alexander raskin (25 Ergebnisse)

Hardcover. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

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

Zustand: New.

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

Paperback. Zustand: Brand New. 154 pages. 5.50x0.36x8.50 inches. In Stock.

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

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

Hardcover. Zustand: Brand New. 154 pages. 8.50x5.50x1.00 inches. In Stock.

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

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

Zustand: Fair. Ohne Umschlag; Spuren von Feuchtigkeit / Nässe.

Hardcover. Zustand: Brand New. 114 pages. Hindu language. 5.50x0.44x8.50 inches. In Stock.

Hardcover. Zustand: Brand New. 114 pages. Malayalm language. 5.50x0.44x8.50 inches. In Stock.

Zustand: Very Good. Very Good condition. (Russia, St. Petersburg, historic buildings, parks, pictorial works) [ISBN 5930510075] A copy that may have a few cosmetic defects. May also contain a few markings such as an owner's name, short gifter's inscription or light stamp.

Decorative Boards. Zustand: Good. Lev Tokmakov (illustrator). 120 pp. Cloth spine with illustrated card boards. Minor bumping and wear to extremities. Some rubbing and marking to boards. Light foxing to endpapers, with light scattered marking throughout. All colour illustrations by Lev Tokmakov remain clean and bright. A translation of a Soviet-era children's book. Small Oblong 4to. Illustrated.

Zustand: Hervorragend. Zustand: Hervorragend | Sprache: Deutsch | Produktart: Bücher | Als Papa klein war" . ist ein Kinderbuchklassiker in Russland und einigen anderen Ländern. Er eignet sich für Kinder im Grundschulalter und richtet sich auch an deren Eltern und Großeltern. Die Sammlung der Geschichten entstand, als Sascha, die Tochter des Schriftstellers Alexander B. Raskin, sehr krank war. Um Sascha von ihrer Krankheit abzulenken, begann Raskin sich an lustige Ereignisse aus seiner eigenen Kindheit zu erinnern. Die Geschichten vom kleinen Papa sind noch heute in Russland populär, weil auch heutzutage Kinder sich in den Geschichten wiederfinden können.

Trade paperback. Zustand: Good. First Paperback Printing [stated]. 450 pages. Some wear and creasing to covers. Inscribed by the author (John Trumpbour) to Alexis; inscription reads For Alexis, Adams Club Tszarina. Fight the Power! Jack Trumpbour. Also contains inscriptions to Alexis by three of her colleagues. The Book includes a preface, as well as chapters on Introducing Harvard; Harvard and the State; Harvard, the Corporations, and the Community; Harvard Science and Pseudo-Science; Education, Ideology, and Social Control; and Strategies for Transformation. Also contains information about the contributors, as well as an Index. This book explores Harvard's abdication of intellectual responsibility, and demolishes in its wake the popular view that Harvard is a "radical," "progressive," or even "ultra-liberal" institution. John Trumpbour studied history at Stanford University and later received a Ph.D. from Harvard University. He is the author of Selling Hollywood to the World: U.S. and European Struggles for Mastery of the Global Film Industry, 1920-1950 and served as editor of The Dividing Rhine: Politics and Society in Contemporary France and Germany. He has contributed an array of essays examining the following topics:How Harvard Rules; Latino contributions to the labor movement for the book Latinos: Remaking America; "the clash of civilizations" thesis in The New Crusades; and the U.S. culture industry's global dominance in The Contemporary Hollywood Film Industry. In Winter 2007, he served as guest editor of The Comparative Labor Law & Policy Journal for its special issue on "The Crisis in Workplace Governance." This collection of 26 essays examines the historical position of Harvard University as one of the nation's most influential institutions. Included are: (1) "Introducing Harvard: A Social, Philosophical, and Political Profile" (John Trumpbour); (2) "How Harvard is Ruled: Administration and Governance at the Corporate University" (Robert Weissman); (3) "Harvard, the Cold War, and the National Security State" (John Trumpbour); (4) "Living with the Bomb: The World According to Bok" (Andrew Kopkind); (5) "Jackboot Liberals" (Alexander Cockburn); (6) "The Business-University Revisited: Industry and Empire in Crimson Cambridge" (John Trumpbour); (7) "Neighborhood Bully: Harvard, the Community, and Urban Development" (Oscar Hernandez and Zachary Robinson); (8) "A History of University Labor Struggles" (Vladimir Escalante); (9) "Blinding Them with Science: Scientific Ideologies in the Ruling of the Modern World" (John Trumpbour); (10) "The Science of Racism" (Jonathan R. Beckwith); (11) "Sexism and Sociobiology: For Our Own Good and the Good of the Species" (Ruth Hubbard); (12) "Ideology in Practice: The Mismeasure of Man" (Stephen Jay Gould); (13) "'Cleaning House': Hiring, Tenure, and Dissent" (John Trumpbour); (14) "The Tenure Process and Its Invisible Kingmaker" (Joseph Menn); (15) "Could Karl Marx Teach Economics in the United States?" (Lawrence S. Lifschultz); (16) "Uppity and Out: A Case Study in the Politics of Faculty Reappointment (and the Limitations of Grievance Procedures)" (Chester Hartman); (17) "Minority and Third World Students" (Cynthia Silva et al.); (18) "Meritocracy and the Manipulation of Ethnic Minorities: The Epps and Evans Affairs" (Eugene Franklin Rivers); (19) "Sexual Shakedown" (Christina Spaulding); (20) "A Note on Professional Schools" (John Trumpbour); (21) "Laying Down the Law: The Empire Strikes Back" (Jamin B. Raskin); (22) "Making Students Safe for Democracy: The Core Curriculum and Intellectual Management" (Ben Robinson); (23) "The Progressive Student Heritage" (Zachary Robinson); (24) "'Waiting for Derik': The Divestment Struggle" (Michael West); (25) "Democracy Harvard-Style: The (S)Election of Overseers" (Chester Hartman and Robert Paul Wolff); and (26) "Conclusion: Transforming Harvard" (John Trumpbour). (Individual papers contain references).

Zustand: as new. Toronto : Hogrefe, 2012. Hardcover. xvii,381 pp. English text. Condition : as new. - In honor of Friedrich Lösel / Thomas Bliesener, Andreas Beelmann and Mark Stemmler -- Developmental courses of antisocial behaviors. Environmental, genetic and epigenetic influences on the developmental origins of aggression and other disruptive behaviors / Richard E Tremblay -- Subtypes of aggressive behaviors: etiologies, development, and consequences / Frank Vitaro and Mara Brendgen -- Developmental sequence and pathways towards serious delinquency and substance use / Rolf Loeber, Helene Raskin White and Jeffery D Burke -- Persistent juvenile offenders / Thomas Bliesener -- Risk and protective factors in antisocial behaviors. Protective and promotive factors in the development of offending / David P Farrington and Maria M Ttofi -- Family factors in the development of antisocial behavior / Lea Pulkkinen -- Social sources of crime propensity: a study of the collective efficacy of families, schools, and neighborhoods / Per-Olof H Wikström -- Media consumption and violence in schools / Franz Streng -- Crime prevention, offender treatment, and rehabilitation. The scientific foundation of prevention: the status quo and future challenges for developmental crime prevention crime prevention / Andreas Beelmann -- Measuring conflict of interest in prevention and intervention research: a feasibility study / Manuel Eisner and David Humphreys -- Effective interventions for juvenile offenders: using meta-analysis to bridge from research to practice / Mark W Lipsey -- Offender resistance policing (ODP): less prison and more evidence in rehabilitating offenders / Lawrence W Sherman -- Risk management and criminal justice. Violence risk assessment: things that I have learned so far / David J Cooke -- Comprehensive risk management instruments for serious and violent young offenders: challenges and advantages / Raymond R Carrado -- Forensic psychological assessment in the criminal justice system:development and perspectives in Germany / Rudolf Egg -- Young offenders and legal competencies / Ronald Roesch -- Research methods in development criminology. The development of delinquent behavior: variable- and person-oriented methods of analysis / Alexander von Eye, Richard M Lerner, Jacqueline V Lerner and Edmond P Bowers -- Latent growth curve modeling and the study of problem behavior in girls / Mark Stemmler and Anne C Peterson -- Evaluating a national program: effects of No Child Left Behind on math achievement in the United States / Thomas D Cook, Manyee Wong, and Peter Steiner -- Principles of symmetry in evaluation research with implications for offender treatment / Werner W Wittmann. Condition : as new copy. ISBN 9780889374249. Keywords : RECHT, criminal law *2006-100 criminal law.

Hardcover. Zustand: Good. Zustand des Schutzumschlags: very good. 592 pages. Illustrations (many in color). Illustrated endpaper. Index. Rear board slightly sprung. David Nemec (born December 10, 1938) is an American baseball historian, novelist and playwright. Nemec drew on his vast knowledge of baseball history to create The Absolutely Most Challenging Baseball Quiz Book, Ever (Macmillan, 1977), it launched a series of popular Nemec baseball quiz books. During the 1990s, Nemec expanded on the research he had done for his historical baseball novel, Early Dreams, to become a scholar on baseball's infancy as a professional sport. Since 1987, Nemec has authored or co-authored over 20 books on baseball, many focusing on the game's embryonic years. In 1994, Lyons & Burford published The Rules of Baseball, Nemec's anecdotal look at the evolution of the rules of the game. The following year the same publisher brought out his The Beer and Whisky League, a history of the American Association during its ten-year existence (1882-1891) as a rebel major league. In 1997. Nemec has received The Sporting News Research Award and the McFarland Baseball Research Award, Nemec is a member of SABR, [the Society for American Baseball Research] and a recipient of a lifetime Henry Chadwick Award, which was established in 2009 to honor baseball's greatest researchers. Sportswriter Graham Womack posted some thoughts on line about the 20th Century Baseball Chronicle, including: "I got a wholesale course in baseball history, learning about players like Johnny Podres and Sandy Amoros, heroes of the 1955 World Series, and Mickey Owen, goat of the 1941 Fall Classic. The 20th Century Baseball Chronicle served as the foundation for my love of baseball history, my introductory course. It also shaped how I viewed the game for a long time. There are no Sabermetrics whatsoever in the book. I only started learning them in recent years after I began writing about baseball history online. . I understood how much baseball has changed every decade or so pretty much all of its existence and how it continues to change. Sure, there's some basic degree of continuity, and the game's long history is part of its lure. Otherwise, baseball is constantly reinventing itself. I've since read so many other baseball books that have changed my life in smaller ways. Bill James's The Politics of Glory inspired me to dig deeper into the Hall of Fame's history. . It's been a long time since I laid on my bed reading The 20th Century Baseball Chronicle, its spine now almost broken and bits of its cover missing. I'm 32 and establishing myself as a baseball writer. .I recently looked at the names of the authors who contributed to The 20th Century Baseball Chronicle and discovered I email regularly with one of them, David Nemec, a highly knowledgeable baseball historian who has authored a bunch of other books and is great about answering my questions. It's funny how life comes full circle. My love of baseball history started with The 20th Century Baseball Chronicle, Updated Edition, First printing [stated].

Kartoniert / Broschiert. Zustand: New. &Uumlber den AutorJonah Raskin is the author of six poetry chapbooks published by Running Wolf Press, Jaxon s Press and the Alexander Book Company. The author of American Scream: Allen Ginsberg s Howl and the Making of the Beat Generati.

fester Pappband, mit farbiger Deckelillustration, ca. DinA 4, Querformat, nur etwa 28 Seiten, Bilderbuch mit Farbillustrationen und viel Text, Einband mit leichten Gebrauchsspuren, Rückdeckel stärker gebräunt, Rücken an den Enden bestoßen, Vorsatzblatt vorne fleckig, Vorsatzblatt und Rand von der Einbandinnenseite hinten mit kleiner Abschabung, insgesamt gut erhalten / insgesamt guter Zustand ISBN 3770761723; Eine Geschichte von Alexander B. Raskin mit Bildern von Erich Fuchs; aus dem Russischen.

LP Box. Zustand: Gut. LP-Vinyl Schallplatte Originalverschweißt. (Keine genaue Jahreszahl angegeben.) A1 Chaos (Orchestra) A2 Recitativo: Im Anfange. A3 Coro: Und der Geist. A4 Aria: Nun beut die Flur. B1 Recitativo: Und die Himmlischen Heersharen. B2 Coro e Solisti: Der Herr ist gross in seiner Macht. C1 Recitativo: Und Gott sprach: Es bringe die Erde hervor lebende Geschopfe nach ihrer Art. C2 Coro: Vollendet ist das grosse Werk. D1 Recitativo: Aus Rosenwolken. D2 Coro e Solisti: Singt dem Herren alle Stimmen! W15 Sprache: Deutsch Gewicht in Gramm: 1001.

Landscape folio (35.6 x 53.9 cm). Title in chromolithograph integrating gilt and bronze lettering and with large vignette by Hanckà , and 22 plates by Meyer lithographed by K. Schultz, captioned in French and Russian, numbered 1-22, with fine original hand-colouring with generous gum arabic highlights, some on beige paper, all leaves printed on thick card and with original tissue guards with corners ornately cut; contemporary full brown morocco, covers with rich, deep blind-stamped ornaments, gilt fillets and gilt lettering in French, flat spine with gilt ornament, green glazed endpapers, all edges gilt; binding rubbed with the occasional stain or scratch, spine head and foot restored, pastedowns showing the original glue, tissue guards with limited browner offset; occasional minor marginal soiling or tears, a couple of plates with minor marginal restoration, a handful at beginning with small reinforcement at gutter verso, and at end with the gouache lightly rubbed. 'One of the best and most reliable collections of views of [St Petersburg] in the first half of the 19th century' (Makhlevich): a superb example of this large-format rarity, complete with its 22 lithographs, all in brilliant contemporary hand-colour. The Swiss artist Johann Jakob Meyer (1787-1858), 'one of the best watercolourists of his time' (Nagler, quote from Makhlevich) arrived in Russia in 1842 and stayed there for around three years. Supposedly, in the autumn of 1844 Tsar Nicholas I himself commissioned Meyer to create a series of watercolours of St. Petersburg and Peterhof, Peter the Great's palace and Nicholas' favourite residence. As a result, Meyer's views include masterpieces of the Russian baroque, classical and neo-gothic architecture, set in various, sometimes romantic landscapes of St. Petersburg's surroundings. Thanks to the combined skills of the artist, the lithographer and the colourists, each scene is rendered in radiant and fresh colours, with lovely play of light and soft shadows, hazy and distant perspectives and remarkable reflections of the palaces and trees in the Neva river, the Gulf of Finland and garden lakes. 'Preserved in very few copies, the album by Meyer [was of great help to] historians, [â¦] architects and engineers as valuable reference material for restoring palaces and museums that were destroyed during the war' (Makhlevich). It includes for example and among other palaces, buildings and follies, the Pavlovsk Palace (1780s), a notable example of palladian architecture in Russia by Charles Cameron, destroyed in 1941-44, and since rebuilt â" like Tsarskoe Selo, Elagin, and Monplaisir Palace (1714-23), Peter the Great's favourite summer residence designed by the tsar himself. A plate shows the Menshikov Palace in Oranienbaum (1711-27), whose unprecedented luxury exceeded Peterhof in its scale at the time: together with the garden and the surrounding buildings, it is "the largest surviving ensemble of Peter's Baroque" (Raskin). Technological innovation is also present, with the Pavlovsk Railway Station (1838), the terminus of the first railway in the Russian Empire and at the same time "the first concert venue with orchestral music open to the public" (Kliuchnikova), destroyed during the WW2 and never rebuilt. An international publishing entreprise, this album was produced by a major St. Petersburg publisher of German origin, Iosif Felten (Velten), lithographed by Karl Schultz and printed by the prominent Parisian lithographer Joseph Lemercier. The plates may well have been available individually or as complete collection, in black and white, tinted and in colour: this was added by hand and, considering the highest quality of this copy's colour, most likely in Paris. This suite was sometimes completed with a few other plates by other artists (like in Efremov-Siniagin-Gubar copy, which had only 2 plates in colour), and were also used by Velten in a simplified, smaller version to add to views of the St. Petersburg's city centre. It is worth noting that these views belong to a rather small group of works focusing only on the palaces of the surroundings of the northern capital, without views of the city itself. The work include the following views: 1. Peterhof Palace church, 2. Pavlovsk Palace, 3. Monplaisir Palace in Peterhof, 4. Imperial Palace on Elagin island, 5. Oranienbaum Palace viewed from the garden, 6. English Palace in Peterhof, 7. Imperial Palace in Oranienbaum, 8. Palace of Duke of Leuchtenberg, 9. The Great Fountain at Peterhof, 10. Coffee House in the Summer Garden in St Petersburg, 11. Palace of Strelna, 12. Alexander Palace in Tsarskoe Selo, 13. Tsarskoe Selo Palace church, 14. Colonnade of the Tsarskoe Selo Palace, 15. Tsarskoe Selo Palace viewed from the "Chinese Bridge", 16. Palace of Grand Duke Mikhail Pavlovich on Kamennyi island, 17. Tsaritsyn Island in Peterhof, 18. Znamenskii Palace near Peterhof, 19. "The Cottage" palace in Alexandria park in Peterhof, 20. Gatchina Palace viewed from the courtyard [apparently mistakenly described as "from the garden"], 21. Gatchina Palace viewed from the garden, 22. The Pavlovsk railway station. This last plate depicts a soirà e of the Russian gentry in the charming colonnade of the station, accurately showing different trends of local fashion, yet notably with the Russian flag coloured incorrectly. Very rare, especially with all plates in colour: we could locate only one such copy in public institutions worldwide, in Harvard, (also bound in full (green) leather). The other two holdings in Worldcat may be from other editions and do not mention any colouring (Kunsthaus Zurich Library and TU Darmstadt). All other copies we could trace, including in Russian libraries, are either incomplete or with black-and-white plates. Bibliographical details are mostly deficient, if not wrong; only Solovev seems to have had a fully coloured copy, but in a half-leather binding only.

Soft cover. Zustand: Near Fine. Zustand des Schutzumschlags: Very Good. 1st Edition. [102] Pages With Color Illustrations (Caricatures) And Text On Facing Pages. 26 Cm. First Printing. White Wrappers, In Illustrated Orange Dust Jacket Book Near Fine, Crease On Half-Title. Dust Jacket With A Few Shot Edge Tears. Inscribed By Raskin To American Social Artist William Gropper. Alexander Borisovich Raskin ( Russian: ????????? ????????? ?????? , 1914 - 1971 ) Was A Russian Soviet Writer. Aleksandr Raskin Graduated From The Gorky Institute Of Literature In 1938. He Wrote Satirical Poems And Prose About The Ills Of Soviet Society , Initially With Moris Slobodskoi . In The 1940S, He Worked For Krokodil Magazine . Many Unpublished Epigrams Of Raskin Have Spread By Oral Transmission. According To Wolfgang Kazak, "Raskin's Epigrams On Contemporary Writers Reveal A Brilliant Mastery Of The Language, Are Sharp And Appropriate." Raskin Wrote The Film Le Printemps With Maurice Slobodsky. He Also Wrote Popular Children's Books When Father Was Little ( Kogda Papa By Malenkim , 1961) And Kak Malenki Papa Ut?ilsa V ?kole ("How Little Dad Studied At School", 1963). Raskin Was Married To Author Frida Vigdorova . The Kukryniksy (Russian: ??????????) Were Three Caricaturists/Cartoonists In The Ussr With A Recognizable Style. "Kukryniksy" Is A Collective Name, Which Is Derived From The Names Of Three Caricaturists (Mikhail Kupriyanov, ?????? ?????????? ?????????, 1903?1991), Porfiri Krylov (???????? ??????? ??????, 1902?1990), And Nikolai Sokolov (??????? ????????????? ???????, 1903?2000) Who Had Met At Vkhutemas, A Moscow Art School, In The Early 1920S. The Three Began Drawing Caricatures Under The Joint Signature In 1924. They Became Nationally Famous In The 1930S After The Rise Of Fascism, Drawing For Krokodil, The Moscow Satirical Paper. They Received International Recognition For Their Attacks On Adolf Hitler, Benito Mussolini, Heinrich Himmler, Joseph Goebbels, And Francisco Franco. During The Second World War They Established The Tass Windows For Political Cartoons And Posters. After The End Of The Second World War They Continued To Depict Politics In Their Series Cold War (1945?1980S). They Illustrated A Number Of Books, Including Ilf And Petrov's, Nikolay Gogol, Mikhail Saltykov-Shchedrin, Anton Chekhov, Maxim Gorky, Miguel De Cervantes. The Kukryniksy Are Also Authors Of Socialist Realism-Style Paintings Concerned With Historical, Political And Propaganda Topics. As Individuals, They Are Also Known As Landscape And Portrait Artists. All Three Were Awarded The Honorary Title Of People's Artist Of The Ussr (1958). They Were Also Recipients Of Other Awards. There Are More Than A Thousand Works Of The Kukryniksy In The Collection Of Alexandre Garese, Which Have Been Restored. Inscribed by Author(s).

Design and illustrations attributed to El Lissitzky or Uriel Kahana. (illustrator). Design and illustrations attributed to El Lissitzky or Uriel Kahana. The text and illustrations (earlier typewritten text overlaid by print proofs) are mounted on the pages, accompanied by corrections, notes, and other markings in black and red pencil. Included are two red-and-black proofs of the front cover design, ten additional clipped copies of the illustrations, and one leaf with proofs of the Tsil Tslil publisher's signet (the series in which the book appeared). The last leaf of the printed book is omitted from the dummy. 18 p. Book dummy of Arba'ah Teyashim, the Four Billy Goats, illustrations are attributed both to El Lissitzky and Uriel Kahana. This unique book dummy of Arba'ah Teyashim (The Four Billy Goats) features illustrations attributed to either El Lissitzky or Uriel Kahana, two prominent figures in early 20th-century avant-garde art. While the illustrations in the dummy are identical to those in the printed edition, the text arrangement differs slightly. Twenty of the drawings are mounted directly on the pages, while the publisher's signet and the city landscape (printed on the title and last pages) are presented separately. The dummy also includes five print proofs of the Tsil Tslil signet, a hallmark of Tarbut's children's book series. The illustrations share similarities with Lissitzky's celebrated works, such as Had Gadya (1919) and Yingl Tsingl Khvat(1922), as well as the more simplified drawings in the children's books by Benzion Raskin (e.g., Der Ber, Di Hun). The cover designfeaturing Hebrew letters arranged as dynamic architectural elements in red and blackstrongly reflects Lissitzky's Proun typography style of the time, confirming his authorship of the cover motif. (Perloff 1998) In his comprehensive study of Lissitzky's Jewish period, Alexander Kantsedikas suggests that although the illustrations are attributed to Uriel Kahana, they may have been created by Lissitzky himself. Lissitzky had contracted to illustrate a series of books by Ben Zion Raskin in 1919, and Arba'ah Teyashim was one of these. Kantsedikas notes that Kahana, a young artist at the time, was still in his teens and unlikely to have produced such mature illustrations at this point in his career. However, some scholars argue that the style aligns more closely with Lissitzky's, leading to ongoing debate over the true authorship of the illustrations. The present book dummy is from the collection of Uriel Kahana, which enhances the possibility that the illustrations are by Kahana. However, as Kantsedikas points out, "[i]n 1922, when Arba'ah Teyashim was published in Warsaw by Tarbut, Uriel Kahana (19031965) was 19 years old and on his way to Palestine. Only a year later, he graduated from the Herzliya Hebrew Gymnasium. In 1933, Kahana earned a diploma in architecture from University College London. During his career, he was not known for book illustrations. Hence, the question of whether these particular book illustrations should be attributed to Kahana or Lissitzky remains controversial to this day. Those who attribute the illustrations to Lissitzky point to a high degree of correspondence with his recognized style of the period. On the other hand, these illustrations do not necessarily reach the same artistic level." (Kantsedikas 2018; p. 130, note 6) The cover design has been included in the collections of major institutions such as MoMA and the Getty Research Institute under Lissitzky's name. Provenance: The Uriel Kahana Collection References: MoMA 563.1977; Getty Russian Modernism 452 Bibliography: Kantsedikas, A.: Lissitzky: Jewish Period 1916-1919. Unicorn Publishing, 2018.; Perloff, N., [et al.]: Monuments of the Future: Designs by El Lissitzky. Los Angeles: Getty Research Institute, 1998.; Tschichold, J.: Über El Lissitzky. In: Imprimatur III. Ein Jahrbuch für Bücherfreunde. Gesellschaft der Bücherfreunde zu Hamburg, 1932. pp. 97112.; Woodruff, D.; Grubii?, L.: Russian Modernism: The Collections of the Getty Research Institute for the History of Art and the Humanities, I. Santa Monica: Getty Research Institute for the History of Art and the Humanities, 1997. p. 96. . Some mounted text bands are creased, and the separate unpasted bands show signs of wear. The leaves are slightly chipped at the edges, with yellowing due to aging. Minor staining and dusting from the glue used to paste the illustrations and text bands. Overall, in very good condition. The text and illustrations (earlier typewritten text overlaid by print proofs) are mounted on the pages, accompanied by corrections, notes, and other markings in black and red pencil. Included are two red-and-black proofs of the front cover design, ten additional clipped copies of the illustrations, and one leaf with proofs of the Tsil Tslil publisher's signet (the series in which the book appeared). The last leaf of the printed book is omitted from the dummy.