Provenance: Heritage Gallery
Private collection, Los Angeles
Note: Von Knesebeck says "According to Klipstein, there are signed proofs of this state," implying that she herself has never seen one so if there are any, they are very rare. Von Knesebeck mentions that state 'd' contains impressions "from the stone made unuseable," and oe concludes thus that the stone has been destroyed.
Our impression is therefore either from state b ("30 proofs, 1946, on smooth, carton-like paper, some with the estate remark from Hans Kollwitz or with the embossed stamp “Käthe Kollwitz Nachlaß [Estate]”--- or state c "Edition of circa 220 proofs, 1947, on various papers: velin, imitation Japan and simple, machine-made paper, some with the estate remarque from Hans Kollwitz, or with the embossed stamp “Käthe Kollwitz Nachlaß [Fine impression on wove paper."
In either case, this example is one of only 250 impressions produced by Han Kollwitz to preserve this last self-portrait by his mother for posterity. Kollwitz, like Durer, Rembrandt, and Picasso, often portrayed herself in her art. In this very famous work, she shows herself as old but unbowed. A large, rare, and highly desirable work by one of the 20th-centuries greatest artists."
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