Auction 69 - Part II - Avant-Garde Art from the Collection of Uzi Agassi
Displaying 61 - 72 of 92
Auction 69 - Part II - Avant-Garde Art from the Collection of Uzi Agassi
December 3, 2019
Opening: $700
Estimate: $2,000 - $3,000
Sold for: $2,375
Including buyer's premium
Рыкающий Парнас – Футуристы [Roaring Parnassus – Futurists]. St. Petersburg: Журавль (Zhuravl), [1914]. Russian.
An anthology of poetry beginning with the Futurist manifesto "Go to Hell!" and featuring poems by members of the Futurist group Hylaea, including Vladimir Mayakovsky, Aleksei Kruchyonykh, Elena Guro, Velimir Khlebnikov and David Burliuk. Illustrations by Pavel Filinov, David Burliuk, Vladimir Burliuk, Olga Rozanova and Ivan Puni.
The anthology was printed on papers of varying thickness and color. Cover design by Ivan Puni.
Due to its content, especially several illustrations considered indecent by the Russian censor, the anthology was banned and its copies were confiscated immediately after printing. Only several dozens or several hundreds of copies at the most were smuggled from the printing house and distributed. Several of the illustrators of the anthology were prosecuted.
[2], 115, [3], 117-119, [3] pp, 22 cm. Good condition. Creases and minor stains. Some small tears. The cover is slightly worn, with creases and stains. Tears to spine, some open.
An anthology of poetry beginning with the Futurist manifesto "Go to Hell!" and featuring poems by members of the Futurist group Hylaea, including Vladimir Mayakovsky, Aleksei Kruchyonykh, Elena Guro, Velimir Khlebnikov and David Burliuk. Illustrations by Pavel Filinov, David Burliuk, Vladimir Burliuk, Olga Rozanova and Ivan Puni.
The anthology was printed on papers of varying thickness and color. Cover design by Ivan Puni.
Due to its content, especially several illustrations considered indecent by the Russian censor, the anthology was banned and its copies were confiscated immediately after printing. Only several dozens or several hundreds of copies at the most were smuggled from the printing house and distributed. Several of the illustrators of the anthology were prosecuted.
[2], 115, [3], 117-119, [3] pp, 22 cm. Good condition. Creases and minor stains. Some small tears. The cover is slightly worn, with creases and stains. Tears to spine, some open.
Category
Avant-Garde Art
Catalogue
Auction 69 - Part II - Avant-Garde Art from the Collection of Uzi Agassi
December 3, 2019
Opening: $400
Estimate: $2,000 - $3,000
Unsold
Two anthologies of poetry and prose by prominent artists of the Futurism and Imaginism movements in Russia. Moscow, 1915/1919. Russian. Cover designs by Aristarkh Lentulov.
1. Весеннее контрагентство муз [The Vernal Agency of the Muses], Futurist anthology edited by David Burliuk and Samuil Vermel. Moscow, 1915.
The anthology features poems and prose by Vasily Kamensky, Vladimir Mayakovsky, Nikolai Burliuk, Nikolai Aseev, Boris Pasternak and others, alongside illustrations by David Burliuk; print plate reproducing in color a sketch drawn by Aristarkh Lentulov for the set of a play by Vladimir Mayakovsky; and more.
[3]-107, [5] pp + [1] plate, 27 cm. Lacking first leaf. Good-fair overall condition. Stains. Tears to edges of several leaves. Large tears to last two leaves, some open and restored with paper; one reinforced with tape. Stained cover, with tears (the spine and additional parts of the cover are lacking and restored with paper; affecting text).
2. Явь, Стихи [Reality, Poems]. Moscow, 1919.
Anthology of poems by poets of the Imaginist movement – a Russian avant-garde poetic movement founded in Moscow in 1918, challenging the Futurist movement. The anthology, published approximately concurrently with the movement's manifesto, contains poems by Vadim Shershenevich, Ryurik Ivnev, Sergei Yesenin, Anatoly Mariengof and others.
69 pp, 26.5 cm. Thick paper. Good condition. Stains. Uneven edges. Stains and tears to cover (lacking spine and other parts of cover; restored with paper).
The covers of both booklets were designed by Aristarkh Lentulov (Аристарх Лентулов, 1882-1943), a Russian painter and scenic designer, a member of the avant-garde group "Jack of Diamods" founded in Moscow in 1910.
1. Весеннее контрагентство муз [The Vernal Agency of the Muses], Futurist anthology edited by David Burliuk and Samuil Vermel. Moscow, 1915.
The anthology features poems and prose by Vasily Kamensky, Vladimir Mayakovsky, Nikolai Burliuk, Nikolai Aseev, Boris Pasternak and others, alongside illustrations by David Burliuk; print plate reproducing in color a sketch drawn by Aristarkh Lentulov for the set of a play by Vladimir Mayakovsky; and more.
[3]-107, [5] pp + [1] plate, 27 cm. Lacking first leaf. Good-fair overall condition. Stains. Tears to edges of several leaves. Large tears to last two leaves, some open and restored with paper; one reinforced with tape. Stained cover, with tears (the spine and additional parts of the cover are lacking and restored with paper; affecting text).
2. Явь, Стихи [Reality, Poems]. Moscow, 1919.
Anthology of poems by poets of the Imaginist movement – a Russian avant-garde poetic movement founded in Moscow in 1918, challenging the Futurist movement. The anthology, published approximately concurrently with the movement's manifesto, contains poems by Vadim Shershenevich, Ryurik Ivnev, Sergei Yesenin, Anatoly Mariengof and others.
69 pp, 26.5 cm. Thick paper. Good condition. Stains. Uneven edges. Stains and tears to cover (lacking spine and other parts of cover; restored with paper).
The covers of both booklets were designed by Aristarkh Lentulov (Аристарх Лентулов, 1882-1943), a Russian painter and scenic designer, a member of the avant-garde group "Jack of Diamods" founded in Moscow in 1910.
Category
Avant-Garde Art
Catalogue
Auction 69 - Part II - Avant-Garde Art from the Collection of Uzi Agassi
December 3, 2019
Opening: $1,000
Estimate: $2,000 - $3,000
Unsold
Four Russian editions of the poem "The Twleve" (Двенадцать) by poet Alexander Blok (1880-1921). Berlin, Sofia and Simferopol, ca. 1918-1922. Illustrations by Yury Annenkov, Wassili Masjutin and Ivan Milev.
The poem "The Twelve", describing a march of twelve revolutionary soldiers in the streets of Petrograd during a storm, was written by Alexander Blok in January 1918, several months after the Bolshevik Revolution. The poem, nowadays considered one of the best-known works of Russian poetry, was subjected to much criticism when first published. It is told that after its writing Blok felt his literary career had come to an end.
1. "The Twelve". Berlin: Алконост (Alkonost), 1918. Third edition (of three editions printed in the year the poem was written).
The book contains illustrations by Russian artist Yury Annenkov (1889-1974), which are considered his best-known works.
61, [3] pp + [1] leaf (reproduction of a portrait of Alexander Blok by Konstantin Somov; from another book), 31 cm. Rebound in hard cover, lacking original cover. Fair condition. Stains. Closed and open tears, some large and some reinforced with paper and tape. Damaged binding, loose.
2. "The Twelve". Sofia, Bulgaria: "Russian-Bulgarian Publishing" (Российско-Болгарское книгоиздательство), [1920]. Cover design by artist Ivan Milev (1897-1927), a prominent representative of Bulgarian Modernism.
36 pp, 22 cm. Fair-good condition. Detached cover and leaves (lacking spine). Stains throughout the booklet; numerous stains to cover. Tears to edges of several leaves and edges of cover. Minor creases.
3. "The Twelve". Simferopol, 1921. Without illustrations.
15, [1] pp (including cover), 21 cm. Good-fair condition. Dampstains. Creases and several small tears to edges.
4. "The Twelve". Berlin: Нева (Neva), [1922?]. Front cover illustration and four illustrations inside the book by artist Wassili Masjutin (1884-1955). Masjutin was born in Riga, studied art in Moscow and specialized in printmaking. Since 1921, he lived in Berlin, where he worked as a painter, sculptor, graphic designer and book illustrator.
[3] leaves, 22 pp, [2] leaves + [4] plates (illustrations), 24 cm. Good-fair condition. Stains. Open tears to edges of cover and spine.
Enclosed is an additional copy of the poem published by Neva (no. 4), with back cover lacking.
The poem "The Twelve", describing a march of twelve revolutionary soldiers in the streets of Petrograd during a storm, was written by Alexander Blok in January 1918, several months after the Bolshevik Revolution. The poem, nowadays considered one of the best-known works of Russian poetry, was subjected to much criticism when first published. It is told that after its writing Blok felt his literary career had come to an end.
1. "The Twelve". Berlin: Алконост (Alkonost), 1918. Third edition (of three editions printed in the year the poem was written).
The book contains illustrations by Russian artist Yury Annenkov (1889-1974), which are considered his best-known works.
61, [3] pp + [1] leaf (reproduction of a portrait of Alexander Blok by Konstantin Somov; from another book), 31 cm. Rebound in hard cover, lacking original cover. Fair condition. Stains. Closed and open tears, some large and some reinforced with paper and tape. Damaged binding, loose.
2. "The Twelve". Sofia, Bulgaria: "Russian-Bulgarian Publishing" (Российско-Болгарское книгоиздательство), [1920]. Cover design by artist Ivan Milev (1897-1927), a prominent representative of Bulgarian Modernism.
36 pp, 22 cm. Fair-good condition. Detached cover and leaves (lacking spine). Stains throughout the booklet; numerous stains to cover. Tears to edges of several leaves and edges of cover. Minor creases.
3. "The Twelve". Simferopol, 1921. Without illustrations.
15, [1] pp (including cover), 21 cm. Good-fair condition. Dampstains. Creases and several small tears to edges.
4. "The Twelve". Berlin: Нева (Neva), [1922?]. Front cover illustration and four illustrations inside the book by artist Wassili Masjutin (1884-1955). Masjutin was born in Riga, studied art in Moscow and specialized in printmaking. Since 1921, he lived in Berlin, where he worked as a painter, sculptor, graphic designer and book illustrator.
[3] leaves, 22 pp, [2] leaves + [4] plates (illustrations), 24 cm. Good-fair condition. Stains. Open tears to edges of cover and spine.
Enclosed is an additional copy of the poem published by Neva (no. 4), with back cover lacking.
Category
Avant-Garde Art
Catalogue
Auction 69 - Part II - Avant-Garde Art from the Collection of Uzi Agassi
December 3, 2019
Opening: $400
Estimate: $2,000 - $3,000
Unsold
Two books with covers designed by Nikolai Kupriyanov (Николай Купреянов, 1894-1933) – a painter, printmaker and graphic designer, born in Włocławek (today in Poland).
1. Ямбы [Iambs], by Alexander Blok. St. Petersburg: Алконост (Alkonost), 1919. First edition. Russian. Front cover illustration by Nikolai Kupriyanov. Publishing house logo by Yury Annenkov.
[33] pp, [3] leaves, approx. 18.5 cm. Good condition. Uneven edges. Stains and minor blemishes to cover. Stamps and pen nonation on inside back cover.
2. Госплан литературы. Сборник литературного центра конструктивистов [The State Program for Literature. Anthology of the Literary Center of Constructivists], edited by Korneliy Zelinsky and Ilya Selvinsky. Moscow-Leningrad (St. Petersburg): Круг (Krug), [1925]. Russian. Cover design by Nikolai Kupriyanov.
Anthology of the literary center of the Constructivists (ЛЦК) – a Soviet literary group active during the 1920s. The anthology, edited by two of the leaders of the group, the literary scholar and critic Korneliy Zelinsky and the poet Ilya Selvinsky, features works by the editors and by Vera Inber, Boris Agapov and others.
144 pp, 23 cm. Good condition. Creases and minor blemishes to edges of some leaves. Loose gatherings. Stains to cover, mostly to back cover. Tears and blemishes to spine. Open tear at the top of the spine.
1. Ямбы [Iambs], by Alexander Blok. St. Petersburg: Алконост (Alkonost), 1919. First edition. Russian. Front cover illustration by Nikolai Kupriyanov. Publishing house logo by Yury Annenkov.
[33] pp, [3] leaves, approx. 18.5 cm. Good condition. Uneven edges. Stains and minor blemishes to cover. Stamps and pen nonation on inside back cover.
2. Госплан литературы. Сборник литературного центра конструктивистов [The State Program for Literature. Anthology of the Literary Center of Constructivists], edited by Korneliy Zelinsky and Ilya Selvinsky. Moscow-Leningrad (St. Petersburg): Круг (Krug), [1925]. Russian. Cover design by Nikolai Kupriyanov.
Anthology of the literary center of the Constructivists (ЛЦК) – a Soviet literary group active during the 1920s. The anthology, edited by two of the leaders of the group, the literary scholar and critic Korneliy Zelinsky and the poet Ilya Selvinsky, features works by the editors and by Vera Inber, Boris Agapov and others.
144 pp, 23 cm. Good condition. Creases and minor blemishes to edges of some leaves. Loose gatherings. Stains to cover, mostly to back cover. Tears and blemishes to spine. Open tear at the top of the spine.
Category
Avant-Garde Art
Catalogue
Auction 69 - Part II - Avant-Garde Art from the Collection of Uzi Agassi
December 3, 2019
Opening: $1,200
Estimate: $2,000 - $3,000
Unsold
Four volumes of poetry by Alexander Kusikov and other Imaginist poets. Moscow and Kiev, ca. 1920. Russian. Illustrations by Boris Erdman and Georgi Yakulov. One of the books is inscribed by Kusikov.
1. Жемчужный коврик [A Pearl Rug], by Alexander Kusikov, Konstantin Balmont and Antony Sluchanovsky. [Moscow, ca. 1920].
Front cover illustration by Boris Erdman (Борис Эрдман, 1899-1960), a stage designer and graphic artist, member of the Imaginists.
On the first (blank) page is a Russian inscription handwritten by Alexander Kusikov (Александр Кусиков, 1896-1977), a prominent voice of the Imaginist movement in Russian poetry.
2. Коевангелиеран [Koevangelieran], by Alexander Kusikov. Moscow, 1920. Illustrations by Boris Erdman on the front cover and throughout the booklet.
3. В никуда [Going Nowhere], by Alexander Kusikov. Moscow: "Имажинисты" (Imaginists), 1920. The logo of the publishing house was designed by Boris Erdman. The illustration on the front cover and the author's portrait (p. 9) were created by Georgi Yakulov (Георгий Якулов, 1884-1928).
4. Коробейники счастья [Peddlers of Happiness], by Alexnader Kusikov and Vadim Shershenevich. Kiev, 1920. Front cover illustration by Boris Erdman.
Russian handwritten notes and markings on several pages.
Size and condition vary.
1. Жемчужный коврик [A Pearl Rug], by Alexander Kusikov, Konstantin Balmont and Antony Sluchanovsky. [Moscow, ca. 1920].
Front cover illustration by Boris Erdman (Борис Эрдман, 1899-1960), a stage designer and graphic artist, member of the Imaginists.
On the first (blank) page is a Russian inscription handwritten by Alexander Kusikov (Александр Кусиков, 1896-1977), a prominent voice of the Imaginist movement in Russian poetry.
2. Коевангелиеран [Koevangelieran], by Alexander Kusikov. Moscow, 1920. Illustrations by Boris Erdman on the front cover and throughout the booklet.
3. В никуда [Going Nowhere], by Alexander Kusikov. Moscow: "Имажинисты" (Imaginists), 1920. The logo of the publishing house was designed by Boris Erdman. The illustration on the front cover and the author's portrait (p. 9) were created by Georgi Yakulov (Георгий Якулов, 1884-1928).
4. Коробейники счастья [Peddlers of Happiness], by Alexnader Kusikov and Vadim Shershenevich. Kiev, 1920. Front cover illustration by Boris Erdman.
Russian handwritten notes and markings on several pages.
Size and condition vary.
Category
Avant-Garde Art
Catalogue
Auction 69 - Part II - Avant-Garde Art from the Collection of Uzi Agassi
December 3, 2019
Opening: $800
Estimate: $2,000 - $3,000
Unsold
Two books by Aleksei Kruchyonykh and an anthology of articles about him. Moscow, 1925-1927. Russian.
1. Язык Ленина. Одинадцать приемов Ленинской речи [Lenin's Language: Eleven Devices of Lenin's Speech]. Moscow: The All-Russian Union of Poets (Издание Всероссийского Союза Поэтов), 1925.
A booklet reviewing eleven elements characterizing the language of the founder of the USSR Vladimir Ilyich Lenin, manifested in his speeches and writings.
The booklet features four illustrations by Gustav Klutsis. Cover design by Valentina Kulagina-Klutsis.
60, [4] pp, approx. 18.5 cm.
2. Жив Крученых! [Kruchyonykh is Alive!]. Moscow: The All-Russian Union of Poets (Издание Всероссийского Союза Поэтов), 1925.
Collection of articles about Aleksei Kruchyonykh by Boris Pasternak, Sergei Tret'iakov, David Burliuk, Tatiana Tolstaya and Sergei Raphaelovitz. With illustrations by the Russian avant-garde artist Ivan Kliun (Иван Клюн, 1873-1943). Cover design by Gustav Klutsis.
[1], 44, [4] pp, 19 cm.
3. Четыре фонетических романа [Four Phonetic Novels], by Aleksei Kruchyonykh. Moscow: Published by the author, 1927. Printed in 500 copies.
Four works by Aleksei Kruchyonykh, accompanied by illustrations by artist Maria Siniakova (Мария Синякова, 1890/1898-1984). The book contains the poem "Dun'ka-rubikha" (a separate booklet that was printed in 1926 and was bound at the end of this book as an addendum). Cover design by Gustav Klutsis.
38 pp, 25 cm + 12 pp, 17 cm.
Condition varies.
The artist Gustav Klutsis (Густав Клуцис, 1895-1938) born in Latvia, was drafted into the Russian army in 1915 and in 1917 moved to Moscow. Later, he studied art under Kazimir Malevich and Antoine Pevsner and at the state-run school of art Vkhutemas (Higher Art and Technical Studios). During the 1920s, he taught at the Vkhutemas, cooperated with the LEF group (Left Front of the Arts) and was one of the founders of the "October" union of artists. Klutsis was a member of the communist party and his works were mostly of propagandic nature. Especially remembered are the communist propaganda posters he created with his wife, the artist Valentina Kulagina, using the photomontage technique (the couple are considered pioneers in the field of photomontage in the USSR). Despite his complete devotion to the communist party, Klutsis was murdered in 1938, during Stalin's Great Purge.
For information about Kruchyonykh, see next item.
1. Язык Ленина. Одинадцать приемов Ленинской речи [Lenin's Language: Eleven Devices of Lenin's Speech]. Moscow: The All-Russian Union of Poets (Издание Всероссийского Союза Поэтов), 1925.
A booklet reviewing eleven elements characterizing the language of the founder of the USSR Vladimir Ilyich Lenin, manifested in his speeches and writings.
The booklet features four illustrations by Gustav Klutsis. Cover design by Valentina Kulagina-Klutsis.
60, [4] pp, approx. 18.5 cm.
2. Жив Крученых! [Kruchyonykh is Alive!]. Moscow: The All-Russian Union of Poets (Издание Всероссийского Союза Поэтов), 1925.
Collection of articles about Aleksei Kruchyonykh by Boris Pasternak, Sergei Tret'iakov, David Burliuk, Tatiana Tolstaya and Sergei Raphaelovitz. With illustrations by the Russian avant-garde artist Ivan Kliun (Иван Клюн, 1873-1943). Cover design by Gustav Klutsis.
[1], 44, [4] pp, 19 cm.
3. Четыре фонетических романа [Four Phonetic Novels], by Aleksei Kruchyonykh. Moscow: Published by the author, 1927. Printed in 500 copies.
Four works by Aleksei Kruchyonykh, accompanied by illustrations by artist Maria Siniakova (Мария Синякова, 1890/1898-1984). The book contains the poem "Dun'ka-rubikha" (a separate booklet that was printed in 1926 and was bound at the end of this book as an addendum). Cover design by Gustav Klutsis.
38 pp, 25 cm + 12 pp, 17 cm.
Condition varies.
The artist Gustav Klutsis (Густав Клуцис, 1895-1938) born in Latvia, was drafted into the Russian army in 1915 and in 1917 moved to Moscow. Later, he studied art under Kazimir Malevich and Antoine Pevsner and at the state-run school of art Vkhutemas (Higher Art and Technical Studios). During the 1920s, he taught at the Vkhutemas, cooperated with the LEF group (Left Front of the Arts) and was one of the founders of the "October" union of artists. Klutsis was a member of the communist party and his works were mostly of propagandic nature. Especially remembered are the communist propaganda posters he created with his wife, the artist Valentina Kulagina, using the photomontage technique (the couple are considered pioneers in the field of photomontage in the USSR). Despite his complete devotion to the communist party, Klutsis was murdered in 1938, during Stalin's Great Purge.
For information about Kruchyonykh, see next item.
Category
Avant-Garde Art
Catalogue
Auction 69 - Part II - Avant-Garde Art from the Collection of Uzi Agassi
December 3, 2019
Opening: $700
Estimate: $2,000 - $3,000
Unsold
Турнир Поэтов / Турнир Поэтов Третий [Tournament of Poets / The Third Tournament of Poets] – three booklets of poetry; manuscript lithographed text. Moscow, 1929-1934. Russian. The covers were designed by Kirill Zdanevich and Ivan Kliun. Limited editions. One booklet is inscribed by the editor, Aleksei Kruchyonykh.
The booklets "Tournament of Poets" were published in the years 1928-1934, on the initiative of poet Aleksei Kruchyonykh. Presumably, they were written during gatherings of Kruchyonykh's literary circle, as kind of a game for poets: the participants were asked to write humorous poetry lines which rhymed with the names of the poets of the circle (most of the passages were dedicated to Kruchyonykh). The booklets were handwritten by several of the poets and printed in a limited number of copies.
These three booklets feature passages by Boris Pasternak, Nikolai Aseev, Vladimir Mayakovski and others:
1. Турнир Поэтов [Tournament of Poets], Moscow: Группы Лефовцев (Gruppy Lefovtsev), 1929. Missing cover. Numbered copy from an edition of 150 copies. On p. 6 is an illustration by Igor Terentiev – a portrait of Aleksei Kruchyonykh.
18 leaves (printed on one side), approx. 17X21.5 cm. Missing cover. Fair-good condition. Minor stains. Open tears to edges of leaves, professionally restored.
2. Турнир Поэтов [Tournament of Poets]. Moscow: Группы Лефовцев (Gruppy Lefovtsev), 1930. Cover design by Kirill Zdanevich. Printed in 150 copies.
The text is identical to that which appears in the booklet from 1929 (no. 1), however, it was written in different handwriting and printed in a slightly different layout. Aleksei Kruchyonykh's portrait appears on p. 7.
18 leaves (printed on one side), approx. 17X22.5 cm. Good condition. Stains. Tears to cover. Signature on the title page (dated 1932).
3. Турнир Поэтов Третий [The Third Tournament of Poets], edited by Aleksei Kruchyonykh. Moscow: Всекдрам (Vsekdram), 1934. Cover design by Ivan Kliun. Printed in 100 copies.
On the title page, an inscription handwritten by Aleksei Kruchyonykh. On p. 4 is a comment handwritten by him.
7, [1] pp, 25X20 cm. Good condition. Uneven edges. Stains, tears and minor blemishes to cover.
Aleksei Kruchyonykh (1886-1968), a poet and theoretician; one of the most radical voices of Russian Futurism. Kruchonykh is considered the inventor of the "Zaum" language (Russian: "Trans-reason") – an experimental language characterized by indeterminacy in meaning (this literary style is considered the Russian equivalent of Dadaism, although it preceded it by three years). In 1916, he founded in Tbilisi the literary group "41°" and was responsible for publishing its books, which were known for their avant-garde design and unique printing technique. After returning to Moscow, he joined the "Lef" journal. Since the 1930s, due to the political changes in Soviet Russia, he rarely published poems and turned his energies to theoretical work only. Among his most well-known works is the libretto for the Futurist opera "The Victory over the Sun".
The booklets "Tournament of Poets" were published in the years 1928-1934, on the initiative of poet Aleksei Kruchyonykh. Presumably, they were written during gatherings of Kruchyonykh's literary circle, as kind of a game for poets: the participants were asked to write humorous poetry lines which rhymed with the names of the poets of the circle (most of the passages were dedicated to Kruchyonykh). The booklets were handwritten by several of the poets and printed in a limited number of copies.
These three booklets feature passages by Boris Pasternak, Nikolai Aseev, Vladimir Mayakovski and others:
1. Турнир Поэтов [Tournament of Poets], Moscow: Группы Лефовцев (Gruppy Lefovtsev), 1929. Missing cover. Numbered copy from an edition of 150 copies. On p. 6 is an illustration by Igor Terentiev – a portrait of Aleksei Kruchyonykh.
18 leaves (printed on one side), approx. 17X21.5 cm. Missing cover. Fair-good condition. Minor stains. Open tears to edges of leaves, professionally restored.
2. Турнир Поэтов [Tournament of Poets]. Moscow: Группы Лефовцев (Gruppy Lefovtsev), 1930. Cover design by Kirill Zdanevich. Printed in 150 copies.
The text is identical to that which appears in the booklet from 1929 (no. 1), however, it was written in different handwriting and printed in a slightly different layout. Aleksei Kruchyonykh's portrait appears on p. 7.
18 leaves (printed on one side), approx. 17X22.5 cm. Good condition. Stains. Tears to cover. Signature on the title page (dated 1932).
3. Турнир Поэтов Третий [The Third Tournament of Poets], edited by Aleksei Kruchyonykh. Moscow: Всекдрам (Vsekdram), 1934. Cover design by Ivan Kliun. Printed in 100 copies.
On the title page, an inscription handwritten by Aleksei Kruchyonykh. On p. 4 is a comment handwritten by him.
7, [1] pp, 25X20 cm. Good condition. Uneven edges. Stains, tears and minor blemishes to cover.
Aleksei Kruchyonykh (1886-1968), a poet and theoretician; one of the most radical voices of Russian Futurism. Kruchonykh is considered the inventor of the "Zaum" language (Russian: "Trans-reason") – an experimental language characterized by indeterminacy in meaning (this literary style is considered the Russian equivalent of Dadaism, although it preceded it by three years). In 1916, he founded in Tbilisi the literary group "41°" and was responsible for publishing its books, which were known for their avant-garde design and unique printing technique. After returning to Moscow, he joined the "Lef" journal. Since the 1930s, due to the political changes in Soviet Russia, he rarely published poems and turned his energies to theoretical work only. Among his most well-known works is the libretto for the Futurist opera "The Victory over the Sun".
Category
Avant-Garde Art
Catalogue
Auction 69 - Part II - Avant-Garde Art from the Collection of Uzi Agassi
December 3, 2019
Opening: $400
Estimate: $2,000 - $3,000
Unsold
Пашня танков [Ploughed Field of Tanks], by Mikhail Zenkevich. Saratov, 1921. Russian. Cover design by Boris Zenkevich.
Poems by Acmeist poet, writer and translator Mikhail Zenkevich (Михаил Зенкeвич, 1886-1973). Cover design by the poet's brother, artist Boris Zenkevich (Борис Зенкевич, 1888-1972).
29, [3] pp, 17 cm. Good condition. Dampstains. Minor blemishes. Ink notation on back cover.
Poems by Acmeist poet, writer and translator Mikhail Zenkevich (Михаил Зенкeвич, 1886-1973). Cover design by the poet's brother, artist Boris Zenkevich (Борис Зенкевич, 1888-1972).
29, [3] pp, 17 cm. Good condition. Dampstains. Minor blemishes. Ink notation on back cover.
Category
Avant-Garde Art
Catalogue
Auction 69 - Part II - Avant-Garde Art from the Collection of Uzi Agassi
December 3, 2019
Opening: $5,000
Estimate: $2,000 - $3,000
Unsold
Страна советская [Soviet Land], by Sergei Yesenin. Tbilisi: Советский Кавказ (Sovetskii Kavkaz), 1925. Russian. Cover design by Kirill Zdanevich.
A copy of the book "Soviet Land" by Russian poet Sergei Yesenin. The book, comprising fifteen poems, was printed in Tbilisi in the last year of the poet's life and is one of Yesenin's last publications.
Two handwritten poems were added to this copy (both published in other books of poetry by Yesenin): the poem "I Have Never been to the Bosphorus" [Никогда я не был на Босфоре, from the anthology "Persian Motifs"] was written on verso of the title page; and the poem "A Letter to Mother" [Письмо матери, from the anthology "Soviet Russia"] was written on the last page and back cover. These two handwritten poems are among Yesenin's best works. The love poem "I Have Never been to the Bosphorus" was first published in 1925 and refers to various places and cities that the poet did not get to see (several month after the poem was published, Yesenin committed suicide by hanging); the poem "A Letter to Mother" was written in 1924 and is considered one of Yesenin's well-known and most-loved poems (the decision to copy this particular poem is highly interesting since the book "Soviet Land" contains the poem's "partner" – "A Letter from Mother").
Sergei Yesenin's handwriting changed dramatically over his short life. At first, he used to write in cursive, with dense, slightly tilted characters. Later, his handwriting became upright and the characters separated from each other. The poems added to this copy are written in a hand resembling Yesenin's early handwriting and were possibly handwritten by Yesenin himself.
The poet Sergei Alexandrovich Yesenin was born in 1895 in the village of Konstantinovo (Russia). Country life, working the land and Russian nature greatly impacted his poetry; Yesenin called himself "the last poet of the village". In 1914, he published his first poems in the Russian journal "Mirok" (Мирок) and a year later moved to St. Petersburg, instantly becoming one of the most well-known poets in the Russian literary circles. His meteoric rise was described by the author Maxim Gorky as "A barrage of praise [that] hit him… excessive and often insincere". After the October Revolution Yesenin gradually turned to more avant-garde realms, founding with other artists the Imaginist art movement, whose fans he described as "prostitutes and bandits". In 1921, he met the American dancer Isadora Duncan and although they did not speak each other's language, they fell in love and decided to marry. Their life together was highly turbulent. Yesenin accompanied Duncan on a tour of Europe and the USA. During that time, he started showing signs of alcoholism and exhibited erratic and explosive behavior. During a visit to Paris, after breaking mirrors and windows at the hotel where he was staying, he was hospitalized in a psychiatric hospital.
In 1923, the couple decided to separate and Yesenin returned to Moscow. In spite of the depression he suffered in his last years, Yesenin persisted in his writing and even travelled to Azerbaijan and Georgia (where this book was published). On December 28, 1925, Yesenin committed suicide in his room at the Hotel Angleterre in St. Petersburg. An envelope he gave to his friend, the poet Wolf Ehrlich, several hours earlier contained his last poem which ends with the following lines: "To die, in this life, is not new / And living’s no newer, of course". After his death, Yesenin became a Russian cultural hero. His sensational life story, tragic death and great talent earned him a place of honor among the greatest Russian poets and he is mentioned in the same breath as Alexander Pushkin, Alexander Blok and Vladimir Mayakovsky.
Despite being mistreated by the authorities and although many of his works were banned, Yesenin continued to be one of the most popular poets well into the 1930s and 1940s until eventually, in the late 1960s, it was permitted to republish his books. In Hebrew poetry Yesenin had several important followers (including Leah Goldberg and Avraham Shlonsky), the most prominent of which was poet Alexander Penn. Penn became acquainted with Yesenin in his youth and was greatly influences by him. It is told that in a moment of inebriation, Yesenin gave him the name Penn, as his original name – Pepliker-Stern – was too long and awkward to his taste.
The cover of the book was designed by Kirill Zdanevich (Кирилл Зданевич, 1892-1969). Zdanevich, born in Tbilisi, started painting in an early age. In 1910 he moved to Moscow and later studied art in St. Petersburg. He participated in various Futurist publications and was a member of the Donkey's Tail avant-garde group, headed by Mikhail Larionov and Natalia Goncharova. He lived in Moscow, Paris, Istanbul and Tbilisi. Among his other artistic pursuits, he worked as a book, stage and costume designer. He was a prominent figure in the avant-garde circles of Georgia.
62, [1] pp, approx. 20 cm. Good-fair condition. The gatherings are detached from the cover and from each other (the title page remains connected to the cover). Small tears to edges of some of the leaves. Stains and minor creases to some of the leaves. Stains, small tears and creases to cover. Pencil signature on front cover and title page.
A copy of the book "Soviet Land" by Russian poet Sergei Yesenin. The book, comprising fifteen poems, was printed in Tbilisi in the last year of the poet's life and is one of Yesenin's last publications.
Two handwritten poems were added to this copy (both published in other books of poetry by Yesenin): the poem "I Have Never been to the Bosphorus" [Никогда я не был на Босфоре, from the anthology "Persian Motifs"] was written on verso of the title page; and the poem "A Letter to Mother" [Письмо матери, from the anthology "Soviet Russia"] was written on the last page and back cover. These two handwritten poems are among Yesenin's best works. The love poem "I Have Never been to the Bosphorus" was first published in 1925 and refers to various places and cities that the poet did not get to see (several month after the poem was published, Yesenin committed suicide by hanging); the poem "A Letter to Mother" was written in 1924 and is considered one of Yesenin's well-known and most-loved poems (the decision to copy this particular poem is highly interesting since the book "Soviet Land" contains the poem's "partner" – "A Letter from Mother").
Sergei Yesenin's handwriting changed dramatically over his short life. At first, he used to write in cursive, with dense, slightly tilted characters. Later, his handwriting became upright and the characters separated from each other. The poems added to this copy are written in a hand resembling Yesenin's early handwriting and were possibly handwritten by Yesenin himself.
The poet Sergei Alexandrovich Yesenin was born in 1895 in the village of Konstantinovo (Russia). Country life, working the land and Russian nature greatly impacted his poetry; Yesenin called himself "the last poet of the village". In 1914, he published his first poems in the Russian journal "Mirok" (Мирок) and a year later moved to St. Petersburg, instantly becoming one of the most well-known poets in the Russian literary circles. His meteoric rise was described by the author Maxim Gorky as "A barrage of praise [that] hit him… excessive and often insincere". After the October Revolution Yesenin gradually turned to more avant-garde realms, founding with other artists the Imaginist art movement, whose fans he described as "prostitutes and bandits". In 1921, he met the American dancer Isadora Duncan and although they did not speak each other's language, they fell in love and decided to marry. Their life together was highly turbulent. Yesenin accompanied Duncan on a tour of Europe and the USA. During that time, he started showing signs of alcoholism and exhibited erratic and explosive behavior. During a visit to Paris, after breaking mirrors and windows at the hotel where he was staying, he was hospitalized in a psychiatric hospital.
In 1923, the couple decided to separate and Yesenin returned to Moscow. In spite of the depression he suffered in his last years, Yesenin persisted in his writing and even travelled to Azerbaijan and Georgia (where this book was published). On December 28, 1925, Yesenin committed suicide in his room at the Hotel Angleterre in St. Petersburg. An envelope he gave to his friend, the poet Wolf Ehrlich, several hours earlier contained his last poem which ends with the following lines: "To die, in this life, is not new / And living’s no newer, of course". After his death, Yesenin became a Russian cultural hero. His sensational life story, tragic death and great talent earned him a place of honor among the greatest Russian poets and he is mentioned in the same breath as Alexander Pushkin, Alexander Blok and Vladimir Mayakovsky.
Despite being mistreated by the authorities and although many of his works were banned, Yesenin continued to be one of the most popular poets well into the 1930s and 1940s until eventually, in the late 1960s, it was permitted to republish his books. In Hebrew poetry Yesenin had several important followers (including Leah Goldberg and Avraham Shlonsky), the most prominent of which was poet Alexander Penn. Penn became acquainted with Yesenin in his youth and was greatly influences by him. It is told that in a moment of inebriation, Yesenin gave him the name Penn, as his original name – Pepliker-Stern – was too long and awkward to his taste.
The cover of the book was designed by Kirill Zdanevich (Кирилл Зданевич, 1892-1969). Zdanevich, born in Tbilisi, started painting in an early age. In 1910 he moved to Moscow and later studied art in St. Petersburg. He participated in various Futurist publications and was a member of the Donkey's Tail avant-garde group, headed by Mikhail Larionov and Natalia Goncharova. He lived in Moscow, Paris, Istanbul and Tbilisi. Among his other artistic pursuits, he worked as a book, stage and costume designer. He was a prominent figure in the avant-garde circles of Georgia.
62, [1] pp, approx. 20 cm. Good-fair condition. The gatherings are detached from the cover and from each other (the title page remains connected to the cover). Small tears to edges of some of the leaves. Stains and minor creases to some of the leaves. Stains, small tears and creases to cover. Pencil signature on front cover and title page.
Category
Avant-Garde Art
Catalogue
Auction 69 - Part II - Avant-Garde Art from the Collection of Uzi Agassi
December 3, 2019
Opening: $300
Estimate: $2,000 - $3,000
Unsold
Рассказ про то, как узнал Фадей закон, защищающий рабочих людей [Story of How Fadei Found out about the Law That Protects Working People], by Vladimir Mayakovsky and Sergei Tret'iakov. Moscow: Труд и книга (Trud i Kniga), 1924. Russian. Illustrations by Samuil Adlivankin.
A poem written in the form of a children's poem in order to explain the new labor code in the USSR and its advantages. Printed alongside the text are illustrations by Samuil Adlivankin depicting the state of the workers before the October Revolution and the Russian Civil War and the improvement in their lives under the new regime. Color front cover illustration by Adlivankin.
The artist Samuil Adlivankin (Самуил Адливанкин, 1897-1966) was born in Tatarsk (Mogilev province) and as a child, received traditional Jewish education. In 1912–1917, he studied at the Odessa Art School and during the years 1918–1919, he studied in Moscow, under the direction of the painter Vladimir Tatlin, one of the leaders of the Russian avant-garde movement. During the 1920s, Adlivankin drew caricatures for various magazines and designed propaganda posters in collaboration with Vladimir Mayakovsky. In the 1930s, he travelled several times to the Jewish agricultural settlements in Crimea and Ukraine, which inspired several of his works depicting the life of the Jewish farmers. Like many other Jewish artists and intellectuals in the USSR, during the late 1940s, Adlivankin was accused of "cosmopolitism"; his works were subjected to severe criticism and until the mid-1950s were not displayed in exhibitions. His first and only solo exhibition was held in Moscow in 1961, a few years before his death.
47, [1] pp, 17.5 cm. Good condition. Minor blemishes. Tears along the spine and an approx. 4.5 cm tear at the bottom of the front cover.
A poem written in the form of a children's poem in order to explain the new labor code in the USSR and its advantages. Printed alongside the text are illustrations by Samuil Adlivankin depicting the state of the workers before the October Revolution and the Russian Civil War and the improvement in their lives under the new regime. Color front cover illustration by Adlivankin.
The artist Samuil Adlivankin (Самуил Адливанкин, 1897-1966) was born in Tatarsk (Mogilev province) and as a child, received traditional Jewish education. In 1912–1917, he studied at the Odessa Art School and during the years 1918–1919, he studied in Moscow, under the direction of the painter Vladimir Tatlin, one of the leaders of the Russian avant-garde movement. During the 1920s, Adlivankin drew caricatures for various magazines and designed propaganda posters in collaboration with Vladimir Mayakovsky. In the 1930s, he travelled several times to the Jewish agricultural settlements in Crimea and Ukraine, which inspired several of his works depicting the life of the Jewish farmers. Like many other Jewish artists and intellectuals in the USSR, during the late 1940s, Adlivankin was accused of "cosmopolitism"; his works were subjected to severe criticism and until the mid-1950s were not displayed in exhibitions. His first and only solo exhibition was held in Moscow in 1961, a few years before his death.
47, [1] pp, 17.5 cm. Good condition. Minor blemishes. Tears along the spine and an approx. 4.5 cm tear at the bottom of the front cover.
Category
Avant-Garde Art
Catalogue
Auction 69 - Part II - Avant-Garde Art from the Collection of Uzi Agassi
December 3, 2019
Opening: $400
Estimate: $2,000 - $3,000
Unsold
Умело пользуйся плакатом [Use the Poster Skillfully], by D. I. Reitenbarg. Moscow: Вопросы труда (Voprosi Truda), 1928. Russian. Cover design by Nikolai Ilyin.
A booklet for occupational safety officials in factories and other workplaces in Russia, with directions for hanging informational posters and a price list for the posters which can be purchased from the "Voprosi Truda" publishing house.
The booklet opens with two articles; the first describes the common errors in hanging informational posters and the second explains where and how to hang them so they reach their target audience and remain usable over time. Following is a list of illustrated occupational safety posters, including poster prices and several pictures.
The booklet and its cover were designed in the Constructivist style by Nikolai Ilyin (Николай Ильин, 1894-1954) – a Russian graphic designer, typographer and illustrator known for his work as book designer.
10, [22] pp, 17.5 cm. Good condition. Minor blemishes.
A booklet for occupational safety officials in factories and other workplaces in Russia, with directions for hanging informational posters and a price list for the posters which can be purchased from the "Voprosi Truda" publishing house.
The booklet opens with two articles; the first describes the common errors in hanging informational posters and the second explains where and how to hang them so they reach their target audience and remain usable over time. Following is a list of illustrated occupational safety posters, including poster prices and several pictures.
The booklet and its cover were designed in the Constructivist style by Nikolai Ilyin (Николай Ильин, 1894-1954) – a Russian graphic designer, typographer and illustrator known for his work as book designer.
10, [22] pp, 17.5 cm. Good condition. Minor blemishes.
Category
Avant-Garde Art
Catalogue
Auction 69 - Part II - Avant-Garde Art from the Collection of Uzi Agassi
December 3, 2019
Opening: $400
Estimate: $2,000 - $3,000
Unsold
1. Записки режиссера [Director's Notes], by Alexander Tairov. Moscow: The Chamber Theater (Изд. Камерного Театра), 1921. Cover, initials and illustrations by Alexandra Ekster.
Alexandra Ekster (Александра Экстер, 1882-1949), a painter and a fashion, scenic and graphic designer, born in Bialystok, studied at the Kiev Art School and at the Académie de la Grande Chaumière in Paris. A leader of the Russian avant-garde movement, she participated in many of the central avant-garde exhibitions. She divided her life between Kiev, St. Petersburg, Odessa, Paris, Rome and Moscow. Among her many pursuits, she worked as a stage designer for Alexander Tairov's Chamber Theatre in Moscow.
189 pp, [2] leaves, 23.5 cm. Good condition. Stains, including dampstains. Loose leaves. Tears and small open tears to edges of leaves. Stains and minor blemishes to cover; closed and open tears to spine. Notations on top of front cover and title page.
2. Гибель театра и торжество кино [The demise of the theatre and victory of the cinema], by Pavel Poluyanov (Павел Полуянов). Nizhny Novgorod: Published by the Author, 1925. Cover and five illustrations (red and black lithographs) by Nikolai Ilyin (Николай Ильин, 1894-1954).
47, [1] pp + [5] plates, 17.5 cm. Good-fair condition. Stains. Detached and worn cover, with stains and with blemishes and tears to edges and spine. Stamps on back cover.
3. Михоэлс [Mikhoels] by Mikhail Zagorsky. Moscow-Leningrad (St. Petersburg): Кинопечать (Kinopechat), 1927.
Monograph on the life and work of Jewish theater actor Solomon Mikhoels; accompanied by photographs.
Solomon Michaelowitz Mikhoels (the stage name of Shloyme Vovsi, 1890-1948), born in Dvinsk, was the director of the State Jewish Theater in Moscow and the head of the Jewish Anti-Fascist Committee. In 1948, with the onset of the persecutions against Jewish culture figures and the dispersal of the Jewish Anti-Fascist Committee, Mikhoels was assassinated by members of the Soviet Secret Police. The murder was disguised as a hit-and-run car accident.
32 pp, approx. 17.5 cm. Good condition. Creases and minor blemishes to edges of cover.
Alexandra Ekster (Александра Экстер, 1882-1949), a painter and a fashion, scenic and graphic designer, born in Bialystok, studied at the Kiev Art School and at the Académie de la Grande Chaumière in Paris. A leader of the Russian avant-garde movement, she participated in many of the central avant-garde exhibitions. She divided her life between Kiev, St. Petersburg, Odessa, Paris, Rome and Moscow. Among her many pursuits, she worked as a stage designer for Alexander Tairov's Chamber Theatre in Moscow.
189 pp, [2] leaves, 23.5 cm. Good condition. Stains, including dampstains. Loose leaves. Tears and small open tears to edges of leaves. Stains and minor blemishes to cover; closed and open tears to spine. Notations on top of front cover and title page.
2. Гибель театра и торжество кино [The demise of the theatre and victory of the cinema], by Pavel Poluyanov (Павел Полуянов). Nizhny Novgorod: Published by the Author, 1925. Cover and five illustrations (red and black lithographs) by Nikolai Ilyin (Николай Ильин, 1894-1954).
47, [1] pp + [5] plates, 17.5 cm. Good-fair condition. Stains. Detached and worn cover, with stains and with blemishes and tears to edges and spine. Stamps on back cover.
3. Михоэлс [Mikhoels] by Mikhail Zagorsky. Moscow-Leningrad (St. Petersburg): Кинопечать (Kinopechat), 1927.
Monograph on the life and work of Jewish theater actor Solomon Mikhoels; accompanied by photographs.
Solomon Michaelowitz Mikhoels (the stage name of Shloyme Vovsi, 1890-1948), born in Dvinsk, was the director of the State Jewish Theater in Moscow and the head of the Jewish Anti-Fascist Committee. In 1948, with the onset of the persecutions against Jewish culture figures and the dispersal of the Jewish Anti-Fascist Committee, Mikhoels was assassinated by members of the Soviet Secret Police. The murder was disguised as a hit-and-run car accident.
32 pp, approx. 17.5 cm. Good condition. Creases and minor blemishes to edges of cover.
Category
Avant-Garde Art
Catalogue