I. Kestnermappe Proun, Hanover, Rob. Leunis and Chapman GmbH, 1923, (Lissitzky-Kppers 47-51)

It was Kurt Schwitters who introduced Lissitzky in 1922 to the Kestner-Gesellschaft in Hanover. This society, founded on 10 June 1916, played an important part in fostering the most important representatives of the new art. Sophie Kppers, the former artistic director's widow (who later became Lissitzky's wife), was fascinated by his works and decided to organize his first solo exhibition at the Kestner for the end of 1922 and beginning of 1923. Being such a great success, the directors commissioned the artist to execute a portfolio of lithographs as a new year's gift for the members of the society.

This particularly fine portfolio contains six lithographs in colors, a title page and a portfolio cover. It typifies Lissitzky's work from the Proun period during the years 1919-1924 and concentrates on his spatial experiments. The lithographs were part of his first Proun-room that he designed for the Great Berlin Art Exhibition in 1923. This room was a non-objective in design and was used to exhibit non-objective paintings and sculptures. Lissitzky arranged his relief-constructions-Prouns in such a way that they guided the visitor's eye around the room and enable us to envisage what his first Proun-room looked like. The first Kestner portfolio is one of the most important testaments to Constructivism in Germany.