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Lot 248
Humphrey (G., publisher) His Majesty King George the Fourth in His Travelling Carriage, etching and aquatint with original hand-colouring, image size approx. 200 x 410 mm (7 7/8 x 16 1/8 in), under glass, framed, 1823; together with 3 others, including T. Cartwright's 'A Perspective View of Nottingham Market Place' after Bonington, R. Bowyer's 'Grand Entry of the Allied Sovereigns into Leipsic', and F. Caldwall's etching and aquatint 'A View of the Grand Encampment on Cox Heath' after W. Hamilton, all under glass, framed, (19th century) (4)
Lot 2
CIRO FERRI (ITALIAN 1634-1689) ST PAUL PREACHING AT ATHENSpencil, pen and ink and wash on paper 20.5 x 31cm; 8 x 12 1/4in42.5 x 58cm; 16 3/4 x 22 3/4in (framed)Property from a Private Collection, KewProvenanceThe Manning Galleries Ltd, LondonEdgar Seaton Hyde, Cheshire (acquired from the above in the 1960s)Thence by descent Ferri's source for the present work was very likely Raphael's tapestry of the same subject from his series of Acts of the Apostles commissioned by Pope Leo X in 1517 and displayed on their completion in the Sistine Chapel in Rome. An etching by Cornelis Bloemaert (1603-1692) derived from Ferri's composition was printed in 1678, copies of which are in the British Museum, the Metropolitan Museum of Art, New York and the Philadelphia Museum of Art.Chief pupil and assistant of the painter and architect Pietro da Cortona (1596/7-1669) in Rome, Ferri completed the internal decorations at the Pitti Palace in Florence that Cortona had begun. Among his own work, one of the most impressive is the vast frescoes in the Basilica of Santa Maria Maggiore, Bergamo. Another of his major paintings - St Ambrose healing an invalid - was the main altarpiece in the Church of Sant'Ambrosio della Massima, Rome.
Lot 167
A SLIP-INLAID 'CHILDREN AND GRAPEVINES' CELADON EWER, GORYEO DYNASTY (918-1392) 高麗王朝内嵌童戲葡萄紋青瓷執壺Korea, 13th century. The smooth, curved double gourd form supported on a short foot has a long, slender spout, a narrow mouth atop its smaller bulb, and a finely molded twisted-cord handle with a small ring for suspension. The body of the two bulbs is decorated using black and white slip inlay with a continuous frame of winegrowers alongside children tending to the large vines with grape bunches. The foot is decorated with stylized lotus petals, the mouth with lappets beneath a key-fret band, and the spout and handle with geometric dotted lines.Provenance: From a private collection in France. Condition: Condition commensurate with age, showing expected old wear and firring irregularities, such as glaze recesses, pitting, and minuscule chips to the glaze at the mouth and foot. Minute losses and several cracks, some with old repairs. The minuscule lid on top of the ewer is lost. Please request a UV light video for more details.Weight: 2,034 g Dimensions: Height 35 cm The National Museum of Korea suggests that this kind of ewer was produced at a celadon kiln in Yucheon-ri, boan-myeon, or buan-gun in the north Jeolla-do province. They are decorated using the art of sanggam, which involves etching desired patterns onto dry clay and filling the carved spaces with black and/or white slip. After that, a translucent glaze is applied, and the vessel is fired.Wine made from grapes reached eastern Asia for the first time during the Hellenistic period (321-32 BC). It became highly popular in China 600 years later during the Tang dynasty (618-907 AD) and historians believe it attracted mainstream interest in Korea only after Jesuit missionaries imported it at the beginning of the 17th century. However, it is known that it was available to elite circles much earlier, which explains the rarity of the design on the present ewer to some extent.Literature comparison:Compare a near identical wine ewer with the same decorations and motif, 36 cm high, dated to the Goryeo dynasty, in the National Museum of Korea, accession number Deoksu 19. Compare a closely related celadon ewer with a landscape design, 36 cm high, dated to the Goryeo dynasty, in the National Museum of Korea, accession number Deoksu 91. Compare a related celadon gourd-shaped ewer, 29.8 cm high, dated to the Goryeo dynasty, in the National Museum of Korea, accession number Deoksu 6236.Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 2002, lot 192 Price: USD 14,100 or approx. EUR 22,500 converted and adjusted for inflation at the time of writing Description: A inlaid celadon stoneware ewer, Goryeo dynasty Expert remark: Note the related style of slip inlay and the similar form. Note the size (34 cm). 高麗王朝内嵌童戲葡萄紋青瓷執壺韓國, 十三世紀。壺身呈葫蘆形，短平足，壺流細長，壺口較小，執柄成絞繩狀，帶有一個用於懸掛的小環。壺身上下兩部分分別内嵌裝飾葡萄豐收與葡萄藤下兒童戲耍的場景。壺口倒蓮紋對應足部蓮瓣紋。壺流與執柄上點綴連珠紋。 來源：法國私人收藏。 品相：狀況極好，有磨損和一些燒製不規則、釉面凹陷、麻點，以及口部和足部釉面的微小磕損。小缺損、裂痕和小修補。水壺頂部的小蓋子遺失。請索取紫外線視頻以了解更多詳細信息。 重量：2,034 克 尺寸：高 35 厘米 韓國國家博物館認爲這種壺是在全羅北道保安面柳川里或扶安郡的一個青瓷窯生產的。它們採用嵌入式釉漿技術進行裝飾，粘土坯體的表面須經雕刻，凹陷處用對比明顯的顏料充填並在施加薄層高透明青釉前打磨平滑。在希臘化時期（公元前 321-32 年），用葡萄釀造的酒首次到達東亞。 600 年後在唐朝（公元 618-907 年）非常流行，歷史學家認為，直到十七世紀初耶穌會傳教士將其引入韓國後，它才引起了韓國主流的興趣。 但眾所周知，它的出現在貴族階層應該更早，這在一定程度上解釋了目前該壺設計的稀有性。文獻比較： 比較一件幾乎相同的高麗王朝酒壺，高36 釐米，收藏於韓國國立中央博物館，館藏編號Deoksu 19。比較一件非常相近的高麗王朝青釉山水壺，高36 釐米，收藏於韓國國立中央博物館，館藏編號Deoksu 91。比較一件相近的青釉葫蘆壺，高29.8 釐米，收藏於韓國國立中央博物館，館藏編號Deoksu 6236。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2002年3月22日，lot 192 價格：USD 14,100（相當於今日EUR 22,500） 描述：高麗王朝青釉鑲嵌炻壺 專家評論：請注意相近的風格和相似的外形。請注意尺寸 (34 釐米)。
![* Eliot (Thomas Stearns, 1888-1965). Greetings Card Signed, 'T. S. Eliot', [?New York], Hallmark Cards, c. 1950s, greetings c](https://cdn.globalauctionplatform.com/f76c836e-8902-455b-9c0b-b0c2011e8969/1ae1ea6f-c345-4b82-969e-b0cb010d1583/468x382.jpg)
Lot 724
* Eliot (Thomas Stearns, 1888-1965). Greetings Card Signed, 'T. S. Eliot', [?New York], Hallmark Cards, c. 1950s, greetings card with colour reproduction of a painting of Rouen Cathedral by Claude Monet tipped on to front, two verses from The Rock ('O light invisible, we praise Thee!') printed to right inside page, inscribed in blue ink, 'From Charles, with love' to blank left page and signed in blue ink by Eliot at foot of the two verses, printed credits, copyright details and card reference number at foot of inside left page and second leaf verso, two brown spots and some browning and adhesion marks to final page with loss of copyright wording, one light spot adjacent to Eliot's autograph, slim 8vo, together with first edition copies of books with author's signed presentation inscriptions to Rosemary Goad from Brian Aldiss, Michael Dibdin, Fay Godwin, Rachel Ingalls, Julian Symons and Naguid Mahfouz, plus a small quantity of Goad's ephemera including orders of service for T. S. Eliot and Geoffrey Faber, a framed and glazed etching of T. S. Eliot by P. E. Rose, 1987, a few photographs loosely contained in a leather blotter, education certificates, private press ephemera of Merrion Press and Cuckoo Hill Press, etc. QTY: (approx. 30)NOTE:Provenance: Given by the Faber & Faber editor Charles Monteith to Rosemary Goad, the first female director of Faber.
Lot 13
* German Panoramas. A group of five hand-painted layered views on the Rhine, Germany, circa 1810, titled in contemporary manuscript: Das Schloss Wartenstein und die Eisenschmoltz in der Aue; Ansicht von Rüdesheim, an Rhein; Ansicht der Stadt Ofen und Pest (crossed through and inscribed in a later hand Ansicht von Caub an Rhein gegen Oberwesel); Ansicht der Stadt Köln am Rheim; and Ansicht uns Dorfes Maria brunn nächst Wienn und der umligenden Gegend, gouache and watercolour on cut-out card, incorporating cotton for boat rigging, each composed of 4 or 5 layers to form a 3-dimensional scenic view, each depicting a large and impressive building, and incorporating variously river and mountain scenes, village settlements, boats, peasant figures, and animals, minor dust-soiling and marks in places, occasional small breaks or creasing to fine detail of cut-out edges, the first view (with painted backdrop) in a contemporary gilt-moulded box frame, glazed, 38.7 x 65.7 x 9.7 cm, remainder loose (with 2 further painted backdrops) in original paper folders, contemporary manuscript titles to folders and to the back of each section, each layer approximately 21 x 61 cm and smaller QTY: (5)NOTE:A most unusual and attractive group of three-dimensional panoramas, skillfully executed and large in scale, yet beautifully detailed; we have not seen any similar. Three of the scenes bear a close resemblance to published scenic views: for the first see a coloured etching titled 'Wartenstein Castle and the Iron Foundry', by Laurenz Janscha (1749-1812) and Johann Ziegler (1749-1802); for the second see an aquatint titled 'Rüdesheim am Rhein', by Johann Jacob Sperli (1770-1841); and for the third see a coloured etching titled 'Ansicht von Caub gegen Oberwesel', by Johann Ziegler (1749-1802). The fourth scene shows the monastery of Mariabrunn, Penzing, Vienna.
Lot 139
* Natural History. A collection of 10 engravings and lithographs, 19th century, including Mansell (Joseph. Gustav Leutzsch & others). Six plates from F. Sander's ' Reichenbachia', [1888], six colour lithographs of orchids, each approximately 510 x 350 mm, uniformly framed and glazed, together with Selby (John Prideaux). Red Legged Hobby, [1819 - 34], etching with contemporary hand-colouring, 400 x 275 mm, mounted, framed and glazed, with Audubon (J. J.). Anna Humming Bird, Mango Humming Bird, Prairie Wood-Warbler [and] American Gold-Crested Kinglet, J. T. Bowen Philadelphia, circa 1850, four lithographs with contemporary hand-colouring, some staining, each print approximately 240 x 140 mm, mounted in double aperture mounts and framed as two pairs of prints, plus a colour reproduction print of a bird of paradise, framed and glazedQTY: (10)
Lot 133
* Aldin (Cecil, 1870 - 1935). The New Coat, etching, signed by the artist in pencil below the image to the lower left, 190 x 130 mm, mounted, framed and glazed, together with The Cocker Spaniel [and] The Sealingham Terrier, two uncoloured miniature etchings, each approximately 100 x 80 mm, uniformly mounted, framed and glazedQTY: (3)
Lot 112
Φ Lucy Elizabeth Kemp-Welch RA (1869-1958)Study of two carthorses; Study of a horse and foalTwo, the former signed with initials and dated L.K-W/1898 (lower left), the latter signed with initials and dated L.K-W/1898 (lower right)Both watercolour and bodycolour13 x 18.9cm; 13.1 x 19.2cmTogether with Lucy Elizabeth Kemp-Welch; Horse and foal; Signed L.Kemp-Welch (in pencil to margin); Etching; 23 x 17.2cm (3)
Lot 38
Lucian Freud (British, 1922-2011)Man Posing (Hartley 27; Figura 44) Etching, 1985, on Somerset Satin White wove paper, signed with initials and numbered 23/50 in pencil (there were also fifteen artist's proofs), printed by Studio Prints, co-published by James Kirkman, London, and Brooke Alexander, New York, the full sheet, framedPlate 695 x 545mm (27 3/8 x 21 1/2in)Sheet 885 x 740mm (34 7/8 x 29 1/8in)Footnotes:ProvenanceMarlborough Fine Art Ltd., London.Acquired directly from the above by the present owner.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
Lot 4
Rembrandt Harmensz van Rijn (Dutch, 1606-1669)The Adoration of the Shepherds: a Night Piece (Bartsh 46; New Hollstein 300) Etching with drypoint and engraving, circa 1657, on laid paper, a good impression of New Hollstein's eighth state (of eleven), with small margins, framedPlate 148 x 198mm (5 7/8 x 7 3/4in)Sheet 153 x 201mm (6 x 7 7/8in)Footnotes:ProvenanceChristie's, Old Master, Modern and Contemporary Prints, London, Tuesday 28 November 1995, lot 245.Purchased from the above sale by Bernard Levin.Thence by descent to the current owner.The Adoration of the Shepherds was a common motif during the Dutch Golden Age. It provided artists with the opportunity to create tender, private devotional compositions, which were well aligned with the personal approach to religion in the Lower Countries in that period. Painters and printmakers alike experimented with the stylistic tools offered by Caravaggism, such as the theatrical use of light and intimate framing of the image, to draft ever more expressive and moving representations. This etching depicts the Holy Family with an immediate, touching naturalism. Joseph is reading, whilst Mary and the Christ child rest, swaddled in blankets in the cold stable. Rembrandt's skilful use of etching and drypoint to delineate the figures and subtle illumination conveys the wonder of this moment, evoking compassion and empathy for the protagonists.For further information on this lot please visit Bonhams.com
Lot 41
Lucian Freud (British, 1922-2011)Head and Shoulders of a Girl (Hartley 41; Figura 32) Etching, 1990, on Somerset Satin white wove paper, signed with the initials and numbered 12/50 in pencil (there were also ten artist's proofs), co-published by James Kirkman, London, and Brooke Alexander, New York, the full sheet, framedPlate 690 x 545mm (27 1/8 x 21 1/2in)Sheet 780 x 628mm (30 3/4 x 24 3/4in)Footnotes:ProvenanceRex Irwin, Woollahra, NSW.Acquired directly from the above by the present owner.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
Lot 32
David Hockney R.A. (British, born 1937)Mirror, Mirror on the Wall (M.C.A. Tokyo 10) Etching and aquatint in black and red, 1961, on Crisbrook handmade wove paper, signed and dated in pencil, from the edition of approximately fifty impressions, printed by Ron Fuller and Peter Mathews at the Royal College of Art, London, published by the artist, with wide margins, framedPlate 400 x 500mm (16 x 19 5/8in)Sheet 568 x 762mm (22 3/8 x 30in)Footnotes:ProvenanceGifted by the artist to the painter and fellow student at the Royal College of Art, Michael Simpson.Thence by descent to the current owner.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
Lot 10
Edward Hopper (American, 1882-1967)Night in the Park (Zigrosser 20; Levin 80) Etching, 1921, a fine atmospheric impression, on Umbria paper with partial watermark, signed in pencil, framedPlate 172 x 210mm (6 3/4 x 8 1/4in)Sheet 328 x 395mm (12 7/8 x 15 1/2in)Footnotes:Edward Hopper is admired for his atmospheric and enigmatic depictions of life during the American Depression and particularly well known for his urban scenes of New York. The majority of these scenes depict buildings and streets devoid of people, or perhaps with one solitary figure. In contrast to his contemporaries who were depicting the crowds and bustle of cities, he chose to focus on quiet reflective moments such as a man reading a newspaper in Central Park. There is a stillness and melancholy to the image which conveys a sense of isolation. Hopper infuses it with drama through the play of light and shadow, with the solitary figure highlighted under the street lamp. The diagonal created by the row of benches draws the eye into the picture to the spotlit figure who is turned away from view, emphasizing the sense of alienation which can be experienced in a big city.Having trained as a commercial illustrator and painter, Hopper was meticulous in his execution and he printed the etchings himself to ensure the perfect result was achieved. His technique and choice of subject matter grasped the public's imagination and although the success of his paintings eclipsed that of his printmaking, the etchings are considered as masterpieces of modern American printmaking.As the New Yorker art critic, Peter Schjeldahl, succinctly put it, Hopper 'leaves us alone with our own solitude, taking our breath away and not giving it back...Once you've seen a Hopper, it stays seen, lodged in your mind's eye'For further information on this lot please visit Bonhams.com
Lot 29
Zao Wou-Ki (Chinese/French, 1921-2013)Sans titre (Ågerup 118) Etching with aquatint in colours, 1959, on BFK Rives wove paper, signed, dated and numbered 53/95 in pencil (there were also ten unnumbered artist's proofs), printed by R. Dutrou, published by La Hune, Paris, the full sheet with deckle edges at left and right, framedPlate 396 x 445mm (15 5/8 x 17 1/2in)Sheet 503 x 654mm (19 3/4 x 25 3/4in)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
Lot 37
Lucian Freud (British, 1922-2011)Girl Holding her Foot (Hartley 25; Figura 34) Etching, 1985, on Somerset Satin White wove paper, signed with initials and numbered 23/50 in pencil (there were also fifteen artist's proofs), co-published by James Kirkman, London, and Brook Alexander, New York, the full sheet, framedPlate 690 x 540mm (27 1/8 x 21 1/4in)Sheet 880 x 715mm (34 5/8 x 28 1/8in)Footnotes:ProvenanceMarlborough Fine Art Ltd., London.Acquired directly from the above by the present owner.Lucian Freud, a towering figure of figurative art, is mainly known for his large-scale paintings that scrutinise the human bodies with intrusive truthfulness. Throughout his career, the human form has been the subject of most of his work, driven by what Freud defined as the 'horror of the idyllic'. As such, his paintings avoid embellishment or flattery, often resulting in crude and unsettling portrayals.While painting initially took precedence in his practice, printmaking was always closely entwined. After a hiatus between 1949 and 1981, Freud began to incorporate etching into his process from 1982 onwards. After thirty years dedicated to painting, the etchings display a newfound fluidity to his art. The connection between his painting and etching became integral to understanding the artist's aesthetic. In this sense, Freud can be defined as an heir of the Old Masters, committed to the techniques of oil and etching and to the study of the human figure.In his paintings, Freud renders the physicality of his sitters by layering thick impasto paint. In contrast, his prints offer a blunter version of the same, often freeing the composition from superfluous details. This synthesis, coupled with different and more daring observation points, imparts a more intimate nature to Freud's prints evident in works like Girl holding her foot (Lot 38) and Blond Girl (Lot 40).Both etchings relate to oil portraits, however Girl holding her foot precedes the oil painting. A process of reduction and introspection can be observed in each instance, eliminating background objects and leaving the subjects isolated for closer scrutiny. This adds a poignant immediacy and a disorienting directness to the subjects.Man Posing (Lot 39), in contrast to the etchings of the naked women of the same period – also including Lot 41 and Lot 42 in this sale – is a meticulously detailed portrait. The print, created before the painting of the same subject, is one of the most elaborate etchings Freud ever made. Freud's meticulous work skilfully captures the nuances of the room's background, providing a depth of detail that sets it apart, while retaining a sense of intimacy that is somewhat lost in the painting. All the prints by Freud in this sale are an intimate glimpse at his artistic process and provide a unique perspective on his mastery of etching.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
Lot 3
Rembrandt Harmensz van Rijn (Dutch, 1606-1669)Man wearing a Close Cap: Bust (The Artist's Father?) (New Hollstein 213; Bartsch 304) Etching, 1630, on heavy laid paper, New Hollstein's eighth (final) state, trimmed along or just inside the platemark, framedSheet 75 x 58mm (2 7/8 x 2 1/4in)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
Lot 39
Lucian Freud (British, 1922-2011)Blond Girl (Hartley 24; Figura 33) Etching, 1985, on Somerset Satin White wove paper, signed with initials and numbered 23/50 in pencil (there were also fifteen artist's proofs), co-published by James Kirkman, London, and Brooke Alexander, New York, the full sheet, framedPlate 690 x 542mm (27 x 21 2/8in)Sheet 884 x 712mm (34 3/4 x 28in)Footnotes:ProvenanceMarlborough Fine Art Ltd., London.Acquired directly from the above by the present owner.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
Lot 12
Pablo Picasso (Spanish, 1881-1973)Le Repos du Sculpteur IV, from La Suite Vollard (Bloch 174; Baer 327) Etching, 1933, on Montval laid paper with Picasso watermark, signed in pencil, from the edition of 260 (there was also an edition of fifty with wide margins), printed by Lacourière, published by Ambroise Vollard, Paris, 1939, with wide margins and deckle edges above and below, framedPlate 194 x 267mm (7 5/8 x 10 1/2in)Sheet 340 x 436mm (13 3/8 x 17 1/8in)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
Lot 668
Circular porcelain bowl holding a round silver lid with anopening on one side surrounded by a beaded border to hold the pen and a round inkwell with a hinged lid topped by a pinecone on the other side also surrounded by a beaded border. The side of the lid is decorated with a wreath or circular garland of laurel leaves engraved in etching. The inkwell has a removable glass crucible. The porcelain is decorated with birds among foliage and flowers. Traces of gilding on the inside of the lid and around the ink opening.signed 'Cartier’Numbered ‘47-1532’Stamped 'Made in France’French export mark for 950 silver and for the workshop of R.Linzeler on the inside of the lid and under the hinge.H. 11 cm, D. 9.5 cmWith expertise letter by Alain Cartier - ALC VINTAGE dated 10 October 2023Comment: The Linzeler workshop was bought by Cartier Paris in the late 1930s
![NO RESERVE Lewis (Wyndham) The Roaring Queen, number 1 of 100 copies signed by G.A. Lewis [Mrs Wyndham Lewis], Walter Allen a](https://cdn.globalauctionplatform.com/013bc1ec-a2f0-4a0c-8277-b0cf00c8c65b/528d670c-b0c8-410d-b289-b0cf00d47a43/468x382.jpg)
Lot 241
NO RESERVE Lewis (Wyndham) The Roaring Queen, number 1 of 100 copies signed by G.A. Lewis [Mrs Wyndham Lewis], Walter Allen and Michael Ayrton, with a frontispiece etching by Ayrton, this also numbered 1 and signed by him, loosely inserted, endpapers lightly toned, original boards, slip-case, 1973; and a trade edition of the same, 8vo (2)
Lot 32
Christopher Richard Wynne Nevinson A.R.A. (British, 1889-1946)Alpine Valley (Chamonix) (Black 105) Drypoint and etching, 1922-23, on laid paper, signed in pencil, framedPlate 174 x 225mm (6 7/8 x 8 7/8in)Sheet 187 x 235mm (7 3/8 x 9 1/4in)For further information on this lot please visit Bonhams.com
Lot 7
Christopher Richard Wynne Nevinson A.R.A. (British, 1889-1946)Manette Street (Black 123) Etching, 1926-27, on laid paper, signed in pencil, from the edition of 75, framedPlate 178 x 140mm (7 x 5 1/2in)Sheet 294 x 233mm (11 5/8 x 9 1/8in)For further information on this lot please visit Bonhams.com
Lot 154
A Collection of Books and catalogues relating to the Grosvenor School and CRW Nevinson Linocuts of the Machine Age: Claude Flight and the Grosvenor School, a Catalogue Raisonné by Stephen Coppel, published 1995 by Scolar Press; Lino-cuts by Claude Flight, published in 1927 by The Bodley Head; Sybil Andrews and the Grosvenor School by Hana Leaper, 2015; Fine Art Prints from the V&A Collection by Margaret Timmers; CRW Nevinson The Twentieth Century, Imperial War Museum exhibition catalogue, 2000; CRW Nevinson, A Printmaker in War and Peace, Osborne Samuel exhibition catalogue, 2014; Modern Masters of Etching: CRW Nevinson, The Studio Ltd, 1932; Contemporary British Artists: CRW Nevinson, 1925, with Nevinson's signature on a card insert; Vorticism and the Grosvenor School, Hearst Gallery exhibition catalogue, 1993, Cutting Edge: Modern British Printmaking, Dulwich Gallery exhibition catalogue, 2019; Sybil Andrews Paintings & Graphic Work, Parkin Gallery exhibition pamphlet, 1980 (11)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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