20 300 résultats
1941Original paper wrappers stiff protector. 8vo, 14 pages. 25 cm. In Ukrainian. Title translates to "The Brown Bandit. " A critique of German Fascism. Wanda Wasilewska was a well-known Polish communist and propagandist who worked closely with the Soviet Union during and after WWII. She was appointed as head of the Society of Polish Patriots by Joseph Stalin and was very active in the Soviet-sponsored Polish Committee of National Liberation, which supported Polish inclusion in the Soviet Union. SUBJECT (S) : Fascism -- Germany. World War, 1939-1945 -- Ukraine. OCLC lists only 2 copies worldwide (UC Berkeley, NYPL) . Ex-library with usual markings. Pages are brown. Very Good Condition. (UKR-2-1)
1906Period boards, 8vo, 154 pages, 18cm. In Hebrew. Title translates to Weights and Measures: For Torah Lessons that are Written and Oral. Coins, Measurements, and Weights from Conversations and Times - Arranged Alphabetically. Rav Sheftel (1844-1905) was Galician rabbi who, rubbed shoulders with the likes of Chaim Berlin and Abraham Kahana. As Kahana writes in the introduction, Sheftel possessed great knowledge of the Torah and Talmud and was respected by those who studied with him. OCLC lists two copies worldwide (JTS and Ohio State) . Pages are browning and becoming brittle, but still in good shape. Repair to binding. Overall Good Condition. (HEB-48-25)
1901L1st edition. Ater paper wrappers. 4to. 28 pages; 23 cm. Includes several black-and-white photographs. The first Jewish colony in South Jersey was located in Pittsgrove township, Salem county, in 1882. When the persecuted Jews were driven from Russia a number of wealthy and influential Hebrews in the city of New York formed the Hebrew Aid Society, whose object was to give assistance to their fellow religionists who were thus cast out from the places of their birth and compelled to seek shelter and subsistence among strangers in a strange land. SUBJECT (S) : Alliance (N. J. ) History, Rosenhayn (N. J. ) History, Woodbine (N. J. ) History, Carmel (N. J. ) History. OCLC lists 8 holdings worldwide. The University of Pennsylvania keeps their copy in their Rare Book Americana collection. Some edgewear and rubbing. Minimal pencil markings that do not affect text. Slight toning. Very good condition. (AMR-53-16)
1972Original illustrated paper portfolio. 4to. 5 unnumbered leaves, 15 plates (in portfolio) , 36 cm. In Yiddish with alternate English title page. Title translates to English as "Shalom Aleichem and his Heroes. " David Labkovski, the illustrator, grew up in Vilna, the Jerusalem of Lithuania. Indeed much of his work focused on its destroyed Jewish community and life under Soviet curtain. While he is post known for his portrayal of Jewish life in Vilna, his later work explores a greater range of topics, including the present work on Shalom Aleichem. Labkovskis full body of work was created in Israel and many commentators have noted the dramatic difference between his early work, depicting scenes from his past, to the landscapes, florals and portraits of his new surroundings. This emerging renewal can be seen in the expressions of his subjects and the vibrant palate. Labkovski was a prolific artist, amassing an extensive portfolio. SUBJECTS: Jews -- Periodicals. Jewish arts -- Periodicals. Art -- Periodicals. Light wear to folio. All prints in Very Good Condition.. (ART-27-11)
1967Original Cloth. 8vo. 414 pages. 24 cm. First edition. In Yiddish. The Yeshiva. "The monumental, two-volume novel Tsemakh Atlas (19671968; translated as The Yeshiva) is Grade's richest work about the Musar world and its attempt to shape the ethical personality. Through the memorable character of Tsemakh Atlas, a tortured teacher of Musar who is trapped between its self-abnegating demands, the enticements of the secular world, and his own elemental desires, readers enter a universe of high religious ideals, intellectual and moral debate, and intense spiritual struggle. " - YIVO Encyclopedia. "Grade was one of the rare interpreters of yeshivah life in modern Yiddish literature, recreating the daily life of the yeshivah student with photographic accuracy, objectivity, and affection, and illustrating it with such scenes as rabbis discussing talmudic law, as in the novel Tsemakh Atlas" - EJ 2008. Printed by Shulsinger Bros, New York. Subjects: Yeshiva Yiddish Fiction. Chaim Grade. Light stain and touch of wear to cloth, about Very good condition. (YID-21-50A) xx
18481st edition. Later boards. 8vo. 48 pages, 20 cm. In Hebrew. Title translates to Wings of a Dove: Swept in Silver and The Melodious Song Senior Sachs (1816-1892) was a Russo-French Hebrew scholar. He wrote on a variety of topics related to Hebrew literature, one of which was published in 1851 as Ha-Yona. He later wrote Kanfe Yonah as a supplement (Wikipedia, 2018) . SUBJECTS: Judaism OCLC lists 11 copies worldwide (OCLC: 33293352) . Ex-library with usual markings. Boards are lightly worn. Internally very good. (YID-32-21-DBB)
1962Original Cloth. 4to. 159 pages. 27 cm. First edition. In Yiddish. Poems by Chaim Grade. "Der mentsh fun fayer (The Man of Fire; 1962) includes a moving elegy for the murdered Soviet Yiddish writers, lyrics about the American landscape, and the haunting voice of the dead who impress upon him the obligation to keep their memory alive. " - YIVO Encyclopedia. Published by Cyco-Tsiko, printed by Shulsinger Bros. With four illustrations and cover design by Benn. Attractively printed and bound. Subjects: Yiddish poetry. Chaim Grade. Light soiling to edges of binding, otherwise very fresh and clean. Previous owner's name on endpapers, Very good condition. (YID-21-47A-E)
19361st edition. Lacking outer color Wraps (thus starting on page 3). 4to. 38 + 14 page (total 52 pages) 28 cm. First edition. In Yiddish, with English section at rear. Single issue of Nailebn, whole nr 78 (probably actually a typo, should be 79), June 1936. Includes poems and songs dedicated to the First of May and Birobidzhan. Contains a Marxist discussion of art and aesthetics in the contexts of the development of an Art Collection for Birobidzhan; news from Birobizhan, reports from ICOR sections; etc. Includes news from Birobizhan, reports from ICOR sections; etc. Nazi-era Communist monthly in support of Soviet Birobidjan, the Soviet Autonomos Jewish Republic. Much on rising Antisemitism in Germany, as well as, of course, the history of antisemitism in pre-Soviet Russia, reports Icor and settlement of Jews into Birobidzhan, why Icor opposes Zionism, photos, literary works, including poetry, fiction, humor, satire and other materials covering virtually all aspects of life in the Jewish Autonomous region. In the first issue of Nailebn, the editors proudly proclaimed that the magazine will bring out more to the fore the work and objects of ICOS [Idishe Kolonizatsie Organizatsie, also known as IKOR]. This organisation is one of a body of similar organisations carrying on the same work in 22 countries. This work is to propagate in this country the complete reconstruction of the Jewish life in the U.S.S.R. What is actually the position of the Jewish masses in the U.S.S.R.? While in Germany, Poland and Romania new waves of pogroms and persecution indicate the terrible plight of millions of Jews in Europe, we have in contrast to this in one part of the world which covers one-sixth of the world's surface, a completely different picture. There, in the Soviet Union, where a new social order is being built the Jews have achieved an economic and political freedom which the Jews in the most democratic capitalist country have never known. Within 10 years the whole mode of Jewish life in the U.S.S.R. has been completely reconstructed. From an isolated and persecuted caste of economic parasites they have been transformed into healthy productive workers on an equal footing with all other citizens in the Soviet Union. The five flourishing Jewish National Regions and the Jewish Autonomous Territory of Biro Bidjan show what the erstwhile Luft Mensch has accomplished under a government which stands for the complete freedom and self-determination of all its nationalities. The new Jewish life in the U.S.S.R. stands out as a beacon for those struggling and persecuted Jews in Fascist and semi-Fascist countries. This is the task which ICOS has set itself and which New Life will help considerably in carrying out - of showing more and more people the way the Jewish problem has been solved in the U.S.S.R. In a period like the present, when some of the bloodiest pages in Jewish history are being written, an organisation like ICOS, carrying on such important work, should have the support of every progressive Jew in this country." Includes news from Birobizhan, reports from ICOR sections; etc. Like IKOR before it, Naylebn (New Life) was the monthly official organ of the pro-Soviet Jewish organization ICOR (Idishe kolonizatsya organizatsye, Association for Jewish Colonization in the Soviet Union). This monthly publication was issued on high quality paper in Yiddish and English from 1928 to 1935 under the title Icor, and from 1935 to 1950 as Nailebn. The magazine features articles, photos, literary works, including poetry, fiction, humor, satire and other materials covering virtually all aspects of life in the Jewish Autonomous region. Subjects: Idishe Kolonizatsie Organizatsie (IKOR).Subjects: Idishe Kolonizatsie Organizatsie (IKOR). Jews - United States - Periodicals. Jews - Colonization - Soviet Union - Periodicals. Jews - Russia (Federation) - Birobidzhan. Jewish periodicals - United States. Jewish periodicals. OCLC Number:19068832. Lacks outer wrappers, otherwise some rubbing and light wear Good condition. (YID-22-26A)
19361st edition. Lacking outer color Wraps (thus starting on page 3). 4to. 40+12 page (total 52 pages) 28 cm. First edition. In Yiddish, with English section at rear. Nazi-era single issue of Nailebn, whole nr 78, May1936. Contains news from Birobizhan, reports from ICOR sections; etc. Nazi-era Communist monthly in support of Soviet Birobidjan, the Soviet Autonomos Jewish Republic. Much on rising Antisemitism in Germany, as well as, of course, the history of antisemitism in pre-Soviet Russia, reports Icor and settlement of Jews into Birobidzhan, why Icor opposes Zionism, photos, literary works, including poetry, fiction, humor, satire and other materials covering virtually all aspects of life in the Jewish Autonomous region. In the first issue of Nailebn, the editors proudly proclaimed that the magazine will bring out more to the fore the work and objects of ICOS [Idishe Kolonizatsie Organizatsie, also known as IKOR]. This organisation is one of a body of similar organisations carrying on the same work in 22 countries. This work is to propagate in this country the complete reconstruction of the Jewish life in the U.S.S.R. What is actually the position of the Jewish masses in the U.S.S.R.? While in Germany, Poland and Romania new waves of pogroms and persecution indicate the terrible plight of millions of Jews in Europe, we have in contrast to this in one part of the world which covers one-sixth of the world's surface, a completely different picture. There, in the Soviet Union, where a new social order is being built the Jews have achieved an economic and political freedom which the Jews in the most democratic capitalist country have never known. Within 10 years the whole mode of Jewish life in the U.S.S.R. has been completely reconstructed. From an isolated and persecuted caste of economic parasites they have been transformed into healthy productive workers on an equal footing with all other citizens in the Soviet Union. The five flourishing Jewish National Regions and the Jewish Autonomous Territory of Biro Bidjan show what the erstwhile Luft Mensch has accomplished under a government which stands for the complete freedom and self-determination of all its nationalities. The new Jewish life in the U.S.S.R. stands out as a beacon for those struggling and persecuted Jews in Fascist and semi-Fascist countries. This is the task which ICOS has set itself and which New Life will help considerably in carrying out - of showing more and more people the way the Jewish problem has been solved in the U.S.S.R. In a period like the present, when some of the bloodiest pages in Jewish history are being written, an organisation like ICOS, carrying on such important work, should have the support of every progressive Jew in this country." Includes news from Birobizhan, reports from ICOR sections; etc. Like IKOR before it, Naylebn (New Life) was the monthly official organ of the pro-Soviet Jewish organization ICOR (Idishe kolonizatsya organizatsye, Association for Jewish Colonization in the Soviet Union). This monthly publication was issued on high quality paper in Yiddish and English from 1928 to 1935 under the title Icor, and from 1935 to 1950 as Nailebn. The magazine features articles, photos, literary works, including poetry, fiction, humor, satire and other materials covering virtually all aspects of life in the Jewish Autonomous region. Subjects: Idishe Kolonizatsie Organizatsie (IKOR).Subjects: Idishe Kolonizatsie Organizatsie (IKOR). Jews - United States - Periodicals. Jews - Colonization - Soviet Union - Periodicals. Jews - Russia (Federation) - Birobidzhan. Jewish periodicals - United States. Jewish periodicals. OCLC Number:19068832. Lacks outer wrappers, otherwise some rubbing and light wear Good condition. (YID-22-26B)
19351st edition. Original Color Wrappers, many photographic or illustrated, bound into publishers cloth, 4to, generally 24-36 pages per issue. In Yiddish, with English section at rear. Loaded with photos and illustrations, some on the Yiddish or English covers, and many of them by William Gropper. Nazi-era Communist monthly in support of Soviet Birobidjan, the Soviet Autonomos Jewish Republic. Much on rising Antisemitism in Germany, as wel asl, of course, the history of antisemitism in pre-Soviet Russia, reports Icor and settlement of Jews into Birobidzhan, why Icor opposes Zionism, photos, literary works, including poetry, fiction, humor, satire and other materials covering virtually all aspects of life in the Jewish Autonomous region. Monthly Periodical of the Association for Jewish Colonization in the Soviet Union. "IKOR: Buletin Fun Der Gezelshaft " was issued on an excellent quality paper in Yiddish and English from 1928 to 1935 under the title Icor, and from 1935 to 1950 as Naylebn. The magazine features articles, photos, literary works, including poetry, fiction, humor, satire and other materials covering virtually all aspects of life in the Jewish Autonomous region of Birobidzhan. "IKOR: Buletin Fun Der Gezelshaft " ran 65 issues (eight volumes) between March 1925 and April 1935. It was Monthly (except usually for Aug.) from Jan. 1930-Apr. 1935; and was irregular from 1925-1929. It was succeeded by Naylebn (New York) in 1935 (see volume below). Subjects: Idishe Kolonizatsie Organizatsie (IKOR). Jews - United States - Periodicals. Jews - Colonization - Soviet Union - Periodicals. Jews - Russia (Federation) - Birobidzhan. Jewish periodicals - United States. Jewish periodicals. OCLC Number: 174120726. OCLC lists 8 holdings. Slight mustiness. Boards, paper, and color paper covers remain bright and strong. Very Good Condition, a beautiful set (Yid-22-25C-elx)
1933Original Wraps. 4to. 32 pages. 28 cm. First edition. In Yiddish, with English section at rear. Single issue, 34, from June 1932; contains portraits of families from Boston, New York, and Los Angeles who have just moved to Birobidzhan. Monthly Periodical of the Association for Jewish Colonization in the Soviet Union. "IKOR: Buletin Fun Der Gezelshaft " was issued on an excellent quality paper in Yiddish and English from 1928 to 1935 under the title Icor, and from 1935 to 1950 as Naylebn. The magazine features articles, photos, literary works, including poetry, fiction, humor, satire and other materials covering virtually all aspects of life in the Jewish Autonomous region of Birobidzhan. "IKOR: Buletin Fun Der Gezelshaft " ran 65 issues (eight volumes) between March 1925 and April 1935. It was Monthly (except usually for Aug.) from Jan. 1930-Apr. 1935; and was irregular from 1925-1929. It was succeeded by Naylebn (New York) in 1935 (see volume below). Subjects: Idishe Kolonizatsie Organizatsie (IKOR). Jews - United States - Periodicals. Jews - Colonization - Soviet Union - Periodicals. Jews - Russia (Federation) - Birobidzhan. Jewish periodicals - United States. Jewish periodicals. OCLC Number: 174120726. OCLC lists 8 holdings. Ink stains to wraps, previous owners name at top; otherwise clean and fresh. Good condition. (YID-22-21)
19241st edition of authors second book. Period boards with original modernist wrappers mounted front and back. 12mo, 62 pages; 22 cm. In Yiddish. Title translates as Hard Reality. Beautiful modernist typographical title and author on front cover, signed by artist in the print (illegible). Moyshe Khashtshevatski (1897 - 1943) was born in Buky, near Uman, Ukraine. He father was a teacher in the local Talmud-Torah. He studied in religious elementary school and in a Talmud-Torah, and in 1916 he graduated from the commercial school in Uman. In the last years of WWI and the first years of the Russian Revolution, he was studying at the Universities of Petrograd and Ekaterinburg. In 1918 (April 6) he debuted in print with a poem, entitled Friling kumt (Spring comes), in Di naye tsayt (The new times) in Kievusing the pen name M. Mishal. In 1921 he moved to Kiev, where he forged a strong bond with the local Yiddish writers (Dobrushin, Hofshteyn, Dis Nister, and others), and from that point he enhanced ever more his reputation as a creator and builder of Soviet Yiddish literature. In the Soviet Yiddish periodicals of Kiev, Kharkov, Minsk, and Moscow, he published poetry and ballads. He also translated from the Russian and Ukrainian classics, as well as from other languages. From 1923 over the course of three years, he contributed intensively to Emes (Truth) in Moscow, and he actively took part in the Soviet community and political life. His first works were in the symbolist vein, although he would later switch to a more realistic depiction of life and address the major issues of the time. He brought new motifs and imagery into Soviet Yiddish poetry. His range of interest was extremely broad. His books include: Dorsht (Thirst), poems (Kiev, 1922), 31 pp.; Harte vor (Hard reality) (Moscow, 1924), 62 pp.; and 38 other titles. Shortly after the outbreak of the Nazi-Soviet war in 1941, he was evacuated to Samarkand, Uzbekistan, and there he learned of the death at the front of his only son. He proceeded to volunteer for mobilization into the Red Army, despite the fact that he was forty-six years of age. He contributed in the harshest of battles in that period of the fighting and died in battle. Moyshe Khashtshevatski is, it seems to me, wrote Shmuel Niger, [was] the most candid among all Yiddish poets in Ukraine. His lyric poetry was born with an old, broken, wrinkled, quietly suffering soul; unabashed, he says that it is old, broken, wrinkled, and suffering in silence. He makes no pretense and no heroic or demagogic poses. It does not shake the earth and demonstrates no valor against the empty, blue skies. (Borekh Tshubinski in Yiddish Leksikon, 2017). For more on Khashtshevatski, see M. Litvakov, In umru (Disquiet), vol. 2 (Moscow, 1926), M. Litvakov, In umru (Disquiet), vol. 2 (Moscow, 1926), pp. 189-219; D. Tsharni (Daniel Charney), in Literarishe bleter (Warsaw) (January 21, 1927); A. R. Tsvayg, in Shtern (Minsk) (December 1930); Y. Daytsh, in Literarishe tribune (Lodz) 10 (1931); Y. Bronshteyn, in Tsaytshrift (Minsk) 5 (1931); Y. Dobrushin, In iberboy, literarish-kritishe artiklen (Under reconstruction, literary-critical articles) (Moscow, 1932), pp. 88-101; N. Oyslender and Y. Dobrushin, in Eynikeyt (Moscow) (October 5, 1944); A. Kushnirov, in Naye prese (Paris) (July 27, 1945); F. Sito, in Eynikeyt (New York) (March 1945); Y. Serebryani, in Eynikeyt (Moscow) (October 11, 1945); N. Mayzil, in Yidishe kultur (New York) (May 1957); Mayzil, Dos yidishe shafn un der yidisher shrayber in sovetnfarband (Jewish creation and the Yiddish writer in the Soviet Union) (New York, 1959), see index; A. Finkel, in Folks-shtime (Warsaw) (June 8, 1957); M. Shklyar, in Folks-shtime (November 7, 1957); Shmuel Niger, Yidishe shrayber in sovet-rusland (Yiddish writers in Soviet Russia) (New York, 1958), pp. 56, 61, 411-20; Leksikon fun yidish-shraybers (Biographical dictionary of Yiddish writers) (New York, 1986), col. 316; Leksikon fun yidishe shrayber in ratn-farband (Biographical dictionary of Yiddish writers in the Soviet Union), ed. Boris Sandler and Gennady Estraikh (New York: Congress for Jewish Culture, Inc., 2011), pp. 189-90.] Interestingly, the book, obviously published in the Soviet Union, is overstamped faintly (in English), Printed in Poland on the cover, probably an attempt to get past postal inspectors and to make import into North America easier. 1 of 1100 copies printed. SUBJECT(S): Yiddish poetry. OCLC: 51754692. OCLC lists 8 copies worldwide. Spine label removed, unobtrusive number on spine. Jewish library stamps on blank endpapers, title page and margins of 2 text pages. Number penned in upper margin of blank endpapers as well. Toning to covers and pages. Otherwise Good Condition. Dramatic modernist 1st edition of important Soviet Yiddish writers second book. YID-36-6 -LOE-xcc).
19291st edition of one of authors most significant books. Period boards with original modernist wrappers mounted front and back. 12mo, 275 pages; 19 cm. In Yiddish. Title translate as Wells. A novel. 1 of 3000 copies printed. Khayim Gildin (18841944) was a Yiddish writer. Born in Nikopol, Ukraine, into a workers family, Khayim Gildin was 12 years old when he began working in a factory. He was then twice arrested for revolutionary activity. From 1908 to 1914, he lived and worked in Warsaw, where he published articles on labor issues and belonged to the circle of literati directly influenced by Y. L. Peretz. Gildin returned to Ukraine in 1915 and lived in Odessa. After the 1917 Revolution he was a member of the Fareynikte, the United Jewish Socialist Workers Party.During the civil war, Gildin served in the Red Army, joining the Communist Party in 1919. He lived in Moscow from 1920 to 1925. In October 1920, during the First All-Russian Congress of Proletarian Writers, he spoke as a representative of the Yiddish members, arguing that poetry of political agitation had to supplant aesthetic literature. It is not clear whom Gildin actually represented during the Congress. His own poem, In fabrik (In the Factory), published in 1919, was a rare example of Yiddish industrial poetry . The first actual meeting of a Moscow Yiddish proletarian group took place much lateron 5 January 1922. On that day, a small number of people, including Moyshe Taytsh and Shmuel Persov, gathered in Gildins flat. Subsequently, other young writers such as Yoysef Rabin and David Utkes joined them, though in 1923 the group failed to launch its journal Royte heftn (Red Notebooks).... Gildin left Moscow in 1925 and spent the rest of his life in Ukraine, working at various Soviet Jewish institutions, coediting the Kharkov-based journal Prolit (Proletarian Literature), and publishing poems and stories, some of which were translated into Russian and Ukrainian. His most significant books were published in Kharkov, including two editions of his collected stories, Brunems (Wells; 1929 and 1932), and Gezamlte verk (Collected [Poetic] Works; 1932). In 1932 and 1933 he edited the last two issues of the journal Di royte velt (The Red World). Gildin was not popular among his fellow literati. Perets Markish, for instance, did not hide his disdain for the proletarian parasite Gildin, who denounced Markish for having a Polish passport. Gildins 1934 story Mendl Graf, published in Russian translation in 1940, belongs to the Soviet literature eulogizing the gulag (the Soviet labor camp system) for its methods of reeducating criminals and political prisoners .Six years later, Gildin himself vanished in the gulag; rumors claimed that he had criticized Soviet generals responsible for failures during the SovietFinland War in 19391940 (Gennady Estraikh in YIVO Encyclopedia of Jews in Eastern Europe, 2010). For more on Gildin, see Gennady Estraikh, A Touchstone of Socialist Realism: The 1934 Almanac of Soviet Yiddish Writers, Jews in Eastern Europe 37 [3] (1998): 2437; Gennady Estraikh, Yiddish Literary Life in Soviet Moscow, 19181924, Jews in Eastern Europe 42 [2] (2000): 2555. OCLC: 19303550. OCLC lists 8 copies worldwide. SUBJECT(S): Short stories, Yiddish. Jewish library stamps on blank endpapers and title page. Period Yiddish card pocket at front pastedown. Covers trimmed close, touching authors and publishers names. Light wear and rubbing. Beautiful modernist cover layout. Good Condition. (YID-36-7-LS-+)500
19291st Yiddish edition. Period boards with original green, red, and white modernist illustrated wrappers mounted front and rear, 12mo, 95 pages. Modernist cover with original typeface initialed in the text in Yiddish Y.T; possibly for Yosef Tchaikov. Includes drawings (not by Tchaikov) and photo plates. In Yiddish. Title translates as In the Heavenly Ocean: With 3 Drawings in the Text and 4 Pictorial Plates. Part of the series, Populer-Visnshaftlekhe Bibliotek; Natur un Kultur: Unter der Redaktsye fun Y. Yashunski, Nr. 3. 1 of 1000 copies printed. Tchaikov is known to have designed other covers for Kultur-Lige publications, often with creative Yiddish typefaces, for example: Di Kupe, by Peretz Markish; Samet, by Lipa Reznik; & Otem, by Ezra Feinenberg (all 1922). Joseph Moisevich Tchaikov (Also spelled, among other spellings, Tshaykov, Chaikov, and Tchaikovsky; 1888 - 1979) was a Russian Imperial and Soviet Russian sculptor, graphic designer and teacher of Ukrainian Jewish descent. Born in Kiev (present-day Kyiv, Ukraine) and initially trained as an engraver, Chaikov studied in Paris in the years 1910 through 1914. In 1912 he co-founded a group of young Jewish artists called Mahmad, and published a Hebrew-language magazine with that name; in 1913 he participated in the Salon d'Automne.He returned to Kiev in 1914. He was co-founder, along with El Lissitzky, Boris Aronson and others, of the Jewish socialist Kultur Lige in Kiev, led sculpture classes there, supervised a children's art studio and illustrated children's books, and in post-revolutionary Kiev focused on billboards and agitational propaganda. In 1921 he published the Yiddish-language book Skulptur, advocating avant-garde sculpture as a contribution to a new Jewish art. This book was also the first book on sculpture to be published in Yiddish.Chaikov moved to Moscow to teach at Vkhutemas from 1923 to 1930, alongside fellow sculptors Boris Korolev and Vera Mukhina. All three designed and taught cubist sculpture in the distinctively Russian Cubo-Futurism style, radically geometric and highly dynamic. From 1929 Chaikov was the head of the Society of Russian Sculptors. In 1932, after the end of the period of artistic freedom, all of these cubists turned back to Socialist Realism and produced more classically styled work.In the 1930s his work was prominently shown at the two Soviet world's fair pavilions, for the 1937 Paris Exposition and the 1939 New York World's Fair .He was named an Honored Artist of the USSR in 1959, and his work is in the permanent collection of MOMA (Wikipedia). For more on Chaikov, see: Apter-Gabriel, Ruth (1987). Tradition and revolution: the Jewish renaissance in Russian avant-garde art, 1912-1928 (Israel Museum); and Futur Antérieur: L'avant-Garde Du Livre Yiddish (1914-1939). Paris: Skira Flammarion: Musée d'art et d'histoire du Judaïsme, 2009.SUBJECT(S): Astronomy -- Popular works. Sciences naturelles -- Ouvrages de vulgarisation. OCLC: 970887673. OCLC lists 3 copies worldwide (YIVO, NYBC, HUC), none at any Ivy League Institution. Includes series title page, which has broken loose, laid in. Paper browning as is common with books of this vintage, a few corner chips, no text or other margins affected. Some staining and toning to cover, which retains its dramatic modernist design. Scarce work with unusual design, possibly by the leading Yiddish modernist. (YID-36-9-E)
19331st edition.original modernist covers,12mo, 141 pages ; 20 cm. In Yiddish. Text partially vocalized. David Hofstein (1889-1952) was a Russian-born Jewish poet who, after the Russian Revolution of 1917, which he welcomed...wrote only in Yiddish. He was coeditor of the Moscow Yiddish monthly Shtrom, the last organ of free Jewish expression in the Soviet Union. The poems in which he acclaimed the communist regime established him as one of the Kiev triumvirate of Yiddish poets, along with Leib Kvitko and Peretz Markish. Hofstein's elegies for Jewish communities devastated by the White movement pogroms appeared in 1922, with illustrations by Marc Chagall. Both had worked together as teachers at shelter for Jewish boys in suburban Malakhovka, which housed and employed boys orphaned by Ukrainian pogroms. Hofstein protested the banning of Hebrew and the persecution of Hebrew writers, arousing the suspicion of the authorities . In 1939, Hofstein became member of the Communist Party. Hofstein hailed the establishment of the State of Israel in 1948; however, in the same year, when Joseph Stalin withdrew his support for Israel, Hofstein was arrested, together with Kvitko, Markish and other members of the Jewish Anti-Fascist Committee, first transported to Moscow and then to Siberia. He was executed on the Night of the Murdered Poets (August 1213, 1952) , together with twelve other Yiddish writers and artists. After the death of Stalin, they were posthumously rehabilitated, and Hofstein's selected works reappeared in a Russian translation in 1958 (Wikipedia) . SUBJECT(S) : Yiddish poetry. Poems. OCLC: 19306078. OCLC lists 7 copies worldwide (Hebrew U, NLI, YIVO, Stanford, LOC, Harvard, HUC) , none west or south of Cincinnati. Cover toned with some edgewear, with a little loss to publishing info at lower inside margin, Good Condition overall. (Yid-42-3A)
1968J. GALANSKOV Feniks '66 rivista storica non ufficiale. Milano, Jaca Book 1968 italian, 203 BTT160C Brossura editoriale, volume in buone condizioni, lievi segni di usura causati dal fattore tempo sulla copertina, interno in ottimo stato, legatura salda 203 pagine circa Copertina come da foto
199217,5x24 cm; 187, (5) pp. Brossura editoriale illustrata. Prima edizione di questa monografia dedicata all'opera del noto artista moscovita sovietico Mikhail Konstantinovich Anikushin (1917 - 1997). Firma autografa di Anikushin alla prima carta bianca datata 30.01.1993. Ottimo esemplare.
199921,7x21,7 cm; 52 pp. Brossura editoriale. Prima edizione di questa monografia dedicata al movimento artistico del Costruttivismo con riproduzione di opere di importanti artisti come Kandinsky, Szpakowski, Baugniet, Popova, Gontcharowa, Kassak, Albers ed altri corredati da scritti di importanti critici quali Giulio Carlo Argan, Umbro Apollonio, Jagoda Barcybska, Gabriella di Milia, Getulio Alviani. In particolare da citare lo scritto di Argan "dell'arte astratta". Esemplare non comune ed in buone condizioni di conservazione.
1870In folio (39×58 cm). Croquis par Ciardi, Dessinè sur pierre pad A. Lebedeff. Una mano coeva ha scritto con matita rossa il nome di Ronconi al margine basso della tavola. Bellissima caricatura del celebre basso baritono, Felice Ronconi (1811-1875). Figlio del tenore Domenico Ronconi (1772-1839) e fratello del famosissimo baritono, Giorgio Ronconi (1810-1890) fu uno dei maestri di canto più apprezzati del XIX° secolo. Fu apprezzato cantante a Wurzburg e Francoforte sul Meno. Dal 1844 iniziò l’attività di insegnamento a Milano. Nel 1848 fu chiamato a Londra per insegnare. Qui rimase alcuni anni fino a quando non ricevette la prestigiosa possibilità di insegnare dal 1858 nella Theatre School St. e Istituto di formazione degli insegnanti di San Pietroburgo. Qui insegnò per numerosi anni e vi morì nel 1875. Già nel 1856 il suo nome era molto conosciuto in Russia tanto che la sua composizione “Solenne coro per la Celebrazione dell’Imperatore” Alessando II era stata molto gradita dallo Zar che gli aveva riconosciuto un’importante decorazione onorifica. La caricatura è opera del celebre compositore, flautista e caricaturista fiorentino Cesare Ciardi (Firenze, 28 giugno 1818 – Strel’na, 13 giugno 1877). Dopo una grande carriera in Italia ed in Francia nel “…1853 Ciardi partì per l’estero: Parigi e poi Pietroburgo dove resterà per anni come flautista dello Zar, direttori dei Teatri Imperiali e successivamente docente di flauto al neonato Conservatorio di Pietroburgo creato da Anton Grigorevic Rubinštejn; lì, per due anni (come scrive Fabbri, 1999), Pëtr Il’ic Cajkovskij studia flauto con Ciardi diventandone sincero amico; anche il celebre clarinettista Ernesto Cavallini lavorava nella stessa città entrando spesso in contatto con Ciardi. L’ultimo rimpatrio di Ciardi è del 1867 documentato dal programma di un ‘Gran Concerto Vocale e Strumentale’ a Prato dove Ciardi si esibì trionfalmente”. Esemplare in buone-ottime condizioni di conservazione. Raro.
1870In folio (39×58 cm). Croquis par Ciardi, Dessinè sur pierre pad A. Lebedeff. Una mano coeva ha scritto con matita rossa il nome di Nápravník al margine basso della tavola. Bellissima caricatura del celebre compositore e direttore d’orchestra ceco Eduard Francevic Napravnik (Býšt, 24 agosto 1839 – San Pietroburgo, 23 novembre 1916). Napravnik, naturalizzato russo, fu una delle figure centrali della scena musicale russa dell’ottocento. Fu il direttore d’orchestra principale del teatro Mariinskij di San Pietroburgo per decenni. Diresse le prime di numerose opere russe, fra cui quelle di Musorgskij, Cajkovskij e Rimskij-Korsakov. “Nel 1854 entrò nella Scuola organistica di Praga, dove ebbe come professori Jan Bedrich Kittl ed altri, divenendo assistente professore. La generosità del suo insegnante gli permise di continuare gli studi. Nel 1861 ricevete un’offerta dalla Russia: il posto di direttore dell’orchestra privata del principe Jusupov a San Pietroburgo. Nápravník divenne organista e direttore assistente dei Teatri Imperiali nel 1863, secondo direttore nel 1867 e primo direttore, succedendo a Ljadov, nel 1869: mantenne il posto fino alla morte. Diresse le prime rappresentazioni di Boris Godunov di Musorgskij nel 1874, di cinque opere di Cajkovskij, fra cui La Pulzella di Orléans, Mazeppa e La dama di picche e cinque di Rimskij-Korsakov, fra cui Notte di maggio, La fanciulla delle nevi e La notte prima di Natale. Diresse anche i concerti della Società musicale russa. Nel 1914, dopo una fruttuosa carriera al servizio dell’opera russa, fu costretto ad interrompere la sua attività per motivi di salute. Nápravník è anche noto per aver diretto la seconda — ed assolutamente convincente — rappresentazione della Sinfonia n. 6 di Cajkovskij, il 15 novembre 1893, nove giorni dopo la morte del compositore. La prima, diretta dallo stesso compositore, non aveva avuto tanto successo, e per la mancanza di familiarità con una composizione tanto ricca di novità da parte del pubblico e dell’orchestra, e per la stessa direzione di Cajkovskij. Sotto la bacchetta di Nápravník e nell’emozione per la recente scomparsa del compositore, la sinfonia fu accolta come un capolavoro. Comprendeva anche alcune piccole correzioni apportate da Cajkovskij dopo la prima e quindi quella di Nápravník fu la prima rappresentazione della sinfonia nella forma in cui oggi la conosciamo”. La caricatura è opera del celebre compositore, flautista e caricaturista fiorentino Cesare Ciardi (Firenze, 28 giugno 1818 – Strel’na, 13 giugno 1877). Dopo una grande carriera in Italia ed in Francia nel “…1853 Ciardi partì per l’estero: Parigi e poi Pietroburgo dove resterà per anni come flautista dello Zar, direttori dei Teatri Imperiali e successivamente docente di flauto al neonato Conservatorio di Pietroburgo creato da Anton Grigorevic Rubinštejn; lì, per due anni (come scrive Fabbri, 1999), Pëtr Il’ic Cajkovskij studia flauto con Ciardi diventandone sincero amico; anche il celebre clarinettista Ernesto Cavallini lavorava nella stessa città entrando spesso in contatto con Ciardi. L’ultimo rimpatrio di Ciardi è del 1867 documentato dal programma di un ‘Gran Concerto Vocale e Strumentale’ a Prato dove Ciardi si esibì trionfalmente”. Esemplare in buone-ottime condizioni di conservazione. Rara.
1870In folio (39×58 cm). Croquis par Ciardi, Dessinè sur pierre pad A. Lebedeff. Una mano coeva ha scritto con matita rossa il nome di Rubets al margine basso della tavola. Bellissima caricatura del celebre studioso, insegnate e musicista ucraino, Alexandre Rubets, particolarmente celebre per aver raccolto la più grande antologia di canzoni popolari Ucarine mai compilata. Rubets fu anche il primo insegnante di Rachmaninoff al Conservatorio di San Pietroburgo. L’opera di Rupets fu poi utilizzata e rielaborata da numerosi musicisti come ad esempio Tchaikovsky. La caricatura è realizzata dal celebre compositore, flautista e caricaturista fiorentino Cesare Ciardi (Firenze, 28 giugno 1818 – Strel’na, 13 giugno 1877). Dopo una grande carriera in Italia ed in Francia nel “…1853 Ciardi partì per l’estero: Parigi e poi Pietroburgo dove resterà per anni come flautista dello Zar, direttori dei Teatri Imperiali e successivamente docente di flauto al neonato Conservatorio di Pietroburgo creato da Anton Grigorevic Rubinštejn; lì, per due anni (come scrive Fabbri, 1999), Pëtr Il’ic Cajkovskij studia flauto con Ciardi diventandone sincero amico; anche il celebre clarinettista Ernesto Cavallini lavorava nella stessa città entrando spesso in contatto con Ciardi. L’ultimo rimpatrio di Ciardi è del 1867 documentato dal programma di un ‘Gran Concerto Vocale e Strumentale’ a Prato dove Ciardi si esibì trionfalmente”. Esemplare in buone-ottime condizioni di conservazione. Raro.
1870In folio (39×58 cm). Croquis par Ciardi, Dessinè sur pierre pad A. Lebedeff. Una mano coeva ha scritto con matita rossa il nome di Everardi al margine basso della tavola. Bellissima caricatura del celebre baritono belga di origini italiane, Camille Everardi (1824 – 1899) che fu uno dei baritoni più celebri e rinomati dell’Ottocento. Nato da genitori di origine italiana, studiò presso il Conservatorio Reale di Liegi e sotto Manuel García a Parigi. Fece il suo debutto operistico professionale al Teatro Nuovo di Napoli nel 1850, dove cantò per due stagioni. Nel 1852 passò a cantare al Teatro Canobbio a Milano e nel 1853 fece la sua prima apparizione alla Scala, nel ruolo di Francesco nell’opera i Masnadieri di Verdi. Dal 1853 al 1854 fu impegnato al Teatro Regio di Torino. Nel 1855 Everardi tornato in Francia, a Parigi per unirsi al gruppo dei cantanti principali al Théâtre-Italien. Per due stagioni ricoprì diversi ruoli quali Aliprando nell’opera di Rossini “Matilde di Shabran” e alcuni ruoli nel Don Giovanni di Mozart. Nel 1860 passò alla Royal Opera di Londra dove interpretò il conte di Nevers nell’opera “Les Huguenots” di Meyerbeer, fu Elmiro nell’Otello di Rossini, Alphonse nel “La favorita” di Donizetti, e il conte Robinson ne “Il matrimonio segreto” di Cimarosa. Fece anche diverse apparizioni nei teatri d’opera in Germania. A partire dal 1853, Everardi fece diverse applauditissime apparizioni in Russia. Già verso la fine del 1850si era trasferito a San Pietroburgo dove aveva iniziato a canatre presso il Teatro Imperiale Mariinskij. Qui cantò fino al 1873, quando si ritirò dal palcoscenico. Rimase a San Pietroburgo a lavorare come insegnante di canto per alcuni anni e fra i suoi studenti vi fu il compositore Arkady Abaza. Passò poi prima al Conservatorio di Kiev e poi al Conservatorio di Mosca, dove rimase fino alla sua morte nel 1899. La caricatura è opera del celebre compositore, flautista e caricaturista fiorentino Cesare Ciardi (Firenze, 28 giugno 1818 – Strel’na, 13 giugno 1877). Dopo una grande carriera in Italia ed in Francia nel “…1853 Ciardi partì per l’estero: Parigi e poi Pietroburgo dove resterà per anni come flautista dello Zar, direttori dei Teatri Imperiali e successivamente docente di flauto al neonato Conservatorio di Pietroburgo creato da Anton Grigorevic Rubinštejn; lì, per due anni (come scrive Fabbri, 1999), Pëtr Il’ic Cajkovskij studia flauto con Ciardi diventandone sincero amico; anche il celebre clarinettista Ernesto Cavallini lavorava nella stessa città entrando spesso in contatto con Ciardi. L’ultimo rimpatrio di Ciardi è del 1867 documentato dal programma di un ‘Gran Concerto Vocale e Strumentale’ a Prato dove Ciardi si esibì trionfalmente”. Esemplare in buone-ottime condizioni di conservazione. Raro.
1870In folio (39×58 cm). Croquis par Ciardi, Dessinè sur pierre pad A. Lebedeff. Una mano coeva ha scritto con matita rossa il nome di Petroff al margine basso della tavola. Bellissima caricatura del celebre tenore russo Osip Afanas’evic Petrov (15 novembre 1807, 3 novembre del calendario giuliano – 11 marzo 1878, 27 febbraio del calendario giuliano), che fu uno dei basso-baritono più celebri e rinomati dell’Ottocento. Petrov iniziò la sua carriera cantando nel coro della chiesa per poi passare nei teatri provinciali russi. Arrivato a lavorare nel teatro Poltava, stabilì un forte connubio con Michail Šcepkin. Dal 1830 lavorò in pianta stabile per il Teatro Mariinskij di San Pietroburgo fino alla morte. Fu il primo ad interpretare la celebre opera “Ivan Susanin, Una vita per lo Zar” di Michail Glinka che uscita appunto nel 1836 gli diede grande fama anche fuori dalla Russia. La caricatura è opera del celebre compositore, flautista e caricaturista fiorentino Cesare Ciardi (Firenze, 28 giugno 1818 – Strel’na, 13 giugno 1877). Dopo una grande carriera in Italia ed in Francia nel “…1853 Ciardi partì per l’estero: Parigi e poi Pietroburgo dove resterà per anni come flautista dello Zar, direttori dei Teatri Imperiali e successivamente docente di flauto al neonato Conservatorio di Pietroburgo creato da Anton Grigorevic Rubinštejn; lì, per due anni (come scrive Fabbri, 1999), Pëtr Il’ic Cajkovskij studia flauto con Ciardi diventandone sincero amico; anche il celebre clarinettista Ernesto Cavallini lavorava nella stessa città entrando spesso in contatto con Ciardi. L’ultimo rimpatrio di Ciardi è del 1867 documentato dal programma di un ‘Gran Concerto Vocale e Strumentale’ a Prato dove Ciardi si esibì trionfalmente”. Esemplare in buone-ottime condizioni di conservazione. Raro.
1870In folio (39×58 cm). Croquis par Ciardi, Dessinè sur pierre pad A. Lebedeff. Una mano coeva ha scritto con matita rossa il nome di Leschetizky al margine basso della tavola. Bellissima caricatura del celebre pianista, compositore ed insegnante di piano nato a Lancut nel 1830 e morto a Dresda nel che fu insegnante del grande musicista e diplomatico polacco, Ignacy Jan Paderewski, Teodor Leszetycki trascritto anche come Theodor Leschetizky o Theodor Leschetitzky (Lancut, 22 giugno 1830 – Dresda, 4 novembre 1915). Leszetycki fin da bambino dimostrò grandi doti di musicista tanto da essere ritenuto un bambino prodigio. Studiò pianoforte a Vienna con Carl Czerny e Simon Sechter. Già a 14 anni divenne insegnante di pianoforte. A diciotto anni era già un noto virtuoso di pianoforte nei circoli musicali viennesi. All’attività di virtuoso nei teatri di Vienna e d’Europa affiancò ,in modo sempre più importante, quella di insegnante fino ad essere con Rubinstein, cofondatore del conservatorio di San Pietroburgo. Fra i suoi allievi più celebri Fanny Bloomfield Zeisler, Katharine Goodson, Ignaz Friedman, Paderewski, Artur Schnabel, Alexander Brailowsky, Ossip Gabrilowitsch, Mark Hambourg, Elly Ney, Severin Eisenberger, Mieczyslaw Horszowski e molti altri. Molti dei suoi allievi divennero noti insegnanti di pianoforte a loro volta, come Isabelle Vengerova, Anna Langenhan-Hirzel, Richard Buhlig and Czeslaw Marek. La caricatura è opera del celebre compositore, flautista e caricaturista fiorentino Cesare Ciardi (Firenze, 28 giugno 1818 – Strel’na, 13 giugno 1877). Dopo una grande carriera in Italia ed in Francia nel “…1853 Ciardi partì per l’estero: Parigi e poi Pietroburgo dove resterà per anni come flautista dello Zar, direttori dei Teatri Imperiali e successivamente docente di flauto al neonato Conservatorio di Pietroburgo creato da Anton Grigorevic Rubinštejn; lì, per due anni (come scrive Fabbri, 1999), Pëtr Il’ic Cajkovskij studia flauto con Ciardi diventandone sincero amico; anche il celebre clarinettista Ernesto Cavallini lavorava nella stessa città entrando spesso in contatto con Ciardi. L’ultimo rimpatrio di Ciardi è del 1867 documentato dal programma di un ‘Gran Concerto Vocale e Strumentale’ a Prato dove Ciardi si esibì trionfalmente”. Esemplare in buone-ottime condizioni di conservazione. Raro.
1896In 4° ( 300x210 mm ); broché. L'un des 250 exemplaires de luxe numérotés. Faux-titre,titre,28, (8) pages,4 illustrations en couleurs sous serpentes de Dupray et Lanos gravées sur bois par Romagnol. Brochure. 28, (8) pp. e 4 c. di tav. fuori testo. Brossura editoriale con al piatto anteriore stemma in oro in rilievo dello Zar Nicola II. Tiratura in 250 esemplari numerati, questa è la copia 149. Qualche segno del tempo e leggera traccia di sporco alla brossura. Mancanza di parte della carta nell'angolo basso del frontespizio. A parte i lievi difetti alla brossura e la mancanza al margine bianco basso del frontespizio, l'opera si presenta in buone condizioni di conservazione. Molto belle le tavole a colori. Prima edizione numerata di questo inno agli ZAR.
