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Published by Isha Books, 2013
ISBN 10: 933362435XISBN 13: 9789333624350
Seller: Books Puddle, New York, NY, U.S.A.
Book
Condition: New. pp. 19.
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Published by Dresden, Verlag der Kunst (1984)., 1984
Seller: Antiquariat Les-art, Burgstetten, Germany
4°. 242 S., 1 Bl. mit zahlreichen Textabbildungen und 33 meist ganzseitigen, farbigen Abbildungen auf 32 Tafeln. Oln. mit farbig illustriertem Schutzumschlag. Umschlag mit kleinem dreieckigem Einriss in der hinteren unbedruckten Umschlagfläche. Gutes Exemplar. Umfangreichste Monographie über den russisch-jüdischen Maler, Bildhauer, Graphiker und Bühnenbildner der sowjetischen Avantgarde. Neben Beiträgen Altmans enthält der Band Aussagen seiner Zeitgenossen wie Jakow Tugendhold, Iwan Puni, Alexander Block, Anatoli Lunatscharski, David P. Sterenberg, Romain Rolland, Waldemar George, Ilja Ehrenburg u.a. Im Anhang ein Werksverzeichnis von 1904 -1970, Ausstellungsverzeichnis, Bibliographie und Personenregister. Sprache: 1.
Published by Dresden: Verlag der Kunst,, 1984
Seller: Antiquariat Knacke, Berlin, Germany
Sprache: Deutsch Mit zahlreichen Abbildungen. 242 Seiten. Leinen mit OU. Privater Stempel. Altersentsprechend guter Zustand!.
Dresden, Verlag der Kunst, 1984. 242 pp. Illustr. Orig. cloth with dustjacket.
Published by VEB Verlag der Kunst Dresden, 1984
Seller: ANARTIST, New York, NY, U.S.A.
Hardcover with dustjacket, 244 pages; in German; very good condition; no internal marks. Foreign shipping may be extra.
Published by Dresden: Verlag der Kunst, 1984
Seller: Antiquariat Thomas Haker GmbH & Co. KG, Berlin, Germany
Association Member: GIAQ
Book
Leinen. 242 Seiten mit zahlr. Ill. (z.T. farb.); 28 cm. Guter Zustand. Bibliotheksexemplar mit üblichen Kennzeichnungen (ohne Rückensignatur). Sonst Seiten sauber. Folienkaschierung des Schutzumschlages beginnt sich zu lösen./ Good. Ex-library with usual markings. Clean pages. Sprache: Deutsch Gewicht in Gramm: 1400.
Published by VEB Verlag der Kunst, Dresden, 1984
Seller: Salsus Books (P.B.F.A.), Kidderminster, United Kingdom
Association Member: PBFA
Book First Edition
Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. 1st Edition. 242pp hardback, blue cloth black-lettered yellow label to spine, illustrated in colour and bw.
Published by Dresden. VEB Verlag der Kunst., 1984
Seller: Antiquariat Querido - Frank Hermann, Düsseldorf, NRW, Germany
Erste Auflage. 27,5 x 24,5 cm. 242 S. OLeinen mit illustriertem OUmschlag. Hintere, untere Stoßkante des Umschlags minimal gerissen, sonst gutes bis sehr gutes Exemplar. Umfangreichste Monographie über den russisch-jüdischen Maler, Bildhauer, Graphiker und Bühnenbildner der sowjetischen Avantgarde. Neben Beiträgen Altmans enthält der Band Aussagen seiner Zeitgenossen wie Jakow Tugendhold, Iwan Puni, Alexander Block, Anatoli Lunatscharski, David P. Sterenberg, Romain Rolland, Waldemar George, Ilja Ehrenburg u.a. Durchgehend mit teils farbigen, ganzseitigen Abbildungen versehen.
ANNENKOV. (illustrator). Paris, Pierre Jean Oswald, 1958. In-12, broché, format oblong, 75 pp. Exemplaire imprimé sur beau vélin fort. Portrait de l'auteur en frontispice par Annenkov, un dessin hors-texte de Nathan Altman. Sixième volume de la collection " L'aube dissout les monstres ". Bel exemplaire. Livres.
Published by San Francisco: Modernism, 1989
Seller: Wittenborn Art Books, San Francisco, CA, U.S.A.
Art / Print / Poster
Condition: Good. Poster. 81 x 48cm.Yehezkiel Dobrushin, *RWGHUID\HU (God the Fire)Moscow: Yungwald, 1922.Book cover design (in Yiddish).Nathan Altman (1889-1970), born in Vinnytsia (present-day Ukraine), an avant-garde artist, painter, graphic designer, sculptor, book illustrator and stage designer. His varied work belongs to various styles ? Cubism, Constructivism, Futurism, and Suprematism ? and reflects the many changes in his world, both artistic and political.He began his art studies in Odessa; in 1910 he moved to Paris, where he continued his studies and associated with the artists of the "Machmadim" group which advocated Zionist Jugendstil. In 1912, Altman returned to Russia and settled in St. Petersburg. He spent the summer of 1913 sketching reliefs found on Jewish tombstones and developing a Cubist style based on Jewish folk art. At that time, he founded a Jewish Society for the Encouragement of the Arts. Altman was an enthusiastic supporter of the Bolshevik revolution, after which he was appointed a member of the IZO-Narkompros (the Department of Fine Arts of the People's Commissariat for Education). In 1919, he became one of the prominent artists of the "Kom-Fut" group (Communist Futurists). He worked for the Monumental Propaganda plan conceived by Lenin, and created agitprop art. During the early 1920s, Altman worked as a stage designer for HaBimah Theater and the Jewish State Theater Goset. .His Constructivist costume design for the play "The Dybbuk", staged by HaBimah Theater in 1922, incorporated elements taken from Jewish folk and religious art; and his stage design for the Goset production of "Uriel da Costa" was his most advanced Constructivist work at the time. In 1922, his works were exhibited at the "First Russian Art Exhibition" in Berlin and alongside works by Chagall and Sternberg in the "Exhibition of the Three" of the Kultur Lige group. In the early 1920s, Altman was a prominent artist whose works expressed the spirit of the party and the revolution ? the rebellion against the old degenerate order ? and in this capacity he created a series of sketches and a bust of Lenin. In 1928, Altman went on a tour with the Goset theater and remained in Paris until 1935. While there, the Party's attitude towards art went through a transformation. Already in the mid-1920s the party began furthering socialist realism and restricting the activity of avant-garde groups, claiming art should serve defined goals, be simple and understood by everyone and portray the beauty of communist reality. In 1932, with Altman still out of the country, the central committee of the communist party banned any union of independent artists. From then on, the party imposed its new and preferred style, socialist realism, and avant-garde was pushed to the new status of "bourgeois" art, enemy of the revolution. Returning to Russia in 1936, Altman settled in Leningrad, and as an undesirable artist worked mainly as a graphic designer, book illustrator and stage designer, trying to adhere to the party's new line.Literature: Russian Jewish Artists in a century of Change 1890-1990, edited by Susan Tomarkin Goodman. Munich /New York: Prestel, 1995. p. 146.
Published by Moscow, 1971
Seller: Antiquariaat Berger & De Vries, Groningen, Netherlands
Hardcover with dustjacket, catalog exhibition. 127 pp. many ills. -(Dustjacket slightly teared and bumped, stamp on flyleaf, traces of use, otherwise in good condition. ).
Published by Paris, Ernest Flammarion, 1935
Seller: ANTIQUARIAT Franke BRUDDENBOOKS, Lübeck, Germany
Book First Edition
4°, Broschiert. Condition: Gut. Erste Auflage. unpag., 10 Blatt + 2 Cartons Französische Originalausgabe, Einband leicht berieben, innen sauber, komplett und gut erhalten, mit den 2 separaten, vorgestanzten Kartons, sehr seltenes und gutes Sammlerstück Wir senden umgehend mit beiliegender MwSt.Rechnung. Sprache: Französisch Gewicht in Gramm: 1000.
Published by Moscow-Leningrad, "Zemlia Fabrika, [1928]., 1928
Seller: Bernard Quaritch Ltd ABA ILAB, London, United Kingdom
First Edition
First Edition. 8vo, pp. 144, with two full-page illustrations by Nathan Altman printed on a green background and highlighted in pink; a very good copy, uncut, a few pages opened roughly, in the original illustrated wrappers by Altman, slightly skewed; in a folding cloth box.First edition of this famous short satirical novel which 'catapulted Olesha into the first rank of Soviet writers' (Terras). It was fêted by both Soviet and émigré critics and established the young writer's reputation almost overnight. Olesha later adapted it as a play, Zagovor chuvstv (The Conspiracy of Feelings) in 1929.'Envy deals with the conflict between new Soviet men, dedicated yet practical, and ineffectual dreamers who have preserved vestiges of an outmoded bourgeois mentality. Each side is represented by two generations, the fortyish and the young. The conflict is staged with masterful ambiguity. While "Soviet man" is obviously winning, his success is viewed through the eyes of the envious losers, with whom the reader may very well identify, and his positive image is undercut by cleverly planted subliminal detail. Even today Envy remains the most "modernist" of all Russian novels' (Cambridge History of Russian Literature). Language: Russian.
Seller: biblioaxes, PLAINVIEW, NY, U.S.A.
No binding. Condition: Good. Certificate of Authenticity is issued by an expert recognized by Sotheby's. SKUY000097.