30 dnei. 30 Days. 1929 #11. Eight page photomontage by Gustav Klutsis. See, MoMA Collection, Object No. 443.2018; Gustav Klutsis. Valentina Kulagina. Kontakt Kultura. 2010. pp. 120-124. Professional reinforcement and minor soiling at front cover. Zemlia i fabrika. Moscow. Tirage, 40,000. 96 pp. 10 1/4 x 7". $2,500. 

30 dnei. 30 Days. 1929 #10. Eight page photomontage by Sergei Sen'kin. Professional reinforcement to front cover. Zemlia i fabrika. Moscow. Tirage, 40,000. 96 pp. 10 1/4 x 7". $1,200. 

Natalia Pinus. Krasnaya niva. 1930 #9. (March 30, 1930). Izvestia. Moscow. Tirage, unknown. 20 pp. 12 x 9”. $750. 

Valentina Kulagina. Krasnaya niva. 1930 #12. (April 30, 1930). Izvestia. Moscow. Tirage, unknown. 20 pp. 12 x 9”. $1,200. 

Natalia Pinus. Krasnaya niva. 1930 #23-24. (August 30, 1930). Izvestia. Moscow. Tirage, unknown. 24 pp. 12 x 9”. $750. 

U stanka. “At the Workbench”. 1925 #3. Front cover by D. Moor, rear cover by M. Dobrokovsky, interior graphics by A. Deineka. Covers professionally reinforced. M.K.R.K.P. Tirage, 8,000. 32 pp. 14 x 10 1/2. $950. 

Bezbozhnik u stanka. “Godless at the Workbench” 1928 #4. Front cover by A. Deineka, rear cover and interior spread by D. Moor. Cover reproduced at XX Century. We Are on the Cover. Pushkin State Museum. 2000. p. 67. Minor chipping at covers. M.K.R.K.P. Tirage, 70,000. 24 pp. 14 x 10 1/2. $950.  

Bezbozhnik u stanka. “Godless at the Workbench” 1924 #10. Rear cover and interior page by A. Deineka, front cover by D. Moor. Interior page reproduced at Christina Kiaer, Collective Body, Aleksandr Deineka at the Limit of Socialist Realism. Univ. of Chicago Press. 2024. p. 42. Covers professionally reinforced, soiling and foxing throughout. M.K.R.K.P. Tirage, 70,000. 24 pp. 14 x 10 1/2. $450. 

Shaikhet. Ogonek. 1928 #17 (April 22, 1928). Cover reproduced at Erika Wolf, The Author as Photographer: Early Soviet Writers and the Camera. Aperture, Winter 2008. p.35. Ogonek. Moscow. Tirage, 425,000. 16 pp. 12 x 9”. $225. 

Shaikhet. Ogonek. 1928 #41 (October 7, 1928). Cover reproduced at Erika Wolf, The Author as Photographer: Early Soviet Writers and the Camera. Aperture, Winter 2008. p.33. Ogonek. Moscow. Tirage, 438,000. 16 pp. 12 x 9”. $225. 

Shaikhet. Ogonek. 1928 #46 (November 11, 1928). Cover reproduced at Erika Wolf, The Author as Photographer: Early Soviet Writers and the Camera. Aperture, Winter 2008. p.35. Ogonek. Moscow. Tirage, 438,000. 16 pp. 12 x 9”. $225. 

HEARTFIELD BOOKLET COVERS 1942-48

While living in London in the 1940s, John Heartfield designed covers for UK publications on various Soviet topics employing conventional photo, drawing and typographical techniques as seen below.

Offered here are fifty (50) booklets and books with covers designed by John Heartfield in the UK during the 1940s.

We are led in assembling this group by the bibliographic efforts of Ronald Gray of Hammersmith Books, London focusing on Heartfield's UK period.

"John Heartfield's book design for British publishers is less well-known, although his name appears on much of it, most probably because the subject matter usually called for a subtler interpretation...'British authorities were highly suspicious of experimental forms of art by a German refugee' writes Richard Carline...John Heartfield, however, as his brother wrote, 'could not just do a job'...and the books, bookjackets and pamphlets he designed for several publishers show the 'careful consideration, with exact observation' which inform all his creative work." See, Ronald Gray, John Heartfield: His Work in England 1934-1950. n.d.

$4,250 for the group of fifty.

ZHITOMIRSKY BOOKLET COVERS 1962-74

In the USSR, the influence of Heartfield's earlier work with AIZ was on full display in Aleksandr Zhitomirsky's Cold War photomontage like the following 1960s-70s covers satirizing the West.

Offered here are eleven (11) booklets from the 1960s-70s with satirical photomontage covers by Aleksandr Zhitomirsky. Page references are from: Erika Wolf, Aleksandr Zhitomirsky. Photomontage as a Weapon of World War II and the Cold War, Art Institute of Chicago and Yale University Press. 2016; see also, Aleksandr Zhitomirsky—The Art of Political Photomontage: Tips for the Artist. Aleksandr Zhitomirsky—Iskusstvo politicheskogo fotomontazha: Sovety khudozhniku. Plakat. 1983.

• Photocollage cover for V. Zorin. Dinastiya Morganov. Morgan Dynasty. Politizdat. 1965. 6 ½ x 5”. Zhitomirsky, p. 99.
• Photocollage cover for V.G. Chernov. Liubimets kantslera. The Chancellor’s Minion. The President of the Federal Intelligence Service, R. Gehlen. Politizdat. 1962. 7-7/8 x 5”. Wolf, p. 286; Zhitomirsky, p. 111.. 
• Photocollage cover for G.P. Danov. Chto sintsia general generalu Khoizingeru. What General Heusinger Dreams About. Politizdat. 1962. 8-1/8 x 5-1/8”. Wolf, p. 292. 
• Photocollage cover for N. Mar’ev. Podvodno-raketnii biznes “Dzheneral Dainemiks”. Submarine Rocket Business “General Dynamics”. Politizdat. 1967. 6-1/2 x 5”.  
• Photocollage cover for O. Konstantinov. Dyupon' bez masku. DuPont without mask. Politizdat. 1974. 8 x 5”. Wolf, p. 320-21. 
• Photocollage cover for F. Rymyantsev. Finansovaya mafiya. Finanacial Mafia. Politizdat. 1971. 8 x 5”. Zhitomirsky, p. 113. 
• Photomontage cover for Yu. Yuryev. Sovremennyy Krez: Dom Rotshil'dov i yego obitateli. Modern Croesus: House of the Rothschilds and its inhabitants. Politizdat. 1965. 6 5/8 x 5”.    
• Photomontage cover for O. Konstantinov. Sprut s beregov Temzy. Octopus from the Banks of the Thames. Politizdat. 1972. 7 7/8 x 5 1/8”.   
• Photomontage cover for B. Lanin. “Fol'ksvagen" menyayet maski. “Volkswagen” Changes Masks. Politizdat. 1971. 7 7/8 x 5 1/8”.  
• Photomontage cover for Yu. Yudanov. Imperiya "Neskafe". Empire “Nescafe”. Politizdat. 1969. 7 7/8 x 5 1/8”. Unobtrusive internal underlining and notes on internal text.  
• Photomontage cover for M. Beloded. Monopoliya "Filips". “Philips” Monopoly. Politizdat. 1972. 7 7/8 x 5 1/8”. 



 $4,500 for the group of eleven.