hugo gellert (31 Ergebnisse)

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

Soft cover. Zustand: Good. Young, Art; Gellert, Hugo (illustrator). First Penguin Books edition. Interior clean and bright. Title page has 1/2" tear. Discoloration to wraps. Spine and front wrap wrinkled. Light wear around corners and spine ends. A collection of satirical essays - in - dialogue, mostly taking place in heaven, between God, Jesus, and the saints. 252 pp.

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

Zustand: Fine. - Quarto [approximately 11 inches high by 8-1/2 inches wide], softcover bound in pictorial red & white wrappers with a portrait of Whitman by Hugo Gellert on the front cover. 38 pages. Black-and white illustrations by Rockwell Kent, Philip Evergood, Antonio Frasconi, Philip Reisman & others. Near fine. Contributors to this Walt Whitman issue of American Dialog include Langston Hughes, Walter Lowenfels, Abe Kapek, Soviet poet and critic Kornei I. Chukovsky, Leonore Marshall and Kirby Congdon. There are poems by David Ignatow, James Schevill and others.

Unbound. Zustand: Fine. Fine. Small hand bill.

Zustand: Good. Hugo Gellert (illustrator). I.g.st., hardcover, 255 pp., vertaling Joseph Gompers, ill. Hugo Gellert Zgn. goedkoope editie, uitgebreid voorwoord van de vertaler, wordt verzonden als brievenbuspakket.

Gebunden. Zustand: New. KlappentextrnrnExcerpt from Comrade Gulliver: An Illustrated Account of Travel Into That Strange Country, the United States of AmericaMY good friend, Mr. Keen, with whom I had become acquainted during his visit to our Soviet Union, greet.

Zustand: Fine. NY 1961. Single issue of this communist newspaper, mostly on the civil rights movement. 4to., 4pp., folded in sixths. In a envelope addressed to Hugo Gellert, Hotel Chelsea, New York. Newspaper Fine, envelope yellowed, split along folds, with a closed tear though Gellert's name on the front and a small chip in the blank part of the enevelope.

136 Seiten. Mit zahlreichen Abbildungen. 12 (9x6,5 cm). Orig.(Kunst?)Lederband, goldgeprägter Rückentitel, illustr. Schutzumschlag ** "1933 gab der Graphiker Hugo Gellert in New York die Lithographien-Mappe 'Karl Marx, Capital in Pictures' heraus, die dem Leser nun verkleinert vorgelegt wird. Die Illustrationen von Hugo Gellert lassen uns das Kapital, das grundlegende Werk des Marxismus, neu entdecken" (Verlagsbeigabe). * Widmung auf Vortitel. Sehr gut erhalten. (SW: Miniaturbuch).

Zustand: Good. All first edition. Daily Worker issues for December 4, 1931 and December 11, 1931. Both issues have address label of Hugo Gellert in White Plains, New York. Issues of The Worker for August 23, 1959 and December 27, 1959. Nowak Newsletter for December 9, 1954 (3 p.); Amnesty Trumpet for June 1954. 4p. Newspapers are Good but toned and a bit brittle on edges; are folded in quarters so would need to be opened carefully. All other items are Good. Group of 6 items:

Soft cover. Zustand: Near Fine. Annotated Illustrations Throughout (illustrator). 1st Edition. 96 Pp. Card Covers Printed Entirely In Red; Paper Loss Along Fore Edges Of Rear Cover (Surface Only And Not Affecting The Lettering) And Last Two Leaves (A Few Small Holes Not Affecting Lettering). Signed By Eight Prominent Figures At The Worker (The Daily Worker) In Those Years; From The Library Of William Gropper. Signed by Author(s).

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.

gebundene Ausgabe, Halbleder. Zustand: Sehr gut. Ungekürzte Ausg. 680 S. ; 8 Zustand: sehr gut, Ecken und Kanten berieben, Namenszug im Vorsatz; w2242 Wenn das Buch einen Schutzumschlag hat, ist das ausdrücklich erwähnt. Rechnung mit ausgewiesener Mwst. Sprache: Deutsch Gewicht in Gramm: 610.

Hardcover. Zustand: Sehr gut erhalten. Ebd.entwurf von Hugo Wilkens. (illustrator). Mit 13 Federzeichnungen, davon 2 ganzs., und einem Holzschnitt von A. Paul Weber. reich illustrierter Originalleinenband mit Rückenrottitel.

Unbound. Zustand: Fine. Postcard approximately 8.25" x 5.5" printed in red and blue with an illustration by leftist activist Hugo Gellert. Fine.

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.

Hardcover. Zustand: Near Fine. Measuring 14.5" x 22". Poster printed in red and blue. A dove hovers over a protesting crowd, one of whom carries a sign: "Bring the boys home from Korea!" Beneath the illustration are admonitions to: "Save the Bill of Rights! End Jim Crow! Repeal the Smith Act! Stop Lynch Terror." Top right corner is snipped in an approximately 1" rectangle, a little soiling, else very good.

Soft cover. Zustand: Fair. GROSS JOLAN / GELLERT HUGO (illustrator). (27.5x20 cm). - [4], 180 pages. - Publisher's illustrated cover, with title in red ad black. - Profusely illustrated Hungarian-American -Communist magazine, - With a full-page lithograph of Lenin by Gellert' '[1892-1985 [pge 3],], and full-page cover illustration by Jola-Ggross-Bettelhem [1900-19t2], and very many text illustrations, ,such as B/Burcck - Articles on RAKOSI, DIMITROFF, and other Communist leaders. - No loose pages, however paper is oxidizing and fragile. Request link to photos to evaluate condition .EXTREMELY RARE: WorldCat notes only 3 issues [St.Paul, Stanford, Paris] and not identifying any of the years.

Soft cover. Zustand: Very Good. GROSS JOLAN / GELLERT HUGO (illustrator). FOR FULL TITLE SEE PHOO OF TITLE PAGE - (20x12 cm). - 43 pages. - Publisher's yellow wrappers, with title printed within ornamental borders; - VE RY RARE: WorldCat locates only 3 copies (BL [2], Budapest [1]). - [How to provide Pest with better air and better water supply? - How to eliminate the swamps on the lower left bank of the Danube? - How can one prevent flooding and what effect would that have on the direction of the railroad of the Railroad of Lower Hungary??

Quarto (27.5cm). Original pictorial wrappers, stapled; 34pp. Text edges browned, but not brittle; toning along spine fold and cover edges, with a faint vertical crease along center of front cover and foxing along the upper margin of same, wrappers starting to separate; Good or better. The issue includes contributions by Max & Crystal Eastman, Robert Minor, and John Reed, with cartoons by Boardman Robinson and Art Young.

Zustand: Fair. Acceptable condition. (classic literature, literary studies, children's literatrue) A readable, intact copy that may have noticeable tears and wear to the spine. All pages of text are present, but they may include extensive notes and highlighting or be heavily stained. Includes reading copy only books.

Original illustrated poster, offset printed in black and red on white stock, measuring 43.5cm x 56cm (17" x 22"). Light wear and a few tiny tears to extremities, shallow losses to right corners, with a faint diagonal crease to upper left corner; unbacked, Very Good. "With the Liberty Bell and subtitle "Made in USA" in parentheses, this poster telegraphs the struggle for public legitimacy sought by the Communist Party, U.S.A. at the end of the 1950s. The organizing committee was forced to host this hallmark radical memorial in New York's Washington Square instead of the preferred Union Square because they were denied a permit, and were also refused use of loudspeakers because they might interfere with classes at nearby New York University. Though beautifully hand-lettered and illustrated by lifelong activist illustrator Hugo Gellert, the simple two-color poster nonetheless remains locked in a design aesthetic little changed from the W.P.A. posters of the 1930s" (Cushing, Lincoln. "Political Graphics of the long 1960s." Essay published in New World Coming: The Sixties and the Shaping of Global Consciousness, 2009). 82980.

Original lithographed poster, 57cm x 45cm (ca 22" x 17"). Printed offset in two colors on heavy cream paper. Fine and unworn; unbacked; Grade A. Signed in stone lower left. A late and rather uncommon Gellert poster. Published under the auspices of the CPUSA, probably ca.1970, but the image is taken from Gellert's 1936 portfolio "Aesop Said So." We find 4 copies in OCLC (LC, Penn State, NY State Library, Syracuse).

First Edition. Quarto. Original tan cloth boards; dustjacket; (47)pp incl. frontis.; illus. Slight darkening to cloth at gutters, as usual else tight, clean and unmarked; Near Fine. In scarce original dustwrapper, chafed on rear panel and with some chips to extremities; just VG. Nineteen political caricatures by the famed Masses cartoonist, each with facing text adapted from the fables of Aesop to reflect contemporary social and political realities during the Great Depression. Uncommon in any sort of dustjacket.

Bifolium lithograph (57.5cm), printed on BFK Rives by E. Desjobert (Paris, France), each signed by Gellert in pencil. A Fine copy. Widely acknowledged as Gellert's masterpiece, and certainly his most-reproduced body of work, marrying selections from the text of Marx's Kapital with his own strong social-realist graphics. Published at the height of the Depression, the portfolio, limited to 133 numbered and signed sets, is also Gellert's scarcest work, seldom encountered in a complete state. This lithograph features a charcoal pencil illustration of a worker leading a train of oxen, pulling a load of lumber, with text from "The Labor Process and the Process of Producing Surplus Value" on the opposite page. 82065.

Bifolium lithograph (57.5cm), printed on BFK Rives by E. Desjobert (Paris, France), each signed by Gellert in pencil. Faint crease along the upper edge, else Fine. Widely acknowledged as Gellert's masterpiece, and certainly his most-reproduced body of work, marrying selections from the text of Marx's Kapital with his own strong social-realist graphics. Published at the height of the Depression, the portfolio, limited to 133 numbered and signed sets, is also Gellert's scarcest work, seldom encountered in a complete state. This lithograph features a large charcoal illustration of track wheel machinery, with text from "Constant Capital and Variable Capital" on the opposite page. 82075.

Bifolium lithograph (57.5cm), printed on BFK Rives by E. Desjobert (Paris, France), each signed by Gellert in pencil. Some trivial creasing and a few tiny tears along the lower edge, else very Near Fine. Widely acknowledged as Gellert's masterpiece, and certainly his most-reproduced body of work, marrying selections from the text of Marx's Kapital with his own strong social-realist graphics. Published at the height of the Depression, the portfolio, limited to 133 numbered and signed sets, is also Gellert's scarcest work, seldom encountered in a complete state. This lithograph features a large charcoal illustration of a worker's tools hammer, sickle, pitchfork, shovel, and wrench with text from "Division of Labor and Manufacture" (Twofold Origin of Manufacture, The Detail Worker and His Implement) on the opposite page. 82073.

Bifolium lithograph (57.5cm), printed on BFK Rives by E. Desjobert (Paris, France), each signed by Gellert in pencil. A Fine copy. Widely acknowledged as Gellert's masterpiece, and certainly his most-reproduced body of work, marrying selections from the text of Marx's Kapital with his own strong social-realist graphics. Published at the height of the Depression, the portfolio, limited to 133 numbered and signed sets, is also Gellert's scarcest work, seldom encountered in a complete state. This lithograph features a charcoal illustration of a fist clutching three individual stalks of wheat, with text from "Commodities" (The Two Factors of a Commodity: Use-Value and Value) on the opposite page. 82064.

Bifolium lithograph (57.5cm), printed on BFK Rives by E. Desjobert (Paris, France), each signed by Gellert in pencil. Some trivial wear and a few faint creases to extremities, else a very Near Fine copy. Widely acknowledged as Gellert's masterpiece, and certainly his most-reproduced body of work, marrying selections from the text of Marx's Kapital with his own strong social-realist graphics. Published at the height of the Depression, the portfolio, limited to 133 numbered and signed sets, is also Gellert's scarcest work, seldom encountered in a complete state. This lithograph features a large charcoal illustration of an elderly John D. Rockefeller, his hands together in prayer while being strangled by a stock ticker tape machine, with text from "Primary Accumulation" (Origin of the Industrial Capitalist) on the opposite page. 82061.

Zustand: Very good overall. Gellert illustrated "Capital in Pictures", a suite of 60 handsome lithographs of workers, which was printed in Paris on BFK Rives paper. This lithograph is printed on different paper, watermarked Barcelona = Catalunya=Spain, but also of a heavily-muscled working man in overalls. This image did not appear in "Capital in Pictures" and appears to be separately printed. It is signed in Pencil "Hugo Gellert" in the lower left corner. Paper 15x20", two angled creases in left side which could be mounted out.