Antwerpen. 1914.
Drypoint with plate tone.
Signed and dated. Lower left margin inscribed "Antwerpen (sehr selten) / Ketterer Auktion Nr. 31, 1958, Nr. 398". Hand-made print aside from the edition. The edition of 65 copies published by Paul Cassirer, Berlin, as mentioned in Dube, has not been idenified by Ebner/Gabelmann yet. On firm green-gray copper plate printing paper. 31.7 x 19.5 cm (12.4 x 7.6 in). Sheet: 47,1 x 33 cm (18,6 x 13 in).
[JS].

• Hand-made print by the artist before the edition on greenish paper.
• Exceptionally large sheet. During the years of the First World War, Heckel opted for smaller formats.
• Depicted is the view of the cathedral from a terrace on the Scheldt.
• In the spring of 1914, Heckel traveled to Holland and Belgium after visiting Heinrich Nauen in Dilborn.
• Heckel reports on Antwerp: "The absolute contrast between the tranquillity of Dilborn and this port city, drinking coffee on the Rue de Keyzer instead of on the park terrace is fascinating. How many different types of people can be seen here, the workers at the harbor and the girls in the streets in their dark shawls and black bangs" (letter dated June 27, 1914).

PROVENANCE: Private collection North Rhine-Westphalia (presumably since 1958: Stuttgarter Kunstkabinett, bis 1998).
Hermann Gerlinger Collection, Würzburg (acquired from the above in 1998: Ketterer Kunst November 30, 1998, with the collector's stamp on the reverse, Lugt 6032)).

LITERATURE: Annemarie und Wolf-Dieter Dube, Erich Heckel. Das graphische Werk, vol. 2: Radierungen, Lithographien, New York 1965, no. R 123.
Renate Ebner, Andreas Gabelmann, Hans Geissler, Erich Heckel. Werkverzeichnis der Druckgraphik, vol. 2: 1914-1968, Munich 2021, no. 669 R (illu., different copy).
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Stuttgarter Kunstkabinett Roman Norbert Ketterer, 31st auction, May 20/21, 1958, lot 398 (illu.).
Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 204, SHG no. 457 (illu.).

In good condition. Top edge minimally bumped in places. Upper left in the image with a slight, curved trace of printing and rubbing, here with faint superficial color abrasion.