A.V. Predtechensky was born in the town of Konsk in the former Radom Governorate (now part of the Lodz Voivodeship in Poland). His father, a military doctor, served in one of the quartered in Konsk military units. In 1899, in connection with the transfer of his father, the family moved to Moscow. In 1903 A.V. Predtechensky entered the 7th Moscow Gymnasium. Since 1908, after the death of his mother (his father died in 1905), he moved to St. Petersburg, where he lives with his older sisters.
In 1911 A.V. Predtechensky graduated from the Vvedenka gymnasium and entered the Faculty of History and Philology of St. Petersburg University. All this time he had to live on his father's modest pension and the funds obtained by lessons. For military service A.V. Predtechensky was not drafted due to loss of vision in his right eye as a result of an accident. In his gymnasium and student years, he professionally studied music, took piano lessons from A.I. Yurasovsky, published reviews of concerts in various magazines, tried to compose music himself. At university he attended seminaries
A.E. Presnyakov and S.F. Platonov. Probably, then the interest of A.V. Predtechensky to the history of Russia, and in particular to the Alexander era, the time of the Decembrists.
In 1918, after graduating from the university course, but not having time to pass the state exams, A.V. Predtechensky was forced to leave Petrograd. Seconded through the Commission for the Study of the Tribal Composition of the Population of Russia (KIPS), which had just been created at the Academy of Sciences, he ended up first in the Orenburg province (in Miass), and then in Tomsk, on the territory occupied by the Whites. He worked, gave occasional lectures (including at music courses in Tomsk), collaborated in local newspapers.
At the end of 1920, after the defeat of the Whites, A.V. Predtechensky managed to return to Petrograd. For the next decade, he was absorbed in intense teaching work. At first, Anatoly Vasilyevich lectured on history at the Naval Technical School, then - for more than 10 years - at naval school them. M.V. Frunze, taught classes at ordinary labor schools, factory directors, technical schools, and workers' schools for machine builders, railroad workers, and geologists. Even then, Anatoly Vasilyevich's lecturing skills received high recognition. It is no coincidence that one of his first published works was the "Working Book on History", written jointly with the historian
A.A. Vvedensky and survived in 1928-1929. four editions.
In 1924 A.V. Predtechensky resumes his studies in science. A year earlier, he managed to get a diploma from the university.
From the mid-20s, A.V. Predtechensky actively participates in the work of the Leningrad session on the study of the Decembrists and their time at the All-Union Society of Political Prisoners and Exiles, which at that time was headed by A.E. Presnyakov. The publications of the Society of Political Prisoners also published the first serious works of Anatoly Vasilyevich: publications “Memoirs of Polina Annenkova” (1929); "Nikolaev Russia" (1930); "Chronicle of the Peter and Paul Fortress" (1931); "Unrest of workers in the serf era", etc.
In 1933 A.V. Predtechensky was hired as a staff member at the Leningrad branch of the Institute of History of the Academy of Sciences. In 1935, he received a Ph.D. in history without defending a dissertation; early XIX century."
In 1934 A.V. Predtechensky was invited to the Leningrad Pedagogical Institute named after
M.N. Pokrovsky, and in 1937 - at the Leningrad State University as a professor of the Department of History of the Peoples of the USSR, Faculty of History. And in the pedagogical institute, and at the university, he reads general course history of Russia, a number of special courses - on the history of domestic and foreign policy in the first quarter of the 19th century, the history of Russian culture, special courses "Patriotic War of 1812", "Decembrists". His brilliant skill and erudition captivate the student audience. The pre-war years, however, were overshadowed by misfortune for the family: in 1938, the son of A.V. was arrested by the GPU on a denunciation. Anatoly Predtechensky, student of the Faculty of History of the University. After 11 months in prison, he was released among the few amnestied after Yezhov was "exposed" and Beria came to the leadership of the NKVD.
In the first months of the Great Patriotic War A.V. Predtechensky continued to work actively at LOII and the university. On November 5, 1941, he was evacuated from besieged Leningrad, together with a group of LOII employees, to Tashkent. He lived in evacuation until August 1944 - he taught at the Tashkent Pedagogical Institute of Friendship of Peoples, went to lectures in military units, published brochures on military theme. After the war
A.V. Predtechensky was awarded the medals "For the Defense of Leningrad" and "For Participation in the Great Patriotic War."
In 1944, after the main staff of Leningrad State University returned from evacuation, A.V. Predtechensky was summoned from Tashkent and reinstated at the Department of History of the USSR. In 1946, he was approved as a professor, led a special seminar at the Faculty of History on the history of social thought and government policy under Alexander I, and continued to give special courses on this era.
In 1949, during the struggle against "cosmopolitanism and servility" in science, the situation became more complicated.
A.V. Predtechensky within the walls of the university and LOII. The historian was subjected to unfounded criticism, reminiscent of sanctioned persecution. He was accused of "objectivism", "admiration for foreignness." It was almost impossible to print anything in such a situation. Book
A.V. Predtechensky in November 1949 was destroyed already in the set, his other works were returned by the editors.
In 1953, during the campaign to liquidate the LOII, A.V. Predtechensky was charged with scientific unproductivity, which was reflected in a special resolution of the Presidium of the USSR Academy of Sciences. After the closing of the LOII, the historian turned to the Presidium with a personal letter, convincingly proving the futility of the accusations. The consequence of this, apparently, was permission to move to shortly before open Institute history of natural science and technology at the Academy of Sciences, where Anatoly Vasilyevich worked for the last 11-12 years, which have become the most fruitful in the creative sense. Here his talent as an editor and organizer of large-scale publications was fully revealed. A.V. Predtechensky actually led the preparation of two volumes of The History of the Academy of Sciences (1958, 1964) and, in addition, was one of the authors of this publication; he also participated in the writing of "Essays on the history of Leningrad" (volumes 1 and 3).
Since 1958 A.V. Predtechensky is also a professor at the Faculty of Journalism of the Leningrad State University.
In the late 50s, A.V. Predtechensky began to collect material for a future study on military settlements in Russia, he managed to publish two short articles on this topic. However, a serious illness stopped the work that had already begun.
A.V. Predtechensky died on April 29, 1966, leaving, in addition to his books and articles, a rich archive with unpublished manuscripts, including articles on the history of journalism, culture, social thought, memories of the concert life of his native city and outstanding musicians, several letters prepared for publication by S. IN. Rachmaninoff, studies on music, letters, diaries.
In 2001, the book collection of A.V. Predtechensky, numbering 935 copies, was purchased with a grant from the Open Society Institute Soros Foundation No. HBC813 under the Department Support Program received by the Department of History of Pre-Revolutionary Russia and transferred to our library.
Many of these books were published in the 19th and early 20th centuries. Prof. A.V. Predtechensky purposefully engaged in the selection of books on the history of Russia in the first half of the 19th century, and this included the history of art, the history of journalism, and literature, as well as the history of St. Petersburg - Leningrad. The collection contains many books donated by the authors. Among them are such well-known historians and philologists as Yu.M. Lotman, M.V. Nechkina, B.M. Eikhenbaum, M.K. Azadovsky, S.N. Kovalev, V.V. Mavrodin, many Karelian scientists.
The catalog of the Scientific Library of PetrSU contains all the books in the collection of A.V. Predtechensky are marked with the letter "P" in front of the cipher; there is also a printed catalog of the collection. Bookplate A.V. Predtechensky, created after his death, refers to the "memorial" book signs that began to be used long before the 20th century.
The word "ex libris" in Latin means "from books". An ex-libris is a paper label pasted on a book, mainly on the inside of the binding, which indicates who the owner of the book is, and, as a rule, there is a plot picture,
reflecting the profession, range of interests, hobbies, literary attachments of a book lover, the theme or nature of the library. These signs are made by artists in the technique of engraving on wood, linoleum, plastic, metal, plexiglass; there are also pen and ink drawings (with subsequent zincography).
Art bookplates are works of printed graphics. A well-executed, well-printed bookmark, neatly pasted into a book, decorates it, is its original passport. The presence of a library bookplate turns a simple book collection into a full-fledged library.
 Ex-libris of Admiral I.F. Kruzenshtern |
 Ex-libris of Emperor Alexander III |
 Bookplate by Arkady Strugatsky |
Among the artistic ex-libris are distinguished:
- stamps, which reproduce the coat of arms of the owner and are characteristic mainly of the 16th-18th centuries;
- monogrammed with ornamentally designed initials of the owner;
- plot, which became the most popular in the 20th century and are images of landscapes, architectural motifs, various emblems, figuratively reflecting the tastes, interests and predilections, the profession of the library owner.
Ex-libris emerged - in the form it exists today - shortly after the invention of printing in the 16th century in Germany. From those times, graphic miniatures of such great masters as Albrecht Dürer, Lucas Cranach, Hans Holbein M. the fallen have come down to us.
Engraved bookplates appeared in Russia under Peter I. However, in the 60s of the last century, on some handwritten books of the Solovetsky Monastery, drawn signs of the founder of the local library, Dositheus, were found; These signs date back to the beginning of the 90s of the XV century.
For many centuries the ex-libris performed a utilitarian function. He first of all notified about the owner of the book. So, until the 19th century, most of the personal libraries belonged to the privileged estates, so most of the bookplates were heraldic with the image of the family coat of arms of the owner. Monogram bookmarks were also popular. But an even more spectacular way to designate the owner was a super ex libris: the same coat of arms, but embossed in gold on the top cover of the book cover.
In the 19th century, writers, scientists, artists, and the enlightened bourgeoisie increasingly became the owners of libraries, and the plot (artistic) bookplate is replacing the armorial. Late XIX- the beginning of the 20th century - the time of the revival in Russia of the art of the book sign, as a branch of graphics. It was at this time that it was finally found new form bookplate. In contrast to the heraldic bookplate, artists - members of the "World of Art" - A. Benois, E. Lansere, K. Somov, G. Narbut, M. Dobuzhinsky, I. Bilibin, E. Mitrokhin, S. Chekhonin and others - gave everything features of a quality graphic work. This is the harmony of the composition, the filigree accuracy of details, individuality, and a subtle plot. The artist put a particle of his soul into each sign, in each sign the graphic handwriting of the master is guessed. Among the Russian artists who contributed to the art of ex-libris are such major masters of painting and graphics as M. Vrubel, V. Vasnetsov, B. Kustodiev.
In the 1920-1930s. the leading masters of graphics - V.Favorsky, A.Kravchenko, N.Kupreyanov, N.Piskarev, P.Schillingovsky, N.Brimmer and others - joined the creation of the bookplate. post-war years well-known artists E. Golyakhovsky, G. Kravtsov, V. Frolov, A. Kalashnikov, N. Kalita, G. Ratner, M. Verkholantsev, V. Kartovich and many others are working on the bookplate.
Once again, a big fashion for ex-libris came in the 1960s-1970s. This was caused not so much by the flourishing of graphics, but by the rise of book collecting, the mass bibliophile movement in the country.
At the beginning of the 21st century, interest in ex-libris returns. And he returns, as always, in a slightly new incarnation. First of all, there is a revival of interest in bookplates as a personal book sign, as a keeper of family history.
Manufacturing technologies have also undergone changes. Now the most widespread in the modern book world are bookplates, made in the form of a rubber cliché print. Modern equipment makes it possible to engrave the cliché of an ex-libris of such high quality that the smallest details of the drawing become visible. This manufacturing technique opens up the richest opportunities for the owner of a book sign, as it allows the most complex artistic concept to be realized.
For a long time, bookplates have been collected all over the world. Thanks to this hobby, scientists can explore the stages of printing, the features of the publication of handwritten books, and track the ways of book migration. Thousands of collections of these graphic miniatures are known.
There are two bookplate museums, one of them is located in Moscow. There is an opinion that the growing popularity of book signs will help maintain the image of Russia as the most reading country in the world.
Sources:
Wikipedia http://ru.wikipedia.org/wiki/Ex_libris
Site of bookplates from the collection of Yuri Sergeevich Borodaev, a well-known Moscow hereditary collector
The science of advertising http://www.advertology.ru/article23253.html
Site of graphic artist Leonid Shchetnev http://www.booksite.ru/fulltext/she/tne/shetnev_l/index.htm
Ex-libris originated in Germany in the 16th century, almost immediately after the invention of printing. In Russia, these "book signs" appeared only under Peter 1. However, in the last century, manuscripts of the Solovetsky Monastery dated to the end of the 15th century were discovered. They were painted bookplates.
Such different ex-libris
Ex-libris can either be pasted on the inside of the binding or printed using special printing - many of them were made according to individual orders. There were even such varieties of nominal book marks as a superex libris, where an imprint was made on the spine of a book.
The ex-libris often contained the name of the owner and was often supplemented by his occupation and interests. If such an analogy can be drawn, then the ex-libris was the forerunner of the label, which is placed in the virtual library, or water.
Bookplates could be simple and unpretentious, or very refined and complex in composition. Sometimes they were only a label with the name of the owner, his signature, a simple badge invented by the owner of the publication. In some cases, it was supplemented with a personal motto or marked with an emblem.
There were also art and skillful works of ex-libris. They were created using high (for that time) technology and were small engravings on copper or wood. In their manufacture, a lithographic or zincographic method was used. Among the authors of complex bookplates, it is worth mentioning Albrecht Dürer and Favorsky.
Bookplate types
Experts divide all bookplates into:
Coat of arms - they depict the personal coat of arms of the owner, in Russia there was a special demand for such things at the beginning of the twentieth century among the nobility, who did not have time or did not want to emigrate;
- monograms - simpler, but in a special ornament, they indicated the initials of the owner;
- plot - landscape compositions, emblems, architecture were mainly used here (they were especially popular in the twentieth century).
At present, when many collect not paper, but digital libraries, the role of bookplate falls. Although, as real books are used less and less, it is possible that the art mark may again come into fashion as a kind of tribute to the past.
It is worth noting that there are already two bookplate museums, one of which is in Moscow. And there are thousands of collections of these book graphic miniatures.
"It's no secret that many real lovers of books (not literature, apart from its physical embodiment, but not stacks of bound paper, not inspired by literature) love cats / cats. They have a lot in common ... Peace, silence, sofa, solitude ... Touch with a paw / cover and pages with your hand, rub against the spine, sometimes even lick, sniff ... And all in order to feel (physically) the aroma of time (paper, leather, etc.) and the author's intention.
That's how sublimely said... With love. To cats and books - this is for me! :))
Collection from www.tvoyapechat.ru
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From Arkady Pugachevsky
For reference:
What is exlibris?
Bookplate (from Latin ex libris - from books) is a small artistically designed label indicating that a book belongs to a certain person or library. Usually the ex-libris was pasted on the inside of the top cover of the binding.All bookplates are monuments of their time, and their study is very important. It allows you to trace the fate of private libraries, to find out their composition and place in the culture of Russia.
The birthplace of bookplates is Germany. The author of one of the first bookplates was the great artist Albrecht Dürer. The most common plot of the first bookplates was the coat of arms of the owner of the library.
The first Russian ex-libris, drawn by hand, belongs to Dosifey, hegumen of the Solovetsky library. It is uncomplicated: a large letter C, inside which is placed on the inscription: "Priest Monk Dositheus." At that time, there were few libraries, and there were no prerequisites for the development of bookplates.
The printed book sign appeared in Russia only in early XVIII century. At first, it was also a stamp, but soon plot bookplates appeared. The picture and a short motto characterized the interests of the library owner.
The rapid growth of book publishing activities, book trade with European countries led to the creation of a large number of personal libraries. Very large for that time, well-chosen book collections had associates of Peter I: D.M. Golitsyn, Ya.V. Bruce, A.A. Matveev. These were the enlightened figures of the Petrine era. It was on their books that the first printed bookplates in Russia appeared - miniature woodcuts.
The library of Prince Dmitry Mikhailovich Golitsyn (1665-1737) - a real member of the Supreme Privy Council - was at that time the largest and consisted of about 6,000 volumes. It was kept in his family estate - the famous village of Arkhangelskoye near Moscow. On the books of his collection, there is a font ex-libris on Latin: "Ex Bibliotheca Archecellina" - "From the Library of Arkhangelsk". This sign was made at the beginning of the 18th century.
Count Yakov Vilimovich Bruce (1670-1735) - Field Marshal General, Senator, Berg and Manufactory College President, campaign participant, organizer navigation school in Moscow, one of the founders of Russian artillery - was the son of a native of Scotland, was born in Moscow, received an excellent education, was a scientific secretary with Peter the Great. In the battle of Poltava he commanded artillery and was awarded the Order of St. Andrew the First-Called. For outstanding services, he was granted the title of count, and on the engraved bookmark there is a coat of arms surrounded by a chain of the Order of St. Andrew the First-Called, on which we read the words; "For faith and fidelity."
The library of J. Bruce consisted of 1500 volumes and had an encyclopedic character. It includes books on the natural sciences, military art, philosophy, history, and medicine. According to the will, the entire library entered the Academy of Sciences in St. Petersburg in 1785, and the first engraved bookmark in Russia was pasted on the books, representing a complex heraldic composition, characteristic of most of the armorial bookplates of the 18th century.
It was at this time that book-collecting flourished in Russia. The whole of Europe knows the excellent book collections of Russian bibliophiles - A.K. Razumovsky, F.G. Golitsyna, N.P. Buturlina, N.P. Rumyantsev and others. Collecting books was considered the most important patriotic deed. Count Rumyantsev, for example, bequeathed his huge library (about 300,000 volumes and more than 700 manuscripts) to the people "for the benefit of the Fatherland and good education." It formed the basis of the book fund of the famous Rumyantsev Public Library.
In the 19th century, monograms, type labels and stamps replaced the emblem bookmarks.
The monogram ex-libris (from the Polish "Wezel" - "knot") is an intertwined initial letters of the owner's first and last name. Such, for example, is the badge of Prince Viktor Nikolayevich Gagarin (1844-1912), in which the owner's initials are intertwined into a rather complex ornament topped with a princely crown.
The change in the social composition of library owners contributed to the emergence a large number type book signs. They indicated only the name, patronymic and surname of the owner, sometimes even without the words "Ex libris". Such bookplates mark books in the libraries of writers N.S. Leskova, A.P. Chekhov, Count A.K. Tolstoy and others. Lev Nikolaevich Tolstoy had a modest sign in the form of a ring with the text "Library of Yasnaya Polyana". On books from the collection of V.Ya. Bryusov - from the stamp "Valery Bryusov".
The most common type of book signs is the plot ex-libris. It depicts everyday and genre scenes, elements architectural structures, internal view of libraries, separate books and objects.
The first Russian subject ex-libris was a book sign, created more than 200 years ago by the famous engraver of that time G.I. Skorodumov (1755-1792) for the library of the State Chancellor of Russia Alexander Andreevich Bezborodko (1747-1799). It depicts a tree intertwined with a garland of flowers, and in the center of the composition there is a text engraved in a beautiful font with the owner's title and surname.
More than a hundred years ago, artists paid little attention to plot exlib drawings. But at the turn of the 19th-20th centuries, artists began to work on it, united around the World of Art magazine - A.N. Benois, L.S. Bakst, I.Ya. Bilibin, M.V. Dobuzhinsky, B.M. Kustodiev, E.E. Lansere, D.I. Mitrokhin, G.I. Narbut, K.A. Somov, SV. Chekhonin and others. They created a lot of highly artistic story bookplates.
In the 1920s, amazing bookplates were created in woodcuts by V.A. Favorsky, A.I. Kravchenko, N.I. Piskareva, N.P. Dmitrovsky. In the late 50s - early 60s. ex-librises of the most famous woodcuts of our time appeared: N. Kalita, A. Kalashnikov, D. Bisti.
But how many bookplates have been created in the entire history of their development? About a million book signs are known in the world. More than a hundred thousand of them were created in Russia.
A true book lover knows what ex libris is (“ex libris” – “from books”).
This Latin word called a book sign with text, monogram or picture. So the owner of the book designated its belonging to his library. Bookplates appeared at the same time as handwritten books.
For a long time, books were treated as a source of wisdom, they were valued, they were afraid to lose them. That is why the masters left original miniature pictures in the manuscript - “insert entries”.For example, in Ancient Egypt a small faience tablet with the name of the owner was attached to the papyri. In medieval Europe right on book page they placed a portrait of the owner with a motto, or a vignette with the name of the owner, or his family coat of arms.
In the Renaissance, a bookmark was glued from the inside to the cover of the binding, sometimes prints were made directly on the sheet of the book using a signet ring. In the 18th century, printed bookplates were of two types - stamp and type. Armorial bookplates had different ornaments and heraldic symbols. Font book signs depicted complex monograms of two or three letters with crowns above them.
In the 19th century, there were several ways of making bookplates: engraved on copper or wood, lithographic, print with a cliché from a printing alloy. Type ex-libris-labels were widely used. They usually indicated only the name, patronymic and surname of the owner, sometimes additional information was indicated: a cabinet, a shelf, a department number, a place.
In the 20th century, the most preferred topics were revolutionary struggle, Sciences, children's reading. Rubber stamps were used. Stamps with the text "Book Depository", "Library No." are still placed on the books of state and public libraries. Stamps were placed everywhere: from the title pages to the margins of the engravings in the book.
Bookmarks were made by artists, lovers of engraving. Gradually, the ex-libris became an element of the book's decoration, and bibliophiles and collectors became interested in it. Artists A. Durer, P. Picasso, V. Vasnetsov, K. Somov, V. Favorsky, writers Charles Dickens, Arthur Conan Doyle, astronauts and composers, scientists and doctors, athletes and actors had bookmarks.
The creators of home libraries often purchase signs for themselves on individual orders that reflect their needs and aspirations, the nature of the books they collect. The text part of the ex-libris consists of the words “From the library...”, “Book...”, “From the collection of books...” indicating the name and surname of the owner. The emblem of the owner of the book is different from the publisher's mark, the label of the bookbinding workshop, or from the inscription made by the hand of the librarian.
To emphasize the importance of the owner of the mark, to convey the features of the inner world of a person, his connection with society, history, nature, world culture, they used subject-thematic bookplates, drew complex signs, where there were not only figures, but also entire scenes, landscapes, decorated with a pattern of leaves and flowers. Among all the items were books, ships, helms, anchors, dragons, angels, trophies, animals, birds, children, musical instruments, weapons, trees, plants. The bookplate could have the shape of a circle, square, rhombus, oval, rectangle, triangle, contain a background, color.
If you want to have your own ex-libris, then consider how it will be: hand-drawn, stenciled, in the form of a stamp. Do not forget that it may be related to the content of those books that you have, with the nature of your activities and hobbies.
Small-sized graphic book signs turn into whole novels in content, in which nothing can be accidental, because by a book sign it is easy to find out the range of interests of the owner of the book, addictions, inner world, outlook. Diverse libraries, tastes, hobbies, professional interests owners. Among the various plots, the portrait ex-libris stands out, which has a silhouette image of the library owner.
Thought out to the smallest detail, the bookplates deliver aesthetic joy and organically fit into the book. Such bookplates become a kind of element of book design.
Some parents, in order to instill in their children love and respect for the book, to inspire respect for the printed word, to develop artistic taste, came up with children's bookplates. They take us to a fantastic world of fairy tales, travel and adventure.
If you want to make an ex-libris yourself, you can use linoleum.It is soft and easy to work with, which is why the ex-libris is widely used in this technique.But it is best to contact a special master with your order, who will first make a sketch on paper with a pencil, combining the elements of the book sign into one whole - the symbol and initials you have chosen, will develop the entire sign in detail: the composition of the drawing, its size, shape, font.
Artists use different production techniques. For example, woodcut. It's called woodcut. For this method of engraving, hardwoods are taken: beech, palm, boxwood, pear, apple, birch.
A more complex technique is cutting engraving on metal. The drawing is made on steel or copper boards, paint is rubbed into the resulting grooves, and printed under pressure on wet paper.
The etching technique is widely known: the lines of the drawing are not cut on the metal, but are etched with acid, the copper plate is covered with melted wax and resin varnish. On the hardened varnish, the artist draws with a special needle inserted into the pen. Under strong pressure, an engraving is printed from the plate on moistened paper.
Now ex-libris in the form of a print of a cliché made of rubber are common. Modern equipment makes it possible to make such a cliché of such high quality that the smallest details of the most intricate pattern are visible.
The art of the book sign is a unique form of modern printed graphics, its miniature and aphoristic branch, a phenomenon of the culture of reading and collecting, because sometimes an ex-libris is of greater value than the book containing it.
Literature
1. Bludova E. Artist and book. Treasure of my book - bookplate / Young artist. - 1997. - No. 7. - P.44-45.
2. Ivensky S.S. Masters of Russian ex-libris. - L .: Artist of the RSFSR, 1973.
3. Ivensky S. Artist and book. Bookplate / Young artist. - 1981. - No. 7. - S. 46-47.
4. Minaev E.M., Fortinsky S.P. Bookplate. - M.: Book, 1970.