Käthe Kollwitz, ‘Selbstbildnis (Self-Portrait)’, 1937-1939, Phillips

Property from the Estate of Ann Nisenson, Los Angeles and Santa Barbara

Height with Base: 18 3/4 in. (47.6 cm)
One of three located lifetime casts, up to eight were cast in total

From the Catalogue:
We would like to give sincere thanks to Dr. Annette Seeler for her thorough research and confirmation that this example is a lifetime cast, after examining the work in person. Another cast from the posthumous edition of this sculpture is on the cover of Käthe Kollwitz. Die Plastik - Werkverzeichnis, conceived and compiled by Dr. Annette Seeler (author) and edited by the Käthe Kollwitz Museum, Cologne, Munich, 2016. This example will be cited in the updated version spring of 2017.

Two other known lifetime casts are in a private collection in Bern, Switzerland and the Baltimore Museum of Art.

"I thought I was a revolutionary and was only an evolutionary." Käthe Kollwitz
Courtesy of Phillips

Annette Seeler No. 26

Unknown fine art dealer, Los Angeles
Hauswedell & Nolte, June 2, 1978, lot 738, Hamburg
Dr. Hauswedell auction, June 4, 1977, lot 873, Hamburg
Mr. Erich Cohn, New York
Before probably:
Private collector, US, by gift
Business man, Hannover, Germany
Purchased directly from the artist
(the two latter are unkown by name, but documented as persons by a contemporary friend of Käthe Kollwitz, Fritz Homeyer, and confirmed indirectly by a letter of the artist to her friend Anna Karbe form December 17, 1937)

About Käthe Kollwitz

Considered one of Germany’s most important early 20th-century artists, Käthe Kollwitz captured the hardships suffered by the working class in drawings, paintings, and prints. Themes of war and poverty dominate Kollwitz’s oeuvre, with images of women grieving dead children a particularly important and recurring theme—an experience that Kollwitz suffered herself when her son died in WWI, influencing her decision to become a Socialist. Kollwitz’s unflinching exploration of human suffering amounted to a searing indictment of social conditions in Germany. In 1936, the Nazis declared Kollwitz’s art “degenerate” and her artworks were removed from museums.

German, 1867-1945, Kaliningrad, Russia, based in Dresden, Germany

Group Shows

German Expressionist Prints
Gemeentemuseum Helmond, 
Helmond, Netherlands,
Woman and Work
Lentos Kunstmuseum, 
Linz, Austria,
Der nackte Mann