Null MAGARAM ELIAZAR EVELYEVICH (1899-1962) Sovremennyj Kitaj. [Modern China] Be…

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MAGARAM ELIAZAR EVELYEVICH (1899-1962) Sovremennyj Kitaj. [Modern China] Berlin: Izd-vo E. Gutnova’, 1923 67 pages: illustrations; 20.5x15.5 cm. Illustrations: drawings within the text and period photographs on separate sheets. In publisher's illustrated cover. The cover is detached from the block, cover stains, spine tears, individual pages and illustrations separated from the block. Magaram Eliazar (Eli) Evelyevich (1899-1962) was a writer, journalist, and publisher. He was a political emigrant and journalist for Swiss publications. He collaborated in Odessa with the Socialist Revolutionary publications "Zemlya i Volya", "Krestyanin i Rabochiy", and others. When Odessa was occupied by the Germans, he moved to Tomsk, where he served as secretary of the editorial board of the newspaper "Znamya Revolyutsii", the organ of the Council of Deputies of Western Siberia. After the Czech coup, he moved to Harbin, where he published in the newspapers "Manchuria" and "News of Life". Upon arriving in Shanghai, he edited the newspaper "Shanghai News", which existed briefly. He also published literary almanacs, which involved the first Russian writers of Shanghai.

959

MAGARAM ELIAZAR EVELYEVICH (1899-1962) Sovremennyj Kitaj. [Modern China] Berlin: Izd-vo E. Gutnova’, 1923 67 pages: illustrations; 20.5x15.5 cm. Illustrations: drawings within the text and period photographs on separate sheets. In publisher's illustrated cover. The cover is detached from the block, cover stains, spine tears, individual pages and illustrations separated from the block. Magaram Eliazar (Eli) Evelyevich (1899-1962) was a writer, journalist, and publisher. He was a political emigrant and journalist for Swiss publications. He collaborated in Odessa with the Socialist Revolutionary publications "Zemlya i Volya", "Krestyanin i Rabochiy", and others. When Odessa was occupied by the Germans, he moved to Tomsk, where he served as secretary of the editorial board of the newspaper "Znamya Revolyutsii", the organ of the Council of Deputies of Western Siberia. After the Czech coup, he moved to Harbin, where he published in the newspapers "Manchuria" and "News of Life". Upon arriving in Shanghai, he edited the newspaper "Shanghai News", which existed briefly. He also published literary almanacs, which involved the first Russian writers of Shanghai.

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Estim. 3 000 - 5 000 EUR

HOLLAND & HOLLAND A PAIR OF 12-BORE 'NO. 3 GRADE' BACK-ACTION SIDELOCK EJECTORS, serial no. 20579 / 80, for 1899, 30in. nitro barrels, the ribs engraved 'HOLLAND & HOLLAND. 98. NEW BOND STREET. LONDON.' (likely refreshed) and gold-inlaid '1' and '2' at the breech ends, sling swivels, 2 1/2in. chambers, bored approx. true cyl. in all, some pits, dents, bulges and rivelling, toplevers gold-inlaid '1' and '2', gas checks, automatic safeties with gold-inlaid 'SAFE' details, bold border and acanthus scroll engraving, the undersides with 'PATENT EJECTOR', retaining very slight traces of colour-hardening and some renewed finish, 14 5/8in. figured stocks (sweep at combs) including 3/8in. wooden extensions and 7/8in. recoil pads, fore-ends with Deeley & Edge patent release catches, weight 6lb. 11oz., in a modern lightweight leather motor case. S2 - Sold as a Section 2 Firearm under the 1968 Firearms Act * Please note this item is subject to 5% VAT on the hammer price (UK Buyers only).

Estim. 2 500 - 3 000 EUR

EDWARD STEICHEN (Luxembourg, 1879 - West Redding, Connecticut, 1973). "The sea", 1904. Platinum photograph mounted on original black paper on cream paper (original). Presents label on the back of German collection (Hamburg 1971). Signed and dated in the lower right corner. Measurements: 13 x 17,5 cm; 29 x 37 cm (frame). Edward Steichen was a key figure in 20th century photography, directing its development as a leading photographer and influential curator. Steichen arrived in the United States in 1881. He painted and worked in lithography, before turning to photography in 1896, and first exhibited photographs at the Philadelphia Salon in 1899. Steichen became a naturalized citizen in 1900 and, after exhibiting at the Chicago Salon, received the support of Clarence White, who introduced him to Alfred Stieglitz. Steichen practiced painting in Paris intermittently between 1900 and 1922; there he met Rodin and was in contact with modern art movements, so he was able to advise Stieglitz on the selection of exhibitions. In 1901 he was elected a member of the Linked Ring Brotherhood in London, and in 1902 he co-founded the Photo-Secession and designed the first cover of Camera Work, in which his work was often published. In New York, Steichen helped Stieglitz establish the Small Galleries of the Photo-Secession, which became known as "291," and in 1910 he participated in the International Exhibition of Pictorial Photography in Buffalo. During World War I, he directed aerial photography for the Army Expeditionary Forces. Shortly thereafter he gave up painting, along with the vestiges of Pictorialism, and adopted a modernist style. He was chief photographer for Condé Nast from 1923 to 1938, while doing freelance advertising work. Commissioned as a lieutenant commander in 1942, Steichen was appointed director of the U.S. Naval Photographic Institute in 1945; there he supervised combat photography and organized the Road to Victory and Power in the Pacific exhibitions. He was director of photography at the Museum of Modern Art from 1947 to 1962, and was responsible for more than fifty exhibitions, including The Family of Man in 1955, the most popular exhibition in the history of photography. Steichen received countless awards and honors, including the title of Chevalier of the French Legion of Honor, an honorary fellowship of the Royal Photographic Society, the Distinguished Service Medal, the Art Directors Club of New York Award, the U.S. Camera Achievement Award for "Most Outstanding Individual Contribution to Photography" (1949), and the Presidential Medal of Freedom (1963). Major exhibitions of his work have been held at the Baltimore Museum of Art, the Museum of Modern Art, the Bibliothèque Nationale de Paris, the ICP and the George Eastman House.

Goddess head made of iron. Roman Culture, 2nd - 3rd century AD Origin - Private collection, Miklos Bokor (Budapest, 1927 - Paris, 2019), Paris, France. *Miklos Bokor was a Franco-Hungarian painter and essayist born in Budapest on March 2, 1927 and died in Paris on March 18, 2019. Miklos Bokor was deported to the Auschwitz extermination camp with his entire family in 1944. After the death of his mother, he was transferred to Buchenwald, Rhemsdorf, Tröglitz and Kleinau with his father, who disappeared in Bergen-Belsen. After being liberated in 1945, he was repatriated to Budapest by the International Red Cross and Red Crescent Movement. After a first private exhibition in Budapest in 1953, Miklos Bokor remained in Paris and settled definitively in France in 1960. definitively in France in 1960. At the Janine Hoa gallery, which presented his paintings in 1962, he became friends with the poets Yves Bonnefoy and André du Bouchet, who would later regularly present his exhibitions. For more than 40 years he had a workshop at La Ruche, the famous Paris artists' residence. Boklor's art was inspired by his experiences in the Holocaust and his work reflects the horror of the extermination. He once described this impact in his work as: Something happened in Auschwitz that haunts society like a gap, a wound that does not heal. Upon returning from death, he who has lived in his flesh and in his spirit the experience of dehumanization begins to paint the unspeakable. Much of Boklor's work is part of the collections of the Museum of Modern Art in Paris. As an artist he was interested in other painters as well as in cultures prior to the civilization that triggered such a terrible situation. He formed a large collection of archaeological objects, focused above all on the Near East and the birth of civilization on the banks of the Euphrates. 6.5cm high

Estim. 500 - 1 000 EUR

Painting oil on canvas signed Leo PIRON [1899-1962] "Landscape-Nukerke" dim. 55 x 73 cm. with frame 75 x 93 cm.

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