burck jacob (13 Ergebnisse)

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Kartoniert / Broschiert. Zustand: New.

Taschenbuch. Zustand: Neu. Neuware - This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.

Hardcover. Zustand: Good+. No Jacket. 1st Edition. 248pp. Large format. Revolutionary cartoons from the American 'Daily Worker'. Text by Henri Barbusse, Michale Gold, William F Dunne, Clarence A Hathaway, Erl Browder, Joseph North, Langston Hughes, John Strachey etc. Professionally rebound with new spine keeping original boards which are worn especially at corners. Internally very clean.

Soft cover. Zustand: Very Good. Hugo Gellert, Jacob Burk / Burck, Etc. (illustrator). 1st Edition. 24 Pp. Illustrated New-York-Based Journal, Published 1931-1933, One Of Several Spanish-Language Rags Published In Different Countries, Each Focused On A Particular Area, All Intimately Connected To The Soviet Union And Its "Communist Party" Units Abroad; The Madrid Journal Was Published 1931-1978. Rear Cover With List Of Mundo Obrero Publications In Spanish, With Illustration Of A Massive Chinese Peasant Sweeping Away Representatives Of U. S. Imperialism, British, Japanese, And French, "Manos Fuera De China". Light Wear And Browning, Light Damp Stain In Upper Right Corner. Worldcat Shows Two Institutional Holdings Of These Original Editions, But Microfilm Is More Generally Available. The Cover Artist, Hugo Gellert (Born Hugó Grünbaum, 1892 -1985), Was A Hungarian-American Illustrator And Muralist. A Committed Radical And Member Of The Communist Party Of America, Gellert Created Much Work For Political Activism In The 1920S And 1930S. It Was Distinctive In Style, Considered By Some Art Critics As Among The Best Political Work Of The First Half Of The 20Th Century. His Family Immigrated To New York In 1906. Gellert Studied In Art Schools In New York. He Had Said That "Being An Artist And Being A Communist Are One And The Same." He Used His Art To Advance His Ideals For The Common People. Much Of His Art Depicted What He Saw As The Injustices Of Racial Divides And Capitalism. Often His Works Were Captioned With Slogans To Further The Illustration. The Working Day, For Example[3] Shows A Black Laborer Standing Back To Back With A White Miner. It Is Accompanied By A Phrase From Karl Marx's Das Kapital, "Labor With A White Skin Cannot Emancipate Itself Where Labor With A Black Skin Is Branded. Opposed To World War I, Gellert Published His First Anti-War Art In 1916. His Work Was Prominently Featured Both In The Illustrated Magazine Of The Hungarian Socialist Federation Of The Socialist Party Of America, El?re (Forward), As Well As Max Eastman's Radical Monthly Magazine The Masses From This Time. He Also Created Numerous Illustrations For Eastman's Successor Magazine, The Liberator, Including The Cover Art For The First Issue, As Well As Sundry Publications Of The Communist Party Usa After Its Formation, Such As The Workers Monthly And The New Masses. Later, Gellert Was Offered A Position As A Staff Artist For The New Yorker Magazine. In 1925, He Moved To The New York Times. In 1927, Gellert Was Appointed The Leader Of The Anti-Horthy League, The First American Anti-Fascist Organization. In This Capacity, He Organized A Demonstration Against U.S. President Calvin Coolidge, And Both He And His Wife Were Arrested While Picketing The White House. In 1932, The Museum Of Modern Art In New York City, Feeling Uncomfortable About Gellert's Public Persona And Politics, Petitioned To Have Gellert's Work Removed From Its Collection. However, They Were Forced To Reconsider When Other Artists, Many Of Whom Did Not Share Gellert's Social Idealism, Came To His Defense As Fellow Artists And Threatened To Withdraw Their Own Works. In 1934 Gellert Was Among The Leaders Of The Artists Committee Of Action, An Informal Group Which Had Formed To Protest Nelson Rockefeller's Destruction Of Diego Rivera's Mural Man At The Crossroads Early In The Year At Rockefeller Center. Gellert Was Instrumental In The Establishment Of Art Front Magazine, Which Started Publication In November 1934 And Was At First Jointly Published By The Aca And The Artists Union. In 1939, Gellert Helped Organize The Group, "Artists For Defense". He Later Became The Chairman For "Artists For Victory", An Organization That Included Over 10,000 Members. Gellert's Social Commentary, His Work And His Beliefs Have Placed Him Among The Greatest American Social Artists Of The Art Deco Era, According To Experts In The Field.

Hardcover. Zustand: Very Good+. Zustand des Schutzumschlags: Fair dj. Illustrated by (dj) [Jacob] Burck (illustrator). First Edition. (price-clipped) [modest shelfwear, slight darkening to spine cloth, humorous fictional inscription (non-authorial) on front pastedown, another name written in pencil on front endpaper; the jacket's a bit of a mess, though, missing a big chunk (about 1-1/4" deep) from the top of the spine, a vertical crack in the spine panel (with old internal tape-repairs), numerous other edge-tears, shallow chipping, etc.; it's also a bit "stretched," and fits somewhat loosely on the book]. Uncommon memoir by a New York newspaperwoman who accompanied her husband, American communist and cartoonist Ryan Walker, on a visit to the Soviet Union in 1931. He was an official delegate to the November 7th celebration, but she was just a tourist, and her book tells "a simple story of the author's reactions [to the country], and of her gradual understanding of the Russian people," which is also enriched by "sidelights on the inner circle from her husband's experiences.".

Zustand: Fair/Good. inscribed by Burck "with comradely regards" to Paul Novick (Freiheit editor) Sections include The Negro, Imperialism, Fascism, Soviet Union, and War, with introductory remarks to each part by sundrys commentators, including Michael Gold, Earl Browder, Langston Hughes, Charles Lamont and others. Location:415 248pp. new covers and end papers, filled with political cartoons and essays against the oppressive capitalist system and warnings re the fascists in Germany and Italy. in tradition of Gropper 415.

orig. boards. 2nd Edition. 28x22cm, 248 pp., Spine paper-taped. Some stains to binding. Lightly warped. "The cartoons in this collection ., were originally published in the Daily worker during the last four years". Political cartoons from the daily newspaper of the Communist Party of the United States. Binding edges & corners heavily rubbed. Just Good.

Soft cover. Zustand: Very Good. 1st Edition. 8° - 9 Volumes - Color & B/w reproductions. Complete series of this socio-revolutionary art magazine that deals with a delineated topic such as: Photomontage, »U.S.A. Soviet UnionEach booklet is either dedicated to an artist Aksel Jörgensen, Anton Hansen, K. Kollwitz, A., Storm Petersen, El Lissitzky, Rodchenko, Deineke, Anden Samling, John Heartfield, G. Grosz.First edition, text in Danish language. Original wrappers. In Very good condition.

First Edition. First printing. Limited issue; no. 50 of 100 clothbound copies signed by Burck. Quarto; tan buckram with titles and decorations stamped in brown on front and rear covers; 247pp. A lovely, fine copy, free of soiling or wear. There was a simultaneous trade issue in pictorial wrappers. The very scarce limited issue of this compilation of Burck's Depression-era cartoons, most originally published in the Daily Worker and The New Masses. Burck trained at the Art Students' League under Boardman Robinson; became the full-time editorial cartoonist for the Daily Worker in 1929, and worked as a political cartoonist for the rest of his life, though following a 1936 trip to the Soviet Union he renounced Communism and began working for mainstream periodicals including the St. Louis Post Dispatch and the Chicago Daily Times. He won a Pulitzer Prize in 1941; survived a period of persecution during the 1950s Red Scare, and continued to produce new work until shortly before his death in 1982. This volume quite scarce, and the few copies we have seen previously were well-worn. Signed.