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Checklist of the Judith Rothschild Foundation Gift

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Checklist of the Judith Rothschild Foundation Gift Checklist of The Judith This checklist is a comprehensive ascertained through research. When a For books and journals, dimensions Inscriptions that are of particular his- record of The Judith Rothschild place of publication or the publisher given are for the largest page and, in torical or literary interest on individual Rothschild Foundation Gift Foundation gift to The Museum of was neither printed in the book nor cases where the page sizes vary by books are noted. Modern Art in 2001. The cataloguing identified through research, the des- more than 1/4,” they are designated Coordinated by Harper Montgomery system reflects museum practice in ignation “n.s” (not stated) is used. irregular (“irreg.”). For the Related The Credit line, Gift of The Judith under the direction of Deborah Wye. general and the priorities of The Similarly, an edition size is some- Material, single-sheet dimensions in Rothschild Foundation, pertains to all Museum of Modern Art’s Department times given as “unknown” if the print which the height or width varies from items on this checklist. To save space Researched and compiled by of Prints and Illustrated Books in par- run could not be verified. City names one end to the other by more than and avoid redundancy, this line does Jared Ash, Sienna Brown, Starr ticular. Unlike most bibliographies are given as they appear printed in 1/4” are similarly designated irregular. not appear in the individual entries. Figura, Raimond Livasgani, Harper and library catalogues, it focuses on each book; in different books the An additional credit may appear in Montgomery, Jennifer Roberts, artists rather than authors, and pays same city may be listed, for example, Medium descriptions (focusing on parentheses near the end of certain Carol Smith, Sarah Suzuki, and special attention to mediums that as Petersburg, St. Petersburg, those books illustrated in the cata- entries, indicating that The Judith Sandra Wong. describe the artistic contributions to Petrograd, or Leningrad. Foreign- logue) are intended to convey as fully Rothschild Foundation acquired that individual books. (See explanation language words that mean publisher yet concisely as possible the artistic book from a source it wishes to credit. under “Medium descriptions” below.) or press, such as Izdanie (Izd), contributions to these books. The The complete credit line for such a Full documentation regarding medi- Vkydavnytsvo, Farlag, Verlag, following components have been work would be, for example, “The um is included for those works illus- Edizione, etc., have generally been considered: overall design, cover, Museum of Modern Art, New York. Gift trated in the catalogue, as well as for omitted from publishers’ names. illustrations, and text. However, of The Judith Rothschild Foundation some additional volumes that were These names have been standardized these components are mentioned only (Boris Kerdimun Archive).” considered for possible illustration for consistency throughout the check- if they are known or determined to during the course of the project. list. Abbreviations and alternate have been specially prepared by the Accession numbers have been desig- Eventually, each book will be fully names for publishers are cross-refer- artist(s) in question. Covers or texts nated for each book through the catalogued in this way, and the entire enced in the Index of Publishers. consisting of standard design formats Museum’s registration system. The list will be available on the Museum’s are not mentioned. Text attributions first part of the number indicates the Web site. D.W. Formats are designated as book, within the medium description refer order in which the work was acces- journal, newspaper, sheet music, to the person who designed or tran- sioned into the Museum’s collection, pamphlet, portfolio, etc. in entries scribed the text (which is not neces- within the year that it was acquired; Organization of this checklist is in two 1 to 1120. Journals are listed by sarily the author of the text). In some the second part of the number, 2001, chronological sections, each subdi- artist(s) within a given year. If the cases this designer or hand is un- indicates the year of accession; the vided by year. Entries numbered 1 to entire run of a particular journal is known, and no attribution is provided. third part, where present, indicates 1120 comprise books, journals, and represented in the Collection, and the Printing techniques—letterpress, the numbered illustrations in that other book-related formats such as attribution for each issue is to the lithography, hectography, linoleum book. (It should be noted that the sheet music, newspapers, etc. Entries same artist, that journal is described cut, photogravure, etc.—have been number of illustrations usually does 1121 to 1225 consist of Related in one entry under the first year of identified and used in conjunction not include those pages designated Material: drawings, photographs, publication. For example, the com- with the words “illustration,” “text,” as plates in the pagination, since maquettes, letters, proofs, etc.; an plete run of seven issues of LEF “typographic design,” or “lettering,” such plates are, for the most part, Addendum follows. An entry with the (1923–25) with covers by Aleksandr in order to specify the technical reproductions.) In the case of serial- number in orange indicates that the Rodchenko is found in one entry in means by which these different ized works such as journals, the third work is illustrated in the plate sec- 1923 under Rodchenko. For journals aspects of the book were printed. part may also contain a series of let- tion. A page number to locate that such as CA (1926–30), in which dif- “Typographic design” is the term ters, which refer to the different vol- illustration is at the end of the entry. ferent artists contributed to different used to designate only those instances ume numbers that are part of that Five separate indices list artists, issues, the run has been separated in which the typography is used in entry. A few works on the checklist authors, English and foreign-language according to artist. If an artist con- innovative ways as determined by the have a different kind of number at titles, and publishers. tributed to more than one issue of a Museum’s cataloguers. It refers to the end of the entry, always beginning particular journal, these contributions those designs that utilize prefabricated with the letters TR. These items are Artists are listed alphabetically within are grouped together in the first year type elements, such as would have objects that were added to the collec- each year; works by the same artist in a contribution was made. For exam- been part of a letterpress printer’s tion most recently and had not yet a given year are listed alphabetically ple, the thirteen issues of CA to inventory. By contrast, “lettering” refers received final accession numbers by the foreign title. Works illustrated which Aleksei Gan contributed to an artist’s hand-lettered design, before this catalogue went to press. by two artists are listed under the between 1926 and 1928 are found intended for reproduction through The accession number or, in certain artist whose last name comes first in one entry in 1926 under Gan. To lithography or letterpress printing. As instances, the “TR” number, is useful alphabetically; those illustrated by locate all the issues of a particular used here, both terms encompass when corresponding with the Museum three or more artists are listed under journal that are part of the collection, letters as well as other abstract or about a specific work or when order- “various artists,” with each artist’s readers are advised to consult the decorative design elements. ing photographs. name listed alphabetically in paren- Index of Titles. “Manuscript text” is used to signify theses. The designation “Russian Book texts that were handwritten and then Collection” is given to those books in Pagination is distinguished in two printed; portions of these that repre- which there are no artistic contribu- ways: the term “leaf” indicates that sent a poetic deviation from a stan- tions in the form of illustrations or printing occurs on only one side of a dard line-by-line presentation are design elements, but which were sheet; “page” is used when printing designated as “manuscript designs.” collected by The Judith Rothschild occurs on both sides of a sheet. Page Photomechanical reproductions of Foundation for contextual purposes. or leaf numbers are bracketed if they paintings, drawings, or other artworks are not printed within the book itself are generally not mentioned as illus- Titles are given in the transliterated and were instead counted and veri- trations unless they have been original language (Russian, Ukrainian, fied by the Museum’s cataloguers. deemed of special relevance to the Yiddish, Hebrew, Belarussian, etc.), When they are printed in the book, overall artistic structure or meaning according to the Library of Congress page or leaf numbers as listed here of the book or journal. Therefore, system, followed by English transla- refer to the last printed number in reproductions functioning in a man- tions in parentheses. the book. (Some books have one or ner comparable to documentary more additional pages beyond this images in an art-history textbook or Authors or editors follow the English last-numbered page, consisting, for journal are not mentioned. This is titles, listed alphabetically if more example, of a final page or two of especially relevant to books that than one. text, back matter such as tables or include plates, since these are gener- indices, blank pages, etc.) The num- ally reproductions, and to journals, Publication data consisting of place of ber of plates (usually reproductions) many of which contain scattered publication, publisher, date of publi- outside the regular pagination is also reproductions. cation, and total edition size is pro- stated whenever relevant.
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