Auction 69 Part 2
Dec 4, 2019 (your local time)
 8 Ramban St, Jerusalem.
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LOT 234:

"Der Ber", from the "Kinder-Garten" Series of Children's Books – Kiev-St. Petersburg, 1919 – Illustrations by El ...

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"Der Ber", from the "Kinder-Garten" Series of Children's Books – Kiev-St. Petersburg, 1919 – Illustrations by El Lissitzky

Der Ber [The Bear], by Feter Ben Zion [Benzion Raskin]. Kiev-St. Petersburg: Yiddisher Folks-Farlag, [1919]. From the "Kinder-Garten" series of children's books. Yiddish.
A tale for children, illustrated by El Lissitzky.
In April 1919, El Lissitzky and Benzion Raskin signed a contract with the Yiddisher Folks-Farlag publishing house in Kiev, in which they committed themselves to selling it the rights for eleven Yiddish illustrated children's books under the general title "Kinder-Garten". According to the contract, which they most probably signed due to financial distress, they had to accomplish the eleven books in about five months. Eventually, only three books were published as planned: "Der Ber" [The Bear], "Di Hun vos hot Gevolt hoben a Kam" [The Hen that Wanted a Comb], and "Der Milner, di Milnerin un di Milshtayner" [The Miller, the Milleress and the Millstones]. At the same time, Lissitzky returned to Vitebsk, to teach architecture, painting and graphic arts at the school of art managed by Marc Chagall. See: Tradition and Revolution, The Jewish Renaissance in Russian Avant-Garde Art 1912-1928, p. 118.
10, [2] pp, 19.5 cm. Good condition. Pen notations on the first page and stamps on three pages. Several minor stains. Minor creases and very small tears to margins. Loose leaves. Blank cardboard binding.


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.

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