Alexej von Jawlensky

The rare complete set, comprising six lithographs, one of a few handcoloured examples heightened in blue, green, yellow, and pink watercolour, 1922, each plate signed in pencil, numbered 60, from the edition of 100, with title page inscribed 'Diese Mappe ist mit besondere Liebe für Herrn Otto Ralfs von wir koloriert', and 'Eigenhändig koloriert', and signed twice, printed by Vereinigte Druckereien, published by Nassauischer Kunstverein, Weisbaden, on smooth cream japan(?) paper, framed, with original blue canvas-covered portfolio with gold lettering and justification sticker inside the front cover, numbered 60 in ink and inscribed as Otto Ralfs' copy

Berlin, Akademie der Künste, John Cage und … Bildender Künstler, 30th March - 17th June 2012;
Salzberg, Museum der Moderne, John Cage und … Bildender Künstler, 14th July - 7th October 2012.

The full sheets (most sheet edges with a deckle), in good condition, the hand-colouring somewhat faded, some slight paper discoloration, minor creasing and handling marks, and overall scattered foxing (mostly on R18 and R21). Imperfections to individual sheets include: Kopf I: overall scattered foxing, an inconspicuous flattened crease extending horizontally across the lower half of image below chin, a vertical flattened crease at right sheet edge, a small vertical repaired tear at upper left sheet edge (approx. 1.5cm), other faint handling marks. Kopf II: foxing mostly at edges of sheet, two fine vertical creases at upper left and right sheet edges, stain lower left verso. Kopf III: a small cluster of fox marks in centre of image, a slight smudge over numbering, a flattened horizontal crease at upper sheet edge, a flattened diagonal crease at upper right sheet tip, a small pressure mark in figure's hair, a very short vertical repaired tear at upper sheet edge, handling creases. Kopf IV: scattered foxing throughout, fine flattened vertical creases to upper right sheet edge, several nicks to deckle at sheet edges. Kopf V: a small cluster of fox marks on face, further foxing in margins, two soft horizontal flattened creases through image, a tiny pressure mark on figure's eye, minor flattened creasing to upper left and right corners, small repaired tear at lower sheet edge, minute nicks to deckle. Kopf VI: slight foxing, three fox marks to nose, numbering indistinct with slight rubbing, flattened diagonal creases at upper tips, minor pressure mark to figure's forehead, hinged to mount at intervals verso *(unable to examine reverse). Title page: on wove paper, some flattened creases and some short repaired tears at sheet edges, slight discoloration and occasional fox marks, ink inscription and signature slightly bled. Portfolio: stain to canvas at front, foxing and discoloration to inner cover (gold lettering worn).
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Rosenbach states that copies 1-20 were printed on kaiserlich japan paper, and 21-100 were printed on Bütten. 

The complete hand-coloured portfolio of this series is extremely rare; no other examples have been offered at auction in the last twenty years.

Concerning these Köpfe, Jawlensky wrote:

I painted these ‘variations’ for some years, and then I found it necessary to find form for the face, because I had come to understand that great art can only be painted with religious feeling. And that I could only bring to the human face…They are technically very perfect and radiate great spirituality’. (Alexej von Jawlensky in letter to Pater Willibrord Verkade, June 12, 1939).

Otto Ralfs, to whom this particular portfolio is dedicated, was an important collector and gallery owner whom Jawlensky visited in Braunschweig in 1923, and several times thereafter. This first visit is recorded in the gallery’s guestbook, Gästebuch Otto Ralfs, which also includes the sketches and texts of Paul Klee, Wassily Kandinsky, and Lyonel Feininger. This is now kept in the Stadtischen Museum, Braunschweig.