Ber Ryback Issachar (11 results)

Hardcover. Condition: Very Good. No Jacket. Very good condition. Minimal wear. All intact. No writing or marking. Not Ex-Library.

Soft Cover. Condition: Very Good. First Edition; First Printing. 34 full page plates, chiefly color. Text in English and Hebrew. Published on the occasion of the exhibition curated by Michal Teltsch at the Mane-Katz Museum, Haifa, Israel, March 1993. ; Ttight and clean. Solid binding. Sunning to spine area, otherwise in excellent condition. No inscriptions. No remainder mark. Not ex-library. ; "The similarities and differences in the art of these two Ukrainian-born painters, both of whom were inspired by the culture of the Jewish shtetl in Eastern Europe. Title essay explores their personal and artistic relationship and their individual histories. Excerpt from Mané-Katz's "Recollections", in which he describes his encounters with Ryback." ; 4to.

SIGNED. 15.5x23.5 cm. 125 pages. Gilt hardcover with dust jacket. Pages slightly yellowing. Else in good condition. The book is in : English.

Hardcover. Condition: vg- to vg-. First edition. Small octavo. 206pp. [2]. Original beige cloth over woodblock illustrated green and tan paper boards. Illustrated title page and publisher's device following the title page. A collection of Yiddish poems from acclaimed novelist, children's writer and poet Leib Kvitko (1890-1952), published during the period when he lived in Germany. Some of the poems in this collection had been previously published in Ukrainian publications during 1919 and 1920; and some material was published here for the first time. The content includes 61 poems, divided into 10 sections based on theme. The start of each section contains an illustration in black after woodcuts, designed by Ukrainian-Jewish artist Issachar Ber Ryback (1897-1935). The modernist avant-garde typography on the title page and with the illustrated images was also designed by Ryback. Kvitko and Ryback collaborated on numerous project including, most notably on Yiddish children's books. Table of contents and errata at the back of the book. Text in Yiddish. Binding with some light rubbing to extremities. Spine sunned, with a small abrasion in the middle and light rubbing to the head and tail. Back cover with a few minor stains. Gutter of interior front cover reinforced with japan tissue. Book block starting at p.114. Pen markings on the title page, but pages otherwise clean throughout with text and images vibrant. Binding in very good, interior in very good- condition overall. Protected by modern mylar. Yiddish title: ???? ???? Author: ???????, ? Illustrator: ????? ??? ??????/ ????? ?? ????.

First edition. Signed and numbered copy no.16 out of edition of 50 on Dutch paper; 25 plates with names of the plates printed on the tissue guards, publishers decorative green roan boards, severely rubbed; leaves clean with occasional minor staining; 34 ll. Album of 25 high quality plates (five in colour), portraying Jewish labourers and craftsmen in rural Ukraine. A limited edition of 50 copies on Dutch paper and 300 on Japan paper. This is a signed copy no.16 printed on Dutch paper. Issachar Ber Ryback (18971935) was a Ukranian-Jewish artist. He graduated from the Kyivv art school in 1916 and played a key role in the Yiddish avant-garde movement of the Soviet Union, for this reason he moved to Moscow and took part in a Jewish Art show in 1917. Following his father's murder he fled to Germany in 1921, where he settled in Berlin and became a member of the Novembergruppe and was involved in a number of important exhibitions. In 1925 he returned for a short time to Russia, before moving to Paris in 1926. Here he lived at the heart of the city's artistic community and exhibited at the Galerie aux Quatre Chemins (1928) and Galerie L'Art Contemporain (1929). In 1935 he died of tuberculosis at only 38 years of age. Ryback remained best known for his depictions of the Shtetl live, and some say that if it wasn't for his untimely passing he might have been as renowned as his Parisian contemporary Marc Chagall. A lot of Ryback's work was lost during WWII.

First edition, oblong folio (34 x 49.5 cm); 30 half-tone lithograph plates, lacks the list of plates on the last leaf; publisher's half-cloth boards in blue velvet, illustrated on front and back; boards rubbed, plates in very good condition; two small ownership stamps (one to half-title and one to margins of plate XXXI) scribbled over with a pen; [2], III-XXXI, [1] ll. A portfolio of 30 lithographs by the Ukranian-Jewish artist Issachar Ber Ryback (1897-1935). The lithographs dating mostly from 1917 and depict scenes of Ryback's hometown in Ukraine before its Jewish community was destroyed in the pogroms of 1917-1920, in which his father was also murdered. Ryback graduated from the Kyiv art school in 1916 and played a key role in the Yiddish avant-garde movement of the Soviet Union, for this reason he moved to Moscow and took part in a Jewish Art show in 1917. Following his father's murder he fled to Germany in 1921, where he settled in Berlin and became a member of the Novembergruppe and was involved in a number of important exhibitions. In 1925 he returned for a short time to Russia, before moving to Paris in 1926. Here he lived at the heart of the city's artistic community and exhibited at the Galerie aux Quatre Chemins (1928) and Galerie L'Art Contemporain (1929). In 1935 he died of tuberculosis at only 38 years of age. Ryback remained best known for his depictions of the Shtetl live, and some say that if it wasn't for his untimely passing he might have been as renowned as his Parisian contemporary Marc Chagall. A lot of Ryback's work was lost during WWII.

Softcover. Condition: vg to near fine. First edition. Quarto. Unpaginated. 6 pages. Original wrappers in white and green, with 4 different modernist type-fonts as well as designs by acclaimed artist and illustrator Issachar Ber Ryback (1897-1935). Middle leaf loose. Sheet music for the song Der Shifer (The Sailor), composer by Russian-Jewish pianist Mikhail 'Moses' Milner (1886-1956), with lyrics by seminal Yiddish-language writer I.L. Peretz (1852-1915). The lyrics in Yiddish are printed together with the musical notation, as well as separately on the back wrapper. This is the second installment in the Kultur-Lige's series of Yiddish children's songs for vocal and piano. Wrappers with very minor smudges and stains. back cover repaired at the bottom left corner with no loss of text or image. Interior clean. Wrappers in very good, interior in near fine condition overall. Wrappers protected in modern mylar. Quite scarce. Yiddish title: No.2 ????, ??????-????, ?????-?????? Subtitle: ??????????????: ???? ???? ??? ????????????: ??? ????? ,??? ???? ??? ????? Author(s): ? ??????, ?.? ????, ????? ?? ???? Publication: ?????? ??????-????, ?????? Bibliographic resource: Kazovsky, 'The Artists of the Kultur-Lige', p.22 (please note the image shown is not the same volume as this one). It should be noted that all published songs in the series were issued in wrappers utilizing the same Ryback layout and design, but were printed in various colors.

Hardcover. Condition: Very Good. No Jacket. With illustrations by Nathan Alterman, Boris Aronson, Issachar Ber-Ryback (illustrator). In Yiddish. All five issues bound together, with their wrappers, but front wrapper of issue 1 lacking. 48 pages per issue for a total of 240 pages. 275 x 205 mm. Lacks Front wrapper of issue 1. Printed on high quality glossy paper.

Hardcover. Condition: Good. No Jacket. Rybak, Issachar (illustrator). 32 x 49 cm. (13.25 x 19.5 inches). Oblong foio. Lithograph half-title and title, and 29 additional full-page lithographs. The lithographs measure 10 3/4 x 15", and are all dated 1917 in the stone. Of the 30 half-tone plates (Title + plates numbered from III-XXXI), four are printed in bistre, and the others in sepia The lithographs portray personal memories of life in the shtetl, conveyed in images, reminiscent of Chagall but with a more somber and tragic sentiment, that show influences of Cubism, Expressionism, and Constructivism, with asymetrical designs, exaggerated facial features and other progressive aesthetic concerns, incorporating and transforming prototypical images of Jewish life in rural Eastern Europe. They depict the peaceful daily life of a traditional Jewish shtetl before the upcoming destructions and massacres: a city street, the artisans (including a shoemaker, a tailor and a knife-sharpener), musicians, the market, the synagogue, a wedding, a funeral, the Jewish cemetery, the rabbi and the Hasidic rebbe. Boards with title and striking image on front cover. Shtetl. Mayn Khorever Heym, A Gedekhtnish (Shtetl. My Destroyed Home. A Remembrance) Issachar Ryback (Yelisavetgrad, 1897 - Paris, 1935) was born in Yelisavetgrad in the Russian Empire, now in Ukraine. Although little known to the general public today, he played a key role in the avant-garde movements that revolutionised Jewish art in the early 20th century.Ryback attended the art school in Kiev between 1911 and 1916. Greatly influenced by the ethnographic expeditions pioneered by S. Ansky (Shloyme Zanvl Rapoport, 1863-1920) to the "Pale of Settlement", where most of the Jews in the Russian Empire were forced to reside, he went on two of these expeditions in 1915 and 1916. During the second, Ryback and El Lissitzky (1890-1941) visited numerous synagogues, whose painted and sculpted motifs prompted him to create a new artistic alphabet. After the 1917 revolution, he was employed as a drawing teacher by the central committee of the Kultur Lige, an association promoting a revival of Yiddish culture founded in Kiev in 1918, of which El Lissitky and Chagall were also members. In 1918 Ryback co-wrote an article with Boris Aronson (1899-1980) in the review Oyfgang theorising the importance of folk art in a return to tradition and Jewishness, but also to the Orient and archaism. After brief stays in Moscow and Berlin, Ryback settled in Paris in 1926, showing in leading European galleries until he died suddenly in 1935. This album, regarded as Ryback's masterpiece, was published in 1923 but most of the plates date from 1917. Shtetl (literally "small town") was the name of Eastern European towns and villages with a large Jewish community. The illustrations depict daily life in Ryback's shtetl before its destruction by the pogroms in Ukraine from 1918 to 1922. The book is haunted by a tragic event, the artist's father's murder by Symon Petlioura's Ukrainian troops in 1921, and his evocation of this village no longer in existence is a reminder of this personal drama. The album comprises thirty-one lithographs numbered in Roman numerals. The dark blue canvas cover is illustrated with an etching of a lion, from a gravestone drawn by Solomon Yudovin (1892-1954), another artist who took part in the ethnographic expeditions to the Pale of Settlement. The lithographs depict scenes inspired by daily life in the shtetl. Several recurrent elements show the extent to which Ryback is emblematic of this new Jewish art he aspired to: the use of black and white referring to books and the written word (so important in Judaism), the use of Hebrew letters as pictorial elements and the influence of Cubism, which also drew inspiration from primitivism. The role of animals in this return to folk art's sources is central. In this new Jewish art the goat is the animal representing of the shtetl par excellence, as it is in Chagall's work and in El Lissitzky's Had Gadya (1919). . .

Soft cover. Condition: Very Good. Ryback, Issachar Ber (illustrator). Plates, number 139 of 450, brochured, lightly worn, folio. Text entirely in Yiddish. 32 full page pictures. Issachar Ber Ryback was a painter, a graphic, a sculptor, a scene painter, and an art critic. He was born on Feb 2, 1897 in Yelisavetgrad (now Kirovograd, Ukraine). Though his father came from a prominent Chassidic family, he was a follower of Haskala and an admirer of the Russian culture, and tried to foster love of this culture in his children. Nevertheless, he sent his son to the "heder", though rather late, only at the age of 10, because of delayed development and unhealthiness He studied in the "heder" for slightly more than a year, dedicating most of his time to the evening drawing classes for workers attached to the local factory, which he attended in secret. At the age of 11 he entered the Yelisavetgrad courses for scene painters, and having completed the course, and worked starting 909 in an artel (co-operative unit) that dealt with interior paintings of public and church buildings. The money he earned in the artel enabled him to continue his artistic education, despite his father's resistance. In 1911, Ryback was admitted to the Kiev School of Arts, Faculty of Painting, and graduated in 1916. At that period he became a member of the non-formal group created by the school Jewish painters that included, in particular, Boris Aronson, Alexander Tyshler, Solomon Nikritin, Mark Epstein, and Isaac Rabinovich, who later became the well-known artists. They all had in common a keen national self-identity and interest in various modernistic trends in art. Particular features of their world outlook were influenced, on the one hand, by the ideology of the so-called Kiev Group of Yiddish men of letters: David Bergelson, Nachman Mayzil, Yehezkiel Dobrushin, David Hofstein, etc., who were the theoreticians and the creators of the "modern" Jewish culture and literature. On the other hand, Ryback, similarly to the other, close-spirited young Jewish painters, established close links with Alexander Bogomazov and Alexandra Exter, who lived then in Kiev and were among the leading painters of the Russian avant-garde. In 1913-1914 Ryback attended classes in Exter's private studio. In 1915, at the Kiev Spring Exhibition, he for the first time presented his paintings, most of them being inspired by Jewish topics but in a modernistic style. In summer 1916, Ryback, together with El Lisitzky, was commissioned by the Jewish Historical and Ethnographic Society to travel all over Ukrainian and Byelorussian small towns (stetln) and copy the paintings in wooden synagogues and carved gravestones on the Jewish cemeteries. This trip awoke Ryback's interest in Jewish folk art and from that time on, he started regular collection and copying of the art samples. In spring 1917, Ryback participated in the Moscow Exhibition of Jewish painters and sculptors, and the critics assessed him as "one of the most brilliant and ingenious artists". The same year, Ryback participated in the launching of the Kiev Branch of the Jewish Society for the Fine Art Encouragement. In spring 1918, he became a founder of the Culture League Artistic Division. It was the organization established at that period in Ukraine for the development of new Jewish culture in Yiddish language. In 1918-1919, Ryback taught drawing and painting at the Kiev Jewish Children's Studio attached to the Artistic Division, designed a number of stamps for Jewish publishing houses and made artistic design of the Eygns, a literary almanac in Yiddish. Besides, he prepared scenery sketches and scale model for the pioneering production of the Culture League Theater Studio that have foreseen some of the Constructivist set design discoveries. In the summer 1919, in the Baginen, the Kiev Yiddish-language magazine, in collaboration with Boris Aronson, Ryback published The Ways of Jewish Painting paper, which served as a peculiar manifesto of Jewish avant-garde art.

2 SS. auf Doppelblatt. 8vo. Mit eh. Adresse (Faltbrief). An das Sekretariat der Novembergruppe in Berlin: "Ich nehme an dass meine 2 Bilder 1) der blinde Bettler und 2) Komposition in der diesjährigen Ausstellung ausgestellt sind - und würde ich Ihnen durchaus dankbar [sein], wenn Sie mir einen Katalog einsenden wollen [.]".