Considered one of the few graphic designers, illustrators, and calligraphers of international reputation, David was a German-born graphic artist who practiced the first third of his professional career in Jerusalem and the remainder in New York City. He is noted for his brilliant work in Hebrew and Latin calligraphy, lettering, and type design, as well as for his distinctive linear style of illustration. David liked to say that the hand is the most marvelous tool if properly trained, and his own handwork supports this conviction. 
In order to track down David’s design mockups for V., I first contacted Helen Brandshaft who manages the Ismar David Electronic Archive (IDEA). She directed me to the Cary Collection at Rochester Institute of Technology, which houses Ismar’s “archive,” including artwork and correspondence. As Ms. Brandshaft said: “In those days the artist who did the jacket submitted dummies of the jacket design for the publisher to see and choose from. These are astoundingly exact paintings of the jacket design. The printed jacket was usually made from color separated art. That means the artist specified colors and created black and white images for each color.”
The finding aid for the collection showed that the artwork for V. was in Box 33, folder 578 and included “dust jacket, cover dummies, lettering”. Ms. Brandshaft thought I might see ideas for the cover that were rejected by the publisher.
In our email exchanges Ms. Brandshaft, who worked with Ismar David for many years, commented: “Ismar did tell me that the jacket was considered pretty radical for its time. It certainly is unusual in terms of his style.”
This is quite true. Most all of Ismar David’s designs for books (and in other contexts), with the exception of V., utilize elements reminiscent of Hebrew texts and calligraphy, with stark line-sketch illustrations.