Descriptive Summary
Biographical / Historical Note: Dr. Richard A. Simms
Biographical / Historical Note: Käthe Kollwitz
Administrative Information
Scope and Content of Collection
Indexing Terms
Descriptive Summary
Title: Dr. Richard A. Simms collection of prints and drawings by Käthe Kollwitz and other
artists
Date (inclusive): 1770s-2007,
undated
Number: 2016.PR.34
Creator/Collector:
Simms, Richard A.,
Dr.
Physical Description:
237.61 Linear Feet
(92 boxes, 6 flat file folders)
Repository:
The Getty Research Institute
Special Collections
1200 Getty Center Drive, Suite 1100
Los Angeles 90049-1688
Business Number: (310) 440-7390
Fax Number: (310) 440-7780
reference@getty.edu
URL: http://hdl.handle.net/10020/askref
(310) 440-7390
Abstract: Assembled over a period of forty years,
the collection comprises approximately 560 works on paper by Käthe Kollwitz and other
predominantly German and other European artists from the late 19th and the early 20th
century, whose work exemplifies the artistic directions of the period, such as realism or
naturalism, impressionism, symbolism, and expressionism. Several of the artists represented
were like Käthe Kollwitz members of the modernist movement Berlin Secession, including Ernst
Barlach, Max Klinger, Lovis Corinth, Emil Nolde, or Karl Schmidt-Rottluff. Most extensively
represented are Lovis Corinth, Otto Greiner, Max Klinger, Wilhelm Leibl, Ludwig Meidner, Max
Pechstein, Franz Skarbina, Max Slevogt, and Karl Stauffer-Bern. Present are works by Emma
Bormann, Lyonel Feininger, Walter Grammatté, George Grosz, Peter Halm, Karl Jakob Hirsch,
Arthur Kampf, Melchior Lechter, Wilhelm Leibl, Friedrich von Liphart, Hans Meid, Wilhelm
Morgner, Rolf Nesch, Emil Orlik, Bernhard Pankok, Jules Pascin, Ilya Repin, Christian
Rohlfs, Rudolf Schlichter, Théophile Alexandre Steinlen, Franz von Stuck, Hans Thoma, Henri
de Toulouse-Lautrec, Albert Welti, and Heinrich Zille. Also included are works by artists
from the late 18th and pre-modernist 19th century, including Daniel Chodowiecki,
Jean-Baptiste Édouard Detaille, Carl Wilhelm Kolbe the Elder, and Alfred Rethel.
Request Materials: Request access to the physical materials
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Language: Collection material is in
German
Biographical / Historical Note: Dr. Richard A. Simms
Dr. Richard A. Simms is a renowned California-based art collector of prints and drawings by
Käthe Kollwitz and other 19th and 20th-century German artists. The online art newspaper
ArtDaily reported in 2010: "Dr. Richard A. Simms is an
internationally recognized collector of nineteenth- and early twentieth-century German
prints and drawings. At the Los Angeles County Museum of Art, he was chair of the Prints and
Drawings Council and then a member of the Board of Trustees for twelve years. He now serves
as the inaugural chair of the Collections Council of the Getty Research Institute." Dr.
Simms acquired his art collection in Europe and the United States between 1973 and 2014,
focusing predominantly on individual prints and drawings as well as portfolios of prints and
books illustrated with original graphics by German artists from the mid-19th century until
the end of World War II. His collecting interests extended also to French artists from the
18th and 19th centuries; the Belgian artist James Ensor; and at the beginning of his
collecting, early graphic works by Dürer, Rembrandt, Goya, and Callot. Over the years,
prints and drawings by Käthe Kollwitz became Dr. Simms's principal passion, which he
followed not only through intense study and acquisition of the often multiple states and
impressions of her works, but also by building a comprehensive private library of
publications about Kollwitz and other artists of her time. A decisive moment in the building
of the Kollwitz collection came in 1978 with an acquisition from the artist's estate, which
had been inherited by her grandchildren. At once, Dr. Simms acquired 121 prints, including
many Kollwitz herself advised her family not to sell because of their rarity. This
acquisition included early and unique impressions from her print series
Ein Weberaufstand (
Weaver's
Revolt
),
Bauernkrieg (
Peasants' War),
Krieg (
War), and
Tod (
Death); individual sheets such as self-portraits; and preparatory impressions for
edition prints. From the same source, Dr. Simms also acquired a large drawing related to the
monumental print
Gedenkblatt für Karl Liebknecht (
In Memoriam Karl Liebknecht). In the 1980s, Dr. Simms continued to
acquire important prints and significant drawings by Kollwitz at auction, such as the early
study for Kollwitz's narrative print
Szene aus Germinal
(
Scene from Germinal) (1893). In the 1990s and 2000s, Dr.
Simms continued to build the collection by adding rare proofs and state impressions,
including rare working proofs for the series
Peasants' War.
In 1992, about fifteen years after he began collecting Kollwitz, expert in German
Expressionist art, Hildegard Bachert pointed out, that Dr. Simms is "undoubtedly the most
important Kollwitz collector in America today" and a collector who has a "… wide-ranging
feeling for humanistically oriented graphic art." The quotation comes from the catalogue for
the first survey exhibition devoted to Kollwitz in the United States. It was organized by
the National Gallery of Art, which drew upon its own collection and works borrowed from more
than twenty private collectors and museums in United States and Europe, including Dr. Simms.
With over a hundred works on paper, the National Gallery of Art exhibition had a profound
effect on Dr. Simms as it inspired him to explore Kollwitz's working process by seeking to
acquire multiple states, and printing and working proofs of her works in order to provide
comparative material that can enable scholars to explore how Kollwitz creates and changes
the meaning of her artistic vision through the technical processes of printmaking.
Dr. Richard A. Simms also sought to acquire prints and drawings by other German artists
from Kollwitz's time and artistic orbit, such as Max Klinger, Emil Nolde, Otto Greiner,
Ludwig Meidner, and George Grosz; building a comprehensive and important resource for the
study of German art from the late 19th to early 20th centuries.
The above note is informed by the following sources:
Curatorial notes by Louis Marchesano, Curator of Prints and Drawings, Getty Research
Institute.
Artdaily online article "The Getty Announces Gift by Dr.
Richard A. Simms in Memory of James N. Wood";
Artdaily
website, viewed March 29, 2018.
Bachert, Hildegard. "Collecting the Art of Käthe Kollwitz"; in: Prelinger, Elizabet.
Käthe Kollwitz. Washington, National Gallery of Art,
1992.
Biographical / Historical Note: Käthe Kollwitz
Käthe Kollwitz was born on July 8, 1867 in Königsberg, Prussia, the fifth child of Karl and
Katherina Schmidt. Her father was a Social Democrat with strong socialist opinions opposing
Otto von Bismarck's authoritarian government. Her mother was the daughter of Julius Rupp, a
Lutheran pastor who founded a congregation independent from state or church control, that
advocated freedom of conscience for its members. Kollwitz's upbringing was influenced by her
family's liberal political, social, and religious views. Encouraged by her father, Kollwitz
began taking lessons in drawing as a teenager in Königsberg. In 1886, she enrolled in a
private art school for women in Berlin, where she took lessons from Karl Stauffer-Bern, who
introduced her to the etchings of Max Klinger. In 1888, at the age of twenty-one, she became
engaged to Karl Kollwitz, a medical student in Königsberg and a member of the Social
Democrats. Despite her engagement, between 1888 and 1890 Kollwitz lived alone in Munich and
studied at the Damenakademie München, an art school for women, as in Germany art academies
did not accept female students until after World War I. In Munich she witnessed the
breakthrough of naturalistic painting en plein air and took an interest in literature and
issues related to womens' rights. She produced drawings and prints inspired by Émil Zola's
novel
Germinal. In 1891, Karl and Käthe married and settled
in a working class neighborhood in Berlin, where Karl opened a medical practice as one of
the first physicians implementing a new social and medical insurance for workers, which was
the first European system of health insurance, raised from mandatory fees shared by the
workers, the employers, and the state. They had two sons, Hans, born in 1892; and Peter,
born in 1896. In her artistic work Kollwitz focused initially on drawing and graphics. She
engaged in exploring various printing techniques, including etching, drypoint, aquatint,
soft ground, woodcut and lithography; often experimenting by mixing various techniques and
using unconventional tools, such as sand paper or needle bundles. In later years, she also
turned to sculpture, while still producing graphic works. Inspired by Gerhard Hauptmann's
naturalistic drama
Die Weber (
The
Weavers
) based on the revolt of Silesian weavers in 1844 and first performed in
Berlin in 1893, Kollwitz produced a series of etchings and lithographs based on the weavers
theme. The series was exhibited publicly in 1898 to wide acclaim, but when Adolf Menzel
nominated her work for the gold medal at the Grosse Deutsche Kunstausstellung in Berlin,
Kaiser Wilhelm II withheld his approval.
An illustrated edition of Wilhelm Zimmermann's
Allgemeine
Geschichte des grossen Bauernkrieges
(
General History of
the Great Peasants' War
), written between 1841 and 1843, is believed to be the
source of Kollwitz's second major series of prints, the
Bauernkrieg (
Peasants' War). From 1901 to 1908
Kollwitz produced many preliminary drawings and discarded impressions in etching, aquatint,
and soft ground for it, while relentlessly perfecting her technical skills and artistic
expression. Completed in 1908, the series was printed for mass circulation by the publishing
house Kunstsalon Emil Richter in Dresden.
In 1903, she produced in several states the etching
Frau mit totem
Kind
(
Woman with Dead Child), whose harrowing
subject, together with the sculptural quality of her treatment of the motif, marked the most
innovative time in her career as a graphic artist.
While working on the
Peasants' War, Kollwitz visited Paris
twice. In 1901 she met Théophile Alexandre Steinlen and admired his color etchings; the art
dealer and collector Otto Ackermann introduced her to the art galleries in Paris, and
Kollwitz acquired a pastel by Picasso. During a study trip to Paris in 1904, she enrolled in
sculpting classes at the Académie Julian and visited the studio of August Rodin. Between
1901 and 1904 most of her graphic works were in color.
In November 1901, as a member of the Berliner Secession, she showed her color combination
print
Frau mit Orange (
Woman with
Orange
), produced in various intaglio techniques and in lithography, and the
journal
Kunst für Alle praised her technical innovations.
In 1907, her etching
Losbruch (
Outbreak), produced between 1902 and 1903, was awarded the Villa Romana Prize –
founded by Max Klinger – giving her the opportunity for an extended stay in a studio in
Florence. She embarked on a hiking tour from Florence to Rome.
From 1908 to 1910, Kollwitz worked as a freelancer for the satirical magazine
Simplicissimus. In 1912, she was elected to the board of the
Berliner Secession and, after the split in the Berliner Secession in 1913, she became member
of the board of the Freie Secession and co-founder and chairwoman of the Frauenkunstverband
(Association of Female Artists). The early 1910s also marked the beginning of her sculptural
work.
In 1914, with the outbreak of World War I, Kollwitz lost her son Peter in a battle in
Belgium in the first days of the war. Grieving, Kollwitz began to make drawings for a
monument to her son and his fallen comrades. The sculpture
Die
trauernden Eltern
(
The Greaving Parents) was
completed in 1932 and placed in a war cemetery in Belgium.
From the early 1910s onward Kollwitz's work increasingly reflected social and political
commitment. Her works focused on themes of social injustice and the hardships of the living
conditions of the poor working class in pre- and post-WWI Germany, predominantly among women
and children. The themes of her works are poverty, hunger, motherhood, illness, death, and
bereavement. Between 1918 and 1922, at the time of enormous economic depression in Germany,
she produced a series of woodcuts called
Krieg (
War) in response to the tragedies endured by those left behind –
mothers, widows, and children. After the assassination of the German radical and communist
revolutionary Karl Liebknecht in 1919, Kollwitz produced etchings and lithographs about
Liebknecht's death, focusing on the theme of mourning. She produced several
commercially-distributed socially and politically engaged posters, including the poster
Helft Russland (
Help
Russia
), from 1921, a contribution to overcoming the catastrophic drought in the
Volga area.
Throughout her career, Kollwitz made numerous self-portraits, from a vibrant young woman
in Munich until her portrait in profile at old age, from 1938.
As a living artist Kollwitz gained remarkable recognition. In 1917, on her 50th birthday,
numerous exhibitions were staged in Germany, with the Berlin Print Room showing the entire
collection of her graphic works. The Paul Cassirer Gallery in Berlin exhibited a large
number of drawings, and the show travelled to Königsberg, Dresden, Hamburg, and Mannheim. In
1920, Kollwitz became the first woman elected to the prestigious Prussian Academy of Art.
She participated in print exhibitions of the academy until 1934. At her own request, she
didn't start teaching until 1928.
Under National Socialism Kollwitz was not declared "degenerate," but she was removed from
her post at the academy and banned from exhibiting. Her works were confiscated from public
collections. The art dealers entrusted with sales of her works were Bernard A. Böhmer, Karl
Buchholz, and Hildebrandt Gurlitt. She continued to draw and produce prints, and made
several small-scale sculptures, and managed to show a selection of her works in her studio
in the Klostergasse, in Berlin. Between 1934 and 1937 she completed her last series
Tod (
Death), an eight-piece work on
the theme of death. In 1934, an interview with Kollwitz was published in a Russian newspaper
in Moscow. The Gestapo threatened her with deportation in the case of a recurrence.
Meanwhile, in the United States, Kollwitz' fame continued to grow. The Art Museum in
Worcester, Massachusetts, organized a Kollwitz exhibition in 1933. In 1934, Harvard
University presented prints by the artist. There was a show at the Hudson Gallery in New
York in 1937. The College Art Association organized touring exhibitions of Kollwitz's work
in 1934-1935. Zeitlins Bookshop and Gallery in Los Angeles and the Fine Arts Gallery in San
Diego staged exhibitions in 1937, followed by shows in the early 1940s organized by the
American Federation of Arts, the Museum of Modern Art and the Brooklyn Museum in New York.
In short, the United States become a major market for her works. The American collector
Lessing J. Rosenwald acquired 115 prints and 27 drawings by Kollwitz, and later donated the
entire collection to the National Gallery in Washington.
Karl Kollwitz died on 19 July 1940. In 1941, Kollwitz produced in limited edition the
print
Saatfrüchte sollen nicht vermahlen werden (
Seeds for Sowing Should Not Be Milled), considered her legacy. Her
eldest grandson Peter died in war in Russia in 1942. In 1943, Kollwitz's studio in Berlin
was bombed and many drawings, prints and documents were destroyed. In 1944 she evacuated to
Moritzburg near Dresden. Just weeks before the war ends, Käthe Kollwitz died on April 22,
1945.
Throughout her career, Kollwitz graphic works were widely published. The two series
The Weavers and
Peasants' War
established her reputation as an artist of considerable artistry and technical competence.
The publisher Verlag Emil Richter in Dresden gained exclusive publication rights, and from
1910 to 1930 extensively published and distributed her complete graphic works. Max Lehrs,
director of the Dresden Print Room, both acquired her work for the collection and published
the first catalog of her prints in 1902, which Johannes Sievers augmented in 1913. In 1927,
the Richter publishing house issued an incomplete list of her prints made from 1913 to 1927,
compiled by A. Wagner. In the early 1930s, the Swiss art historian and art dealer, August
Klipstein, began to write a new comprehensive catalogue raisonné of Kollwitz's prints in
consultation with the publisher and collector Alexander von der Becke, who after the
bankruptcy of Emil Richter in 1931 became Kollwitz's publisher. Klipstein died in 1951,
before completing his work, but in 1955 the catalogue raisonné was published by Klipstein's
successor, E. W. Kornfeld, with the assistance of Klipstein's widow, Frieda Klipstein, and
the collector Helmut Goedeckemeyer. In 2002, the German art historian Alexandra von dem
Knesebeck published her two-volume comprehensive catalogue raisonné of graphics by Kollwitz.
The German painter and communist activist, Otto Nagel, compiled the first comprehensive
catalogue raisonné of Kollwitz's drawings. After Nagel's death in 1967, his work was
continued by the art historian Werner Timm, in collaborative effort with Nagel's daughter,
Sibylle Schallenberg-Nagel, and Kollwitz's son, Hans Kollwitz. The catalogue raisonné of
Kollwitz's drawings was first published in 1972 by the Galerie St. Etienne in New York.
After the war, Kollwitz's work received very different receptions on both sides of the
Berlin Wall and outside of Germany. Today, her works continue to spark debates among artists
and art critics. The award-winning German art critic, Kito Nedo, summarized the postwar
reception of Kollwitz in an essay posted at
artnet News
website in 2017. In Nedo's words, "... in East Germany, the artist [Kollwitz] … was
venerated as a national hero and thus used for political ends-undeterred by regular
references in the West to her diaries, in which she argues for the political independence of
art." By the mid-1950s, the Western art world largely lost interest in Kollwitz. In 1981,
the American art theorist, Lucy Lippard, argued that this lack of interest resulted from the
postwar notion of the artist as a "lofty genius" or an "outsider" while Kollwitz's socially
and politically engaged themes focused on matters of real life. In 1967, the critic
Gottfried Sello wrote in the West-German weekly
Die Zeit that
"… in spite of her progressive ideas, Kollwitz is an arch-conservative artist" (cited by
Nedo). According to Nedo, the contemporary historiography and reception of Kollwitz prefers
a less-politicized view. This trend can be observed in the recent biography of Kollwitz by
Yvonne Schymura, who views the artist as "free of political and personal engagements" (cited
by Nedo). Exhibitions in Germany held in 2017 on the artist's 150th birth anniversary
focused on self-portraits (Käthe Kollwitz Museum Cologne) and on her circle of friends
(Käthe Kollwitz Museum Berlin); another exhibition in Berlin at Galerie Parterre explored
her links to the city of Berlin. In the United States, the Metropolitan Museum curator,
Jennifer Farrell, included Kollwitz's work in the exhibition
World
War I and the Visual Arts
as representative of the historical period. The British
Museum in London and the Ikon Gallery in Birmingham focused on Kollwitz's creativity in the
exhibition
Portrait of the Artist: Käthe Kollwitz.
Contemporary German artists, such as Katharina Sieverding or Martin Kippenberger, have made
references to the notions of empathy in Kollwitz's works. For the New York City-based
feminist artists' group, Guerrilla Girls, Kollwitz is an inspiring role model. Finally, in
his essay, Nedo argued that the world has "never really forgotten" about Kollwitz and her
continued presence should be attributed to the universal humanist visual language that
characterizes her work.
The above note is informed by the following sources:
Undated manuscript of Kollwitz biography compiled by the Käthe Kollwitz Museum in Cologne,
held at the Getty Research Institute.
Bachert, Hildegard. "Collecting the Art of Käthe Kollwitz"; in: Prelinger, Elizabet.
Käthe Kollwitz. Washington, National Gallery of Art,
1992.
Knesebeck, Alexandra von dem.
Käthe Kollwitz: Verzeichnis der
Graphik
. Bern, Verlag Kornfeld, 2002.
Lippard, Lucy R.
Käthe Kollwitz, Graphics, Posters,
Drawings
. London, Writers and Readers, 1981.
Nedo, Kito. "Why Käthe Kollwitz, an Icon of German Modern Art, Is Still So Controversial
on Her 150th Anniversary"; in:
artnet News website, posted
July 18, 2017, viewed March 29, 2018.
Administrative Information
Access
Open for use by qualified researchers. Series I.A. Series I.B., Series II.A. and Series
II.B. are restricted. Contact the repository for information regarding access.
Publication Rights
Preferred Citation
Dr. Richard A. Simms collection of prints and drawings by Käthe Kollwitz and other artists,
1770s-2007, undated, The Getty Research Institute, Los Angeles, Accession no. 2016.PR.34
http://hdl.handle.net/10020/cifa2016pr34
Acquisition Information
Partial Gift of Dr. Richard A. Simms.
The drawing
The People [
Das
Volk
] by Käthe Kollwitz (Nagel/Timm 977) and the drawing
Girl with a Child in Her Arm [
Mädchen mit Kind auf dem
Arm
] (Nagel/Timm 700) are the gift of Dr. Richard A. Simms in honor of Hildegard
Bachert. The print
Praying Young Woman [
Betendes Mädchen] by Käthe Kollwitz (Knesebeck 14.Ib) is the gift
of Dr. Richard A. Simms in honor of Elizabeth Perlinger. The watercolor
Self-Portrait in Barcelona by Walter Gramatté is a gift of Dr.
Richard A. Simms and was received as an addition to the collection. The drawings
Street at Night II and
Self-Portrait with
Tongue Sticking Out
by Ludwig Meidner are a gift of Dr. Richard A. Simms and were
received as an addition to the collection. The watercolor
Blooming
Cactuses
[
Blühende Kakteen] by Karl
Schmidt-Rottluff is a gift of Dr. Richard A. Simms in honor of Louis Marchesano and was
received as an addition to the collection. The sheet with drawings by Kollwitz
Sketches of Figures from Caveau des Innocents [
Figurenstudien aus Caveau des Innocents] are a gift of Dr. Richard
A. Simms. The woodcut by Otto Dix
Lovers [
Liebespaar] is a gift of Dr. Richard A. Simms.
The drawing
Hamburg Tavern (
Hamburger
Kneipe
) by Käthe Kollwitz (Nagel/Timm 184) is a gift of Dr. Richard A. Simms and
was received as an addition to the collection.
Processing History
The collection was processed by Christina Aube, Lisa Forman, Lauren Graber, Natascha
Kirchner, Allison Ransom, Vladimira Stefura, and Isabella Zuralski-Yeager. Isabella
Zuralski-Yeager wrote the finding aid.
Digitized Materials
Scope and Content of Collection
Assembled over a period of forty years, the collection comprises approximately 560 works on
paper by Käthe Kollwitz and other predominantly German artists from the late 19th and the
early 20th century, whose work exemplifies the artistic directions of the period, such as
realism or naturalism, impressionism, symbolism, and expressionism. Also present are
published portfolios of prints, a small collection of letters sent by the artists and
others, a few vintage photographs, and various printed illustrated matter. A total of
approximately 720 items.
Series I.includes a total of approximately 340 items. The main portion constitute prints
and drawings by Käthe Kollwitz acquired by Dr. Simms in Europe and the United States between
1973 and 2014. Present are approximately 240 graphic works in intaglio, woodcut and
lithography; and approximately fifty drawings; a total of approximately 290 works on paper.
Dating from 1891 to 1941, the prints represent the entire spectrum of Kollwitz's graphic
work. As several proof impressions and states of a print are frequently present, the
collection provides a unique opportunity to explore the progression of Kollwitz's artistic
vision from state to state through the analysis of her often innovative and experimental
application of printing tools and techniques, and testifies to the collector's particular
interest in Kollwitz's workshop and her understanding of the printing process. The drawings
by Käthe Kollwitz date from 1888 to 1928, with the bulk dating from the late 1890s and the
early 1900s and from 1919 and the early 1920s. Numerous drawings are preparatory studies for
prints also present in the collection. Other materials in the series are four print
portfolios by Kollwitz, including the so-called Richter Mappe from 1920; postwar exhibition
posters, including several from California; vintage portrait photographs of Kollwitz; and
letters sent by Kollwitz.
Series II. includes approximately 380 items: 130 drawings, 140 prints, 35 print portfolios,
various printed matter, and letters sent. The majority of the prints and drawings in this
series have not been published before and are not part of existing catalogues raisonné.
Several of the artists represented were like Käthe Kollwitz members of the modernist
movement Berlin Secession, including Ernst Barlach, Max Klinger, Lovis Corinth, Emil Nolde,
or Karl Schmidt-Rottluff. Most extensively represented are Lovis Corinth, Otto Greiner, Max
Klinger, Wilhelm Leibl, Ludwig Meidner, Max Pechstein, Franz Skarbina, Max Slevogt, and Karl
Stauffer-Bern. Also present are several or single works by Emma Bormann, Lyonel Feininger,
Walter Grammatté, George Grosz, Peter Halm, Karl Jakob Hirsch, Arthur Kampf, Melchior
Lechter, Wilhelm Leibl, Friedrich von Liphart, Hans Meid, Wilhelm Morgner, Rolf Nesch, Emil
Orlik, Bernhard Pankok, Jules Pascin, Ilya Repin, Christian Rohlfs, Rudolf Schlichter,
Théophile Alexandre Steinlen, Franz von Stuck, Hans Thoma, Henri de Toulouse-Lautrec, Albert
Welti, and Heinrich Zille. Also included are works by artists from the late 18th and
pre-modernist 19th century, including Daniel Chodowiecki, Jean-Baptiste Édouard Detaille,
Carl Wilhelm Kolbe the Elder, and Alfred Rethel. Three drawings are without established
attribution.
Added at the end of Series II. are five works on paper by non-European artists: Eduardo
Kingman, Leopoldo Méndez, Sarah Sears, Louis Muhlstock, and Merian D. Williams. An unsigned
lithograph attributed to Gerhart Kraag (1909-1971) is filed with this group until the
attribution is confirmed.
Arrangement
Organized in two series: Series I. Käthe Kollwitz, 1888-1993, undated; Series II. Other
artists, 1770s-2007, undated
Indexing Terms
Subjects - Names
Kollwitz, Käthe, 1867-1945
Liebknecht, Karl Paul August Friedrich,
1871-1919
Puvis de Chavannes, Pierre,
1824-1898
Subjects - Topics
Art, German -- 20th century
Art, German--19th century
Genres and Forms of Material
Lithographs -- Germany -- 20th century
Drawings (visual works) -- Germany -- 20th century
Etchings (prints) -- Germany -- 20th century
Prints (visual works) -- Germany -- 20th century
Drawings (visual works) -- Germany -- 19th century
Lithographs -- Germany -- 19th century
Etchings (prints) -- Germany -- 19th century
Prints (visual works) -- Germany -- 19th century
Pen and ink drawings -- Germany -- 19th century
Drypoints (prints) -- Germany -- 19th century
Drypoints (prints) -- Germany -- 20th century
Aquatints (prints) -- Germany -- 19th century
Aquatints (prints) -- Germany -- 20th century
Soft-ground etchings (visual works) -- Germany -- 20th
century
Woodcuts (prints) -- Germany -- 20th century
Photolithographs -- Germany -- 20th century
Charcoal drawings -- Germany -- 20th century
Pastels (visual works) -- Germany -- 20th century
Pencil drawings -- Germany -- 20th century
Chalk drawings -- Germany -- 20th century
Gouaches (paintings) -- Germany -- 20th century
Pen and ink drawings -- Germany -- 20th century
Soft-ground etchings (visual works) -- Germany -- 19th
century
Transfer lithographs -- Germany -- 20th century
Chalk drawings -- Germany -- 18th century
Drawings (visual works) -- Germany -- 18th century
Watercolors (paintings) -- France -- 19th century
Watercolors (paintings) -- United States -- 20th century
Watercolors (paintings) -- Germany -- 20th century
Pen and wash drawings -- Germany -- 19th century
Pencil drawings -- Germany -- 19th century
Watercolors (paintings) -- Germany -- 19th century
Charcoal drawings -- Germany -- 19th century
Chalk drawings -- Germany -- 19th century
Sketchbooks -- Germany -- 19th century
Portraits -- Germany -- 19th century
Portraits -- France -- 19th century
Drawings (visual works) -- Russia -- 19th century
Pencil drawings -- Russia -- 19th century
Charcoal drawings -- France -- 19th century
Drawings (visual works) -- France -- 19th century
Gouaches (paintings) -- France -- 19th centuray
Pastels (visual works) -- France -- 19th century
Linocuts (prints) -- Austria -- 20th century
Prints (visual works) -- Austria -- 20th century
Nudes (representations)
Chalk lithographs -- Germany -- 19th century
Portraits -- Germany -- 20th century
Mezzotints (prints) -- Germany -- 19th century
Landscapes (representations) -- Germany -- 19th century
Landscapes (representations) -- Germany -- 20th century
Embossed prints -- Germany -- 20th century
Collagraphs (prints) -- Norway -- 20th century
Color lithographs -- Germany -- 20th century
Chalk lithographs -- Germany -- 20th century
Self-portraits -- Germany -- 20th century
Color woodcuts (prints) -- Germany -- 20th century
Wood engravings (prints) -- Germany -- 19th century
Aquatints (prints) -- France -- 19th century
Drypoints (prints) -- France -- 19th century
Etchings (prints) -- France -- 19th century
Prints (visual works) -- France -- 19th century
Lithographs -- France -- 19th century
Aquatints (prints) -- Switzerland -- 19th century
Etchings (prints) -- Switzerland -- 19th century
Prints (visual works) -- Switzerland -- 19th century
Gouaches (paintings) -- Ecuador -- 20th century
Etchings (prints) -- Mexico -- 20th century
Prints (visual works) -- Mexico -- 20th century
Photolithographs -- Canada -- 20th century
Prints (visual works) -- Canada -- 20th century
Prints (visual works) -- United States -- 20th century
Woodcuts (prints) -- United States -- 20th century
Prints (visual works)
Screen prints
Gouaches (paintings) -- Germany -- 19th century
Prints (visual works) -- Norway -- 20th century
Self-portraits -- Germany -- 19th century
Contributors
Simms, Richard A.,
Dr.
Kollwitz, Käthe,
1867-1945
Becke, Alexander von der, 1902-1959
Felsing, Otto,
1854-
Felsing, Wilhelm
Richter, Emil
H. Meysel Nachfol.
Chodowiecki, Daniel,
1726-1801
Stauffer, Karl,
1857-1891
Detaille, Edouard,
1848-1912
Feininger, Lyonel,
1871-1956
Repin, Ilʹi︠a︡ Efimovich,
1844-1930
Greiner, Otto,
1869-1916
Barlach, Ernst,
1870-1938
Gramatté, Walter,
1897-1929
Grosz, George,
1893-1959
Halm, Peter,
1854-1923
Kampf, Arthur,
1864-1950
Klinger, Max,
1857-1920
Lechter, Melchior,
1865-1937
Liphart, Ernst Friedrich, Baron von, 1847-1932
Loth, Wilhelm,
1920-1993
Meidner, Ludwig,
1884-1966
Morgner, Wilhelm,
1891-1917
Pechstein, Max,
1881-1955
Pankok, Bernhard,
1872-1943
Pascin, Jules,
1885-1930
Schlichter,
Rudolf, 1890-1955
Schmidt-Rottluff, Karl,
1884-1976
Skarbina, Franz,
1849-1910
Slevogt, Max,
1868-1932
Steinlen, Théophile Alexandre,
1859-1923
Stuck, Franz von,
1863-1928
Thoma, Hans,
1839-1924
Zille, Heinrich,
1858-1929
Corinth, Lovis,
1858-1925
Felixmüller,
Conrad, 1897-1977
Nolde, Emil,
1867-1956
Welti, Albert,
1862-1912
Toulouse-Lautrec, Henri de,
1864-1901