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Lee, Malka. [Malkah Li]. Cover Design by Aron J. Gudelman [Aaron J. Goodelman] : LIDER

Nyu York (New York) : Aroysgegebn Fun Der Idisher Kultur Gezelshaft?,, 1932

1st edition. Original modernist illustrated cloth cover, 8vo, 159, [1] pages ; 22 cm. In Yiddish. Features construtivist cover by Aron Gudelman. This is featured as “fig. 25” in Hillel Kozovsky’s “C’Etait l’Epoque ou l’On a Commence a Illustrer les Livres Juifs, ” [appearing in French Translation in ‘Futur antérieur: l'Avant-garde et le livre yiddish (1914-1939) , ’ p. 47]. Aron Gudelman (Ataki, Bessarabia, 1890 - New York, 1978) “was a sculptor, illustrator, etcher, lecturer, and teacher. Born in Russia, he immigrated to New York in 1905 at the time of pogroms in Russia. After attending the Cooper Union and the National Academy of Design, in 1914 he studied with Jean-Antoine Injalbert at the Ecole des Beaux-Arts in Paris. Supporting himself as a machinist in the 1920s, Goodelman became a communist. His concerns about social and economic conditions were expressed in his art. He participated in exhibitions at the John Reed Club in the early 1930s. After World War II, Goodelman created artworks related to the Holocaust. He taught at City College of New York in the 1960s” (National Museum of American Art, 1996) . Very light wear, spine sunned with touch of wear at crown and foot. Owner’s inscription on half-title, lacks blank front end paper. A nice copy, with the original velveteen on the cloth cover still very much in tact. Very Good Condition (Yid-26-7)

(Xt) Lee, Malka. [Malkah Li]. Cover Design by Aron J. Gudelman [Aaron J. Goodelman] [Signed by Author] : LIDER

Nyu York (New York) : Aroysgegebn Fun Der Idisher Kultur Gezelshaft?,, 1932

1st edition. Original modernist illustrated cloth cover, 8vo, 159, [1] pages ; 22 cm. In Yiddish. Signed by author on end paper. Features construtivist cover by Aron Gudelman. This is featured as “fig. 25” in Hillel Kozovsky’s “C’Etait l’Epoque ou l’On a Commence a Illustrer les Livres Juifs, ” [appearing in French Translation in ‘Futur antérieur: l'Avant-garde et le livre yiddish (1914-1939) , ’ p. 47]. Aron Gudelman (Ataki, Bessarabia, 1890 - New York, 1978) “was a sculptor, illustrator, etcher, lecturer, and teacher. Born in Russia, he immigrated to New York in 1905 at the time of pogroms in Russia. After attending the Cooper Union and the National Academy of Design, in 1914 he studied with Jean-Antoine Injalbert at the Ecole des Beaux-Arts in Paris. Supporting himself as a machinist in the 1920s, Goodelman became a communist. His concerns about social and economic conditions were expressed in his art. He participated in exhibitions at the John Reed Club in the early 1930s. After World War II, Goodelman created artworks related to the Holocaust. He taught at City College of New York in the 1960s” (National Museum of American Art, 1996) . Very light wear, spine sunned with touch of wear at crown and foot. A beautiful copy, with the original velveteen on the cloth cover still very much in tact. Very Good Condition (Yid-26-8)

Lee, Malka. [Malkah Li]. Cover Design by Aron J. Gudelman [Aaron J. Goodelman] [Signed by Author] : LIDER

Nyu York (New York) : Aroysgegebn Fun Der Idisher Kultur Gezelshaft?,, 1932

1st edition. Original modernist illustrated cloth cover, 8vo, 159, [1] pages ; 22 cm. In Yiddish. Signed by author on end paper. Features construtivist cover by Aron Gudelman. This is featured as “fig. 25” in Hillel Kozovsky’s “C’Etait l’Epoque ou l’On a Commence a Illustrer les Livres Juifs, ” [appearing in French Translation in ‘Futur antérieur: l'Avant-garde et le livre yiddish (1914-1939) , ’ p. 47]. Aron Gudelman (Ataki, Bessarabia, 1890 - New York, 1978) “was a sculptor, illustrator, etcher, lecturer, and teacher. Born in Russia, he immigrated to New York in 1905 at the time of pogroms in Russia. After attending the Cooper Union and the National Academy of Design, in 1914 he studied with Jean-Antoine Injalbert at the Ecole des Beaux-Arts in Paris. Supporting himself as a machinist in the 1920s, Goodelman became a communist. His concerns about social and economic conditions were expressed in his art. He participated in exhibitions at the John Reed Club in the early 1930s. After World War II, Goodelman created artworks related to the Holocaust. He taught at City College of New York in the 1960s” (National Museum of American Art, 1996) . Very light wear, spine sunned with touch of wear at crown and foot. A beautiful copy, with the original velveteen on the cloth cover still very much in tact. Very Good Condition (Yid-26-8A)

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