Selbstbildnis By Kathe Kollwitz 1867 1945

Käthe Kollwitz (1867–1945) returned to the self-portrait—Selbstbildnis—throughout her career, using it as a sober barometer of age, grief, resolve, and artistic purpose. For collectors and appraisers, “Selbstbildnis by Kathe Kollwitz” does not identify a single piece but rather a group of important works across media and decades. This guide explains how to distinguish versions, authenticate impressions, evaluate condition, and understand value.

What “Selbstbildnis” Means in Kollwitz’s Oeuvre

• Multiple works share the title. “Selbstbildnis” simply means “Self-Portrait,” and Kollwitz produced numerous versions as drawings, etchings/drypoints, lithographs, and woodcuts. Expect a range of dates from the 1890s through the late 1930s.
• Visual language evolves with medium. Early etched self-portraits often show a keen, slightly angled gaze and soft plate tone; lithographs emphasize broad tonal fields; woodcuts of the 1920s sharpen into austere, high-contrast forms.
• Context matters. Self-portraits frequently coincide with transitional periods—after major series (Weavers, Peasants’ War), during World War I and its aftermath, and in the 1930s. Date and medium will help position a specific Selbstbildnis within her trajectory.

For appraisers, the first task is to identify which Selbstbildnis you have: the medium, approximate date, and whether it belongs to a documented state/edition.

Media and Key Versions You’ll Encounter

Kollwitz’s self-portraits fall into four broad categories, each with distinct telltales:

• Etching and drypoint (1890s–1910s)

  • Traits: Rectangular plate mark with a pronounced platemark ridge; fine line work; occasional rich, velvety burr in drypoint; plate tone (a light film of ink) deliberately left to warm the background.
  • Notables: Early etched heads from the mid-1890s; ca. 1901–1905 self-portraits with head and hand; multiple states exist, with varying background tone and line emphasis.

• Lithograph (1910s–1930s)

  • Traits: No platemark; velvety, crayon-like or tusche tone; broad modeling of light on the face; sometimes a drawn border line rather than an actual plate indent.
  • Notables: Self-portraits in profile and three-quarter view circa 1912 and again mid-1930s; late lithographs often show a taut profile with simplified shadow.

• Woodcut (early–mid 1920s)

  • Traits: Stark contrast, bold cuts, blocky simplifications; may show subtle wood grain in printed areas; often smaller image areas with strong frontal presence.
  • Notables: A celebrated frontal self-portrait woodcut of the early 1920s, whose severity and economy are quintessential Kollwitz of the postwar period.

• Drawings (throughout)

  • Traits: Charcoal, black chalk, or pencil; visible rubbing, stumping, and erasures; sheet often bears handling marks and soft edges; typically unique, not editioned.
  • Notables: Searching, direct studies at different ages; values hinge on quality, date, and condition.

Catalog references you’ll see: many auction and museum entries cite the Klipstein catalogue raisonné for prints and, in more recent literature, the revised catalogue by Alexandra von dem Knesebeck. Self-portraits appear in multiple states and variants across those references. If in doubt, align the composition, dimensions, and state-specific details with a reliable catalogue description.

Authentication: Signatures, States, Paper, and Stamps

• Hand signature

  • Expect a graphite/pencil “Käthe Kollwitz” at lower right on lifetime impressions. The signature is typically steady and legible in a flowing hand.
  • Plate-signed vs hand-signed: The artist’s printed name or monogram within the image is not a signature. Collectors prize pencil-signed lifetime impressions.

• States and inscriptions

  • Kollwitz frequently altered plates/blocks and tested impressions. Proofs might be annotated in German (e.g., “Probedruck” for proof; “II. Zustand” for second state; occasional working notes).
  • Earlier states with richer drypoint burr (etchings) or clearer tonal strategy (lithographs) can command premiums.
  • Trial proofs and artist’s proofs: Scarcer than editioned impressions, often with more dramatic inking or plate tone.

• Paper and watermarks

  • Typical papers: European wove or laid “bütten” papers with deckled edges. Watermarks vary; German and Dutch mills were common. Look for period-appropriate watermarks and sheet characteristics consistent with late 19th–early 20th century papers.
  • Full margins vs trimmed: Full or wide margins add confidence and value. Trimming into the platemark (etching) or near the image (lithograph/woodcut) reduces desirability and can affect authenticity judgments.

• Printer’s marks and estate stamps

  • Some impressions may bear printer notations or blindstamps from Berlin workshops of the period; these can support authenticity but are not universal.
  • Posthumous impressions: After 1945, estate-stamped prints exist. They may show an ink or blindstamp from the Kollwitz estate or related custodian. Values are lower than for lifetime, pencil-signed impressions, and certain posthumous strikes may be considered restrikes if pulled from original stones or plates; always verify whether the matrix was cancelled or effaced.

• Posters and photomechanical reproductions

  • Museum posters and book plates of Kollwitz self-portraits are common. Under magnification, look for halftone dot patterns rather than continuous inked lines or burr. Mechanical reproductions lack tactile plate embossment (etchings), burr, and the nuanced surface of hand printing.

• Dimensions and image boundaries

  • Record plate size (for intaglio), image size, and sheet size. Compare to catalogued measurements. Even small discrepancies can indicate a different state or a reproduction.

A reliable authentication typically rests on a convergence of evidence: correct composition, period paper and watermark, pencil signature, appropriate state features, and, ideally, a paper trail of ownership.

Value Drivers: Rarity, Condition, and Demand

• Rarity and state

  • Early or uncommon states, trial proofs, and scarce woodcut variants are generally more desirable than later or common edition impressions.
  • Woodcuts and key lithographic heads from the 1920s–1930s tend to have strong market traction, reflecting collector preference for Kollwitz’s mature Expressionist period.

• Lifetime vs posthumous

  • Lifetime, pencil-signed impressions command the highest prices. Posthumous or estate-stamped examples can be worthwhile but trade at a significant discount.
  • For etchings and drypoints, impressions with preserved burr and deliberate plate tone often outperform flatter, later pulls.

• Condition

  • Paper tone: Even, warm toning is acceptable; pronounced browning, mat burn, or backboard stain reduces value.
  • Foxing and staining: Scattered foxing can be conserved but will affect price; tidelines, water stains, and adhesive residues are more serious.
  • Tears and losses: Edge tears within margins are more tolerable than tears entering the image or plate mark. Paper fills and repairs should be disclosed.
  • Trimming: Margins trimmed to or inside the platemark (intaglio) or near the image (planographic/relief) diminish desirability and may hinder authentication.
  • Printing quality: Uneven inking, weak impressions, or worn matrices can depress value, especially for drypoint where burr wears off quickly.

• Provenance and documentation

  • Provenance from respected dealers and collections (e.g., early Berlin galleries, notable 20th-century collectors) supports value.
  • Inclusion in scholarly exhibitions or literature enhances market confidence.

• Pricing benchmarks (broad guidance)

  • Etchings/drypoints: modest to mid-five figures for strong lifetime, pencil-signed impressions of desirable self-portraits; lower for common later impressions or condition issues.
  • Lithographs: mid-four to mid-five figures depending on image, date, and condition.
  • Woodcuts: can reach higher five figures for prime, lifetime examples; exceptional subjects, states, or provenances push higher.
  • Drawings: wide range from low to high five figures and beyond, depending on quality, date, and freshness on the market.
  • Note: Markets fluctuate by region and season; recent comparables and specialist input are crucial for a live valuation.

Quick Appraisal Checklist

• Identify the medium: etching/drypoint (with platemark), lithograph (no platemark), woodcut (relief texture), or drawing (unique work).
• Confirm a lifetime pencil signature “Käthe Kollwitz” at lower right; distinguish from plate-signed initials.
• Check state/edition clues: annotations, burr presence (drypoint), plate tone (etching), and catalogued variants.
• Measure and record plate, image, and sheet sizes; compare to catalogue raisonnés.
• Inspect paper type and any watermark; note deckled edges and whether margins are full or trimmed.
• Evaluate condition: toning, foxing, mat burn, tears, creases, restorations, and printing strength.
• Look for estate/printer stamps and provenance documents; gather invoices, old labels, or exhibition histories.
• Rule out reproductions: loupe for halftone dots; confirm tactile platemark/burr where applicable.
• Photograph recto/verso in raking light; document all inscriptions and stamps.
• Consult recent auction comparables for the exact version, state, and condition tier.

FAQ

Q: How can I tell if my Selbstbildnis is an etching or a lithograph? A: An etching will have a recessed platemark—an indented rectangular outline around the image—and may show plate tone and drypoint burr. A lithograph has no platemark; the ink sits on the surface with crayon-like textures and broader tonal washes.

Q: Are posthumous Kollwitz prints legitimate? A: Some are estate-authorized, but they are not lifetime impressions and generally carry lower values. Verify whether they are clearly marked as estate or posthumous and whether the original plates or stones were cancelled. Lifetime pencil-signed impressions remain the gold standard.

Q: Do all genuine Kollwitz prints have a watermark? A: No. While many period papers bear watermarks, not every authentic sheet will. A watermark can support an attribution but is not required. It should, however, be consistent with the era and known papers for the edition.

Q: What’s the most valuable Selbstbildnis? A: Values depend on medium, date, rarity, and condition. Mature woodcuts and certain lithographic heads from the 1920s–1930s often achieve higher prices, especially in lifetime, pencil-signed impressions with strong provenance.

Q: Which catalogue raisonné should I use? A: For prints, appraisers often reference Klipstein and the updated catalogue by Alexandra von dem Knesebeck. Align your piece to the correct composition, state, and measurements as described in these references for precise identification.

By approaching a Kollwitz Selbstbildnis systematically—starting with medium and state, then paper and signature, condition, and provenance—you can narrow identification, avoid reproductions, and arrive at a well-supported appraisal.