Individual Lithographs


Embossed stone Lithograph with hand coloring

Size: 15" x 18.5"

1986  Edition 20


Embossed Stone Lithograph with hand coloring

Size: 15" x 18.5"

1986   Edition 20


Embossed two stone lithograph with hand coloring

Size: 14.5" x 19.5"

1986  Edition: 35 color. 10 black/white, numbered I to X

Chop of the International Center for Graphic Arts

"The lithographic stone is broken, the paper torn, the arches pulled apart and the two hands are drawing on different levels in the image. Although it was not intended as such, the lithograph captures the inner tension at the time between my desire to be a full time artist, and the commitment to finish my dissertation as a graduate student at UC Berkeley.  

The print anticipates the series of casts made from the lithographic stone in the 1990ies which were poured in hydrostone or wax. Instead of keeping the matrix hidden in the artist's studio, I chose to make it visible and a vital part of my imagery.

While the stone may seem like a solid foundation onto which to build a work of art, it is fragile as glass and breaks under pressure. "

Statement for the Library of Congress. Herlinde Spahr

The Artist's Proof

Stone Lithograph with red fingerprint

Size: 14.5" x 36.5"

1986   Edition: 25, artist's proof 5. 50 black/white prints as fundraiser of the International Center of the Graphic Arts. Kasterlee, Belgium. Chop of the International Center


Two stone lithograph with hand coloring

Size: 29.5" x 22"

1987   Edition 25

"Techniques and materials used for the crucifixion were originally rough timber, unhewn. As time passed and the image of the crucifixion of Christ became a staple in the arts, the form of the cross was developed and refined. Ultimately it reached its recognizable form, the hewn timber cross. Yet, as the cross developed into its refined form, artists began to render the form of Christ more simply, more two dimensional.

Herlinde Spahr has taken that development a step further, making the cross of concrete and steel and reducing the form of Christ to a complete flatness – to a sheet of paper. On this paper, Spahr has illustrated a floating and bleeding Magritte's apple, (from "The Son of Man") begging the question of what might it be hiding and why is it that it bleeds.

The lower left corner of the Crucified image is cut by the artist, intended to be rolled up before framing as to mimic the drawn ilustion of the opposite lower corner of the crucifixion paper. The illusion is made complete by a piece of acid free black paper backing. left unmounted to the verso of the impression.

Commentary by the Annex Galleries.

Silk and Stone 1

Two -stone color lithograph with hand-coloring

Size: 29" x 22"

1989   Edition 30

Silk and Stone 2

Two-stone color lithograph

with hand coloring

Size: 29" x 22"

1989   Edition 30

The Blind Spot

Stone Lithograph with hand coloring

Size: 7" x 10"

1989  Edition of 15


Two-stone lithograph with hand coloring

Size: 26" x 21"

2003  Edition 20

Text from Jacob Boehme's "Aurora"

Nightbloom Fulgens

Stone Lithograph: Manière Noire and

levigator print

Size: 27.30" x 17.5"

2001  Edition 3

Perilous Crossing

Stone Lithograph

Size; 10" x 7"


Edition: 40 on BFK, 3 AP, 7 HC. 7 on

Japanese papers

"Perilous Crossing" presents both a candle in flames drawn on a lithographic stone, and a candle snuffer, a reminder of life's fragility. The print is as much about the darkness and enigma that surrounds our lives, as it is about the power of art to preserve the flame, to intenisify the light.

Herlinde Spahr

Perilous Crossing was featured in Art in Print. (Vol 4, Number 3)