Lubok (8 results)

Condition: New. Lubok, Anna (illustrator).

Gr.-4°. (48 S.) mit zahlr. (teils farb.) Abbildungen + 8 Graphikbl., illustr. OKt. Sehr gut erhalten. * Eins von 700 Exemplaren. Enthält 16 ornamentale Musterseiten, welche von Thomas Siemon auf seiner "Präsident"-Zylinder-Tigeldruckpresse von den Originalstöcken gedruckt wurden. - Neben Vorwort u. Einführung werden die bis dahin für Lubok tätigen Künstler in Kurzbiographien u. mit Abbildungen vorgestellt, darunter A. Butzer, K.-G. Hirsch, K. Immekus, V. Pfüller, Tal R, Chr. Ruckhäberle, J. Schubert u.a.

Paperback. Condition: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Gr.-4°. (44 S.), farb. illustr OKlappenkart. (Blochbuchbindung). Tadelloses Exemplar. EA. * Eins von 300 numer. Exemplaren. Die 39 ganzseit. Schwarzweiß-Linolschnitte wurden von Thomas Siemon auf seiner "Präsident"-Zylinder-Tigeldruckpresse von den Originalstöcken gedruckt. - Für diese Reihe erhielten die Herausgeber den Sächsischen Initiativpreis der Kulturstiftung des Freistaates Sachsen.

paperback. Condition: Fine. in original shrink wrap Very Good paperback with light shelfwear - NICE! Standard-sized.

Condition: Fine. The book is in fine condition.

OLeinen, SU, OSchuber. 178 S., mit teils ganzseitigen und farbigen Illustrationen, 4° Buch in sehr guter Erhaltung, Einband sauber und unbestoßen, Seiten hell und sauber, ohne Einträge, Buchblock fest und kompakt, Schutzumschlag sehr gut, dieser mit minimalen Lagerspuren, Ein Lubok (deutsch Lindenholztafel) ist ein russischer Volksbilderbogen mit satirischem, informativem, patriotischem oder sozialkritischem Charakter. Die überwiegend als Einblattdruck hergestellten populären Druckgrafiken waren von Mitte des 17. Jahrhunderts bis Anfang des 20. Jahrhunderts in Russland verbreitet und wurden von anonymen Künstlern aus dem Volk geschnitten oder radiert und meist nachträglich von Hand koloriert. Zusätzlich zu den Bildern wurden die volkstümlichen Drucke oft mit kurzen Geschichten versehen, die die Darstellungen erläuterten. Der reduzierte Text und die plakative Gestaltung charakterisieren diese Kunstart. 0 Sprache: Deutsch Gewicht in Gramm: 1800.

Very good. Light toning. Size 15.5 x 21.5 Inches. A rare 1904 Russian chromolithograph lubok by A. P. Korkin illustrating the Battle of Port Arthur (February 1904), the opening salvo of the Russo-Japanese War (1904 - 1905). It is an ironic scene of optimism, indicative Russian arrogance during the first stage of the war. Soon after, in the subsequent battles, Japanese forces soundly defeated the Russian Navy. A Closer Look The image depicts the Imperial Japanese Admiral T?g? Heihachir? Saneyoshi standing on a destroyer looking at his bloodied hand. Port Arthur (modern-day Lüshunkou) is represented as a hedgehog with the face of Vice-Admiral Oskar Stark (1846 - 1928). In the background, the United States and China are dismayed by inactive. Both sides came away from the battle bloodied, but as the Russians effectively beat off a surprise night attack, they are generally attributed a narrow victory. This would not be the case in subsequent battles wherein Russian forces were soundly defeated by the Imperial Japanese. The Battle of Port Arthur The Battle of Port Arthur, fought on February 8 - 9, 1904, was the opening battle of the Russo-Japanese War (1904 - 1905). On February 8, an Imperial Japanese naval squadron, led by Marshal-Admiral Marquis T?g? Heihachir? Saneyoshi (?? ???; 1848 - 1934), launched a pre-emptive night strike against the Port Arthur based Russian Pacific Fleet led by Vice-Admiral Oskar Stark (1846 - 1928). Despite the advantage of surprise, the Japanese attack yielded little, and the battle ended indecisively - with both sides claiming victory. Strategically, Port Arthur was important to both the Russians and the Japanese. For the Russians, it was the terminus of the Southern Manchurian Railway, which Russians managed, and which connected to the Trans-Siberian Railway - thus providing an essential warm water port. For the Japanese, taking Port Arthur was a cornerstone of their plans to invade Manchuria and, ultimately, China. Taking Port Arthur was also important in preventing growing Russian influence in East Asia. The Satirical lubok The lubok is a Russian satirical print. Such prints were produced in Russia from at least the 17th century and well into the 19th century. Lubki (plural) typically contained a story or lesson and often poked fun at authorities. One of the earliest lubok , from 1760, depicts Peter the Great's burial as teams of mice burying a cat (Peter). During the Russo-Japanese War (1904 - 1905) modern printing techniques such as chromolithography were applied to the lubok tradition. Although officially banned, lubok production documented much of the Russo-Japanese War, often portraying the Japanese as small and ineffectual. Others poked fun at Russian overconfidence. Many lubki found their way to Japan, enabling Japanese strategists to better understand Russian attitudes and thereby predict how they would react under various circumstances - leading to a tactical superiority throughout the war. Russo-Japanese War The Russo-Japanese War, fought from February 8, 1904 - September 5, 1905, pitted Imperial Japan against Tsarist Russia over rival imperial ambitions in Manchuria and Korea. Both Russia and Japan had grand visions for the region. Russia traditionally had only one Pacific port, Vladivostok, which was operational only during the warm summer months. In 1898, Russia coerced China, then weakened after the First Sino-Japanese War (1894 - 1895), to lease Port Arthur, a warm water port on the Liaodang Peninsula. They also negotiated a right-of-way to connect Port Arthur to the China Eastern Railway, which ran from nearby Dalian (Dalny) to Harbin, a stop on the Siberian Railway. Russia, eager to expand southwards from Siberia, considered Port Arthur the cornerstone of a sphere of influence covering China, Manchuria, and Korea. Japan had its own Imperial ambitions and saw itself as the natural overlord in East Asia. Korea and Manchuria, in particular, were important as steppingstones into China,