Auction 69 - Part II - Avant-Garde Art from the Collection of Uzi Agassi
Yingl Tsingl Khvat [The Mischievous Boy], by Mani Leib [Menachem Leib Brahinsky]. Kiev-St. Petersburg: Yiddisher Folks-Farlag, [1919]. Yiddish. First edition.
Rhymed tale for children by the Yiddish poet Mani Leib – the story of a mischievous boy who succeeds in bringing the first snow of winter to a Jewish town where autumn lingers. The tale is accompanied by black-and-white illustrations by El Lissitzky. Color illustration by Lissitzky on front cover.
[12] pp, 26 cm. Good condition. The leaves are detached from each other (lacking staples). Stamps on several leaves. Stains (the leaves are mostly clean). Tears along the spine. Tears to edges of cover, some open and some restored.
Provenance: The Uriel Kahana Collection (his signature appears on the upper right corner of the front cover).
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El (Eliezer Lazar Markovich) Lissitzky (1890-1941), a Jewish-Russian artist, designer, photographer, teacher, typographer and architect, one of the most prominent and important members of the Russian avant-garde.
Lissitzky, an architect by training, contributed much, together with his teacher and friend Kazimir Malevich (see items 255-257), to the conceptualization and development of the Suprematism movement – the abstract art focused on geometric forms. He also designed numerous books and journals, exhibitions, and propaganda posters for the communist regime in Russia and influenced the Bauhaus and Constructivist movements in Europe. In his early days, Lissitzky showed much interest in the Jewish culture and many of his works integrated Jewish motifs (during the years 1915-1916, he took part in the ethnographic expedition headed by S. An-sky to various Jewish settlements). Wanting to promote Jewish culture in Russia after the revolution, he became engaged in designing and illustrating Yiddish children's books, creating several children's books which are considered pioneering masterpieces due to their graphics and typography (see for example, the series of children's book he illustrated in 1919, items 234-236, as well as additional children's books he illustrated, items 237, 241). However, several years later, he abandoned the Jewish motifs in favor of developing a more abstract and universal artistic language.
In 1921, Lissitzky moved to Germany, where he served as the Russian cultural ambassador, engaged in forming connections between Russian and German artists and continued to design books and journals; there he also created some of his most well-known works in the field of book design, including the issues of the journal "Veshch/Gegenstand/Objet", which he founded together with the writer Ilya Ehrenburh (see item 244 and item 249) and a volume of poetry by Vladimir Mayakovsky (see item 245 and item 250).
Lissitzky, who perceived books as immortal artifacts, "monuments of the future" by his definition, used the medium as a tool for spreading the messages of avant-garde and his artistic perception, as indicated by the variety of books in whose design, production or illustration he took part – beginning with children's books and books of poetry (see items 242 and 243) and ending with catalogs, guidebooks and research books (see items 246 and 248).
Lissitzky died in Moscow at the age of 51. In his final years, his artistic work was dedicated mainly to soviet propaganda; yet it seems that the same worldview accompanied his works throughout his life – the belief in goal-oriented creation (Zielbewußte Schaffen, the German term he coined) and the power of art to influence and bring about change.
The Miller, the Milleress and the Millstones, by Benzion Raskin, illustrated by Eliezer Lissitzky. Poland [Warsaw]: Tarbut, 5683 (1922).
A tale for children, illustrated by El Lissitzky.
15, [1] pp, 21 cm. Missing cover. The leaves are detached from each other (lacking staples). Good-fair condition. Stains. Minor creases. Tears and small open tears. Minor worming.
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El (Eliezer Lazar Markovich) Lissitzky (1890-1941), a Jewish-Russian artist, designer, photographer, teacher, typographer and architect, one of the most prominent and important members of the Russian avant-garde.
Lissitzky, an architect by training, contributed much, together with his teacher and friend Kazimir Malevich (see items 255-257), to the conceptualization and development of the Suprematism movement – the abstract art focused on geometric forms. He also designed numerous books and journals, exhibitions, and propaganda posters for the communist regime in Russia and influenced the Bauhaus and Constructivist movements in Europe. In his early days, Lissitzky showed much interest in the Jewish culture and many of his works integrated Jewish motifs (during the years 1915-1916, he took part in the ethnographic expedition headed by S. An-sky to various Jewish settlements). Wanting to promote Jewish culture in Russia after the revolution, he became engaged in designing and illustrating Yiddish children's books, creating several children's books which are considered pioneering masterpieces due to their graphics and typography (see for example, the series of children's book he illustrated in 1919, items 234-236, as well as additional children's books he illustrated, items 237, 241). However, several years later, he abandoned the Jewish motifs in favor of developing a more abstract and universal artistic language.
In 1921, Lissitzky moved to Germany, where he served as the Russian cultural ambassador, engaged in forming connections between Russian and German artists and continued to design books and journals; there he also created some of his most well-known works in the field of book design, including the issues of the journal "Veshch/Gegenstand/Objet", which he founded together with the writer Ilya Ehrenburh (see item 244 and item 249) and a volume of poetry by Vladimir Mayakovsky (see item 245 and item 250).
Lissitzky, who perceived books as immortal artifacts, "monuments of the future" by his definition, used the medium as a tool for spreading the messages of avant-garde and his artistic perception, as indicated by the variety of books in whose design, production or illustration he took part – beginning with children's books and books of poetry (see items 242 and 243) and ending with catalogs, guidebooks and research books (see items 246 and 248).
Lissitzky died in Moscow at the age of 51. In his final years, his artistic work was dedicated mainly to soviet propaganda; yet it seems that the same worldview accompanied his works throughout his life – the belief in goal-oriented creation (Zielbewußte Schaffen, the German term he coined) and the power of art to influence and bring about change.
A children's story illustrated by Uriel Kahana. Printed on the back cover: "Prepared for print by Uriel Kahana" (Hebrew). This comment was omitted from other copies of the book.
Uriel Kahana (1903-1965), painter, designer and architect, born in Kiev. He started painting at a young age and his illustrations for the story "Four Billy Goats" were published when he was only 19 years old. In 1923 he immigrated to Palestine with his family, and they settled in Tel Aviv. In 1925, his series of works "Fairy Tale Paintings" was exhibited at the fourth Hebrew Union of Artists exhibition in the Tower of David and in 1931, his paintings were displayed in the exhibition of Palestinian artists at the Tel Aviv museum. In addition, Kahana worked on commercial project, designing logos, bookplates and posters, and as an interior decorator and scenic designer. In 1925, he moved to Italy to study architecture in Rome and later continued his studies in Prague. In 1928, he returned to Palestine, hoping to complete his studies at the Technion; however, the Technion did not recognize his previous studies abroad and it was only in 1933 that he finally graduated as an architect from the London University Bartlett School of Architecture. Kahana worked for the architect Alexander Baerwald, for the engineer Hans Sobelsohn in Haifa and for the architect Erich Mendelsohn in Jerusalem. Later, he opened an independent office in Tel Aviv. He took part in planning Tegart forts and worked as an engineer for the British army in Hadera and Lebanon. During the early 1960s he planned the Sholem Aleichem House in Tel Aviv (his wife, Tamara Berkowitz, was the only daughter of writer and translator Yitzchak Dov Berkowitz and the granddaughter of Sholem Aleichem).
20 pp, 26X21 cm. Good condition. Stains on the leaves of the book and on the cover, mostly minor. Stamps on the inside front cover, the title page and the last page. Tears and minor blemishes to cover, mostly in the margins.
1. "Der Milner, di Milnerin un di Milshtayner" / "The Miller, the Milleress and the Millstones":
• 31 trial proofs (including many duplicates) of illustrations by El Lissitzky for the book "Der Milner, di Milnerin un di Milshtayner" ("The Miller, the Milleress and the Millstones"), published in Kiev in 1919 by the Yiddisher Folks-Farlag publishing house.
• Trial proof of a leaf from the book "Der Milner, di Milnerin un di Milshtayner" (including the text) with felt-tipped pen corrections in one of the illustrations.
• Three trial proofs of the logo of the series "Gan Yeladim" – "Kinder-Garten" (as part of which the book "The Miller, the Milleress and the Millstones" was printed in its Hebrew edition by Tarbut publishing house, Warsaw, 1922), designed by El Lissitzky. One of the prints is hand-finished, with additions of paint and paper strips.
• Four double-page spreads which constitute the book "Der Milner, di Milnerin un di Milshtayner". Attached to some of the pages are notes with a Hebrew translation of parts of the story, differing from the printed Hebrew version. This is presumably a draft from the translation process of the book by the writer, Benzion Raskin, who wrote his early books in Yiddish and translated them into Hebrew himself.
2. "Di Hun vos hot Gevolt hoben a Kam" ("The Hen that Wanted a Comb"):
Five leaves of text from the prepress process of the book "Di Hun vos hot Gevolt hoben a Kam" [Kiev: Yiddisher Folks-Farlag, 1919], which was illustrated by El Lissitzky. The leaves, numbered 2, 4, 6, 10, 13, are mounted with printed paper strips containing text from the book. These leaves are all the non-illustrated leaves of the book and the text layout is identical to the printed version, with minor typographic differences. On verso are stamps of the "Yiddisher Folks-Farlag, Kooperative Gezelshaft" publishing house, as well as a handwritten inscription: "Lissitzky, Di Hun vos hot Gevolt hoben a Kam".
3. "Four Billy Goats":
27 trial proofs (including duplicates) of illustrations by Uriel Kahana for the book "Four Billy Goats" (Warsaw: Tarbut, 1922), with the logo of the series "Tzil-Tzlil" of the Tarbut publishing house which published the book. Several of the illustrations appearing in the book are not represented in this collection.
A total of 71 leaves. Size and condition vary. Good to fair overall condition. Closed and open tears, creases. Fold lines. Stains. Pen and pencil notations. Several illustrations are in fair-poor condition: some with large open tears affecting the illustration and others with mold and paint stains.
Provenance: The Uriel Kahana Collection.
• "Chataltulah SheShachecha Eich Tishal Ochel" [The Kitten that Forgot How to ask For Food] by Benzion Raskin, illustrated by Chaim Hanft. [Warsaw]: Tarbut, 5683 [1922].
[8] leaves, 19.5X25 cm. Missing cover. Good-fair condition. Tears to spine. Stains. Creases and fold lines.
• 24 sketches for the illustrations of the book. Some of them in color pens; some on tracing paper.
• Four printed leaves with illustrations and text of the book.
Size and condition vary. Good-fair overall condition. Stains. Tears. Creases.
Chaim Hanft (1900-1951), born in Jedlińsk, Poland, was a graphic artist, sculptor and painter. Hanft was born to a Hassidic family and received traditional education, later studing art under the sculptor Chanoch Glicenstein and at the Warsaw Art School. From 1918 to 1919 he continued his studies in Berlin. During the Polish-Soviet war, he was enlisted, captured by the Russians and sent by them to study at the Moscow art school. Hanft returned to Warsaw and during the 1920s and 1930s illustrated books, children's books and Yiddish journals. He was a member of the Jewish union of artists and sculptors in Poland and took part in the reconstruction of a wooden synagogue in Będzin. He spent the years of World War II in the USSR and later returned to Poland, settling in Wrocław. In 1948 he designed the Jewish pavilion at the exhibition of the regained territories, which celebrated the accomplishments of the Polish regained territories (Wystawa Ziem Odzyskanych); however, shortly before the opening of the exhibition, the authorities closed down the Jewish pavilion, claiming that the Jews must not set themselves apart from the Polish citizens and shut themselves away in ghettoes.
Literature: "Hebrew Illustrations – The Hebrew Illustrated Book for Children" (Hebrew), by Ayala Gordon. Tel Aviv: The Nachum Gutman Museum, 2005. p. 84 and p. 171.
Vaysrusishe Folkmayses [White Russian Folktales], by L. Kvitko [Leib Kvitko]. Published by Idisher sektsye bam Komisaryat far folkbildung, R.S.F.S.R. (Russian Soviet Federative Socialist Republic) / Lutz & Voght Press, Berlin, 1923. Yiddish.
Belarussian folktales, translated into Yiddish by Leib Kvitko. With 14 black-and-white illustrations by El Lissitzky. Missing cover.
The illustrations for this book were created by Lissitzky when he was living in Berlin. About a year earlier he illustrated another collection of folktales translated by Leib Kbitko ("Ukraineshe Folkmayses” – Ukranian Folktales).
98, [6] pp, 20 cm. Hard, plain binding, without the original cover. Good-fair condition. Stains, including dampstains. Some creases and small tears to edges. Stamps on the title page, on the following page and on the second to last page (mostly library stamps). Handwritten signature beneath one of the illustrations. Slight worming to the front binding and first leaf (the book has been disinfected). Stains and blemishes to binding.
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El (Eliezer Lazar Markovich) Lissitzky (1890-1941), a Jewish-Russian artist, designer, photographer, teacher, typographer and architect, one of the most prominent and important members of the Russian avant-garde.
Lissitzky, an architect by training, contributed much, together with his teacher and friend Kazimir Malevich (see items 255-257), to the conceptualization and development of the Suprematism movement – the abstract art focused on geometric forms. He also designed numerous books and journals, exhibitions, and propaganda posters for the communist regime in Russia and influenced the Bauhaus and Constructivist movements in Europe. In his early days, Lissitzky showed much interest in the Jewish culture and many of his works integrated Jewish motifs (during the years 1915-1916, he took part in the ethnographic expedition headed by S. An-sky to various Jewish settlements). Wanting to promote Jewish culture in Russia after the revolution, he became engaged in designing and illustrating Yiddish children's books, creating several children's books which are considered pioneering masterpieces due to their graphics and typography (see for example, the series of children's book he illustrated in 1919, items 234-236, as well as additional children's books he illustrated, items 237, 241). However, several years later, he abandoned the Jewish motifs in favor of developing a more abstract and universal artistic language.
In 1921, Lissitzky moved to Germany, where he served as the Russian cultural ambassador, engaged in forming connections between Russian and German artists and continued to design books and journals; there he also created some of his most well-known works in the field of book design, including the issues of the journal "Veshch/Gegenstand/Objet", which he founded together with the writer Ilya Ehrenburh (see item 244 and item 249) and a volume of poetry by Vladimir Mayakovsky (see item 245 and item 250).
Lissitzky, who perceived books as immortal artifacts, "monuments of the future" by his definition, used the medium as a tool for spreading the messages of avant-garde and his artistic perception, as indicated by the variety of books in whose design, production or illustration he took part – beginning with children's books and books of poetry (see items 242 and 243) and ending with catalogs, guidebooks and research books (see items 246 and 248).
Lissitzky died in Moscow at the age of 51. In his final years, his artistic work was dedicated mainly to soviet propaganda; yet it seems that the same worldview accompanied his works throughout his life – the belief in goal-oriented creation (Zielbewußte Schaffen, the German term he coined) and the power of art to influence and bring about change.
Солнце на излёте [The Spent Sun], by Konstantin Bolshakov. Moscow: Центрифуга (Tsentrifuga), 1916. Russian. Cover design by El Lissitzky.
A volume of poetry by poet and writer Konstantin Bolshakov (Константин Большаков, 1895-1938), a prominent figure in the Russian Futurism movement. The cover was designed by El Lissitzky and is one of his first works in the field of book design. Author's signature on first page.
63, [1] pp, 23.5 cm. Good overall condition. Minor blemishes throughout the book. Several restorations to margins. Open tears to edges of cover (the cover has been professionally restored and filled).
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El (Eliezer Lazar Markovich) Lissitzky (1890-1941), a Jewish-Russian artist, designer, photographer, teacher, typographer and architect, one of the most prominent and important members of the Russian avant-garde.
Lissitzky, an architect by training, contributed much, together with his teacher and friend Kazimir Malevich (see items 255-257), to the conceptualization and development of the Suprematism movement – the abstract art focused on geometric forms. He also designed numerous books and journals, exhibitions, and propaganda posters for the communist regime in Russia and influenced the Bauhaus and Constructivist movements in Europe. In his early days, Lissitzky showed much interest in the Jewish culture and many of his works integrated Jewish motifs (during the years 1915-1916, he took part in the ethnographic expedition headed by S. An-sky to various Jewish settlements). Wanting to promote Jewish culture in Russia after the revolution, he became engaged in designing and illustrating Yiddish children's books, creating several children's books which are considered pioneering masterpieces due to their graphics and typography (see for example, the series of children's book he illustrated in 1919, items 234-236, as well as additional children's books he illustrated, items 237, 241). However, several years later, he abandoned the Jewish motifs in favor of developing a more abstract and universal artistic language.
In 1921, Lissitzky moved to Germany, where he served as the Russian cultural ambassador, engaged in forming connections between Russian and German artists and continued to design books and journals; there he also created some of his most well-known works in the field of book design, including the issues of the journal "Veshch/Gegenstand/Objet", which he founded together with the writer Ilya Ehrenburh (see item 244 and item 249) and a volume of poetry by Vladimir Mayakovsky (see item 245 and item 250).
Lissitzky, who perceived books as immortal artifacts, "monuments of the future" by his definition, used the medium as a tool for spreading the messages of avant-garde and his artistic perception, as indicated by the variety of books in whose design, production or illustration he took part – beginning with children's books and books of poetry (see items 242 and 243) and ending with catalogs, guidebooks and research books (see items 246 and 248).
Lissitzky died in Moscow at the age of 51. In his final years, his artistic work was dedicated mainly to soviet propaganda; yet it seems that the same worldview accompanied his works throughout his life – the belief in goal-oriented creation (Zielbewußte Schaffen, the German term he coined) and the power of art to influence and bring about change.
Птица безымянная [The Unnamed Bird], by Alexander Kussikoff. Berlin: Скифы (Skythen), 1922. Russian; an additional German title page. Cover design by El Lissitzky.
A volume of poetry by the Russian Imaginist poet Alexander Kussikoff (Александр Кусиков, 1896-1977). Cover design by El Lissitzky.
62, [2] pp, 20.5 cm. Fair condition. Stains, including dampstains and mold stains. Minor creases. Owner's inscription on top of the Russian title page. Stained cover, slightly faded and loose. Small tears to spine.
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El (Eliezer Lazar Markovich) Lissitzky (1890-1941), a Jewish-Russian artist, designer, photographer, teacher, typographer and architect, one of the most prominent and important members of the Russian avant-garde.
Lissitzky, an architect by training, contributed much, together with his teacher and friend Kazimir Malevich (see items 255-257), to the conceptualization and development of the Suprematism movement – the abstract art focused on geometric forms. He also designed numerous books and journals, exhibitions, and propaganda posters for the communist regime in Russia and influenced the Bauhaus and Constructivist movements in Europe. In his early days, Lissitzky showed much interest in the Jewish culture and many of his works integrated Jewish motifs (during the years 1915-1916, he took part in the ethnographic expedition headed by S. An-sky to various Jewish settlements). Wanting to promote Jewish culture in Russia after the revolution, he became engaged in designing and illustrating Yiddish children's books, creating several children's books which are considered pioneering masterpieces due to their graphics and typography (see for example, the series of children's book he illustrated in 1919, items 234-236, as well as additional children's books he illustrated, items 237, 241). However, several years later, he abandoned the Jewish motifs in favor of developing a more abstract and universal artistic language.
In 1921, Lissitzky moved to Germany, where he served as the Russian cultural ambassador, engaged in forming connections between Russian and German artists and continued to design books and journals; there he also created some of his most well-known works in the field of book design, including the issues of the journal "Veshch/Gegenstand/Objet", which he founded together with the writer Ilya Ehrenburh (see item 244 and item 249) and a volume of poetry by Vladimir Mayakovsky (see item 245 and item 250).
Lissitzky, who perceived books as immortal artifacts, "monuments of the future" by his definition, used the medium as a tool for spreading the messages of avant-garde and his artistic perception, as indicated by the variety of books in whose design, production or illustration he took part – beginning with children's books and books of poetry (see items 242 and 243) and ending with catalogs, guidebooks and research books (see items 246 and 248).
Lissitzky died in Moscow at the age of 51. In his final years, his artistic work was dedicated mainly to soviet propaganda; yet it seems that the same worldview accompanied his works throughout his life – the belief in goal-oriented creation (Zielbewußte Schaffen, the German term he coined) and the power of art to influence and bring about change.
"Вещь / Gegenstand / Objet" [Object], edited by El Lissitzky and Ilya Ehrenburg. Issue no. 1-2. Berlin: Skythen (Скифы), 1922. Russian, French and German. Cover design by El Lissitzky.
The first issue of "Object", a journal edited by El Lissitzky and Ilya Ehrenburg, published in Berlin in 1922. The aim of the journal, printed in Russian, French and German, was to create an international platform for avant-garde artists. It published articles on art, architecture, cinema, theater, literature and poetry, and introduced works by Russian and European avant-garde artists. The editor's introduction to the first issue stated that "Object" will "take the part of constructive art, whose task is not to adorn life, but to organize it".
This issue features poems, theoretical and critical articles, pictures of works of art, and more; with contributions by Vladimir Mayakovsky, Sergei Yesenin, Boris Pasternak, Fernand Léger, Gino Severini, Nikolay Punin and others. Cover design by El Lissitzky.
The second issue of the journal, published in May 1922, was banned for distribution in the USSR. Subsequently, its publication was discontinued.
32 pp, 31 cm. Good condition. Stains. Small tears, some open, to edges of leaves. Several notations and markings in colored pencil. Stains, blemishes and small tears to cover. Restored spine.
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El (Eliezer Lazar Markovich) Lissitzky (1890-1941), a Jewish-Russian artist, designer, photographer, teacher, typographer and architect, one of the most prominent and important members of the Russian avant-garde.
Lissitzky, an architect by training, contributed much, together with his teacher and friend Kazimir Malevich (see items 255-257), to the conceptualization and development of the Suprematism movement – the abstract art focused on geometric forms. He also designed numerous books and journals, exhibitions, and propaganda posters for the communist regime in Russia and influenced the Bauhaus and Constructivist movements in Europe. In his early days, Lissitzky showed much interest in the Jewish culture and many of his works integrated Jewish motifs (during the years 1915-1916, he took part in the ethnographic expedition headed by S. An-sky to various Jewish settlements). Wanting to promote Jewish culture in Russia after the revolution, he became engaged in designing and illustrating Yiddish children's books, creating several children's books which are considered pioneering masterpieces due to their graphics and typography (see for example, the series of children's book he illustrated in 1919, items 234-236, as well as additional children's books he illustrated, items 237, 241). However, several years later, he abandoned the Jewish motifs in favor of developing a more abstract and universal artistic language.
In 1921, Lissitzky moved to Germany, where he served as the Russian cultural ambassador, engaged in forming connections between Russian and German artists and continued to design books and journals; there he also created some of his most well-known works in the field of book design, including the issues of the journal "Veshch/Gegenstand/Objet", which he founded together with the writer Ilya Ehrenburh (see item 244 and item 249) and a volume of poetry by Vladimir Mayakovsky (see item 245 and item 250).
Lissitzky, who perceived books as immortal artifacts, "monuments of the future" by his definition, used the medium as a tool for spreading the messages of avant-garde and his artistic perception, as indicated by the variety of books in whose design, production or illustration he took part – beginning with children's books and books of poetry (see items 242 and 243) and ending with catalogs, guidebooks and research books (see items 246 and 248).
Lissitzky died in Moscow at the age of 51. In his final years, his artistic work was dedicated mainly to soviet propaganda; yet it seems that the same worldview accompanied his works throughout his life – the belief in goal-oriented creation (Zielbewußte Schaffen, the German term he coined) and the power of art to influence and bring about change.
Для голоса [For the Voice], by Vladimir Mayakovsky. Berlin: Lutze & Vogt for the State Publishing House (Государственное издательство), 1923. Russian. Design: El Lissitzky.
The book "For the Voice", the fruit of collaboration between poet Vladimir Mayakovsky and artist El Lissitzky, is a superb example of Constructivist book design and one of Lissitzky's most famous works.
The book contains thirteen poems by Mayakovsky, including the poems "Love", "Left March", and "The Third International", alongside dynamic compositions in red and black, created by Lissitzky using typography and geometrical forms. The compositions give the poems a visual dimension and faithfully reflect their nature, thus reflecting Lissitzky's belief that books should harmonize form and content. Furthermore, since Mayakovsky's poetry was meant for recitation (as indicating by the title "For the Voice"), Lissitsky's added a unique design element to the book – index tabs enabling the reader to easily locate each poem.
61 pp, 18 cm. Soft leather binding, without the original cover designed by Lissitzky. Good-fair condition. Stains (mostly to tabs). Tears and minor blemishes. Previous owner's signature on front flyleaf. Impression on the front binding – "D.J.". Abrasions and minor blemishes to binding.
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El (Eliezer Lazar Markovich) Lissitzky (1890-1941), a Jewish-Russian artist, designer, photographer, teacher, typographer and architect, one of the most prominent and important members of the Russian avant-garde.
Lissitzky, an architect by training, contributed much, together with his teacher and friend Kazimir Malevich (see items 255-257), to the conceptualization and development of the Suprematism movement – the abstract art focused on geometric forms. He also designed numerous books and journals, exhibitions, and propaganda posters for the communist regime in Russia and influenced the Bauhaus and Constructivist movements in Europe. In his early days, Lissitzky showed much interest in the Jewish culture and many of his works integrated Jewish motifs (during the years 1915-1916, he took part in the ethnographic expedition headed by S. An-sky to various Jewish settlements). Wanting to promote Jewish culture in Russia after the revolution, he became engaged in designing and illustrating Yiddish children's books, creating several children's books which are considered pioneering masterpieces due to their graphics and typography (see for example, the series of children's book he illustrated in 1919, items 234-236, as well as additional children's books he illustrated, items 237, 241). However, several years later, he abandoned the Jewish motifs in favor of developing a more abstract and universal artistic language.
In 1921, Lissitzky moved to Germany, where he served as the Russian cultural ambassador, engaged in forming connections between Russian and German artists and continued to design books and journals; there he also created some of his most well-known works in the field of book design, including the issues of the journal "Veshch/Gegenstand/Objet", which he founded together with the writer Ilya Ehrenburh (see item 244 and item 249) and a volume of poetry by Vladimir Mayakovsky (see item 245 and item 250).
Lissitzky, who perceived books as immortal artifacts, "monuments of the future" by his definition, used the medium as a tool for spreading the messages of avant-garde and his artistic perception, as indicated by the variety of books in whose design, production or illustration he took part – beginning with children's books and books of poetry (see items 242 and 243) and ending with catalogs, guidebooks and research books (see items 246 and 248).
Lissitzky died in Moscow at the age of 51. In his final years, his artistic work was dedicated mainly to soviet propaganda; yet it seems that the same worldview accompanied his works throughout his life – the belief in goal-oriented creation (Zielbewußte Schaffen, the German term he coined) and the power of art to influence and bring about change.
Всесоюзная полиграфическая выставка – путеводитель [All-Union Polygraphic Exhibition – guide]. Moscow, 1927. Russian. Design: El Lssitzky and Solomon Telingater.
A guide for the All-Union Polygraphic Exhibition which was held in Moscow in 1927. The exhibition, marking the 10th anniversary of the October Revolution, was meant to show the achievements of the USSR in the fields of book design and printing. It displayed works by various graphic artists; the divisions of the exhibition were dedicated to Russian publishing houses, to polygraphic schools, to printing technologies and more. The exhibition designer was El Lissitzky.
The guide, designed by El Lissitzky and Solomon Telingater, is divided into seven sections; each section has a separate title page with a photograph from the exhibition. The first section includes an introduction by El Lissitzky. The other six sections are dedicated to the various divisions of the exhibition and contain lists of exhibits and additional information. The upper margins of the leaves of each section are trimmed at different heights to simplify browsing through the guide.
Multiple paginations. Approx. 17 cm. Good condition. Stains. Creases, closed and open tears to margins. Stained and worn cover, with creases and open tears along edges and spine.
Not in NLI.
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El (Eliezer Lazar Markovich) Lissitzky (1890-1941), a Jewish-Russian artist, designer, photographer, teacher, typographer and architect, one of the most prominent and important members of the Russian avant-garde.
Lissitzky, an architect by training, contributed much, together with his teacher and friend Kazimir Malevich (see items 255-257), to the conceptualization and development of the Suprematism movement – the abstract art focused on geometric forms. He also designed numerous books and journals, exhibitions, and propaganda posters for the communist regime in Russia and influenced the Bauhaus and Constructivist movements in Europe. In his early days, Lissitzky showed much interest in the Jewish culture and many of his works integrated Jewish motifs (during the years 1915-1916, he took part in the ethnographic expedition headed by S. An-sky to various Jewish settlements). Wanting to promote Jewish culture in Russia after the revolution, he became engaged in designing and illustrating Yiddish children's books, creating several children's books which are considered pioneering masterpieces due to their graphics and typography (see for example, the series of children's book he illustrated in 1919, items 234-236, as well as additional children's books he illustrated, items 237, 241). However, several years later, he abandoned the Jewish motifs in favor of developing a more abstract and universal artistic language.
In 1921, Lissitzky moved to Germany, where he served as the Russian cultural ambassador, engaged in forming connections between Russian and German artists and continued to design books and journals; there he also created some of his most well-known works in the field of book design, including the issues of the journal "Veshch/Gegenstand/Objet", which he founded together with the writer Ilya Ehrenburh (see item 244 and item 249) and a volume of poetry by Vladimir Mayakovsky (see item 245 and item 250).
Lissitzky, who perceived books as immortal artifacts, "monuments of the future" by his definition, used the medium as a tool for spreading the messages of avant-garde and his artistic perception, as indicated by the variety of books in whose design, production or illustration he took part – beginning with children's books and books of poetry (see items 242 and 243) and ending with catalogs, guidebooks and research books (see items 246 and 248).
Lissitzky died in Moscow at the age of 51. In his final years, his artistic work was dedicated mainly to soviet propaganda; yet it seems that the same worldview accompanied his works throughout his life – the belief in goal-oriented creation (Zielbewußte Schaffen, the German term he coined) and the power of art to influence and bring about change.
A book of poetry by Russian poet Semyon Kirsanov (Семён Кирсанов, 1906-1972), a student of Vladimir Mayakovsky, considered to be the creator of rhymed prose in Russian literature. The book was designed by the Russian Constructivist artist Solomon Telingater.
Solomon Telingater (Соломoн Телингaтер, 1903-1969), born in Tbilisi, studied art in Baku and Moscow. He was a book and typeface designer and a member of the "October Group" alongside El Lissitzky and Alexander Rodchenko. In 1963, he was the first Soviet artist to receive the Iohan Gutenberg award for designing books and typefaces.
[84] pp, 20X9 cm. Good condition. Stains. Handwritten signature on first page. Detached cover, with small tears, creases and stains.