Syrkina, F. Ya. Alexander Tyshler, 1966. Designed by Solomon Telingater. In Russian.

Сыркина Ф. Я. Александр Григорьевич Тышлер. / Макет и оформление С. Б. Телингатера.
Москва : Советский художник, 1966.
192 с. : ил. Мягкая картонная обложка, оригинальная суперобложка, квадратный формат. Тираж 6 500 экз.
***
Syrkina, F. Ya. Alexander Grigorievich Tyshler. / Designed and layout by S. B. Telingater.
Moscow : Sovetsky Khudozhnik (Soviet Artist), 1966.
192 pp. : ill. Soft cardboard cover, original dust jacket, square format. Print run: 6,500 copies.

This 1966 monograph is a significant cultural landmark of the "Thaw" era, providing a comprehensive look at the work of Alexander Tyshler (1898–1980), one of the most enigmatic and visionary figures of Soviet art. Published by Sovetsky Khudozhnik, the book served to reintroduce Tyshler’s lyrical, surreal, and deeply theatrical aesthetic to a wider audience at a time when the strictures of Socialist Realism were beginning to loosen.
Tyshler, a master of both canvas and stage, is celebrated for his unique "metaphorical" style. His works often feature delicate, elongated figures, dreamlike structures, and architectural headdresses, blending elements of Jewish folk art with high-modernist theater design. Flora Syrkina’s text provides an essential analysis of Tyshler’s artistic philosophy, tracing his evolution from the 1920s avant-garde through his legendary collaborations with the Jewish Chamber Theater (GOSET) and the Bolshoi.
The book is also a masterpiece of graphic design, having been laid out and decorated by the renowned Solomon Telingater (1903–1969). A giant of Soviet typography and a founding member of the October group, Telingater applied his avant-garde sensibilities to this volume. The "square" format and the sophisticated interplay between white space and text reflect Telingater’s belief in the book as a cohesive work of art.
Featuring numerous illustrations—including color plates and rare black-and-white reproductions of Tyshler's stage sketches—the edition captures the airy, fragile beauty of the artist’s "theater on paper." With a relatively modest print run of 6,500 copies, this monograph remains a highly sought-after item for art historians, theater scholars, and collectors of 1960s Soviet book design.