Early Soviet Art and Architecture. Part 2: Theatre

EARLY SOVIET ART AND ARCHITECTURE.
PART 2: THEATRE
bookvica.com 1
FOREWORD
The year of 1917 brought the change. While the country was agonizing
in the flames of the Civil War, in the same flames the new cultural order
was being forged.
The avant-garde aesthetics met the left ideology and as a result

constructivism was born, soon it became the dominant style in
architecture, book design, theatre, cinema, etc. The results were
breathtaking, the momentum was up to the task, as the young Soviet
state didn’t yet put pressure on the young style, but the canons of the
old regime were no longer in use.
By mid-1930s the constructivism was branded as ‘the formalist art’, that

didn’t have enough social and political agenda. As a result it became
disagreeable for the lasting of Soviet state, the artists were no longer
allowed to contribute to the genre.
However we are lucky to encounter some of the books that survived to

this day from those radiant times and that are able to shine some light
on the art for the masses.
This time we decided to gather a selection on the theatre with a

significant part of the run of one of the most influential theatre
periodicals of the 1920s, Worker and the Theatre (#7); rare materials
on Meyerhold (#3,4) and Tairov (#2); the perception of the role of Maly
Theatre at the time (#6) and the archive of one of the theatres active in
1920s ‘Krivoe zerkalo’ (#10), etc.
One of the new sections is the section on the workers’ clubs and their
culture, this straightforward phenomenon of the art clubs for proletariat,
that is still under-researched.
Our classical section on Soviet architecture shows how during changing
2
FOREWORD
times the styles and the principles of architecture have changed as

well, sometimes the process was so rapid, many projects were never
brought to life.
Every book brings us closer to understanding the mysterious 1920s.
Bookvica team
We are glad to announce that Bookvica will be exhibiting at the

San Francisco Book & Paper Fair (February, 2-3), at the California
Antiquarian Book Fair (February, 9-11), at the New York Antiquarian
Book Fair (March, 8-11), at the ABA Rare Book Fair in London (May, 24-
26). Come to see us and talk more about books!
3
I
THEATRE
01 [ S I G N E D B Y S TA N I S L AV S K Y ]
Stanislavsky, Konstantin (1863-1938). Signed photo. 34x25 cm (frame),

14x10 cm (photo). Fine. Photo preserved in the contemporary leather
frame, with gilt ornament.
No 01
THEATRE 4
The autograph reads: ‘‘To a gentle and expansive Nadezhda
Matv. Malysheva. Trembling, agitated, suffering or joyous without any
limits. Don’t waste your capital, learn to leave economically, using
percents. In the art you need excerpt, even in the minutes of the highest
devotions or despairs. Excerpt combined with your amazing ability to
work can lead to great achievements. Heartily yours, K. Stanislavsky.
1922. 12/IX. Moscow’’.
The photo was a gift from Stanislavsky to the pianist Nadezhda
Matveevna Malysheva-Vinogradova (1897-1990) who worked with him
in his theatre, Moscow Art Theatre. Malysheva became well-known as
an accompanist of Fyodor Chaliapin (1873-1938) before the revolution.
Later she married Viktor Vinogradov (1895-1969), famous literally critic
and expert on A.S. Pushkin, and wrote memoirs about her early years
and her husband.
$ 3500
02 [ K A M E R N Y T H E AT R E ]
Masterstvo teatra. Vremennik Kamernogo teatra. #1-2 [i.e. The Art of

the Theatre. Kamerny Theatre Periodical]. Moscow: Izd-vo Russkogo
teatral’nogo obshchestva, 1922-1923. #1, 1922. 111, [1] pp.: ill. #2, 1923.
111, [1] pp.: ill. 22x17,5 cm. Both in original constructivist wrappers
designed by Stenberg brothers. Very good. Some general light soiling
of the wrappers, small tears and losses of the spine, front wrapper
detached (#2).
Worldcat locates Full set. #1 of 2000 copies, #2 of 1250 copies. Extremely rare
copies in Harvard,
Amherst College
periodical of the 1920s with many valuable materials.
Library, Yale These are the only two issues of Kamerny Theatre’s periodical.
University
Issues include such interesting materials as photos of the theatre hall,
Library.
set workshop, touring theatre company, portraits of A. Koonen, E. Uvarova,
I. Arkadin and Tairov’s portraits, sketch of set and costume designs by P.
Kuznetsov for the first theatre’s production ‘Sakuntala’, timetable of the
productions, excerpts from set designers diaries, A. Lopukhin drawings,
travel notes, K. Bal’mont’s article on Kamerny theatre and literature
(including his unpublished poem; #2, p.39), and other.
Articles by leading experimental theatre experts of the time
dedicated to problems of composition, theatre as science and as art,
THEATRE 5
contemporary drama, set design, operetta, European theatre, classical
theatre, puppet theatre, and other.
The Kamerny Theatre in Moscow was founded by the director
Alexander Tairov (1885–1950) in 1914. There he created a fruitful field
for experiments by staging foreign plays and including in his productions
ballet, opera, music, mime, drama. It first became an alternative to the
realism of Konsantin Stanislavsky’s Moscow Art Theatre. Over the next
35 years, this small, intimate theatre became ‘‘recognized as a major
force in Russian theatre’’. Among the many reforms associated with the
Kamerny are the use of different elements like music, dance, gesture,
and the inclusion of chanted or intoned speech as well as constructivist
art by Stenberg brothers. In many of its choreographed movements,
which made use of offbeat rhythms and atonal sound patterns, the
Kamerny anticipated certain dance configurations now associated with
modern dance. (Britannica) The theatre was as much loved as criticized
during its existence by different parties, and eventually shut down in
1949.
$ 2800
Cover. No 02
Cover. No 02
THEATRE 6
Illustration. No 02
Cover. No 03
03 [ V S E VO L O D M E Y E R H O L D ]
Meyerhold. Sbornik. K 20-letiyu rezhisserskoy i 25-letiyu akterskoy

deyatelnosti [i.e. Meyerhold. The Collection Dedicated to the 20 Years as
a Director and 25 Years of Acting]. Tver’: Oktiabr, 1923. 48, [2] pp.: ill.
In original wrappers with portrait. Very good, extremities with tears,
generally slightly rubbed.
Worldcat locates First and only edition. One of 1500 copies. Very rare.
three copies in
Getty, Standford,
Book design by G.I. Noskov, the local Tver’ artist, who attempted
LOC. to follow some of leftist typescript designs of the time experimenting
with fonts and layouts of the pages.
Edition includes materials dedicated to the life and work of
Vsevolod Meyerhold (1874-1940), famous Russian theatrical producer,
director, and actor. With photos by Kapustiansky-Shtenberg. Articles
about Meyerhold by Tikhonovich, Beskin, Blium, Levidov, Arvatov,
Fevralskiy, Yarotskiy, Chuzhak, Aksenov, Bigushevsky, Sergey Tretiakov,
Kerzhentsev, Vassily Kamensky.
$ 1200
THEATRE 7
04 [COLLECTION OF CLIPPINGS ON MEYERHOLD]
The clippings originate from newspapers ‘Pravda’, ‘Krasny

Putilovets’, ‘Leningradskaya Pravda’, ‘Pravda Severa’, ‘Bolshevistskaya
Borozda’, ‘Sovetskoe Iskusstvo’, ‘Teatr i dramaturgiya’, ‘Separator’, etc.
Some of the papers are provincial like the newspaper ‘Podporozhskaya
Pravda’ (printed in Podporozhie, a small town close to Finland) or
‘Bolshevistksaya borozda’ (printed in Okulovka near Novgorod).
A lot of the clippings are dedicated to the tour of the theatre in
Leningrad in 1931-34. Also with the program of the tour of 1931 with
the repertoire in Leningrad.
Among the full articles are ‘Meyerhold The Constructor’ by
A. Fevralsky; ‘The affection for Meyerhold’ by Yuri Olesha; ‘Vsevolod
Meyerhold. 60 years’ by Pudovkin; ‘From Kiu-Siu to Meyerhold’ by Igor
Ilyinskiy; the report on the Meyerhold’s trip to England in 1933.
In this selection there are no publications of accusations of the
director that has started to appear in 1937 with Meyerhold arrested the
same year and the theatre being closed in 1938.
No 04
THEATRE 8
However, in the publication from 2/11/1937 in ‘Sovetskoe
iskusstvo’ titled ‘Meyerhold na chistke’ [i.e. Meyerhold at the Purge] one
could sense the first notes of upcoming aggression, when the journalist
ended the article saying «We are certain in M.’s past and present, but
we are very uncertain of his future. We are awaiting from him the rapid
swift towards the topic of building the socialism, awaiting from him the
creation of Magnitstroys of theatre’.
$ 1200
05 [ D R A M AT I Z I N G T H E L I F E ]
Brukson, I.B. Problema teatralnosti. Estestvennost’ pered sudom marksizma

[i.e. The Problem of Theatrical. The Disengagement in Marxist Court].
Petrograd: Tretiya strazha, 1923. 59 pp. 23х16 cm. In original illustrated
wrappers. Very good. Spine with tears.
No copies First and only edition. One of 2000 copies.

according to
Constructivist wrapper designed by wunderkind of Petrograd
Worldcat.
theatre world Nikolay Akimov (1901-1968). Akimov was working as a
book designer full time, but at the same time his career as a theatre
designer had started already in BDT with the help of Nikolay Evreinov.
Akimov can be regarded as one of the most multifunctional personas
in Russian constructivism as he was active as poster and book designer
while working as a stage designer, and later as a theatre director. His first
work as a theatre director was ‘Hamlet’ staged in 1932 in Vakhtangov
theatre (Shostakovich wrote the score for that particular performance).
In 1927 ‘Academia’ printed a book dedicated entirely to 26-year-old
Akimov and the same year his first personal exhibition was held.
The book written by Petrograd art critic Yakov Brukson (1878-
1933) is analyzing the recent tendencies in the theory of the theatre.
In early 1920s young Soviet theatre was going through significant
changes, with avant-garde theatres taking over the old-regime ones.
In this spirit one of the most popular theatre conceptions was the
one by Evreinov, who proclaimed the philosophy of the ‘theatre itself’.
In his works he suggested to carry the theatre laws to the life itself,
dramatizing the life. Evreinov understood theatre so broadly that it led
some of his critics to blame him for denial of the theatre.
Brukson is criticizing Evreinov’s conception more mildly. He
THEATRE 9
disagrees with the idea of regarding the normal life theatrically, and
surprisingly defending Evreinov from Marxist positions. This narrative
is yet another interesting example of the Soviet thought of 1920s, when
young left ideology was in tune with the avant-garde conceptions in art.
$ 1000
Cover. No 05
06 [ M A LY T H E AT R E ]
Malyi teatr. Sto let Malomu teatru: 1824-1924 / Red. A. Kugel’ and V.
Filippov [i.e. One Hundred Years of Maly Theatre. 1824-1924 / Ed. by A.
Kugel’ and V. Filippov]. Moscow: Russkoe teatral’noe obshchestvo, [1924].
132, [4] pp.: ill., 3 pl. 31x15 cm. Original illustrated wrappers designed
by Boris Titov. Very good. Spine is fully preserved. Bleak foxing of the
front wrapper.
THEATRE 10
First and only edition. One of 1500 copies.
The classical publication on the history of the theatre looks
more up-to-date because of Titov’s constructivist allegorical frontispiece
showing Maly Theatre and Kremlin wall.
Maly Theatre always has been the bastion of classical theatrical
tradition. In 1920s the Blue Blouse was on trend like proletarian theatre
and avant-garde experiments of Meyerhold and Tairov. Maly stayed
with the tradition, though it was criticized heavily. Some critics even
were calling to shut it down, but narkom (minister) of culture Anatoly
Lunacharsky did not allow that. In 1930s Maly gained its repentance
back and became one of the best recognized theatres of the Union.
After a lot of experimental and avant-garde theatres were closed, some
of the leading actors found its salvation in joining the troupe of Maly.
$ 450
Cover. No 06
Illustration. No 06
THEATRE 11
07 [ L A R G E R U N O F A T H E AT R I C A L P E R I O D I C A L ]
Rabochyi i teatr [i.e. The Worker and the Theatre]. Leningrad: Kultotdel
LGSPS, 1924-37. 364 issues (of 529 published). Print runs vary from 5300
to 13000. All issues are in publishers wrappers. The condition varies, but
generally could be described as very good to near fine. No wrappers
(#47, 1925), no back wrapper (#52, 1927; #32/33, 1931). Please write to
us if you need more detailed condition.
Two thirds of all the issues that were published. Rabochyi i

teatr (RiT) was one of the most influential theatrical periodicals of the
time. It was founded as a media for new Soviet theatre. It’s important
to note that of all leftist theatre periodicals RiT survived the longest
(only in 1937 it was reformed and renamed). Before that although the
policy was changing with the times, the conception remained the same.
‘Novy Zritel’, ‘Rabis’, ‘Zrelischa’ were all terminated in late 1920s, while
RiT survived, fluctuating along with the party line. But also because of
that through the content of the issues the real transformation of Soviet
Theatre could be seen.
The periodical included the reports of the stagings with the
photos and drawings of stage designs, decorations and costumes. The
signature style of the periodical was characterised by the use of the
caricatures picturing the most prominent people in the area. In 1920s
they were done by Elena Tamrucci in a sketchy leftist style.
Significant part of the periodical in 1920s was dedicated to
cinema, in a section called ‘Rabochiy Ekran’ and other materials. For
example in #6, 1924 the extensive article called ‘The workers of all
planets, unite!’ Was published as a review on recently produced ‘Aelita’.
Also the circus chronicle.
According to the philosophy of the periodical the life of the
union non-professional theatres are covered as well. This includes
theatres on the factories, workers’ clubs and culture clubs. Often the
articles are illustrated with caricatures by Tamrucci or Kochergin,
accompanied with photos.
The artists that worked with the periodical included
Kochergin, Levin, Chekhonin, Tamrucci, Litvak, Getmanskiy, Ushin, Radlov,
Kantorovich, Vengerovskaya, etc.
Often in 1920s Lunacharskiy addressed the audience through
the journal with his short articles on the nature of theatre and recent
THEATRE 12
tendencies.
In the design of the magazines photomontages are used. Up to
mid-1930s almost every wrapper design is significant.
All in all, a remarkable collection of this highly influential
periodical.
$ 10000
Covers. No 07
THEATRE 13
THEATRE 14
Article, photomontage, portraits. No 07
Cover. No 07
THEATRE 15
THEATRE 16
08 [SCOPES MONKEY TRIAL]
Bogomolov, D. Obezianiy sud, ili Prestuplenie uchitelya Dzhona Klopsa:

Sovershenno neveroyatnoe, no deistvitel’noe proishestvie. Komedia v 4
deistviyakh i 8 kartinakh [i.e. Monkey Trial, or John Klops Offense: Utterly
Improbable but Real Incident. Comedy in 4 Acts and 8 Scenes]. Moscow:
Moskovskoe teatral’noe izdatel’stvo, 1926. 96 pp. In original printed
constructivist wrappers. Very good, spine is repaired with paper,
restoration of the verso of t.p.
Worldcat locates First and only edition. One of 3000 copies. Very rare.
a copy in Harvard
College Library. A very curious product of an early Soviet era - comedy based
on famous Scopes Trial occurred in 1925 in Tennessee. The name of
John Scopes changed to John Klops. In his introduction the author
addressed to producers and directors of play with suggestions. First
of all, the author stated that even though the idea of the play is not
yet popularized among workers but the author avoided everything that
could be difficult to understand. Bogomolov also suggested was to
separate play and lectures on the subject. He thought it would be better
to held lectures (he even gives possible topics such as ‘The Origins of
Cover. No 08
THEATRE 17
Life on Earth, Religion and Science, Was there Adam?) a few days before
the production. His second advice was to give a discount to those who
visited both lecture and play (or a free lecture and discount for those
who visited). Another suggestion was to put a poster with short answers
to questions like ‘who was Darwin and what did he do?’.
$ 450
09 [ T H E AT R I C A L M E M O I R S ]
Full set of the book series ‘‘Teatral’nye memuary’’ [i.e.Theatrical Memoirs.

Destinies of Theatre and Theatre Life Depicted by Theatrical Individuals]
(1927-1934). Every book was written by significant figure of the history
of Russian theatre. The series was edited by Pavel Novitskii (1888-
1971), a notable art critic in the constructivist movement.
9.1. Teliakovskii, V.A. Moi sosluzhivets Shaliapin [i.e. My Colleague

Chaliapin]. Leningrad: Academia, 1927. 168 pp. 11x15 cm. In original
constructivist wrappers by Russian artist Valentina Khodasevich. Good,
original dust-wrapper preserved partially, occasional minor stains. First
and only edition. One of 6100 copies.
This is edition of Vladimir Teliakovskii’s enlarged and more
detailed memoirs about his partnership with Feodor Chaliapin. Vladimir
Teliakovskii (1860-1924) was the last director of Russian Imperial
Theatres, including Bolshoi and Malyi Theatres, in 1898-1917.
9.2. Bezpalov, V.F. Teatry v dni revoliutsii 1917 goda [i.e. Theatres during
Revolution of 1917]. Leningrad: Academia, 1927. 140 pp. 11x15 cm. In
original constructivist wrappers by V. Khodasevich. Good, original dust
jacket lost, owner’s note on the title page, Soviet bookshop stamps on
the back cover. First and only edition. One of 3100 copies.
This is edition of memoirs by Vasilii Bezpalov who was opera
singer in pre-revolutionary time and administrator of Petrograd state
theatres in unstable 1917. These memoirs became an important source
for researches on history of theatre in 1917 that were made in 1930s.
9.3. Savina, M.G. Goresti i skitanija. Zapiski. 1854-1877 [i.e. Sorrows and
Tribulations. Notes. 1854-1877]. Leningrad: Academia, 1927. 224 pp., 1
port. 11x15 cm. In original constructivist wrappers by V. Khodasevich.
Good, original dust jacket lost, wrappers slightly soiled, minor loss of
the bottom of the spine. Second edition. One of 5100 copies.
THEATRE 18
Cover. No 09
The edition of memoirs by one of leading Russian actress of

19th century Mariia Savina (1854-1915).
9.4. Chekhov, M.A. Put’ aktera [i.e. The Actor’s Way]. Leningrad: Academia,
1928. 176 pp., 2 port. 11x15 cm. In original wrappers by V. Khodasevich.
Original dust jacket lost, losses of the spine, otherwise good. First
lifetime edition. One of 6200 copies.
This is edition of memoirs by Mikhail Chekhov (1891-1955)
who was brilliant actor and well-known Stanislavsky’s student.
9.5. Val’ts, K.F. 65 let v teatre [i.e. 65 Years in the Theatre]. Leningrad:
Academia, 1928. 240 pp., 1 portr. 11x15 cm. In original wrappers and
dust jacket by Soviet illustrator and type designer Aleksei Ushin. Very
good, owner’s note on the title page. First and lifetime edition. One of
5100 copies.
This is edition of memoirs by Karl Val’ts (1846-1929) who was
Russian stage designer. Although he was mainly known for the long
work in Bolshoi theatre, several private enterprises attracted him as
well. His collaboration with Diaghilev and Stanislavski became the
highlight of his carrier.
9.6. Vishnevskii, A.L. Klochki vospominanii [i.e. Scraps of Memoirs].
Leningrad: Academia, 1928. 128 pp., 1 port. 11x15 cm. In original
wrappers and dust jacket by A. Ushin. First and only edition. One of
THEATRE 19
5100 copies.
This is memoirs by Aleksandr Vishnevskii (1861-1943) who
was one of the founding actors of Stanislavsky’s Moscow Art Theatre.
9.7. Medvedev, P.M. Vospominaniia [i.e. Memoirs]. Leningrad: Academia,
1929. 360 pp., 1 port. 11x15 cm. In original wrappers by A. Ushin. Very
good, original dust jacket lost, stain on upper outer corner throughout
several pages, pale water stains on the lower margins. First separate
edition. One of 4100 copies.
The edition of memoirs by well-known Russian stage actor
and impresario Petr Medvedev (1837-1906). Over 15 private drama and
opera theatres were founded under his direction in the different cities.
The edition contains the foreword by theatre critic Aleksandr Kugel’
who is also known as founder of Russian parody theatre ‘‘False Mirror’’
(see #10 of this catalogue).
9.8. Shubert, A.I. Moia zhizn’ [i.e. My Life]. Leningrad: Academia, 1929.
312 pp., 1 port. 11x15 cm. In original constructivist wrappers and dust
jacket. Very good, few pale bookshop stamps and marks on the dust
jacket and recto of back cover. One of 4100 copies.
This is edition of uncompleted memoirs by Aleksandra
Shubert (1827-1909) who performed mainly on the stages of many
small provincial theatres, which makes her memoirs very curious and
valuable.
9.9. Kriger, V.V. Moi zapiski [i.e. My Notes]. Leningrad: Academia, 1930.
120 pp., 1 portr. 11x15 cm. In original constructivist wrappers. Very
good, original dust jacket lost, wrappers are detached from the text
block. First and only edition. One of 3000 copies.
The edition of memoirs by well-known ballerina Viktorina
Kriger (1893-1978). In 1929 she established Moscow Art Ballet Troupe
that followed the Stanislavsky’s system. In 1939 this troupe became
an important part of Nemirovich-Danchenko’s Music Theater (since
1941 Moscow Academic Music Theater called after K. Stanislavskii and
V. Nemirovich-Danchenko). These memoirs are the first Russian book
about ballet that was written by ballerina.
9.10. Strepetova, P.A. Vospominanija i pis’ma [i.e. Memoirs and Letters].
Leningrad: Academia, 1934. 590 pp., 18 ill. 11x15 cm. In original brown
cloth and constructivist dust jacket by Soviet artist Boris Shvarts. Small
tears of the edges of dust jacket, otherwise very good. One of 5300
copies.
The edition of memoirs by Pelageia Strepetova (1850-1903)
THEATRE 20
who performed at the Aleksandrinsky theatre and attracted attention of
famous people like V. Nemirovich-Danchenko, P. Tchaikovskii, I. Turgenev.
$ 2600
10 [ C A B A R E T T H E AT R E ‘ FA L S E M I R R O R ’ ]
The archive of ‘Krivoe zerkalo’ [i.e. The False Mirror]. [Leningrad,

1920s]. 46 items. Archive consists of 3 photos of the actors (signed),
3 posters on the performances of the theatre, 2 programs, the folder
with numerous newspaper clippings with the articles on the theatre,
6 typescripts of the plays that passed censors in different republics of
the Union (it was done for the tours, every area required a new censor’s
stamp), drawings of scenery and props with explanation text, the list of
the troupe members and theatre’s staff, the hand-written repertoire of
the theatre, the handwritten list of things to do by Kulekov, where he
mentions ‘the necessity of creating the completely new artistic method’
and ‘transforming the repertoire towards education of the workers’
etc; the folder with theatre’s documentation, notes from Kulikov to the
actors, screenplays, protocols, speeches etc. including the part of the
screenplay for ‘Battleship Potyomkin’, adapted for stage by Trakhtenberg,
that was never staged.
‘Krivoe zerkalo’ was a well-known cabaret theatre that existed
in St. Petersburg and Leningrad in 1908-1931. Originally the idea to
create ‘the theatre of the parody’ came to editor-in-chief of the magazine
‘Teatr i iskusstvo’ [i.e. Theatre and Art] Alexander Kugel (1864-1928), his
wife actress Zinaida Kholmskaya (1866-1936), one of the most popular
satirist writers of the day Teffi and others. At the same time the similar
idea occurred to V. Meyerhold and as a result two theatres were open
under one roof - ‘Krivoe zerkalo’ by Kugel and ‘Lukomorie’ by Meyerhold.
However soon ‘Lukomorie’ closed down and ‘The Mirror’ became one
of the few cabaret theatres in St. Petersburg. The performances have
started at midnight, and the concept was to include the actors from
other theatres to participate in performances after their usual shifts.
In 1910-1917 one of the brightest experimentations of Russian avant-
garde theatre Nikolay Evreinov became the main director of ‘Krivoe
zerkalo’, the theatre adopted more serious tone, the troupe became
more stable.
The theatre was temporarily shut down during the Civil War,
THEATRE 21
and was reopened by Kugel in 1922. In 1920s Kugel tried to remain
in the tradition set by the theatre pre-1917: it was a satirical theatre,
repertoire included parodies, Kugel also restored Evreinov’s old
productions. Theatre didn’t gain back its popularity, because in 1920s
Soviet Russia the new standards of Satire and Humor started to show,
reflected more by Moscow Theatre of Satire and alike.
Our archive covers the last period of the existence of the
theatre - second half of 1920s, till 1931. In 1928 Kugel has passed away,
and a member of magazine ‘Rabochy i teatr’ Valentin Kulekov became
the new director.
Full description of the content available upon request.

$ 4500
THEATRE 22
11 [ AC T O R S A S R E C I T E R S ]
Verkhovtseva, F. Rabota chtetsa-aktiora [i.e. The Work of an Actor-Reciter].

Moscow: Teakinopechat’, 1930. 63 pp., 1 ad.: ill. 17,5x13 cm. In original
photomontage constructivist styled wrappers. Very good. Rubbed, tears
of the spine, Soviet bookshop’s stamps (one is erased).
Worldcat locates First edition. One of 5000 copies. Rare.

an only copy in
Harvard College This is a remarkable evidence of the time when actors were
Library. in high demand across the Union for their reciting abilities. The rise
of educational needs, emergence of thousands of workers’ clubs, etc.
led to actors traveling around and reciting fiction. The book itself is
very interesting: it includes a few rare photographs of such recitals
and even a photograph of worker’s cafeteria where sometimes such
recitals were held. It also includes excerpts from the author’s diary
(actor F. Verkhovtseva) from which one can learn that such practices
were coming to stay with difficulties, workers preferred music and sung
couplets and often during lunch breaks. The author also offers her
thoughts on how to improve this practice, like moving concerts from
lunch breaks to evenings, attract directors and set designers, improve
decoration of the clubs, etc., so the concert would eventually become a
play.
$ 600
Cover. No 11 Photographs. No 11
THEATRE 23
12 [ M O S C O W T H E AT R E O F S AT I R E . T H E P H O T O B O O K ]
Moskovsky teatr satiry. Kazhetsia smeshno [i.e. Moscow Theatre of Satire. It

Seems Funny! / Dedicated to 10-year Anniversary of the Moscow Theatre of
Satire]. Moscow: Moskovsky teatr satiry, 1935. 117, [3] pp.: ill., 4 pl. 26x18
cm. Original publisher’s cloth with lettering. Near fine. Contemporary
pencil underlinings in the second half of the book.
First and only edition. One of 5000 copies. Rare. A rare example
of the photo book dedicated to theatre. Photomontages and design
by Chekryzov. The lettering on the title and the binding by L. Brodaty.
The graphics and illustrations by Brodaty, Ganf, Eliseev, Kukryniksy and
Williams. The photomontage endpapers which show the troupe of the
theatre laughing deserve a separate mention.
The book includes the story of the theatre, the bios of the main
actors, a lot of caricatures as well as the full repertoire for the past
10 years. Also some of the articles like Gorchakov’s ‘On the Nature of
Laughter’ explore theatre’s methods and technics, going into theatre
theory. All in all content of the book has a balance of being witty, but
also informative.
The Moscow Theatre of Satire that exists to this day has been
one of the most influential theatres in the city throughout its history.
Originally the idea of the satirical theatre came from the collective
of Krokodil magazine. Later they were joined by some actors from
‘Letuchaya mysh’ [i.e. The Bat] and the new theatre was formed, led by
Viktor Teapot, David Gutman and Georgy Holmsky.
$ 1100
Endpapers. No 12 Illustration. No 12
THEATRE 24
II
CINEMA
13 [INFLUENTIAL FILM THEORIES]
Balazs, Bela. Kul’tura kino [i.e. The Culture of Film]. Moscow; Leningrad:
Gosizdat, 1925. 96 pp. 23x16 cm. In original constructivist wrappers
designed by Boris Ender (1893-1960), Soviet avant-garde artist. Very
good, small repairs of the front cover, loss of the spine and back cover
(neatly replaced with paper of same color), small tears of the last page
(repaired).
Worldcat locates First Russian translation. Translated from the German original
a copy in Harvard.
Der sichtbare Mensch [i.e. Visible Man, or the Culture of Film], first
published in 1924. Edited and with introduction by Adrian Piotrovsky
(1898-1937), art director of Leningrad Film Studio. Supplemented with
short review of Charlie Chaplin and Soviet cinema.
Cover. No 13
CINEMA 25
The famous work by Bela Balazs (1884-1949), Hungarian-
Jewish film critic and writer, probably the first major work on film theory.
It had a big influence on such major Russian filmmakers as Vsevolod
Pudovkin and Sergei Eisenstein, and were among the first studies to
examine filmic syntax, grammar, and editorial structure.
‘‘In this ninety-page treatise, Balázs stakes a claim for film as
an art that may restore to modernity the lost expressive capacities of
the visual body. Under such headings as ‘Type and Physiognomy’, ‘The
Play of Facial Expressions’, ‘The Close-Up’ and ‘The Face of Things’, he
presents a typology of expressive elements which together comprise
the ‘only shared universal language’, the image-language of film’’. (Carter,
E. Screen, Issue 1, 1 March 2007, p.91)
$ 950
14 [ H O W T O F I N D Y O U R P L A C E I N F I L M I N D U S T RY ]
Gavriushin, K.L. Ya khochu rabotat’ v kino: Posobie pri vybore professii

[i.e. I Want to Work in Cinema: Guide to Choosing Profession]. Moscow:
Kinoizdatel’stvo RSFSR, 1925. 64 pp. 15x11,5 cm. In original illustrated
wrappers.
Worldcat First and only edition. Rare.

locates copy in
Getty Research
Very curious little brochure on employment in film production
Institute. which provides short overview of main jobs in it starting including no-
existing today: writer, director, assistant director, designer, director of
photography, actor, make up artist, dresser, editor, developer and a few
other to do with film, musician, movie theatre manager, projectionist,
etc. Also are described professional unions of film workers, press, film
schools, workshops and factories, and other places where one can find
something to do with cinema.
The constructivist design of the wrappers by Piotr Galadzhiev
(1900-1971), Soviet actor, set designer and artist who besides
participating in theatre productions was also an illustrator for a few
film magazines. He also designed covers for the film magazine Kino-
Eye and for the popular film library Kinopechat, for which he produced
a cover for the 1926 pamphlet on Sergei Eisenstein and his famous film
‘Battleship Potemkin’.
$ 500
CINEMA 26
Cover. No 15
Cover. No 14
15 [ F I R S T S T E P S O F S OV I E T C I N E M A ]
Marshan, R. Veinstein, P. Piat’ let sovetskoi kinematografii: 1919-1924

[i.e. Five Years of Soviet Cinema: 1919-1924]. Leningrad: Zhurnal
‘‘Kinonedelya’’, 1925. XVI, 256 pp., 5 pl.: ill. port., tabl. 26x18 cm. In
original wrappers. Some soiling and couple of small tears of the
wrappers, cracks and some restoration of the spine, pencil marks on the
title page. Otherwise very good.
First edition. One of 3000 copies. Design by Dmitri Mitrokhin.

Worldcat locates
an only copy
This is a ‘‘historical, political and economical review’’ by French
in Los Angeles journalist Rene Marchan and Petr Veinstein, editor of Kinonedelya [i.e.
County Museum
Film Week] magazine, which is actually a very interesting account of
of Art.
first years of Soviet cinema with numerous rare photographs, movies
shots, and tables as well as full of facts and information, official decrees
and first regulations, review of main film organizations (Sevzapkino,
Goskino, Proletkino, Kinomoskva, Mezhrabpom, Kinosver, etc.), cinema
in different parts of the Union (Karelia, Tatarstan, Far East, Georgia,
Uzbekistan and others), memories of the first Soviet film workers, etc.
$ 1200
CINEMA 27
Photograph. No 15
Photograph. No 15
Photograph and film shots. No 15
CINEMA 28
16 [ F I L M I N D U S T RY I N 1 9 2 6 ]
Kino-spravochnik na 1926 g. [i.e. Film Directory for 1926]. Moscow:

Kinopechat’, 1926. 285, [7] pp. 17,5x10,8 cm. In original printed
constructivist wrappers. Tears and loss of small bits of spine, general
soiling of the wrappers, tiny tears of the margins of a few pages.
Worldcat locates First and only edition. One of 7000 copies. Edited and with
one copy in Los introduction by Grigory Boltiansky (1885-1953), Soviet film historian
Angeles County
Museum of Art. and founder of the revolutionary newsreel and one of the founders of
Soviet cinematography. Wrappers design by Konstantin Vyalov (1900-
1976), student of Lentulov, Tatlin, Shterenberg and one the founders of
Society of Easel Painters (OST).
This is the first film directory printed in USSR. There were two
more annual directories published (for 1927 and 1929). In this directory
described all current aspects of a young Soviet film industry including
system of Soviet cinema legislation, work of Art Council of Cinema
(established in 1924) & committee for control of repertoire, conditions
Cover. No 16
CINEMA 29
of import and export, work of main Soviet film companies (Goskino,
Kultkino, Mezhrabpom, Uzbekgoskino, Proletkino, Azgoskino and others),
list of films and films to be released (fiction, newsreel, popular science,
including works by Eisenstein and Vertov), short history of cinema
and Soviet cinema, review of world film industry (Europe, America,
Palestine, India, Manchuria), film distribution, movie theatres (with
table on attendance and list of theatres with addresses), list of best
Moscow theatres with information on them, films in workers’ clubs and
countryside, education in film, production and trade of film equipment,
unions, film press. The directory includes address index in the end. The
directory has a lot of advertisements, also a great evidence of the time.
In his introduction Boltiansky is complaining that Soviet film
organizations haven’t yet started to keep statistics. He put together
raw data, and only some of it according to him can be used for analysis.
The directory was made for mass audience, so its compilers tried to tie
up facts of the present with history and therefore the book contains
historical excerpts on different matters.
Overall a great account on Soviet cinema in 1920s, the most
interesting time in culture in 20th century.
$ 1000
CINEMA 30
III
ARCHITECTURE
17 [FUTURISTIC SCHOOLS]
Proekty zdanii dlia uchrezhdenii sotsial’nogo vospitaniya [i.e. Designs of

Buildings for Social Education]. Moscow: Gosizdat, 1930. 125, [2] pp.: ill.
36x26 cm. In original oversized wrappers. Very good. Some restoration
of the wrappers, slightly rubbed and age toned, ink stains. Owner’s ink
stamp on the t.p. (from the books of famous Soviet architect Leonid
Grinshpun (1906-1981)).
Worldcat First and only edition. One of 4000 copies. Very rare.
locates a copy in
Columbia.
Constructivist wrapper designed by P.V. Pomazanov.
This edition is dedicated to problems of construction of
education centers - schools, orphanages, after-school institutions. It
examines current state and problems of school buildings, organizing
design and construction works, future plans and perspectives,
pedagogical requirements, norms and tasks for the design of institutions.
The programs is accompanied with typical designs of school buildings:
schools in villages (version in wood and stone), national schools and
boarding national schools, teachers’ houses, seven-year school, school
for kolkhoz youth, dormitory, factory seven-year school, ten-year school,
workshops, sport yards, gym.
The most curious program and design for children’s educational
combine (kombinat). A very unusual name for a school which basically
was a typical at the time of publishing. All other designs belong to
futuristic Socialistic cities as they called in the edition.
A very interesting collection of materials on schools which
never were built and remained plans and designs.
$ 2000
ARCHITECTURE 31
Cover. No 17
School design. No 17
ARCHITECTURE 32
[CONSTRUCTION OF CLUBS]
18
Materialy po stroitel’stvu klubov i domov kul’tury na 1932 god [i.e. Materials
on Constructing of Clubs and Houses of Culture]. Moscow: Profizdat, 1931.
54, [2] pp. 22,5x14,5 cm. In original wrappers. Good, tears and losses of
the spine and corners of the wrappers, verso of the front cover repaired
with paper.
No copies in the First and only edition. One of 10000 copies. Very rare.
Worldcat. A lot of attention was paid to the problems of workers’ clubs in
the 1920s - a forge of a ‘new man’. This issue was especially intensively
discussed during the deployment of the mass construction of workers’
clubs. In 1926-1927 the mass construction of workers’ clubs began. In
1926, when the task of building new capital buildings for workers’ clubs
was actually set, the clubs themselves numbered almost 3,500.
These are program assignments for constructing clubs on
1932 which were developed by Science and Technic Council of Club
Construction. These programs are basically how to build a club or
house of culture. There are five types for different needs depending
on what is needed: club with mass capacity of 300, 400 people, clubs
with theatre or movie theatre for 500, 750, 1000 people. For each type
is provided general guide lines, estimated cost, man power, how to
calculate needed capacity and choose type, height and how many floors
should be, heating, materials, what types of rooms have to be there
(auditorium, rooms for art sections, smoking rooms, buffet, etc.), areas
for summer work, cubage for every room, general cubage and cubage
for each man.
From 1917 to 1925 improvisation in construction was the rule,
not only because little was being built but also because the idea of
a club was still fluid. It was not until 1925 that the club first found
both its true function and a style stripped of outmoded conventions. In
accordance with the principle of decentralization and the accessibility
of cultural facilities, it was to be designed either for a neighborhood
or for factory workers at their place of work. In the 1920s clubs were
designed by avant-garde architects and became one of the symbols of
this remarkable era. But in the beginning of the 1930s the focus was
on the creation of typical designs and buildings across the Union. It
was successfully achieved including through such editions as this. A
remarkable evidence of the major shift in Soviet life.
$ 950
ARCHITECTURE 33
Cover. No 18 Cover. No 19
19 [EXHIBITION OF ARCHITECTURE]
Pervomaiskaia (2-ya) vystavka planirovski i arkhitektury na ulitse Gor’kogo

[i.e. The Second Exhibition of Planning and Architecture on Gorky St. on the
First of May]. Moscow: Pervomaiskaya komissia MGK VKP(b) i Mossoveta,
1934. 24 pp.: ill. 22,5x15 cm. In original illustrated wrappers. Very good,
small tears of the wrappers.
Worldcat Rare catalogue of the exhibition which was held in May in 1934
locates a copy in
Columbia.
on the main Moscow street. More than 100 objects were presented.
Among them were designs and plans of factories, living houses,
embankments, workers’ clubs, general plans of some districts and
reconstruction plans, institutes and theatres, stadiums and swimming
pools, hotels and government buildings, etc. The most interesting
objects were from workshops of K. Mel’nikov (Intourist Garage, DONO
School, variant of Goncharnaya Embankment), M. Ginzburg, V. Vesnin, I.
Fomin, N. Kolli, N. Ladovsky, I. Golosov, and others.
The catalogue supplemented with designs like design of
metro station (N. Kolli), living house on Rostovskaya Embankment (A.
Shchusev), Theatre of Red Army (K. Alabyan), living house on Mokhovaya
st. (I. Zholtovsky), and two designs which were never realized - Palace of
ARCHITECTURE 34
Soviets and plan of territory around the Palace (Iofan and Shchuko). The
Palace of Soviets is also showed on the front cover.
$ 700
Illustrations. No 19
20 [ T H E M A I N M O S C O W A RC H I T E C T U R E M AG A Z I N E ]
Stroitel’stvo Moskvy [i.e. Constructing Moscow]. Moscow, 1935. 18 issues.

Very good. Tears of the spine (#2/3, 12,9/10, 7/8, 15, 17/18), period
shipping label on the back cover (#2/3, 12,5, 9/10,6, 7/8), wrappers
slightly rubbed, traces of glued paper (#6, 7/8), loss of a small bit of
back cover (#17/18) and tear of the front cover (#15).
Full set for 1935 year. Rare.

The main magazine on architecture and construction of Mos-
ARCHITECTURE 35
cow told about the successes of Moscow architects and builders, in detail
described projects and already built buildings, technical innovations
and features of architectural and construction crafts. Ten years after its
launch, it boasted numerous photographs of buildings and interiors,
sketches of future projects and portraits of figures of architecture and
construction, plans for building or reconstruction, maps, as well as
colored inserts.
Among the most interesting materials in the set: materials on
controversial hotel ‘Moscow’ designed by A. Shchusev (#17/18); factory
designed by P.A. Golosov in constructivist style (#16. «...constructivism as
a certain art system is completely unacceptable for us. It doesn’t satisfy
Golosov himself, he moved away from it... But in this design Golosov
didn’t use constructivism as blind dogma’’); the entire issue #2/3 about
Moscow metro; second line of metro (#13/14); colossal Moscow-Volga
Channel (#9/10); Moscow reconstruction with photographs ‘before and
after’ (#7/8); entire issue about transport and its development (#11);
article with photos of Central House of Exile designed by Vesnin brothers
(#6, ‘‘It seems that architects should have designed the building using
monumental architectural forms. Unfortunately they didn’t. Cubism and
constructivism are more than
ARCHITECTURE 36
they didn’t. Cubism and constructivism are more than obvious here’’); a
few especially interesting photographs of living houses, e.g. House of
Mossovet and Dormitory of Police Workers (#1).
It’s interesting to trace the obvious shift in wrappers, design
and contents which magazine suffered in 10 years since its first issue
as the architecture of Moscow did as well. It went from striking raw
and naked constructivism of 1920s to Stalinist monumentalism and
rejection of anything else of 1930s.
$ 3000
21 [ D E S I G N & C O N S T R U C T I O N O F P U B L I C B AT H S ]
Smetnev, N.I. Proektirovanie i sooruzhenie bannykh i vanno-dushevykh

ustroistv [i.e. Design and Construction of Bath Systems]. Moscow;
Leningrad: ONTI, 1936. 227 pp., 7 ill.: ill. 23x15,5 cm. In original
publisher’s card boards. Boards rubbed, pale Soviet bookshops’ stamps
on the rear board, small tear and crease of the t.p. Otherwise a very
good clean copy.
No copies on First and only edition. One of 5000 copies. Very rare.
Worldcat. The constructing ‘man of a new social type’ in USSR was one of
the main goals, and instantly it met with a general absence of hygiene.
Sanitary education was built on principles of collectivism because the
social not personal hygiene was its goal. Workers’ clubs being forge of a
new man were supposed to become the main horn of cleanness. Sanitary
plays were staged, ‘boards of health’ were hung with slogans. But later
in 1920s medical and physiological content became more important
in propaganda than social part. Water procedures and hygiene became
almost mandatory scenes in films of 1920s.
There were no conditions for home baths because of the rapid
influx of people into cities. That’s why public baths became one of the
focus in Soviet construction. Projects of new baths were in demand,
and the main request was to turn them into «washing and degassing
points» very quickly. This way baths became first of all sanitary pass.
New norms for these projects were also being developed focusing not
only on this matter and matter of hygiene but also on health promotion,
development of sports incentive (like building swimming pools and
gyms in baths).
ARCHITECTURE 37
No 21 No 21
No 21
ARCHITECTURE 38
This edition was used as a text book for students of universities
with extensive materials on bath system abroad and before the
revolution, current state (with collective table on all baths in USSR),
medical value of bath procedures (with information on how baths
take people of different jobs). The most important part is dedicated to
planning bath systems in cities, normative data, methods of designing
baths in households, public, kolkhoz,‘baths-passes’, baths with swimming
pools, reconstruction of old baths, bath and laundry complex, shower
rooms. Other chapters are on furniture in baths, building materials,
sewerage, cold and hot water supply, ventilation, etc.
The book is supplemented with numerous photographs, plans,
designs, tables with hard to find statistic data.
$ 1200
22 [COLOR IN ARCHITECTURE]
Alekseev, S.S. Shevarev, P.A. Teplov, B.M. Tsvetovedenie dlia arkhitektorov

[i.e. Color Studies for Architects]. Moscow; Leningrad: GONTI, 1938. 160
pp., 12 pl.: ill. 23x16 cm. In original cloth. Very good. Owner’s inscription
(pen) on the half-title.
First edition. One of 6000 copies. With second title page in

Worldcat locates
copies in Library
English.
of Congress, This is one of the first books on color in architecture in Russia.
Columbia and
This is a textbook for students of architecture in two parts, first is
University of
Texas. dedicated to general knowledge on colors which are necessary for
future architects. It explains such matters like color of bodies, mixing
of colors, color and sight, measuring colors, color perception. Second
part consists of specific for architects problems like paints and lighting
(how paint of the building or room influence its lighting). The most
valuable in this book many practical advices on correct usage of colors
concentrated in this second part. Besides color plates with examples of
mixing and combining colors the edition is supplemented with many
tables. One of them has all colors matched with areas of use, resistance
to light, main function (inside and outside coverage, decor, roof paint),
specific characteristics (chemical reactions to other materials) and
other.
The edition stand out from other textbooks of the period
ARCHITECTURE 39
No 22
No 22
No 22
through its design: illustrated endpapers, colorful plates, initials and

endings.
$ 1200
23 [ S AV I N G C U LT U R A L H E R I TA G E ]
Spisok pamyatnikov arkhitektury, podlezhashchikh okhrane, kak pamyatniki

gosudarstvennogo znacheniya. Moscow [i.e. The List of Architectural
Monuments Subject to Protection as Monuments of State’s Significance].
Moscow, 1963. 17 brochures. 27x20 cm. Original printed wrappers. Fine,
ARCHITECTURE 40
small corner of #5’s front wrapper cut off.
Each brochure of 400 copies and with restricted classification

on the front wrappers «For internal use» (which means they were not
printed publicly). Unique and extremely hard to find brochures which
served as a supplement to the decree of Cabinet Council of the RSFSR
#1327 from 30th of August, 1960 ‘‘On further improvement of the
protection of cultural monuments in the RSFSR’’.
Brochures include a table with all buildings in one Moscow
district which were named ‘architectural monument’ and since then
was under state’s protection. For every entry there is number of objects,
name and time when it was build (for some also name of architect and
common name), address, nature of use. Building on these lists include
churches, living houses, manor houses, hospitals, monasteries, and
others.
$ 1250
No 23
ARCHITECTURE 41
IV
ART THEORY
24 [DEFINITION OF CONSTRUCTIVISM]
Gan, A.M. Konstruktivizm [i.e. Constructivism]. Tver’: Tverskoe izdatel’stvo,

1922. [2], 70 pp. 23,5x20 cm. In original letterpress wrappers attributed
to Aleksandr Rodchenko. Very good. Occasional pencil markings in the
text, a few small tears of the wrappers, tiny bits of the spine missing.
Worldcat locates First edition. One of 2000 copies. Very rare.

physical copies Aleksei Gan’s Constructivism was the first theoretical work of
in Art Institute
of Chicago, constructivist movement and became its declaration. He defined its
Getty, Harvard, three core principles - tectonics, texture and construction which made
Met, MOMA,
Princeton, artists and architects in his words ‘constructors’ who must focus on the
Stanford, NYPL, fusion of art with everyday life to create a system of design where
National Gallery
of Art Library,
‘‘everything will be conceived in a technical and functional way’’ - a
University of fitting contribution to the great task of building the new communist
Michigan, Ohio
society.
State University,
University of Aleksei Gan (1893-1942) was a Russian avant-grade artist and
Illinois at Urbana art theorist, a key figure among Russia’s post-revolutionary avant-garde,
Champaign.
working across theatre, architecture, graphics and cinema. The book
was penned, typeset and printed by Gan himself. His layout is one of
the first experiments in Constructivist typography and graphic design.
$ 1300
25 [ F R O M P R O L E T K U LT T O L E F ]
Arvatov, B. Iskusstvo i klassy [i.e. The Art and Classes]. Moscow: Gosizdat,
1923. 87, [1] pp. 24x16 cm. Original illustrated wrappers. Very good with
some tears of the wrapper.
First edition. Rare. One of 7000 copies.

The classical work by one of the LEF ideologists Boris Arvatov
(1896-1940). In this work many postulates of constructivist art were
ART THEORY 42
formulated. For the design of the wrapper the unknown artist used only
typographical elements, which was the identification of this style in
1920s.
Worldcat locates Arvatov proclaimed the uselessness of panel painting, calling
two copies in for all the art to be connected with the industry. This is a true declaration
Getty and UNC.
of the art for the proletariat, written by an art theoretician.
Arvatov was an active member of Proletkult, the organisation
created during Civil War and supported by Lunacharskiy. This work could
be regarded as the bridge between Proletkult ideology of discovering
the art for the masses to LEF ideology with its aesthetics.
Later Arvatov published several more articles, one of the most
important of them being ‘Rechetvorstvo’ in LEF magazine #2,1923, in
regards to the relation of Khelbnikov/Kruchyonykh to constructivists.
$ 1250
ART THEORY 43
Cover. No 25 Letterpress title page. No 25
26 [ T H E O RY O F P H O T O M O N TA G E ]
Tarabukin, Nikolay. Iskusstvo dnia [i.e. The Art of the Day. What to
Know In Order to Make a Poster, Lubok, Advertising, Assemble a Book,
Newspaper, Billboard, and What Abilities Photo-technics Provide]. Moscow:
Vserossiyskiy proletkult, 1925. 135, [2] pp. 22x15 cm. Original publisher’s
cover. Tears of the spine, tear of the half-title, otherwise very good.
Only one copy First edition. One of 3000 copies. Very rare.
(Yale) according
The program work by art critic Nikolay Tarabukin (1889-
to Worldcat.
1956), one of the ideologists of Proletkult, who at the time taught at
VKHUTEMAS.
The art of the day is the art that is born in the day, that is dying
with the dawn of the day - that’s how Tarabukin defines the new art,
however admitting its importance, he explains the purpose of creating
this book as a guidance for the artists, designing billboards, wrappers of
the books, posters, advertising, newspapers etc.
He calls the poster ‘the weapon of mass influence’ and puts
in above all other forms of ‘minor art’ in its importance for the masses.
In the second chapter Tarabukin gives the principles of the Soviet
advertising, in the third called ’old folk lubok and new agit-lubok’,
explains how to transform old tradition of the luboks printed for the
people into weapon of propaganda. The seventh chapter is dedicated
ART THEORY 44
to the new abilities of photo design. Among other things, the definition
of photomontage is given with advises how to use it.
Tarabukin calls photomontage ‘the new era in pictorial art’.
This could be one of the first explanations of how photomontage as a
technique fits into leftist design.
Tarabukin always underlines the anonymity of the art he
describes. In his understanding, it’s better not to advertise the artist’s
name as this art is created by the people for the people. This statement
could be the reason why so many times when we work with outstanding
book design of 1920s, we can’t find the mention of the artist mentioned
anywhere.
This book was used both as a textbook for students and as a
guidebook for the artists and designers which explains its rarity.
$ 1850
27 [ R E P L AC E F I C T I O N W I T H J O U R N A L I S M ? ]
Literatura fakta. Pervyi sbornik material rabotnikov LEFa [i.e. The literature
of fact. The first collection of materials by LEF workers / ed. by N.F. Chuzhak].
Moscow: Federatsiya, 1929. 269, [3] pp. 19x13,5 cm. Original illustrated
cardboards. The spine is rubbed. Otherwise very good.
First edition. One of 3000 copies. Rare.

The last book, printed by LEF collective. The collection is
dominated by Osip Brik and Sergey Tretiakov. Mayakovsky has left LEF in
1928 and so did Brik, but the collection was edited by Nikolay Chuzhak,
who included his articles anyway. Both him and Tretiakov called for the
continuing of the publications that have never happened.
However this book contains several important articles in spirit
of LEF, including the proposal by Tretiakov to replace the fiction with
journalism (this new form of literature he has called ‘the literature of
the fact’).
Prominent LEF theoretic Viktor Pertsov (1898-1980) has
contributed to the collection with the articles on the roots of leftism,
Viktor Shklovsky who was a member in LEF from the beginning
contributed with several articles including the piece on the prose
without a plot.
$ 900
ART THEORY 45
V
WORKERS’ CLUBS
The phenomenon of the workers’ clubs is one of the most interesting

ones in the history of early Soviet culture.
Stated by Trotsky that the clubs were ‘the forge of the
proletarian class culture’, they were the connection between the art
and the masses, the link between left aesthetics and proletarian self-
conscience.
The idea for workers’ clubs were created by Proletkult - the
organisation inside the People’s Commissariat of Education of the
RSFSR in 1917, the predecessor of all the art unions of 1920s. Proletcult
was proclaiming the marxist understand of the class nature of art, and
its aim was to produce, present and nurture the proletarian art.
In that regard, the workers’ clubs that started to appear in
1920 and by the mid-1920s covered the country, were set to be multi-
functional tool to educate, agitate, entertain and cultivate the masses.
The result should be the creation of the new man, the new
life, so the workers’ club were very much in tune with the Soviet
ideology of 1920s. They were organised locally, usually by the unions
or other initiative groups, and they were given a lot of privileges: good
buildings (often designed by the best constructivist architects of the
day), materials needed, support in the media and by the party officials.
Workers clubs’ were very popular with the leftist artist
and writers of the day - probably because they were providing the
justification for their work, so the plays were written to be performed
by their theatres, and the art created to be exhibited at them. It’s not
a coincidence that Rodchenko’s design for the USSR pavilion for 1925
World Exhibition in Paris was called ‘The Working club’, recreating the
interior of an ideal club.
This unusual cultural-social experiment of making a new man
came to its end in the early 1930s, when Proletkult was closed and the
life of the country has started to change. The clubs itself remained but
lost its independence, started to be used more for propaganda purposes
or the routine entertainment events. A number of Proletkult ideologists
WORKERS’ CLUBS 46
were executed in 1930s.
Here we gathered a selection of the books on the workers’

clubs from the 1920s which reflect this unique phenomenon.
28 [ A RT I N W O R K E R S ’ C L U B ]
Iskusstvo v rabochem klube [i.e. Art in Workers’ Club]. Moscow: Vserossiisky

proletkul’t, 1924. 139, [5] pp. 26x17,5 cm. In original constructivist
wrappers. Very good. Restoration of the spine, a few tears of the front
wrapper and a small corner of the t.p., rear wrapper not original, a few
pencil marks on the front wrapper, t.p. and in the text, small tears of the
upper margin on a couple of pages. Partly uncut.
Only one copy First and only edition. One of 5000 copies. Very rare.
in Worldcat
One of the primary reasons for workers’ clubs existence was
(University of
Virginia). the bringing the art to the masses, and the stimulation the masses for
creating the art itself. This book describes how all this could be achieved.
As Proletkult ideologist Gastev stated there’s a certain estrangement
between proletariat and the culture. The problem could be resolved by
bringing art closer to the worker and lifting up the worker to the art
as well. The elitist stereotype of the art would be gone if the worker
himself participate in the creation of art, drawing, acting in plays and
writing.
For that purpose the creation of ‘United studio of Art’ is advised.
In those studios the workers should get to understand that art is ‘the
building of new life itself’, ‘creating the new material good or new forms
of everyday life’.
Interesting to note that physical culture and sport follow
acting, drawing and writing in the list of cultural activities.
The new theatrical form is also described in the publication -
the living newspaper, which was the form of play on the current political
and social events of the day. At the end two scripts are provided as
the examples, both in the form of political trials, including the trail
on fascism: ’’Political trial is one of the most captivating and easy to
understand form of mass work. Everything can be shaped in trial form -
from trivial things to international proletarian movement’’.
The edition was included in the List of books subject to exclu-
RUSSIAN LITERATURE 47
sion from libraries and the book trade (Moscow, 1960).
$ 1650
Cover. No 28
29 [ C O N N E C T I N G T H E T O W N A N D V I L L AG E ]
Letne-osennyaya rabota rabochikh klubov i klubov RKSM [i.e. Summer and

Fall Work of Workers’ Clubs and Clubs of The Revolutionary Communist
Youth League]. Moscow: Krasnaya nov’, 1923. 152 pp. 22x15 cm. In
original publishers cardboards with cloth spine. Very good and clean.
Some rubbings of the binding.
First and only edition. Very rare. One of 15000 copies.

No copies in
Worldcat.
This collection of materials regarding summer activities of the
WORKERS’ CLUBS 48
club is a kind of a manual for club’s organisers how to change the life
of the club in the summer. Apart from the obvious advances to make
workers spend more times outdoors, stage outdoor plays, hike and
undertake excursion to the towns, advices are given on how to connect
the town and the village.
As the clubs were aimed primarily on the industrial audience,
their influence didn’t cover the countryside. It’s true to say that in the
countryside in 1920s lived the people less affected by the rapid changes
of the country, also with the minimum desire of change. Because of that
clubs started to open ‘cells’ in the villages, to educate and agitate among
the peasants. It’s important to note that as early as 1923 Proletkult felt
that their primary audience - the workers are ready to go and try to
spread their ideas to the countryside in different aspects of life. That
process is called ‘the knot with the village’, and members of the clubs
are advised to educate the villagers on their activities: games, theatre,
sport, but also the ‘agricultural propaganda’, anti-religious lectures, the
creation of the exemplary beds for everyone to see etc.
Two plays based on Vsevolod Ivanov’s stories are also published
in the collection for outdoor theatres to use.
$ 1000
30 [ P R O L E TA R I A N H O L I D AY S ]
Proletarskie prazdniki v rabochikh klubakh [i.e. Proletarian Holidays in

Workers’ Clubs]. 2nd ed. Moscow: Krasnaya nov’, 1924. 192 pp. 23x15
cm. In original constructivist wrappers. Wrappers are professionally
restored (spine and few tears), creases of the front wrapper, pale ink
inscription on the back wrapper, pale stains on some pages, few pencil
markings in the text. Otherwise a good copy.
No copies in One of 10000 copies. Very rare. Published by Glavpolitprosvet

Worldcat. (Club Department) and edited by Soviet education ideologist, Lenin’s
wife Nadezhda Krupskaya (1869-1939).
The new order called for the new holidays and the demolishing
of the old ones, based on Orthodox Church calendar. Of course Workers’
club was the weapon to change the way of things.
In this book the celebrations of young Soviet holidays are
described. The general material about organizing an event is followed
WORKERS’ CLUBS 49
by four chapters each dedicated to not even a holiday but a
memorable date: 9th of January of 1905 (‘Bloody Sunday’), 8th of March
(‘International Female Workers’ Day’), 12th of March (anniversary of
February Revolution), 18th of March (Day of the Paris Commune). Each
holiday is provided with short overview on the matter, a play (two for
Paris Commune), poems and bibliographical list on the subject.
All of those holidays were recently introduced, but only 8th of
March and 18th of March were celebrated throughout Soviet time, the
other two existed for several years.
$ 950
Cover. No 30
31 [WORKERS’ CLUBS DURING SUMMER]
Klub letom [i.e. The Club During Summer]. Moscow: Glavpolitprosvet,

1926. 133, [3] pp. ill. 23x15 cm. In modern binding, without original
wrappers. Very good. Bleak stamp on the t.p., pale ink marks on p.17
and 127.
First edition. One of 3000 copies. Very rare.
WORKERS’ CLUBS 50
This book uses the topic of life of workers’ club in the summer
to vary the club’s activities and introduce new. Forms and formats to
club life.
One chapter is giving the detailed description of the summer
No copies
according to the yard, with schemes and plans as well as the calculations of the costs.
Worldcat. Interestingly one of the suggestions is to organise a tennis court on
the premises, that could hardly be regarded as a proletarian sporting
activity. The other chapter is dedicated to setting up the radio in the
club, and organising the radio section.
Interesting is the practice of ‘loud readings’, when several
readers from the club start reading in the places of gathering of
workers spontaneously without giving them a notice in advance. The
form of ‘light newspaper’ is introduced: the local news, written by the
members of the club, lit from behind with lightbulbs. Two variants of
constructing a light newspaper are provided. In the chapter on ’Games’
the concept of ‘polit-fight’ is described, when members divide into two
groups and ‘shoot questions’ at each other on the actual politics and
news.
$ 850
Illustration. No 31
WORKERS’ CLUBS 51
VI
ART EXHIBITION CATALOGUES
32 [ O R I G I N S O F R U S S I A N AVA N T - G A R D E ]
Katalog vystavki kartin ‘‘Salon Zolotogo Runa’’ [i.e. Catalogue of the

Exhibition ‘‘Salon of the Golden Fleece’’]. [Moscow: Zolotoe Runo; A.A.
Levenson, 1908]. [2], 27, [3] pp. 16,5x13,5 cm. In original publisher’s
wrappers. Near fine. Vertical crease in the middle of the brochure.
No copies in Extremely rare. The catalogue of the first salon held by Zolotoe
Worldcat.
Runo in 1908.
Zolotoe Runo [i.e. Golden Fleece] was a literary and art magazine
published from 1906 till 1909 in Moscow by Nikolay Ryabushinsky
(1877-1951). The magazine united almost the entire group of writers,
poets and artists of the Silver Age, and became a bright force of the
cultural life. It’s fair to say that the magazine was a starting point of
Russian avant-garde. Among Ryabushinsky’s merits in contemporary art
was the arrangement of four exhibitions of the newest trends: famous
exhibition of the ‘Golubaya roza’ [i.e. Blue Rose] (March, 1907), when
Moscow artists took the avant-garde initiative from St. Petersburg, and
three exhibitions «Salon of Zolotoe Runo» which played a crucial role
in the history of Russian art of the 20th century and gave a powerful
impetus to the development of the Russian avant-garde movement.
The first salon (April 5 - May 4, 1908, 283 paintings and 3
sculptures, Russian and French sections) was the first in Russia massive
and purposeful display of the latest Western art - from impressionism
and post-impressionism to neo-impressionism, fauvism and only
emerging cubism (V. Gogh, A. Derain, K. van Dongen, J. Brack, A. Marke,
L. Walt, A. Matisse, for the first time in Russia neo-impressionism was
presented - A. Cross, P. Signac, T. van Reiselberg).
The opening of the exhibition was supposed to coincide with
the anniversary of the «Blue Rose» - March 18, 1908. The goals and
objectives of the plan were detailed in the introductory article to the
catalog (but the catalogue was published without an introductory
article due to organizational difficulties, and it was printed in the cata-
ART EXHIBITION CATALOGUES 52

logue for the 2nd show). Due to the negative attitude among Russian
intellectuals towards Ryabushinsky and his grandiose plans, the
exhibition was on the verge of failure. Ryabushinsky conceived the
exhibition in such a way that all the best artists were represented on
the Russian side. Artists of Blue Rose were supposed to unite with the
best Russian artists, first of all with a group of the Mir iskusstva [i.e.
World of Art], in order to demonstrate in comparison with the French
achievement of the new Russian school of painting. Initially Serov,
Korovin, Golovin, Dobuzhinsky, Lansere, Ostroumova-Lebedeva and
many other artists of the «World of Art» agreed to participate. But Benua
actively dissuaded his colleagues from participating in the exhibition.
Morozov and Shchukin also did not contribute to Ryabushinsky’s plan
and did not give French works from their collections. In addition, there
was a split within the «Blue Rose». Of the «Blue Rose» on the Salon
there were only eight artists. They were joined by Mikhail Larionov and
Natalia Goncharova, as well as A. Karev, N. Ulyanov and little-known M.
Shitov and N. Khrustachev. Naturally, in comparison with the French
department, the Russian section did not look like it was intended.
It was the first outside France representative display of the
new French art which had not yet had wide recognition in Europe. The
exhibition had a huge effect. Of course, interest in French art existed
in Russian culture and before that, but no one tried to acquaint them
with the general public. Therefore, the «Salon of Zolotoe Runo» in 1908
became a serious and bold action of artistic life in Moscow.
$ 750
No 32

33 [ M O S C O W A S S O C I AT I O N O F A R T I S T S ]
Katalog XX vystavki kartin Moskovskogo tovarishchestva khudozhnikov [i.e.

Catalogue of the 20th Exhibition of Paintings of the Moscow Association of
Artists]. Moscow: Uchilishche zhivopisi, vaianiia i zodchestva, 1913. 28
pp., 4 blanks, 16 pl. 16,5x12,5 cm. In original printed wrappers with the
association’s emblem on the front wrapper. Near fine. Two tiny holes on
the last page and rear wrapper, few pencil marks in the text.
Worldcat locates A very rare catalogue of the exhibition which took place in
only one copy in
Getty Research
Moscow in 1913 and was organized by the Moscow Association of Artists
Institute. (MTKh) but featured other artists as well. Overall 89 artists with 386
works. The list of works is structured by artists’ names in alphabetical
order with addresses given in most cases.
MTKh was founded by a circle of graduates of The Moscow
School of Painting, Sculpture and Architecture which held weekly
meetings. In February, 1893 and March/April, 1894 the circle held
«Exhibitions of Moscow artists» from which further account was taken
of the exhibitions of the association. At the beginning of 1896 the circle
was transformed into the Moscow Association of Artists which thus
received official status. MTKh did not have a certain aesthetic program.
In different years, representatives of various artistic trends participated
in the exhibitions.
With the emergence of the Union of Russian Artists, the «Jack
of Diamonds», the society «Free Aesthetics» and other associations,
interest in the exhibitions of MTKh has significantly decreased. The
Accociation existed until 1924 and organized 26 exhibitions in Moscow,
St. Petersburg, and in other towns.
Cover. No 33 Plate. No 33

Among participants of this show were V. Vatagin, V. Polenov, E.
Polenova, Rerberg, Favorsky, V. Khodasevich, V. Komarov, and others.
$ 800
34 [ S H O RT L I F E O F M A KOV E T S ]
Vystavka risunkov gruppy khudozhnikov [i.e. Catalogue of Drawings of

Artists’ Group]. [Moscow]: Gos. tsvetkovskaya gallereya, 1925. 8 pp.
17,5x13 cm. No wrappers as issued. Two corrections of the materials in
pen. Otherwise fine.
Worldcat locates Extremely rare, especially in mint condition. One of 500 copies.
two copies in
Getty and Frick A very handsome survival of the time, this is a catalogue of 121
Art Library. drawings from the exhibition held in February/March of 1925 in the
State Tsvetkov Gallery, Department of Drawings of the State Tretyakov
Gallery. Each item on the list has title, year, size, materials. Artists were
L.A. Bruni, N.N. Kupreyanov, V.V. Lebedev, P.I. L’vov, P.V. Miturich, V.E. Tatlin,
N.A. Tyrsa.
Bruni and Tyrsa were members of the art group called
‘Makovets’, and this show is attributed as the last show of the group. The
association was founded in the spring of 1921 on the initiative of young
artists and writers who declared ‘high spirituality of art and continuity
of classical traditions’. Unlike the leftist artists - the creators of the new
revolutionary culture, the Makovets never denied the achievements of
the world realistic art and did not express disregard for its substantive
function.
The basis of the society was the participants of the exhibitions
of the Moscow Salon and ‘Mir iskusstva’, as well as the young artists
who joined them. They held three exhibitions of paintings and two
of drawings (the same exhibition was taken to Nizhny Novgorod).
‘Makovets’ also published two issues of the magazine by the same title.
They had to close it due to money shortage. Makovets ceased to exist
due to internal lack of unity in 1926.
Interesting that in this exhibition of a group moving against
the blowing wind of revolution and denial of the old, artists like
Kupreyanov (member of OST and Four Arts group), V. Lebedev (later Four
Arts group), V. Tatlin (major avant-garde artist) participated.
$ 1000

35 [RUSSIAN SCULPTORS IN 1925]
Katalog vystavki risunkov sovremennykh russkikh skul’ptorov [i.e.

Exhibition Catalogue of Drawings by Modern Russian Sculptors]. Moscow:
Gos. Tsvetkovskaya gallereya, 1925. 12 pp. 15x12 cm. In original printed
wrappers. Fine.
Worldcat locates Very rare, especially in such mint condition. One of 500 copies.
a copy at Frick Catalogue of works by 20 Russian sculptors, overall 213
Art Library.
drawings. The exhibition was opened on 3rd of May, 1925 in Moscow
in the Department of drawings of the State Tretyakov Gallery. Among
exhibitors were V. Mukhina, V. Vatagin, V. Ellonnen (member of OST), M.
Strakhovskaya, Efimov, Zlatovratsky, Chaikov, Sandomirskaya, and others.
Most of the sculptors at this exhibition later the same year united in the
Society of Russian Sculptors (ORS).
$ 750
36 [ S H O RT L I F E O F T H E S O C I E T Y O F R U S S I A N S C U L P T O R S ]
Katalog 2-i vystavki skul’ptury Obshchestva russkikh skul’ptorov O.R.S.

[i.e. The Catalogue of the Second Exhibition of Sculpture of the Society of
Russian Sculptors O.R.S.]. Moscow: Glavnauka, 1927. 16 pp. 17,2x13,3 cm.
In original printed wrappers. Very good, stains on the upper margins,

marks in text (pen and pencil), vertical crease.
One of 1000 copies. Very rare.

The catalogue for the 2nd exhibition (of only 4 held by the
Society) which took place in 1927 provides names of the members and
exhibitors with the addresses, for each work materials and titles are
named. The catalogue is supplied with a list of the members of the
Society with their positions and the address of the board.
The Society (ORS) was founded in 1926 by former members of
the Moscow Union of Artists and Sculptors. The impetus for the creation
was the success of the sculptural department of the OBIS exhibition
held in early 1925. The Society consisted of almost all famous Moscow
sculptors, and their ranks was regularly replenished by the graduates
of the sculpture faculty of Vkhutemas-Vkhutein. About 20 people were
constantly members, 10-15 more sculptors were involved as exhibitors
(candidates). Many participants were simultaneously members of other
societies and unions: Korolev and Kepinov - OMH, Chaikov - «4 iskusstva»,
Shadr - AHRR; however, the ORS flourished tolerance for various trends
in art (including the ‘left’).
The meetings were held mainly in the workshop of
Ryndziunskaia. Reports were read and discussed on the problems of
sculpture like Ternovets made a report «On Contemporary Sculpture in
the West», architect Konstantin Melnikov with a report ‘‘On Cooperation
of Sculptors and Architects in Contemporary Construction’’.
The ORS didn’t have a program but they were determined to
strengthened position of sculpture as an independent art genre and
paid a lot of attention to raising the level of professionalism. The
Society held 4 exhibitions: in March-April 1926 (the State Historical
Museum), in April 1927 (the Museum of the Revolution), in June 1929
and June 1931 (both - the Pushkin Museum), which were partly financed
by Glavnauka. The exhibition committee was engaged in selection of
works for the exhibitions, at different times it included Vatagin, Efimov,
Zlatovratsky, Chaikov, Domogatsky, Mukhina.
If the first exhibition declared a sculpture as an independent
genre with such strong works like ‘‘Flame of Revolution’’ by Mukhina,
the second was supposed to consolidate its positions. For the opening
of the 2nd exhibition the monumental Chaikov’s sculpture ‘‘The Tower
of October» was set in front of the Museum of the Revolution. The
exhibition was attended by 33 masters who showed 133 works, incl.:

‘‘The Walking Elephant’’ and ‘‘Seated Peacock’’ by Vatagin, ‘‘A.S.
Pushkin’’ by Domogatsky, ‘‘The Wind’’ by Mukhina, ‘‘Sitting Woman
(Stasya)»’’by Lebedeva, ‘‘Molodaika’’ by Ryndzyunskaya, ‘‘Oktyabrenok’’
by Sandomirskaya, ‘‘Bather’’, ‘‘Mostostroitel’’ by Chaikov.
Since the late 1920s, the ORS was attacked by Proletkult
theorists for lack of ‘‘ideological content’’ and adherence to ‘‘bourgeois’’
forms of ‘‘sculpture’’. In the spring of 1932 the Society was liquidated.
$ 700
37 [OST]
Moskovskoe obshchestvo stankovistov. Katalog Vtoroi vystavki [i.e. Moscow

Society of Easel Painters. Catalogue of the 2nd Exhibition]. Moscow: Typ.
izd-va Motor, 1926. 16 pp.: ill. 17x13 cm. In original printed wrappers.
Very neat professional restoration of the wrappers, general soiling and
spots near the staples. Otherwise a very good clean copy.
Very rare. One of 1000 copies.

The illustrated catalogue of the second OST show held in May
of 1926 in the State Historic Museum with 26 artists presenting 280
works. The second exhibition differed from the first with wider selection
of genres and topics - more theatrical and film works, there was graphic
and product designs, book illustrations. Among most significant works
- ‘Construction of New Workshops’ by A.A. Deineka (1926), ‘War Invalids’

by Y.I. Pimenov (1926), ‘Anis’ka’ by D.P. Shterenberg (1926), ‘I love life
very much’ by S.A. Luchishkin (1926), ‘Director of the Weather’ by A.G.
Tyshler (1926), drawing of ‘Sochi’ series by A.A. Labas (1924). Critics gave
different reviews, the show caused debates, especially work by Pimenov,
Tyshler, Labas, Merkulov.
The catalogue includes list of the founders and members, the
2nd exhibition committee, reproductions of Deineka, Labas, Shterenberg,
Kupreyanov, Goncharov, Dobrokovsky, Tyshler, Pimenov’s works.
The Society of Easel-Painters (Obshchestvo Stankovistov,
or OST) was the largest and one of the most prominent artistic
associations of the 1920s - early 1930’s. It was founded in 1925 in
Moscow by a group of VKhUTEMAS students, who had studied in David
Shterenberg’s workshop. Among the founders were: Annenkov, Deineka,
Williams, Denisovsky, Kostin, Labas, Pimenov and Shterenberg, who was
chosen as chairman. They united under the slogan of the fight against
AKHRR naturalism, pointlessness and constructivism; advocated a new
realistic form and the creation of a modern easel painting.
The OST movement ceased to exist in 1932, with the creation
of Moscow branch of the Union of Soviet Artists and the order to
disband all artistic groups and movements. Now the state was the only
one who could make orders, organize large exhibitions, dedicated to
the country’s industrialization.
$ 1500
Illustration. No 37 Illustration. No 37

VII
SCIENCE
38 [ E V O L U T I O N O F M E N TA L A B I L I T I E S ]
Wagner (Vagner), V.A. Vozniknovenie i razvitie psikhicheskikh

sposobnostei. Vypusk vtoroi: Nervnaya do-psikhicheskaya zhizn’ [i.e. The
Origin and Development of Mental Abilities. The Second Issue: Neural Prior
to Mental Life]. Leningrad: Nachatki znanii, 1925. 46, [2] pp.: ill. 23x16
cm. In original printed wrappers. Restoration of the wrappers, pale stain
on the lower inner margin throughout the copy, very small closed tears
of a few margins of pages (not affecting text). Otherwise very good.
No copies in the First edition. One of 4000 copies. Very rare.

USA according to
Vladimir Wagner (1849-1934) was a Russian psychologist
Worldcat.
and naturalist known for his studies of comparative and evolutionary
psychology. The main idea of his works of 1910s and 1920s was of
comparative genetic method of studying psyche in zoopsychology.
Wagner’s original concept about patterns of emergence and development
of mental abilities in evolutionary process of animal world presents an
important contribution to study of comparative psychology as it gives
a complex vision of mental displays at all stages of evolution. Today
Wagner’s comparative method based on evolutionary theory is still of a
current value. His studies constituted zoopsychology as an independent
scientific branch of psychology and laid the foundation for ethology.
In 1924, Wagner began to produce works united by a common
theme: ‘‘The Emergence and Development of Mental Abilities’’. Total
number of such issues was 9, the last released in 1929. In these issues
Wagner traced the evolution of mental abilities from unicellular animals
to humans. He showed that the human psyche is not isolated but is a
continuation of the psyche of animals on a qualitatively new level.
This is the 2nd issue with the main focus on the neural prior
to mental life and problems of animal and human behavior from this
point of view. The appearance of the nervous system was an important
step towards the emergence of mental abilities. However, considering
the vital activity of coelenterates Wagner showed that diffuse nervous
SCIENCE 60
system does not have any center that could unite the activity of all
systems of neurons and therefore does not lead to unity of action of the
organism as a whole. Therefore Wagner proposed the term ‘neural prior
to mental life’ to describe life of such animals.
Interesting last chapter examines Hamlet and Anna Karenina
in the light of reflex theory. Here Wagner analyzed behavior of these
characters from point of view of psychological types inherited from herd
animals. Amusing to read how Wagner is using comparative psychology
to analyze famous Tolstoy’s quote «Happy families are all alike; every
unhappy family is unhappy in its own way». He does it to prove that
physical chemistry and reflexology cannot deal with such matters but
comparative psychology can. The whole issue also dedicated to this
matter.
Wagner was a Darwinist, and he carried out his Darwinism
through his studies. In 1896 he defended his PhD dissertation in which
he for the first time in Russian zoology raised a serious question of
studying animal’s psyche, and so became one of the founders of
Russian zoopsychology or comparative psychology. He systematized its
theoretical problems, gave a clear definition of the field of practical
application which led to emergence of Russian zoopsychology. He
introduced an objective biological method, based on three methods,
which made it possible to exclude subjectivism from research:
determining the type of given instinct and its vibrations, phylogenetic
and ontogenetic methods. In the history of Russian comparative
psychology Wagner’s method represents the first experience of
combining various data to determine the psychological nature of the
activity of animals at different stages of evolution. Later this method
was used by Ladygina-Kots, Vygotsky, Voitonis, Fabry, et al.
Wagner’s studies of the instinctive activity of invertebrate
animals were highly appreciated both by foreign researchers and by
Russian psychologists. In 1929 Wagner published his work “Psychological
Types and Collective Psychology” which was banned and put away
to closed archive (‘spetskhran’). After his death, the originality of his
ideas in the study of instincts led to unjust accusations of idealism
and vitalism and distortion of his conclusions. In Soviet times Pavlov’s
studies became canonical, ‘the only right’, and everything different from
it was never a subject of a wide research. Despite the fact that modern
science does not consider instinct as a separate mental ability, the data
collected by Wagner - on the instinctive behavior of animals - are of un-
SCIENCE 61
doubted interest.
$ 950
Cover. No 38
39 [ M I N D A S A M E N TA L A B I L I T Y ]
Wagner (Vagner), V.A. Vozniknovenie i razvitie psikhicheskikh sposobnostei.

Vypusk shestoi: Razum kak kriterii pravil povedeniya cheloveka [i.e. The
Origin and Development of Mental Abilities. The Sixth Issue: Mind as
Criteria for Human Behavior]. Leningrad: Nachatki znanii, 1927. 68 pp.:
ill. 22,5x15,5 cm. In original printed wrappers. Very good. Restoration
of the wrappers, some soiling of the wrappers, stain on the front cover.
No copies First edition. One of 4150 copies. Very rare.

according to the
Worldcat.
In 1924, Wagner began to produce works united by a common
theme: «The Emergence and Development of Mental Abilities». Total
number of such issues was 9, the last released in 1929. In these issues
Wagner traced the evolution of mental abilities from unicellular animals
to humans. He showed that the human psyche is not isolated but is a
continuation of the psyche of animals on a qualitatively new level.
This is the 6th issue with the main focus on human’s mind
which the scientist considered an independent mental ability. Wagner
considered rational abilities as a factor of transformation of organisms.
SCIENCE 62
He repeatedly stressed that mental abilities of humans
originate from animals, but the human psyche is continuation of the
psyche of animals at a qualitatively new level. In the issue he also
provides different points of view (physical chemistry, physiology, history,
philosophy) in order to compare them to comparative psychology
methods.
$ 950
Illustration. No 39
Acquaintance with the outstanding scientist Bekhterev played

a huge role in shaping Wagner’s worldview as a teacher and public
figure. Bekhterev founded the Psychoneurological Institute where
Wagner served as vice-president, and also read the course of biological
basics of comparative psychology.
40 [ B E K H T E R E V A N D H I S L E G AC Y ]
Two items related to Vladimir Bekhterev (1857-1927), the prominent

Russian neurologist, the founder of modern objective psychology
as well as the founder of one of the first institutes to specialize in
psychiatry and psychology:
23.1. Album with 16 photomontage leaves. [Leningrad: State Institute

of Medical Knowledge, 1927]. 24,5x30,4 cm (binding), ca. 19x27 cm (all
differ). Offset printing on regular paper. In cardboards with printed on
the front board «State Institute of Medical Knowledge», «1927» and
SCIENCE 63
the bowl of Hygieia. Cardboards rubbed with tears, some plates are
detached from the pages. Otherwise very good.
The collection of 16 plates with many photographs of the

workplace and people at the State Institute of Medical Knowledge. It
was founded in 1907 (and existed until 2011) by one of the greatest
Russian scientists, Vladimir Bekhterev (1857-1927). It was originally
a psychoneurological institute, the world’s first scientific center for
the comprehensive study of a man and the scientific development of
psychology, psychiatry, neurology. The institute at the same time was
set to be an educational institution. To work in the institute Bekhterev
attracted the best professors of St. Petersburg. Honorary members of the
Institute were L.N. Tolstoy, I.I. Mechnikov, Bekhterev himself, Chairman
of the Council of Ministers V. N. Kokovtsov, French scientist J. d’Arsonval,
artist I.E. Repin.
In 1920, thanks to the efforts of Bekhterev medical faculty was
granted the status of an independent university and became known as
the State Institute of Medical Knowledge (GIMZ). The first rectors of the
GIMZ were Bekhterev’s students, and the scientist himself was an hono-
No 40
SCIENCE 64
SCIENCE 65
rary rector and head of the department of reflexology with a clinic of
nervous diseases. The Institute had 36 departments with 150 teachers,
35 of them professors. At the only general faculty at that time, 1800
students were enrolled. Here in 1927 on the initiative of professor
N.I. Petrova was founded Scientific and Practical Cancer Institute of
the Leningrad. Provincial Health Department - the first in the country
research institute of this profile.
The first plate bears portrait of Bekhterev and other officials
of the institute (like first rector A.V. Gerver) as well as buildings of the
institute (he created multiple institutions inside his institute, more
than anyone else). Other plates show auditoriums, laboratories, clinics,
professors and students, patients and even process of their examination.
One more plate show two photos of Bekterev in psychiatric clinic: one
most likely during hypnosis session and another with colleagues.
In 1930, the Institute was renamed and became the Second Leningrad
Medical Institute (2nd LMI).
23.2. Folder with 20 oblong photomontage leaves on photographic

paper. [St. Petersburg, 1932]. 22x27,5 cm. Near fine. Two sheets with
small tears, [pl.1] lacking two tiny pieces. Back side of each plate with
traces of glue (used to be glued in an album).
This collection of plates is dedicated to the 25th anniversary of

the Second Leningrad Medical Institute.
Each plate has an extraordinary photomontage using
photographs of employees and students of departments (with captions),
rooms and labs, equipment and medical objects such as thermometer,
test-tubes, scalpel, syringe, bottles and pills, etc. (and even human bones
and dissected frog). The first plate is featuring photographs of Institute’s
building, Bekhterev’s photograph and photographs of other officials.
Other plates dedicated to departments of normal anatomy, normal
physiology, organic and inorganic chemistry, pathological physiology,
forensic medicine, professional hygiene, social hygiene; clinic of ear,
throat and nose, gynecological clinic, clinic of eye diseases, psychiatry
clinic, clinic of infectious diseases, and other. Portraits of professors are
of definite value as well like F.E. Tur, N.V. Belogolovov, Y.B. Zel’dovich,
G.G. Genter, and others.
Both items are unique survivals of the time. After Bekhterev’s
SCIENCE 66
sudden death in 1927 (there has been rumours of poisoning), his name
was removed from Soviet textbooks.
$ 1750
SCIENCE 67
SCIENCE 68

Early Soviet Art and Architecture. Part 2: Theatre

Uploaded by

Copyright:

Available Formats

Early Soviet Art and Architecture. Part 2: Theatre

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Early Soviet Art and Architecture. Part 2: Theatre

Uploaded by

Copyright:

Available Formats

EARLY SOVIET ART AND ARCHITECTURE.

The avant-garde aesthetics met the left ideology and as a result

By mid-1930s the constructivism was branded as ‘the formalist art’, that

However we are lucky to encounter some of the books that survived to

This time we decided to gather a selection on the theatre with a

Our classical section on Soviet architecture shows how during changing

times the styles and the principles of architecture have changed as

Every book brings us closer to understanding the mysterious 1920s.

We are glad to announce that Bookvica will be exhibiting at the

Stanislavsky, Konstantin (1863-1938). Signed photo. 34x25 cm (frame),

Masterstvo teatra. Vremennik Kamernogo teatra. #1-2 [i.e. The Art of

Meyerhold. Sbornik. K 20-letiyu rezhisserskoy i 25-letiyu akterskoy

The clippings originate from newspapers ‘Pravda’, ‘Krasny

Brukson, I.B. Problema teatralnosti. Estestvennost’ pered sudom marksizma

No copies First and only edition. One of 2000 copies.

Two thirds of all the issues that were published. Rabochyi i

Bogomolov, D. Obezianiy sud, ili Prestuplenie uchitelya Dzhona Klopsa:

Full set of the book series ‘‘Teatral’nye memuary’’ [i.e.Theatrical Memoirs.

9.1. Teliakovskii, V.A. Moi sosluzhivets Shaliapin [i.e. My Colleague

The edition of memoirs by one of leading Russian actress of

The archive of ‘Krivoe zerkalo’ [i.e. The False Mirror]. [Leningrad,

Full description of the content available upon request.

Verkhovtseva, F. Rabota chtetsa-aktiora [i.e. The Work of an Actor-Reciter].

Worldcat locates First edition. One of 5000 copies. Rare.

Moskovsky teatr satiry. Kazhetsia smeshno [i.e. Moscow Theatre of Satire. It

13 [INFLUENTIAL FILM THEORIES]

Gavriushin, K.L. Ya khochu rabotat’ v kino: Posobie pri vybore professii

Worldcat First and only edition. Rare.

Marshan, R. Veinstein, P. Piat’ let sovetskoi kinematografii: 1919-1924

First edition. One of 3000 copies. Design by Dmitri Mitrokhin.

Photograph and film shots. No 15

Kino-spravochnik na 1926 g. [i.e. Film Directory for 1926]. Moscow:

Proekty zdanii dlia uchrezhdenii sotsial’nogo vospitaniya [i.e. Designs of

Pervomaiskaia (2-ya) vystavka planirovski i arkhitektury na ulitse Gor’kogo

Stroitel’stvo Moskvy [i.e. Constructing Moscow]. Moscow, 1935. 18 issues.

Full set for 1935 year. Rare.

Smetnev, N.I. Proektirovanie i sooruzhenie bannykh i vanno-dushevykh

Alekseev, S.S. Shevarev, P.A. Teplov, B.M. Tsvetovedenie dlia arkhitektorov

First edition. One of 6000 copies. With second title page in

through its design: illustrated endpapers, colorful plates, initials and

Spisok pamyatnikov arkhitektury, podlezhashchikh okhrane, kak pamyatniki

Each brochure of 400 copies and with restricted classification

Gan, A.M. Konstruktivizm [i.e. Constructivism]. Tver’: Tverskoe izdatel’stvo,

Worldcat locates First edition. One of 2000 copies. Very rare.

First edition. Rare. One of 7000 copies.

First edition. One of 3000 copies. Rare.

The phenomenon of the workers’ clubs is one of the most interesting

Here we gathered a selection of the books on the workers’

Iskusstvo v rabochem klube [i.e. Art in Workers’ Club]. Moscow: Vserossiisky

Letne-osennyaya rabota rabochikh klubov i klubov RKSM [i.e. Summer and

First and only edition. Very rare. One of 15000 copies.

Proletarskie prazdniki v rabochikh klubakh [i.e. Proletarian Holidays in

No copies in One of 10000 copies. Very rare. Published by Glavpolitprosvet

31 [WORKERS’ CLUBS DURING SUMMER]

Klub letom [i.e. The Club During Summer]. Moscow: Glavpolitprosvet,

First edition. One of 3000 copies. Very rare.

ART EXHIBITION CATALOGUES

Katalog vystavki kartin ‘‘Salon Zolotogo Runa’’ [i.e. Catalogue of the

ART EXHIBITION CATALOGUES 52