X VLADIMIR MAYAKOVSKY

33 [MAYAKOVSKY’S WORK FOR ADVERTISING] Izvestiya. #175 (August 2nd, 1924). Moscow: Krasnyi mayak, 1924. 8 pp.: ill. 65x54 cm. Very good. A very fragile newspaper with tears of the extremities and spine, ink stamp of the non-existing library (Lenin’s institute).

An extremely rare survival of the time. Page 8 with advertisements including an illustrated ad for ABC with poem by Vladimir Mayakovsky (1893-1930). Mayakovsky started to work in advertising in 1922 and continued till his death. The greatest number of ad texts created by him falls on period from 1923 to 1925. He wrote texts for leaflets, newspaper ads, advertising posters, candy, wrappers, cookie boxes, etc. His views on Soviet advertising, to which he attached great agitational and political significance, Mayakovsky expounded in the article of 1923 ‘Agitation and Advertising’: ‘‘We know perfectly the power of agitation. In every military victory, in every economic success, nine tens comes from the skill and strength of our agitation... Advertising is industrial, commercial agitation... We must not abandon this weapon, this agitation of trade in the hands of the NEPman, in the hands of a bourgeois foreigner’’. Mayakovsky insisted that the poet should work on advertising in full force of his talent. The work on collecting advertising texts by Mayakovsky presents great difficulties. Literary bibliography of them was not conducted, almost all of them were published anonymously. Still not found some texts about the existence of which there is information. The promoted ABC (titled ‘‘From the Village. ABC’’) was the most popular news textbook with a nes alphabet and letters which were eliminated after 1918. The ABC was is made by the method of whole words, a new trend in pedagogy, popular before the 1930s. $1,000

MAYAKOVSKY 80 First page. No 33 Mayakovsky’s ad. No 33

34 [MAYAKOVSKY TO THE PEASANTS] Mayakovsky, V.V. Pesni krestianam [i.e. The Songs for Peasants]. Moscow: Doloi negramotnost’, 1925. 168 pp.: ill. 18x13 cm. In original illustrated wrappers. In very good condition, mostly uncut, minor fragments of the spine lost, previous owner’s note on the front cover and title page.

The only one copy First and only edition. One of 5000 copies. Extremely rare. (Yale) according Cover design by artist Petr Afanasiev (1866-1960) who created to Worldcat. the theatrical programs and posters at that time. This is a collection of propaganda poems for the peasants which were co-illustrated by Mayakovsky and Aleksei Levin, earlier worked together on the ‘ROSTA Windows’. In 1918 Levin created the street design for the anniversary of October Revolution in Petrograd, later designed the posters and books. This edition includes the simple line caricatures which were reminiscent of ‘The ROSTA Windows’ as well. The satirical texts developing three main topics of propaganda against the moonshine, kulaks and individual farms and religious traditions. These ‘songs’ were rather poems recited for the Soviet people who lived in the rural areas. After the Civil War the peasants were not united by communist ideas while their confidence in the religion continued to grow. The book was published for the Likbez campaign and mostly

MAYAKOVSKY 81 explained the damage of religious practices. $2,900

Cover. No 34 Illustration. No 34

35 [MAYAKOVSKY TO THE WORKERS] Mayakovsky, V.V. Pesni rabochim [i.e. The Songs for Workers]. Moscow: Doloi negrmotnost, 1925. 98 pp.: ill. 17,5x13 cm. In original illustrated wrapper in a style of agit-poster. Good, spine and back wrapper new (renewed? CHECK), front wrapper with some soiling and very carefully restored on the edges, erased bookshop stamps on the last page and some restoration of the paper (upper right corner).

Worldcat locates First and only edition. One of 3000 copies. Very rare. copies at the Cover design and illustrations by Samuil Adlivankin (1897- Getty, Harvard, Amherst, 1966), Soviet artists, studied under Tatlin in the Free Art Workshops in Stanford. Moscow. He was part of the ‘left’ wing of Soviet art in the 1920s-30s. He created posters, painted portraits, genre paintings, landscapes. The style of works is close to lubok, primitive art, he also worked in the style of Rodchenko and Popova. Like ‘Songs for Peasants’ (#34) this edition was targeting many

MAYAKOVSKY 82 doubts and concerns but of growing number of workers in cities and towns. $2,500

Cover. No 35 Illustration. No 35

36 [MAYKOVSKY ON LENIN] Mayakovsky, V.V. Vladimir Ilyich Lenin. Leningrad; Moscow: Gosizdat, 1925. 94, [1] pp. 17,2x13 cm. In original printed wrappers with constructivist design on the front wrapper (and in a later full cloth case with lettering in Swedish). Very good, loss of the small fragment of the margin of the back wrapper, spine is rebacked with paper, owner’s notes in ink (front wrapper) and pencil (t.p. and dedication l.), ink stamps on the t.p. (Swedish bookshop and VOKS), generally slightly rubbed.

Worldcat First edition. One of 10000 copies. Rare. Cover designed E. locates copies at Shol’te. Getty, Harvard, Princeton, Vladimir Ilyich Lenin is an epic poem by Vladimir Mayakovsky Amherst. written in 1923-1924. Mayakovsky started working upon the poem called originally just ‘‘Lenin’’ soon after the funeral (the death and funeral which he attended made a profound impression upon the poet),

MAYAKOVSKY 83 then took a break. Mayakovsky’s elder sister Lyudmila remembered: ‘‘Volodya took Lenin’s death very personally. For him it was like the loss of a dear, close person. He believed in him. He loved him from those early days of working in the revolutionary underground. So shaken was he by this death that for some time couldn’t find it in him to express his feelings [in writing]… [Mayakovsky] has been coming back to Lenin’s memory and ideas throughout his life. Because it was Lenin’s struggle for the shining ideals of Communism, that Vladimir considered his own life’s meaning’’. (Wikipedia) The work resumed in April 1925 and continued till September. On October 3 Mayakovsky signed the publishing contract with Gosizdat. Kilgour. 680 $1,500

Cover. No 36

MAYAKOVSKY 84 37 [UNKNOWN MAYAKOVSKY CARRICATURE] Za 7 dnei [i.e. During 7 Days]. Moscow: Rabochaia Moskva, 1926. # 6, 10, 12 for 1926. 33x23,5 cm. In original illustrated wrappers. Spine and back cover repaired with the adhesive tape (#6), tears of the edges, otherwise very good and clean internally.

Not in the Extremely rare survival. Worldcat. Three issues of short-lived satire supplement to the newspaper ‘Working Moscow’ which was the curious product of collaboration of Vladimir Mayakovsky and Mikhail Cheremnykh. In the newly formed country they became the founders of propaganda satire art, co-created ‘The ROSTA Windows’ and participated in the magazine ‘Krokodil’. Two issues are opened by striking caricatures by Cheremnykh, one of them is particularly interesting for the first publication of his caricature of Mayakovsky on the front cover. The caricature was never reproduced to our knowledge. Issued only in 1926, this magazine gathered the best pieces of Soviet satire appeared in the periodicals during one week and published the new literary works. Among them are three Mayakovsky’s poems: the fragment of ‘A Conversation with a Tax Collector about Poetry’, ‘My Walks through the Streets and Alleys’ and ‘The Hooligan’. The first one had published at the same time as a separate edition in Tbilisi, the rest poems appeared for the first time. $1,950

38 [VARVARA STEPANOVA & MAYAKOVSKY’S COLLABORATION]

Mayakovsky, V.V. Groznyi smekh. Okna Rosta [i.e. Menacing Laughter: The ROSTA Windows]. Moscow: GIKhL, 1932. [1], 79 pp.: ill. 25х22 сm. In original constructivist cardboards and dust jacket, both with red and black lettering. Slightly rubbed and chipped dust jacket and spine, otherwise very good.

Only 8 copies First edition. One of 3000 copies. Extremely rare in this located in the condition. Brilliant edition that became the last Mayakovsky’s project Worldcat. he compiled himself. The book was designed by constructivist artist Varvara Stepanova (1894-1958). She created the unusual edition combining the

MAYAKOVSKY 85 No 37

MAYAKOVSKY 86 regular leaves with half-width leaves. The endpapers present Stepanova’s photomontage with the first four lines of Mayakovsky’s ‘Red hedgehog’ (1920), one of the ROSTA Windows’ texts. For this work she used a photograph of Red Army soldier by Boris Ignatovich (1899- 1976), a pioneer of Soviet avant-garde photography in the 1920-1930s, a member of ‘Oktyabr’ art group, who contributed to the magazines ‘Daesh’ and ‘USSR in Construction’. In 1929 Mayakovsky had developed an idea of this book in connection with the 10th anniversary of the ROSTA Windows (1919- 1922). It was one of the most significant pieces of Soviet propaganda that appeared in the period of Russian Civil War. As Mayakovsky mentioned in the preface: ‘‘it was a record of the most difficult three-year period of the revolutionary struggle, transmitted by patches of colors and the ringing of slogans’’. At that time the hundreds posters were issued with an immense print run, but the only sixteen texts had published with the direct participation of Mayakovsky before ‘Menacing Laughter’. It was the first to gather the brightest works of the ROSTA Windows in the book form. This edition was based on the photo album which was preserved by a founder of these poster series Mikhail Cheremnykh (1890-1962). Mayakovsky selected overall 100 texts, including a well- known work ‘The Soviet ABC’, and 36 photographs of posters. Organized this inspiring edition shortly before the death, Mayakovsky had not seen that it was finally printed in 1932. $2,900

No 38

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MAYAKOVSKY 88 XI MISCELLANEOUS

39 [FUTURIST LANGUAGE] Beobi [Gordin, V.L.] Grammatika yazyka chelovechestva AO, perevod s AO [i.e. Grammar of the Language of the Mankind. Translated from AO]. Moscow: Chelovechestvo [i.e. Mankind], [1920]. [2], 20 pp. 16x13 cm. In contemporary wrappers. Tears and soiling of the wrappers. Otherwise very good.

In 1915 Velimir Khlebnikov founded ‘Soyuz 317’ (i.e. The Unity of 317 or The Society of the Chairmen of the Globe), and soon it was joined by the members of artistic avant-garde elite like Prokofiev or Rabindranath Tagore. Khlebnikov’s proclamations of that time transmitted ideas of universal brotherhood and the unity of people of culture who are destined to rule the universe. This brochure was created by Gordin brothers who were influenced by Khelbnikov’s ideas (hence the pseudonym of the author of the text – Beobi which was taken from Khlebnikov’s poem). The Gordin brothers took futuristic ideas on the new anarchic level. Brothers Aba (1887-1964) and Volf Gordin were theoreticians of anarchism, followers of Kropotkin and Bakunin. Aba was the founder of a new movement — individualist anarchism (or universalist anarchism). They’ve created their own organization and called themselves «panarchists». In 1917-1920 they published several brochures on panarchism. In 1920 Volf created language of international communication and named it AO. On the first page of this grammar book it’s stated: «There is no god, no nature. Talk like humans, use ‘AO’». In the brochure they give alphabet, pronunciation rules, parts of speech, abbreviations etc. There were only eleven sounds in the language, five vowels and six consonants. In writing sounds were depicted by numbers. Gordin stressed that his language is universal, and universality excludes any existing alphabets. In 1924 writing of the language was reformed, and AO-2 was presented at the First International exhibition of interplanetary machines and mechanisms in 1927 as the language of

MISCELLANEOUS 89 cosmic communication. This brochure isn’t recorded anywhere. Possibly one of the few copies produced. $4,700

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40 [SEAL BREEDING] Boytsov, L. Kotkovoe khoziaystvo [i.e. The Northern Fur Seal Breeding]. Moscow: Vneshtorgizdat, 1934. 195 p. 20x14,5 cm. Original illustrated wrapper. Fine condition.

First and only edition. One of 2000 copies. Very rare. The only copy located at A very interesting and unique in its kind publication on the the Library of northern fur seals (Callorhinus ursinus). The title of the book suggests Congress. that the content is about the artificial breeding of seals on industrial scale but in fact that idea was only born in 1920s-30s and was never quite put into practice. Instead the book is a detailed economical, biological and historical account of the seals themselves, and its history of the interactions with human from the first spotting of the rookery on Bering island in 1742 to the seal hunting in the 20th century. In the preface author states that the fur from the seals has the perspective in becoming available for the average Soviet household. Through the

MISCELLANEOUS 90 book the seal hunting on Commander islands (USSR) is compared with the hunting on Pribilof island and Robben Island by USA and Japan. The author tries to prove the necessity of commercial breeding of the seals in USSR claiming that it will allow to grow the population to 1 men seals only on Commander islands. The book features the statistics on most aspects of seal life as well as the photos of the slaughter and the manufacture of the furs. In 1957 the international pact for the protection of fur seals were signed that illiminated all the attempts to breed them artificially. $750

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