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After Sir Edwin Landseer (1802-1873) oval mezzotint - Queen Victoria with the infant Prince of Wales and Princess Royal, 50cm x 39cm, in oval gilt frame

John Cother Webb (1855-1927) after Edwin Long (1829-1891) Mezzotint "The Search for Beauty", signed and titled in pencil by engraver within margin, framed and glazed, image size 58cm 84cm

John George Murray  19th century uncoloured mezzotint after W Hunt  "The Laboratory", image 42.5cm x 59cm, oak framed and glazed   Provenance: from the collection of Darrin Baines, Professor of Health Economics.  Professor Baines filled his early Victorian townhouse in Leominster, Herefordshire, with Georgian and Victorian apothecary objects collected over a period of 20 years.  Darrin Baines, researcher and consultant, has produced health economics and health policy projects and contributed articles to numerous academic and trade journals. Some pieces in the collection were bought from a Victorian pharmacy in Upwell, The Fens, others from pharmacists across the country, from auctions in the UK and on the continent.

After Jean-François Millet - Two 20th century mezzotint prints of the original 19th century paintings by Jean-François Millet, 'The Gleaners' and 'The Angelus'. Both framed, mounted and glazed. Measures approx: 58x71cm

artist's proof mezzotint on paper, signed, numbered A/P and dated 2011 mounted, framed and under glass image size 14.5cm x 12cm, overall size 35cm x 30cm Note: James McDonald studied at Edinburgh College of Art 1974-78, and completed his postgraduate year there in 1979. McDonald has painted full-time since studying at Edinburgh, and his work has won numerous awards including the Andrew Grant Travelling Scholarship, British Council Travel Grant and the Alexander Stone Foundation Award. He has exhibited widely throughout the U.K. and overseas and is in private and public collections including the Victoria & Albert Museum, London; BBC; STV and all major Scottish banks.

After Robert Dighton (British 1752–1814): 'I Vont Take a Farden Less', 'A Lame Duck', 'A Sour Dog', 'What a Glorious Speech!', and 'Devilish Cold', set of five late 18th/early 19th century satirical mezzotint engravings, published by Bowles and Carver, c.1796–1801, max 24cm x 15cm (5) (unframed)

After Robert Dighton (British 1752-1814): 'The Guardian of the Night' 'An Old Friend with a New Face' 'I’m Lucky I Think to Have Plenty of Chink' 'A Drap of Whiskey' and 'An Aristocratical Cook with a Constitutional Dinner', set of five late 18th/early 19th century satirical mezzotint engravings pub. Bowles and Carver c.1796-1801, max 24cm x 15cm (5) (unframed)

William Sadler II c. 1782-1839 "Castle and Bridge by a Lake - probably a Killarney 'Capriccio' O.O.P., 20cms x 31cms (8" x 12 1/4").  In this charming landscape, Sadler depicts a picturesque and slightly dilapidated castle beside a lake. The castle, or more properly, tower house, stands on a rocky outcrop, or island, connected to the mainland by a three arched bridge. To the right can be seen a two story building with a pedimented center. The castle is not a ruin; it has its roof, and also the distinctive tall crenellations of an Irish Tower House. At the entrance is a small guardhouse, and a drawbridge. From one of the corner towers flies a Union flag. Although the topography, with lakes and mountains, suggests the Lakes of Killarney (the subject of several works by Sadler) Ross Castle, while set on a rocky outcrop in Lough Leane, has quite a different profile and is surrounded by a bawn. Nevertheless, in this work Sadler may have set out to crate a Killarney 'capriccio,' with the tower house representing Ross Castle, the pedimented building suggesting Killarney House, and the rustic bridge inspired by a the Old Weir Bridge,. Another possibility, based on the appearance of the tower house, is Clarecastle in County Galway, where there is a bridge and a nearby tower house that still bears its original tall corner crenellations. Born in or around 1782, son of a mezzotint artist of the same name, William Sadler II taught art and exhibited in Dublin through the first four decades of the nineteenth century. When Sadler was just six years old, his father died, leaving him to embark early on a career as a painter. In turn, Sadler had a son, also called William, who was born in 1808 and is known for a painting of the barracks at Fermoy. Although best-known for his small landscape and genre scenes, depicting scenes in Wicklow, Dublin and Killarney, William Sadler II was also capable of tackling ambitious subject matter, as with his panoramic paintings, The Battle of Waterloo, The Embarkation of George IV at Kingstown 1821, and A London Capriccio inspired by the Burning of the Custom House 1814 - the last of these is one of only three known signed works by Sadler. For his smaller paintings he generally used mahogany or copper panels and his paintings often depend upon effects of light, either sunlight or firelight, to silhouette buildings, trees and figures. He painted recognizable landscapes, as with the Sugarloaf Mountain or Howth Head, and also as partly in this work, 'capriccio' where he invented buildings or landscapes. Invariably there is activity in his work, with ships heeling in the wind, banditti gathered around a fire, or travelers making their way along a country road. In this painting, three figures, one mounted on a horse, add animation to the landscape. Dr. Peter Murray 2025

James Ramsay (1786 - 1854) "Portrait of Sir John Newport, 1st Bt, c. 1828," O.O.C., approx. 127cms x 100cms. (1) Provenance: Sothebys' 26th November, 1975 (Lot. No. 58) Painted by James Ramsay and dating from around 1828, this canvas depicts the politician Sir John Newport (1756-1843) seated in a mahogany Regency chair, beside a desk. In the background can be seen the base of a large architectural column, and a draped curtain. A Whig MP, John Newport was one of the leading politicians of his day. A supporter of Catholic Emancipation, he represented Ireland at the parliament in Westminster. In 1806 Newport was appointed Chancellor of the Exchequer. Although he supported Catholic Emancipation, he was less keen to provide relief to Irish Catholics, a stance which resulted in his resignation from the government of Lord Liverpool. In 1828, a mezzotint of the portrait, engraved by Thomas Goff Lupton, was published by Colnaghi, Son & Co. The mezzotint is a faithful representation of Ramsay’s original, including chair, curtain, and details such as the inkwells and quill pen on the desk. However the images differ in one significant detail: In the mezzotint, in his right hand Newport holds a document inscribed, ‘Ireland 1800 Corn Intercourse Act’, this likely refers to the American Trade Act of 1800, legislation described as facilitating ‘Trade and Intercourse between this Kingdom and the United States of America’. However, the inscription is not visible in the painting, and so was either added to the mezzotint at the request of Newport, or else was in the original painting, and was gradually deleted by cleaning over the years. Newport was also depicted, around 1826, in a portrait by Stephen Catterson Smith; a work which formed the basis of several engraved prints, again highlighting his popularity as a politician. Born in Sheffield, the portrait painter James Ramsay was the son of a carver and gilder who later became a print dealer. Although he initially worked for his father’s business, Ramsay also began to paint portraits and miniatures, and from the age of seventeen was exhibiting his own work. In 1803, he moved to London, where he submitted two works to that year’s Royal Academy exhibition. Two years later he enrolled at the RA Schools, that same year exhibiting a portrait of Henry Grattan. This was later engraved by Charles Turner, while a copy of the original, by Thomas Alfred Jones, is in the National Gallery of Ireland. Establishing himself as a portraitist in London, Ramsay exhibited portraits, landscapes and biblical subjects at the Royal Academy, the British Institution and the Society of British Artists. In 1848, he moved to Newcastle-upon-Tyne, while continuing to exhibit at the Royal Academy. He died in Newcastle, in June 1854. Dr. Peter Murray 2025

* Pether (William, 1731-1821). A Philosopher Giving a Lecture on the Orrery, published by J. Boydell, 1768, uncoloured mezzotint after J. Wright of Derby, good margins, occasional marginal repaired closed tears, slight marginal staining and spotting, 480 x 590 mmQTY: (1)

* Ward (William). Wasp, Child & Billy, published by Randon & Sneath, 1809, uncoloured mezzotint after H. B. Chalon, slight surface abrasion, painted black margins, 680 x 625 mm, together with Costive, circa 1805, uncoloured mezzotint of a Foxhound after H. B. Chalon, some surface abrasion, with another two earlier states of the same print, each 385 x 505 mm, with another seven mezzotints of dogs, coursing scenes and horses by the same engraver, some duplicates, various sizes and condition, plus Smith (John Raphael). A Visit to Grandmother, 1785, uncoloured mezzotint after J. Northcote, slight spotting and toning, 565 x 415, with another copy similar, and another seven portraits and genre scenes by the same engraver, some duplicates, various sizes and condition, with 8 further engraved mezzotint portraits, including examples by or after J. Godfrid Haid, R. Clouston, and Richard Houston, with Cormack (Minnie). Lord Nelson, circa 1890, uncoloured mezzotint after John Hoppner, slight toning, some marginal abrasion and fraying, frayed with slight loss to the title area, 635 x 425 mm, and Murphy (John). Peter Beckford Esq: Lord Lieut: Governor & Commander in Chief of Jamaica..., [published by Edward Foxhall, London, 1793], uncoloured mezzotint of Colonel Beckford who owned 24 plantations and 1200 slaves (inscribed as such on the mount), trimmed to the image, torn with slight loss to the lower left corner, slight creasing, 495 x 355 mm, mountedQTY: (approx. 38)

* Portraits. A Collection of Approximately 140 Engravings, 18th & 19th century, mostly uncoloured mezzotint portraits and genre scenes, including examples by or after C. Townley, A. Van Heken, Van Bleek, G. Valck, G. Spooner, J. Walker, W. Strange, J. Splilsbury, W. Smith, J. Murphy, G. Clint. A. Dean, R. Purcell, C. Corbett, W. Carlos, J. Burnett, E. Burton and J. Chant, some duplicates, various sizes and conditionQTY: (approx. 140)

* Green (Valentine, 1739-1813). A Collection of approximately 55 engravings, mezzotint engravings after various artists, two with contemporary hand colouring, occasional duplicates, various sizes and conditionQTY: (approx. 55)

Earlom (Richard). Liber Veritatis, or, a Collection of Two Hundred Prints after the original designs of Claude Le Lorrain, in the collection of His Grace the Duke of Devonshire, executed by Richard Earlom..., volumes 1 & 2 only, London: John Boydell, 1777, printed title page and index to both volumes, volume 1 with a dedication to the Duke of Devonshire and a mezzotint portrait of Claude Le Lorrain, 2 leaves on the 'Life of Claude Lorrain' and an advertisement, 200 mezzotints on laid paper, printed in sepia and black, slight spotting and staining, bookplate of Sir Edmund Antrobus to front pastedowns, contemporary speckled calf with gilt decorated spines, boards detached, folio, binding size 430 x 280 mmQTY: (2)NOTE:Provenance: Sir Edmund Antrobus, second Baronet (1792-1870).Abbey, Life in England, 200. The third volume was not published until 1819."This capital work, a landmark in the history of the reproduction of master drawings, is ... an important forerunner of later publications in this section. It contains 300 reproductions of drawings by Claude Lorrain, pastoral, mythological, and biblical subjects, and was called Liber Veritatis [Book of Truth] for the purpose of identifying Claude's genuine works from forgeries, or from drawings wrongly attributed to the master. They are all printed in a warm bistre colour to aid the resemblance..., This is the first complete edition with the engravings in the best and final state..., The catalogues in each volume give a comprehensive description of each drawing, indicating also for whom they were executed, which pictures were painted from them, and the ownership at the date of publication of the book—in short, a real catalogue raisonné" (Abbey).

Martin (John, illustrator). The Paradise of Milton. With Illustrations by John Martin, London: Printed for Henry Washbourne & Co., 1858, 24 mezzotint plates, some leaves at front of volume loose and a little frayed to extreme edges, contemporary calligraphic manuscript presentation inscription to front blank 'Presented to the Mayor by Scholars of the Abbey Lane Sunday School. Decr. 6th 1860', gilt-gauffered edges, contemporary blind-decorated dark brown full vellum, rubbed and scuffed to joints and edges, some discolouration to boards, a little wear at head of spine, folio (Large Paper copy)QTY: (1)

* Turner (Charles, 1773-1857). A collection of approximately 185 engraved portraits, early 19th century, uncoloured male and female mezzotint portraits, some duplicates, various sizes and conditionQTY: (approx. 185)

JAMES WARD (1769-1859) AFTER GEORGE MORLAND, 'Smugglers', publ Nov 1 1793 by I R Smith, King Street, Covent Garden, hand coloured mezzotint print, 45.5cm x 56cm, together with another entitled 'Fisherman' by and after the same hands, 45.5cm x 56cm, (2)

ISAAC BECKETT (1653-1719) AFTER I RIBY Portrait of Henry Bishop of London, mezzotint, 35cm x 26cm and J SMITH AFTER G KNELLER Portrait of Mr William Congreve, 35cm x 26cm

JOHN FABER (1684-1756) AFTER T MURRAY 'Edmundus Halleius' Portrait of Edmond Halley, mezzotint publ. by John Bowles at the Black Horse, Cornhill 1722, 36cm x 26cm

JOHN RAPHAEL SMITH (1752-1812) AFTER GEORGE MORLAND, 'The Horse Feeder', coloured mezzotint, published by IR Smith, King Street, Covent Garden,1799, 46cm X 56cm and another GEORGE MORLAND, coloured print, man on horseback with another at a stable door, 45cm x 61cm (2)

HERBERT DICKSEE (1862-1942) 'Three Kittens' mezzotint, signed in pencil, plate 25cm x 35cm

VALENTINE GREEN (1739-1813) AFTER JOSHUA REYNOLDS Portrait of Joshua Reynolds, Knight, President of the Royal Academy, mezzotint, publ.1780, 49cm x 40cm, two other prints, AFTER THOMAS LUPTON, portrait of William Wordsworth, 27cm x 21cm and AFTER GEORGE NAYLOR, portrait of Geoffrey Chaucer, 17.5cm x 13.5cm

Framed mezzotint engraving, domestic teatime scene

AFTER HENRY RAEBURN, JOHN ROBERT DUNDAS OF ARNISTON, mezzotint, engraved by John Jones, under glass and in a good giltwood frame, size overall 50 x 60cm

A c. 1900 black and white print/mezzotint of Lady Wrottesley by printer Norman Hirst (1862-1956) - signed in pencil lower right, 55 x 65cm; and two framed sepia style portrait prints of young ladies, monogrammed and numbered 835 and 836 lower right, 44 x 36cm. (3)

Sarah Gillespie (Contemporary) "Blackbird" (Sepia) (2023) Signed and numbered 2/20, mezzotint, 21cm by 21cm

Carey (David) Life in Paris, first edition, frontispiece and 20 hand-coloured aquatint plates by George Cruikshank, without half title and directions to the binder leaf at end, occasional light foxing and finger soiling but overall pretty clean, ink ownership inscription to title head, contemporary half calf, rebacked, [Tooley 129], John Fairburn, 1822 § Butler (Samuel) Hudibras, 2 vol., hand-coloured engraved frontispieces and 10 hand-coloured plates, occasional foxing and off-setting, contemporary calf, gilt, rebacked but preserving original backstrips, Thomas M'Lean, 1819 § Milton (John) The Paradise Lost, with illustrations by John Martin, 24 mezzotint plates, some ff. and plates loose, some browning and spotting to plates, occasional damp-stains, contemporary half-morocco, upper cover detached, backstrip peeling away and chipped, else rubbed, Henry Washbourne, 1849; and 4 others illustrated, 19th century, v.s. (8)    

NY WATER TUNNEL Mezzotint, 2009, signed, dated, titled and numbered 173/200 in pencil, framed; Together with Frederick Mershimer (b. 1958). SUNDAY TIMES, mezzotint, 1990, on wove paper, signed, dated, titled and numbered 14/90 in pencil, framed; and Richard Haas (b. 1936). 57TH STREET LOOKING EAST, etching and gauche, 2007, on Somerset Velvet Radiant White paper, signed, dated, titled and numbered 162/200 in pencil, framed.Largest plate 14 x 21 5/8 inches; 356 x 549 mm.Largest frame 26 5/8 x 34 5/8 inches; 676 x 879 mm.

THOMAS HUDSON (BRITISH 1701 - 1779) PORTRAIT OF CATHERINE 'KITTY' JERVIS (1733-1756), MRS. JEREMIAH SMITH Oil on canvas 127 x 101.6cm (50 x 40 in.) In a period eighteen century swept and pierced, carved and gilded frame Painted circa 1755. Provenance: The sitter's brother, Admiral of the Fleet John Jervis, 1st Earl of St Vincent (1735-1823), Meaford Hall, Staffordshire removed from Meaford Hall when the house was sold in 1943 by descent to Edward Swynfen Parker-Jervis Exhibited: Birmingham, City Museum and Art Gallery, Exhibition of Treasures from Midland Homes, 2nd November - 2nd December 1938 (lent by Mr Robert St Vincent Parker-Jervis) Catherine Margaret Jervis, known to her family as Kitty, was the second daughter of Swynfen Jervis (1700-1771) of Meaford Hall, near Stone, Staffordshire and his wife Elizabeth Parker, daughter of George Parker of Park Hall. Both of Kitty's parents came from long-established Staffordshire gentry families; the Jervises had been established in the county since the days of Edward III (reg.1327-77). Swynfen Jervis practised as a lawyer, becoming Counsel to the Admiralty and Auditor to Greenwich Hospital; the family divided their time between Greenwich and their estates. On 18th March 1755 Kitty married at St Alphege, Greenwich a Staffordshire neighbour, Jeremiah Smith of Great Fenton Hall, which was situated eight miles north of Meaford. This portrait was probably made around the time of her marriage. Thomas Hudson was clearly the portraitist of choice for the family: he painted Jeremiah Smith, by then High Sheriff of Staffordshire, in 1762 (Staffordshire County Buildings, Stafford). The Smiths were prominent landowners in Great Fenton, today a suburb of Stoke-on-Trent. By the mid-eighteenth century the area was becoming part of the heartland of the Industrial Revolution, with ceramic producers that would later bear famous names such as Spode, Copeland and Minton. The country was rich in ironstone and coal, essential for the firing of the kilns. Jeremiah Smith obtained mining rights in Fenton which were developed by his descendants. By 1840, a land 'once the pure and peaceful domicile of [the owners'] ancestry [was] but now the black and noisy seat of Cyclopean labours'. Naturally, no hint of this gradual industrialisation is apparent in Hudson's portrait of Kitty Jervis. She is portrayed leaning against a rock with a woodland sunrise beyond. Her elegant, broad-brimmed hat, which gives her a dashing air, puffed sleeves and the feather in her hand are inspired by a Rubens portrait then thought to be of his wife, but which probably depicts his sister-in-law, Susanna Fourment (Gulbenkian Museum, Lisbon). It was acquired by Sir Robert Walpole and hung in the Van Dyck Drawing Room at Houghton, but was well known from James McArdell's mezzotint after it. The Rubens portrait sparked a vogue for painting ladies in 'van Dyck' dress, much employed by Hudson in the 1730s and 40s, as well as the use of van Dyck dress in masquerade costumes. Horace Walpole wrote to his friend Horace Mann in 1742 of seeing at the Duchess of Norfolk's masquerade 'quantities of pretty Vandykes, and all kinds of old pictures walked out of their frames' (1). Kitty's costume is a charming fantasy, a hybrid of 'van Dyck' dress and mid-eighteenth century high fashion. The lace choker at her throat is in contemporary vogue, as is her jewellery. A locket probably containing a likeness of her husband is strung from the rubies and pearls at her waist. Hudson repeated this model, down to the rocky background and soft blue silk dress, in a full-length portrait of Mary Bertie, Duchess of Ancaster and Kesteven, painted in 1757 (Grimsthorpe Castle, Lincolnshire). The same format is employed in a portrait of Lady Oxenden (Art Gallery of New South Wales), recently reattributed to Hudson's pupil Joseph Wright of Derby. Sadly, Kitty's marriage was short-lived: she died giving birth to her son Charles in 1756. Her portrait was inherited by her younger brother John Jervis (1735-1823), whose brilliant naval career led to his creation as 1st Earl of St Vincent for his victory over the French at Cape St Vincent on 14th February 1797, an action which also brought Captain Horatio Nelson to prominence. A just, well-loved and reforming officer, Jervis crowned his career as Admiral of the Fleet. Kitty's painting remained at Meaford Hall until the house was sold in 1943 and has descended in the Parker-Jervis family. 1) Quoted in London, The Iveagh Bequest, Kenwood, Thomas Hudson 1701-1779, 1979, exh. cat. by Ellen Miles, under n. 15 Condition Report: The canvas has been relined. There is very fine surface cracking across the picture but the paint layer is stable and the impasto is well preserved. Under UV light there are some very minor touches of inpainting to the edges, these are very minor and not visible to the naked eye. It has been cleaned and revarnished.Condition Report Disclaimer

SIR MARTIN ARCHER-SHEE (BRITISH 1769 - 1850) A SKETCH FOR THE PORTRAIT OF CHARLES RICHARD SUMNER, PRELATE OF THE ORDER OF THE GARTER Oil on canvas 45 x 35cm (17½ x 13¾ in.)The final portrait of Charles Richard Summer was painted by Shee in 1833, and depicts the sitter in a slightly different pose - this time seated and facing the opposite side. The work was produced as a mezzotint by Samuel Cousins.  

H. Macbeth-Raeburn, by, A.W. Devis, after, mezzotint, Master James Alexander Simpson, 60cm x 40cm; Clifford James, by, Sir Thomas Lawrence, after, mezzotint, Countess of Westmeath, 47cm x 37cm; Ellen Jowett, by, Henry Raeburn, after, Boy and Rabbit, 50.5cm x 40cm; other early 20th century mezzotints (6)

NORMAN HIRST, 1862 - 1956: MEZZOTINT PORTRAITafter an 18th century portrait, signed to the margin, published by Henry Graves, London 1900, framed 72 x 58cm (framed to pair with lot 543)

P Stampa,  Publisher – An Emblem of England, published 1799, mezzotint with contemporary hand colouring, mounted to image in verre eglomise, oval, 26cm and Guinea Pigs after George Moreland, c1800, aquatint, hand coloured (2) Mezzotint in apparently very good condition in later Hogarth frame, unexamined out of frameGuinea Pigs somewhat soiled with marginal tears and mounted to within image, in modern Hogarth frame

George Stubbs (1724-1806) - 'Stallion and Mare', mezzotint, London published 1791 by T. Simpson, 55.5 x 45.5 cm, the sheet has been cropped to the plate at the top, left and right edge, frame dimensions: 57 x 68 cm, glazed and framed

A late 19th century limited edition mezzotint engraving, by C Fitzgerald The Red Boy after Sir Thomas Lawrence, signed and blind stamped, approximately 30 cm x 20 cm image size, from an edition of 350. [W]

After Landseer - The Ptarmigan Hill, mezzotint pub Agnews 1874, 60 x 93 cm

A George IV Large Ornate Gilt Moulded Three Aperture Frame, with shell, leaf and scroll ornament to the corners, moulded sides, twisted rope border and book and scroll trophies and military trophies above the outer two apertures, containing mezzotint images of George III by Benjamin Smith (act.1802-1824), Pitt the Younger by Francesco Bartolozzi (1727-1815) and Admiral Lord Nelson by Charles Turner (1774-1857), central aperture with arched top 20.5ins x 14.5ins, outer apertures each 17.5ins x 12.5ins, overall frame size 31ins x 52ins The main frame has scratches/scrapes to most of the corners and edges and to the highlights of the scrolls. top right hand scroll - has a triangular sectional crack with the piece is still in situ, various small chips to gesso/gilding on this scroll. Top left hand scroll - tip of top right hand leaf off (wood visible) and flight holes present at this point. Lower right hand scroll - large crack where scroll meets frame at top. Lower left hand scroll - large piece of this scroll is off but mainly present (in a bag).  Trophies above outer two apertures are in good condition. Back appears intact, although the paper is torn. Glass intact and images in fairly good condition, although they have not been inspected out of the frame. Please see images and zoom in as required for further detail.

Joseph Mallord William Turner (British 1775-1851): 'The Leader Sea Piece', etching and mezzotint, from Turners Liber Studiorum, pub. 1809, 20cm x 27cm

18th century reverse glass mezzotint, 'The Milking Maid' 25x35.5cm

Dorothea Wight (1944-2013), 'Window with blind', mezzotint on paper, signed and numbered 24/50, 15x13cm

After George Morland 'Two favourite Chickens Going to Market'mezzotint, trimmed, in an oval gilt frame45 x 57cm

Charles Roberts after Sir Frederick Leighton, The Captive Andromanche, sepia tone mezzotint, laid on glass, 25cm x 52cm; others M Walther, Terrier with Rabbit, 33cm x 28cm, Henry Alken, Afternoon, A Few ot the Right sort the have done things, printed by Hullmandel etc (4)

A QUANTITY OF PICTURES AND PRINTS ETC, to include a Tom Maxwell dry point etching of Old West Kirk in Greenock, Henry G Walker etchings with colours, a pastel drawing of Elephants signed P. Goode, a watercolour of a feeding Elephant signed Keith Hill - some damage, an indistinctly signed limited edition print of Pawneese race horse, Tristram Hillier print 'The Blue Cart', Snow Hill Station print by Robert K. Calvert, George Romney Mezzotint print signed by the engraver, four reproduction Francis Wheatley prints, a John Owen and Emanuel Bowen road map 'Ashburton to Plymouth', an engraving of 'East View of Birmingham in Warwickshire', assorted other prints, two glazed display frames etc

C Turner (after Turner), mezzotint 'A Sailor Relating his Victories', published and sold 1803 by Edward Orme, 59 New Bond Street, 53cm x 40cm, unframed. Laid on card

William Say (British, 1768 - 1834) after Sir William Beechey (British, 1753 - 1839), half length oval portrait study of Thomas James Warren-Bulkeley - 7th Viscount Bulkeley, mezzotint, 29 x 25cm, gilt framed and glazed and two other pictures (3)

Richard Houston after James Seymour, The Portraiture of Sedbury, mezzotint and Richard Houston after Thomas Spencer, The Portraiture of Dormouse, mezzotint, each dated 1755, 30 x 35cm, framed and glazed (2)

Sydney E Wilson (British, 1869 - 1940), a pair: Classical scenes 'The Romp' and 'The Truants', each coloured mezzotint, signed in pencil lower right, gallery blind stamps lower left, partial Boston USA labels verso, 42 x 54cm, framed and glazed (2)

Thomas Gaugain (French 1748-c.1805) after Henry Singleton (British 1766-1839): 'The Wise Virgins' and 'The Foolish Virgins', pair early 19th century mezzotint engravings with hand-colouring pub. James Daniell 1810, 59cm x 48cm (2)

Hogarth (William) The Original Works, first edition, engraved frontispiece and 104 plates on 80 sheets (of which 5 plates trimmed and laid onto 2 sheets). additional mezzotint by Joshua Reynolds bound at end (small tears with neat repairs verso), 2 later pencil studies in an unknown hand loosely inserted, one or two marginal tears (not affecting image), scattered light spotting and staining, previous owner's ink-stamp to front free endpaper verso, bookplate of Thomas Hutton, contemporary calf, rebacked and recornered, rubbed, bumping to corners and extremities, large folio, 1790.

*** Please note the description of this lot has changed *** Lorrain (Claude) Liber Veritatis: or A Collection of Prints, after the original designs of Claude le Lorrain, 3 vol., 300 etched and mezzotint plates by Richard Earlom, occasional light spotting and staining, near contemporary half red morocco, 6 raised spine bands, richly gilt spine, slight rubbing to corners and extremities, g.e., [Abbey Life 200], folio, Messrs. Boydell and Co., [1777-1819, but probably later] *** A landmark in the history of the reproduction of master drawings" (Abbey).

Fielding (Henry) The History of Tom Jones, A Foundling, 4 vol. extended to 8, additional titles specially printed in red and black, extra-illustrated by the insertion of 150 engraved, etched, aquatint, and mezzotint prints, a few hand-coloured or colour-printed, some in proof, finished and coloured states, occasional spotting, late 19th- early 20th-century green morocco gilt by Sotheran & Co., the covers with a broad border of interlacing rose brambles, the leaves and stems in gilt, the flowers in red and cream morocco inlays, the spines gilt in 6 compartments, titled in 2, the other compartments decorated with gilt and inlaid red and cream roses, broad turn-ins gilt and similarly decorated with red and cream inlaid roses, crimson watered-silk doublures and endleaves, g.e., a few light scuff marks, spines discoloured, Paris, Printed by Fr. Amb. Didot, 1780.*** A most handsome set, enhanced by illustrations from other 18th and 19th century editions.Provenance: W.A. Foyle, Beeleigh Abbey (bookplate)

Herbert Cescinsky and Ernest R Gribble, Early English Furniture and Woodwork, in two vols. bound as one, 1922, folio, rebound; and Alexander Cruden, A Complete Concordance to the Holy Scripture, 4th edition, London 1785, calf; Herbert Herkomer, Etching and Mezzotint Engraving, London 1892 and Currier & Ives Favorites, New York 1978, paperback.Qty: 4

A PAIR OF ANTIQUE REVERSE GLASS PAINTED MEZZOTINT PICTURES "THE WEST AUSTRALIAN" AND "CLIPPER SHIP SWIFT SURE 1326 TONNES"

After Sir Thomas Lawrence, Ellen Jowett, a gilt framed mezzotint engraving, portrait of Countess Gower and Child. Signed by Jowett in pencil. 46x70cm.

Joseph Bishop Pratt: a framed late 19th Century mezzotint, Lady Hamilton - signed in pencil

Assorted pictures and prints, to include French colour mezzotint, circa 1900 oil on card, Lucien Day - Calyx, mixed media; Terence Millington - The Shovel, lithograph etc (5)

Milton (John) The Paradise Lost..., 24 mezzotint plates by John Martin, most with tissue guards, contemporary red morocco elaborately gilt, spine gilt, gilt gauffred edges, spine slightly rubbed and faded, 1858 § Defoe (Daniel) The Life and Adventures of Robinson Crusoe..., 2 vol., number 42 of 150 copies on laid paper with an additional suite of proof etchings on Japanese paper, engraved plates by Mouilleron, proofs a little water-stained, contemporary half morocco, spines gilt, uncut, a little rubbed, 1882; and another, 4to & 8vo (4)

*SUSAN JAMESON (b. 1944) 'Long Meg - Sunset' 1979, signed, titled and numbered 26/150 in pencil to the margin, mezzotint, 55cm x 55cm (sheet)Provenance: Acquired from Christie's Contemporary Art and with their Certificate of Authentication.

Luigi Rossini, “Veduta dell’Antico Ponte Janiculense Ristaurato da Sisto IV”, engraving 36 x 54; E Walker, after C. Bossoli, “Ponte Sulla Scrivia Vicino a Prarolo”, lithograph, hand-coloured, Day and Sons pubs, 11 x 44cm; and C. Turner after Eckstein “The Recruit”, mezzotint, hand-coloured, 53 x 40cm; in rosewood frame (3)

* Portraits. A Collection of approximately 125 engravings, 19th century, uncoloured mezzotint portraits, genre and historical scenes and domestic animals, including examples by A. Alain, S. Cousin, W. Davey, T. Hamilton-Crawford, T. Daniell, W. A. Cox, T. A. Atkinson, W. Brett, J. Allport, J. Scott and D. Lucas, a few signed in pencil by the artist and/or the engraver, some duplicates, various sizes and conditionQTY: (approx.125)