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James McNeill Whistler PRBA (American 1834-1903), Billingsgate, 1859, drypoint etching, state 9 or 9, 16.5 x 24cm unframed

P.H. Wustefeld, Grafiker Anfang 20. Jh., zwei Radierungen ''Oldenburger Bauernhof'', Kaltnadelradierungen, u. re. handsign., u. li. bez., dasselbe Motiv in zwei Exemplaren, eines im Rand fleckig, 24,5 x 29 cm, hinter Glas ger. bis 43 x 54 cmP.H. Wustefeld, graphic artist early 20th century, two etchings ''Oldenburg Farm'', drypoint, signed lower right, inscribed lower left, same motif in two copies, one stained in margin, 24.5 x 29 cm, framed behind glass to 43 x 54 cm

Max Liebermann (1847-1935), ''Selbstbildnis 1913'', Kaltnadelradierung auf Kupferdruckpapier in: ''Max Liebermann, sein Leben und seine Werke von Erich Hancke mit 303 Abbildungen'', bei Bruno Cassirer in Berlin 1914, Originalradierung mit Hemdchen, etwas fleckig, Bucheinband stärker ber. u. best., H. 30 cmMax Liebermann (1847-1935), ''Self Portrait 1913'', drypoint on copperplate in: ''Max Liebermann, his life and works by Erich Hancke with 303 illustrations'', by Bruno Cassirer in Berlin 1914, original etching with shirt, somewhat stained, book cover more rubbed and bumped, h. 30 cm

Philipp Franck (1860-1944), Berliner Maler u. Grafiker, gründete mit Lovis Corinth und Max Liebermann die Berliner Secession. ''Raub der Töchter dess Leukippos'', Radierung mit Kaltnadel, u. re. handsign., u. li. bez. '7. Probedruck', der breite Rand etwas unfrisch, Plattenmaße 26,5 x 33,5 cm, Blattmaße 53 x 37 cmPhilipp Franck (1860-1944), Berlin painter and graphic artist, founded with Lovis Corinth and Max Liebermann the Berlin Secession. ''Raub der Töchter dess Leukippos'', etching with drypoint, u. r. signed by hand, u. li. inscribed '7. Probedruck', the wide margin somewhat unfresh, plate dimensions 26,5 x 33,5 cm, sheet dimensions 53 x 37 cm

Eduard Bargheer (1901-1979), Albert Camus ''Der Gast''. Mappe mit 8 Radierungen auf Bütten. 1965. Doppelblätter typografisch bedruckt mit dem kompletten Text der Erzählung, mit 8 Kaltnadelradierungen, im Impressum numm. 236/300 sowie mit Blstft. Signatur des Künstlers und des Herausgebers Gotthard de Beauclair (Verlag Ars librorum, Frankfurt/M. 1965), in brauner Leinenkassette, Blattgröße jew. ca. 43,6 x 32, Kassette 46 x 34 cmEduard Bargheer (1901-1979), Albert Camus ''The Guest''. Portfolio with 8 etchings on laid paper. 1965. double sheets typographically printed with the complete text of the story, with 8 drypoint etchings, in the imprint numm. 236/300 and with Blstft. Signature of the artist and the editor Gotthard de Beauclair (Verlag Ars librorum, Frankfurt/M. 1965), in brown linen case, sheet size each ca. 43,6 x 32, case 46 x 34 cm

Jonathan Meese (*1970), ''Die Exe Schrympylei'', Radierung mit Aquatinta und Kaltnadel aus Somerset Velvet Papier, u. re. handsign., 49,5 x 35 cm, Blattmaße 75 x 57,5 cmJonathan Meese (*1970), ''Die Exe Schrympylei'', etching with aquatint and drypoint on Somerset Velvet paper, signed lower right, 49.5 x 35 cm, sheet dimensions 75 x 57.5 cm

Jonathan Meese (*1970), ''Der Hohlste Kunsthistoriker'', Radierung mit Aquatinta und Kaltnadel aus Somerset Velvet Papier, u. re. handsign., 49,5 x 39 cm, Blattmaße 75 x 56,5 cmJonathan Meese (*1970), ''Der Hohlste Kunsthistoriker'', etching with aquatint and drypoint on Somerset Velvet paper, signed lower right, 49.5 x 39 cm, sheet measures 75 x 56.5 cm

Salvador Dali (1904-1989), Blatt aus ''Das Hohelied des Salomon'', Kaltnadelradierung m. Pochoir u. Goldauflage, 1971, re. u. handsign., li. u. num. 145/250, leichte Knickspuren, Dünnstellen an den Ecken von der ehemaligen Montierung,ca. 40 x 25 cm, Blattmaße 56 x 38 cmSalvador Dali (1904-1989), sheet from ''The Song of Solomon'', drypoint w. pochoir u. gold overlay, 1971, r. u. handsigned, l. u. num. 145/250, slight creases, thin spots at the corners from the former mounting,ca. 40 x 25 cm, sheet dimensions 56 x 38 cm

Mortimer Luddington Menpes (1855-1938), five unframed monochrome etchings with drypoint, two signed in pencil, comprising the church of St Mary le Strand (2, one signed and mounted), Salisbury Cathedral, the Priory Church of St Bartholomew the Great, Smithfield (signed) and another of a church by a river, 30 x 23.5cm (largest)

After Mortimer Luddington Menpes (1855-1938), a group of five framed monochrome etchings with drypoint, comprising Street Corner and Mosque, Damascus, another similar Middle Eastern street scene, A Bye Canal, Shanghai, a view of Venice from the Lagoon with moored gondolas and a Burmese village, all signed in pencil in the margin, 21.5 x 24.5cm (largest)

ARTHUR WILLIAM HEINTZELMAN (AMERICAN 1891 - 1965), MONTAGNARD DE LA HAUTE SAVOIRE, 1929, (Smith 146) drypoint etching on cream laid paper, signed in the plate, further signed in pencil, edition of 80 30cm x 23cm Mounted, framed and under glass See notes with lot 90.

ARTHUR WILLIAM HEINTZELMAN (AMERICAN 1891 - 1965), LA VIERGE ET L'ENFANT JESUS (Smith 155) drypoint etching on cream laid paper, 1929; edition of 70, signed in pencil 30cm x 23cm Mounted, framed and under glass Note: Born in Newark, New Jersey, Arthur William Heintzelman was a painter, etcher, copyist, teacher, and curator. Raised in Providence, Rhode Island, he first studied art at the Rhode Island School of Design, where he subsequently taught, and also in Europe. In 1921, the Heintzelmans moved to Paris and made their home in France, subsequently moving to Switzerland in 1931 and remaining there until 1934, when they returned to the United States. Already widely respected as a printmaker prior to his departure for Europe, he became internationally famous during his years abroad and was - and is - regarded as one of the greatest etchers of the Twentieth Century. During his years in Paris, Heintzelman met Eugène Delatre, who became his printer for the remainder of his stay in Europe, and who taught Heintzelman the intricacies of fine art printmaking for which his atelier was justly famous. In appreciation for his contribution to French art and culture, Heintzelman was named to the Legion of Honour by the French government. Following his return to the United States, Heintzelman became the first Keeper of Prints at the Boston Public Library and served there from 1941 to his retirement in 1960. Thanks to his close relationship with the Delatre family, Heintzelman coordinated the gift of the comprehensive collection of prints by both Auguste and Eugène Delatre to the Boston Public Library. He was succeeded as Keeper of Prints by Sinclair Hitchings. Heintzelman also headed the Fine Arts department of the Rhode Island School of Design. He was awarded numerous international prizes for his etchings, and his works are found in museum collections through the US and Europe. Heintzelman belonged to numerous professional associations both in the US and abroad. He lived and worked in Boston, Marblehead, and Rockport, Massachusetts and in New York City. He died at Rockport, Massachusetts. The works of Heintzelman are documented in The Prints of Arthur Wm. Heintzelman, the catalog raisonné compiled by Donald Eugene Smith and published by the Boston Public Library (USA) in 2004.

After Rembrandt van Rijn (1606-1669): The Baptism of the Eunuch, signed and dated 1641 within the plate but later, etching, 19cm x 22cm, (1); Lieven Willemsz. van Coppenol, Writing-Master, monogrammed and inscribed margin, 19th century drypoint etching, 30cm x 21.5cm, (1); Man in Oriental Costume, 16.5cm x 13.5cm, (1); C. Phillips (fl. 1750-87, engraver), Rembrandt's Sister, [London: n.d., c. 1770], pink mezzotint engraving, 19.5cm x 16cm, (1); Pieter de Bailliu (1613-1660, engraver) S. Anastasius, later strike, no watermarks, 30.5cm x 24cm, (1); A.L. Stein (18th century, engraver), Portrait of a Young Man, Leipzig?: 1769, dated within the plate, drypoint etching, 34cm x 27cm, (1); etc, [8]

Martin Lewis (New York, Connecticut, Maine / Australia, 1881 - 1962) "Winter on White Street" Drypoint etching and sand ground on cream wove paper, 1934. Full margins. Third state (of 3). Edition of 41. Signed in pencil, lower right. A brilliant, richly-inked impression. Lucile Deming Lewis (wife of the artist) collection stamp and inscription verso. Kennedy Galleries label verso. Image Size: 10 7/8 x 6 7/8 in. (276 x 175 mm) Sheet Size: 15 x 10 in. Unframed.

Mary Stevenson Cassatt (Pennsylvania / France, 1844-1926) Drypoint Etching "Margot Wearing a Bonnet" (No. 1) circa 1902. Breeskin 179 (no. 1). Inscribed verso "Purchased from the Folio Society Collector's Corner London England. December 1963". Sight Size: 8.75 x 6 in. Overall Framed Size: 18.5 x 16 in. Framed behind glass.

ATTRIBUTED TO RODERIC O'CONOR 'Landscape Shaken by the Wind in Pouldu, Brittany', drypoint etching, located upper right, with red stamp lower right, an unsigned and unnumbered proof, 22cm x 35cm x framed and glazed.

* Victoria Cross. Soper (George, 1870-1942), 2nd Lancers at Epehy 1st Decr 1917, drypoint etching, showing Gobind Singh V.C. starting on his third ride, signed in pencil lower right, image size 20 x 30.5cm, framed and glazedQty: (1)NOTESGobind Singh was attached to the 2nd Lancers (Garner's Horse) from the 28th Light Cavalry when he was awarded the Victoria Cross for his extreme bravery at Peizieres in France during the battle of Epehy. He volunteered three times to carry messages between the regiment and brigade headquarters, a distance of 2.4km (1.5 miles). He set off each time on horseback but had one horse killed by machine-gun fire, one shot and one killed by a direct hit from a German shell, so he delivered the messages on foot.

A Pair of First World War Coloured Drypoint Etchings - Souchez and Nieuport, depicting scenes of destruction, indistinctly signed and inscribed in pencil, 20cm by 26cm, framed and glazed CONDITION REPORT: . Good condition

Henri Somm (French, 1844-1907)'Japonisme'etching and drypoint, signed and inscribed No. 4, dated 188123 x 30.5cmProvenance: The Estate of Virginia Chapman, late of Debden Manor

Norman Wilkinson CBE (British 1878-1971), The Battle Cruiser HMS Lion, Drypoint etching, signed by the artist, in pencil lower left, and also signed lower right by Admiral Beatty. (HMS Lion was Beatty's flagship during The Battle of Dogger Bank 1915, and Jutland 1916). Provenance: The Royal Naval Club & Royal Albert Yacht Club, Old Portsmouth

Arnulf Rainer* Wundzentralisation, 1978 Kaltnadelradierung; ungerahmt, 30,4 x 39,9 cm; 52,6 x 70,2 cm (Blattmaß) Handschriftlich nummeriert und signiert unten: h.c. A. Rainer österreichischer Privatbesitz Arnulf Rainer* "Wundzentralisation", 1978 drypoint; unframed, 30.4 x 39.9 cm; 52.6 x 70.2 cm (sheet size)handwritten numbered and signed at the bottom: h.c. A. Rainer private property, Austria

Arnulf Rainer* Violette Zudeckung, 1971 Kaltnadelradierung; ungerahmt, 40 x 27,8 cm; 63 x 45,2 cm (Blattmaß) Handschriftlich nummeriert und signiert unten: 10/100 A. Rainer österreichischer Privatbesitz Otto Breicha, Arnulf Rainer. Überdeckungen, Mit einem Werkkatalog sämtlicher Radierungen, Lithographien und Siebdrucke 1950-1971. Wien 1972, S. 117-118. Werkkatalog-Nr: R 167 Arnulf Rainer* Violet cover, 1971 drypoint; unframed, 40 x 27.8 cm; 63 x 45.2 cm (sheet size)handwritten numbered and signed at the bottom: 10/100 A. Rainer private property, Austria Otto Breicha, Arnulf Rainer. Überdeckungen, mit einem Werkkatalog sämtlicher Radierungen, Lithographien und Siebdrucke 1950-1971, Vienna 1972, p. 117-118. Catalogue -no.: R 167

Arnulf Rainer* o.T. Kaltnadelradierung; ungerahmt, 42 x 29,6 cm; 89 x 67 cm (Blattmaß) Handschriftlich nummeriert und signiert unten: 44/75 A. Rainer österreichischer Privatbesitz Arnulf Rainer* Untitled drypoint; unframed, 42 x 29.6 cm; 89 x 67 cm (sheet size)handwritten numbered and signed at the bottom: 44/75 A. Rainer private property, Austria

Arnulf Rainer* Mond, 1969 Kaltnadelradierung; ungerahmt, 23,4 (Durchmesser); 53,1 x 39,1 cm (Blattmaß) Handschriftlich nummeriert und signiert unten: h./c. A. Rainer österreichischer Privatbesitz Otto Breicha, Arnulf Rainer. Überdeckungen, Mit einem Werkkatalog sämtlicher Radierungen, Lithographien und Siebdrucke 1950-1971. Wien 1972, S. 86. Werkkatalog-Nr: R 88 Arnulf Rainer* Moon, 1969 drypoint; unframed, 23.4 (diameter); 53.1 x 39.1 cm (sheet size)handwritten numbered and signed at the bottom: h./c. A. Rainer private property, Austria Otto Breicha, Arnulf Rainer. Überdeckungen, mit einem Werkkatalog sämtlicher Radierungen, Lithographien und Siebdrucke 1950-1971. Vienna 1972, p. 86. Catalogue-no.: R 88

Arnulf Rainer* Strähnenhaar mit Glatze, 1978 Kaltnadelradierung; ungerahmt, 30,4 x 39,8 cm; 52,8 x 69,8 cm (Blattmaß) Handschriftlich nummeriert und signiert unten: h./c. A. Rainer österreichischer Privatbesitz Arnulf Rainer* Hairstrands with bald head, 1978 drypoint; unframed, 30.4 x 39.8 cm; 52.8 x 69.8 cm (sheet size)handwritten numbered and signed at the bottom: h./c. A. Rainer private property, Austria

Arnulf Rainer* Womenmonument, 1961/63 Kaltnadelradierung; ungerahmt, 29,6 x 41,9 cm; 53,7 x 37,6 cm (Blattmaß) Handschriftlich nummeriert und signiert unten: 43/98 Rainer österreichischer Privatbesitz Otto Breicha, Arnulf Rainer. Überdeckungen, Mit einem Werkkatalog sämtlicher Radierungen, Lithographien und Siebdrucke 1950-1971. Wien 1972, S. 62. Werkkatalog-Nr: R 33 Arnulf Rainer* "Womenmonument", 1961/63 drypoint; unframed, 29.6 x 41.9 cm; 53.7 x 37.6 cm (sheet size)handwritten numbered and signed at the bottom: 43/98 Rainer private property, Austria Otto Breicha, Arnulf Rainer. Überdeckungen, mit einem Werkkatalog sämtlicher Radierungen, Lithographien and Siebdrucke 1950-1971. Vienna 1972, p. 62. Catalogue-no.: R 33

Rembrandt Harmensz. van Rijn Die Kreuzabnahme bei Fackelschein, 1654 Radierung und Kaltnadel, ungerahmt, 20,9 x 16,2 cm Signiert und datiert „Rembrandt f 1654“ (das „a“ der Signatur seitenverkehrt“); bis zur Darstellung beschnitten, eine leichte Kratzspur über die rechte obere Ecke; ohne Wasserzeichen, die Drahtlinien im Papier horizontal zur Darstellung österreichische Privatsammlung Bartsch 3; Seydlitz 83; Rovinsky 269; Biörklund-Barnard 54-G; New Hollstein 286, III (von IV) Ein guter Druck des dritten von insgesamt vier Zuständen. „Rembrandt verlegt das Geschehen in die Nacht und läßt zugleich das Thema der Grablegung anklingen. Der horizontal liegende tote Christus korrespondiert mit dem ausgebreiteten weißen Bahrtuch, das den zweiten, formal wie inhaltlich wichtigen akzent in die Darstellung setzt“ (Erwin Mitsch, in: Katalog „Rembrandt / Radierungen aus dem Besitz der Albertina“, 1971, Seite 141). Rembrandt Harmensz. van Rijn Deposition from the cross in the torchlight, 1654 etching and drypoint, unframed, 20.9 x 16.2 cmsigned and dated „Rembrandt f 1654“ (the„a“ of the signature inverted); trimmed, scratch above the upper right edge; without watermark, wire lines of the paper horizontal to the depicted scene private collection, Austria Bartsch 3; Seydlitz 83; Rovinsky 269; Biörklund-Barnard 54-G; New Hollstein 286, III (of IV) Third out of four conditions. „Rembrandt verlegt das Geschehen in die Nacht and läßt zugleich das Thema der Grablegung anklingen. der horizontal liegende tote Christus korrespondiert mit dem ausgebreiteten weißen Bahrtuch, das den zweiten, formal wie inhaltlich wichtigen Akzent in die Repräsentation setzt“ (Erwin Mitsch, in: catalaogue „Rembrandt / Radierungen aus dem Besitz the Albertina“, 1971, p. 141).

Arnulf Rainer* o.T., 1978 Kaltnadelradierung; ungerahmt, 31,4 x 39,9 cm; 52,1 x 69,6 (Blattmaß) Bezeichnet und signiert (spiegelverkehrt) oben: Harfe A. Rainer Handschriftlich nummeriert und signiert unten: H.C. A. Rainer österreichischer Privatbesitz Arnulf Rainer* Untitled, 1978 drypoint; unframed, 31.4 x 39.9 cm; 52.1 x 69.6 (sheet size)inscribed and signed (mirror-inverted) above: Harfe A. Rainer handwritten numbered and signed at the bottom: h.C. A. Rainer private property, Austria

Arnulf Rainer* o.T., 1978 Kaltnadelradierung; ungerahmt, 30,2 x 39,8 cm; 52,7 x 69,7 cm (Blattmaß) Handschriftlich nummeriert und signiert unten: H/C A. Rainer österreichischer Privatbesitz Arnulf Rainer* Untitled, 1978 drypoint; unframed, 30.2 x 39.8 cm; 52.7 x 69.7 cm (sheet size)handwritten numbered and signed at the bottom: H/C A. Rainer private property, Austria

Arnulf Rainer* Wand, 1964/67 Kaltnadelradierung; ungerahmt, 34,2 x 25,6 cm; 65,7 x 50 cm (Blattmaß) Handschriftlich nummeriert und signiert unten: ep. art. A. Rainer österreichischer Privatbesitz Otto Breicha, Arnulf Rainer. Überdeckungen, Mit einem Werkkatalog sämtlicher Radierungen, Lithographien und Siebdrucke 1950-1971. Wien 1972, S. 75. Werkkatalog-Nr: R 64 Arnulf Rainer* Wall, 1964/67 drypoint; unframed, 34.2 x 25.6 cm; 65.7 x 50 cm (sheet size)handwritten numbered and signed at the bottom: ep. art. A. Rainer private property, Austria Otto Breicha, Arnulf Rainer. Überdeckungen, mit einem Werkkatalog sämtlicher Radierungen, Lithographien und Siebdrucke 1950-1971. Vienna 1972, p. 75. Catalogue-no.: R 64

Arnulf Rainer* Hügel, 1963 Kaltnadelradierung; ungerahmt, 29,6 x 41,9 cm; 37,8 x 54,3 cm (Blattmaß) Signiert und bezeichnet (spiegelverkehrt) unten rechts: A. Rainer Überdeckung Handschriftlich nummeriert und signiert unten: 46/50 Rainer österreichischer Privatbesitz Otto Breicha, Arnulf Rainer. Überdeckungen, Mit einem Werkkatalog sämtlicher Radierungen, Lithographien und Siebdrucke 1950-1971. Wien 1972, S. 65. Werkkatalog-Nr: R 37 Arnulf Rainer* Hill, 1963 drypoint; unframed, 29.6 x 41.9 cm; 37.8 x 54.3 cm (sheet size)signed and inscribed (mirror-inverted) at the lower right: A. Rainer handwritten numbered and signed at the bottom: 46/50 Rainer private property, Austria Otto Breicha, Arnulf Rainer. Überdeckungen, mit einem Werkkatalog sämtlicher Radierungen, Lithographien und Siebdrucke 1950-1971. Vienna 1972, p. 65. Catalogue-no.: R 37

Arnulf Rainer* Tannenkreuz, 1989/91 Kaltnadelradierung; ungerahmt, 49,8 x 39,6 cm; 78 x 68 cm (Blattmaß) Handschriftlich nummeriert und signiert unten: 46/50 A. Rainer österreichischer Privatbesitz Arnulf Rainer* Cross, 1989/91 drypoint; unframed, 49.8 x 39.6 cm; 78 x 68 cm (sheet size)handwritten numbered and signed at the bottom: 46/50 A. Rainer private property, Austria

Arnulf Rainer* Rot-Wein, 1973/86 Kaltnadelradierung; ungerahmt, 30 x 41,5 cm; 49,8 x 65,7 cm (Blattmaß) Nummeriert und signiert unten: 3/40 A. Rainer österreichischer Privatbesitz Arnulf Rainer* Red-wine, 1973/86 drypoint; unframed, 30 x 41.5 cm; 49.8 x 65.7 cm (sheet size)numbered and signed at the bottom: 3/40 A. Rainer private property, Austria

Arnulf Rainer* Planet, 1987/1992 Kaltnadelradierung; ungerahmt, 23,5 cm (Durchmesser); 65,5 x 50,2 cm (Blattmaß); Handschriftlich nummeriert und signiert unten: 20/35 A. Rainer österreichischer Privatbesitz Arnulf Rainer* Planet, 1987/1992 drypoint; unframed, 23.5 cm (diameter); 65.5 x 50.2 cm (sheet size); handwritten numbered and signed at the bottom: 20/35 A. Rainer private property, Austria

Arnulf Rainer* Land, 1964/65 Kaltnadelradierung; ungerahmt, 32,8 x 43,4 cm; 50 x 65,5 cm (Blattmaß) Handschriftlich nummeriert und signiert unten: ep art A. Rainer österreichischer Privatbesitz Otto Breicha, Arnulf Rainer. Überdeckungen, Mit einem Werkkatalog sämtlicher Radierungen, Lithographien und Siebdrucke 1950-1971. Wien 1972, S. 68. Werkkatalog-Nr: R 45 Arnulf Rainer* Land, 1964/65 drypoint, unframed, 32.8 x 43.4 cm; 50 x 65.5 cm (sheet size)handwritten numbered and signed at the bottom: ep art A. Rainer private property, Austria Otto Breicha, Arnulf Rainer. Überdeckungen, mit einem Werkkatalog sämtlicher Radierungen, Lithographien und Siebdrucke 1950-1971. Vienna 1972, p. 68. Werkkatalog-Nr: R 45

Arnulf Rainer* Zentrum, 1978 Kaltnadelradierung; ungerahmt, 30,4 x 39,9 cm; 52,5 x 69,9 cm (Blattmaß) Handschriftlich nummeriert und signiert unten: h./c. A. Rainer österreichischer Privatbesitz Arnulf Rainer* Centre, 1978 drypoint; unframed, 30.4 x 39.9 cm; 52.5 x 69.9 cm (sheet size)handwritten numbered and signed at the bottom: h./c. A. Rainer private property, Austria

Christopher Richard Wynne Nevinson A.R.A (1889-1946)Banking at 4,000 Feet (Black 20) Lithograph, 1917, on laid paper, signed, dated and numbered 65 in pencil, from the edition of 200, published by the Stationery Office, London, as part of the series Britain's Efforts and Ideals: Making Aircraft, with wide margins, in good condition, framedImage 402 x 315mm. (16 x 12 3/8in.);Sheet 510 x 398mm. (20 1/8 x 15 5/8in.)Footnotes:Christopher Richard Wynne Nevinson was one of the great printmakers of the early twentieth century and was held in high esteem as a chronicler of modern warfare and creator of modern urban landscapes. His mastery of techniques such as drypoint, etching, lithography and mezzotint, combined with an acute eye for detail and feeling for composition, enabled him to produce images which displayed great technical skill, whilst evoking a strong sense of place and emotion. His prints were often produced in conjunction with his paintings, allowing him to depict the subject from a different perspective. This collection is a cross-section spanning his printmaking career, from dramatic images produced to promote the war effort, to the quiet simplicity of his etchings of the rural British landscape and urban views of Paris, London and New York. Nevinson became an official war artist in 1917 and was commissioned by the Ministry of Information to create six lithographs on the theme of Building Aircraft to be included in the propaganda series The Great War: Britain's Efforts and Ideals. In Banking at 4,000 feet, Nevinson uses variations in tone and steep diagonals to convey the drama and exhilaration of flight and invites the viewer to share the experience of being in the air by placing them in the cockpit.For further information on this lot please visit Bonhams.com

Christopher Richard Wynne Nevinson A.R.A (1889-1946)New York Stock Exchange (Black 76) Drypoint, 1921, on cream laid paper, a good impression printing with touches of burr and good contrasts, signed in pencil, the full sheet, in very good condition, framedPlate 262 x 214mm. (10 3/8 x 8 1/2in.);Sheet 466 x 303mm. (18 3/8 x 11 7/8in.)Footnotes:In 1919 Nevinson visited New York and produced some of his most important graphic works, celebrating the dynamism and excitement of the city. In New York Stock Exchange he uses subtle tonal gradations, with touches of burr to depict the shouting figures and whirring fans and give a sense of the noise and energy of the trading floor.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Christopher Richard Wynne Nevinson A.R.A (1889-1946)Venice Night (Black 70) Drypoint, circa 1922, on cream F.J. Head & Co. laid paper, a very good, richly inked impression of this rare subject, signed in pencil, with wide margins, in good condition, framedPlate 138 x 176mm. (5 3/8 x 6 7/8in.);Sheet 226 x 306mm. (8 7/8 x 12in.)For further information on this lot please visit Bonhams.com

Christopher Richard Wynne Nevinson A.R.A (1889-1946)La Butte Montmartre (Black 97) Drypoint and aquatint, 1922, on cream laid paper, a good impression, signed in pencil, the full sheet, a strip of pale brown tiny stains across the centre image recto, other minor surface defects, framedPlate 234 x 190mm. (9 1/4 x 7 1/2in.);Sheet 384 x 286mm. (15 1/8 x 11 1/4in.)For further information on this lot please visit Bonhams.com

Christopher Richard Wynne Nevinson A.R.A (1889-1946)Ebb Tide on the Camber (Black 51) Drypoint, 1918, on F.J. Head & Co. wove paper, a richly inked impression, signed in pencil, from the edition of forty, the full sheet, in good condition, framedPlate 262 x 364mm. (10 3/8 x 14 3/8.);Sheet 385 x 558mm. (15 1/8 x 21 7/8in.)For further information on this lot please visit Bonhams.com

Christopher Richard Wynne Nevinson A.R.A (1889-1946)Bacchus (Black 133) Drypoint and etching printed in sanguine, 1926-7, on cream Arches laid paper, a very good impression of this rare subject, signed in pencil, with full margins on three sides and a wide upper margin, a few minor repairs and defects, generally in good condition, framedPlate 351 x 275mm. (13 7/8 x 10 3/4in.);Sheet 473 x 378mm. (18 5/8 x 14 7/8in.)Footnotes:This unusual work stands out in Nevinson's oeuvre as the only mythological subject he produced and one of only two works executed in sanguine. The subject can be seen as a reference to the dissolute behaviour of the country's youth in the 1920s. Britain experienced a period of euphoria as the country emerged from the hardships of the First World War, which led to some paranoia in government circles that this could lead to over-indulgence and a breakdown in morals. Hence the depiction of the Roman god of wine with naked nymphs. Nevinson has kept the sharp angular forms which he used in his Futurist war images, but there is a nod to Art Deco in the use of mythological figures and application of bold colour, indicating a change in direction in his work.For further information on this lot please visit Bonhams.com

Pablo Picasso (1881-1973)Autoportrait, avec Deux Femmes, from La chute d'Icare (Bloch 2016; Baer 2022 XIII B.b.; see Cramer books 155) Etching with drypoint, 1972, on wove paper, signed and numbered 22/125 in pencil (there were also 10 in Roman numerals plus 15 artist's proofs), published by Albert Skira, Geneva, as a frontispiece for Jean Leymarie La Chute d'Icare, the full sheet, in good condition, framedPlate 366 x 492mm. (14 3/8 x 19 3/8in.); Sheet 497 x 660mm. (19 5/8 x 26in.)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Joan Miró (1893-1983)Maître a bord, from People of the Sea (Dupin 1280) Aquatint, drypoint and carborundum in colours, 1990, on Rives wove paper, with stamped signature, numbered 24/60 in pencil, printed by Morsang, published by Daniel Lelong, Paris, authenticated and signed in pencil by Emilio Miró verso, the full sheet with a deckle edge below, in good condition, framedImage 688 x 437mm. (27 1/8 x 17 1/4in.); Sheet 955 x 750mm. (37 1/2 x 29 1/2in.)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Joan Miró (1893-1983)La femme du marin, from People of the Sea (Dupin 1281) Aquatint, carborundum and drypoint in colours, 1990, on Rives wove paper, with stamped signature, numbered 23/60 in pencil, printed by Morsang, published by Daniel Lelong, Paris, authenticated and signed in pencil by Emilio Miró verso, the full sheet with a deckle edge below, in good condition, framedImage 690 x 435mm. (27 1/8 x 17 1/8in.); Sheet 960 x 748mm. (37 3/4 x 29 1/2in.)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Joan Miró (1893-1983)La môme crevette, from People of the Sea (Dupin 1285) Aquatint, carborundum and drypoint in colours, 1990, on Rives wove paper, with stamped signature, numbered 29/60 in pencil, printed by Morsang, published by Daniel Lelong, Paris, authenticated and signed in pencil by Emilio Miró verso, the full sheet with a deckle edge below, in good condition, framedImage 682 x 535mm. (26 7/8 x 21 1/8in.); Sheet 955 x 751mm. (37 3/4 x 29 1/2in.)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Rembrandt Harmensz van Rijn (1606-1669)Jan Lutma, Goldsmith (Bartsch 276; New Hollstein 293) Etching, engraving and drypoint, 1656, on laid paper, without a watermark, the fourth state (of five), with narrow margins, in good condition Plate 196 x 150mm. (7 3/4 x 5 7/8in.);Sheet 200 x 151mm. (7 7/8 x 6in.)Footnotes:ProvenanceWilhelm Drugulin (1825-1879), Leipzig (Lugt 2613).For further information on this lot please visit Bonhams.com

JAMES ABBOTT MCNEILL WHISTLER (1834-1903) 'The Pool' (Wedmore 41; Kennedy 43) etching and drypoint, signed and dated 1859 in the print l.l., from ‘The Thames Set’, published 1871 plate 14 x 22.2cm

JAMES ABBOTT MCNEILL WHISTLER (1834-1903) Eagle Wharf (Wedmore 39; Kennedy 41) drypoint etching, signed and dated 1959 in the print l.c., from ‘The Thames Set’, published 1871 plate 13.5 x 21.5cmCondition report: Excellent condition.

JAMES ABBOTT MCNEILL WHISTLER (1834-1903) Longshore Men (Wedmore 43; Kennedy 45) etching and drypoint, signed and dated 1859 in the print l.r. plate 15 x 22.5cmCondition report: Some time staining to the paper otherwise in good order. Unexamined out of frame.

William Lionel Wyllie (1851-1931) - 'Sailing barges, Chatham', drypoint etching, pencil signed to lower left, 25 x 36 cm, David Messum gallery label to reverse

William Lionel Wyllie (1851-1931) - 'Old London Bridge', drypoint etching, pencil signed to lower left margin, 30 x 22 cm

William Lionel Wyllie (1851-1931) - 'Battle Cruisers in Action at Jutland', drypoint etching, pencil signed to lower left margin, 28.5 x 50 cm 

William Lionel Wyllie (1851-1931) - 'Jenkin Swatchway', sailing fleet, drypoint etching, pencil signed to lower left margin, 25 x 38 cm, reverse with label for Robert Dunthorne of Liverpool

William Lionel Wyllie (1851-1931) - 'The City - from the Top of St Paul's Cathedral', drypoint etching, pencil signed to lower left margin, 16 x 36.5 cm, trial proof, David Messum gallery label to reverse

Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Spielende Kinder. 1914. Kaltnadelradierung. Gercken 696. Dube R 176. Schiefler R 164. Signiert und bezeichnet 'Eigendruck'. Verso mit dem Nachlassstempel (Lugt 1570b) und der handschriftlichen Nummerierung 'R 164'. Eines von nur 2 bekannten Exemplaren. Handdruck des Künstlers. Auf festem Kupferdruckpapier. 20,1 x 25 cm (7,9 x 9,8 in). Papier: 45,5 x 39 cm (17,9 x 15,4 in). Die Zinkplatte befindet sich in der Staatlichen Kunsthalle, Karlsruhe. [CH]. • Sehr seltene Radierung aus den Berliner Jahren mit feiner Strichätzung und neblig-wolkigem Plattenton. • Handdruck des Künstlers. • Das einzige weitere bekannte Exemplar befindet sich im Brücke-Museum in Berlin. PROVENIENZ: Nachlass des Künstlers. Privatsammlung Süddeutschland (seit 1988, zuvor in Familienbesitz). Aufrufzeit: 12.12.2020 - ca. 18.48 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Spielende Kinder. 1914. Drypoint. Gercken 696. Dube R 176. Schiefler R 164. Signed and inscribed 'Eigendruck'. Verso with the estate stamp (Lugt 1570b) and the hand-written number 'R 164'. One of only two known copies. Hand-printed by the artist. On firm copper plate printing paper. 20.1 x 25 cm (7.9 x 9.8 in). Sheet: 45,5 x 39 cm (17,9 x 15,4 in). The zinc plate is in posession of the Staatliche Kunsthalle, Karlsruhe. [CH]. • Very rare etching from the Berlin years with fine line etching and a foggy-cloudy plate tone. • Hand-printed by the artist. • The only other known copy is in the Brücke Museum in Berlin. PROVENANCE: From the artist's estate. Private collection Southern Germany (since 1988, priorly family-owned). Called up: December 12, 2020 - ca. 18.48 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Rolf Nesch 1893 Oberesslingen - 1975 Oslo Liegende Frau. 1930. Kaltnadelradierung mit Prägedruck. Vgl. Helliesen/Sørensen 383. In der Platte schwer leserlich bezeichnet 'ausgedruckt' [?]. Einer von wohl 9 posthumen Abzügen außerhalb der drei im Werkverzeichnis erwähnten lebzeitigen und farbigen Exemplare (Farbradierung mit Prägedruck). Auf festem Velin. 33,2 x 44,8 cm (13 x 17,6 in). Papier: 39,5 x 53,7 cm (15,6 x 21,1 in). Die Radierung ist in Publikationen und Ausstellungen u. a. auch mit den Titeln 'Kvinneakt', 'Frau Mayer', 'Liegendes Mädchen' und 'Sleeping nude' versehen worden. Das hier angebotene posthume Exemplar ist gedruckt von Hartmut Frielinghaus. [CH]. • Mit seinen vielfältigen druckgrafischen Werken wird Nesch nicht nur in Deutschland bekannt, sondern gilt auch in seiner Wahlheimat Norwegen als einer der bedeutendsten Künstler des Landes. • Zwei Abzüge befinden sich im Kunstmuseum Stuttgart (in Farbe) und im Kunstmuseum Heidenheim. PROVENIENZ: Sammlung des Landgerichtspräsidenten Dr. R. Johannes Meyer (1882-1967), Hamburg. Seitdem in Familienbesitz. LITERATUR: Ein anderes Exemplar: Robert H. Simmons, With Eye and Heart. The Art of Rolf Nesch, in: Artist's Proof (A Magazine of Printmaking), No. I, New York 1961, S. 2 u. 5. Aufrufzeit: 12.12.2020 - ca. 18.51 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONRolf Nesch 1893 Oberesslingen - 1975 Oslo Liegende Frau. 1930. Drypoint etching with embossing print. Cf. Helliesen/Sørensen 383. Barely legibly inscribed in the plate. One of presumably 9 posthumous proofs aside from the three lifetime prints mentioned in the catalog raisonné. On firm wove paper. 33.2 x 44.8 cm (13 x 17.6 in). Sheet: 39,5 x 53,7 cm (15,6 x 21,1 in). Other titles such as 'Kvinneakt', 'Frau Mayer'; 'Liegendes Mädchen' and 'Sleeping nude' were used in publications and exhibitions. This posthumous copy was printed by Hartmut Frielinghaus. [CH]. • Two other prints are in possession of the Kunstmuseum Stuttgart and the Kunstmuseum Heidenheim. PROVENANCE: Collection of District Court President Dr. R. Johannes Meyer (1882-1967), Hamburg. Ever since family-owned. LITERATURE: Different copy: Robert H. Simmons, With Eye and Heart. The Art of Rolf Nesch, in: Artist's Proof (A Magazine of Printmaking), no. I, New York 1961, pp. 2 and 5. Called up: December 12, 2020 - ca. 18.51 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Moritzburger Badende im Gestrüpp. 1910. Kaltnadelradierung. Gercken 455 I (von II). Dube R 108. Schiefler R 82. Signiert und von fremder Hand bezeichnet. Verso mit dem Stempel 'Unverkäuflich E. L. Kirchner' sowie mit dem Nachlassstempel (Lugt 1570b) und der handschriftlichen Nummerierung 'R 82'. Einziges bisher bekanntes Exemplar des I. Zustands. Auf gräulichem Karton. 24,8 x 19,8 cm (9,7 x 7,7 in). Papier: 29 x 22,4 cm (11,4 x 8,8 in). Kirchner hat jeweils einen Abzug seiner Grafiken als unverkäuflich gekennzeichnet und zu Dokumentationszwecken in seinem Besitz behalten. [CH]. • Aus dem Nachlass des Künstlers. • Das einzige bisher bekannte Exemplar des ersten Druckzustands. • Feiner, gratiger Druck dieser seltenen Radierung aus Kirchners Moritzburger Zeit. • Erstmals auf dem internationalen Auktionsmarkt angeboten (Quelle: www.artprice.com). PROVENIENZ: Privatsammlung Süddeutschland. Aufrufzeit: 12.12.2020 - ca. 18.44 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Moritzburger Badende im Gestrüpp. 1910. Drypoint. Gercken 455 I (of II). Dube R 108. Schiefler R 82. Signed and inscribed by a hand other thna that of the artist. Verso with a stamp 'Unverkäuflich E. L. Kirchner' and an estate stamp (Lugt 1570b) and the hand-written number 'R 82'. Only to date known copy from the first state. On grayish board. 24.8 x 19.8 cm (9.7 x 7.7 in). Sheet: 29 x 22,4 cm (11,4 x 8,8 in). Kirchner always marked one proof of his prints as unsellable and kept it for documentation purposes. [CH]. • From the artist's estate. • Only to date known copy from the first state. • Subtle, burred print of this rare etching from Kirchner's Moritzburg days. • For the first time on the international auction market (source: www.artprice.com). PROVENANCE: Private collection Southern Germany. Called up: December 12, 2020 - ca. 18.44 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Leuchtturm im Grünen, Fehmarn. 1913. Kaltnadelradierung. Gercken 610/ II (von II). Dube R. 152. Schiefler R. 149. Von Erna Schilling im Auftrag von E. L. Kirchner signiert. Verso mit dem schwer leserlichen Stempel 'Unverkäuflich EL Kirchner'. Auf Kupferdruckpapier. 33,5 x 24,8 cm (13,1 x 9,7 in). Papier: 49,5 x 36,5 cm (19,4 x 14,3 in). Es handelt sich um das Archivexemplar des Künstlers. Kirchner hat jeweils einen Abzug seiner Grafiken als unverkäuflich gekennzeichnet und zu Dokumentationszwecken in seinem Besitz behalten. [EH]. • Eines von nur zwei bekannten Exemplaren. • Als Belegexemplar bis zum Tod im Besitz des Künstlers verblieben. • Gratiger, kräftiger Druck der äußerst seltenen Radierung. PROVENIENZ: Nachlass des Künstlers. Christian Anton Laely, Davos (1946 aus vorgenanntem Nachlass entnommen und der fiktiven 'Sammlung Gervais' zugeordnet, verso mit der handschriftlichen Inventarnummer 'KR 80'). Privatsammlung Süddeutschland (2009 bei Hauswedell & Nolte erworben). LITERATUR: Hauswedell & Nolte, Hamburg, 4.12.2009, 420. Auktion, Los-Nr. 33. Aufrufzeit: 12.12.2020 - ca. 18.43 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Leuchtturm im Grünen, Fehmarn. 1913. Drypoint. Gercken 610/ II (of II). Dube R. 152. Schiefler R. 149. Signed by Erna Schilling on behalf of E. L. Kirchner. Verso with the barely legible stamp 'Unverkäuflich EL Kirchner'. On copper plate printing paper. 33.5 x 24.8 cm (13.1 x 9.7 in). Sheet: 49,5 x 36,5 cm (19,4 x 14,3 in). This is a copy from the artist's archive. Kirchner always marked one proof of his prints as unsellable and kept it for documentation purposes. [EH]. • One of just two known copies. • In the artist's posession up until his death. • Burred, strong print of this very rare etching. PROVENANCE: From the artist's estate. Christian Anton Laely, Davos (taken from aforementioned estate in 1946 and ascribed to the fictitious 'Collection Gervais', verso with hand-written inventory number 'KR 80'). Private collection Southern Germany (acquired from Hauswedell & Nolte in 2009). LITERATURE: Hauswedell & Nolte, Hamburg, December 4, 2009, 420th auction, lot no. 33. Called up: December 12, 2020 - ca. 18.43 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Moritzburger Badende am Schilf. 1910. Kaltnadelradierung. Gercken 452 I (von II). Dube R 133. Schiefler R 97. Signiert und bezeichnet 'Eigendruck I. Zustand' sowie von fremder Hand bezeichnet. Verso betitelt '3 Badende am See' und bezeichnet 'Probe Druck I. Zustand'. Verso mit dem Nachlassstempel (Lugt 1570b) und der handschriftlichen Nummerierung 'R 97'. Einziges bisher bekanntes Exemplar des I. Zustands. Auf Bütten. 20 x 25 cm (7,8 x 9,8 in). Papier: 28,5 x 34,6 cm (11,2 x 13,6 in). Die originale Zinkplatte befindet sich in der Staatlichen Kunsthalle in Karlsruhe. [CH]. • Aus dem Nachlass des Künstlers. • Das einzige bisher bekannte Exemplar des ersten Druckzustands. • Das einzige bekannte Exemplar des zweiten Druckzustands befindet sich in der Graphischen Sammlung der Staatsgalerie Stuttgart. • Feiner und dennoch kräftig-prachtvoller Druck aus der besten 'Brücke'-Zeit. • Die ungezwungene Nacktheit der Badenden an den Moritzburger Teichen ist E. L. Kirchner und seinen Künstlerkollegen der 'Brücke' eine wichtige Quelle der Inspiration: Wohl kein anderes Motiv ist so charakteristisch für ihr expressionistisches Schaffen. PROVENIENZ: Privatsammlung Süddeutschland (seit 2004, zuvor in Familienbesitz). AUSSTELLUNG: (das Exemplar des zweiten Zustands) Ernst Ludwig Kirchner. Meisterwerke der Druckgraphik, Brücke-Museum, Berlin, 10.11.1990-27.1.1991; Museum Folkwang, Essen, 10.2.-28.4.1991; Kunsthalle Bremen, 12.5.-7.7.1997, S. 121 (mit ganzseitiger Abb.). LITERATUR: Hauswedell & Nolte, 322. Auktion, Moderne Kunst, 26.11.1996, Los-Nr. 225 (mit Abb.). Aufrufzeit: 12.12.2020 - ca. 18.45 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Moritzburger Badende am Schilf. 1910. Drypoint. Gercken 452 I (von II). Dube R 133. Schiefler R 97. Signed and inscribed 'Eigendruck I. Zustand' and inscribed by a hand other than that of the artist. Verso titled '3 Badende am See' and bezeichnet 'Probe Druck I. Zustand'. Verso with the estate stamp (Lugt 1570b) and the handwritten number 'R 97'. Only to date known copy from the first state. On laid paper. 20 x 25 cm (7.8 x 9.8 in). Sheet: 28,5 x 34,6 cm (11,2 x 13,6 in). The original zinc plate is in posession of the Staatliche Kunsthalle in Karlsruhe. [CH]. • From the artist's estate. • The only to date known copy from the first state. • The only known copy from the second state is part of the Graphic Collection at Staatsgalerie Stuttgart. • Subtle yet strong and splendid print from the 'Brücke' heyday. • The unconstrained nudity of the bathers on the Moritzburg Lakes was a main source of inspiration for E. L. Kirchner and his fellow 'Brücke' artists: There is hardly any other motif so characteristic of their expressionistic creation. PROVENANCE: Pivate collection Southern Germany (since 2004, priorly family-owned). EXHIBITION: (Copy from the second state) Ernst Ludwig Kirchner. Meisterwerke der Druckgraphik, Brücke-Museum, Berlin, November 10, 1990 - January 27, 1991, Museum Folkwang, Essen, February 10 - April 28, 1991, Kunsthalle Bremen, May 12 - July 7, 1997, p. 121 (with full-page illu.). LITERATURE: Hauswedell & Nolte, 322nd auction, Modern Art, November 26, 1996, lot no. 225 (with illu.). Called up: December 12, 2020 - ca. 18.45 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.