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Spaightwood Galleries
Featuring original prints and drawings by
Eva Gonzales, Berthe Morisot, Mary Cassatt, Suzanne Valadon, Nataliya Goncharova, Marie Laurencin, Kathe Kollwitz,
Gabriele Munter, Hannah Hoch, Sonia Delaunay, Hilla Rebay, Maria Helena Vieira da Silva,
Leonor Fini, Frida Kahlo, Dorothea Tanning, Toyen, and Louise Bourgeois
A Virtual Tour of "Womanshow 2007," Part I / A Virtual Tour of Womanshow 2007 Part 2
The new home of Spaightwood Galleries—the former Unitarian Church (built 1874) at 120 Main Street in Upton MA
800-809-3343 or 508-529-2511
If the title is italicized in blue, clicking on it will take you to a much better enlarged photograph or to another web page with full details. Use your back button to return to the tour.
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On the right rear wall of the former sanctuary, we have three pieces. Over the door is Couverture, Chagall Lithographe I (M. 261; 1960; our is an unfolded proof of the lithograph designed to serve as the cover to Chagall Lithographe I; below and to the right two etchings by Kathe Kollwitz, the top print is Hamberger Kniepe / Hamburg Tavern (K. 58 iiib), a 1901 etching from a von der Becke edition after 1931. One of Kollwitz most frequently illustrated prints, pwerhaps becauuse of its unusually cheerful subject. Image size: 192x247mm; price: S1600. Beneath it is Vier manner in der kniepe (Kl. 12 iiib). an original soft-ground etching and aquatint, 1892-93. Edition: from the edition of unknown size published in 1921. Kollwitz here captures the conspiratorial and oppressive atmosphere of the German Empire in the late 19th century. This work, while not part of the Weavers' Revolt series, shows Kollwitz already thinking about the themes to be explored in it and could be, von Knesebeck suggests, an early version of Beratung / Conspiracy. Image size: 125x150mm. Price: $1600.
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Couverture, Chagall Lithographe I (M. 281). Original color lithograph, 1960. 25 signed and numbered impressions on Arches and c. 2000 unsigned impressions for Chagall Lithographe I. This image served as the cover to the first volume of the catalogue raisonné of Chagall's lithographs. Ours is a rare unfolded proof of the front cover for Chagall Lithographe I in mint condition. Mat size: 20x30 inches. Price: $2750.
Also available: Couverture, Chagall Lithographe I (M. 281). Original color lithograph, 1960. 25 signed and numbered impressions on Arches and c. 2000 unsigned impressions for Chagall Lithographe I. This image served as the cover to the first volume of the catalogue raisonné of Chagall's lithographs. It is rare to find an impression that is still clean enough and without major wear that the whole cover can be presented. Image size: 325x530mm. Mat size: 20x26 inches. Price: $2250.
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Next to the doorway, we present a work by Kollwitz, Deutschlands kinder hungern! / Germany's children are starving! (Kl. 190 A.III.a.1). Original lithograph, 1924. One of Kollwitz' most frequently illustrated works, this was first published as a poster then without text as here. Published by Richter with his blind stamp lower right. One of Kollwitz' most important works. Image size: 405x275mm. Price: $3625. To the right of it, there are two linocuts by Regin Lichter-Liron, a Polish Jew who survived Auschwitz, studied art in Italy, and had a show of paintings and a set of linocuts that toured in Europe and the US from 1957-1960, after which I can find no further mention of her. Her linocuts were published first in a limited edition portfolio (ours was n. 238) signed by the artist and with an introduction by Carlo Levi. At top right, Hunger (93x83mm; $500); beneath it, The crosses of the 20th century (147x190mm; $500).
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Above Hannah Hoch's Wachsen und Blühen, an original color linocut, 1975. 120 pencil-signed impressions published by Galerie Nierendorf. Image size: 260x355mm. Price: $1950.Benath it on the lft, Dorothea Tanning's Composition pour le CNAC (T. 304), an original color lithograph commissioned by the Centre National de l'Art Contemporain in Paris for her 1974 retrospective and published in an edition 500 signed and numbered impressions. Image size: 480x380mm. Price: $2750. To the right of, a very beautiful but slightly damaged original color etching from 1964 by Sonia Delaunay, Composition Red, Blue, Black, White. 100 signed and numbered impressions on Arches. This impression backed by waxed paper; damaged lower left (see white spot on image about one quarter of the way up from the bottom of the image on the left side. One of the her best images; here, alas, with flaws (at a substantially reduced price). Image size: 400x398mm. Price: $1650.
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A view of the right side of the gallery from the loft showing the main body of works by Kathe Kollwitz.
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All of these pieces concerning family and social tragedies can be found described with large clear photographs by clicking here.
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All of these pieces from the Weavers' Revolt can be found by clicking here.
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Top: Homme, Ange, et Femme sur la Terre / Man, Angel, Woman (Cramer 99, Original etching & aquatint, 1975-76; edition 225); for full information, click here.
Bottom, from left: Sur la terre des dieux / On the gods' earth I (M. 529). Original color lithograph, 1967. 120 unsigned impressions published in the deluxe artist's book of the same title containing 12 original color lithographs; Sur la terre des dieux / On the gods' earth II (M. 530). Original color lithograph, 1967. 120 unsigned impressions published in the deluxe artist's book of the same title containing 12 original color lithographs. For full information, click here.
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The range of contrasts here is simply too extreme for me to make it coherent. Top row: the five images on the top row come from Maternité (1925-1926); from left they are Maternité I, Maternité II, Maternité III, Maternité IV, and Maternité V. For full information, please go to Maternité. Bottom row: the central image, Cain and Abel (M. 238; 1960), is from the 1960 Verve Bible; for full information please click here. The two left and the two right images come from Et sur la terre... a collaboration between Andre Malraux and Chagall in which Chagall provided 15 etchings to accompany a previously unpublished text by Nobel-Prize winner Malraux based upon his experiences on the Republican side during the Spanish Civil War; so far as I know they are Chagall's only attempts to present images of war; for full information, please go to Et sur la terre...
Visually Maternité begins with a young woman being escorted through a village by a policeman consequent to the discovery of her dead baby, proceeds backward to the birth of the baby, her father's anger when he discovers that his unmarried daughter is pregnant, the act of impregnation itself, and finally, her lover crawling in through the window before the initial act. The 10 prints thus explore the themes of birth and death, beginning with the murder of one of the first two children born into the world by the other, the model for all future murders and the first death in the world.
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This wall, opposite the 1956 color Bible lithographs on the other wall of the entry to the gallery, presents fourteen of the 15 etchings for the Bible presently in our inventory plus the first two of the 1956 Bible lithographs that Chagall executed to accompany the first publication of his Etchings for the Bible. Of special note in this group is a one-of-a-kind hand-painted etching by Chagall as he tried to design the hand-colored version of Moses and Aaron before Pharoah (Sorlier 228, Hannover 305). Unlike the hand-colored etchings that were published as part of the edition and only include spot-coloring, ours is completely hand-painted on top of the etching, using the same colors that would be used for the edition but in different places. Technically, it could be described as a monoprint or more accurately a mixed-media work. Chagall's Etchings for the Bible were commissioned by Ambroise Vollard after Chagall had completed work on the Dead Souls (1923-1927) and The Fables of LaFontaine (1927-1930). Chagall worked on them from 1930 to 1939 (when he had to flee Europe to avoid death at the hands of the Nazi forces that had overrun France and were already rounding up all Jews, with particular attention paid to artists, writers, and composers), resumed work on the last ones in the series between 1952 and 1956 (after his return to France in 1950 following a 10-year stay in the US and Mexico).
For the Bible etchings, please go to Etchings for the Bible (1930-39, 1952-56), Bible Etchings 2, and Bible Etchings 3; for the first two of the 1956 Verve Lithographs for the Bible, please go to 1956 Verve Lithographs for the Bible.
Hanging this show has been a joy as we continue to experiment with how we can hang things in our still new venue. We are leaving this show up at least until February 19 (if the weather ever gets wintry, we may leave it up until spring). Although we are always happy to chat about works in our shows (or works not in the show but available for viewing in the gallery (about 9500 works in all), we are planning on offering informal gallery lectures on Chagall's works in the show on Sundays at 2 p.m. for the duration of the show.
As always, we ask you to please call to confirm before your visit.
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Spaightwood Galleries, Inc.
To purchase, call us at 1-800-809-3343 (508-529-2511 in Upton MA & vicinity) or send an email to sptwd@verizon.net. We accept AmericanExpress, DiscoverCard, MasterCard, and Visa.
We are located at 120 Main Street, Upton MA 01568 in the former Unitarian Church (built 1873). For directions and visiting information, please call. We are, of course, always available over the web and by telephone (see above for contact information). Click the following for links to past shows and artists. For a visual tour of the gallery, please click here. For information about Andy Weiner and Sonja Hansard-Weiner, please click here. For a list of special offers currently available, see Specials.
Visiting hours: flexible. We are generally available on Saturdays and Sundays from noon to 6 p., and mostly available from noon on daily, but our zoning requires us to ask that you call to confirm that there will be someone here when you want to come.
Browsers and guests are welcome.
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