Hugo Gellert. 1892 – 1985.
Karl Marx. 'Capital' in Lithographs. 1933. Folio portfolio of 2 frontispiece lithographs and 60 lithographs. Edition 133 privately issued. Each page 22 1/2 x 15. Lithographs printed by E. Desjobert, Paris, France. Typography by S.A. Jacobs, New York. The folio is covered in burlap, lined in red. Original ties fragmented. Excellent impressions printed on 'BFK Rives' paper on the full sheet with deckle edges. Each image signed in pencil. $19,000 the set.
Signed and dedicated in red ink to Elmer Rice.
Click on the images for larger screens.
Elmer Rice (28 September 1892 – 8 May 1967) was an American playwright. He received the Pulitzer Prize for Drama for his 1929 play, Street Scene.
Rice was born Elmer Leopold Reizenstein in New York City, New York. After graduating cum laude from New York Law School in 1912, he began a short-lived legal career. He turned to writing, and his first play, On Trial (1914), was the first American stage production to employ the flashback technique of the screen.
His first major contribution to the theatre, however, was the expressionistic The Adding Machine (1923), which satirized the growing regimentation of man in the machine age through the life and death of the arid book-keeper, Mr. Zero. Rice's next play, Street Scene (1929), later the subject of an opera by Kurt Weill, received the Pulitzer Prize for Drama for its realistic chronicle of life in the slums. The Left Bank (1931), described expatriation from America as an ineffectual escape from materialism, and Counsellor-at-Law (1931) drew a realistic picture of the legal profession for which Rice had been trained. The depression of the 1930's inspired We, the People (1933), the Reichstag trial was paralleled in Judgement Day (1934), and conflicting American and Soviet ideologies formed the subject of the conversation-piece Between Two Worlds (1934).
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