Käthe Kollwitz

Left: Self-Portrait. 1924. Woodcut. Private collection.

Right: Käthe Kollwitz. Photograph.


All Good Art is Political

Käthe Kollwitz and Sue Coe

October 26, 2017 - March 10, 2018

Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 11, 2017 - October 13, 2017

Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 12, 2016 - October 7, 2016

Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 21, 2015 - October 16, 2015

Alternate Histories

Celebrating the 75th Anniversary of the Galerie St. Etienne

January 15, 2015 - April 11, 2015

Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 15, 2014 - September 26, 2014

Modern Furies

The Lessons and Legacy of World War I

January 21, 2014 - April 12, 2014

* Käthe Kollwitz

The Complete Print Cycles

October 8, 2013 - December 28, 2013

Recent Acquisitions

And Some Thoughts on the Current Art Market

July 9, 2013 - September 27, 2013

Face Time

Self and Identity in Expressionist Portraiture

April 9, 2013 - June 28, 2013

Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 17, 2012 - October 13, 2012

The Lady and the Tramp

Images of Women in Austrian and German Art

October 11, 2011 - December 30, 2011

Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 5, 2011 - September 30, 2011

Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 13, 2010 - October 1, 2010

* Käthe Kollwitz

A Portrait of the Artist

April 13, 2010 - June 25, 2010

Recent Acquisitions

(And Some Thoughts on the Current Art Market)

June 24, 2008 - September 26, 2008

Hope or Menace?

Communism in Germany Between the World Wars

March 25, 2008 - June 13, 2008

Transforming Reality

Pattern and Design in Modern and Self-Taught Art

January 15, 2008 - March 8, 2008

Recent Acquisitions

(And Some Thoughts on the Current Art Market)

June 5, 2007 - September 28, 2007

More Than Coffee was Served

Café Culture in Fin-de-Siècle Vienna and Weimar Germany

September 19, 2006 - November 25, 2006

Recent Acquisitions

(And Some Thoughts on the Current Art Market)

June 6, 2006 - September 8, 2006

* Coming of Age

Egon Schiele and the Modernist Culture of Youth

November 15, 2005 - January 7, 2006

Recent Acquisitions

And Some Thoughts on the Current Art Market

June 7, 2005 - September 9, 2005

Every Picture Tells a Story

The Narrative Impulse in Modern and Contemporary Art

April 5, 2005 - May 27, 2005

65th Anniversary Exhibition, Part I

Austrian and German Expressionism

October 28, 2004 - January 8, 2005

Sue Coe: Bully: Master of the Global Merry-Go-Round and Recent Acquisitions

(And Some Thoughts on the Current Art Market)

June 8, 2004 - October 16, 2004

Body and Soul

Expressionism and the Human Figure

October 7, 2003 - January 3, 2004

Recent Acquisitions

(And Some Thoughts on the Current Art Market)

June 24, 2003 - September 12, 2003

* Käthe Kollwitz:

Master Printmaker

October 1, 2002 - January 4, 2003

Recent Acquisitions

(And Some Thoughts on the Current Art Market)

June 25, 2002 - September 20, 2002

Workers of the World

Modern Images of Labor

April 2, 2002 - June 15, 2002

The "Black-and-White" Show

Expressionist Graphics in Austria & Germany

September 20, 2001 - November 10, 2001

Recent Acquisitions (And Some Thoughts on the Current Art Market)

June 26, 2001 - September 7, 2001

Art with an Agenda

Politics, Persuasion, Illustration and Decoration

April 10, 2001 - June 16, 2001

The Tragedy of War

November 16, 2000 - January 6, 2001

The Expressionist City

September 19, 2000 - November 4, 2000

Recent Acquisitions (And Some Thoughts on the Current Art Market)

June 20, 2000 - September 8, 2000

From Façade to Psyche

Turn-of-the-Century Portraiture in Austria & Germany

March 28, 2000 - June 10, 2000

Saved From Europe

In Commemoration of the 60th Anniversary of the Galerie St. Etienne

November 6, 1999 - January 8, 2000

The Modern Child

(Images of Children in Twentieth-Century Art)

September 14, 1999 - November 6, 1999

Recent Acquisitions

(And a Look at Sixty Years of Art Dealing)

June 15, 1999 - September 3, 1999

* Becoming Käthe Kollwitz

An Artist and Her Influences

November 17, 1998 - December 31, 1998

Recent Acquisitions

(And Some Thoughts About Looted Art)

June 9, 1998 - September 11, 1998

Recent Acquisitions

A Question of Quality

June 10, 1997 - September 5, 1997

Käthe Kollwitz - Lea Grundig

Two German Women & The Art of Protest

March 25, 1997 - May 31, 1997

Breaking All The Rules

Art in Transition

June 11, 1996 - September 6, 1996

From Left to Right

Social Realism in Germany and Russia, Circa 1919-1933

September 19, 1995 - November 4, 1995

Recent Acquisitions

June 20, 1995 - September 8, 1995

On the Brink 1900-2000

The Turning of Two Centuries

March 28, 1995 - May 26, 1995

Three Berlin Artists of the Weimar Era: Hannah Höch, Käthe Kollwitz, Jeanne Mam

September 13, 1994 - November 5, 1994

Art and Politics in Weimar Germany

September 14, 1993 - November 6, 1993

Recent Acquisitions

June 8, 1993 - September 3, 1993

The Dance of Death

Images of Mortality in German Art

January 19, 1993 - March 13, 1993

* Käthe Kollwitz

In Celebration of the 125th Anniversary of the Artist's Birth

September 15, 1992 - November 7, 1992

Scandal, Outrage, Censorship

Controversy in Modern Art

January 21, 1992 - March 7, 1992

The Expressionist Figure

September 10, 1991 - November 9, 1991

Recent Acquisitions

Themes and Variations

May 14, 1991 - August 16, 1991

Recent Acquisitions

June 12, 1990 - August 31, 1990

Max Klinger, Käthe Kollwitz, Alfred Kubin

A Study in Influences

March 27, 1990 - June 2, 1990

The Narrative in Art

January 23, 1990 - March 17, 1990

The Galerie St. Etienne

A History in Documents and Pictures

June 20, 1989 - September 8, 1989

Fifty Years Galerie St. Etienne: An Overview

February 14, 1989 - April 1, 1989

Recent Acquisitions and Works From the Collection

June 14, 1988 - September 16, 1988

Three Pre-Expressionists

Lovis Corinth Käthe Kollwitz Paula Modersohn-Becker

January 26, 1988 - March 12, 1988

* Käthe Kollwitz

The Power of the Print

November 17, 1987 - January 16, 1988

Recent Acquisitions and Works From the Collection

April 7, 1987 - October 31, 1987

Käthe Kollwitz/Paula Modersohn-Becker

January 28, 1986 - March 15, 1986

The Art of Giving

December 3, 1985 - January 18, 1986

Expressionists on Paper

October 8, 1985 - November 23, 1985

Expressionist Printmaking

Aspects of its Genesis and Development

April 1, 1985 - May 24, 1985

Early and Late

Drawings, Paintings & Prints from Academicism to Expressionism

June 1, 1983 - September 2, 1983

* Käthe Kollwitz

The Artist as Printmaker

September 28, 1982 - November 6, 1982

Aspects of Modernism

June 1, 1982 - September 3, 1982

The Human Perspective

Recent Acquisitions

March 16, 1982 - May 15, 1982

* Kollwitz: The Drawing and The Print

May 1, 1980 - June 10, 1980

* Käthe Kollwitz

December 1, 1976

* Käthe Kollwitz

February 3, 1971

* Käthe Kollwitz

In the Cause of Humanity

October 23, 1967

* Käthe Kollwitz

May 1, 1965

Group Show

October 15, 1962

* Käthe Kollwitz

November 11, 1961

* Käthe Kollwitz

December 14, 1959

European and American Expressionists

September 22, 1959

* Käthe Kollwitz

January 12, 1959

* Käthe Kollwitz

April 16, 1956

* Käthe Kollwitz

October 25, 1951

* Tenth Anniversary Exhibition

Part I

November 30, 1949

* Käthe Kollwitz


October 18, 1948

* Käthe Kollwitz

October 4, 1947

* Käthe Kollwitz

Memorial Exhibition

November 21, 1945

* Käthe Kollwitz

Part II

October 26, 1944

* Käthe Kollwitz

Part I

November 3, 1943

Saved from Europe

Masterpieces of European Art

July 1, 1940


A History in Documents and Pictures

June 20, 1989 - September 8, 1989


Gerstl, Richard

Klimt, Gustav

Kokoschka, Oskar

Kollwitz, Käthe

Kubin, Alfred

Modersohn-Becker, Paula

Nolde, Emil

Schiele, Egon

Schoenberg, Arnold



As part of our ongoing series commemorating the fiftieth anniversary of the Galerie St. Etienne, we have chosen to devote the summer months to examining our history per se. It probably goes without saying that any institution which is fifty years old has experienced a substantial number of major historical events, and the gallery--founded after Otto Kallir was forced by the Nazi Anschluss to leave his native Vienna--has surely survived some extremely turbulent times. However, our gallery has been more than simply a pawn to history. Many art dealers literally "make history" in the sense that they recognize important talent before others and help bring that talent to prominence. Otto Kallir was unusual in that his interests--and his instinct for recognizing things of importance--extended not merely to art, but to politics, literature, music and science: in short, to the entire realm of human endeavors. Over these past fifty years, Kallir's interest in documents of historic significance and the history of the Galerie St. Etienne have become intertwined, and the present exhibition offers an opportunity to view the specifics of our gallery's past within the broader context of world affairs.


There is little question that the preceding half-century has manifested a spectacular capacity for evil, as epitomized by Hitler's maniacal rise to power and the holocaust that he wrought. Nevertheless, though Otto Kallir meticulously collected documents recording this phenomenon and its antecedents, the vast majority of material assembled by him reflects a remarkable capacity for hope and faith in humankind's ability not just to endure, but to produce things of extraordinary beauty. Studying Samuel Morse's attempts to establish an American telegraph network, or the items relating to Charles Lindbergh's historic transatlantic flight, one is reminded of a time when scientific progress seemed to promise a better future, instead of the uneasy compromises it offers today. No less revolutionary than modern telecommunications and aviation were the musical and literary innovations of Gustav Mahler, Alban Berg, Hugo von Hofmannsthal and Rainer Maria Rilke. Otto Kallir felt privileged to be a witness to such a plethora of extraordinary developments, and he made it his life's work to celebrate them.


Not just an art dealer and collector, Kallir sought to share his enthusiasms with a wider audience by functioning as both writer (he believed the catalogue raisonné to be the cornerstone of art connoisseurship) and publisher (of literary works and limited edition graphics by such artists as Beckmann, Kubin and Schiele). He was forever urging acquaintances to record interesting experiences, and thus it was that when he encountered Reinhold Hanisch, an artist who had known Hitler in his Vienna days, he encouraged him to write a memoir (later smuggled out of Nazi Austria) that remains a principal source of information on this early period in the Führer's life. While it may seem ironic to draw a parallel between the Hanisch manuscript and the autobiography, My Life's History, that Kallir coaxed out of Grandma Moses, there is in fact a very real connection between the two. Kallir was driven by the conviction that things must be preserved or they would otherwise be lost. It was this compulsion that inspired him to salvage the estate of the avant-garde Austrian poet Peter Altenberg, and to rescue from oblivion the legacy of the radical painter Richard Gerstl--who at the time of his suicide in 1908 was one of the most advanced artists in Europe. Perhaps most important of all, it was this that ensured that all the artists associated with his gallery were not just marketed in the conventional sense, but amply documented for posterity.


As the artists represented by the Galerie St. Etienne have become more firmly established in history, scholarly endeavors have become an increasingly substantial part of our efforts, but the present anniversary provides a reminder that such was not always the case. Our gallery, which has become so historical in its orientation, was in its youth a center for the contemporary avant-garde. Otto Kallir's original Neue Galerie, which he ran in Vienna for fifteen years before founding St. Etienne, was a showplace chiefly for living artists, the exclusive Austrian representative of Oskar Kokoschka and Alfred Kubin (among others). When Kallir came to New York in 1939, he brought with him not just Austrian art, but a treasure trove of modern European paintings by such artists as Cezanne and van Gogh. Just as he was sensitive to the historical forces that surrounded him, Kallir was interested in the full range and impact of the international modernist revolution, which provided a context for developments in Austria. This is why the present exhibition includes works by Henri de Toulouse Lautrec, Edouard Manet, Edvard Munch, Maurice Utrillo and Vincent van Gogh, in addition to such old favorites as Gustav Klimt, Käthe Kollwitz and Egon Schiele. These various artworks are complemented by letters, books and documents that either relate to the specific history of the Galerie St. Etienne, or reflect Otto Kallir's eclectic collecting patterns. The goal is to describe the context--aesthetic and historical--in which the Galerie St. Etienne developed over these past fifty years.


50th Anniversary Committee








Dr. Jutta Bohnke-Kollwitz


The Honorable Leopold Bill von Bredow, CONSUL GENERAL OF THE








Lillian Gish




His Excellency Friedrich Hoess, AMBASSADOR OF AUSTRIA TO THE U.S.A.


Prof. Arne Kollwitz


Mr. and Mrs. Leonard A. Lauder


Ambassador Ronald S. Lauder


Gertrud Mellon






Mrs. John Alexander Pope




Dr. Richard A. Simms


The Honorable Wolfgang Steininger, CONSUL GENERAL OF AUSTRIA