Henk Puts

El Lissitzky

A Catalogue of his Work
in the
Stedelijk Van Abbe Museum, Eindhoven


Part 1: Text


Groningen 1991

Contents


Foreword 3
Indications for use 4
Catalogue
Early works 6
Proun: gouaches, designs and transfer-sheets 11
Proun: lithographs 19
Preliminary works for the Kestner portfolio 26
Figurine portfolio 30
Typography 45
Photography 69
Architecture 71
Sundries 75
Autobiography 81
Texts by El Lissitzky 85
Texts on El Lissitzky 94
(these page numbers are not relevant here, they are numbers for the printed text)

Foreword

This catalogue lists and describes all the works of El Lissitzky in the Stedelijk Van Abbe Museum, Eindhoven. It gives references to related works and to literature. The original text was written in 1985-86 as a part of my study in art history and was intended to be published in 1986. However this never realized. A limited computer-printed Dutch-language edition in two volumes (text and plates) was made in 1988.
Two texts from the original catalogue, a biography and a chapter devoted to the origins of the collection, were published in a largely revised form in the accompanying publication in four languages to the Lissitzky-exhibition in Eindhoven, Madrid and Paris 1990-91. I omitted these two texts from the present volume and consider it now as a supplementary publication to that exhibition and book. Some alterations were made, and I added information on related works in the Tretyakov Gallery, which I was able to see for the first time in the autumn of 1990 at the Lissitzky exhibition in Moscow. I dedicate this first English-language copy, based on the translation from 1986 by Ina Rike, Amsterdam, to the staff of the Tretyakov Gallery. I wish to thank all those who helped me: Aloïs van de Berk, Jaap Bruintjes, Willy Jager, Piet de Jonge, Jean Leering, my professor Hans Locher, Peter Nisbet, Peter Romanus, Vronie Steenhuis, Frans Zeegers and many others.


Groningen, march 1991


Henk Puts



Indications for use

All the works by El Lissitzky in the collection of the Van Abbe Museum are listed in this catalogue: gouaches, drawings, graphic works, as well as books and periodicals to the design of which he contributed in any way, and preliminary designs; also included are original photographs of his works, letters and some miscellaneous documents. The catalogue consists of nine sections: Early works, Prouns and preliminary works for prouns, Proun lithographs, Preliminary works for the Kestner portfolio, Figurine portfolio, Typography, Photography, Architecture and Sundries. All the works have been newly examined giving rise to some discrepancies vis à vis earlier publications regarding titles, dates and measurements.

Titles:
Most titles were given in 1965, when the works from the Vordemberge-Leda collection first arrived in Eindhoven; these and other titles not given by the artist are placed between brackets: []. The same applies to translations and other supplementary information following a title.

Dates:
The dates of some of the works on paper from the Vordemberge-Leda collection are not certain. These dates are preceded by 'c.' (circa). A terminus ante quem gives Lissitzky's departure to Switzerland, February 1924, when he left these works in his studio in Hanover.

Dimensions:
All dimensions are given in centimetres, height x width. The dimensions of a sheet are followed by the inner dimensions in cases where the image is frames in any way within the sheet. The inner dimensions can be of importance when comparing a design with a definite version.

Marked:
Signatures, dates, stamps and indications of titles are listed under this heading; in the case of books and periodicals the relevant parts of the printer's imprint or the title indicating the nature of Lissitzky's contribution. Any notes occurring on a sheet are mentioned under N.B.

Inventory number:
The first part is the number under which the work is registered in the Van Abbe Museum; the second part, i.e. the figures preceded by L, is the number under which the work is listed in the folder printed in 1968 when the Vordemberge-Leda collection was acquired (Leering 1968). Inventory numbers not preceded by L mean that the work was not included in the folder.
Attention: some of the numbers may have changed since 1988.

Literature:
Under these heading I give references to pages where the works are discussed or reproduced. So much has been written on certain works that the references cannot be exhaustive: a selection was inevitable.
You can also find here exhibition catalogues in which the works were included. None of the works in this collection are known to have been exhibited before 1965. Since their acquisition by the Van Abbe Museum they have regularly been loaned for public display. A selection has been made from these exhibitions: all exhibitions devoted exclusively to the work of El Lissitzky and accompanied by a catalogue are included, as well as a number of other important exhibitions, mostly in the field of the Russian avantgarde.

Transliteration:
The transliteration of the Russian alphabet follows the international rules, with the exception of a few names, which are now commonly written in a deviant spelling, such as the names of Lissitzky (instead of Lisickij) and Chagall (instead of Šagal). However, where these names are transliterated directly from Russian texts the international rules apply. Deviant spellings in titles etc. have not been altered.

Differences with the English transliteration and pronunciation:

ž as z in fez
u as oo in book
ch as ch in loch (Scots)
c as ts in tsetse
č as ch in chest
š as sh in shore
šč as shch in posh china
' transliteration of the Russian soft sign
" transliteration of the Russian hard sign



1-9
Early works


1
The Church of the Trinity in Vitebsk

Date: 1910
Technique: Pencil, chalk and gouache on grey paper, pasted on black-violet cardboard.
Dimensions: 30.0 x 37.7; inner dimensions 23.5 x 29.8
Marked: [Lower right in pencil, cyrillic:] LL 1910 VTBSK.
[Under the drawing in Lissitzky's handwriting in Indian ink:] Architekturafnahme / Die Dreienigkeit-Kirche zu Witebsk (Anfang des XVIII jahr.) / (Sogennante "Schwarze" Kirche) / stud arch Lasar Lissitzky.
Inventory number: 2.0219-L01.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Birnholz 1969 p. 65, ill.; Birnholz 1973a p. 2, ill. 1; Eindhoven 1965 cat. no. A1, ill. p.86; Eindhoven 1990 repr. 1; Halle 1982 cat. no. 1; Hannover 1988 cat. no. 1 ill. 34; Lissitzky-Küppers 1967 ill. 1; Oxford 1977 cat. no. 1.

The forms are drawn in outline with chalk, the planes are coloured in.
This drawing, and catalogue numbers 2-9, originated during Lissitzky's studies at the Technische Hochschule in Darmstadt. They show some resemblance to the illustrations of the artists of the Mir Iskusstva (World of art) Movement.



2
Tower on the Citadel Walls, Smolensk

Date: 1910
Technique: Chalk and gouache on grey paper, pasted on black-violet cardboard.
Dimensions: 24.0 x 32.0; inner dimensions 18.0 x 24.5.
Marked: [lower right with chalk, cyrillic:] SMOLENSK LL 1910.
[Under the drawing in Lissitzky's handwriting in Indian ink:] Zeichnung nach der Natur. / Turm aus der Festungsmauer zu Smolensk (1604) / stud arch Lasar Lissitzky. [Lower right stamped over paper and cardboard:] Hess. Technische Hochschule Darmstadt.
Inventory number: 2.0220-L02.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Birnholz 1969 p. 65, ill.; Birnholz 1973a p. 2-4, ill. 2; Eindhoven 1965 cat. no. A2; Eindhoven 1990 repr. 2; Halle 1982 cat. no. 2; Hannover 1988 cat. no. 2 ill. 35; Lissitzky-Küppers 1967 ill. 2.

The illustrative nature of this drawing is emphasized by the clear, heavy contours, the planes being coloured in later. One corner of the tower touches the hand-drawn rectangular frame with rounded corners. The majority of the lines flow toward a single vanishing point on the left beyond the frame, which forms a sharp contrast with the vertical lines of the tower. There is a marked difference in material between the rusticated base of the tower and the red brick superstructure



3
[Head]

Date: 1912
Technique: Sepia and blue ink on paper, pasted on a larger sheet of paper.
Dimensions: 25.3 x 22.2.
Marked: [lower right:] L 12.
Inventory number: 2.0221-L03.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Birnholz 1973a p. 7-8, ill. 3; Eindhoven 1965 cat. no. A3; Hannover 1988 cat. no. 42; Oxford 1977 cat. no. 2.

The drawing is built up of fairly long strokes with brush and pen; regular hatching around left cheek; partial washes in the hair and under the chin.
In 1912 Lissitzky went to Paris, where he saw Zadkine, whom he already knew in Russia. Birnholz has identified this head with the aid of photographs as a portrait of Ossip Zadkine.



4
[Study for a tree]

Date: c. 1913.
Technique: Indian ink on paper.
Dimensions: 21.8 x 16.8.
Marked: [on reverse with stamp:] Grossh. Technische Hochschule zu Darmstadt / 15 juli 1914 Fachprüfung.
Inventory number: 2.0222-L04.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Birnholz 1973a p. 8-9, ill. 4; Eindhoven 1965 cat. no. A4; Hannover 1988 cat. no. 3 ill. 36.

This drawing is built up of fairly short strokes with brush and pen; foliage is indicated by means of ink washes.



5
[Italian town]

Date: c. 1913.
Technique: Pencil, chalk and gouache on grey paper.
Dimensions: 24.0 x 32.4; inner dimensions 20.7 x 28.8.
Marked: [on reverse with stamp:] Grossh. Technische Hochschule zu Darmstadt / 15 juli 1914 Fachprüfung.
Inventory number: 2.0223-L05.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Birnholz 1973a p. 10, ill. 5; Eindhoven 1965 cat. no. A5; Eindhoven 1990 repr. 5; Hannover 1988 cat. no. 4, ill. 37.

This drawing shows a strong resemblance in technique with the works from 1910 (cat. nos. 1 and 2), as does Ravenna (cat. no. 6): rounded frame; line contours, coloured-in planes; same materials, same paper. It is not known wether this scene is imaginary or a portrait of an existing town.


6
Ravenna

Date: 1913.
Technique: Pencil, chalk and gouache on paper.
Dimensions: 31.8 x 23.7; inner dimensions 28.8 x 21.7.
Marked: [lower right with Indian ink:] RAVENNA / MCMXIII / LASAR LISSITZKY.
[lower right part of the stamp:] Grossh. Technische Hochschule zu Darmstadt / 15 juli 1914 Fachprüfung.
Inventory number: 2.0224-L06.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Birnholz 1973a p. 11, ill. 7; Eindhoven 1965 cat. no. A6, ill. p.87; Eindhoven 1990 repr. 4; Halle 1982 cat. no. 3; Hannover 1988 cat. no. 7; Lissitzky-Küppers 1967 ill. 4.
N.B.: The sheet was originally affixed to a larger sheet of paper

Paper and technique are similar to the works made in 1910, see remarks for Italian Town (cat. no. 5). The signature is no longer in Cyrillic letters.
A remarkable feature is the orange-pink sky, which, combined with the dark olive-green grass suggests twilight.
The building portrayed is the Orthodox Baptistery in Ravenna.

7
Pisa

Date: 1913.
Technique: Sepia on paper.
Dimensions: 24.8 x 32.5; inner dimensions 7.8 x 29.3.
Marked: [lower right:] PISA 13 L. LISSITZKY.
[on reverse:] PISA / 1913 / LASSAR LISSITZKY.
Inventory number: 2.0225-L07.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Birnholz 1973a p. 11-12, ill. 8; Lissitzky-Küppers 1967 ill. 3; Eindhoven 1965 cat. no. A7; Halle 1982 cat. no. 4; Hannover 1988 cat. no. 5.

N.B.: On reverse next to the note mentioned above a fragment of a technical drawing.

The drawing is executed in lines of the pen; the resulting planes are filled in with three shades of sepia by brush: dark (undiluted, like the lines) on the roofs; lighter in the foreground, and very light (i.e. greatly diluted) in the clouds drawn with dotted lines.
The tops of the baptistery, cathedral and tower of Pisa are cropped by the rounded rectangular frame. Part of the Campo Santo is to be seen to the left of the cathedral.
The elongated horizontal shape of the drawing on an otherwise blank sheet recalls a lead illustration for an unpublished text. See comparable illustrations of, for example, Ivan Bilibin, in which towers are similarly cropped by a rounded rectangular frame (see for example Sergei Golynets, Ivan Bilibin, Leningrad 1981, ill. 42, 46, 69).


8
Venice

Date: 1913.
Technique: Watercolour on cardboard.
Dimensions: 26.6 x 34.5; inner dimensions 23.5 x 32.5.
Marked: [lower left:] VENEZIA / 13 / LASAR LISSITZKY.
[on reverse with stamp:] Grossh. Technische Hochschule zu Darmstadt / 15 juli 1914 Fachprüfung.
Inventory number: 2.0226-L08.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Birnholz 1973a p. 10-11, ill. 6; Eindhoven 1965 cat. no. A8; Eindhoven 1990 repr. 3; Hannover 1988 cat. no. 6 ill. 38.

The blue outlines are remarkable. The church is that of San Giovanni in Bragora, in the neighbourhood Sestiere di Castello.

9
Reminiscence of Ravenna

Date: 1914.
Technique: Etching.
Dimensions: 33.7 x 36.6; inner dimensions 17.5 x 20.7.
Marked: [under the print, in pencil:] ERINNERUNG AN RAVENNA. LASAR LISSITZKY ANNO 1914.
Inventory number: 2.0227-L09.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Birnholz 1973a p. 12-13, ill. 9; Eindhoven 1965 cat. no. A9; Hannover 1988 cat. no. 8 ill. 39; Lissitzky-Küppers 1967 ill. 5; Oxford 1977 cat. no. 3.

This is the only etching Lissitzky is known to have made. Only line has been used; the print shows considerable plate-tone and several fingerprints. The two letters N in the word RAVENNA at the top face the wrong side; it seems as if Lissitzky was not an experienced etcher when he made this work. The ribbon with the word RAVENNA on it is held by a floating Victoria-figure.
The etching shows a number of historic buildings of Ravenna.
10-21
Prouns: gouaches, designs and transfer-sheets



10
[Proun]

Date: c. 1919-23
Technique: Pencil, gouache and Indian ink on paper.
Dimensions: 49.0 x 68.0.
Not marked.
Inventory number: 2.0228-L10.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Amsterdam 1982 cat. no. 242; Bern 1984 cat. no. 89, ill. p.29; Eindhoven 1965 cat. no. A53; Eindhoven 1990 repr. 40; Frankfurt 1972 cat. no. 18; Hannover 1988 cat. no. 21 ill. 49; Köln 1976 cat. no. 31.

A larger version of this composition is to be seen on a photograph from 1919 of Lissitzky in his studio in Vitebsk (ill. 8): two large vertical volumes, two large flat planes to the left and right, and a number of disparate objects that seem to float in the space between the two vertical forms. The colours are restricted to greys and ochres. The large volumes can be interpreted as indications of architecture, but there is no ground upon which they rest. Everything seems to float in the white space, as in Malevič's suprematist paintings. Looking at the bottom of the large vertical volumes, they hardly seem three-dimensional: perspective space is created at the top by the downward-pointing lines of the lateral planes, which therefore presumably extend backwards. There is however no question of a fixed vanishing point. The lines of the large bar at the top between the two vertical blocks are parallel, as in an axonometric drawing. That makes the suggested space in this gouache remarkably complex, and in fact larger than it would be in a perspective view limited by a horizon.
The composition resembles, in a sense, a photograph of New York viewed from the sea: tall sky-scrapers flanked by lower blocks.
The Tretyakov Gallery has a small drawing with this composition.



11
[Design for Proun 3A]

Date: c. 1920-23.
Technique: Pencil on transparent paper; chalk on reverse along the lines.
Dimensions: 63.0 x 55.5; inner dimensions: 62.0 x 54.5.
Not marked.
Inventory number: 2.0229-L11.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Bern 1984 cat. no. 92; Eindhoven 1965 cat. no. A17; Köln 1976 cat. no. 32; London 1984 cat. no. 91, ill.

N.B.: The sheet, which was torn horizontally across the middle, was pasted on reinforcement paper in 1971.

Numerous coordinates have been plotted on the frame. The lines constructed on the front, except the larger circle, are thickened with chalk on the reverse. This sheet was evidently used for transferring the composition for the painting Proun 3A (ill. 47). The contours correspond, but due to the slightly larger space around the forms the exterior measurements of the painting are slightly larger.
For a lithograph of this composition see cat. no. 30.



12
[Design for Proun 12E]

Date: c. 1920-23.
Technique: Pencil on transparent paper; chalk along the lines on the reverse.
Dimensions: 59.4 x 43.8; inner dimensions 56.8 x 41.8.
Not marked.
Inventory number: 2.0230-L12.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Birnholz 1973a p. 104 ill. 46; Eindhoven 1965 cat. no. A23; Hannover 1988 cat. no. 92 ill. 131; Köln 1976 cat. no. 33; Lissitzky-Küppers 1967 ill. 29.

N.B.: The sheet was pasted on reinforcement paper in 1971.

The chalk lines on the reverse are faintly visible through the paper as a pale grey shadow along the thin ruler-drawn pencil lines - a pleasing but unintentional effect. The chalked lines correspond exactly with the lines in the painting Proun 12E (see ill. 34; Eindhoven 1990 repr. 27).
Since the measurements correspond almost exactly (the maximum discrepancy being one centimetre) it is evident that the composition of this painting was directly traced from the design in the Van Abbe Museum.
Numerous coordinates which served for the construction of the lines have been plotted on the frame of the study. Several of these lines are not chalked on the reverse, nor do they occur on the painting.
A gouache version, attributed to Lissitzky, shows some very slight alterations vis à vis design and painting (Proun 12E, ca. 1920-21, gouache on paper 32,5 x 23,5, private collection Zürich, ill. in Bern 1984 p. 26). Another work attributed to Lissitzky with comparable forms in a more fussy constellation is reproduced in Eindhoven 1990, repr. 28.



13
[Design for Proun 23N (B111)]

Date: c. 1920-23.
Technique: Pencil, chalk and watercolour on paper; chalk on reverse along the lines.
Dimensions: 69.2 x 50.0; inner dimensions 57.9 x 44.2.
Not marked.
Inventory number: 2.0231-L13
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Amsterdam 1982 cat. no. 244; Eindhoven 1965 cat. no. A25, ill. p. 97; Halle 1982 cat. no. 39; Hannover 1988 cat. no. 27 ill. 54; Oxford 1977 cat. no. 11.

N.B.: The sheet was pasted on reinforcement paper in 1971. The chalk-lines on the reverse are only visible when the sheet is held against the light (this design was not made on transparent paper)

A painting on wood of nearly identical dimensions is in the collection Wilhelm Hack: Proun 23N (B111) (ill. 11). This design was used as transfer paper for the painting.
The differences in surface structure on the painting are striking: a sandy material has been used for the brick-red, ochre and black in the large block above; these colours are indicated on the drawing by means of different shades of grey. The grey diagonal on the left is filled in with pencil on the painting.
The floating cluster of blocks and planes, similar to the cluster in Proun 1C (cat. no. 24) is connected with one of the bars by means of a curved line. The sandy material gives the block weight, thereby adding an extra tension to the suspension in space. The white oblong below floats along with the black oblong that it overlaps, and with the pencil-drawn bar like an aeroplane above the hyperbola cropped by the edge.
If the curves above and below are extended they result both in hyperbolas. The basis of the composition, then, is constituted by two hyperbolas and a diagonal connected with both hyperbolas dividing the overall image in two equal sections. The combination of hyperbolas and tangents is a recurrent feature of Lissitzky's prouns (see cat. nos. 14 and 15), as they are in his two sketches for a podium (cat. nos. 117-118). Proun GK from 1923 is a worked out version of this composition (ill. 48; Eindhoven 1990 repr. 39).



14
[Sketch for Proun]

Date: c. 1920-23
Technique: Pencil on transparent paper; chalk on reverse along the lines.
Dimensions: 47.5 x 64.0; inner dimensions 41.5 x 58.5.
Not marked.
Inventory number: 2.0273-L26.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Birnholz 1969 p. 70 (referred to as 'Study for Proun 1'); Eindhoven 1965 cat. no. A57; Hannover 1988 cat. no. 102 ill. 141.

This is a free-hand drawing. A ruler has only been used to draw a tangent to the two parabolic figures (from the right of the upper figure to the left of the lower. The cluster of parallel bars is perpendicular to this tangent. The parabola in the upper left is scratched on the reverse. There are numbers with some hatching in four of the planes in the centre. Cat. no. 15 shows the same composition, made with compass and ruler



15
[Design for Proun]

Date: c. 1920-23.
Technique: Pencil on transparent paper; chalk on reverse along lines.
Dimensions: 56.8 x 76.8; inner dimensions 52.2 x 72.2.
Not marked.
Inventory number: 2.0272-L25.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Birnholz 1969 p. 70 (referred to as 'Study for Proun 1'); Eindhoven 1965 cat. no. A56; Hannover 1988 cat. no. 103 ill. 142.

N.B.: The sheet was pasted on reinforcement paper in 1971.

This version of the sketched composition cat. no. 14 was made with compass and ruler. The cluster of parallel bars and the wider diagonal bar have been copied from the sketch and are covered with chalk-lines on the reverse. The parabolic form in the upper left is not chalked-in (unlike the sketch), the lower parabolic figure has been omitted. A smaller version of this drawing (in New York, ill. 16) was made using diverse materials. The distribution of light and dark in the latter made it possible to identify one of the paintings in a photograph of an exhibition at Kühl and Kühn in Dresden 1925 (ill. 49, second painting from the left) as the painting corresponding with this catalogue number; forms and (estimated) measurements correspond.


16
[Study for a Proun]

Date: c. 1920-23.
Technique: Pencil on cardboard.
Dimensions: 32.9 x 24.2.
Not marked.
Inventory number: 2.0274-L27.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. A58; Hannover 1988 cat. no. 104.

N.B.: Restored in 1971.

The composition, drawn with compass and ruler in very thin pencil, consists of circles and arcs connected by bars. A sketch of a church-tower is faintly discernible across the composition.



17
[Sketch for Proun]

Date: c. 1920-23.
Technique: Chalk and pencil on thin brown paper.
Dimensions: 40.3 x 39.0.
Not marked.
Inventory number: 2.0244-L16.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 170; Eindhoven 1965 cat. no. A33; Eindhoven 1990 repr. 47; Halle 1982 cat. no. 51; Hannover 1988 cat. no. 44 ill. 78; Köln 1976 cat. no. 45; London 1984 cat. no. 93.

N.B.: The sheet has been folded vertically. There is a brief sketch on the reverse.
The work was given an incorrect inventory number, and was therefore often confused with Spatial Construction, cat. no. 43, inv. no. 2.0243-L15.

This is a free-hand study, with a second, smaller study for the composition in the lower left. Numerous sketch-lines are visible on the right. A gouache version is in New York (ill. 50; Eindhoven 1990 repr. 36). The latter is signed in the lower left, which is why it is shown in this position. The sketch shows a cruciform, two rhomboids and a number of diagonals. It was made with the same materials on the same type of paper as Spatial Construction (cat. no. 43), and in fact, if it is held upside down, one can see that it is built up from roughly the same forms.


18
[Proun]

Date: c. 1922-23
Technique: Gouache and pencil on paper.
Dimensions: 52.0 x 50.0; inner dimensions 49.0 x 49.0.
Not marked.
Inventory number: 2.0271-L24.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Amsterdam 1982 cat. no. 252; Berlin 1967 cat. no. 177; Berlin 1977b cat. no. 1/499; Bern 1984 cat. no. 91; Birnholz 1973a p. 109, ill. 54; Birnholz 1973b p. 439; Eindhoven 1990 repr. 45; Eindhoven 1965 cat. no. A52; ill. p.108; Frankfurt 1972 cat. no. 19; Halle 1982 cat. no. 35; Hannover 1988 cat. no. 107 ill. 145; Oxford 1977 cat. no. 13; Rudenstine 1981 cat. no. 468.

N.B.: Below the drawing, close to the edge of the paper, a guide-cross has been marked. In the upper left the paper shows a stamp in relief with the text: KOMPASS MAX ROCKENSTEIN BERLIN.

In a smaller version of this composition (ill. 6), ROZA LJUKSEMBURG is written, hardly legibly in Cyrillic letters, in the red circle and black square. 'Rosa Luxemburg and Karl Liebknecht were assassinated in january of 1919. As a part of the plan for Monumental Propaganda initiated by Lenin in May 1918, artists had been encouraged to create monuments of all kinds to major revolutionary figures. In this connection a 1919 issue of Iskusstvo kommuny (Art of the Commune) carried the announcement of a competition for a monument to Luxemburg and Liebknecht. Whether Lissitzky initially contemplated a response to this competition or was creating a more private memorial has not been established' (note by Rudenstine 1981 cat. no. 468)
In view of the similarity with works from 1919-1920 (compare for instance the poster Beat the Whites with the Red Wedge, cat. no. 127) and the absence of spatial elements, the composition may be dated to the period directly preceding the prouns (1919). The good-quality paper used for the version in the Van Abbe Museum with a German mark, was not on sale in Russia in that period of blockades and shortages, and makes it likely that this sheet is an elaboration dating from Lissitzky's German period (1922-1923).
The square and circle over bars is a recurrent theme: it also occurs in two poster designs in the Tretyakov Gallery (RS-1946 and RS-1948, ill. 7. and Eindhoven 1990 repr. 72-73).



19
[Design for Proun]

Date: c. 1922-23.
Technique: Pencil on transparent paper; chalk on reverse along lines.
Dimensions: 38.2 x 29.8; inner dimensions 36.8 x 28.0.
Not marked.
Inventory number: 2.0245-L17.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 171; Birnholz 1969 p. 70, ill.; Birnholz 1973a p. 150-51, ill. 65; Eindhoven 1965 cat. no. A35; Halle 1982 cat. no. 52; Hannover 1988 cat. no. 46 ill. 80; Lissitzky-Küppers 1967 ill. 34.

The Stedelijk Museum, Amsterdam, has a collage with this composition of virtually identical size (ill. 51; color ill. Eindhoven 1990 repr. 34), most probably produced by transferring the design which is in the Van Abbe Museum. This composition is closely related th Proun G7 (see cat. no. 20) and Proun 43 (see at cat. no. 83). All three are constructed of the same elements: oval (or circle), cross, triangle, small circle and small bar. They may be seen as different constellations of the same forms. Lissitzky alternated the markings, as it where, thereby changing the tension of the space, which consists of the same void (see 'Proun. Nicht weltvisionen, sondern - Weltrealität', Eindhoven 1965 p. 39; Lissitzky-Küppers 1967 p. 344). In view of Lissitzky's sure hand in designing it is unlikely that these are different studies for the same Proun G7.
The triangle in the design has been omitted on the collage. A large variety of textures have been applied, to which the photograph by no means does justice: matte and shiny paper, crêpe adhesive tape, metallic powder, pencil, the same yellow paint over tape and over paper, white paper, white paper painted grey, yellow paper.



20
[Design for Proun G7]

Date: c. 1922-23.
Technique: Pencil and gouache on transparent paper; charcoal on reverse along the lines.
Dimensions: 78.2 x 62.7; inner dimensions 76.0 x 61.5.
Not marked.
Inventory number: 2.0246-L18.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 172; Birnholz 1969 p. 70, ill.; Birnholz 1973a p. 150-151, ill. 66; Eindhoven 1990 repr. 35; Eindhoven 1965 cat. no. A36; ill. p.101; Hannover 1988 cat. no. 47 ill. 81; Köln 1976 cat. no. 46.

This sheet served as the design for the painting Proun G7, which is now in the Kunstsammlung Nordrhein-Westfalen, Düsseldorf (ill. 52; Eindhoven 1990 repr. 33). The broad diagonal form extending in the design from lower left to upper right has changed position. A few small sketches of this composition are in the Tretyakov Gallery (Arch.gr.3549, Moskva 1990 cat. no. 97, ill. p. 50 and Arch.gr.3541, Moskva 1990 cat. no. 98).
For related compositions see cat. nos. 19 and 83.



21
[Proun]

Date: c. 1921-23.
Technique: Gouache and chalk on (thick) paper.
Dimensions: 46.5 x 39.0.
Not marked.
Inventory number: 2.0270-L23.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Amsterdam 1982 cat. no. 251; Berlin 1967 cat. no. 176; Birnholz 1969 p. 68; Birnholz 1973a p. 99, ill. 41; Eindhoven 1965 cat. no. A50; Eindhoven 1990 repr. 42; Frankfurt 1972 cat. no. 17; Hannover 1988 cat. no. 105 ill. 143; Köln 1976 cat. no. 69; London 1984 cat. no. 97, ill.

N.B.: An alignment cross has been marked along the bottom edge of the sheet.

Three grey planes touch a yellow ellipse. Each of the three has a narrow border which, when viewed as three-dimensional, is perpendicular to the plane. However, the figures can be seen as either concave or convex. A red and a blue line have been drawn in chalk, and have the effect of a frame. The red line extends leftwards under the blue line, crosses it in the lower left corner, and intersects it again to the right thereof. The blue line cuts across the vertical grey form on the left, but extends to the right underneath the diagonal form. Further down it crosses itself, just like the red line, if one imagines it to be extended.
Intersecting and overlapping lines and planes suggest spatial relationships which could never be realized by means of mathematical perspective.
The theme of a red and a blue scaffold-like line in combination with equivalent concave/convex forms recurs in an entirely different constellation in Proun 93 'Spiral' (ill. 53; Eindhoven 1990 repr. 54). The grey borders the have, marked with the pencil, are shiny; this gives rise to a strong contrast in material.
22-33
Proun: lithographs


22
Proun 1

Date: c. 1919-21.
Technique: Lithograph.
Dimensions: 26.5 x 34.5; inner dimensions 25.6 x 33.6.
Not marked.
Inventory number: 3.0233-L14b.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 180b; Birnholz 1969 p. 70; Birnholz 1973a p. 97 ill. 35; Eindhoven 1965 cat. no. A30b; Hannover 1988 cat. no. 38; Oxford 1977 cat. no. 12b.; Rudenstine 1981 cat. no. 455.
N.B.: Restored in 1971

The Van Abbe Museum collection comprises 11 unsigned lithograph prints from the Proun portfolio, which would have been published in Moscow in 1921 in an edition of 50. Most of these lithographs originated as separate works in the preceding years in Vitebsk. The portfolio probably never passed the stage of the making of a cover design (cat. no. 33).
The paper on which the lithograph is printed has been cut off leaving 0.5 cm. around the frame, thereby removing the 'P1' printed on all four sides (which indicated that the Proun could be viewed from four sides).
A copy of this lithograph from the Costakis collection bears the inscription, in pencil (Cyrillic, one word each along the bottom, right and top: 'Dviženie po sfere' (movement over a sphere). A circle has been constructed around the image as a whole, arrows are drawn next to the words.
A gouache in the Tretyakov Gallery (RS-3765, Moskva 1990 cat. no. 82 ill. p. 69) bears the inscriptions 'Energienflächen' (energy planes), 'viraž' (turn) and 'energijnye ploskosti nesut kompleksy' (energy planes bear complexes).
A painting with this composition is to be seen in a photograph of Lissitzky in his studio in Vitebsk in 1919 (ill. 8); its whereabouts are now unknown.
There is also a smaller version of this lithograph, without the pencil-structures. More information on this and on a unique sheet with four copies of this smaller version in London 1977 pp. 24-27.


23
Proun 1

Date: c. 1919-21.
Technique: Lithograph.
Dimensions: 26.3 x 34.3; inner dimensions 25.6 x 33.6.
Not marked.
Inventory number: 3.0234-L14c.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Birnholz 1969 p. 70; Birnholz 1973a p. 97 ill. 35; Hannover 1988 cat. no. 38; Oxford 1977 cat. no. 12c; Rudenstine 1981 cat. no. 455.

N.B.: Restored in 1971.

The 'P1' printed on all four sides has been cut off.
This copy is a fraction lighter than the other copy of Proun 1 in the Van Abbe Museum (cat. no. 22).



24
Proun 1C

Date: c. 1919-21.
Technique: Lithograph.
Dimensions: 23.9 x 24.0; inner dimensions 23.2 x 23.3.
Not marked.
Inventory number: 3.0235-L14d.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 180c; Birnholz 1973a p. 106 ill. 50; Eindhoven 1965 cat. no. A30c; Eindhoven 1990 repr. 22; Hannover 1988 cat. no. 38; Lissitzky-Küppers 1967 ill. 25; Oxford 1977 cat. no. 12d; Rudenstine 1981 cat. no. 453.
N.B.: The 'P1C' printed on the lower right has been cut off.

The forms on a painting of this composition (ill. 10) are in reverse vis à vis the lithograph. There is considerable disparity in the use of paint and materials: smooth paint, horizontal and vertical brush-strokes, dabbed areas, pencil, metallic foil.
A second variant of the painting was bought by Dorner for the Provinzial Museum in 1923. It is this version that is to be seen in the photographs of the Kabinett der Abstrakten in Hanover (see Lissitzky-Küppers 1967 ill. 199). The same version was also used for the invitation card for the exhibition in the Kestner Gesellschaft in 1923 (see Lissitzky-Küppers 1967 ill. p. 31). This painting was called Floating Forms. It was confiscated by the nazis in 1937 as 'entartet'.
One of the versions of this composition occurs in the photograph of Lissitzky in his studio in Vitebsk (ill. 8).


25
Proun 1D

Date: c. 1919-21.
Technique: Lithograph.
Dimensions: 35.5 x 40.8; inner dimensions 21.5 x 26.9.
Marked: [on the right of the framing edge at the bottom:] P1D [Cyrillic P, Latin D; printed in the same impression].
Inventory number: 3.0236-L14e.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 180d; Birnholz 1973a p. 94-97, ill. 32; Eindhoven 1965 cat. no. A30d; Eindhoven 1990 repr. 20; Hannover 1988 cat. no. 38; Oxford 1977 cat. no. 12e; Rudenstine 1981 cat. no. 466.

There is a painting with this composition in Basel (ill. 23; Eindhoven 1990 repr. 52) which has been altered slightly: a number of forms in the black circle at the bottom have been replaced by a white cross. One of the paintings on the wall in a photograph of Lissitzky in his studio in Vitebsk corresponds exactly with the lithograph (ill. 8). This work probably no longer survives, although the possibility that it was painted over at a later stages should not be excluded. A third version of the painting is reproduced in Tschichold 1931c.

26
Proun 1E 'The City'

Date: c. 1919-21.
Technique: Lithograph.
Dimensions: 23.3 x 28.3; inner dimensions 22.6 x 27.6.
Not marked.
Inventory number: 3.0237-L14f.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 180e; Birnholz 1973a p. 93-94, ill. 31; Eindhoven 1965 cat. no. A30e; Hannover 1988 cat. no. 38; Lissitzky-Küppers 1967 ill. 21; Oxford 1977 cat. no. 12f; Rudenstine 1981 cat. no. 467.
N.B.: The 'P1E' printed on the lower left has been cut off.

This proun carries a subtitle that refers to architecture: The City. Several strips extend from a dark speckled square in a white ellipse. A number of blocks are placed surrounding that square. A print of the lithograph from the Costakis collection bears the inscription (Cyrillic): 'sistema ploščadi' (system of a city square; see Rudenstine 1981 ill. no. 467). The composition, which may be seen as an aerial view, occurs on a propaganda board on a factory in Vitebsk (ill. 54; Eindhoven 1990 repr. 74) and on the cover of Lissitzky's book Russland (Eindhoven 1990 repr. 103).
A painted version of this composition is to be seen on the photograph of El Lissitzky in his studio in Vitebsk, 1919 (ill. 8); it was included in the First Exhibition of Russian Art in 1922-1923 and in the accompanying catalogue. This work is now lost.
A small study of this composition in pencil and indian ink (from the Costakis collection) was auctioned at Sotheby's New York on November 6 1979 as no. 168.



27
Proun 2B

Date: c. 1919-21.
Technique: Lithograph.
Dimensions: 36.6 x 39.0; inner dimensions 20.4 x 26.3.
Marked: P2B [Cyrillic P, Latin B; printed to the right of the framing edge, at the bottom, in the same impression].
Inventory number: 3.0238-L14g.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 180f; Eindhoven 1965 cat. no. A30f; Hannover 1988 cat. no. 38; Oxford 1977 cat. no. 12g; Rudenstine 1981 cat. no. 460.

A gouache of this composition survives (illustration in London 1976 p. 42).

28
Proun 2D

Date: c. 1919-21.
Technique: Lithograph. The sheet is pasted on paper of a larger size.
Dimensions: 36.6 x 23.4; inner dimensions 35.9 x 22.5.
Not marked.
Inventory number: 3.0239-L14h.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 180g; Eindhoven 1965 cat. no. A30g; Hannover 1988 cat. no. 38; Oxford 1977 cat. no. 12h; Rudenstine 1981 cat. no. 459.
N.B.: The 'P2D' of the original impression has been cropped.

The image composition resembles a tower or mast-like structure.
A gouache of this composition was purchased from El Lissitzky's widow by Ella Winter in 1944 (ill. 55)


29
Proun 2D

Date: c. 1919-21.
Technique: Lithograph.
Dimensions: 44.0 x 35.0; inner dimensions 35.9 x 22.5.
Marked: P2D [Cyrillic P, Latin D; printed to the right of the framing edge, at the bottom, in the same impression].
Inventory number: 3.0240-L14i.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Hannover 1988 cat. no. 38; Oxford 1977 cat. no. 12i; Rudenstine 1981 cat. no. 459.


30
Proun 3A

Date: c. 1919-21.
Technique: Lithograph.
Dimensions: 28.5 x 27.2; inner dimensions 27.6 x 26.4.
Not marked.
Inventory number: 3.0241-L14j.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 180h; Eindhoven 1965 cat. no. A30h; Eindhoven 1990 repr. 17; Hannover 1988 cat. no. 38; Oxford 1977 cat. no. 12j; Rudenstine 1981 cat. no. 461.
N.B.: The 'P3A' printed on the lower right has been cropped.

A painted version of this composition exists, as well as a design, see cat. no. 11


31
Proun 6B

Date: c. 1919-21.
Technique: Lithograph.
Dimensions: 30.4 x 27.7; diameter 25.0.
Not marked.
Inventory number: 3.0242-L14k.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 180i; Birnholz 1969 p. 69; Birnholz 1973a p. 97 ill. 34; Eindhoven 1965 cat. no. A30i; Hannover 1988 cat. no. 38; Lissitzky-Küppers 1967 ill. 24; Oxford 1977 cat. no. 12k; Rudenstine 1981 cat. no. 464.
N.B.: The 'P6B' printed on two sides has been cropped.

The composition has a circular frame. The forms are disposed as if reflected in a convex mirror.
A sketch for this composition is reproduced in Rudenstine 1981, ill. 463.
Lissitzky produced a circular painting with this composition in 1926, especially for the International Art Exhibition in Dresden (for a photograph of this see cat. no. 129)


32
[Proun]

Date: c. 1920.
Technique: Lithograph.
Dimensions: 32.0 x 26.0; inner dimensions 30.1 x 24.4.
Not marked.
Inventory number: 3.0269-L22
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Birnholz 1973a p. 101-102, ill. 38; Eindhoven 1965 cat. no. A44; Hannover 1988 cat. no. 111.

A combination of flat and spatial forms. All run parallel, or are perpendicular to the broad black diagonal running from upper left to the lower right, except the arc above. The lithograph displays a large number of different textures. Like Proun 1E 'The City' (cat. no. 26) this composition may concern the idea of an utopian city, viewed from above.
This lithograph is considered not to be enclosed in the Proun portfolio which Lissitzky intended to publish in 1921. However the resemblance with the other proun lithographs is clear. It is not known which lithographs Lissitzky wanted to include in the portfolio.


33
[Cover design for the Proun portfolio]

Date: 1921.
Technique: Pencil and chalk on cardboard.
Dimensions: 49.6 x 76.0; inner dimensions right hand composition (front) 17,7 x 16,6; left (back) diameter 8,1.
Not marked.
Inventory number: 3.0232-L14a.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 180a; Eindhoven 1965 cat. no. A30a; Hannover 1988 cat. no. 38; Köln 1976 cat. no. 40; Oxford 1977 cat. no. 12a.
N.B.: Darker chalk lines can be seen in some places under the pencil lines of the right-hand section of the design. because they look like lithograph lines this design was previously described as a printer's proof with corrections in pencil.

On the front the word 'Proun' in Cyrillic followed by the plural form 'y' written very small and hardly noticeably. The back shows the Unovis emblem, as used in On Two Squares (cat. no. 77). In Rudenstine 1981 a design of the same composition is reproduced as ill. 470, and in Eindhoven 1990, repr. 13, another design of a different composition from the Tretyakov Gallery (RS-3425, Moskva 1990 cat. no. 80 ill. p. 47). The latter was also used for the cover design of the text (unpublished) of the lecture entitled Prouns that Lissitzky held in Moscow in 1921 (see Rudenstine 1981 cat. no. 469; see bibliography). A printed cover for the Proun portfolio has never been found.
34-38
Designs and proofsheets for the First Kestner Portfolio 'Proun'


34
[Cover design for the First Kestner Portfolio 'Proun']

Date: 1923.
Technique: Pencil, Indian ink and gouache on paper.
Dimensions: 21.8 x 14.0.
Not marked.
Inventory number: 2.0265-L21a.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Amsterdam 1982 cat. no. 246; Berlin 1967 cat. no. 181; Birnholz 1973a p. 184-185; Eindhoven 1965 cat. no. A40a; Hannover 1988 cat. no. 101 ill. 140; Köln 1976 cat. no. 54; Los Angeles 1980 cat. no. 154.

N.B.: Under the design, in Lissitzky's handwriting: 'der Ring am Silber Stanze N 31'.
Restored in 1971.

All the letters are unseriffed in this free-hand sketch, while on the definite version (ill. 25; Eindhoven 1990 repr. 55.0) all letters do have serifs, except those of 'EL LISSITZKY'. The ring with glitters was pasted on the covers.
Encouraged by the success of El Lissitzky's exhibition at the Kestner Gesellschaft in Hanover, Dorner and Von Sydow decided to commission Lissitzky to produce a lithograph portfolio, which would be offered as a gift to the members of the Kestner Gesellschaft. Lissitzky insisted on drawing on the stones himself, and came to Hanover expressly for that purpose. The result was an exceptionally handsome portfolio with 6 lithographs and a page with text, printed in an edition of 50 copies. Collages were made on two sheets and on the cover. The portfolio was a great success and soon after its publication the owner of the lithographic workshop, Chapman, asked Lissitzky to make another portfolio with colour lithographs. Lissitzky then decided to work out the designs he had made in Russia for Victory over the sun: that became the Puppet portfolio (cat. nos. 59-69).


35
[Design for a Proun of the First Kestner Portfolio 'Proun']

Date: 1923.
Technique: Pencil, Indian ink, red and blue chalk on paper.
Dimensions: 64.0 x 49.0; inner dimensions 60.8 x 44.4.
Not marked.
Inventory number: 2.0266-L21b.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Amsterdam 1982 cat. no. 249; Eindhoven 1965 cat. no. A40d; Hannover 1988 cat. no. 108 ill. 146; Köln 1976 cat. no. 53.

The geometrical composition is constructed with ruler and compass: a circle has been drawn on a horizontal base-line. A perpendicular has been drawn from the point of intersection between circle and base-line. The upper section of the line serves as the rib of a cube, the left and bottom planes being visible. A black L-shape has been drawn along the far edges of these lateral planes, with two parallelograms aligned with the short sides, creating a symmetrical form with a diagonal axis in the upper right of the composition. The right-hand rib of the cube is aligned with a vertical tangent to the right of the circle; the extension of this tangent forms an obtuse angle with another tangent from the upper middle of the circle. The circle itself is made spherical by the indication of two ellipses: equator and meridian. The definitive version in the Kestner portfolio actually consists of two impressions, the second one considerably lighter and tilted some degrees to the left around the point of intersection between circle and horizontal. The figures above are very finely hatched, with precise distances between the strokes (ill. 56; Eindhoven 1990 repr. 55.5).
The following text is printed below an illustration of this lithograph in Merz no 8/9 (cat. no. 102): 'Kunstwerk ist Gleichgewicht. Dieses Gleichgewicht muss aber Resultat von maximalen Gegengewichten sein, um dass statisch Gestaltete zur dynamische Wirkung zu bringen'.


36
[Proofsheet for a Proun of the First Kestner Portfolio 'Proun']

Date: 1923.
Technique: Lithograph (2 impressions).
Dimensions: 67.0 x 47.8; inner dimensions 60.5 x 39.6.
Not marked.
Inventory number: 3.0267-L21c.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Amsterdam 1982 cat. no. 247; Eindhoven 1965 cat. no. A40e; Hannover 1988 cat. no. 112.
N.B.: The sheet has been pasted on reinforcement paper

The vertical edges, printed on the definitive version (Eindhoven 1990 repr. 55.2) in the same colour as the green-grey diagonal over the black form, are lacking here, although they have been indicated by means of four corners outside the image.


37
[Proofsheet for a Proun of the First Kestner Portfolio 'Proun']

Date: 1923.
Technique: Lithograph (2 impressions).
Dimensions: 62.0 x 41.5; inner dimensions 59.5 x 39.7.
Not marked.
Inventory number: 3.0268-L21d.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Hannover 1988 cat. no. 113.

Same as cat. no. 36. The sheet has been cropped up to the edge of the composition, so that the four corners indicating the borderlines of the grey rims have disappeared.


38
Proun Room [Lithograph from the First Kestner Portfolio 'Proun']

Date: 1923.
Technique: Lithograph (single impression, black).
Dimensions: 44.6 x 61.5.
Not marked.
Inventory number: 3.0305-L43.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Birnholz 1969 p. 69; Birnholz 1973a p. 172, ill. 79; Eindhoven 1965 cat. no. D3, ill. p.104; Lissitzky-Küppers 1967 ill. 184.

The word 'Eingang' (entrance) is written on the doorway on the right; 'Ausgang' (exit) on the left, indicating the direction to be taken in this Proun Room. This lithograph shows the space folded out flat: passing the right wall, the rear, and then the left wall, the visitor finds himself at the same spot were he entered.
The materials and shades of grey are indicated by means of diverse textures, comparable to those of the Proun lithographs from Russia (cat. nos. 22-32), which have been marked with the litho crayon. Since the height of the door on the lithograph is 10,5 cm, and the standard height is 210 cm, Jean Leering concluded that the scale must be 1:20, and the Reconstruction of the Proun Room in Eindhoven (cat. no. 128) was consequently based on this scale (oral information Jean Leering).


39-57
Designs, transfer sheets and proofsheets for the
Figurine Portfolio


39
[Part of the 'Machinery of the show' as title page (design)]

Date: 1923.
Technique: Pencil and gouache on paper.
Dimensions: 53.3 x 47.2; inner dimensions 50.0 x 40.0.
Not marked.
Inventory number: 2.0247-L19a.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Birnholz 1973a p. 200; Eindhoven 1965 cat. no. A38b, ill. p.110; Hannover 1988 cat. no. 116 ill. 158.
N.B.: Some notes on the right (Cyrillic): čer[nyj = black], karand[aš = pencil], seryj bel[yj = grey white], krasnyj [= rood], [želtyj? = yellow?].
The strip with 'Alles ist bien' was originally placed lower down, and is still partially visible in spite of efforts to erase it.

This design corresponds in colour and line with the definitive version (cat. no. 58)


40
[Part of the 'Machinery of the show' as title page (transfer sheet)]

Date: 1923.
Technique: Pencil on transparent paper.
Dimensions: 52.4 x 40.5; inner dimensions 50.0 x 39.7.
Not marked.
Inventory number: 2.0248-L19b.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Birnholz 1973a p. 200, ill. 90; Eindhoven 1965 cat. no. A38c; Hannover 1988 cat. no. 115 ill. 157; Lissitzky-Küppers 1967 ill. 56; London 1984 cat. no. 95, ill.
N.B.: The sheet has been pasted on reinforcement paper

This transfer sheet was executed entirely with compasses and ruler and shows only the contours. The Russian text 'POBEDA NAD SOLNCEM' (Victory over the Sun) has been omitted.


41
[Part of the 'Machinery of the show' as title page (proofsheet)]

Date: 1923.
Technique: Lithograph.
Dimensions: 64.0 x 48.0.
Not marked.
Inventory number: 3.0249-L19c.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. A38d; Hannover 1988 cat. no. 117 ill. 159.

This proofsheet contains the red, yellow and grey impressions - the black impression is missing. The grey is of somewhat more greenish shade than on the definitive version, on which, in the grey impression, a number of details have been added. These are already given in grey on the design, cat. no. 39


42
[Part of the 'Machinery of the show' as title page (proofsheet)]

Date: 1923.
Technique: Lithograph.
Dimensions: 64.0 x 48.7.
Not marked.
Inventory number: 3.0250-L19d.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. A38e. Hannover 1988 cat. no. 118 ill. 160.

This print corresponds with the definitive version (cat. no. 58). Moreover, underneath, 'EL LISSITZKY' in black on yellow is printed twice below the composition in the same impression. The name is printed in the same way on the inside of the cover of the Figurine portfolio (visible when the portfolio is opened; cat. no. 69). The transfer sheet for these letters is to be seen on the right-hand side of the study for the Globetrotter (cat. no. 49).


43
[Spatial construction]

Date: c. 1920-23.
Technique: Chalk and pencil on thin brown paper.
Dimensions: 40.2 x 40.3.
Not marked.
Inventory number: 2.0243-L15.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 178; Eindhoven 1965 cat. no. A32; Eindhoven 1990 ill. 2; Hannover 1988 cat. no. 45 ill. 79.
N.B.: The sheet is stained and spattered with yellow, blue, green and purple paint, and was folded vertically; some sums were made on the reverse.
The work was given an incorrect inventory number, and was therefore often confused with Sketch for Proun, cat. no. 17, inventory number: 2.0244-L16.

This sketch shows the contours of the New Man from the figurine portfolio (cat. no. 67) placed centrally on a rhomboid platform: raised arms, legs striding with the right foot extended, a double head and a square on the trunk. He holds up a large circle or sphere, rather like Atlas bearing the world in Greek mythology. Is it the conquered sun? The platform on which the New man stands constitutes part of an installation with a cruciform base and slanting and upright ribs held together at the top by an ellipse, which is possibly interpretable as a circle distorted by perspective. It is an open construction, just as the Machinery of the Show was envisaged as an open construction. That this is in fact a design for the Machinery is further substantiated by another design in the Tretyakov Gallery (reproduced in Halle 1982, p. 84), also with a cruciform base, upright ribs, a circle and an ellipse placed somewhat lower down. In the upper left there is part of the text from the ribbon on the Machinery lithograph in the Figurine portfolio 'Alles ist good was bien načinaetsja'.


44
System of the Theater [transfer sheet]

Date: 1923.
Technique: Pencil and blue chalk on transparent paper.
Dimensions: 43.0 x 37.8; inner dimensions 38.3 x 33.0.
Not marked.
Inventory number: 2.0251-L19e.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Birnholz 1973a p. 205-206 (on the version in the Tretyakov Gallery); Eindhoven 1965 cat. no. A42, ill. p.105; Hannover 1988 cat. no. 133 ill. 175.

This composition shows an open construction of ribs, elliptical bands, a platform, and a large rhomboid above, similar to the large projection screen at the top of the Lenin Podium (ill 15).
Although Lissitzky made this transfer sheet on the same transparent paper as that of the other sheets, he did not use it for the Figurine portfolio and made a title page with a part of the 'Machinery of the show' instead (cat. no. 58). The original gouache with the same composition in the Tretyakov Gallery (Eindhoven 1990 repr. 71; Lissitzky-Küppers 1967 ill. 63), has in the rhombus at the top the words in cyrillic: 'Vse chorošo čto chorošo načinaetsja i ne imeet konca' (All is well that begins well and has no end) and: 'Mir pogibnet, a nam net konca (The world will be destroyed but for us there is no end). Both are quotes from the opera Victory over the Sun. The former is the original Russian of the text in several languages on the ribbon on the title page (cat. no. 58).


45
Announcer [transfer sheet]

Date: 1923.
Technique: Pencil on transparent paper
Dimensions: 44.1 x 39.5; inner dimensions 38.5 x 32.4.
Not marked.
Inventory number: 2.0252-L19f.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. A38f; Hannover 1988 cat. no. 119 ill. 161.
N.B.: The sheet has been pasted on reinforcement paper.

For the lithograph see cat. no. 59.


46
Sentry [transfer sheet]

Date: 1923.
Technique: Pencil on transparent paper
Dimensions: 46.5 x 35.0; inner dimensions 40.6 x 29.1.
Not marked.
Inventory number: 2.0253-L19g.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. A38g; Hannover 1988 cat. no. 121 ill. 163.
N.B.: The sheet has been pasted on reinforcement paper.

The forms of this transfer sheet are identical to the original gouache (Eindhoven 1990 repr. 63), which differs from the definite print (cat. no. 60) in several respects: a curved T-profile has been omitted on the lithograph, and the rhomboid foot is smaller and of a slightly different shape.


47
Sentry [proofsheet]

Date: 1923.
Technique: Lithograph.
Dimensions: 55.0 x 47.6.
Not marked.
Inventory number: 2.0254-L19h.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. A38h; Hannover 1988 cat. no. 122 ill. 164.

This proofsheet is identical to the definitive version (cat. no. 60) except for the shade of grey, which tends slightly more to green.


48
The Anxious ones [transfer sheet]

Date: 1923.
Technique: Pencil on transparent paper
Dimensions: 42.0 x 40.0; inner dimensions 36.0 x 32.5.
Not marked.
Inventory number: 2.0255-L19i.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. A38i; Hannover 1988 cat. no. 123 ill. 165.
N.B.: The sheet, which bears the watermark 'UNIVERSAL', with a four-leaved clover-leaf under a hat (^), has been pasted on reinforcement paper.

The lines correspond exactly with the contours of the original gouache (Eindhoven 1990 repr. 64) and the definitive version (cat. no. 61). Some small sections haven been darkened with pencil.


49
Globetrotter [transfer sheet]

Date: 1923.
Technique: Pencil on transparent paper
Dimensions: 43.2 x 40.0; inner dimensions 37.5 x 31.2.
Not marked.
Inventory number: 2.0256-L19j.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. A38j; Hannover 1988 cat. no. 124 ill. 166.
N.B.: The sheet has been pasted on reinforcement paper.

The strip with the words 'ALLES IST BIEN WAS G' and 'GOOD NAČINAETSJA ET HAT NO FINITA' has been drawn on the right in two sections, outside the framing edge. Underneath, in thick black pencil, the text 'EL LISSITZKY', as printed in yellow and black on the title page (see proof, cat. no. 42); that text has been cut out for the definitive version of the Figurine portfolio and pasted on the inside of the cover (cat. no. 69).
The strikingly realistic foot and calf in the lower left which Lissitzky transferred from the gouache (Eindhoven 1990 repr. 65) do not occur on the definitive version (cat. no. 62).


50
Sportsmen [transfer sheet]

Date: 1923.
Technique: Pencil on transparent paper
Dimensions: 40.2 x 40.0; inner dimensions 34.4 x 33.0.
Not marked.
Inventory number: 2.0257-L19k.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Birnholz 1973a p. 203-204, ill. 96; Eindhoven 1965 cat. no. A38k, ill. p.112; Hannover 1988 cat. no. 125 ill. 167; London 1984 cat. no. 96.
N.B.: Some notes on the reverse: 1 ... (illegible) / 2 schwarz / 3 rot / 4 gelb.

This drawing has not been restored, the paper has several bumps and dents along the lines: considerable pressure must have been exerted with a sharp instrument along the lines when transferring the design.
The eye of the right-hand figure, which Lissitzky transferred from the original gouache (Eindhoven 1990 repr. 66), has been omitted on the lithograph (cat. no. 63).


51
Sportsmen [proofsheet]

Date: 1923.
Technique: Lithograph.
Dimensions: 62.0 x 49.0.
Not marked.
Inventory number: 3.0258-L19 l.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. A38 l; Hannover 1988 cat. no. 126 ill. 168.

The red impression is missing (see cat. no. 63). The grey is somewhat paler than in the definitive print. A number of vertical and horizontal lines have been drawn on the reverse.


52
The Quarreller [study]

Date: c. 1920-23.
Technique: Pencil on transparent paper.
Dimensions: 66.0 x 43.0.
Not marked.
Inventory number: 2.0259-L19m.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 175; Eindhoven 1965 cat. no. A38m; Hannover 1988 cat. no. 127 ill. 169.

The forms of this free-hand sketch correspond almost entirely with those in the transfer sheet (cat. no. 53), but the figure is somewhat more compact in the latter and the proportions have been altered slightly. A design for the Quarreller of the same proportions as in this sketch from 1920-21 is depicted in Winter 1958 p. 30.


53
Quarreller [transfer sheet]

Date: 1923.
Technique: Pencil on transparent paper.
Dimensions: 45.8 x 38.2; inner dimensions 40.5 x 33.7.
Not marked.
Inventory number: 2.0260-L19n.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. A38n; Hannover 1988 cat. no. 128 ill. 170.
N.B.: The paper has the 'UNIVERSAL' watermark, with a four-leaved clover under a hat (^).

The lines correspond with the contours on the definitive print (cat. no. 64). All exhibit bumps resulting from tracing.


54
Old man [transfer sheet]

Date: 1923.
Technique: Pencil on transparent paper.
Dimensions: 39.5 x 38.5; inner dimensions 33.8 x 33.6.
Not marked.
Inventory number: 2.0261-L19o.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. A38o; Hannover 1988 cat. no. 129 ill. 171; Lissitzky-Küppers 1967 ill. 57.

Except for two small sections, the lines correspond exactly with the contours on the definitive lithograph (cat. no. 65). All show clear traces of pressure.


55
Gravediggers [transfer sheet]

Date: 1923.
Technique: Pencil on transparent paper.
Dimensions: 46.3 x 40.2; inner dimensions 39.2 x 31.9.
Not marked.
Inventory number: 2.0262-L19p.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. A38p; Hannover 1988 cat. no. 130 ill. 172.
N.B.: Notes in Russian are written, not very legibly, next to the triangular shape to the left of the hat of the left figure and the circle around the head of the one on the right; in translation they read, respectively: 'grey speckled' and grey and black speckled'.

The lines correspond with the contours of the definitive print (cat. no. 66); they exhibit bumps resulting from tracing.
A study for the Gravediggers with the left-hand figure wearing a bowler hat is reproduced in London 1984, ill. 92. This study comes, as most of the works in the Van Abbe Museum, from Mrs. Vordemberge-Leda, but was not included in the Van Abbe collection, because of the simple reason that it was hanging on one of the walls in Mrs. Vordemberge-Leda's house.


56
The New man [transfer sheet]

Date: 1923.
Technique: Pencil and gouache on transparent paper.
Dimensions: 36.2 x 38.4; inner dimensions 32.5 x 32.5.
Not marked.
Inventory number: 2.0263-L19q.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. A38q; Hannover 1988 cat. no. 131 ill. 174.

Traces of pressure are to be seen along the lines, which correspond with the contours of the lithograph (cat. no. 67). The red impression (star and square) is indicated in gouache.
A large painted version of the New man hangs above the divan in a photograph taken of Dorner's study in 1925. This photograph is reproduced in Winter 1958, p. 29, with caption '... a later stolen Lissitzky'.


57
[Folded leaflet for the Figurine portfolio]

Date: 1923.
Technique: Letterpress black.
Dimensions: 53.4 x 45.4.
Marked: [addressed to Oud, with note, in Lissitzky's hand, lower right:] Ladenpreis 150 Mark 35 $ zu bestellen bei Frau Dr. S. Küppers Hannover, Bödenerstr. 1D.
[Following '75 numerierten':] Mehrfarbigen.
Inventory number: 7.0313v.
Provenance: J.M.A.Oud-Dinaux, Wassenaar, 1970.

Same as Text sheet of the Figurine portfolio, cat. no. 68.

58-69
Figurinen. Die plastische Gestaltung der elektro-mechanischen Schau Sieg über die Sonne
[Figurines. The plastic design of the electro-mechanical play Victory over the Sun].

Date: 1923.
Technique: Series of 10 colour lithographs and a title page in a cover;
no.49 of 75 numbered copies.
Inventory number: 3.0264-L20.
Provenance: Kunstkabinett Klihm, München, 1965.
Literature: Berlin 1967 cat. no. 182; Birnholz 1969 p. 70; Birnholz 1973a p. 189-206, ill.; Blotkamp 1971 p. 3; Chardžiev 1962 p. 151-152; Eindhoven 1965 cat. no. A39; Olbrich in Halle 1982 p. 8-9; Larson 1976 p. 10-11; New York 1968 p. 128-131; Oxford 1977 cat. no. 16; Richter 1958 (pages not numbered, discusses mainly Figurine portfolio).

Lissitzky produced his Figurine portfolio in 1923 after designs made in Russia in 1920-21, which are now in the Tretyakov Gallery (Eindhoven 1990 reprs. 61-71). It was inspired by A. Kručenych's opera Victory over the Sun with music by M. Matjušin. The opera was first performed in 1913 in Moscow with costumes and stage designs by Kasimir Malevič; in 1920 the members of Unovis in Vitebsk gave a performance with costumes by V. Ermolaeva. Lissitzky's designs are for electro-mechanical dolls, not costumes. He describes his designs in his foreword on the Text sheet (cat. no. 68).
It is very interesting to see how Lissitzky converted the gouache textures with his litho pencil.


58
Teil der Schaumaschinerie als Titelblatt [Part of the Machinery of the Show as title page]
Folio 1 of the Figurine portfolio.

Date: 1923.
Technique: Lithograph (4 colours: red, black, yellow and pale grey).
Dimensions: 53.3 x 45.6.
Marked: [lower right:] El Lissitzky.
Inventory number: 1-3.0264-L20a.

Four of the puppets are shown on this sheet, in and on the machinery: The Announcer (folio 2), Globetrotter (folio 5), Gravediggers (folio 9) and the New man (folio 10). All display slight differences in execution, especially with respect to position: the announcer is portrayed in reverse, the megaphone and piano-body pointing downwards. The globetrotter's propeller is at a different angle, the figure is standing or moving upside down, and the eye (or nose) points downwards. The left gravedigger is now clearly in front of the right one; the slanting position of the short bar of the cross on the coffin and the lines converging below makes them look as if viewed from above. The new man's right leg extends less far, an both feet now stand on one platform (which however has two levels).
The Van Abbe collection comprises a design (cat. no. 39), a transfer sheet (cat. no. 40), and two proofs (cat. nos. 41-42) for this folio, as well as two studies for the machinery with a different composition (cat. nos. 43-44).


59
Ansager [Announcer]
Folio 2 of the Figurine portfolio.

Date: 1923.
Technique: Lithograph (4 colours: red, black, yellow and blue-grey).
Dimensions: 53.3 x 44.2.
Marked: [lower right:] El Lissitzky.
Inventory number: 2-3.0264-L20b.

The Announcer, called Reader on the original gouache (Eindhoven 1990 repr. 62), was also used for the title page of Lissitzky's design for Majakovskij's Dlja Golosa (cat. no. 87).
For a transfer sheet for this folio see cat. no. 45. The announcer also occurs on the title page, cat. no. 58.


60
Posten [Sentry]
Folio 3 of the Figurine portfolio.

Date: 1923.
Technique: Lithograph (4 colours: black and three shades of grey).
Dimensions: 53.3 x 45.5.
Marked: [lower right:] El Lissitzky.
Inventory number: 3-3.0264-L20c.

A transfer sheet and a proof for this folio are in the Van Abbe Museum (cat. nos. 46-47)


61
Ängstliche [the Anxious ones]
Folio 4 of the Figurine portfolio.

Date: 1923.
Technique: Lithograph (4 colours: black, light and dark ochre, grey).
Dimensions: 53.3 x 45.5.
Marked: [lower left:] El Lissitzky.
Inventory number: 4-3.0264-L20d.

Cat. no. 48 is a transfer sheet for this folio. For the original gouache see Eindhoven 1990 repr. 64.


62
Globetrotter (in der Zeit) [Globetrotter (in time)]
Folio 5 of the Figurine portfolio.

Date: 1923.
Technique: Lithograph (4 colours: black, orange-red, grey, grey-green).
Dimensions: 53.5 x 45.1.
Marked: [lower left:] El Lissitzky.
Inventory number: 5-3.0264-L20e.

Lissitzky omitted the foot and calf which occur on the original gouache of the Globetrotter, there called 'Traveller through all ages' (Eindhoven 1990 repr. 65). For a transfer sheet for this Folio see cat. no. 49. The Globetrotter is also shown on the title page, cat. no. 58.


63
Sportsmänner [Sportsmen]
Folio 6 of the Figurine portfolio.

Date: 1923.
Technique: Lithograph (4 colours: black, yellow, red, grey).
Dimensions: 53.5 x 43.7.
Marked: [lower left:] El Lissitzky.
Inventory number: 6-3.0264-L20f.

For a transfer sheet and a proof without the red impression see cat. nos. 50-51. Lissitzky omitted the eye of the right-hand figure. The blue square on the original gouache (Eindhoven 1990 repr. 66) has been left white.


64
Zankstifter [Quarrel-seeker]
Folio 7 of the Figurine portfolio.

Date: 1923.
Technique: Lithograph (4 colours: black, red, two shades of grey).
Dimensions: 53.3 x 45.5.
Marked: [lower right:] El Lissitzky.
Inventory number: 7-3.0264-L20g.

For a slightly different study see cat. no. 52; for a transfer sheet see cat. no. 53. The yellow part on the original gouache (Eindhoven 1990 repr. 67) has been omitted.


65
Alter (Kopf 2 Schritt hinten) [Old man (head 2 paces behind)]
Folio 8 of the Figurine portfolio.

Date: 1923.
Technique: Lithograph (4 colours: black, yellow, orange-yellow, grey).
Dimensions: 53.5 x 46.2.
Marked: [lower right:] El Lissitzky.
Inventory number: 8-3.0264-L20h.

For a transfer sheet see cat. no. 54. The original gouache is reproduced in Eindhoven 1990 (repr. 68). There is a small sketch in the Tretyakov Gallery which shows the Alter in different forms (Arch.gr.3556, Moskva 1990 cat. no. 126 ill. p. 62).


66
Totengräber [Gravediggers]
Folio 9 of the Figurine portfolio.

Date: 1923.
Technique: Lithograph (4 colours: black, yellow, two shades of grey).
Dimensions: 53.5 x 46.3.
Marked: [lower left:] El Lissitzky.
Inventory number: 9-3.0264-L20i.

For a transfer sheet see cat. no. 55. The gravediggers, called 'coffin makers' on the gouache (Eindhoven 1990 repr. 69) are shown on the title page (cat. no. 58). The original gouache shows two red parts, which are white or yellow on the lithograph.

67
Neuer [New man]
Folio 10 of the Figurine portfolio.

Date: 1923.
Technique: Lithograph (5 colours: black, red, blue-black, grey, pale yellow-green).
Dimensions: 53.5 x 46.2.
Marked: [lower left:] El Lissitzky.
Inventory number: 10-3.0264-L20j.

For a transfer sheet for the New man with the red impression indicated in gouache see cat. no. 56. The New man is also shown on the title page with part of the machinery of the show (cat. no. 58). A study for the latter shows the New man in rough outline on a platform in an open construction (cat. no. 43). The original gouache is reproduced in Eindhoven 1990 (repr. 70).


68
Text sheet of the Figurine portfolio

Date: 1923.
Technique: Letterpress black.
Dimensions: 53.0 x 45.4.
Marked: [lower right in pencil:] El Lissitzky.
[in red chalk behind 'Dies Exemplar tragt die No.':] 49.
Inventory number: 0-3.0264-L20k.
Literature: Eindhoven 1990 ill. 1;

Besides the title, text and contents the design also includes a black square in a circle; however, not with 'UNOVIS' under the square, but with 'VERLAG'. Compare the UNOVIS emblem on the Cover design for the Proun Portfolio (cat. no. 33) and in On two Squares (cat. no. 77).
The text sheet was also mailed as a folded leaflet (cat. no. 57)


69
Cover of the Figurine portfolio

Date: 1923.
Technique: Letterpress black on red with collage (Lithograph black on yellow).
Dimensions: ***.
Not marked.
Inventory number: ***.

The front shows an F, of which the vertical folds out leftwards upon opening, and the two horizontals to the right. Lissitzky's name in black on yellow is pasted on the inside. For the transfer sheet of these letters see cat. no. 49.
Lissitzky also designed a cover or title page for the planned Russian edition (ill. 29; Eindhoven 1990 repr. 61). A capital F, Cyrillic, occurs here, alongside some more text.


70-115
Typography


70
[Cover design for the journal
Vešč-Gegenstand-Objet]

Date: 1922.
Technique: Pencil and Indian ink on paper.
Dimensions: 30.7 x 22.5.
Not marked.
Inventory number: 2.0277-L30a.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 184; Eindhoven 1965 cat. no. B8a; Eindhoven 1990 repr. 91; Halle 1982 cat. no. 56; Hannover 1988 cat. no. 56.
N.B.: On the reverse a very brief sketch, and the inscription (Cyrillic): opopeja.

A horizontal divides the design into an upper section with the text VEŠČ-GEGENSTAND-OBJET, and a lower section with, in pencil:
N 1 / BERLIN / FEBRUAR / 1922 / MEŽDUNARODNOE OBOZRENIE SOVREMENNOGO ISKUSSTVA / REVUE INTERNATIONALE DE L'ART MODERNE / INTERNATIONALE RUNDSCHAU DER KUNST DER GEGENWART.
The letters of VEŠČ and GEGENSTAND are without serif; OBJET is written in a more conventional typeface with serif. A serif-less typeface was considered modern and economical.
This design, like the slightly modified version cat. no. 71, was not used for the cover. For the definitive design and further information about the journal, see cat. no. 72. The chronology of the different versions is unknown


71
[Cover design for the journal
Vešč-Gegenstand-Objet]

Date: 1922.
Technique: Pencil and Indian ink on paper.
Dimensions: 30.7 x 22.7.
Not marked.
Inventory number: 2.0278-L30b.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 185; Eindhoven 1965 cat. no. B8b; ill. p.116; Halle 1982 cat. no. 57; Hannover 1988 cat. no. 54 ill. 88; Los Angeles 1980 cat. no. 146.

The circle and the letters of VEŠČ are appreciably larger than in the design cat. no. 70. For further information see cat. no. 72.


72
[Cover design for the journal
Vešč-Gegenstand-Objet]

Date: 1922.
Technique: Indian ink and collage on paper.
Dimensions: 31.3 x 23.5.
Not marked.
Inventory number: 2.0279-L30c.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Chardžiev 1962 p. 150, 155 (on the journal); Berlin 1967 cat. no. 186; Eindhoven 1965 cat. no. B8c; Halle 1982 cat. no. 58; Hannover 1988 cat. no. 55 ill. 89; Köln 1976 cat. no. 42; Los Angeles 1980 cat. no. 147.

Vešč-Gegenstand-Objet was founded by Ilja Erenburg and El Lissitzky shortly after Lissitzky's arrival in Berlin. Its aim was to inform Western Europe about the Russian art and literature, and to inform Russia about art in Western Europe. The contents were published in German, French and Russian, some in all three languages, such as the opening article 'The blockade of Russia moves towards its end." The periodical was El Lissitzky's first undertaking in his capacity of unofficial attaché of the Soviet Union.
Two issues were published, number 1/2, March/April 1922 and number 3, May 1922. This design was used for both, with the figure 1 being replaced by 1/2 and 3 respectively.


73
[ADVERTISING brochure of the journal
Vešč-Gegenstand-Objet]

Date: 1922.
Technique: Letterpress.
Dimensions: 31.5 x 23.5.
Not marked.
Inventory number: 3.0280-L30d.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. B8d; Halle 1982 cat. no. 59; Hannover 1988 cat. no. 57; Los Angeles 1980 cat. no. 148.

The front is the same as the design, cat. no. 72. An announcement of the journal is printed on the back.


74
[Advertising brochure of the journal
Vešč-Gegenstand-Objet]

Date: 1922.
Technique: Letterpress.
Dimensions: 31.4 x 23.5.
Not marked.
Inventory number: 3.0281-L30e.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Hannover 1988 cat. no. 58.

Same as cat. no. 73


75
[Printer's proofs of the cover of the journal Vešč-Gegenstand-Objet]

Date: 1922.
Technique: Letterpress on red paper (severely discoloured)
Dimensions: 45.1 x 34.4.
Not marked.
Inventory number: 3.0282-L30f.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 187; Eindhoven 1990 repr. 92; Hannover 1988 cat. no. 59.

Same as the design, cat. no. 72, and front of both advertising brochures (cat. nos. 73-74).


76
[Design for stationery for the journal
Vešč-Gegenstand-Objet]

Date: 1922.
Technique: Pencil, Indian ink and collage on paper.
Dimensions: 28.3 x 22.4.
Not marked.
Inventory number: 2.0283-L31.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. B11; Hannover 1988 cat. no. 60 ill. 90.
N.B.: The sheet is covered with notes:
[next to the dot following Objet:] grau;
[below Les Skythes/Skify/Skythen:] mit Punkt schwarz;
[above Edité par/Izdatel'stvo/Verlag:] mit Punkt schwarz;
[next to the text Revue internationale de l'art moderne/Meždunarodnoe obozrenie sovremennnogo iskusstva/Internationale Rundschau der Kunst der gegenwart:] Schrift: grau Punkte: schwarz;
[next to Berlin W 30 / Eisenacher Strasse 10" / Lützow 83 29 / den....1922:] schwarz;
[also:] Punkte/Ort/Datum - schwarz; 1/1...(illegible); 284.

The definitive stationary was produced after this design (see Lissitzky-Küppers 1967 ill. 77). The typeface of VEŠČ is the same as that used previously in the cover design (cat. no. 72). OBJET is written in an slightly modified seriffed letter, GEGENSTAND in a slightly different unseriffed letter.


77
El Lisickij,
Suprematičeskij skaz pro dva kvadrata v 6ti postrojkach
[Suprematist story about two squares in 6 constructions].
Skify Berlin 1922.

Book, 20 pages and cover.
Technique: Letterpress red and black.
Dimensions: 28 x 22.
Marked: [on last page with illustration in print, Cyrillic:] Unovis / postroeno 1920 Vitebsk [Unovis / constructed 1920 Vitebsk]
[in the imprint, Cyrillic:] Montirovano avtorom dlja knigoizdatel'stva "Skify" v Berline. Pečatano v Lejpcige v tipografii Gaberlanda. Pjat'desjat èkzempljarov ètogo izdanija imennye i numerovannye. [Mounted by the author for "Skythen" publishing-house in Berlin. Printed in Leipzig by the firm of Haberland, typographers. Fifty copies of this edition are signed and numbered]
[printed below:] No. 25
[below that, in print, Cyrillic:] Ètot èkzempljar napečatan dlja ...... [This copy was printed for ......]
[signed Cyrillic below that, in pencil:] El Lisickij.
Inventory number: 7.0313s.
Provenance: J.M.A.Oud-Dinaux, Wassenaar, 1970.
Literature: Birnholz 1972b p. 73; Birnholz 1973a p. 220-230, ill. 108-113, 115-118; Chardžiev 1962 p. 154-155 (in Lissitzky-Küppers 1967 p. 381); Eindhoven 1965 cat. no. B6; Eindhoven 1990 repr. 86; Frommhold in Halle 1982 p. 41; Bowlt in Köln 1976 p. 53-54; Los Angeles 1980 cat. no. 142a; Tschichold 1971.

A facsimile was published by Gerhard Verlag, Berlin 1969, and a second print in 1988. The book is reproduced in slightly reduced size in Lissitzky-Küppers 1967, ill. 80-91.

This book originated in Vitebsk in 1920 (a number of designs survive) and was published in 1922 in Berlin after Lissitzky's arrival there.
Theo van Doesburg produced a Dutch edition, which was published as Number 10/11 (volume 5, 1922) of De Stijl, in the usual horizontal format of this periodical, and with the usual advertisement-pages. The texts were placed to the right of the constructions instead of underneath. A number of fundamental alterations were made in the Dutch version of the text: 'for all, for all children' was translated as 'for all all all'; 'and over the black clear red had formed' became 'and on black imaged clear true'. The latter was admittedly somewhat more suitable for playing with letters, but the absence of red in the text detracts from the meaning of the story: a red and a black square fly to the earth and find black unrest: one blow and everything flies asunder, after which a clear red emerges to replace the black - a visualization in book form of the revolution. On the last page it says: 'Here it is finished', and, in small letters to the right, 'further'. After turning the page one sees the Unovis emblem. In the Stijl version several black pages and pages with advertisements must be turned first.


78
[Proofsheet for the cover of the book Ravvi]
[The Rabbi]

Date: 1922.
Technique: Letterpress black on paper.
Dimensions: 20.1 x 28.3.
Not marked.
Inventory number: 3.0292-L36.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. B16; Eindhoven 1990 repr. 81; Hannover 1988 cat. no. 69.

This proofsheet shows the entire cover, i.e. also the back. On the back is printed (Cyrillic): Otto El'sner' Berlin".
The book is in the Van Abbe Museum, see cat. no. 79.


79
Ol'ga Forš (A. Terek),
Ravvi. P'esa v trech dejstvijach
[The Rabbi. Play in three acts]
Izdatel'stvo "Skify" ["Skythen" publishing house] Berlin 1922.

Book, 64 pages and cover.
Technique: Letterpress black.
Dimensions: 19.8 x 14.0.
Marked: [on last page in print:] Obložka raboty El Lisickogo [Cover by El Lissitzky].
Inventory number: 2.0943.
Provenance: Yves Gevaert, 1982.

A proofsheet of the cover is in the Van Abbe Museum (cat. no. 78).


80
[Transfer sheet for the journal Broom No. 3 Vol. 2, june 1922]

Date: 1922.
Technique: Pencil on transparent paper; soft pencil on reverse along the lines.
Dimensions: 32.5 x 24.5; inner dimensions 25.2 x 19.1.
Not marked.
Inventory number: 2.0290-L34e.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 193; Eindhoven 1965 cat. no. B14e; Halle 1982 cat. no. 69; Hannover 1988 cat. no. 62.

The companion piece of this transfer sheet is a design in the Tretyakov Gallery (RS-1850/4, Moskva 1990 cat. no. 46, ill. p. 64), which also has another design for the same issue (RS-1850/5, Moskva 1990 cat. no. 47, ill. p. 65).
Lissitzky designed several covers for the American journal Broom: the Van Abbe Museum has designs for two issues (see cat. nos. 97-100). The editor and publisher of Broom was Matthew Josephson, spokesman of a left-wing radical group; the aim of the journal was to provide information about European avant-garde art to the United States.


81
[Cover design for the book Ptica Bezymjannaja]
[The Bird Nameless]

Date: 1922.
Technique: Pencil and Indian ink on transparent paper.
Dimensions: 27.0 x 19.7; inner dimensions 20.0 x 14.0.
Not marked.
Inventory number: 2.0291-L35.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. B15; Hannover 1988 cat. no. 77.

A free-hand sketch, ink over a first draft in pencil. This composition was used for the definitive cover of this volume of selected poems by Aleksandr Kusikov, Ptica Bezymjannaja. Izbrannye stichi 1917-1921, Izdatel'stvo Skify Berlin 1922 (ill. 20). Only the cover of this book is by El Lissitzky.


82
Il'ja Erenburg,
6 povestej o legkich koncach
[6 tales with easy endings]
Knigoizdatel'stvo Gelikon, Moskva/Berlin 1922.

Book, 168 pages and cover.
Technique: Letterpress black, cover red and black.
Dimensions: 20.2 x 13.8.
Marked: [on the title page the title is followed by:] Risunki El Lisickago [drawings by El Lissitzky].
Inventory number: 2.0942.
Provenance: Yves Gevaert, 1982.
Literature: Birnholz 1973a p. 236-245, ill. 124-127; Birnholz 1973c p. 134; Eindhoven 1990 repr. 82; Lissitzky-Küppers 1967 ill. 69.

The Cover is by El Lissitzky. In addition six illustrations by him, executed in black and white, are included (each at the beginning of one of the tales). Four designs for the illustrations are known - photo montages with pencil and watercolour - two of which were used for the book (see ill. 21 of this catalogue, Lissitzky-Küppers 1967 ills. 71-74, Eindhoven 1990 repr. 11-12).


83
[Proofsheet for the cover of the periodical MA, August 1922]

Date: 1922.
Technique: Linocut on transparent paper.
Dimensions: 27.0 x 19.8; diameter 17.0.
Not marked.
Inventory number: 3.0285-L33.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 188; Bern 1984 cat. no. 94; Eindhoven 1965 cat. no. B13; Eindhoven 1990 repr. 83; Hannover 1988 cat. no. 74 ill. 104; Oxford 1977 cat. no. 19.

The cover of the August 1922 issue of the Hungarian periodical MA, published by Lajos Kassak, is a linocut by El Lissitzky. The sheet in the Van Abbemuseum is a printer's proof.
MA often used linocuts; since no others made by Lissitzky are known, we may assume that this one was produced especially for this cover. It is not clear whether an original linocut or a reproduction was used for the cover.
The Tretyakov Gallery has a very fine gouache of this composition, known by the title Proun 43 (RS-1874, ill. 57; Eindhoven 1990 repr. 41), and also a study (RS-1879, Moskva 1990 cat. no. 95 ill. p. 73). The linocut shows the same composition, with some minor alterations, in reverse, and it is printed upside down with regard to the gouache, in this way preventing the viewer from seeing the composition as a man-like shape.
A photograph of a relief with this composition for the ceiling (not executed) of the Proun Room (cat. no. 128) was once in the collection of Vilmos Huszar's widow, but could not be traced for inclusion in this catalogue. A sketch of the Proun Room in the Tretyakov Gallery shows this ceiling (Eindhoven 1990 repr. 56).
Transfer sheets for two related compositions are in the Van Abbe Museum (cat. nos. 19-20).


84
[Cover of the journal Wendingen IV (1921) No. 11]

Date: 1922.
Technique: Lithograph / Letterpress.
Dimensions: 33.0 x 66.5.
Marked: [lower right, same impression:] EL.
Inventory number: 3.1172.
Provenance: Antiquariaat Schumacher, Amsterdam, 1984.
Literature: Eindhoven 1990 repr. 85; Lissitzky-Küppers 1967 ill. 70.

In a letter to Piet Zwart dated August 29 1965 Peter Alma stated the following: 'Later Lissitzky was in Berlin. I corresponded with him at that time and helped him with a commission for a cover for the periodical Wendingen. The nature of the cover is of course contrary to the typography of the periodical.' (Letter in the Lissitzky archives of the Van Abbe Museum).
The Tretyakov Gallery has some designs for the cover of Wendingen (RS-1943 - 1945 and Arch.gr.2527, Moskva 1990 cat. no. 49-52, ill. p. 68).


85
Exhibition Catalogue Amsterdam
(Stedelijk Museum) 1923,
Eerste Russische Kunsttentoonstelling
[First Exhibition of Russian Art],
Internationale Arbeiterhilfe, Berlin 1922.

Book, 32 pages and cover, 48 illustrations; Dutch-language appendix
Technique: (Cover:) letterpress grey and black, with two stickers.
Dimensions: 22.7 x 14.7.
Marked: [under the K on the left of the cover is printed:] EL.
Inventory number: 7.0313p.
Provenance: J.M.A.Oud-Dinaux, Wassenaar, 1970.
Literature: Birnholz 1973a p. 166-168, ill. 74; Eindhoven 1965 cat. no. B18; Eindhoven 1990 repr. 78; Frommhold in Halle 1982 p. 45; Los Angeles 1980 cat. no. 150b; Steneberg 1969 p. 19-20.

The catalogue of the First Exhibition of Russian Art, which had previously been held in Berlin, was adjusted by pasting the word 'Amsterdam' over 'Berlin' and 'Stedelijk Museum' over 'Galerie van Diemen G.M.B.H. Unter den Linden 21'. An appendix with a foreword by W. Steenhoff was added. The Commissariat for Arts and Sciences in Russia and the General Committee for the Economic Construction of Russia were mentioned as organizing bodies.
The cover of the catalogue was designed by Lissitzky. The Tretyakov Gallery has two designs, one of which served as the basis for the definitive cover (ill. 58; RS-1850/3, Moskva 1990 cat. no. 45 ill. p. 60; for the other design see Moskva 1990 cat. no. 44 ill. p. 60). The shape of the large letters R and K has been altered slightly.
Lissitzky also collaborated on the organization and mounting of the exhibition, but was not responsible for the selection.
In a letter to the editor in Studio International (see bibliography Gabo) Naum Gabo denies Lissitzky's participation in the organization and mentions Nathan Altmann having designed the cover. The letters EL on the cover contradict this. Nathan Altmann designed a poster for the exhibition (see London 1983 ill. p.70).
In connection with this exhibition El Lissitzky travelled to the Netherlands, where he delivered his lecture 'Neue Russische Kunst' (New Russian Art) several times, as he had done in Germany. The Van Abbe Museum has a poster for the same lecture by El Lissitzky in the Kestner Gesellschaft in Hanover (not designed by Lissitzky, inventory number 3.0312-L50; from the Vordemberge-Leda collection). The first postcard Lissitzky sent to Oud (cat. no. 132), on which he still addresses him formally as 'Sehr geehrter Herr Oud' refers to his attempts to obtain a visa.
The catalogue contains a foreword by D. Sterenberg (who was in charge of the organization of the exhibition) and contributions by Dr. Redslob (Reichskunstwart), A. Holitscher, and an anonymous author.

The following works by El Lissitzky are mentioned:
Paintings:
120 Stadt (City; with illustration. This is the painted version of Proun 1E, see cat. no. 26).
121 Proun 2C (also known as a lithograph. In 1929 Galerie Moritzburg in Halle acquired this painting with the title Gleichgewichtsstudie. This work was confiscated by the Nazi's in 1937, and ended up as Construction - Proun 2C in the Philadelphia Museum of Art.
122 Proun 19D (The painting that Lissitzky mentioned in his autobiography as having been bought for the Museum of Modern Art in New York)
Drawings and graphics:
397 Proun, 10 Blatt, L[ithographs]. (Lithographs from the Proun portfolio 1921).
398 Titelblatt, F.Z. [Farbige Zeichnung].
399 Serie (10 Blatt) Theaterfigurinen, Farbige Zeichnung (the designs for the Figurine portfolio made in Russia)
399A 2 Buchillustrationen, A[quarel].
De Dutch-language appendix mentions another work: Konstruktie (Construction).


86
[Proofsheet for the cover of the book Uqrayniše folq-mayses]
[Tales from the Ukraine]

Date: 1922.
Technique: Letterpress
Dimensions: 25.7 x 39.0.
Not marked.
Inventory number: 3.0284-L32.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. B12; ill. p.118; Hannover 1988 cat. no. 76; Oxford 1977 cat. no. 20;

N.B.: The print is in reverse

For an illustration for this book see Lissitzky-Küppers 1967 ill. 14 (ills. 11-13 are wrongly mentioned as illustrations for this book; they are for Vaysrusische Folq-Mayses).


87
Vladimir Majakovskij,
Dlja Golosa
[For the Voice].
R.S.F.S.R. Gosudarstvennoe izdatel'stvo, Berlin 1923
[R.S.F.S.R. State Publishing House, Berlin 1923]

Book, 64 pages and cover
Technique: Letterpress red and black; on the Cover over orange.
Dimensions: 19.0 x 13.5.
Marked: [in the impressum:] Konstruktor Knigi El Lisickij [Constructor of the book El Lissitzky]
[on first page in handwriting:] Lieben Herrn J.P. Oud zu-eigen / El Lissitzky / Rotterdam 14.5.23.
Inventory number: 3.0298a.
Provenance: J.M.A.Oud-Dinaux, Wassenaar, 1970.
Literature: Birnholz 1973a p. 230-236, ill. 119-122; Chardžiev 1962 p. 156-157 (in Lissitzky-Küppers 1967 p. 381-382); Eindhoven 1965 cat. no. B20; Eindhoven 1990 repr. 79-80; Frommhold in Halle 1982 p. 46; Bowlt in Köln 1976 p. 54-55; Leering-van Moorsel 1968 p. 331-332; Lissitzky-Küppers 1967 ill. 94-108; Los Angeles 1980 cat. no. 156a; Tschichold 1971.

A facsimile was published by Verlag Gebr. König, Cologne and New York 1973. Published, translated into German and annotated by Wolfgang Beilenhoff. In 1987 a facsimile was published by Izdatel'stvo Chudožnik RSFSR Leningrad, together with a facsimile of Majakovskij's Chorošo! from 1927, for which Lissitzky designed the cover.

Majakovskij came to Berlin late in 1922, and asked Lissitzky to design a book containing 13 of his most famous and most frequently recited poems. Since it was intended primarily for reading aloud (For the Voice) Lissitzky used a thumb index, so that the reader could find the required poem quickly by placing his thumb on the title on the right. He used this system again later in the Guide-book of the Polygraphic Exhibition of the Entire Soviet Union, Moscow 1927 (Eindhoven 1990 repr. 100; Lissitzky-Küppers 1967 ill. 135-136), where the cut-outs occur along the top.
For all the pages Lissitzky designed he made a sketch first. The pages were mechanically set with material from the type-case. The texts of the actual poems were not interfered with at all: they were printed with conventional type matter.
The book was printed in quires of 16 pages, a number of proofsheets are in the Van Abbe Museum (cat. nos. 88-93). A title page with the 'Ansager' (Announcer) from the Figurine portfolio (which had not been produced yet, but for which the designs already existed, see cat. no. 59) was pasted in later.


88
[Proofsheet of the book Dlja golosa]

Date: 1923.
Technique: Letterpress red and black; reverse red only.
Dimensions: 55.2 x 42.0; one page has been cut out.
Not marked.
Inventory number: 3.0293-L37a.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. B19a; Halle 1982 cat. no. 79; Hannover 1988 cat. no. 83a; Oxford 1977 cat. no. 21a.

There are six proofsheets of Dlja Golosa in the Van Abbemuseum including complete unfolded quires and parts cut out of them (cat. nos. 88-93). This sheet contains (for specialists in book-binding): Recto: the black and the red of the front of the first quire and the black of the back of the first quire. Verso: the red of the front of the first quire.
One part had been cut out, which must have been a print of pages 3 and 13 overlapping. Perhaps Lissitzky was interested in the resulting chance composition.


89
[Proofsheet of the book Dlja golosa]

Date: 1923.
Technique: Letterpress red and black.
Dimensions: 76.3 x 62.8; 2 pages have been cut out.
Not marked.
Inventory number: 3.0294-L37b.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 194; Eindhoven 1965 cat. no. B19b; Halle 1982 cat. no. 80; Hannover 1988 cat. no. 83b; Oxford 1977 cat. no. 21b.

This sheet has numerous prints in superimposition; the red and black impressions of different quires.


90
[Proofsheet of the book Dlja golosa]

Date: 1923.
Technique: Letterpress red and black.
Dimensions: 19 x 19 (irregularly torn out).
Not marked.
Inventory number: 3.0295-L37cI.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. B19c; Halle 1982 cat. no. 81; Hannover 1988 cat. no. 83c; Oxford 1977 cat. no. 21cI.

Pages 11 and 19 have been printed in superimposition


91
[Proofsheet of the book Dlja golosa]

Date: 1923.
Technique: Letterpress red and black.
Dimensions: 40.0 x 13.0.
Not marked.
Inventory number: 3.0296-L37cII.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. B19c; ill. p.120 r.; Halle 1982 cat. no. 82; Hannover 1988 cat. no. 83d; Oxford 1977 cat. no. 21cII.

Misprint of twice two pages. Both yield a chance composition, which is not chaotic but quite pleasing. That may have been Lissitzky's reason for cutting them out and keeping them.


92
[Proofsheet of the book Dlja golosa]

Date: 1923.
Technique: Letterpress red and black; reverse black.
Dimensions: 76.3 x 62.7; 2 pages are cut out.
Not marked.
Inventory number: 3.0297-L37d.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 195; Eindhoven 1965 cat. no. B19d; ill. p.121 (half the sheet is portrayed); Halle 1982 cat. no. 83; Hannover 1988 cat. no. 83e; Oxford 1977 cat. no. 21d.

Pages 1-16, red and black complete, have been printed on the front (both sides of the first quire). On the reverse the black of both sides of the second quire.


93
[Proofsheet of the book Dlja golosa]

Date: 1923.
Technique: Letterpress red and black; reverse black.
Dimensions: 18.5 x 12.5.
Not marked.
Inventory number: 3.0298-L37e.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. B19e; ill. p.120 links; Halle 1982 cat. no. 84; Hannover 1988 cat. no. 83f; Oxford 1977 cat. no. 21e.

The front shows the red of page 44 and the black of page 30. The back shows page 29.


94
Alexander Tairoff,
Das entfesselte Theater.
Aufzeichnungen eines Regisseurs,
Gustav Kiepenheuer Verlag, Potsdam 1923.

Book, 112 pages and cover.
Technique: Letterpress black; cover orange, red and black.
Dimensions: 25 x 18.
Marked: [at the bottom of the cover in print:] EL.
[inscription in the front:] Erna Selm... [illegible] stolz dem lieben Herrn Oud zur Erinnerung an seinen erster Stuttgarter Aufenthalt 31. Oktober 1925.
Inventory number: 7.0313r.
Provenance: J.M.A. Oud-Dinaux, Wassenaar, 1970.
Literature: Lissitzky-Küppers 1967 ill. 92.

The cover is by El Lissitzky. A design for it is in the Tretyakov Gallery (RS-1850/1, ill. 59; Moskva 1990 cat. no. 54 ill. p. 46). The book was reprinted in 1927.


95
[Design for a postcard for Von Garvens Gallery, Hanover]

Date: 1923.
Technique: Indian ink and gouache on paper.
Dimensions: 9.1 x 14.1.
Not marked.
Inventory number: 2.0299-L38 I.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. B21; Hannover 1988 cat. no. 142 ill. 192.

On both designs (see also cat. no. 96) the route between the Hanover central railway station to the Von Garvens Gallery has been indicated with very economic visual means: take tram-line 6 past Kaffe Kröpcke, through Georgstrasse and Lange Laube to Königsworther Platz, get off the tram and turn into Jägerstrasse, where the Gallery is located. Lissitzky lived at that address for some time, when he had come to Hanover in 1923 to work on the First Kestner portfolio 'Proun".
On the right a list of 24 artists represented by the gallery; from top to bottom the names range from clearly written to illegible: Archipenko, ?, Braque, Chagall, Dix, Ensor, Grosz, Kandinsky?, Kirchner?, ?, ?,, Kokoschka, Kubin, Leger, Lissitzky, Franz Marc?, Macke?, Paul?, Moholy-Nagy, Munch, Nolde, Picasso??, R?, R?, Schwitters??.

96
[Design for a postcard for Von Garvens Gallery, Hannover]

Date: 1923.
Technique: Indian ink, gouache and pencil on paper.
Dimensions: 21.8 x 16.9.
Not marked.
Inventory number: 2.0300-L38 II.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. B21; Hannover 1988 cat. no. 141 ill. 191; London 1977 cat. no. 32.

The alphabetical list of artists and other small texts have been replaced here by a series of illegible scrawls of equal length (see cat. no. 95).


97
[Cover design for the journal Broom No. 3 Vol. 5, October 1923]

Date: 1923.
Technique: Watercolour, Indian ink and chalk on transparent paper.
Dimensions: 29 x 22 (torn irregularly).
Not marked.
Inventory number: 2.0286-L34a.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 189; Eindhoven 1965 cat. no. B14a, ill. p. 122 lb.; Halle 1982 cat. no. 71; Hannover 1988 cat. no. 63 ill. 93; Köln 1976 cat. no. 44; Los Angeles 1980 cat. no. 152.

Letters and numbers are drawn in watercolour and Indian ink over a very rough sketch. Thicker lines on the right and above suggest spatiality.


98
[Transfer sheet for the cover of the journal Broom No. 3 Vol. 5, October 1923]

Date: 1923.
Technique: Pencil on graph-paper; chalk on reverse along the lines.
Dimensions: 28.0 x 23.0; inner dimensions 26.0 x 20.0.
Not marked.
Inventory number: 2.0287-L34b.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 190; Eindhoven 1965 cat. no. B14b, ill. p. 122 rb.; Halle 1982 cat. no. 72; Hannover 1988 cat. no. 64 ill. 94; Los Angeles 1980 cat. no. 151.

The name BROOM occurs twice diagonally across the sheet, sharing the letter 'O' in the centre. The letters of one BROOM are upside down, so that the cover can be read from two sides. That idea was retained in the definitive design (ill. 60), in which the letters however no longer have the perspective laterals suggesting depth The impression of depth surrounding the letters recurs in a cover for Broom No. 4 Vol. 5 based on one of these studies. A sketch for this cover-composition is reproduced in Rudenstine 1981, ill. 471.


99
[Cover Design for the journal Broom No. 3 Vol. 5, October 1923]

Date: 1923.
Technique: Indian ink and gouache on transparent paper.
Dimensions: 27.5 x 20.8.
Not marked.
Inventory number: 2.0288-L34c.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 191; Eindhoven 1965 cat. no. B14c, ill. p. 122 lo.; Eindhoven 1990 repr. 88; Halle 1982 cat. no. 73; Hannover 1988 cat. no. 65 ill. 95; Los Angeles 1980 cat. no. 153.

The word BROOM is legible from three sides on this free-hand sketch.


100
[Cover Design for the journal Broom No. 3 Vol. 5, October 1923]

Date: 1923.
Technique: Pencil, Indian ink and gouache on graph-paper.
Dimensions: 36.2 x 22.7; inner dimensions 27.0 x 20.0.
Not marked.
Inventory number: 2.0289-L34d.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Berlin 1967 cat. no. 192; Eindhoven 1965 cat. no. B14d, ill. p. 122 l.r.; Eindhoven 1990 repr. 90; Halle 1982 cat. no. 74; Hannover 1988 cat. no. 66 ill. 96.

The BROOM legible from the right on the sketch cat. no. 99 has been omitted. The word has been sketched below the design, possibly beforehand. This design was not used for the definite cover (see ill. 60).


101
[Announcement for Merz no. 8/9, 'Nasci-Heft']

Date: 1924.
Technique: Letterpress blue on red.
Dimensions: 31.1 x 23.8.
Marked: [lower right in print:] Locarno, Ospedale, 1924.
Inventory number: 7.0313 n.
Provenance: J.M.A.Oud-Dinaux, Wassenaar, 1970.

Merz 8/9 (cat. no. 102) contains a pasted-in page with the article entitled '1924 √ + oo - = NASCI', in blue print on yellowish paper. This sheet is identical to that page, except that the paper is red.


102
Merz Volume 2, No. 8/9 April/July 1924, 'NASCI',
Hannover 1924.

Journal, 16 pages (nos. 74-89) and cover.
Technique: Letterpress black on white, cover red and blue on white paper, one page blue on yellowish paper.
Dimensions: 30.5 x 23.3.
Marked: [on the cover in print:] Dieses Doppelheft ist erschienen unter der Redaktion von El Lissitzky und Kurt Schwitters / Typographie angegeben von El Lissitzky / Herausgeber K. Schwitters.
Inventory number: 7.0313 l.
Provenance: J.M.A.Oud-Dinaux, Wassenaar, 1970.
Literature: Birnholz 1973a p. 320-326, ill. 142-143; Eindhoven 1965 cat. no. B26; Eindhoven 1990 repr. 93, ill. 14; Hannover 1962 p. 145-150 (on Merz in general); Lissitzky-Küppers 1967 ill. 109-112.

Merz was published by Kurt Schwitters; Lissitzky collaborated on a number of issues in 1923 and 1924. For this issue he did the typography and wrote the article '1924 √ + oo - = NASCI'. He was in Switzerland at the time for treatment of tuberculosis. His article was to be printed separately on coloured paper and then pasted into the magazine. Pale yellow paper was eventually used, at least in this copy. For a copy of the article printed on red paper see cat. no. 101.


103
El Lissitzky and Hans Arp,
Die Kunstismen 1924-1914. Les Ismes the l'Art 1924-1914. The Isms of Art 1924-1914,
Eugen Rentsch Verlag, Erlenbach-Zürich, München und Leipzig 1925.

Book, 12 + 48 pages and cover.
Technique: Letterpress black; cover red and black.
Dimensions: 26.3 x 20.6.
Marked: [on verso of title page in print:] Typographie des Buches: El Lissitzky.
Inventory number: 7.0313 t.
Provenance: J.M.A.Oud-Dinaux, Wassenaar, 1970.
Literature: Birnholz 1973a p. 334-339; Chardžiev 1962 p. 157 (in Lissitzky-Küppers 1967 p. 382); C. Gray in Eindhoven 1965 p. 22, cat. no. B27, ill. p. 119; Eindhoven 1990 repr. 96; Frommhold in Halle 1982 p. 46; Lissitzky-Küppers 1967 ill. 125-130; Los Angeles 1980 cat. no. 162 b.

A facsimile was published by Arno Press New York 1968 (Arno Series of Contemporary Art no. 7).

On 30 March 1924 Lissitzky wrote Sophie Küppers: 'Have an idea for the final Merz issue of 1924: 'Last Parade of all the Isms from 1914-24.' Kurt Schwitters was not enthusiastic about this. In the summer of 1924 Lissitzky set to work with Hans Arp, who had found a publisher. In a letter to Oud Lissitzky writes of a 'mass grave of all art-isms' (letter of 8-9-1924 in the Van Abbe Museum). In a later letter he refers to The Isms of Art 1924-1914 (letter of 14-5-1925 in the Van Abbe Museum).
The texts for the different isms were written by Arp after consulting Lissitzky, who was responsible for the typography and the cover. Thick black stripes separate the German, French and English texts. On the pages with photographs the names of the isms are given at the top above a black horizontal stripe, like an index. The 'Proun/Prooun-ism' (ill. 39) is accompanied by photographs of Proun 23 No. 6 (Lissitzky-Küppers 1967 ill. 23) and of the Lenin podium.


104.
ASNOVA. Izvestija associacii novych architektorov. Mitteilungen der Assotiation neuer Architekten. Revue the l'asotiation d'architectes contemporaine.
Moscow 1926.

Journal, 8 pages.
Technique: Letterpress black.
Dimensions: 35.4 x 26.5.
Marked: [below the title in print:] Pod redakciej Èl Lisickogo N.A. Ladovskogo / Redaktion El Lissitzky - N.A. Ladowsky.
[In the imprint:] Tipooformlenie El [typographical design El].
Inventory number: 7.0313 m.
Provenance: J.M.A.Oud-Dinaux, Wassenaar, 1970.
Literature: Birnholz 1973a p. 372-378, ill. 162-163; Chardžiev 1962 p. 152 (in Lissitzky-Küppers 1967 p. 382); Lissitzky-Küppers 1967 ill. 131; Eindhoven 1965 cat. no. B28; Eindhoven 1990 ill. 4; Halle 1982 cat. no. 166; Hannover 1988 cat. no. 189 ill. 225-227; Los Angeles 1980 cat. no. 163a.

ASNOVA came into being shortly before 1923, its object being to raise the standard of architecture as art to the same level as science and technology (see for the articles of association and statements Chan-Magomedov pp. 590-591). In short, ASNOVA sought new building types in new materials for a new society. At the Moscow Vchutemas the association had its own architectural department, where its principles could be put to practical use. ASNOVA's leader, Nikolaj Ladovskij, had asked Lissitzky to act as its representative abroad when he was living in Germany. Architects such as Le Corbusier and Oud were invited to become members (a letter from ASNOVA's secretary Lavrov to Oud and Lissitzky's translation of this letter are in the Van Abbemuseum)
A few weeks after Lissitzky's return to Moscow in June 1925 plans were made to start an ASNOVA publication. The first issue was devoted to the Wolkenbügel project, and would thus serve as Lissitzky's first presentation to the Moscow public. Owing to the paper shortage no more than one issue was published (not until 1926), designed by El Lissitzky, and containing four articles by him (see bibliography), including one on the Wolkenbügel project.


105
Exhibition catalogue Moscow,
Japonskoe Kino
[Japanese Film]
VOKS, Moskou 1929.

Booklet, 24 pages and cover.
Dimensions: 14.9 x 21.3.
Marked: [in print:] Obložka i oformlenie Èl' Lisickij [Cover and design El Lissitzky].
Inventory number: 7.0313 o.
Provenance: Gerd Arntz, 1970.
Literature: Birnholz 1973a p. 423, ill. 171; Chardžiev 1962 p. 160 (in Lissitzky-Küppers 1967 p. 383); Lissitzky-Küppers 1967 ill. 154-155; Hannover 1988 cat. no. 227 ill. 287.


106-115
USSR im Bau / URSS and construction / Building the USSR / SSSR na strojke
Staatlicher Kunstverlag OGIS/ISOGIS. Vereinigung der Staatsverlage RSFSR / Edition d'etat des beaux arts OGIS/ISOGIS. Union des editions d'etat RSFSR.

10 issues of a journal published in German, French, English and Russian editions. All issues printed in several colours.
Dimensions: 42.0 x 29.7.
Inventory number: 7.0314.
Provenance: J. Schenk, The Hague, 1971.
Literature: Birnholz 1973a p. 428-429, 432-433; Chardžiev 1962 p. 160 (in Lissitzky-Küppers 1967 p. 384); Lissitzky-Küppers 1967 ill. 172-180.

The journal was started by Maxim Gorkij and was published from 1931 to 1941. Lissitzky collaborated from 1932 on. The nature of his contributions varied: layout, sketches for photographs to be taken of particular subjects, and montage. Sophie Lissitzky-Küppers also collaborated on a number of issues (in which case El und Es Lissitzky is mentioned in the imprint).


106
USSR im Bau 1933 Februar no. 2.
Dem 15 jährigen Jubiläum der Roten Armee gewidmet.

Journal, 36 pages and cover.
Marked: [in imprint:] Künstlerische Gestaltung von El Lissizky.
Literature: Hannover 1988 cat. no. 248 ill. 306; Lissitzky-Küppers 1967 ill. 172-178.


107
USSR im Bau 1933 September no. 9
Der Sowjetarktis gewidmet.

Journal, 60 pages, cover and insert.
Marked: [in imprint:] Montage von El Lissizky
[in print on p. 1 lower right:] el lisickij.
Literature: Eindhoven 1990 repr. 107; Lissitzky-Küppers 1967 ill. 179.


108
URSS and construction 1934 Févriér no. 2
Récit de quatre victoires bolchéviques.

Journal, 42 pages and cover.
Marked: [in imprint:] Présentation artistique par ES et EL Lissitzki.


109
USSR im Bau 1934 Juni no. 6.
Der Wissenschaft in der UdSSR gewidmet.

Journal, 48 pages and cover.
Marked: [in imprint:] Montage von ES und EL Lissizki.


110
USSR im Bau 1934 Oktober no. 10.
Die "Tscheljuskin"-Epopöe.

Journal, 52 pages and cover.
Marked: [in imprint:] Plan und künstlerische Ausführung - EL und ES Lissitzki.
Literature: Hannover 1988 cat. no. 253 ill. 311.


111
USSR im Bau 1935 Mai no. 5
Die Nummer ist dem Fünfzehnjährigen Jubiläum der Aserbaidschaner Ölindustrie gewidmet.

Journal, 40 pages and cover.
Marked: [in imprint:] Montage El Lissizki.


112
USSR im Bau 1936 April-Mai no. 4-5
Diese Nummer ist dem 15-jährigen Jubiläum Sowjetgrusiens gewidmet.

Journal, 56 pages and cover.
Marked: [in imprint:] Plan und Organisierung der Nummer von M. Alpert und El Lissizki; Künstlerische Gestaltung von El Lissizki.


113
USSR im Bau 1936 Oktober no. 10
Dem Kabardino-Balkarischen autonomen Gebiet gewidmet.

Journal, 42 pages and cover.
Marked: [in imprint:] Gestaltung der Nummer von ES. und EL. Lissizki.
Literature: Lissitzky-Küppers 1967 ill. 180.

114
USSR im Bau 1937 März no. 3.
Den Völkern des Ordshonikidse-Gaus (Nordkaukasus) gewidmet.

Journal, 44 pages and cover.
Marked: [in imprint:] Komposition und montage der Nummer besorgten ES und EL Lissizki.
Literature: Eindhoven 1990 repr. 106;


115
USSR im Bau 1937 September-Dezember no. 9-12
Der Stalinschen Verfassung gewidmet.

Journal, 120 pages and cover.
Marked: [in imprint:] Künstlerische Komposition und Photomontage: ES und EL Lissitski.
Literature: Hannover 1988 cat. no. 261 ill. 317.
116
Photography


116
The constructor (self portrait)

Date: 1924.
Technique: Photo, multiple exposures.
Dimensions: 11.3 x 12.5; pasted on cardboard 19.5 x 19.0.
Marked: [lower left, typewritten in red on a sticker:] EL LISSITZKY SELBSTPORTRÄT /Photomalerei/.
[on reverse in Nelly van Doesburg's handwriting:] Voor het Van Abbe-museum 20/XII-'72 Nelly v. D. / Signature de Lissitzky [For the Van Abbe Museum Dec 20, 1972 Nelly v. D. / Signature by Lissitzky].
[below that in ink, Lissitzky's handwriting, Cyrillic:] Kollege Syrkusu v pamjati studenčestva [For colleague Syrkus in memory of our student days]
[below that with red an blue pencil:] El Lissitzky Hanno 1926 August.
[below that in pencil, Nelly van Doesburg's handwriting:] Hannover 1926 August / 9 ctm.
Inventory number: ***.
Provenance: J.Leering, Amsterdam, donation 1986.
Literature: Birnholz 1972b p. 71; Birnholz 1973c p. 134; Eindhoven 1990 repr. 117; Hannover 1988 cat. no. 167 ill. 23; Schalcher 1928 p. 51; Schuldt in Eindhoven 1965 p. 29; Tschichold 1971. p. 6 ill. p.1.

This work is a compilation of several photographs: 1. A self-portrait (see Lissitzky-Küppers 1967 ill. p.32); 2. A photo of Lissitzky's hand with compasses against a background of graph paper (Lissitzky-Küppers 1967 ill. 118); 3. The vignette of Lissitzky's writing paper (see cat. no. 132) in reverse (possibly as photogram = made without camera); 4. The letters XYZ; 5. A circle segment (possibly as photogram); 6. Beneath Lissitzky's right shoulder, in vertical script 'BIEN / NAČI / NAET / SJA' (begins well), from 'Victory over the Sun', as this text occurs on one of the designs for the cover of the Figurine portfolio in the Tretyakov Gallery (see ill. in Halle 1982, p. 84).
Sophie Küppers brought Lissitzky an old 13 x 18 camera when he was convalescing in Switzerland. This marked the beginning of a lasting involvement in photography. He photographed Arp (Lissitzky-Küppers 1967 ill. 116-117) and Schwitters, and used photography in his advertisement designs for Pelikan (Lissitzky-Küppers 1967 ill. 119-121). An enlarged version of the photograph of Lissitzky's hand with compasses was exhibited later, at the International Art Exhibition in Dresden in 1926, in the space designed by Lissitzky (Lissitzky-Küppers 1967 ill. 187); the same picture occurs on a cover design for Vchutemas (Lissitzky-Küppers 1967 ill. 134). The Constructor also served as cover illustration of the book foto-auge by F. Roh and J. Tschichold, Stuttgart 1929.
The inscription in Lissitzky's hand on the back indicates that he donated this self-portrait to the Polish architect Szymon Syrkus (1893-1964), on whose initiative the first issue of the magazine of the Praesens group had recently appeared. Syrkus studied together with Lissitzky at the Technical University of Riga, which in the First World War was evacuated to Moscow. Further contact between Lissitzky and Syrkus is not known. The self-portrait was later found by Jean Leering in Nelly van Doesburg's archives, and he asked her to keep it for the Van Abbe Museum. How and when the self-portrait came into the possession of Theo and Nelly van Doesburg is not known. Relations between Lissitzky and Doesburg had already become strained by then.
117-124
Architecture


117
[Sketch for a podium]

Date: c. 1920
Technique: Pencil and chalk on paper.
Dimensions: 45.5 x 35.4.
Not marked.
Inventory number: 2.0301-L39.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. C1; Halle 1982 cat. no. 31; Hannover 1988 cat. no. 160 ill. 202.
N.B.: Damp stains in lower right.

In 1920 a number of Lissitzky's students occupied themselves, under Lissitzky's supervision, in the Unovis workshop in Vitebsk with designing a podium. This sketch, and a closely related work (cat. no. 118) date perhaps from that period. Both exhibit combinations of rectangular and curved lines, spatial and two-dimensional forms, as in the prouns.
During Lissitzky's convalescence in Switzerland in 1924 he was sent a number of these designs, one of which he worked out as the famous Lenin podium (ill. 15; Eindhoven 1990 repr. 152). The structure, some 12 metres high, was to be executed in iron, eternit and glass. The bottom cube, the base, made of transparent material, was to contain the engine that would set the structure in motion. Various speakers would be transported in a glass lift to the first balcony, where they would wait their turn to be transported further up. Upon arrival at the uppermost level the speaker would step out onto the balcony, which would slide outwards, thus making the balcony with speaker focal point of the entire environment. A loudspeaker was to be installed next to the speaker. The finishing touch was a large screen, which could be rapidly mounted and which served for displaying slogans and showing newsreels.
A small sketch in the Tretyakov Gallery with a combination of curved and straight forms like those in the sketches in the Van Abbe Museum and a construction bearing some resemblance to the Lenin podium constitutes a link between the works mentioned above (ill. 14).


118
[Sketch for a podium]

Date: c. 1920
Technique: Pencil and chalk on paper.
Dimensions: 46.0 x 37.0.
Not marked.
Inventory number: 2.0302-L40.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. C2; Hannover 1988 cat. no. 161; Köln 1976 cat. no. 39.
N.B.: Damp stains in lower right.

See cat. no. 117. A gouache with this composition, ascribed to Lissitzky, is now in the collection of Mr. Achmet Ertegün (reproduction in Köln 1978 cat. no. 47, ill. p.79).


119
[The Wolkenbügel. Two cross-sections and floorplan of superstructure]

Date: 1925
Technique: Photo of the design made in the same year.
Dimensions: 8.5 x 11.4.
Marked: [with pencil on the back:] der Wolkenbügel. Grundriss. Ansichten gegen Kreml und entgegengesetz. El Lissitzky.
Inventory number: 6.0313 b.
Provenance: J.M.A.Oud-Dinaux, Wassenaar, 1970.
Literature: (on the Wolkenbügel project:) Birnholz 1972b p. 73; Birnholz 1973a p. 310-315; Chan-Magomedov 1983 p. 281, ill. 752-755; Chardžiev 1962 p. 151; Eindhoven 1965 cat. no. C4a; Lissitzky, 'Serija neboskrebov dlja Moskvy', Izvestija Asnova; Lissitzky, Russland p. 38; Oxford 1977 cat. no. 35.

Just before leaving Switzerland for Moscow (via Berlin and Leningrad) Lissitzky wrote to Oud saying: 'By way of a greeting I am sending you some photographs of a project that I have been able to complete this year' (letter 14-5-1925 in the Van Abbe Museum). These photo's are now in the Van Abbe Museum (cat. nos. 119-124), they were taken in 1925 of the original designs. A number of the latter and various drawings and sketches are in the Tretyakov Gallery in Moscow (Eindhoven 1990 repr. 125-128, 130, 132-133). In the same letter to Oud Lissitzky also gave some background information about the Wolkenbügel project as well as a sketch of the location. The most detailed description of this project is given in his article 'A series of skyscrapers for Moscow' in Izvestija Asnova, 1926. The idea for the Wolkenbügel (a self-made word with the meanings of cloud-hanger and flat-iron for clouds) arose out of town-planning considerations. Lissitzky believed that, until it is possible to build free-floating structures, we should tend more to horizontal than to vertical movement. Because of the lack of space the horizontal building was to be raised off the ground by means of three vertical supports, thus allowing traffic to proceed unimpeded and making the street light and airy. One of the three supports was to give access to a metro station. Emil Roth assisted Lissitzky with the elaboration of the plan and the structural calculations. Lissitzky describes a number of technical details, such as the use of lightweight materials with heat and sound insulating properties, and a special type of chemically treated glass that stops heat-rays but not light-rays.


120
[The Wolkenbügel. Perspective drawing facing in the direction of the Kremlin]

Date: 1925
Technique: Photo of the design made in the same year.
Dimensions: 13.0 x 14.2.
Marked: [with pencil on the front:] der Wolkenbügel für Moskau. Blick gegen den Kreml. für Oud EL.
Inventory number: 6.0313 c.
Provenance: J.M.A.Oud-Dinaux, Wassenaar, 1970.
Literature: Eindhoven 1965 cat. no. C4a, ill. p.127; Frankfurt 1972 cat. no. 12 (copy), ill. 27; Halle 1982 cat. no. 153 (copy), ill. p.64; Lissitzky-Küppers 1967 ill. 233; Oxford 1977 cat. no. 35.


121
[The Wolkenbügel. Cross-section]

Date: 1925
Technique: Photo of the design made in the same year.
Dimensions: 13.5 x 13.0.
Marked: [with pencil on the back:] der Wolkenbügel. Ansicht gegen Nikitskij B-d. El Lissitzky.
Inventory number: 6.0313 d.
Provenance: J.M.A.Oud-Dinaux, Wassenaar, 1970.
Literature: Eindhoven 1965 cat. no. C4a; Oxford 1977 cat. no. 35.


122
[The Wolkenbügel. Axonometric drawing]

Date: 1925
Technique: Photo of the design made in the same year.
Dimensions: 12.0 x 15.5.
Marked: [with pencil on the front:] für Oud EL.
[on the back:] der WB für Moskau. Fliegerbild. El Lissitzky.
Inventory number: 6.0313 e.
Provenance: J.M.A.Oud-Dinaux, Wassenaar, 1970.
Literature: Eindhoven 1965 cat. no. C4a, ill. p.128; Oxford 1977 cat. no. 35.


123
[The Wolkenbügel. Perspective drawing, facing in the direction of Strastoy Boulevard]

Date: 1925
Technique: Photo of the design made in the same year.
Dimensions: 12.0 x 15.5.
Marked: [with pencil on the front:] für Oud EL / der Wolkenbügel für Moskau. Blick gegen Strastoj B-d.
Inventory number: 6.0313 f.
Provenance: J.M.A.Oud-Dinaux, Wassenaar, 1970.
Literature: Eindhoven 1965 cat. no. C4a, ill. p.129; Oxford 1977 cat. no. 35.


124
[The Wolkenbügel. Cross-section]

Date: 1925
Technique: Photo of the design made in the same year.
Dimensions: 16.9 x 12.2.
Marked: [with pencil on the back:] der Wolkenbügel. Ansicht gegen Strastnoj B-d. Lissitzky.
Inventory number: 6.0313 g.
Provenance: J.M.A.Oud-Dinaux, Wassenaar, 1970.
Literature: Eindhoven 1965 cat. no. C4a; Oxford 1977 cat. no. 35.

125-133
Sundries


125
[Caricature (self-portrait?)]

Date: For 1924.
Technique: Pencil on thin transparent paper.
Dimensions: 24.5 x 30.6; inner dimensions 20.3 x 25.2.
Not marked.
Inventory number: 2.0311-L49.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Eindhoven 1965 cat. no. F2; Hannover 1988 cat. no. 43.

A figure, possibly Lissitzky himself, is sitting on a drawing-like pen like a witch on a broomstick, drawing circles in the air or on the wall. The nib of the pen is stuck next to a ruler into a sheet of paper on which some sketch lines are visible. The drawing-table rests on a trestle. A clock on the left indicates 2½ minutes to twelve, the calendar beneath it shows the figure 20 and some illegible scrawls (perhaps a Cyrillic F?).
Lissitzky made several caricatures of himself, a number of which are known from his letters to Sophie Lissitzky-Küppers (see Lissitzky-Küppers 1967 ill. p.41-43).


126
[Red circle on black paper]

Date: Before 1924.
Technique: Gouache on black paper.
Dimensions: 49.9 x 35.4; diameter of circle 12.8.
Not marked.
Inventory number: 2.0275-L28.
Provenance: I. Vordemberge-Leda, Stuttgart, 1968.
Literature: Köln 1976 cat. no. 70; Oxford 1977 cat. no. 14.

This very summary gouache was found also in the portfolio with works by Lissitzky in the Vordemberge-Leda collection


127
Klinom krasnym bej belych
[Beat the Whites with the Red Wedge]

Date: 1966
Technique: Reprint of the original edition of 1919-20, Gerhardt Verlag Berlin (In: Plakate der Russischen Revolution. 1917-1929. Herausgegeben von Giuseppe Garritano).
Dimensions: 48.5 x 69.2; inner dimensions including text beneath the poster 46.5 x 56.5.
Marked: [lower left in print, Cyrillic: LL.
[below in print, Cyrillic:] N 19 Litizdat Politupravaenija Zapfronta Unovis [No.19 Lit. publishing house of the Politburo of the West-front Unovis].
Inventory number: 3.0276-L29.
Provenance:
Literature: Berlin 1967 cat. no. 183 (as original); Berlin 1977b cat. no. 1/124 (as original 1919); Birnholz 1973a p. 110-114, ill. 55; Chardžiev 1962 p. 148; Eindhoven 1990 repr. 76; Lissitzky-Küppers 1967 ill. 40; Oxford 1977 cat. no. 8 (as reprint 1968).

This poster was issued in the course of 1919-1920. Lissitzky still used the signature 'LL' (Lazar Lissitzky) here. Later on he used 'EL' or 'El Lissitzky.' Malevič's influence is first distinctly recognizable in this poster: triangles, rectangles, bars and circles, much as Malevič used them in his Suprematist paintings. The poster was commissioned: it was to make propaganda for the Red Army in the fight against the White Russians; the civil war was by no means over yet. The poster shows a red triangle penetrating a white circle on a black ground; two hatched rectangles are retreating in the face of the attacking red wedge, while a smaller red wedge pursues a small white circle in the upper right.
There is some similarity with the symbols used on military maps (Birnholz 1973c p. 131).


128
Reconstruction of the Prounenraum at the Grosse Berliner Kunstausstellung 1923

Date: 1965
Technique: Construction of wooden walls; oilpaint on interior surface; some reliefs affixed to the walls. Execution in the Van Abbemuseum supervised by Jean Leering.
Dimensions: 300 x 300 x 260 (length x breadth x height).
Inventory number: 6.0306-L44.
Literature: Berlin 1967 cat. no. 203; Berlin 1977b cat. no. 1/839; Bern 1984 cat. no. 97; Eindhoven 1965 cat. no. D4; Eindhoven 1990 repr. 60; Frankfurt 1972 cat. no. 15, ill. 66; Hannover 1988 cat. no. 158 ill. 199; Los Angeles 1980 cat. no. 155; Münster 1981 cat. no. 42; Oxford 1977 cat. no. 31.
Literature: (on the original version): Lissitzky, 'Prounenraum. Grosse Berliner Kunstausstellung 1923'; Lissitzky, 'Demonstrationsräume'; Birnholz 1969 p. 70-71; Birnholz 1973a p. 157, 168-174; Helms in Eindhoven 1965 p. 26;

The Proun Room was a combination of different proun compositions on the walls of a small square space. Long slats were attached to the walls, interconnecting the compositions, which also comprised reliefs. The first wall, on the right, has a diagonal main axis, the second a horizontal, the third a vertical, and the fourth wall unites the three main axes in a square.
A lithograph from the 1. Kestner Portfolio 'Proun' shows the entire Proun space folded outwards (cat. no. 38). Another lithograph from this portfolio shows the relief on the left wall (ill. 27; Eindhoven 1990 repr. 55.6). A painting in The Hague shows the composition on the rear wall, with some slight alterations (ill. 28; Eindhoven 1990 repr. 31). In addition to photographs of the original space (Eindhoven 1990 repr. 59) these works served as the starting-point for the reconstruction.
The Tretyakov Gallery has designs for the three walls of the Proun Room (Eindhoven 1990 repr. 57-58) and a sketch (Eindhoven 1990 repr. 56). This sketch shows a ceiling with a round proun composition, probably Proun 43 (see at cat. no. 83).
A second reconstruction was made in 1971 (inventory number 6.0315).


129
[Photo of the painting Round Proun]

Date: 1926
Technique: Photo of the painting from 1926.
Dimensions: 17.6 x 23.3; inner dimensions diameter 16.1.
Marked: [on the reverse in Lissitzky's handwriting:] El Lissitzky / Proun. / "Proun . ist . die . Umsteigestation . von . Malerei . nach . Architektur".
[stamped:] Frau M. Fimmen-Lindig / Phot. Anstalt F. Kunst u. Technik / Dresden-A.24 / Nürnbergerstr.26 / Tel. 43705.
Inventory number: 6.0313 h.
Provenance: J.M.A.Oud-Dinaux, Wassenaar, 1970.
Literature: Eindhoven 1990 ill. 6, 8, repr. 120;

In February 1926 Lissitzky wrote Sophie Küppers: 'Then I can see that I'm with you [in Dresden] at the end of April - beginning of May. Then I'll also paint with you the few works which are desired of me, if you'll help me - because I have already forgotten how to paint.' (letter 8-2-1926, Lissitzky-Küppers 1967 p. 71). The painting reproduced on this photo, Round Proun, gouache on paper affixed to wood, diameter 92, is one of those few works Lissitzky made in 1926 for the International Art Exhibition in Dresden, and exhibited in the space designed by him (ill. 41). It was bought by Ida Bienert. It was most probably confiscated by the nazi's during transport to the Kunstmuseum in Basel (information supplied by Will Grohmann in a letter to Jean Leering, 1965, in the Lissitzky archives in the Van Abbe Museum).
A lithograph and a gouache of this composition exist (see cat. no. 31).


130
El Lissitzky,
Die vier Grundrechnungsarten
[The four arithmetical principles]
Galerie Gmurzynska, Cologne 1976

Portfolio with 12 screen prints. Edition of 200, numbered and signed by Jen Lissitzky, son of El Lissitzky and Sophie Lissitzky-Küppers]
Date: 1976
Technique: Screen prints produced after the original gouaches from 1928.
Dimensions: 25.0 x 32.5 per sheet (the originals 24.8 x 32.5 / 24.8 x 65).
Inventory number: 3.0790.
Provenance: Galerie Gmurzynska, Köln, 1977.
Literature: Eindhoven 1990 repr. 97;
Literature: (on the original drawings) Birnholz 1973a p. ***; Chardžiev 1962 p. 160; Lissitzky-Küppers 1967 ill. 147-151.

The designs were meant to teach children the basics of arithmetic and Soviet socialist politics at once. Addition, subtraction, multiplication and division were demonstrated by means of pictures of for instance 1 worker, 1 peasant and 1 red army soldier, who together form 3 comrades. The book was not published in the artist's lifetime.
Lissitzky made the designs during his holiday in Austria after the successful Pressa exhibition. There are some additional designs besides these twelve that were published as screen prints in 1976.
In a drawing in a visitor's book in Austria (a photo of which is in the Van Abbe Museum) Lissitzky used the composition of a cyclist, constructed with 8 Cyrillic letters and a point.


131
El Lissitzky,
Russland. Die Rekonstruktion der Architektur in der Sowjetunion.
Verlag von Anton Schroll & Co., Wien 1930.

Book, 104 pages. The original cover with El Lissitzky's design is missing.
Technique: Letterpress black.
Dimensions: 29.0 x 23.0.
Marked: [in print on back of cover:] Umschlag und Einband von El Lissitzky, Moskau.
Inventory number: 7.0313 u.
Provenance: H. Zwart, 1970.

El Lissitzky was commissioned by the publisher to write this book in 1929; he deigned the cover of this and of two other publications in the series 'Neues Bauen in der Welt,' Richard J. Neutra, Amerika and Robert Ginzburger, Frankreich.
The original cover is a montage of a photograph of a worker on a scaffold and a section of the painting Proun 1E 'City' (for lithograph of Proun 1E see cat. no. 26).


132
Letters and postcards to J.J.P. Oud

Dated: Between 28-4-1923 and 26-12-1928.
Inventory number: 7.0313 i (6 cards) and 7.0313 j (14 letters).
Provenance: J.M.A.Oud-Dinaux, Wassenaar, 1970.
Literature: Eindhoven 1990 repr. 148;

Lissitzky and Oud first met in May 1923, when Lissitzky visited Holland in connection with the First Exhibition of Russian Art in the Netherlands (see cat. no. 85). They met again later in that year in Weimar. A correspondence, not very frequent but highly interesting, ensued. The letters were published in Lissitzky-Küppers 1977, together with one letter from Oud to Lissitzky; it is the reply to Lissitzky's letter of 30 June 1924.
From 21 May 1924 on Lissitzky drew a vignette in the top right corner of his writing paper: a blue horizontal, a red horizontal and vertical, a blue E and a red L. From 3 April 1925 on he usually used paper with his own letterhead designed in Switzerland, with a printed vignette in the upper right. The same vignette occurs on the labels that were affixed to the back of his paintings. On one of these labels, in the possession of VEB Verlag der Kunst Dresden, is typed: 'Minusio Locarno Villino Raetia'; and written in pencil (in German): 'I have just received this proofsheet from the printer, the typesetter asked me to inform him whether he had understood correctly: Light (red arrow) breaks through the dark (black). What should I answer?
A collage from 1923 shows the same theme (ill. 61; Eindhoven 1990 repr. 50).
In the second volume of this catalogue (plates) you can find the uncorrected exact original German text of all letters and cards to Oud which are in the Van Abbe Museum.


133
Autobiography of El Lissitzky

Date: Moscow, June 1941, German transcript by Sophie Lissitzky-Küppers in 1965 of the original Russian.
Inventory number: 7.0313 k.
Provenance: Sophie Lissitzky-Küppers, Novosibirsk, 1965.

This autobiographical text, written in Lissitzky's latest year, deals primarily with his activities in and for the Soviet Union. The text corresponds largely with the version in the catalogue of Eindhoven 1965 and in many later catalogues. However, the editor of that text, Jan Tschichold, added a fairly large number of supplementary data, as Lissitzky's Jewish works, mentioning of which might have endangered his life at that time. Some data were omitted.
An English translation of the text follows on the next pages, with notes by the author of this catalogue.


Autobiography of the artist
Lazar Markovič Lissitzky



I was born on 23 November 1890 in a village in the province of Smolensk. Grew up in Smolensk, in the home of my grandfather, a cap-maker. Completed secondary school there. At the age of 15 I started earning money by giving drawing lessons. Passed the entrance examination of the art academy in Leningrad but, being a Jew, was not admitted due to the restricted percentage. Went to Germany to study there and graduated from the architecture faculty in Darmstadt in 1914. I studied art during my trips through Europe; went to Paris. In the summer of 1912 I travelled more than 1200 km in Italy on foot, learning and drawing.
In 1912 my works were accepted for the first time at the large exhibition in Petersburg.
From 1915 in I lived in Moscow, exhibiting each year. Early works 'Reminiscences of Italy' were bought by collectors; they were nationalized during the October Revolution for the Museum Fund.
In 1916-1917 took part in the exhibitions of 'Mir Iskusstva' (World of Art) and 'Bubnovyj Valet' (Jack of Diamonds).
From the beginning of the Revolution I was a member of the Committee for Art. Was commissioned for the first Soviet flag for the First of May 1918, which was carried across Red Square by members of the government.
Later I worked at 'Izo Narkomprosa'.
From 1919 I taught at the Higher Artists' Workshops in Vitebsk (our students Suetin, Judin and others).
Carried out assignments for political propaganda on the south front. (Poster: With the red wedge - beat the whites).
During my stay in Germany in 1922 I collaborated with the writer Ehrenburg, on the Magazine Vešč (Gegenstand) (first pro-Soviet edition).
Took part in organizing the First Russian Art Exhibition 1922-23 in Berlin and Amsterdam.
My works were purchased by European and American collectors and museums. The museum in New York acquired a 'Proun' from the Soviet Exhibition.
At this time, in 1923, I contracted pulmonary tuberculosis.
Back in Moscow in 1925 - teacher at 'Vchutemas' of interior design and furniture at the faculty of wood and metalwork. In 1926 my most important artistic work began: designing exhibitions. In that year I was invited by the committee of the International Exhibition of Art in Dresden to design the space for contemporary art. Was sent abroad for by 'VOKS'.
1927 Exhibition of Typography in Moscow.
1928 Appointed by government decree as leading artist of the Soviet Pavilion at the International Press Exhibition 'Pressa' in Cologne. The design of the Soviet pavilion was called a great success of Soviet culture in the international press. Received token of government approval for this commission.
In 1929, design of the Soviet department 'Film and Photo' in Stuttgart.
In 1930, appointed leading artist of the Soviet pavilion at the International Hygiene Exhibition in Dresden. Also at the International Fur Trade Exhibition 'IPA' in Leipzig.
In this way I became a pioneer of the artistic design of our politically committed exhibitions. In subsequent years I was continually asked to collaborate on our main exhibits.
In 1935 I was appointed leading artist of the All-Soviet Agricultural Exhibition. I opposed the errors of the first leader, and resigned. Afterwards, while I was still in the sanatorium, I took over the design of the main building. The design of the main hall has been done according to my idea until now.
From 1931 on, I was leading artist-architect of the 'Permanent Building Exhibition'. But as the years went by, my health deteriorating, I had less and less energy left for this type of commission, such as the realization of large-scale exhibitions.
I still succeeded in designing the project for the museum-exhibition of the Ministry of 'Social Security'. The Soviet department in Paris 1932. For the exhibition in New York I designed the restaurant in our pavilion.
In 1941 the last exhibition for 'Vneš-torga' (Foreign Trade Department) for the Soviet pavilion in Belgrade. Just when everything was ready to be transported, the exhibition had to stay behind in Moscow: war!
At the time when I was working on the exhibitions I was also very active as a book artist and in photo montage (for I could carry out those assignments when my sickness obliged me remain lying down).
In 1928 I designed a photo-montage frieze of 24 by 3.5 m for our 'Pressa' pavilion. It became the example par excellence for all larger-than-life montages, which were a permanent feature of the exhibitions from then on.
During Majakovskij's stay in Berlin in 1923 I was commissioned to design his book 'For the Voice'. The book was recognized as the starting-point of a new typography, and the Gutenberg Society in Mainz made me a member.
Another field of my work is the artistic and polygraphic design of albums and periodicals.
1932 For the 15th anniversary of the Soviet Union, 'Isogis' publishing house.
1934 'Soviet Sub-tropics', Ogonëk - edited by Kolzov.
1935 Album to celebrate the 15th anniversary of the Red Army. RKKA. 'Isogis' publishing house, edited by PUR.
1936 'Food Industry', Za Industrializaciej' publishing house.
1940 'USSR' album 'Isostat' (Institute for Artistic Statistics) for the American exhibition.
1940 'Soviet Georgia'. Gosplanizdat publishing house.
From 1932 I was permanent collaborator as book designer for the magazine 'Building the USSR'. Designed special issues such as 'Dneprostroj', 'Red Army', 'Navy'. A special edition consisted of four issues, devoted to the 'Constitution'.
I made posters, some of which were reproduced in periodicals in the Soviet Union and abroad.
I wrote about problems concerning art and architecture, wrote a few books.
Magazines all over the world devoted attention to my works.
At present, not taking my serious illness into account, I still hope to make something for the 25th anniversary of the October Revolution.

El Lissitzky June 1941 Moscow Notes



The Lissitzky-archives in the
Van Abbe Museum



During his search for works by El Lissitzky and data concerning these and the artist Jean Leering wrote a large number of letters, to which he received an almost equally large number of replies. Very many people who were in some way connected with Lissitzky and who were still alive in 1965 corresponded with Leering, including Arp, Ehrenburg, Gabo, Gropius.
These letters deal mostly with tracing the possible whereabouts of works by Lissitzky, but they occasionally contain additional useful information.
The archives further comprise a very extensive collection of cuttings and numerous photographs of works by Lissitzky that are kept elsewhere.


Texts by El Lissitzky



Lissitzky published a large number of articles, held numerous lectures and wrote many letters. In these texts one can see a development that runs parallel to his visual work.
This bibliography lists texts by Lissitzky. The original data are given in bold type. The title is followed in square brackets by a one-letter indication of the language of the original and an English translation. Below that in smaller type I listed publications in which the text has been re-published in recent years, indicated by abbreviated titles which can be found in the bibliography of texts on Lissitzky at the end of this book.
Lissitzky's letters are not included in this list. You can find letters to Sophie Küppers in Lissitzky-Küppers 1967 and Lissitzky-Küppers 1977; in the latter you can also find the letters to Oud from the Van Abbe Museum and letters to Tschichold and Čašnik.

G. = German
E. = English
F. = French
H. = Hebrew
Y. = Yiddish
N. = Netherlands
R. = Russian
C. = Czech

1919

'Novaja kul'tura' [R. New Culture], Škola i revoljucija no. 24-25 (August 16, 1919), p. 11.



1920

'Suprematizm tvorčestva' [R. The suprematism of the creative work], Al'manach Unovis no.1, Vitebsk 1920.
Publ. G.: 'Der Suprematismus des Schöpferischen', Lissitzky-Küppers 1977 p.15-20.

[R. The suprematism of the construction of the world (original Russian title unknown)], Al'manach Unovis no.1, Vitebsk 1920.
Publ. G.: 'Der Suprematismus des Weltaufbaus', Lissitzky-Küppers 1967 p.327-330.
Publ. E.: 'Suprematism in World Reconstruction', Lissitzky-Küppers 1980 p.331-334; Bowlt p.151-158.



1921

'Katastrofa architektury' [R. The catastrophe of architecture], IZO. Vestnik otdela izobrazitel'nych iskusstv Narkomprosa no.1 [IZO. Bulletin of the visual art section of Narkompros no.1], 10 March 1921.
Publ. G.: 'Die Katastrophe der Architektur', Lissitzky-Küppers 1967 p.364-366.
Publ. E.: 'The Catastrophe of Architecture', Lissitzky-Küppers 1980 p.369-371.

Prouny [R. Prouns], Lecture INChUK 23-9-1921. Manuscript in private archive, Moscow.
Publ. G.: Köln 1976 p.59-72; Lissitzky-Küppers 1977 p.21-34.
Publ. E.: Köln 1976 p.59-72.



1922

[Y. The Conquest of Art], Ringen No. 10 (1922), pp. 32-34.
Publ. E.: Cambridge 1987 pp. 59-61.

Il'ja Ehrenburg and El Lissitzky, 'Die Blockade Russlands geht ihren Ende entgegen. Le blocus de la Russie touche à sa fin. Blokada Rossii končaetsja' [G. F. R. The blockade of Russia moves towards its end], Vešč-Gegenstand-Objet 1922 no.1/2 p.1-4.
[Written by Ehrenburg, but signed by both Ehrenburg and Lissitzky].
Publ. G.: Lissitzky-Küppers 1967 p.340-342.
Publ. E.: 'The Blockade of Russia moves towards its End', Lissitzky-Küppers 1980 p.344-345.

Ulen (El Lissitzky), 'Die Ausstellungen in Russland' [G. The exhibitions in Russia], Vešč-Gegenstand-Objet 1922 no.1/2 p.18-19.
Publ. G.: Lissitzky-Küppers 1977 p.35-40.

Die Redaktion des "Gegenstand" Eli Ehrenburg en El Lissitzky, 'Deklaration an den ersten Kongress fortschrittlicher Künstler, Düsseldorf' [G. Declaration at the first congress of progressive artists, Düsseldorf], De Stijl V (1922) no.4 p.56-57.

Theo van Doesburg, Hans Richter and El Lissitzky, 'Erklärung der Internationalen Fraktion der Konstruktivisten des ersten Internationalen Kongresses der fortschrittlichen Künstler' [G. Declaration of the International Fraction of Constructivists of the first international congress of progressive artists], De Stijl V (1922) no.4 p.61-64.

'Proun. Nicht Weltvisionen, SONDERN - Weltrealität' [G. Proun. Not world visions, BUT - world reality], De Stijl V (1922) no.6 p.81-85.
Publ. G.: Eindhoven 1965 p.39-41; Lissitzky-Küppers 1967 p.344-345.
Publ. E.: 'Proun. Not World visions, BUT - World Reality, Lissitzky-Küppers 1980 p.347-348.
[This text dates from 1920. A typed copy, in German, which differs slightly from the published text, is in the INChUK archives. See Chan-Magomedov p.557 note 3.]

'Vystavki v Berline' [R. Exhibitions in Berlin], Vešč-Gegenstand-Objet 1922 no.3 p.14.
Publ. G.: 'Ausstellungen in Berlin' Lissitzky-Küppers 1967 p.342- 343.
Publ. E.: 'Exhibitions in Berlin', Lissitzky-Küppers 1980 p.345-346.

'Neue Russische kunst' [G. New Russian art]. Lecture 1922 and 1923 held in i.a. Berlin, Hanover and Amsterdam on the occasion of the 1st Russian Art Exhibition. Typed manuscript in the Central State Archives of Literature and Art, Moscow.
Publ. G.: Lissitzky-Küppers 1967 p.330-340.
Publ. E.: 'New Russian Art', Studio International 176 no.904, Oct. 1968, p.146-151; Lissitzky-Küppers 1980 p.334-344.

Theo van Doesburg, Hans Richter, Karel Maes, Max Burchartz, El Lissitzky. 'K.I. Konstruktivistische Internationale Schöpferische Arbeitsgemeinschaft. I.C. Union Internationale des Constructeurs néoplastiques. K.I. Konstruktivistische Internationale beeldende arbeidsgemeenschap' [G. F. N. Constructivist International Union of Creative Artists], De Stijl V (1922) no.8 p.113-119.



1923

'Vegen der Mohilever Schul' [Y. The Mohilev Synagogue. Reminiscences.], Milgroim 1923 no.3 p.9-13.
Publ. H.: 'Bet ha-kneset be-Mohilev. Zikhronot', Rimon 1923 no.3 p.9-13.
Publ. E.: 'The Mohilev Synagogue. Reminiscences', Cambridge 1987 pp. 55-59.

'Topographie der Typographie' [G. Topography of typography], Merz no.4, July 1923.
Publ. G.: Eindhoven 1965 p.20; Lissitzky-Küppers 1967 p.356.
Publ. E.: Lissitzky-Küppers 1980 p.359.

'Prounenraum. Grosse Berliner Kunstausstellung 1923' [G. Proun Room. Great Berlin Art Exhibition 1923], G - Material zur elementaren Gestaltung no.1, july 1923.
Publ. G.: Eindhoven 1965 p.57; Lissitzky-Küppers 1967 p.361.
Publ. E.: 'Proun Room, Great Berlin Art Exhibition 1923', Lissitzky-Küppers 1980 p.365.

'Rad - Propellor und das Folgende. Unsere Gestaltung - unsere Bewegungssysteme' [G. Wheel - Propeller and what follows. Our creation of form - our system of motion], G - Material zur elementaren Gestaltung. no.2 September 1923. Also in: ABC II (1926) no.1 p.3-4.
Publ. G.: Lissitzky-Küppers 1967 p.346.
Publ. E.: 'Wheel - Propeller and what follows. Our creation of form - our system of motion', Lissitzky-Küppers 1980 p.349.

'Aus einem Brief' [G. From a Letter], Paul Westheim, ed., Künstlerbekenntnisse, Berlin [1923] p.357.
Publ. G.: Lissitzky-Küppers 1967 p.345-346.
Publ. E.: 'From a Letter', Lissitzky-Küppers 1980 p.348-349.

'Die plastische Gestaltung der elektro-mechanischen Schau Sieg über die Sonne' [G. The plastic form of the electro-mechanical peepshow "Victory over the sun"]. Foreword on the title-page of the Figurine portfolio, Hanover 1923
Publ. G.: Richter; Lissitzky-Küppers 1967 p.349.
Publ. E.: 'The Electro-Mechanical Spectacle', Form 1966 no.3, Dec.15; 'The plastic form of the electro-mechanical peepshow "Victory over the sun"', Lissitzky-Küppers 1980 p.351-352.



1924

'Aus einem Briefe' [G. From a Letter], El Lissitzky, Moskau. Schau der Arbeit 1919-1923, Berlin 1924 (brochure)
Publ. G.: ABC. Beiträge zum Bauen II (1926) no.2 p.3.; Lissitzky-Küppers 1967 p.355.
Publ. E.: 'From a letter', Lissitzky-Küppers 1980 p.358.

'1924 √ + oo - = NASCI' [G.], Merz 8/9, April-July 1924
Publ. G.: Eindhoven 1965 p.41; Lissitzky-Küppers 1967 p.348.
Publ. E.: Lissitzky-Küppers 1980 p.351.

'Moskau' and 'Russland' [G.], ABC. Beiträge zum Bauen I (1924) no.1 p.1.
Publ. G.: Lissitzky-Küppers 1977 p.187.

'Element und Erfindung' [G. Element and Invention], ABC. Beiträge zum Bauen I (1924) no.1 p.3-4.
Publ. G.: Lissitzky-Küppers 1967 p.347-348.
Publ. E.:'Element and Invention', Lissitzky-Küppers 1980 p.349-351.

El Lissitzky en Mart Stam, 'Die Reklame' [G. Advertising], ABC. Beiträge zum Bauen I (1924) No.2 p.3-4.
Publ. G.: Tschichold 1925 p.206.



1925

'Architektur Russlands' [G. Architecture of Russia], ABC. Beiträge zum Bauen I (1925) no.3/4 p.1-2.
Publ. G.: Lissitzky-Küppers 1977 p.187-191.

'Atelier Lichtbilder Lissitzky' [G. Studio photos Lissitzky], ABC. Beiträge zum Bauen I (1925) no.3/4 p.8.
Publ. G.:Lissitzky-Küppers 1977 p.191.

'Die Kunst' [G. The Art], ABC Beiträge zum Bauen I (1925) no.6 p.2.
Publ. G.: Lissitzky-Küppers 1977 p.191-192.

[R. A podium for public squares], manuscript, undated, probably from 1924 or 1925.
Publ. G.: 'Rednertribüne für öffentliche Plätze', Lissitzky-Küppers 1977 p.186.

'K und Pangeometrie' [G. A. and Pangeometry], C.Einstein en P.Westheim ed., Europa Almanach 1925, Potsdam 1925, p.103-113.
Publ. G.: Eindhoven 1965 p.42-47; Lissitzky-Küppers 1967 p.349- 354.
Publ. E.: 'A. and Pangeometry', Lissitzky-Küppers 1980 p.352-358.

'SSSR's Architektur' [G. Architecture in the USSR], Das Kunstblatt IX (1925) No. 2, February, p.49-53.
Publ. G.: Eindhoven 1965 p.54-56; Lissitzky-Küppers 1967 p.366- 368.
Publ. E.: 'Architecture in the USSR', Lissitzky-Küppers 1980 p.371-373.

El Lissitzky en Hans Arp, Die Kunstismen 1924-1914. Les Ismes de l'art 1924-1914. The Isms of Art 1924-1914 [G. F. R.], Erlenbach-Zürich 1925

'Typographische Tatsachen, z. B.' [G. Typographical facts, for instance], Gutenberg Festschrift, Mainz 1925.
Publ. G.: Eindhoven 1965 p.48-49; Lissitzky-Küppers 1967 p.356- 357.
Publ. E.: 'Typographical Facts', Lissitzky-Küppers 1980 p.359-360.

[R. Answer to a questionnaire], Manuscript, Reaction to a letter from Brno, 25-2-1925, for an encyclopedia].
Publ. G.: 'Antwordt auf einen Fragebogen', Lissitzky-Küppers 1977 p.193.

'Amerikanizm v evropejskoj architekture' [R. Americanism in European architecture], Krasnaja Niva [Red Field] 1925 no.49.
Publ. G.: 'Der "Amerikanismus" in der europäischen Architektur', Lissitzky-Küppers 1967 p. 368-371.
Publ. E.: '"Americanism" in European Architecture', Lissitzky-Küppers 1980 p.373-375.



1926

'Serija neboskrebov dlja Moskvy' [R. A series of skyscrapers for Moscow], Izvestija Asnova no.1 1926
Publ. G.: 'Eine Serie von Hochhäusern für Moskau, Lissitzky-Küppers 1977 p.80-83. Halle 1982 p.63-66.

'Doma ili ulicy? Otkrytoe pis'mo Mossovetu' [R. Houses or streets? An open letter to the Mossoviet], Izvestija Asnova no.1 1926

'V zaščity konkurrentov' [R. In defence of the competitors], Izvestija Asnova no.1 1926
Publ. G.: 'Zur Verteidigung der Wettbewerbsteilnehmer', Lissitzky-Küppers 1977 p.84-86.

'Viking Eggeling' [R.], Izvestija Asnova no.1 1926
Publ. G.: Lissitzky-Küppers 1977 p.205-206.

'Architektura železnoj i železobetonnoj ramy' [R. The architecture of the steel and reinforced concrete framework], Stroitel'naja Promyšlennost' [Building Industry] 4 (1926) no.1 p.59- 63.
Publ. G.: 'Die Architektur des Stahl- und Stahlbetonrahmens', Lissitzky-Küppers 1977 p.70-79.

'Glaz Architektora. Izloženie knigi E.Mendel'sona' [R. The eye of the architect. Review of the book by E. Mendelsohn], Stroitel'naja Promyšlennost' [Building Industry] 4 (1926) no.2 p.144-146.
Publ. G.: Das Auge des Architekten', Lissitzky-Küppers 1977 p.64- 69.

'Ploskie kryši i ich konstrukcii' [R. Flat roofs and their construction], Stroitel'naja Promyšlennost' [Building Industry] 4 (1926) no.11 p.820-822.

'Kul'tura žil'ja' [R. Dwelling culture], Stroitel'naja Promyšlennost' [Building Industry] 4 (1926) no.12 p.877-881.
Publ. G.: 'Wohnkultur', Lissitzky-Küppers 1977 p.55-63.

'Unser Buch' [G. Our book], Gutenberg Jahrbuch, Mainz 1926/27, p.172-178.
Publ. C.: 'Kniha s hlediska zrakového dojmu - kniha visuelní', Typografia (Prague) 36 (1929) p.173-180; 'Kniha z hlediska zrakového vjemu - Kniha vizuální', Knižni kultura 1 (1964) p.278-283.
Publ. R.: 'Kniga s točki zrenija zritel'nogo vosprijatija - vizual'naja kniga', Iskusstvo knigi no.3, 1962, p.163-168.
Publ. G.: Eindhoven 1965 p.49-53; Lissitzky-Küppers 1967 p.357- 360; Tschichold 7 p.10-17.
Publ. E.: 'Our Book', Lissitzky-Küppers 1980 p.360-363.

[R. The film of EL's life till 1926], typed manuscript, Central State Archives of Literature and Art, Moscow, no. 58.
Publ. G.: 'Der Lebensfilm von EL bis 1926', Lissitzky-Küppers 1967 p.325-326.
Publ. E.: 'The Film of EL's Life, Lissitzky-Küppers 1980 p.329-330, abridged.



1927

'Bauchauz v Dessau' [R. The Bauhaus in Dessau], Stroitel'naja Promyšlennost' [Building Industry] 5 (1927) no.1 p.53-54.

'Funkcional'naja architektura' [R. Functional architecture], Stroitel'naja Promyšlennost' [Building Industry] 5 (1927) no.1 p.55.

'Anketa arch. Gropiusa' [R. Questionnaire of the architect Gropius], Stroitel'naja Promyšlennost' [Building Industry] 5 (1927) no.3 p.192-195.

Demonstrationsräume [G. Demonstration spaces], typed manuscript in Niedersächsisches Landesmuseum (***) Hanover.
Publ. G.: Hannover 1962 p.198-200; Eindhoven 1965 p.58-59; Lissitzky-Küppers 1967 p.362-363.
Publ. E.: 'Exhibition Rooms', Lissitzky-Küppers 1980 p.366-367.

'Chudožnik v proizvodstve' [R. The artist in production], Vsesojuznaja Poligrafičeskaja Vystavka, putevoditel' [All-Union Polygraphic Exhibition, guide], Moskva 1927.
Publ. G.: 'Der Künstler in der Produktion', Lissitzky-Küppers 1977 p.113-117.



1928

'Idoly i idolopoklonniki' [R. Idols and idol-worshippers], Stroitel'naja Promyšlennost' [Building Industry] 6 (1928) no.11-12 p.854-858.
Publ. G.: 'Idole und Idolverehrer, Lissitzky-Küppers 1977 p.41- 54.



1929

[R. The artistic reasons for the standardization of individual civilian furniture], Lecture Moscow 1929 for the department of Standardization of the NTU [Naučno-Techničeskoe Upravlenie, Scientific-Technical Bureau], manuscript.
Publ. G.: 'Die künstlerische Voraussetzungen zur Standardisierung individueller Möbel für die Bevölkering', Lissitzky-Küppers 1977 p.92-112.

'Fotopis'' [Photography], Sovetskoje foto 15 May 1929 no. 10, p. 311
Publ. N.: Eindhoven 1990 p. 70
Publ. E.: Eindhoven 1990 p. ***
Publ. G.: Neusüss 1990 p.136-137



1930

Russland. Die Rekonstruktion der Architektur in der Sowjetunion [G. Russia. The reconstruction of architecture in the Soviet Union] (Neues Bauen in der Welt, Band 1), Wien 1930 [text dated Moscow October 1929]
Publ. G.: El Lissitzky, Russland: Architektur für eine Weltrevolution, Berlin etc. 1965.
Publ. E.: El Lissitzky, Russia: An Architecture for World Revolution, Cambridge 1970.

[R. Minutes of the meeting on 11-1-1930 of Mejerchold with the architect Lissitzky].
Publ. G.: 'Protokoll eines Gesprächs zwischen V. Meyerhold und dem Architekten Lissitzky, Köln 1976 p.77-78; Lissitzky-Küppers 1977 p.201-202.
Publ. E.: Transcript of a Conversation between V. Meierkhold and the Architect Lissitzky', Köln 1976 p.77-78.

'Der Innen-Aufbau des Theaters Meyerhold-Moskau für Tretjakows "Ich will ein Kind,"' [G. The interior construction of the Meyerhold theater Moscow for Tretjakov's "I want a child"], Das Neue Frankfurt vol. IV no. 10 (1930), p. 226.

1931

A.Gan, S.Telingater, El Lissitzky, 'Ne otryvat' formu ot soderžanija!' [R. No separation between form and content!], Brigada Chudožnikov [Artists' Brigade] 1931 no.4, p. 23.
Publ. G.: 'Trennt nicht die Form vom Inhalt!', Lissitzky-Küppers 1977 p.194-196 (abridged); Gassner/Gillen p.212-214 (abridged).
Publ. E.: Cambridge 1987 pp. 61-62.



1932

[R. Lissitzky speaks], typed manuscript, Central State Archives of Literature and Art, Moscow, dated Schodnja 31-7-1932.
Publ. G.: 'Das Wort hat Lissitzky', Lissitzky-Küppers 1967 p.326; 'Beim Aufbau des Sozialismus', Lissitzky-Küppers 1977 p.220-221 (abridged).
Publ. E.: 'Lissitzky speaks', Lissitzky-Küppers 1980 p.330.



1934

'Forum socialističeskoj Moskvy' [R. The forum of socialist Moscow], Architektura SSSR 1934 no.10.
Publ. G.: 'Das Forum des sozialistischen Moskaus', Lissitzky-Küppers 1977 p.87-91.

[R.] Lecture for the committee for the organization of the all-Union architecture exhibition on the occasion of the architects' congress of the USSR, 2-11-1934, manuscript.
Publ. G.: 'Vortrag beim Komitee zur Organization der Allunions- Architektur-Ausstellung anlässlich des Architektenkongresses der UdSSR, Lissitzky-Küppers 1977 p.209-213.



1939

[R.] Interview with Lissitzky, 15-2-1939, by L. Feigelmann. Manuscript in Majakovskij Museum Moscow.
Publ. G.: 'Ein Gespräch mit dem Künstler Lissitzky, Lissitzky-Küppers 1977 p.203-205.

[R. For the elaboration of the designs of the architectonic-artistic construction of the department of urban economics in the "Palace of Technology"].
Publ. G.: 'Zur Ausarbeitung der Entwürfe des Architektonisch- Künstlerischen Aufbaus des Sektors Kommunalwirtschaft im "Palast der Technik"', Lissitzky-Küppers 1977 p.214-217.

[R. Explanatory notes on the provisional project of the artistic design of the exhibits of the People's Commissariat for Heavy Industry for the Soviet pavilion at the International Exhibition in New York 1939, dated 20-9-1939].
Publ. G.: 'Erläuterungsbericht zum Vorprojekt der künstlerischen Gestaltung der Exponate des Volkskommissariats für Schwerindustrie für den Sowjetischen Pavillon auf der Internationalen Ausstellung in New York 1939', Lissitzky-Küppers 1977 p.218-219.



1940

[R. A questionnaire on furniture].
Publ. G.: 'Aus einem Fragebogen zu Möbeln', Köln 1976 p.79-80; Lissitzky-Küppers 1977 p.197-198.
Publ. E.: 'From a Questionnaire on Furniture', Köln 1976 p.79-80.

'Svedenija o tvorčestve chudožnika knigi' [R. Data on the oeuvre of a book artist], manuscript, Central State Archives for Literature and Art Moscow.
Publ. G.: 'Angaben zum Werk des Buchkünstlers, Köln 1976 p. 81-82; Lissitzky-Küppers 1977 p.199-200.
Publ. E.: 'Information on the Work of the Book Artist'. Köln 1976 p.81-82.



1941

[R. Autobiography].
Publ. G.: Eindhoven 1965 p.33-35; Halle 1982 p.4-7; Köln 1976 p.88-90.
Publ. E.: Köln 1976 p.88-90.



Texts on El Lissitzky


This bibliography lists works which I referred to and other works on Lissitzky and the Soviet avant-garde.



Abramskij 1964
I. Abramskij, 'Eto bylo v Vitebske', Iskusstvo 27 (1964) nr.10 p.69-71

Abramsky 1962
Chimen Abramsky, 'Eliezer Lissitzky', Jewish Quarterly 9 nr.1 (33), Winter 1962, p.26-27

Abramsky 1966
Chimen Abramsky, 'El Lissitzky as Jewish Illuminator and Typographer', Studio International 172 nr.882, Oct.1966, p.182-185

Amsterdam 1982
Exh. cat. Amsterdam (Stedelijk Museum) and Otterlo (Rijksmuseum Kröller-Müller) 1982, De Stijl 1917-1931, Amsterdam 1982

Andersen 1967
Troels Andersen, Modern Russisk Kunst 1910-1930, Kφbenhavn 1967

Andersen 1979
Troels Andersen, ed, Art et poésie Russes 1900-1930. Textes choisis, Paris 1979

Baljeu 1965a
Joost Baljeu, 'Der Neue Raum in der Malerei El Lissitzkys', in Eindhoven 1965

Baljeu 1965b
Joost Baljeu, 'The Problem of Reality with Suprematism, Constructivism, Proun, Neoplasticism and Elementarism', The Lugano Review I (1965) nr.1, p.105-124

Bann 1974
Stephen Bann, ed, The Tradition of Constructivism, London 1974

Berlewi 1923
Henryk Berlewi, 'Ha-yehudim ba-omanut ha-Rusit be-Berlin 1922', Rimon 1923 nr.3 p.13-16

Berlewi 1923
Henryk Berlewi, 'Yidishe kunstler in der heintiger russisher kunst', Milgroim 1923 nr.3, p.13-16

Berlin 1967
Exh. cat. Berlin (Deutsche Gesellschaft für bildende Kunst und Akademie der Künste) 1967, Avantgarde 1910-1930 Osteuropa, Berlin 1967 [p.28-33 Dietrich Helms on Lissitzky]

Berlin 1977a
Exh. cat. Berlin (Neue Gesellschaft für Bildende Kunst) 1977, Wem gehört die Welt. Kunst und Gesellschaft in der Weimarer Republik, Berlin 1977

Berlin 1977b
Exh. cat. Berlin (Neue Nationalgalerie, Akademie der Künste und Grosse Orangerie des Schlosses Charlottenburg) 1977, Tendenzen der Zwanziger Jahre, Berlin 1977

Berlin 1977c
Exh. cat. Berlin (Akademie der Künste) 1977, "Kunst in die Produktion!" Sowjetische Kunst der Kollektivierung und Industrialisierung 1927-1933, Berlin 1977

Berlin 1983
Exh. cat. Berlin (Akademie der Künste) 1983, Sieg über die Sonne. Aspekte russischer Kunst zu Beginn des 20. Jahrhunderts, Berlin 1983

Bern 1984
Exh. cat. Bern (Kunstmuseum) 1984, Die Sprache der Geometrie, Bern 1984 [p.26-29 on Lissitzky]

Birnholz 1969
Alan C.Birnholz, '"For the New Art": El Lissitzky's Prouns', Artforum 8 nr.2, Oct. 1969, p.65-70 en/and Artforum 8 nr.3, Nov. 1969, p.68-73

Birnholz 1970
Alan C. Birnholz, 'Sophie Lissitzky-Küppers, El Lissitzky, Life, Letters, Texts', The Art Quarterly, Summer 1970, p.182-183

Birnholz 1972a
Alan C. Birnholz, 'El Lissitzky's Writings on Art', Studio International 183 nr.942, March 1972, p.90-92

Birnholz 1972b
Alan C. Birnholz, 'El Lissitzky, the Avantgarde, and the Russian Revolution', Artforum 11 nr.1, Sept. 1972, p.70-76

Birnholz 1973a
Alan C. Birnholz, El Lissitzky (Ph. D. Diss. Yale University, New Haven), Ann Arbor, Mich. and London 1973

Birnholz 1973b
Alan C. Birnholz, 'Notes on the Chronology of El Lissitzky's Proun- Compositions', Art Bulletin 55 nr.3, Sept. 1973, p.437-439

Birnholz 1973c
Alan C. Birnholz, 'El Lissitzky and the Jewish Tradition', Studio International 186 nr.959, Oct.1973, p.130-136

Birnholz 1975
Alan C. Birnholz, 'Time and Space in the Art and Thought of El Lissitzky', The Structurist 1975/76 nr.15/16, p.89-96

Birnholz 1976
Alan C. Birnholz, 'El Lissitzky, Galerie Gmurzynska Cologne 1976, 164 pp', The Structurist 1975/76 nr.15/16, p.173-177

Blotkamp 1971
Carel Blotkamp, 'Titelblad van de Figurinenmappe. El Lissitzky (1890-1941)', Openbaar Kunstbezit 15 (1971) p.3

Boedapest 1987
Exh. cat. Budapest (Palace of Exhibitions) 1987, Art and Revolution. Russian - Soviet Art 1910-1932, Budapest 1987

Bois 1977
Y.A. Bois, 'Lissitzky, Malevitch et la question de l'espace', Exh. Cat. Paris 1977 Suprématisme.

Bois 1978
Y.A. Bois, 'Lissitzky, censeur de Malévitch', Macula 3/4, 1978, p.191-201

Bois 1979
Y.A.Bois, 'El Lissitzky: Reading Lessons', October (USA) II, Winter 1979, p.113-128

Bojko 1963
Szymon Bojko, 'El Lissitzky', Fotografia nr.11 (125) 1963. p.262-266

Bojko 1972
Szymon Bojko, New Graphic design in Revolutionary Russia, London 1972

Boomgaard 1981
Jeroen Boomgaard, Theorie en praktijk van de russiese avantgarde. El Lissitzky's tentoonstellingsontwerpen, Amsterdam 1981

Bowlt 1976
J.E.Bowlt, 'El Lissitzky', New Lugano Review 3 nr.1-2 (1977) p.49-55 (published before in Köln 1976)

Bowlt 1976
John E. Bowlt ed, Russian Art of the Avant-Garde 1902-1934. Theory and Criticism, New York 1976

Brundin 1977
J. Brundin, 'El Lissitzky (Museum of Modern Art, Oxford, England: exhibition review)', Arts Review (U.K.) 29 no.13 (24 juni 1977), p.435

Cambridge 1987
Exh. cat. Cambridge MA (Busch Reisinger Museum) 1987, El Lissitzky (1890-1941), Cambridge MA 1987

Cauman 1960
S. Cauman, The Living Museum. Experiences of an Art Historian and Museum Director - Alexander Dorner, New York 1958

Chagall 1957
Marc Chagall, Ma vie, Paris 1957

Chan-Magomedov 1975
S.O.Chan-Magomedov, 'Lisickij i architektura', Zodčestvo nr.1 (20) 1975, p.150-152

Chan-Magomedov 1983
Selim O.Chan-Magomedow, Pioniere der sowjetischen Architektur. Der Weg zur neuen sowjetischen Architektur in den zwanziger und zu Beginn der dreissiger Jahre, Wien und Berlin 1983

Chardżiev 1961
Nikolaj Chardżiev, 'Pamjati Chudożnika Lisickogo', Dekorativnoe iskusstvo SSSR 1961 nr.2, p.29-31

Chardżiev 1962
Nikolaj Chardżiev, 'El Lisickij - Konstruktor knigi', Iskusstvo knigi 1962 nr.3 p.145-161

Chardżiev 1965
Nikolaj Chardgiev, Letter to the editor, Paragone 1965 nr.183, p.71-81

Cohen 1982
Arthur A.Cohen, Lissitzky (The Avantgarde in Print 2), New York 1982 [10 loose sheets + 6 pages of text in cover]

Curtis 1971
William Curtis, 'Russia: An Architecture for World Revolution', Royal Town Planning Institute Journal 57, July 1971, p.345

Dallas 1977
Exh. cat. Dallas (Museum of Fine Arts) 1977, Berlin/Hannover: the 1920s, Dallas 1977

Dorner 1928
Alexander Dorner, 'Zur abstrakten Malerei', Die Form 3 (1928) p.110-114

Dorner 1930
Dorner, A, Katalog der Kunstsammlungen im Provinzialmuseum zu Hannover. Band 1. Gemälde, Handzeichnungen und Aquarelle, Berlin 1930

Dorner 1947
Alexander Dorner, The Way beyond Art, New York 1947

Dorner 1949
Alexander Dorner, 'El Lissitzky', The Pinacotheca 1949

Dorner 1950
Alexander Dorner, 'El Lissitzky', Collection of the Société Anonyme: Museum of Modern Art, 1920. Yale University Art Gallery, New Haven Connecticut 1950 p

Eichenberg 1967
Fritz Eichenberg, 'Lissitzky and the Russian Avantgarde', Artist's Proof 7, 1967, p.68-71

Eindhoven 1965
Exh. cat. Eindhoven (Stedelijk van Abbemuseum), Basel (Kunstmuseum) und Hannover (Kestner Gesellschaft) 1965-1966, El Lissitzky, Eindhoven und Hannover 1965

Eindhoven 1990
Exh. cat. Eindhoven (Stedelijk Van Abbemuseum), Madrid (Caja de Pensiones) and Paris (ARC) 1990-91, El Lissitzky 1890-1941: architect, schilder, fotograaf, typograaf, Eindhoven 1990

Einstein/Westheim 1925
Carl Einstein en Paul Westheim, eds., Europa-Almanach, Potsdam 1925

Erbslöh 1976
Gisela Erbslöh, 'Pobeda nad solncem'. Ein futuristisches Drama von A.Krutschonych, München 1976

Ferebee 1969
Ann Ferebee, 'El Lissitzky: Design, Technology and the Social Context', Print 23 nr.1 Jan./Febr.1969, p.25-29,100,104,109

Frank 1980
V.Frank, 'Bauen an der Welt von morgen: zum 90. Geburtstag des sowjetischen Künstlers El Lissitzky', Bildende kunst 1980 nr.11, p.542-546

Frank 1983
V.Frank, 'Das Wort hat Lissitzky: zur Lissitzky-Ausstellung der Staatlichen Galerie Moritzburg Halle', Bildende Kunst 1983 nr.2 p.94-96

Frankfurt 1972
Exh. cat. Frankfurt (Kunstverein), Stuttgart (Württembergischer Kunstverein) und Köln (Kunsthalle) 1972-1973, Kunst in der Revolution, Frankfurt 1972

Frankfurt 1986
Exh. cat. Frankfurt/Main (Städelsches Kunstinstitut) 1986, Raumkonzepte. Konstruktivistische Tendenzen in Bühnen- und Bildkunst 1910-1930, Frankfurt am Main 1986

Gabo 1971
Naum Gabo, 'The 1922 Soviet Exhibition' (letter to the editor), Studio International 182 nr.938, Nov.1971, p.171

Gassner/Gillen 1979
Hubertus Gassner und Eckhart Gillen, ed, Zwischen Revolutionskunst und Sozialistischen Realismus. Dokumente und Kommentare. Kunstdebatten in der Sowjetunion von 1917 bis 1934, Köln 1979

Gerčuk/Roskin 1966
Ju.Gerčuk, V.O.Roskin, 'O Lisickom. K 75-letiju so dnja rożdenija', Dekorativnoe Iskusstvo SSSR 1966 nr.5, p.28-30

Giedion 1929
Sigfried Giedion, 'Lebendiges Museum', Der Cicerone 21 (1929) p.103-106

Gilbert 1951
Katherine Gilbert, 'Clean and Organic: A Study in Architectural Semanthics', Society of Architectural Historians 10 nr.3, October 1951, p.3-7

Gray 1959
Camilla Gray, 'El Lissitzky: Typographer', Typographica nr.16, December 1959, p.20-33

Gray 1962
Camilla Gray, The Great Experiment: Russian Art 1863-1922, London 1962

Gray 1986
Camilla Gray, The Russian Experiment in Art 1863-1922. Revised edition, London 1986. First published 1962

Groenendijk/Vollaard 1984
Paul Groenendijk en Piet Vollaard, Lenin tribune 1920/1924 El Lissitzky (Architectuurmodellen 5), Rotterdam 1984

Grohmann 1925
Will Grohmann, 'Dresdner Ausstellungen. Kühl & Kühn: Lissitzky', Der Cicerone 17 (1925) p.378-379

Grohmann 1933
Will Grohmann, die sammlung Ida Bienert (privatsammlungen neuer kunst band 1), Potsdam 1933

Guerman 1979
Mikhail Guerman, ed, Art of the October Revolution, Leningrad 1979

Gumpert 1979
Lynn Gumpert, 'El Lissitzky's Proun I Kestnermappe', Bulletin, Museums of Art and Archeology, The University of Ann Arbor, Michigan, 2 (1979), p.56-69

Halle 1982
Exh. cat. Halle (Staatliche Galerie Moritzburg) und Leipzig (Hochschule für Grafik und Buchkunst) 1982-83, El Lissitzky. Maler, Architekt, Typograf, Fotograf, Halle und Leipzig 1983

Halle 1985
Exh. cat. Halle (Staatliche Galerie Moritzburg) 1985, Im Kampf um die moderne Kunst. Das Schicksal einer Sammlung in der 1. Hälfte des 20. Jahrhunderts, Halle 1985

Halle 1988
Exh. cat. Halle (Galerie Moritzburg) 1988, El Lissitzky 1890-1941, Retrospektive [same as Hannover 1988 with a few additional pages], Halle 1988

Hamand 1982
M.C.Hamand, 'El Lissitzky's Theoretical Writings', Arts Magazine (USA) vol.56 pt.5, (Jan. 1982), p.102-106

Hannover 1962
Exh. cat. Hannover (Kunstverein) 1962, Die Zwanziger Jahre in Hannover, Hannover 1962

Hannover 1977
Exh. cat. Hannover (Kunstverein), Graz (Neue Galerie am Johanneum) und Salzburg (Museum Carolinum Augusteum) 1977-1978, Malewitsch-Mondrian. Konstruktion als Konzept. Alexander Dorner gewidmet, Ludwigshafen am Rhein 1977 [p.88-93 on Lissitzky]

Hannover 1988
Exh. cat. Hannover (Sprengelmuseum) 1988, El Lissitzky 1890-1941. Retrospektive, Frankfurt am Main / Berlin 1988

Helms 1968
Dietrich Helms, 'Das "Kabinet der Abstrakten", Frankfurter Allgemeine 24.Jan.1968, p.11

Hemken 1990
Hemken, Kai-Uwe, El Lissitzky. Revolution und Avantgarde, Köln 1990. Dumont Taschenbücher 248

Herbert 1984
Robert L. Herbert ea., eds., The Societé Anonyme and the Dreier bequest at Yale University: A Catalogue Raisonné, New Haven 1984

Ithaca 1971
Exh. cat. Ithaca N.Y. (Andrew Dickson White Museum of Art) 1971, Russian Art of the Revolution, New York 1970

Jeruzalem 1987
Exh. cat. Jeruzalem (Israel Museum) 1987, Tradition and Revolution. The Jewish Renaissance in Russian Avant-Garde Art 1912-1928, Jeruzalem 1987

Kállai 1922
Ernst Kállai, 'Lissitzky', Das Kunstblatt 6 (1922) p.296-299

Kállai 1924
Ernst Kállai, 'El Lissitzky', Der Cicerone 16 (1924) p.1058 u. 1063; Ook/also in: Jahrbuch der Jungen Kunst V, Leipzig 1924, p.304-309

Köln 1976
Exh. cat. Köln (Galerie Gmurzynska) 1976, El Lissitzky, Köln 1976

Köln 1977
Exh. cat. Köln (Galerie Gmurzynska) 1977, Die Kunstismen in Rusland 1907-1930 / The Isms of Art in Russia 1907-1930, Köln 1977 [p.83-95, 208-209 on Lissitzky]

Köln 1978
Exh. cat. Köln (Galerie Bargera) 1978, Russische Avantgarde 1910-1930. Bilder, Konstruktionen, Köln 1978 [p.77-80 on Lissitzky]

Köln 1981
Exh. cat. Köln (Galerie Gmurzynska) 1981, Von der Malerei zum Design / From Painting to Design, Köln 1981

Köln 1989
Exh. cat. Köln (Kölnischer Kunstverein) 1989, Bauhaus-Utopien Hg. von Wulf Herzogenrath unter Mitarbeit von Stefan Kraus, Köln 1989

Kunstblatt 1925
ongesigneerd, 'Die Zeitschriften. Typographische Mitteilungen', Das Kunstblatt 1925 p.381

Larson 1976
Philip Larson, 'El Lissitzky's Victory over the Sun', The Print Collector's Newsletter 7 nr.1, March-April 1976, p.10-11

Leering 1968
J. Leering, El Lissitzky. Stedelijk van Abbemuseum Eindhoven, Eindhoven 1968 [Brochure with a list of works by Lissitzky in the Van Abbemuseum. Dutch text, same as introduction in Eindhoven 1965].

Leering-van Moorsel 1968
L.Leering-van Moorsel, 'The Typography of El Lissitzky', The Journal of Typographic Research 2 nr.4, Oct. 1968, p.323-340

Lindsay 1972
Kenneth C. Lindsay, 'Sophie Lissitzky-Küppers, El Lissitzky; Life, Letters, Texts', The Art Bulletin 54 nr.3, Sept. 1972, p.369-371

Lissitzky 1965
El Lissitzky, Russland. Architektur für eine Weltrevolution, Berlin etc. 1965 [Heruitg. van / Reprint of Russland. Die Rekonstruktion der Architektur in der Sowjetunion, Wien 1930 + andere teksten / and other texts
English translation: El Lissitzky, Russia: An Architecture for World Revolution, London and Cambridge Mass. 1970

Lissitzky 1985
Lissitzky, El, Van twee kwadraten, Maastricht 1985

Lissitzky-Küppers 1967
Sophie Lissitzky-Küppers, El Lissitzky, Maler, Architekt, Typograf, Fotograf. Erinnerungen, Briefe, Schriften, Dresden 1967 (1st edition)

Lissitzky-Küppers 1975
S. Lisickaja-Kjuppers, 'El Lisickij. (Vospominanija i pisma)', Zodčestvo nr.1 (20) 1975, p.152ff [abridged Russian edition of Lissitzky-Küppers 1967]

Lissitzky-Küppers 1977
Sophie Lissitzky-Küppers und Jen Lissitzky, ed, El Lissitzky. Proun und Wolkenbügel. Schriften, Briefe, Dokumente, Dresden 1977

Lissitzky-Küppers 1980
Sophie Lissitzky-Küppers, El Lissitzky. Life, Letters, Texts, London 1980. second edition

Lodder 1987
Christina Lodder, Russian Constructivism, New Haven/London 1987

London 1966
Exh. cat. London (Grosvenor Gallery) 1966, An Introduction to El Lissitzky, London 1966

London 1971
Exh. cat. London (Hayward Gallery) 1971, Art in Revolution. Soviet art and Design since 1917, London 1971 [p.25-27 on Lissitzky]

London 1976
Exh. cat. London (Annely Juda Fine Art) 1976, Russian Pioneers: At the Origins of Non-Objective Art / Précurseurs russes: aux sources de l'art non-objectif, London and Paris 1976 [p.41-45 on Lissitzky]

London 1977
Exh. cat. London (Annely Juda Fine Art) 1977, The Suprematist Straight Line, London 1977 [p.24-27 on Lissitzky]

London 1979
Exh. cat. London (Annely Juda Fine Art) 1979, El Lissitzky. 11 Original Gouaches for the Chad Gadya and 8 Original Designs for the Mathematical Processes, London 1979

London 1983
Exh. cat. London (Annely Juda Fine Art) 1983, The First Russian Show. A Commemoration of the Van Diemen Exhibition Berlin 1922, London 1983 [p.112-115 on Lissitzky]

London 1984
Exh. cat. London (Annely Juda Fine Art) 1984, Dada-Constructivism. The Janus Face of the Twenties, London 1984

Los Angeles 1980
Exh. cat. Los Angeles (County Museum of Art) and Washington (Hirshorn Museum and Scuplture Garden, Smithsonian Institution) 1980-81, The Avantgarde in Russia 1910-1930. New Perspectives, Cambridge Mass. and London 1980 [p.92-101, 106-108, 184-192 on Lissitzky]

Lozowick 1925
Louis Lozowick, Modern Russian Art, New York 1925

Lozowick 1926
Louis Lozowick, 'Eliezer Lissitzky', Menorah Journal 12 (1926) nr.2 p.175-176

Lozowick 1929
Louis Lozowick, 'El Lissitzky', Transition. An International Quarterly for Creative Experiment nr.18, Nov. 1929 p.284-286

Lüdeckens 1971
Ernst Lueddeckens, 'The "Abstract Cabinet" of El Lissitzky', Art Journal 30 nr.3, Spring 1971, p.265-266

Majakovskij 1987
V.V. Majakovskij, Dlja Golosa. Chorosjo. Faksimiles van twee boeken. Auteur van het inleidend artikel M. Ju. German, Moskva 1987

Malevitsj 1924
K. Malewitsch, 'Lenin', Das Kunstblatt 8 (1924) p.289-293

Mani-Leib
Mani-Leib, Yingl Tsingl Khvat. Illustraties van El Lissitzky, New York 1986

Mansbach 1980
Steven A. Mansbach, Visions of Totality. Laszlo Moholy-Nagy, Theo van Doesburg and El Lissitzky (Diss. Cornell University 1978), Ann Arbor, Mich. 1980

Mierau 1987
Fritz Mierau (Hg.), Russen in Berlin. Literatur, Malerei, Theater, Film 1918-1933, Leipzig 1987

Milner/Sokolov 1979
John Milner, Kirill Sokolov, 'Constructivist Graphic Design in the USSR between 1917 and the present', Leonardo (UK) vol.12 pt.4 (autumn 1979) p.275-282

Moholy 1966
Lucia Moholy, 'El Lissitzky', Burlington Magazine 108 nr.756, March 1966, p.160-163

Moskva 1990
Exh. cat. Moskou (Tretkajov Galerij) 1990, L.M. Lisitskij 1890-1941, Moskou/Eindhoven 1990

Münster 1981
Exh. cat. Münster (Westfälisches Landesmuseum für Kunst und Kulturgeschichte) 1981, Reliëfs. Formprobleme zwischen Malerei und Skulptur in 20. Jahrhundert, Bern 1981

Nakov 1981
Andrei B. Nakov, Abstrait / Concret. Art non-objectif russe et polonais, Paris 1981

Neusüss 1990
Floris Neusüss, Das Fotogramm in der Kunst des 20. Jahrhunderts. Die andere Seite der Bilder. Fotografie ohne Kamera, Köln 1990

New York 1968
Exh. cat. New York (Museum of Modern Art) 1968-69, The Machine as seen at the end of the Mechanical Age, New York 1968

New York 1979
Exh. cat. New York (Solomon R. Guggenheim Museum) 1979, The Planar Dimension Europe, 1912-1932, New York 1979

Oxford 1977
Exh. cat. Oxford (Museum of Modern Art) 1977, El Lissitzky 1890-1941, Oxford 1977

Paris 1977
Exh. cat. Paris (Galerie Jean Chauvelin) 1977, Suprématisme, Paris 1977 [p.29-43 on Lissitzky]

Paris 1979
Exh. cat. Paris (Centre Georges Pompidou) 1979, Paris-Moscou 1900-1930, Paris 1979

Puts 1987
Henk Puts, El Lissitzky. Brochure for a Lissitzky exhibition in the Synagogue of Groningen, Groningen 1987

Puts 1988
Henk Puts, El Lissitzky. Catalogus van zijn werk in het Stedelijk Van Abbemuseum, Eindhoven, Groningen 1988. Two volumes

Rakitin 1970a
V.Rakitin, 'Unovis', Architectural Design, Febr. 1970, p.78-79

Rakitin 1970b
V. Rakitin, 'El Lissitzky 1890-1941', O.A.Shvidkovsky ed., Building in the USSR 1917-1932. London 1971, p.35-41 and in Architectural Design, Febr. 1970 p.82-83

Rasch 1930
Heinz und Bodo Rasch, Gefesselter Blick. 25 kurze Monografien und Beiträge über Neue Werbegestaltung, Stuttgart [1930]. [pp. 64-65 on El Lissitzky]

Richter 1958
Horst Richter, El Lissitzky. Sieg über die Sonne. Zur Kunst des Konstruktivismus, Köln 1958

Richter 1966
Horst Richter, 'Erste grosse Lissitzky-Ausstellung in Eindhoven', Die Weltkunst 36 (1966) nr.2 p.51-52

Rjazantsev 1976
Igor Vasil'evic Rjazantsev, Iskusstvo Sovetskogo Vystavocnogo ansamblja 1917-1930, Moskou 1976 (Sovjetskij Chudožnik)

Roh 1962
F.Roh, Entartete Kunst, Kunstbarbarei im Dritten Reich, Hannover 1962

Roh/Tschichold 1929
Franz Roh, Jan Tschichold, foto-auge /oeil et foto / photo-eye, Stuttgart 1929

Rudenstine 1981
Angelica Zander Rudenstine ed, Russian Avantgarde-Art. The George Costakis Collection, London 1981

Schalcher 1928
Traugott Schalcher, 'El Lissitzky, Moskau', Gebrauchsgraphik 5 (1928) Heft 12 (Dec.) p.49-64

Schmidt 1928
Paul Ferd. Schmidt, 'Die Kunst auf der "Pressa"', Der Cicerone 20 (1928) p.589-593

Seiler 1968
Harald Seiler etc, Das Abstrakte Kabinett. Hannover Landesgalerie. In Memoriam Alexander Dorner, Hannover 1968

Spencer 1966
Charles S. Spencer, 'El Lissitzky', Jewish Quarterly 14 nr.3 (51), August 1966, p.25-28

Spencer 1982
Herbert Spencer, Pioneers of Modern Typography, London 1982

Steinitz 1973
K. Steinitz, 'El Lissitzky', Arlis/NA Newsletter 1 nr. 3-4, Summer 1973, p.20-21

Steinorth 1979
K.Steinorth, 'The International Werkbund Exhibition "Film und Foto", Stuttgart 1929', Camera. Internationale Monatsschrift für Photographie und Film 58 nr.10, Okt. 1979 p.4-46

Steneberg 1969
Eberhardt Steneberg, Russische Kunst Berlin 1919-1932, Berlin 1969

Sterenberg 1922
D. Sterenberg, 'Die künstlerische Situation in Russland. (Zur Ausstellung in der Galerie van Diemen, Berlin)', Das Kunstblatt 6 (1922) p.485-492

Stuttgart 1929
Exh. cat. Stuttgart 1929, Internationale Ausstellung des Deutschen Werkbundes Film und Foto., Stuttgart 1929, reprint Stuttgart 1979

Stuttgart 1979
Exh. cat. Stuttgart (Württembergisches Kunstverein) 1979, Film und Foto der zwanziger Jahre, Stuttgart 1979

Sydow 1923
Eckart v. Sydow, 'Hannover', Der Cicerone 15 (1923) p.156-157

Tschichold 1925
Jan Tschichold, ed. , elementare typographie. Sonderheft der Tygraphischen Mitteilungen, Leipzig Oktober 1925

Tschichold 1930
Jan Tschichold, Das neue Plakat, Leipzig 1930

Tschichold 1931a
Jan Tschichold, 'Display that has Dynamic Force. Exhibition Rooms designed by El Lissitzky', Commercial Art 10 (1931), Jan., p.21- 26

Tschichold 1931b
Jan Tschichold, 'Der Konstruktivist El Lissitzky', Graphische Revue 33 (1931) Heft 4 (Juli-August)

Tschichold 1931c
Jan Tschichold, 'the "constructivist" el lissitzky', Commercial Art 11 (1931), Oct., p.148-150

Tschichold 1932
Jan Tschichold, 'über el lissitzky', Imprimatur 3 (1932) p.97- 112

Tschichold 1971
Jan Tschichold, 'Werkte und Aufsätze von El Lissitzky (1890-1941)', Typographische Monatsblätter 89 nr.10, Dezember 1970, p.929-952

Tschichold 1971
Jan Tschichold, 'Werkte und Aufsätze von El Lissitzky (1890-1941)', Berlin 1971, 3e druk Berlin 1988

Umansky 1920
Konstantin Umanskij, Neue Kunst in Russland 1914-1919, Potsdam/München 1920

Westheim 1922
P.W., 'Die Ausstellung der Russen', Das Kunstblatt 6 (1922) p.493-498

Winter 1957
Ella Winter, 'Looking for Lissitzky', The New Statesman 54 nr.2, 1957, p.562-563

Winter 1958
Ella Winter, 'Lissitzky: A Revolutionary out of Favor', Art News 57 nr.2, April 1958, p.28-64

Zjadova 1977
L.A.Żadova, 'Tribuna Lenina', Techničeskaja estetika 1977 nr.9, p.20-22
Italian translation: 'La "tribuna di Lenin"', Casabella. Continuita rivista internationale di architettura nr.447-448, May-June 1979, p.59-60

Zjadova 1978
Larissa A.Shadowa, Suche und Experiment. Aus der Geschichte der russischen und sowjetischen Kunst zwischen 1910 und 1930, Dresden 1978



Henk Puts



El Lissitzky

A Catalogue of his Work
in the
Stedelijk Van Abbe Museum, Eindhoven





Part 2: Plates


Groningen 1991 Henk Puts



El Lissitzky

A Catalogue of his Work
in the
Stedelijk Van Abbe Museum, Eindhoven







Plates Henk Puts



El Lissitzky

A Catalogue of his Work
in the
Stedelijk Van Abbe Museum, Eindhoven







Text


Introduction to this volume


Contrary to the text, the plates of the present volume are of low quality, due to the simple copying technique. Therefore under the heading 'Literature' in the text volume I referred to publications where you can find better reproductions.

I decided not to change this volume; the plates are the same as in the Dutch-language version from 1988. It therefore contains illustrations to chapters which were omitted in the text volume of this version. The texts at the catalogue numbers however also refer to many of these plates. They have the Dutch abbreviation 'Afb.' for 'Afbeeldingen', = illustrations. The reproductions to the catalogue numbers bear the abbreviation 'Cat.nr.'

At the end you can find the text of Lissitzky's letters to Oud which are in the Van Abbe Museum.