Auction 69 Part 2
Dec 4, 2019 (your local time)
 8 Ramban St, Jerusalem.
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LOT 244:

"Вещь / Gegenstand / Objet" – Trilingual Art Journal, Edited by El Lissitzky and Ilya Ehrenburg – Berlin, 1922 – ...

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"Вещь / Gegenstand / Objet" – Trilingual Art Journal, Edited by El Lissitzky and Ilya Ehrenburg – Berlin, 1922 – First Issue – Cover Design by Lissitzky

"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.


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.