BOSTON ANTIQUARIAN BOOK FAIR 2019

BOOKVICA 1 F O R E W O R D

Dear friends and colleagues,

We would like to share with you the catalogue of rare items that we selected for one of our favourite book fairs of the year - Boston book fair. The focus of the catalogue is on the multilevel phenomenon of the early Soviet book. The time of groundbreaking experiments in a book design, architecture, theatre, literature, science, etc. are well documented and represented in the catalogue. Some of our favourite highlights include Tarabukin’s classical publication ‘Iskusstvo Dnia’ (#9) in which he calls agitational poster the highest form of art; expressionist illustrations by Yurii Pimenov for Zharov’s collection of poetry - one of the best illustrated Soviet books of the 1930s (#8); the dictionary of the criminal slang of the 1920s (#17); one of the works of Central Institute of Labour led by A. Gastev (#16); classical book by Solomon Telingator on the art of book printing (#25); extremely rare year-run of Ukrainian architecture magazine ‘For Workers’ Dwelling’ printed in Kharkiv in 1931 (#2). We are looking forward to seeing you at the fair! The catalogue was prepared with the help of the team of San Francisco based book shop Globus Books.

Bookvica team, November 2019

BOOKVICA 2 F O R E W O R D

Bookvica 15 Uznadze St. Nizh. Syromyatnicheskaya St. 11/1 0102 Tbilisi Suite 208 GEORGIA , RUSSIA +7 (985) 218-6937 +7 (916) 850-6497 [email protected] www.bookvica.com

Globus Books 332 Balboa St. San Francisco, CA 94118 USA +1 (415) 668-4723 [email protected] www.globusbooks.com

BOOKVICA 3 I ARCHITECTURE

01 [LEARNING TO FANTASIZE LIKE CHERNIKHOV] Chernikhov, Y.G. Iskusstvo nachertania [i.e. The Art of Graphic Representation]. [Leningrad]: Knigoizdate’stvo Akademii khudozhetsv, [1927]. 77, [3] pp.: ill. 18x13 cm. In original illustrated wrappers. Near fine copy. Tiny tear of the spine. Worldcat locates First edition of the first book. Yakov Chernikhov (1889-1951) copies at Cleveland was one of the most unusual and innovative talents of the time, known Library, Getty Research Institute, for his Architectural Fantasies, and here are these fantasies in the NYPL. making. This is a textbook on a special subject developed Chernikhov himself, which he called «the art of graphic representation». It was not a drawing textbook, as one might understand from the title. Under the old-fashioned title Chernikhov meant something very modern. It is about graphic, spatial, and abstract compositions, and seeks to encourage students to use lines, planes, and solid to express beauty and movement without depicting anything known or recognizable,

No 01

BOOKVICA 4 experimenting with all the boundless possibilities open to them. This book was designed for beginners, for people who had not so far been involved in drawing, and not burdened with education at all. It was this kind of youth that filled the Soviet secondary and higher educational institutions in the 1920s. The more amazing is Cherninov’s task that he brought up on himself. His architectural fantasies have not lost their nutritive power to this day and serve a powerful source of inspiration. Publications like this were very unusual, since for the previous fifteen years, modern art had been used to express slogans, manifestoes, and statements of principle. The essence of Chernikhov’s first book, as well as the remaining unnoticed by critics, was revolutionary in relation to the academic school of architectural drawing, which he himself passed. Not recognized by contemporaries, a unique textbook on the development of spatial thinking has not lost its significance even today. Later, he was reproached in the formalistic approach, the poor presentation of the theory but the graphics were always praised. $2,900

02 [UKRAINIAN PHOTOMONTAGE] Za robitnyche zhytlo [i.e. For Workers’ Dwelling]. #1-5, 6/7, 8, 9/10 for 1931. Kharkiv: Ukrzhitlospilka, 1931. Overall 8 issues. 23,5x17 cm. In original illustrated wrappers: #1-5 with constructivist composition; #6/7, 8, 9/10 with constructivist composition and printed illustration. Rubbed, minor fragments of cover paper lost (#1-2) and stains occasionally (#1, 9/10). Issues were disbound, the covers detached from the blocks. Worldcat doesn’t Extremely rare set of issues for 1931. Print run varied in 2500- track this edition. 2700 copies. in Ukrainian. Striking constructivist design of issues features photomontage double-page spread (#3), combining faces of workers with houses and factories, full-page photomontage (#8) devoted to first Five-Year plan, as well as spectacular layout itself. The cover design was produced by Abram Starchevsky (1897-1967), a graphic artist and poster designer known for his. work. in visual propaganda. In the following year, he was entrusted to design the Dnieper Dam opening ceremony. One of the curious solutions was to put the photograph of children visiting Kiev rabbit house on the front cover, turning the horizontal picture vertically

BOOKVICA 5 No 02

(#9/10). Besides, artists Iu. Mur, F. Belen and Shcheglov, photographer V. Arskii were attracted to magazine design as well. This magazine was published in 1926-1933 covering issues of housing construction for workers. The edition promoted communal dwelling, healthy and socialist lifestyle for women with work on factories, educational courses, collaboration with factory-kitchen and kindergarten. Each issue is richly illustrated with photographs of 1920s civil and industrial buildings in the different Ukrainian cities. Due to the low print-run and quality of paper, this edition is practically unknown and unfindable. $3,500

BOOKVICA 6 No 02

BOOKVICA 7 No 03

03 [SOVIET ARCHITECTURE: GINZBURG, KHIGER AND SEMENOV] Voprosy arkhitektury: Sbornik statei [i.e. Architecture Issues: A Collection of Articles]. [Moscow]: Izogiz, 1935. 208 pp.: ill. 30x21,5 cm. In original printed wrappers. Covers slightly soiled and spine chipped, otherwise a very good and internally clean copy.

Worldcat locates A valuable piece of a historical evidence on Moscow copies in NYPL, reconstruction of 1935, Ginzburg’s constructivist project of Moscow- Princeton, Michigan, Donbass Highway and Khiger’s civil housing critics (communal houses). Getty, Columbia First and only edition. One of 6000 copies. Illustrated and Cornell Universities. throughout with black and white photographs, plans and drawings. Wrappers and title page by I.F. Rerberg (1892-1957), master of the Soviet wrapper design. The collection was published by the Union of Soviet Architects (the union was formed in 1932 after the demolition of all other architectural unions). It’s interesting that in the preface it is stated that a few statements from the authors are controversial (regarding historical aspects) but they were not removed to generate a healthy creative discussion. The edition is divided into two sections - a historical part includes works on Egyptian architecture, sculpture in architecture, architecture and planning of Versailles Park, but most valuable articles in the second part on architectural reconstruction of Moscow (by

BOOKVICA 8 Vladimir Semenov), architectural design of Moscow-Donbass Railroad (by famous Soviet architect Moisei Ginzburg), problems of civil housing on Soviet architecture (by Roman Khiger, architecture critic and writer). “Moscow must become the best city in the world” - that was the intent of a massive reconstruction planned in 1935. It was the first complex reconstruction plan of Moscow. Semenov was one of the architects responsible for the General plan. In his article he describes the problems, tasks and aims, gives statistical data but the most interesting part is a short analysis of 7 competition projects by Le Corbusier, Ernst May, Hannes Meyer, Nikolai Ladovsky and others. For every project a plan is given. For example, Le Corbusier’s plan was rejected because he wanted to redo the existing radial-circular system of the city and create a new one according to his urban views, and the main point of the General plan was to keep the existing system and improve it. None of the competition’s projects announced earlier was recognized as sufficiently convincing to become the basis of the future real plan for the reconstruction of Moscow. Semenov and another responsible for the final plan architect Sergei Chernyshev were consulted by many eminent architects, including constructivists Nikolaev, Vesnin brothers, Kolli. The city’s shape was improved and became more clean by the end of the decade, and that look was unchanged for many decades. This article is very important as one can see what Moscow could have been looked like and what it was supposed to look like according to architect of the General plan, what they had in mind when planning the new look of the capital. Simple yet striking designs by Moisei Ginzburg for Moscow- Donbass Railroad stand out in this edition. In the article the architect stated that was a completely new task for Soviet architecture. Ginzburg with such architects like Vesnin brothers, Golosov, Nikolaev, Ladovsky (all from the Union) started to work on the project in 1933. The most difficult thing, he said, is the achievement of integrity and architectural unity of all structures. The article provides wonderful constructivist designs of stations, technical departures, apartment houses, roadblocks, road houses, dorms (communal houses), dining rooms. Khiger gives a detailed analysis of civil housing starting from pre-Revolutionary buildings and discussing reconstructive period of the second half of 1920s - search for a new forms of housing due to a new socialist alteration of the day to day life. $1,500

BOOKVICA 9 04 [TECHNIQUE OF STADIUM CONSTRUCTION] Zverintsev, S. Arkhitektura sportivnykh sooruzhenii [i.e. Architecture of Sports Constructions]. Moscow: Vsesoiuznaia Akademiia Arkhitektury, 1938. 256 pp.: ill. 25x18 cm. In original blue cloth with colored lettering on front cover and spine. Near fine. First and only edition. One of 5000 copies. Rare. Worldcat shows copies located This is richly illustrated guide written by the major Soviet in Columbia specialist in the sports architecture, Sergei Zverintsev. His 1930s works University, New York University and were the only Soviet practical directories on this issue. Harvard University. During the first 20 years of the Soviet rule, the country had built 350 stadiums, 700 sports areas, 250 ski stations and 100 palaces of physical culture. Due to its utility, this type of architecture is the most often reconstructed and this book is valuable source caught how stadiums looked like in the 1930s. Admiring sports and healthy lifestyle, the USSR planned to continue increasing these numbers. In this book the author compared the ancient, foreign and Soviet experience in construction, explaining features of stadiums, swimming pools, velodromes and water sports complex. He also advised how to organize the areas of military education, including parachute tower, shooting range and obstacle course for passing GTO tests. Each chapter contains schemes and photographs of existed buildings as well as calculations and tables with required data.

No 04

BOOKVICA 10 Editor of this book was a well-known architect Nikolai Kolli (1894-1966) who submitted project of Izmailovo Central Stadium in 1933. That was the first Soviet architectural solution reflected ancient Greek palaestra and was built later. $950

No 04

BOOKVICA 11 II BOOK DESIGN

05 [CONTINUING THE RUSSIAN FUTURIST BOOKS] Zamiatin, E. Vereshki [i.e. Waves]. Petrograd: Segodnia, [1918]. [8] pp.: ill. 20,5x15 cm. In original illustrated wrappers. Couple bookstore stamps and marks on the last page, otherwise mint. Worldcat shows First and only edition. One of 1000 copies. copies in NYPL, Getty Institute and A unique survival of linocut editions created in short-lived Yale University. artists’ collective ‘Segodnia’ (Today). The book considered one of the first experiences in design of a children’s book as a holistic organism.

No 05

BOOKVICA 12 No 05

In the dawn of Soviet era, one of amazons of the Russian avant-garde, Vera Ermolaeva took up relevant children’s books. This press attracted artists E. Turova, N. Liubavina, Iu. Annenkov, N. Altman, N. Lapshin and writers N. Vengrov, S. Dubnova, A. Remizov, S. Yesenin and E. Zamyatin. They created 13 brochures showing influence of the Russian lubki. Each of them was published in 1000 copies, of which 125 numbered copies were hand-colored by artists. All editions were illustrated with linocuts and continued tendencies of crude, handmade books of the Russian futurists. In summer 1918, all paper production companies were taken under control of Bolsheviks, so the collective ‘Segodnia’ issued books from March to May 1918. This brochure premiered laconic micro stories ‘Vereshki’ written by Zamyatin outside of his prominent criticism of the Communist rule. Comparing with other books of the collective, this one is not for children and that might be the reason of sharp and dynamic graphic works by Nadezhda Liubavina supplementing the text. In 1936, Leningrad-based artist O. Danilova hand colored this copy following the tradition of ‘Segodnia’. The reverse side of the front cover features her drawn bookplate as well as drawing below and note “Coloring is mine. 1936. A wet month - a leaf fall”. She also has altered the price on the back cover from 50 kopeks to 20 rubles 50 kopeks. $2,500

BOOKVICA 13 06 [] Ivanov-Razumnik, R. Vladimir Mayakovsky (“Misteriia” ili “Buff”) [i.e. Vladimir Mayakovsky : (“Mystery” or “Bouffe”)]. : Skify, 1922. 56 pp. 22,5x15 cm. In original illustrated wrappers with letterpress design. Worldcat shows the copies Restored spine, copy faded, otherwise very good. in Library of First separate edition. Congress, Yale A stunning letterpress design on the front cover was created University, Getty Institute, University by El Lissitzky in Berlin period. The crossword motif appeared on of California, several book covers he produced. Here the artist put the vertical line of University of Kansas, Indiana alphabet cross the horizontal lines of author’s name and title. Later the University, book ‘For the Voice’ (1923) featured the crossword design on the cover Harvard College, University of and the vertical line of the index on inside. Colorado Boulder, This is devastating criticism of the Russian futurism and Duke University, Syracuse his creator, blaming Mayakovsky in primitive performing of ideas he University, Yivo announced. Occasionally the author complimented Mayakovsky and Institute for Jewish called him “a heavy truck of the Russian poetry” for the hard work on Research, Los Angeles County the truly machine, realistic rhymes. The book was written by the critic Museum of Art. Razumnik Ivanov-Razumnik (1878-1946), Tiflis born leader of the pre-

No 06

BOOKVICA 14 revolutionary literary group ‘Skify’ (Scythians) that were close enough to the Left Socialist Revolutionaries. A little earlier he published this work in the collection ‘The Old and New Art’ (1921), printing it among the theatre criticism articles. MoMA 412. $1,200

07 [RODCHENKO DESIGN] Fournier, L. Chudesa stroitel’nogo iskusstva / per. c fr. s dop. Pod red. E.V. Blizniaka [i.e. Wonders of Construction Art / Translated from French with Additions. Ed. by E.V. Blizniak]. Moscow: Transpechat’, 1926. 230 pp.: ill. 17x11 cm. In publisher’s photomontage wrappers. Very good. Spine is restored, front cover is rubbed, contemporary owner’s marking on the title page. WorldCat locates First and only edition. One of 7080 copies. Very rare. one copy at Yale Constructivist cover design by . University. The book describes various structures built in Western countries: bridges, canals, dams, tunnels, subways and other gigantic structures, as well as bridge construction and tunneling in the USSR. It consists of nine chapters each dedicated to one kind of structure. Last chapter by professor P.A. Velikhov was dedicated to bridge and tunnel construction in USSR. The information is general but provides many names of people involved in bridge engineering of the time. It also interesting to see a pretty poor state of the infrastructure on the brink of the first pyatiletka (five-year plan), especially in comparison with described in the book infrastructures of other countries. To show materials which may be helpful for engineers was one of intentions of this publication by the editor Evgeny Bliznyak (1881-1958), Russian and Soviet professor, hydrologist and hydro technician, head of Volga-Don Canal project and construction. He was also a compiler of GOELRO plan. Pavel Apollonovich Velikhov (1875-1930), Russian and Soviet scientist in the field of structural mechanics and bridge construction, professor. He was executed in 1930 during the Stalinist repression. $1,300

BOOKVICA 15 No 07

08 [EXPRESSIONISM OF THE 1930s] Zharov, A.A. Osen-vesna. Stihi i poemy [i.e. Autumn-Spring. Poems]. Moscow: OGIZ, 1933. 42, [2] p., 25 ill. 30х23 cm. Original publishers binding. Fine. Twenty five full-page illustrations by Yuri Pimenov (1903- 1977), as well as the design of endpapers. Pimenov is best known for his concept of ‘revived impressionism’ in his art, being one of the most popular Russian artists of XX century. Pimenov also was working in book and poster design in 1920-1940s. Originally influenced by German expressionists Pimenov also was one of the forming members of OST group (along with Shterenberg, Daineka, Annekov and other VKHUTEMAS graduates). OST was divided in two groups ‘projectionists’ and ‘concretivists’, and three artists were separate from that structure, those where Pimenov, Daineka and Goncharov. OST always was proclaiming its connection to the European surrealists and expressionists, and Yuri Pimenov was probably their strongest link. In 1932 OST was closed after the decree ‘On the transformations of writers’ and artists’ unions’. That decree marked

BOOKVICA 16 No 08 thebeginning of the fight against ‘formalism’ (i.e. avant-garde, constructivism, abstract art) in Soviet culture. The design for this collection of poems of the proletarian poet Alexandr Zharov is done by Pimenov in blunt expressionist manner with the elements of book constructivism. Richly coloured chromolithographic plates are printed on the special paper. Because of the size of the book and its quality it’s quite different from the usual OGIZ production of the time. This book could be one of the last examples of Russian expressionist book-design as the tendency has changed and social realism was becoming to take over. Very rare, especially in such mint condition.

$6,000

BOOKVICA 17 No 08

BOOKVICA 18 III PHOTOGRAPHY & PHOTOMONTAGE

09 [THEORY OF PHOTOMONTAGE] Tarabukin, N. Iskusstvo dnia [i.e. The Art of the Day. What to Know In Order to Make a Poster, Lubok, Advertising, Assemble a Book, Newspaper, Billboard, and What Abilities Photo-technics Provide]. Moscow: Vserossiyskiy proletkult, 1925. 135, [2] pp. 22x15 cm. Original publisher’s cover. Covers restored, bookstore stamp on back cover, otherwise very good. First edition. One of 3000 copies. Very rare. The program work by art critic Nikolay Tarabukin (1889- 1956), one of the ideologists of Proletkult, who at the time taught at VKHUTEMAS. Worldcat shows The art of the day is the art that is born in the day, that is dying copies located in with the dawn of the day - that’s how Tarabukin defines the new art, Princeton and Yale Universities. however admitting its importance, he explains the purpose of creating this book as a guidance for the artists, designing billboards, wrappers of the books, posters, advertising, newspapers etc. He calls the poster ‘the weapon of mass influence’ and puts in above all other forms of ‘minor art’ in its importance for the masses. In the second chapter Tarabukin gives the principles of the Soviet advertising, in the third called ’old folk lubok and new agit-lubok’, explains how to transform old tradition of the luboks printed for the people into weapon of propaganda. The seventh chapter is dedicated to the new abilities of photo design. Among other things, the definition of photomontage is given with advises how to use it. Tarabukin calls photomontage ‘the new era in pictorial art’. This could be one of the first explanations of how photomontage as a technique fits into leftist design. Tarabukin always underlines the anonymity of the art he describes. In his understanding, it’s better not to advertise the artist’s name as this art is created by the people for the people. This statement could be the reason why so many times when we work with outstanding book design of the 1920s, we can’t find the name of the artist mentioned anywhere.

BOOKVICA 19 This book was used both as a textbook for students and as a guidebook for the artists and designers which explains its rarity. $1,850

No 09

10 [PHOTO GRAPHICS BY TELINGATER] Bezymensky, A. Tragediinaia noch’. Poema [i.e. Tragic Night. A Poem]. Moscow: GIKhL, 1931. 64 pp.: ill. 18,5x13 cm. In original illustrated wrappers. Restored, some creases, otherwise very good.

Worldcat shows First edition. Very rare. the only copy This is one of the well-known Soviet photobooks and one of located in Harvard College. the earliest literary works on triumphal projects of the First Five-Year Plan. The poem by Alexander Bezymensky (1898-1973) was devoted to construction of Dnieper Hydroelectric Station by architects Vesniny. The finished dam considered the victory of mankind over nature (the

BOOKVICA 20 rapids were inundated making the ship route easier). At the same time that was the tragedy begun from the destroyed river banks - a shot of blasting work was chosen for the cover. This started a visual account of this book. The layout by Solomon Telingater shows uneven lines of poems connecting with the harsh process of construction. The text pages are supplemented with six photographs resembling stills from a documentary film. They were produced by the well-known photographers of that time Boris Ignatovich, Feodor Kislov, Mikhail Makhalov. The last picture was made by Telingater who experimented in photo graphics: ‘it was made using two negatives, one of them printed as a positive, so that the black becomes white’ (Mikhail Karasik). $2,500

No 10

BOOKVICA 21 11 [KOMSOMOL YOUTH LED INDUSTRIALIZATION] Vinogradova, V. Nashi universitety [i.e. Our Universities]. Sverdlovsk [Yekaterinburg]: Uralpartizdat, 1932. 52 pp. 23x15 cm. In original illustrated wrappers. Minor tears of the spine, otherwise near fine. Worldcat doesn’t Photomontage cover design shows curious example of Ural track this edition. constructivism. It’s located on the both covers and features picture of factory. The work was produced by Gennadii Liakhin who contributed to Ural book design since 1928. His works always depicted working men - miners, steelworkers, engineers - and places where they were caught. For the inner design was responsible ‘the book constructor’ N. Peltinovich arranging photographs and chapters: the edition illustrated with photographs of shock-workers. A story of the second blast furnace of Magnitogorsk Iron and Steel Works is interesting because that was built by komsomol youth shock-workers and all was done 25 percent faster and half cheaper than the first blast furnace. The experience that the young people got in the extremely short period of time was regarded as the best education.

No 11

BOOKVICA 22 And this book is dedicated to problems they faced and successfully solved. $950

12 [PHOTO DOCUMENTATION OF THE NOVEMBER 7, 1938 MILITARY PARADE IN TBILISI]

Diadi okt’omberi. 1917-1938 [i.e. The Great October. 1917-1938]. Tbilisi, 1938. In original full-cloth with gilt lettering and two small photographs (ca. 3.3x3.4 cm) mounted on the front cover. Date “7 November 1938” printed on the label and mounted on the front pastedown. Twenty-five vintage prints ca. 9x14.3cm. Minor wear to the edges of the covers, a couple of photos with the loss of tiny fragments at the edges. In a very good condition. Images by an uknown photographer. An interesting and rare collection of photographs bringing to life the 21st anniversary celebration of the October Revolution in Tbilisi - a traditional military parade that took place on November 7 and was held in all of the Soviet republics from 1918 onwards (except 1942,1943,1944). Apparently, the album belonged to Valerian Khatiashvili (1906-1955), a member of the Central Committee of the Georgian SSR who at the time worked as a deputy editor-in-chief of the Komunisti magazine. He was later appointed the role of the Deputy Chairman of the Organizing Committee of the Republican Olympiad for Artistic Activities. The collection of 25 vintage photographs offers a vivid documentation of the nationwide festivity held on the Rustaveli avenue. According to the images the 7 November celebrations were divided into three different parts: official ceremonies (such as the military parade), processions, and various forms of entertainment, including sports and festive activities. The photographs show female volleyball players in their costumes (2 photographs), pioneers playing trumpet/drums and girls holding flowers at the background (1 photograph), a Soviet official standing at the tribune and making a speech (1 photograph), a procession of people waving banners/posters and leaded by few men in laz chokhas (1 photograph), a woman holding a gun and standing on a construction carried by men (1 photograph), festive procession of dancers

BOOKVICA 23 No 12

BOOKVICA 24 and musicians in national clothes of different Soviet republics, playing trumpet and most likely, zurna (1 photograph), two men holding a poster Steam-Engine and Railway Wagon Repair Stalin Factory demonstrating plan achievement statistics for the past four years (1935-88.7%; 1936-90.7%; 1937-93.1%; 1938-110.6%) (1 photograph), children wearing Georgian national clothes (3 photographs), mounted militsiya (2 photographs), red army soldiers (1 photograph), male Komsomol members wearing Voroshilov Sharpshooter badges and holding guns in their hands (1 photograph), and two buildings with Stalin’s images photographed at night (2 photographs). Other photographs primarily depict parade participants wearing either casual, national or athletic clothes and holding various Communist flags, posters and banners. Overall an interesting documentation of one of the most important events in Georgia in 1938. $1,750

13 [PHOTO-DOCUMENTATION OF TOYS PRODUCED FOR KINDERGARTEN CHILDREN]

Sat’amashoebis laboratoriis ek’sponatebis albomi [i.e An Album of the Toy Laboratory Exhibits]. Tbilisi: Zaria Vostoka, 1941. 80pp: ill. 18x27.6 cm. In original cloth with lettering and decoration on the front board. Near fine. Loss of the endpapers. Worldcat doesn’t Scarce. One of 800 copies. locate this edition. A special anniversary edition of the Georgian SSR Ministry of Education. The album showcases 32 full page and 4 half-page illustrations (4 color; 32 black and white) of toys and educational materials for kindergarten children produced by the scientific-research institute. The work is particularly important as it promoted toys that later became mainstream. The album is divided into four parts: Educational Toys, Construction Toys, Folk Toys (based on the famous Georgian folk tales), and Outdoor Toys. The chapters comprise articles that define the usage rules and describe learning opportunities for children. Every article names the author of the idea (B. Khachapuridze, N. Unafqoshvili, N. Lortkipanidze, B. Avalishvili, R. Natadze, F. Farvariuk, etc.) and, in some cases, masters (M. Gudiashvili, P. Starodubtsev, A. Andreev, etc.). The most fascinating thing about the work is that each article is supplemented

BOOKVICA 25 with the unique illustrations giving a valuable insight into the process of learning in Soviet Georgian kindergartens. The photos date back to the late 1930s. The album features 4 colored illustrations of the educational toys “Triala” (author of the idea – B. Khachapurhidze, master – M. Gudiashvili), “Seqtorina” (author of the idea – B. Khachapurhidze, master – M. Gudiashvili), and “Tsibruti” (author of the idea – B. Khachapuridze), as well as 12 black and white photographs depicting teachers and kids using preschooler toys produced by the institute. The collection also houses over 20 photos of different toys. Each illustration has captions. As stated in the introduction, the edition was intended to provide kindergarten teachers with precise information on the use policy of toys, give assistance in defining pedagogical purposes of games, and represent achievements of the laboratory so that toy manufacturing companies could start the mass production. The album design and color illustrations by the Georgian artist T. Kechkhoashvili; Photographs are by I. Pamfilov. As stated in the edition, special credits go to the distinguished workers of the kindergarten #1 founded in 1921 – the Georgian pedagogue and the founder of the kindergarten, Natalia Unafqoshvili (1892-1975) and E. Kargareteli. The album includes 2 photographs of both women playing with kids. $950

No 13

BOOKVICA 26 No 13

BOOKVICA 27 14 [THE SOVIET PROPAGANDA OF SPORTS] Vsesoiuznyi parad fizkul’turnikov na Krasnoi ploshchadi v Moskve 12 avgusta 1945 [i.e. All-Union Sportsmen’s Parade on Red Square in Moscow on 12 August 1945]. Moscow: N.p., [1945]. [60] pp.: ill. 29x24 cm. In original cloth with gilt lettering and logo. Slightly rubbed and weakened, ink inscription on the front flyleaf, otherwise very good. Worldcat doesn’t First and only edition. track this edition. This impressive album featured the photographs of the first post-WWII and the last ever sporting parade on the Red Square in Moscow. Appeared in 1919, these parades gathered representatives of the Soviet Republics, performed in the national costumes. The sporting parades were no less popular than military parades. The well-known scriptwriters, directors, artists, composers were involved in organizing these actions. In the 1940s the theatre artist Fyodor Fedorovsky (1883- 1955) designed costumes for the sporting parades. In 1945, 23 thousand gymnasts, wrestlers, motorcyclists, shooters and athletes in the national teams took part in performances on the Red Square. It was a show as well as propaganda of the healthy lifestyle and military training. $1,950

No 14

BOOKVICA 28 No 14

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

Worldcat doesn’t / All-Union Industrial Exhibition]. Leningrad: leningradskaya fabrika locate this edition. ofsetnoy pechati, 1956. [32] pp., ill. 26.8x18.5 cm. In original illustrated publisher’s wrappers. Closed tear on the upper right corner of the front wrapper. Otherwise near fine. First edition. Extremely rare.

BOOKVICA 29 No 15

The front cover depicts one of the most vibrant examples of the Soviet constructivist architecture - a building of the Kirov Meat- Packing Plant in Leningrad. Erected by the leading Soviet architects Noi Trotsky (1895-1940), Boris Svelitskiy, and R. Zelikman in 1930-1933, the plant was awarded a Grand Prix for its outstanding engineering and architectural features on the international exhibition in Paris in 1937. This richly illustrated brochure offers a visual insight into the working process of the Kirov Meat-Packing Plant in Leningrad. Commissioned in 1934, the grand factory was to provide meat products to the whole city. By 1935 the Kirov plant produced 5 times more meat products than all Leningrad enterprises in the 1920s. The production process was maximally mechanised and the factory chiefly incorporated American facilities. In 2000 the factory went bankrupt. At the moment, the complex is in disrepair. The edition continues the tradition of the photobooks dedicated to the meat industry, kick-started in the 1930s by El Lissitzky with the publication of the two versions of the book “Pischevaya industriya” [i.e. The Food Industry], co-designed with his wife Sophie Küppers. The edition was compiled for the 1956 All-Union Industrial Exhibition (Moscow) to showcase achievements of the second-largest enterprise in the . $950

BOOKVICA 30 No 15

BOOKVICA 31 IV WORKERS & PARASITES

16 [SOVIET STUDY OF LABOR] Issledovaniia / Tsentral’nyi institut truda V.TS.S.P.S. [i.e. Research / The Central Labor Institute of All-Union Central Council of Trade Unions] [Part] I, [Issue] 1: Motion Study. Moscow, 1923. 108, [4] pp.: ill., 4 ills. 26x17 cm. In original illustrated wrappers. Restored and soiled covers, water stains occasionally, some colored pencil marks on margins, otherwise very good and clean copy.

The only copy First collection of works by the Soviet research laboratories located in NYPL, dedicated to the culture of labor. One of 2000 copies. Constructivist according to the Worldcat. design of both covers produced by B. S. Nikiforov. The Central Labor Institute (CIT) was established in 1920 for demonstrating and propaganda of principles of the scientific study of labor. It appeared thanks to avant-garde poet, revolutionary and labor theoretician Alexei Gastev (1882-1939). In the 1920s, he discarded poetry focusing on CIT as his “main artistic work”. He stressed that a human worker was not implementer but a director of a machine tool. This principle was declared by CIT, observing motion of workers and developing practical courses of motion economy in the workplace. They set up a company ‘Ustanovka’ (Installation) which proposed factories to help them manage business more effectively. Thus, CIT had created work standards and taught tens of thousands of labor organizers implementing standards throughout the country. Several laboratories of the Institute comprehensively analyzed how exactly one man did work, what he felt, what he used, what processes took place inside him and then calculated how he could do work better. The study of striking a chisel with a hammer quickly became the hallmark of CIT. This book included results data of chronophotographic and myographic experiments provided by laboratories fixing motions of a worker. There are four articles by N. Bernstein, A. Bruzhes and N. Tikhonov. The texts are complemented with impressive schemes, for example, hammering in 20 stills, or photographs of motion trajectories as well as different charts of calculations, photographs and drawings of

BOOKVICA 32 No 16 used devices. Initially, seven laboratories existed and their practices are presented in the foreword by an editorial board of B. Babin, A. Gastev and K. Kekcheev. Being close to Gilbreth’s labor study, scholars of CIT considered themselves opponents of him, “optimizing worker’s motion in connection with physiological construction of organism”. The anarchist views of Gastev reflected in the labor study as well. He considered that intellectually developed workers joined trade unions and didn’t need any state. No wonder the Soviet party executed this man in 1938 and then CIT ceased activity in 1940. $1,750

BOOKVICA 33 17 [SPEAK LIKE THE SOVIET CRIMINALS] Slovar’ zhargona prestupnikov : (blatnaia muzyka) [i.e. Criminal Slang Dictionary : (Thieves’ Music)] / compiled of the newest data by S. Potapov. Moscow, Narodnyi komissariat vnutrennikh del, 1927. 196 pp. 13,5x9 cm. In contemporary binding with original constructivist front wrapper preserved. Some stains and pencil marks occasionally, two ink signatures on the t.p. (1928 and 1945), otherwise very good. Worldcat doesn’t For office use only. Copy #2859. Extremely rare. track this edition. Second, significantly enlarged edition of this dictionary was compiled in four years after the first edition was published. Countless repressions of the Communist Party regularly increased the number of prisoners. The jail and camp system formed a separate culture with almost independent language widespread in criminal circles. To eliminate and prevent illegal actions, this language was decrypted and thousands of words were gathered into the dictionary. It explained that “to raise the sails” meant “to rob a shop” or “sunflower” meant “golden watch”. A strange fact: this edition proves that the word “kalymazhnia” (close to Kolyma) meant “jail” long before this area became a place of mass repressions and exiles in 1932-1953. The edition was spread among policemen, officers of the Criminal Investigation Department and the Criminal Court. $1,200

No 17

BOOKVICA 34 V THEATRE

18 [FREE DANCE IN THE USSR] Ritm i kul’tura tantsa [i.e. Rhythm and Culture of Dance]. Leningrad: Academia, 1926. 79 pp., 8 ills. 18x13,5 cm. In original illustrated wrappers. Slightly restored, some stains, signature on the first flyleaf and bookstore stamps on the inner side of back cover, otherwise very good. Worldcat shows the only paper First and only edition. One of 3100 copies. Cover design by copy located in artist Vladimir Izenberg (1895-1969), foreword by theatre critic Alexei Newberry Library. Gvozdev (1887-1939). This interesting book gathered five essays on the different world methods of free dance that were followed in Russia in the 1920s. They were written by practicians, pedagogues of Leningrad studios Z. Punina, Iu. Kharlamov, N Foregger, A. Glebova, Z. Verbova and collective

No 18

BOOKVICA 35 No 18

of Heptachor school. The text is illustrated with spectacular group photographs of dancers in moments of performances. The movement of free dance flared up in Russia, survived after October Revolution and absorbed into the new life as contrasting with the pre-revolution noble dances. One of methods, eurhythmics, extremely widespread in the Soviet schools as basis of the healthy lifestyle. $950

19 [MEYERHOLD HERITAGE] Alpers, B. Teatr revoliutsii [i.e. Theatre of Revolution]. Moscow: Teakinopechat’, 1928. 86, [2] pp. 17,5x13 cm. In original wrappers with decorative frame. In very good condition, some soiling of the back cover. Worldcat shows First and only edition. One of 2000 copies. the copies in Library of This monograph on Moscow Theatre of Revolution written by Congress, Texas the Soviet theatre critic Boris Alpers (1894-1974) who collaborated with Tech University, University of Meyerhold in St. Petersburg as a secretary of his Studio and contributed Chicago, Syracuse to the magazine ‘Love for Three Oranges’. Following Meyerhold, Alpers University, Amherst College Library, moved to Moscow and joined Theatre of Revolution. Harvard College He presents 1924-1927 history of this theatre where and Stanford University. contemporary agitational plays were staged. The author overviews

BOOKVICA 36 methods of directors, stressing constructivist performances, practice of biomechanics and actors performing. The book contains the photographs of production as well as stage design. Working in Theatre of Revolution mainly after Meyerhold left it, Alpers was able to fix how this avant-garde director influenced on the essence of one of the major Soviet theatres. $550

No 19

20 [THEATRE AS A TOOL OF THE SOVIET PROPAGANDA] Leningradskiy teatr yunykh zriteley. Zadachi i organizatsiya / Sostavil L. Makar’yev [i.e. The Leningrad Theatre of Yong Spectators. Tasks and Organization / Compiled by L. Makariev]. Leningrad: TYUZ, 1929 (tipo-

Worldcat locates lit. «Sokol»). 46, [3]pp.: ill., scheme. 17x11.8cm. In original illustrated a copy at Harvard publisher’s wrappers. The spine is slightly rubbed. Otherwise near a very College Library. good copy. First edition. Scarce. Wrapper design by the Russian painter and theatre artist,

BOOKVICA 37 Mikhail Grigoriev (1899-1960). Compiled by the Russian actor, director and pedagogue, Leonid Makariev (1892-1975). General editing by the founder of the theatre, Alexander Bryantsev (1883-1961). Dedicated to the Leningrad Theatre of Young Spectators, this interesting publication unfolds now lesser-known details of the organization and working process of the Leningrad TYUZ (Young Spectator’s Theatre). The Leningrad TYUZ was founded by the director, teacher and People’s Artist of the USSR, Alexander Bryantsev in 1921. Opening its doors to the spectators only three years after the establishment of the first Moscow TYUZ (1918), the Leningrad theatre soon turned into one of the most popular theatres in the Soviet Union. The book consists of five chapters: Main Provisions; Tasks and Organization; Repertoire; Provisions on the Delegate Conferences; and Rules of Attendance. The third section of the edition showcases the entire repertoire of the Leningrad TYUZ from 1922 until 1929. The theatre featured puppet shows for the kids (5-8 years old) and plays for the youth. The puppet shows were directed either by L. Yakovleva

No 20

BOOKVICA 38 or Evgeniy Demmeni (1898-1969). The repertoire corresponded to the ideological requirements of the time and featured plays such as “Deti Indii” [i.e. Children of India] by N. Zhukovskiy (on the fight against religious superstitions), “Tak bylo” [i.e. So it was] by A. Brushtein and B. Sohn (on the fight against anti-Semitism), “Na pereval’noy trope” [i.e. On a Trail] by N. Gorlova (on the Civil War), etc. Other plays were directed by Alexander Bryantsev, Elena Pashkova-Gorlova (1899-1971), Evgeniy Gakkel (1892-1953), etc. Decorations were chiefly produced by V. Beier, E. Iakobson, K. Sokolov, Mikhail Grigoriev, and Moisei Levin (1895-1946). The edition comprises an abundance of illustrations depicting set decorations, various scenes from the plays, plans of the stage, and a wall newspaper produced by the delegates. $500

No 20

21 [HOW TO CREATE AN AGIT-SPECTACLE] Lvov, N. Postroyeniye agit-zrelishcha [i.e. Creating an Agitational Spectacle]. Moscow: Teakinopechat’, 1930 (Leningrad : gos. tip. Yevg. Sokolovoy). 160pp.: sheet music. 15.1x20.9cm. In original publisher’s illustrated Worldcat locates copies at Library wrappers. Previous owner’s inscription and private library stamp on the University of title page: “From the Books of E. Kupchenko”, the last three pages lack Amsterdam and small pieces at the edges. Spine is neatly restored, otherwise near fine. National Library of France. First and only edition. Rare. Striking constructivist design by

BOOKVICA 39 unknown artist after A. Rodchenko. This book, written by the Soviet art critic and theatre expert Nikolay Lvov (1893-1982), offers a detailed reference on the use of various types of stimuli in performances as an instrument to influence proletarian viewers. The edition was completed in 1929, yet due to the unknown reasons the publication got postponed until 1930 (the edition was stuck in print for ten months): “But it is precisely in this period that the leitmotif of the book is specifically accurate: to create an agitation spectacle as a means of economic and political education of the audience”. The book is divided into three main sections: 1) Material of the Production 2) Formulation of the Task and Compiling Text 3) Development of the Production Plan. In the edition, the author proclaims the uselessness of emotional imitation, calling for all those engaged in the agit-spectacle to be connected with the industry. He underlines the importance of “target reaction”, as a merger of art with the challenges posed by the contemporary era. The book is based upon the assumption that one of the main objectives of the agit-spectacle is

No 21

BOOKVICA 40 to eliminate obstructing factors for perceiving agit-performance. From convenient costumes to the removal of the unnecessary words from the scenario, Lvov unfolds various means of influencing a psyche of a proletarian viewer. $950

22 [A MANIFESTO OF THE PROLETARIAN THEATRE] Smirnov, Ya. Osnovnyye zadachi teatral’nogo rukovodstva: Ispr. stenogramma doklada na Soveshchanii direktorov len. teatrov [i.e. The Main Tasks of Theatre Directing: A Revised Transcript of the Report from the Meeting of the Directors of Leningrad Theatres]. [Moscow]: Ogiz - Gos. izd- vo khud. lit-ry, 1931 (Leningrad: tip. im. Bukharina). 44pp. 16.6x11.5cm. In original illustrated publisher’s wrappers. Fine. Worldcat doesn’t First edition. Scarce. locate any copies. This report provides a valuable insight into the process of reformation that the Soviet avant-garde theatre was compelled to go through in the early 1930s. The 4th decade of the 20th century witnessed the suppression of all innovative studios and theaters across the Soviet Union. This transitional period from Meyerhold’s provocative experiments to the rigid frames of Socialist Realism was accompanied by a literary campaign aimed at defining essence of the new Communist theatre. Published during an early period of Socialist Realism, this report focuses on the tasks and problems the Soviet and, in particular, Leningrad theaters were facing on their road of reformation. The edition is based upon the idea of creating “an integrated theatre”, where a playwright would closely collaborate with other organic elements of the Soviet theatre, thus ruling out any possibility of non- organized and inconsistent work. The author also underlines the fallacy of the assumption that the genuine proletarian theatre excludes artistic heritage of the past, and states that the future of dramaturgy is constituted by a synthesis of the upcoming generation and pre- revolutionary art adapted to the political and social needs of the time. Starting from the problem of proletarian aesthetics and the necessity of collaboration between ideologically identical theatres (including amateur), the report deals with the topics of the staff and theatre shortages, repertoire production, set decorations, tours in regions, etc. Each chapter of the book is dedicated to a specific subject and

BOOKVICA 41 scrutinized on examples of plays from different Leningrad theatres (Tovstonogov Bolshoi Drama Theater, Alexandrinsky Theatre, Theatre of Young Spectators, Workers’ Youth Theatre, etc.), such as: “Inga” (1929; Bolshoi Drama Theater; directed by Boris Dmokhovskiy, stage design by P. Snopkov), “Robesp’yer” [i.e. Robespierre] (1931; Alexandrinsky Theatre; directed by N. Petrov, stage design by N. Akimov), “Avangard” (1930; Bolshoi Drama Theater; directed by Andrey Lavrentiev, stage design by M. Levin), etc. The last chapter of the report features an excerpt from the 16 October 1930 order of Leningrad Regional Committee of Komsomol. The excerpt comprises 11 articles with each one of them focusing on the ways of the artistic staff development. Overall, the report offers interesting details on the transitional process of the avant-garde theatre to the official realistic style of Socialist Realism. $500

No 22

BOOKVICA 42 23 [EXPERIMENTS IN THEATRE COSTUME DESIGN] Miuller, V. Transformiruiushchiesia muzhskoi i zhenskii teatral’nye kostiumy [i.e. Transforming Men and Women’s Theatrical Costumes]. Moscow: MKhAT SSSR im. M. Gor’kogo, 1948. 55 pp.: ill. Tear of p.53-54 (text is not not affected), some scratches of back cover and minor soiling of front cover, otherwise very good and clean copy. One of 2000 copies. Extremely rare. This late 1940s manual Worldcat doesn’t for theatrical costume designers was a kind of manifest where an track this edition. avant-garde theatre artist Vladimir Miuller (1887-1979) put forward his idea of innovative costumes. He designed theatrical performances as well as movies, in 1939 he started to teach ‘Basics of Stage Design’ in Lunacharsky State Institute for Theatre Arts. The book is entirely compiled by him. He shows 6 costumes for men and 6 costumes for women with their patterns as well as direction which parts are combined earlier and which pieces of fabric are added later to transform costume to another. In fact, the innovation included not only the easy combinations but not-sewing methods to hold the parts together as well. The book was issued by the first Soviet stage experimental laboratory that an artist Ivan Gremislavskii based at Moscow Art Theater in 1942. This laboratory proposed the most progressive methods in stage and costume design. Since 1943 a school of stage designers was also formed and this manual could be used as a textbook for students. $1,000

No 23

BOOKVICA 43 VI ART OF THE BOOK MAKING

24 [BOOK ILLUSTRATION DESIGN] Gessen, L. Verstka illyustratsiy v knige [i.e. Book Illustration Design]. Moscow; Leningrad: Gos. izd-vo legkoy prom-sti, 1932 (Leningrad: tip. Pechatnyy dvor). 3-94, [2]pp.: ill. 27x20.4cm. In original publisher’s cloth with lettering on the front cover and the spine. Loss of the front endpaper. Otherwise in a very good condition. First edition. Scarce. This is a comprehensive guide to the layout of illustrations in a book. Worldcat locates Lazar Gessen (1889-1932) was a pedagogue at the Leningrad copies at Library State Tekhnikum of Poligraphy, one of the first Russian technical editors of Congress and Bavarian State and an author of numerous publications on book design. His most Library. famous works include: “Oformleniye knigi” [i.e. Book Layout] (1928), “Arkhitektura knigi” [i.e. Book Architecture] (1931) and “Ekonom’te bumagu” [i.e. Save Paper] (1932).

No 24

BOOKVICA 44 The edition consists of five chapters: 1) Techniques of Image Arrangement on a Page 2) Image, Text, Paper 3) Basics of Image Arrangement in Text 4) Positioning Two Images on the Spread Separating them with Lines 5) Image Captions. The author provides a detailed information on the various types of page layout organization and elaborates upon the main factors of proper image arrangement. Importantly, the book includes An Appendix which both visually and textually showcases the most widespread mistakes in design (such as overly long captions, incorrect spacing, inaccurate image arrangement, etc) and offers Gessen’s personal assessments and advices on achieving the best result. The edition is extensively illustrated and features an array of corresponding examples. Lazar Gessen died under unknown circumstances in 1932 and “Book Illustration Design” turned out to be his last work. $1,200

25 [ABC OF JOB PRINTING BY SOLOMON TELINGATER] Telingater S., Kaplan L. Iskusstvo aktsidentnogo nabora [i.e. The Art of Job Printing]. [Moscow: Kniga, 1965]. 228pp.: ill. 22x17.7cm. In original cloth with the letterpress design and constructivist dust-wrapper by Solomon Telingater. Dust-wrapper with a couple of tears. Otherwise fine. First edition. Rare. Worldcat locates a Both a brief account of the book history and an extensive study copy at Library of of the origins and later development of job printing. Congress. Published in 1965, the book is written by one of the biggest names in Russian book art, Solomon Telingater (1903-1969) and the author of numerous typography studies, Lev Kaplan. The former, alongside El Lissitzky (1890-1941), (1895-1938) and Alexander Rodchenko (1891-1956), was a founding member of the October group - a collective of Constructivist artists responsible for revolutionizing standards of the 1930s Soviet typography and book design. Influenced by the avant-garde tendencies of the time, Telingater made a name for himself as a daring experimenter who applied the trends of the emerging film industry and the features of photographic technology to book art. Solomon stood out above the rest of the graphic artists not only because of his modernist inclinations, but because of his masterly knowledge of typography. He paid particular attention to the drawn

BOOKVICA 45 No 25

types (prints), regarding them to increase the expressiveness of book design. His most famous works include: “Dvenadtsat’” [i.e.Twelve] (1923), “S meshkom za smert’yu” [i.e. With a Sack after Death] (1927), “Slovo predostavlyayetsya Kirsanovu” [i.e. The Word Belongs to Kirsanov] (1930), “Tragediynaya noch’” [i.e. Tragical Night] (1931), Govorit Il’ich [i.e. Lenin Speaking] (1932), etc. One of the most vocal theorists of constructivist book/poster design, Telingater infused his decades-long typographical experience into a book dedicated not to the craft, but to the art of job printing. The book consists of two main sections: Job Printing by Solomon Telingater and The Techniques of Job Printing by Lev Kaplan. The first section of the edition elaborates upon the book and job printing history, since the author believed that the past contained typographic riches for the future. Telingater pays particular attention to the visual side of the job printing and focuses on the ways of avoiding tricks of optical illusion. The author thoroughly examines various sorts of fonts, typefaces, rules and ornaments and gives advice on their proper use. The

BOOKVICA 46 first section of the book also deals with the topics of the compositional arrangement of the job printing elements (initials, headpieces, etc) in book design and different job printing types, such as forms, diplomas, certificates, invitations, ads, etc. The author occasionally offers comparisons between the Soviet and foreign job printing specimens: “In socialist countries, advertising serves the interests of the consumer” while “in bourgeois press ads often have a blatant and ugly pattern”. While assessing contemporary state of this specific field of typography, Telingater states that the interest towards job printing decreased after a short revival period that was mirrored in the editions published between 1925-1930 and the 1st All-Union Printing Trade Exhibition in Moscow, 1927 (the exhibition, distinguished with its constructivist slant, was designed by El Lissitzky and was attended by Solomon Telingater, Gustav Klutsis, etc). The edition presents constructivist cover designs of “Kak izobreli telegraf” [i.e. How the Telegraph was Invented] (1928; written by P. Albychev; design by Telingater) and “Khorosho!” [i.e. Good!] (1927; written by Mayakovsky; design by El Lissitzky) as examples of proper job printing.

No 25

BOOKVICA 47 The second section of the book, in contrast to the first chapter, focuses on the technical side of the job printing. The author elaborates upon such topics as the typesetting techniques of various job printing elements and the equipment and instruments necessary for the procedure. Aside from the aforementioned, Kaplan provides information on the proper organization of the working space, storage conditions of the materials, and on the mechanisation of the job prints. The edition is densely illustrated and features an array of job printing specimens (ornaments, initials, headpieces, rules, title-pages, ex-libris and various compositions designed using the technology, etc), in most cases, accompanied by the comments of the author. The book also showcases schemes of properly organized working space and illustrations of different instruments. “The Art of Job Printing” can be considered to be one of the most significant Soviet studies of this special field of typography. $1,200

BOOKVICA 48 VII SCIENCE

26 [FOR THE RUSSIAN DARWINISTS] Photograph of Charles Darwin. : Vezenberg i Ko, [1900s]. 16,5x11 cm. Albumen photo mounted on cardboard paper with a printed workshop’s signature. Very good. Stamp of pre-revolutionary Daziaro shop on the back side along with the pencil note in Russian: ‘Darvin’. This is a reproduction of the well-known portrait of Charles Not in the Darwin in 1874 that was printed in Saint Petersburg. The photography Worldcat. enterprise of Jacob Wesenberg appeared in Saint Petersburg in 1865. After him, the studio was run by different people and moved to other buildings, but the title was the same. In 1900-1912, Henrich Wesenberg located this studio at Voznesensky Ave, 32. He was well- known as a producer of photographic portraits of the Russian and foreign personages. Darwinism had a profound influence in Russia not

No 26

BOOKVICA 49 only on the different sciences, but also on philosophy, economic and political thought, and the great literature of the period. This portrait was probably illegally reproduced and then copies were sold in stores for admirers of the scholar and public in general. $350

27 [EXPERIMENTAL PSYCHOLOGY] Psikhicheskoe utomlenie: Eksperimental’no-psikhicheskie issledovanija pedagogicheskogo i professional’nogo truda [i.e. Psychic Fatigue: Experimental Psychic Research of Pedagogical and Professional Labour]. Moscow: Gosizdat, 1929. 178, [2] pp. 24,5x16,5 cm. In original printed wrappers. Small fragments of the spine lost, some tears of edges, pale No copies located water stains, otherwise very good. in USA. First and only edition. One of 5000 copies. Very rare. Cover design by the Soviet master of book graphics and letterpress design, Dmitry Bazhanov (1902-1946). This outstanding co-work on the impact of studying and working conditions on the mental health was compiled by a group of 15 Soviet psychologists under direction of the prominent scholar and educator Alexander Nechaev (1870-1948) who was the editor of this book as well. Nechaev started his experimental study of psychology in the late 19th century drawing attention to the children’s ability to memorize. This book crowned his research of psychic fatigue and overviewed the contemporary methods of its calculations depending on the different groups of research participants. $1,200

No 27

BOOKVICA 50 28 [A FAREWELL TO ONE OF THE FOUNDERS OF THE SOVIET FORENSIC PSYCHIATRY]

Professoru N.P. Brukhanskomu (20 let psikhiatrich. raboty). Problemy psikhiatrii i psikhopatologii: Sb. statey [i.e. To the Professor N.P. Brukhansky (20 Years of Psychiatric Work). Problems of Psychiatry and Psychopathology: A Collection of Articles]. [Moscow]: Biomedgiz, 1935 (tipo-litogr. im. Vorovskogo). XVI, 728pp., a portrait and a table: ill., tables. 23.1x16cm. In original full cloth with gilt lettering on the front cover and the spine. Private library stamp: “Doctor V. E. Iashvili” on the title-page and the pp. 89, 513, occasional pen/pencil markings. Otherwise very good.. First edition. Scarce. Title-page, table of contents and Worldcat locates a copy at Bavarian introductory letter in Russian and German. State Library. Published only a year before the arrest of Nikolay Brukhansky (1893-1948), this book can be viewed as an inadvertent farewell to one of the greatest psychiatrists in the history of the Soviet Union. A son of the famous Russian psychiatrist Pavel Brukhansky (1868-1930), Nikolay graduated from the medical faculty of the Moscow Imperial University in 1916. Soon after finishing his studies, Brukhansky was appointed a role of the county doctor at Mikhailovsky district of the Ryazan province. From 1923 Brukhansky worked in the Serbsky State Scientific Center for Social and Forensic Psychiatry. He went on to publish numerous scientific works dedicated to the topics of personality disorders, psychopathologies (including schizophrenia), and correlation between crimes/suicides and socio-economic factors (“Materialy po seksual’noy psikhopatologii: Psikhiatricheskiye ekspertizy” [i.e.Materials on Sexual Psychopathology: Psychiatric Examination], 1927; “Samoubiytsy” [i.e. Suiciders], 1927; “Ocherki po sotsial’noy psikhopatologii” [i.e. Sketches on Social Psychopathology], 1928, etc). In 1928, Brukhansky printed a book “Sudebnaya psikhiatriya” [i.e. Forensic Psychiatry] which forever cemented his name as a founder of the Soviet forensic psychiatry. In the edition, the author paid particular attention to psychiatric disorders and their forensic psychiatric assessment. Even despite his outstanding achievements in the development of the Soviet psychiatry, Brukhansky was accused of counter-revolutionary activity after his suggestion at the II Congress of Psychiatrists and Neuropathologists (1936) to exempt psychopathic persons from criminal responsibility. He was arrested and sent into exile in 1945 (where he died in 1948). For decades Brukhansky’s name

BOOKVICA 51 No 28 obliterated from the common memory: his books were seized from public libraries and vigorously destroyed as works of the “Soviet enemy”. “Problems of Psychiatry and Psychopathology” was published on the occasion of Nikolay Brukhansky’s 20 years of psychiatric work. The edition includes an introduction by the famous Russian scientist and founder of clinical neurogenetics, Sergey Davidenkov (1880- 1961). The book features over 50 articles written by some of the best representatives of both Soviet and foreign psychiatry: Evgeniy Shevelev (1878-1946), Arthur Kronfeld (1886-1941), Nikolay Bogolepov (1900-1980), Vladimir Shostakovich (1898-?), Dmitriy Amenitsky, etc. “Involvement of the prominent Western European psychiatrists in the production of the collection underlines the interest that Brukhansky’s research aroused outside of our union”- stated Davidenkov. The authors (many of whom, in accordance to Davidenkov, where Brukhansky’s students) focus on the different fields of psychiatry and examine topics such as a process-psychosis, alcoholism and schizophrenia, treatment of various forms of psychiatric disorders, suicide in children, etc. $1,000

BOOKVICA 52 29 [SOVIET PSYCHIATRY] Shizofreniia: Voprosy patogeneza osnovnykh iavlenii [i.e. Schizophrenia: Issues of Pathogenesis of General Phenomena]. Moscow: Narkomzdrav SSSR: Medgiz, 1939. 209, [2] pp.: ill, 3 ills. 22,5x15,5 cm. In original cloth binding with colored lettering on front cover and spine. Good. Rubbed and soiled covers, water stain on the lower margin throughout the copy, blank corner of last page lost, ink signatures on front flyleaf and p. 3 and colored pencil marks occasionally, but otherwise clean. The only copy First and only edition. One of 1000 copies. Extremely rare. located in National Library of This is a collection of articles on schizophrenia and borderline Medicine. issues researched in Moscow clinics. The establishment and development of the Soviet psychiatry tightly connected with Don Psychiatric Hospital (Moscow) that put forward the leading Soviet psychiatrists of that time Vasily Giliarovsky, Lev Rozenstein, Alexandra Vinokurova, Tatyana Simson, Evgenii Dovbnia and others. The book contains 13 articles devoted to their clinic practice. In particular, Giliarovsky described experiments of active (shock) therapy that gained popularity in the 1930s. Among cases, depicted in book, are two patients with hallucinations: a man had them from childhood, then he had been cured and told about everything he felt and saw during schizophrenia; in contrast to him, a woman entered the hospital with signs of paralysis, she underwent therapy by malaria and then experienced much worse symptoms. That was just a start of active therapy in the Soviet psychiatry. $1,200

No 29

BOOKVICA 53 VIII NEWSPAPER BUSINESS

30 [CREATE YOUR OWN NEWSPAPER] Sredinskii, S. Osnovy gazetnogo dela: kratkoe rukovodstvo [i.e. Newspaper Business Basics: Short Manual]. Petrograd: 1-ia Gos. tipografiia, 1918. 75 pp.: ill., 1 folding ill. loosely inserted. Book: 18x14 cm. Leaf: 24x22,5 cm. In original illustrated wrappers with printed newspaper front page in red.

Only paper copy First and only edition. Extremely rare. located in Yale This is the earliest Soviet manual on editing and printing mass University. periodical that was compiled for the provincial publishers. The book is divided into two sections. The first one is written for editors: explains what kind of text people need and how to arrange articles one by one, how many lines the front article may occupy and where to place advertisements, how to work with readers’ messages sent via postal service, telegraphy, telephone and radio. Separately selected that the provincial publisher needs to focus on cleaning up any typographical errors before the manuscript is typeset - and what proofreading symbols he should use. The book contains a double-page illustration that shows how the text looks with these symbols. The second section features an instruction on how to organize a print shop, what types existed, how the Russian letter case looked like and how to highlight headlines. The folding leaf shows three examples of how newspaper titles may be designed. Two pictures of the linotype machine and rotary printing press are included with description of their working process. Finally, this textbook shortly explains how to organize a subscription and when to sell newspaper copies. At the end of this book, the Сharter of the Union of Soviet Journalists is printed. Interesting that the printing process underwent a lot of changes, but proofreading symbols have mainly stayed the same. $950

BOOKVICA 54 No 30

31 [HOW TO DESIGN A NEWSPAPER] Vyazemskiy B.A., Urlaub M.K. Tekhnicheskoye oformleniye gazety [i.e. Technical Design of a Newspaper]. Moscow; Leningrad: Gizlegprom, 1933 ([Leningrad]: 2 tip. izd-va Lenoblispolkoma i Soveta). 216 pp., 1 table: ill. 25.4x17.5cm. In original illustrated publisher’s wrappers. Wrappers slightly age-toned, a couple of tears of the spine. Otherwise a very good clean copy. First edition. Rare. Worldcat doesn’t locate any copies. Written by the Soviet art critics Boris Viazemsky (1899-?) and M. Urlaub, this manual provides a detailed information on the technical design of the newspaper. The book is grounded on the concept that the newspaper design constitutes a purely political matter and any type of technical mistake in the arrangement of material can both “kill” a newspaper and become a problem of political importance. In each chapter the authors examine various elements of the newspaper design and scrutinize

BOOKVICA 55 them on multiple examples from the proletarian, pre-revolutionary and foreign periodicals, such as “Smena” [i.e. A Change], “Novoye vremya” [i.e. New Time], “Pravda” [i.e. Truth], “The Evening News”, “Daily Herald”, “Kölnische Zeitung” [i.e Cologne Newspaper], “Krasnaya gazeta” [i.e. A Red Newspaper], etc. Every specimen is accompanied by captions that showcase the authors’ assessments of the quality of the newspaper design. The book also elaborates upon the main tricks used by various newspapers to minimize or highlight political importance of specific news: sensational headlines, concealment of specific information, font sizes, etc. The authors pay particular attention to the different types of illustrations (caricature, photograph, photomontage, photolitomontage, diagramas, etc.) and draw a parallel between their use in the Soviet and foreign periodicals. The edition defines a photomontage as a tool that helps to comprehend various aspects of an idea, while concentrating attention on one specific matter. The authors underline the importance

No 31

BOOKVICA 56 of logical and thematic sequence while creating a photomontage and state that a good photomontage is that which has a political goal and doesn’t need a caption to fathom its meaning. The edition features, among other illustrations, examples of photomontages by A. Vasilieva and unidentified artists. From the basic principles of the newspaper design to the various types of printing techniques, this densely illustrated book focuses on the different topics of the newspaper design: various types of layout, instruments of a typesetter, productions of cliches, techniques of proofreading, design of proletarian and bourgeois newspapers, zincography, models of the newspaper design, headlines, material arrangement, etc. $900

BOOKVICA 57 IX LITERATURE

32 [LIFETIME EDITION BY MANDELSTAM] Mandelstam, O. Vtoraia kniga [i.e. The Second Book]. Moscow: Krug, 1923. 85, [9] pp. 13,5x11 cm. In original printed wrappers. Restored, otherwise very good and clean copy. Ownership (embossed) blindstamp of Ernest Heitetz. One of 3000 copies. Constructivist publisher’s mark (on half- Worldcat shows copies located in title and back cover) created by Iu. Annenkov. Princeton, Yale There are four lifetime editions of Osip Mandelstam’s poetry. and Stanford Universities. After the first one, “Stone”, Osip Mandelstam sought to publish a book “New Stone”, but it appeared under the name “Tristia” in publishing house ‘Petropolis’ (Berlin) in 1922. Mandelstam agreed with the composition of poems but was furious about missing spots. In result of it, he has created his version of this collection, in Moscow, named it “The Second Book” and dedicated to wife Nadezhda Khazina. It is hard to overestimate her contribution to this edition. The poems were written during the First World War and the revolutionary mess. The original drafts were lost and a couple had written together the text again. After Mandelstam was executed in 1938, all his books were banned. $1,800

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BOOKVICA 58 X MISCELLANEOUS

33 [WHO WANTS RATIONAL ADVERTISING IN CAUCASUS RESORTS] “Dvigatel’” na Kavkazskikh mineral’nykh vodakh [i.e. ‘Engine’ on Caucasus Mineral Springs]. Rostov-on-Don: Obraztsovaia Gostip DPB, 1924. Two full-colored leaves with a double parallel fold, with illustrated front cover. 13x10 cm. Tears of the outer crease, staple lost, otherwise very good.

Not in the One of 500 copies. Сover design is probably produced by local Worldcat. artist Nikolai Shuvalov. Extremely rare survival of prints issued by the early Soviet advertising agency “Dvigatel’” (Engine). This Moscow enterprise was established in 1922 under direction of newspaper ‘Economic Life’ and

No 33

BOOKVICA 59 soon after that widespread over the country. ‘Engine’ had a monopoly on hanging posters in all provincial towns. In the southern part of the country, the main branch was located in Rostov-on-Don while six smaller agencies placed in Tbilisi, and nearby Soviet cities. They provided “all kinds of rational advertisement”, including agitational moving pictures, posters, signboards, advertisements on trams, published guides and directories. For example, this brochure contains railway timetable for direct trains from Tbilisi and Baku to Moscow/ Leningrad and back. A range of rail-related information is printed as well. Six pages are occupied by advertisements of ‘Engine’ itself, the newspaper ‘Economic Life’, tobacco and wine companies as well as buses plying along seaside. The curious facts were published in ‘Pravda’ (January 1926) announcing that this ‘advertising whale’ spent money irrationally and was unprofitable. $650

No 33

34 [SOVIET VOYAGE TO THE PACIFIC REGION] Lapin, B. Tikhookeanskii dnevnik [i.e. The Pacific Ocean Diary]. Moscow: Federatsiia, 1929 (1930 on cover). 222, [2] pp. 19,5x14 cm. In original illustrated wrappers. Tears of the spine with small fragments lost, vertical crease of the front cover and some leaves, otherwise very good and clean copy.

BOOKVICA 60 Worldcat shows Signed by author on the half title (1929). copies located in LoC, Yale First edition. One of 4000 copies. Cover design by artist Ivan and Stanford Rerberg who depicted the upper part of the Pacific Ocean where both Universities. continents come near each other and surrounded by islands. This interesting witness account describes a voyage of the Soviet journalist from Vladivostok through Chukotka to coasts of Alaska and Japan. The diary was written by Boris Lapin (1905-1941) who was a travel journalist observing life from Arctic islands to Central Asian steppe. In 1928, he met the Pacific Ocean with enthusiasm. “Doors of the whole world are opened and nothing blocks me anymore. I came out to an alien world”, - wrote Lapin in introduction adding that he was interested in people who settled the Pacific Ocean and relied on it. He started from Chukchi lands and lived there trying to understand the radically different lifestyle. The Soviet rule poorly influenced Chukchi people throughout the 1920s and Lapin in detail noticed unchanged customs and social relations. After that, he joined American ship selling goods between Alaska and Chukotka and crossed Bering Strait. Lapin visited Nome city in Alaska, that particularly impressed him with international emigre population, and turned back to Asia. He reached Hokkaido and sought to go to Vladivostok. As he desired, Lapin got acquainted with ‘ocean’ people, their personal stories and living conditions. Gained personal experience in settlements and on board of ships, the author mixed his notes with narratives he heard about local people and visitors from other lands. $750

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BOOKVICA 61