FELIXMÜLLER (Conrad & Londa). ABC. Ein geschütteltes, geknütteltes Alphabet in Bildern mit Versen von Londa und Conrad Felixmüller. [On the first dedication page]: Für meine Kinder Luca und Titus und für die Kinder meiner Freunde gezeichnet und in Holz geschnitten 1925. Von dieser Ausgabe im Selbstverlage sind 100 Exemplare num. u. sign. Dies trägt die N°. [On the last page]: Unter meiner Aufsicht vom Oberdrucker Zielinski in der Firma F. Emil Boden Dresden im Dezember 1925 gedruckt. In-4 oblong (27 x 34,5 cm). In sheets, (16) ff [4 plates (54 x 69 cm) folded in 4], enclosed 1 f. (23,6 x 30,4 cm) watercolored. Cover woodcut in red and blue showing three faces mixed with large initials ABC, text and date in blue, at foot, painter's initials on the frame. The most desirable expressionist primer in exceptional form, brand new, in sheets, uncut, untrimmed. Entirely woodcut by the German painter and engraver Conrad Felixmüller (Dresden 1897-1977 Berlin). A major artist, he began his training in 1911 at the Dresden Kunstgewerbeschule and then at the Königliche Kunstakademie. He often stayed in Berlin, painting in the studio of the Jewish expressionist painter and engraver Ludwig Meidner (1884-1966), and collaborated, among others, with the newspapers Der Sturm and Die Aktion. A member of the Communist Party between 1918 and 1922, his engravings often denounced the working class condition. He became the founder and president of the Dresdner Sezession with, among others, Otto Schubert and Otto Dix, of whom he was a teacher and mentor. Forty of his paintings were included in the Dresden exhibition of Degenerate Art in 1933. In 1937, one hundred and fifty of his works were confiscated from public collections and partly destroyed by the Nazis. His studio in Berlin was destroyed by the bombs. His work as a virtuoso engraver and as a couple for their two young children - whose portraits adorn three pages of this painter's primer. After a first dedication and justification engraving, in which he represents himself as an applied engraver, he illustrates the verses of his wife Londa (1896-1976). Thirteen paintings, each with two initials, dealing with various and sometimes more committed themes, such as the board of the giant (Riese) who is big and strong because he eats bread and cheese (Quark) but crushes the houses of the little people and terrorizes the workers under his boots (one of the women has the pose of the Scream by Edvard Munch). But the A is for Amsel, (the blackbird), the Elephant and the Photographer, the Indians, Luca who makes the portrait of the cat in paper cut-outs, the Black with his ring in the nose, up to the Yak and Zulu. Last wood where Conrad Felixmüller pays tribute to his printer by executing his portrait signed with his initials. One of the rare 100 copies of the first edition on Bütten laid paper, before 250 on Ingres, not numbered, nor signed, accompanied by an additional watercolor plate by the painter [The Circus Clowns, letters C, D] and bearing the wet stamp of the artist's estate on the back.