[Constructivist cover] Traveling Art Exhibition: Painting, Drawing, Engraving, Etching (Peredvizhnaya khudozhestvennaya vystavka), article by N. N. Maslenikov, 1933. In Russian.

Передвижная художественная выставка : Живопись, рисунок, гравюра, офорт / статья Н. Н. Масленикова. 
Москва : Всекохудожник, 1933. 67 с., 1 вкл. л. ил. : ил.
Мягкая издательская обложка. 17 см. Тираж 2 000 экз.
Обложка - удовлетворительное: заметные утраты фрагментов бумаги на верхнем и нижнем правых углах передней обложки, общие возрастные потертости. Блок - хорошее: крепкий, страницы равномерно пожелтели от времени, репродукции в отличной сохранности.
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Traveling Art Exhibition : Painting, drawing, engraving, etching / article by N. N. Maslenikov.
Moscow : Vsekokhudozhnik, 1933. 67 pp., 1 leaf of plates : ill.
Original printed paper wrappers. 17 cm. Print run of 2,000 copies.
Wrappers fair: noticeable paper losses to the upper and lower right corners of the front wrapper, general age-appropriate edge wear and toning. Text block good: firm, pages evenly age-toned, illustrations are fully preserved and clean.

A highly scarce exhibition catalog published in 1933 by "Vsekokhudozhnik" (The All-Russian Cooperative Union of Visual Arts Workers), representing a pivotal transitional moment in Soviet art history. Issued just one year after the 1932 decree that abolished independent avant-garde art groups and laid the groundwork for centralized Socialist Realism, this catalog accompanied a traveling exhibition designed specifically for Moscow's proletarian workers' clubs. The striking cover, utilizing bold red and black typographic blocks, is a remarkable late surviving example of Constructivist graphic design. Inside, the catalog documents the shifting artistic focus towards industrialization and socialist construction, featuring reproductions by prominent Soviet graphic artists such as Ignaty Nivinsky, Konstantin Bogaevsky, and the legendary woodcut master Vladimir Favorsky. Printed in a micro-run of only 2,000 copies, fragile paperback exhibition catalogs from this exact era were subjected to heavy use and rarely survived intact. While the front wrapper of this copy exhibits some characteristic paper loss at the corners, the volume stands as a vital primary document of Soviet cultural policy, showcasing the mobilization of visual arts for mass education and the visual transition from the avant-garde aesthetic to the monumental realism of the Stalinist 1930s. It remains an exceptional acquisition for collectors of Constructivist book design and early Soviet art history.