We found 6626 price guide item(s) matching your search

A QUANTITY OF PRINTS AND PICTURES including a mezzotint of 'Mrs Littleton' in a maple frame, and a small gilt mirror (7)

John Raphael Smith, after George Morland, The Fern Gatherers, mezzotint, 49x61cm; Thomas Lancia after Edwin Lancia, A British Boar and a French Hog, hand-coloured etchings, late impressions; together with a folio of prints and engravings, mostly late impressions.

Walter Alfred Cox after J L E Meissonier, Men at table, coloured mezzotint, 30x23cm, mounted; another, The Scholar, mounted; and four sentimental prints after Walter Dendy Sadler. (6)Qty: 6

Sir Frank Short (1857-1945) mezzotint signed in pencil pub. 1891, 38cm x 31cm, in glazed frame (67cm x 52cm overall)

Robert Laurie (British c.1755-1836) and James Whittle (British c.1757-1818) (Publishers): 'Jack's return after Lord Howe's glorious victory to the tune of Oh! dear what can the matter be', mezzotint with hand colouring pub.1794, 35cm x 27cmNotes: This is a satirical patriotic broadsheet celebrating the British Naval victory over Napoleonic France and Spain on the 'Glorious First of June' in the war of the first coalition under the command of Admiral Richard Howe. 'Jack' was a common term for a sailor and he is depicted holding a coin purse with two British flags behind him.

Early printing.- Anonymous (German) Adoration of the Magi, woodcut, a good but later impression from the original block from the Derschau collection, traditionally thought to be from the late 15th century, on laid paper without watermark, sheet 393 x 280 mm (15 1/2 x 11 in), small nick to upper left corner, handling creases, unframed, probably late 18th century; together with another "early" woodcut by an anonymous hand depicting the Nativity, again probably a modern forgery in an early 16th century style, and with a mezzotint after Kneller, a group of anonymous modern German drawings from the 20th century, and an original portrait of the Italian mezzo-soprano castrato singer Gaetano Guadagni (1728-1792), black chalks on 18th century Ventian paper,after the engraved portrait, with erroneous inscription below identifying the sitter as Francesco Antonio Vallotti, sheet 435 x 265 mm (17 x 10 1/2 in), all unframed, 18th to 20th century (20)

William Ward (1766-1826) after George Garrard, 'The Durham White Ox', mezzotint, published 1813, plate size 20" x 24" (51 x 61cm), along with a French 19th Century hand-coloured view of a black ram, PL .7, 10" x 14.5" (26 x 37cm), (2).

19TH CENTURY MEZZOTINT PRINT HORATIO LORD VISCOUNT NELSON

W. Say after G. Harlow, mezzotint, Mr Fawcett, overall 55 x 44.5cm

After Richard Earlom (1743-1833) Christ and the Devil, monochrome mezzotint. #15. Mounted framed and glazed. 28CM X 18CM

English landscape.- Newbery (William, artist and friend of John Constable, 1787-1838) Two albums containing 40 drawings and watercolours, and 6 etchings, including many landscapes of Sussex, views of the environs of the artist's home at of Heathfield Park, views in Oxford, Walthamstow, Lewes, some maritime scenes, a few studies after drawings by Crotch, a mezzotint with etching of Tivoli with inscription underneath that reads 'done in mezzotint [?] an etching by W. Newbery about 1838/ from a sketch by [?] PGS/ from one by J. Malchair/ probably from some Italian drawing...', and others similar, all neatly presented on album leaves, many leaves missing, some pages cut, of those that remain many with ink inscriptions and annotations underneath that are likely by William Crotch, various sizes, surface dirt, vol. 1 with manuscript note to front pastedown that reads 'Bequeathed to W. Crotch Kennington 1838/ by my dear friend W. Newbery/ by whom/ these were drawn', half calf, marbled boards, spines gilt, Cambridge Binding Guild stamps to inside covers, rubbed and worn, large 4to, mainly circa 1800-1820Provenance: William Crotch (English composer and organist, 1775-1847);Dawson Turner (patron of John Sell Cotman, 1775-1858);Sale. Sotheby's, London 1991⁂ Newbery was a friend of Dr. William Crotch, whom the present albums were originally bequeathed to, as well as John Constable. He was also a pupil of John Malchair and lived in Heathfield, Sussex. Newbery was well connected with the artistic circles of his day, and was a member of 'The Great Society' of Oxford and is likely to have known J.M.W Turner who also painted views of Heathfield Park, while the Newbery's lived there. The present album includes a landscape of Heathfield Park dated 'Aug. 19 1809', and shows a wooded landscape with two men, one of whom appears to be seated drawing.

Byron, George Gordon Noel, and Greece Portraits and related engravings Engraving by T. Lupton after T. Phillips, 1824, with presentation inscription from Phillips on verso, c. 38 x 26cm, mounted; Engraving by C. Turner after R. Westall, mezzotint engraving, 1815, 36 x 25cm, mounted; another, 1814, 36 x 25cm, mounted;Engraving by Robert Graves after Thomas Phillips. 1836, 42 x 33cm, trimmed to plate-mark;Lithograph by Miss Knight, mounted;Mezzotint engraving by Bove after Barathier, 54 x 42cm;Mezzotint by C. Turner after W.E. West, 1826, 44 x 32cm, trimmed to within neatline, mounted;3 engravings by Robert Grave after Richard Westall, date not legible, mounted;11 smaller engraved portraits;and related engravings, includingThe Oriental Love-letter, engraving by B.P. Gibbon after H.W. Pickersgill, 1829, 35 x 26cm, mounted; Hand-coloured lithograph of Grecian girl in Greek landscape, 28 x 20cm;2 lithographs, one of Mars Hill Athens after A. Arnst;St. James's Street in an Uproar of the Quack Arts and his Assailants, 1819, hand-coloured etching by Marks, 24 x 34cm;17 19th century engravings of Greece; 3 Byron related lithographed plates; one small 19th century pencil copy of a Byron portrait, 9 x 11cmNote: Provenance: From the library of the late William St Clair, FBA, FRSL.

Robert Healy, Irish (1743-1771)  “Portrait of Mrs. Florinda Gardiner (née Norman) standing by an urn,”  grisaille pastel on paper, signed and dated 1769, 61cms x 34cms (24” x 13 ¼”), bears label on reverse “Mrs Gardiner, mother of Luke Vic [?] Mountjoy, Killed in Battle 1798; Mrs Gardiner died 1812 . . drawing by R. Healy 1769” (1) In this full-length portrait, Florinda Gardiner is depicted standing in a lawn or parkland setting, beside an urn on a pedestal, her hand reaching out to touch the pedestal. Posed formally, she wears a long dress, with a high lace collar, bonnet, and flowing lace sleeves. In her left hand she carries a pair of gloves. Behind are trees and ivy-covered walls. The drawing reveals Healy’s consummate skill in using grey and white chalk to create subtle tones, not dissimilar to a mezzotint. Born in Derry in 1722, the daughter of Sarah (née Bolton) and Robert Norman, Mayor of Derry, Florinda Norman grew up at Lagore Co. Meath. In 1741 she married the twenty-one year old landowner and politician Charles Gardiner. The eldest son of Luke Gardiner, who had developed large areas of north inner-city Dublin, Charles went on himself to lay out Georgian terraces on Rutland Square and Cavendish Row. Inheriting the Mountjoy estates in 1769 he did not live long to enjoy them, as he died the same year. His interest in architecture is evident from his commissioning John Smith to design  St. Thomas Church on Marlborough Street (destroyed 1922), based on Palladio’s Il Redentore in Venice. He and Florinda had three sons and two daughters, among them Luke, Lord Mountjoy M.P, who was killed in the Battle of New Ross in 1798, and Anne, who went on to become Lady Clancarty. Florinda died in 1812, aged 90, at Naas, Co. Kildare. Born in Dublin in or around 1743, Robert Healy (or Hayley), while living at Wood Quay, attended the Dublin Society drawing schools. He studied under Robert West, who in turn had studied in Paris under Francois Boucher, an artist whose preparatory chalk sketches were much sought after by collectors. As a consequence there was an emphasis on pastel and chalk drawing in the Society’s schools and Healy, like his contemporaries Hamilton and Hickey, excelled in small-scale portraits using only black and white chalks. Another contemporary of theirs in Dublin, Charles Forrest, also specialised in pastels, again using limited colour. In 1768 Healy was commissioned by Thomas Conolly to draw scenes of life in and around Castletown House, with people walking, skating and hunting. Some of these drawings depict Thomas and Louisa Conolly with grooms and horses. Healy preferred to set his figures in gardens and open-air settings rather than in interiors. The following year he won a prize at the Dublin Society for his drawing of a group of figures. As he died young, after sketching out of doors at Dangan Castle in inclement weather, Healy’s output was inconsiderable; some twenty-five drawings are attributed to him. His brother William, also an artist, drew in a similar style and took over Robert’s studio practice, and either finished or copied works by Robert, including a version of the present work. There are two self-portraits by Robert Healy in the National Gallery of Ireland. In one of these, signed and dated 1765, he holds a sketchbook and leans on a Classical bust. His full length portrait of Miss Cunningham holding her King Charles spaniel, signed and dated 1770, is in the Art Institute of Chicago, while his portrait of Anne, Countess of Clancarty, was in a Hamilton Osborne King sale in 1999. Dr. Peter Murray 2022 Provenance:  Oldtown, Naas, Co. Kildare

Early 19th century black and white mezzotint - The Most Noble Lord Horatio Nelson..., published 1806, 58.5cm x 40.5cm, in glazed gilt frame

David Lucas after John Constable, mezzotint - Mill Stream, London published by Mrs Constable, 35 Charlotte Street, Fitzroy Square 1831, sheet 30cm x 43cm, plate 17cm x 21.5cm

David Lucas after John Constable, mezzotint - The Rainbow, Salisbury Cathedral, published by Hodgson & Graves, March 20th 1837, mounted on a wooden stretcher, 70.5cm x 80.5cm

John Raphael Smith, after George Morland, The Fern Gatherers, mezzotint, 49x61cm; Thomas Lancia after Edwin Lancia, A British Boar and a French Hog, hand-coloured etchings, late impressions; together with a folio of prints and engravings, mostly late impressions.

Walter Alfred Cox after J L E Meissonier, Men at table, coloured mezzotint, 30x23cm, mounted; another, The Scholar, mounted; and four sentimental prints after Walter Dendy Sadler. (6)Qty: 6

Frank Sternberg after Joshua Reynolds, Lady Stanhope, hand-coloured mezzotint, 50x32cm; and other hand-coloured mezzotints (a folio).

Mezzotint Countess Curan after J. Downman by Eugene Tily (original frame).

AFTER SIR WILLIAM BEECHY AN ANTIQUE MEZZOTINT FOLIO PRINT, KING GEORGE III REVIEWING THE TROOPS ACCOMPANIED BY THE PRINCE OF WALES AND THE DUKE OF YORK. 57 x 64cms

A MEZZOTINT PORTRAIT OF THE DUKE OF WELLINGTON AFTER SIR THOMAS LAWRENCE, SIGNED IN INK BY THE DUKE AND WITHIN A BURR MAPLE FRAME. 69 x 56cms. WITH ACCOMPANYING CORRESPONDENCE TO SUPPORT HIS SIGNING THIS PORTRAIT.

William Hyde (British, 1859-1925), nocturnal riverside landscape with figures to foreground, mezzotint, 23.5 x 31cm, with duplicate. (2)

William Hyde (British, 1859-1925), nocturnal landscape with female figures and goats to foreground, mezzotint, 23 x 31.5cm, with two further mezzotints by the same hand. (3)

Peter Lely, 1618 – 1680, Kreis desPortrait des James Cecil, 5. Earl of Salisbury (1691 – 1728)Öl auf Leinwand. Doubliert.126 x 101 cm.Links unten betitelt „The Earls of Salisbury“.In vergoldetem Prunkrahmen.Im Zentrum der in einem Innenraum an einem steinernen Podest mit Wappenrelief stehende James Cecil. Er trägt antikisierende Kleidung mit goldenen Sandalen, an der Hüftseite einen Degen sowie einen blauen langen Umhang mit Goldrand. Auf dem Podest ist zudem ein mit Federn besetzter Helm abgelegt. Der Dargestellte hat ein zartes Inkarnat, gerötete Wangen und schaut bei würdevoller Haltung mit seinen dunklen Augen aus dem Bild heraus. Nach rechts fällt der Blick ins Freie auf einen Springbrunnen vor einer Brüstung unter blauem Himmel. James Cecil ist wohl hier als vier- oder fünfjähriger Junge dargestellt, zu einem Zeitpunkt, als er beim Tod seines Vaters dessen Adelstitel als Earl of Salisbury, Viscount Cranborne und Baron Cecil erbte. Anmerkung 1:Es existiert eine fast identische, jedoch seitenverkehrte Mezzotintoradierung des Dargestellten von John Smith (1652-1743), die auf 1695 oder 1696 datiert wird. (1300451) (18)Peter Lely, 1618 – 1680, circle ofPORTRAIT OF JAMES CECIL, 5TH EARL OF SALISBURY (1691 – 1728)Oil on canvas. Relined.126 x 101 cm.Titled “The Earl of Salisbury“ lower left.Notes:There is an almost identical but inverted mezzotint etching of the depicted by John Smith (1652-1743), dating to 1695 or 1696.

Portrait of Sir Harbord Harbord Bart., 1st Lord Suffield (1734-1810) engraved mezzotint, 1783 61 x 39cmThis print is after the original painting now in the Norwich Castle Museum, commissioned by the city of Norwich for which the sitter was MP from 1756-86.

Portrait of Joseph Brotherton MP (1783-1857) three-quarter length, in black, holding a documentinscribed with the names of the sitter and artist on an old label (to the reverse)oil on canvas90 x 69.5cm;together with a cartoon taken from Punch titled 'Mrs. Brotherton Putting the House of Commons to Bed!' (2)Joseph Brotherton was appointed minister for the new Bible Christian Church, Salford, in 1817 and held the position for the rest of his life. One of the core teachings of the Church was not to eat meat and Joseph and his wife Martha were strict vegetarians. In 1847, he held a meeting that established the Vegetarian Society. Additionally, following the Reform Act of 1832, Joseph was elected the first Member of Parliament for Salford and held the position over the course of five successive elections. He was a great parliamentarian and pushed for better factory reforms and advocated for the provision of public walks, gardens, museums and libraries. Due to Brotherton’s efforts, Salford became the first municipal authority to provide a free lending library, museum, and art gallery. He is also today widely considered to have been the first vegetarian Member of Parliament.The present portrait was engraved in mezzotint by Samuel William Reynolds Jr. and published in 1836.Framed 120.5 x 100cmThe painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. The darker passages of paint have an uneven texture with islands of raised paint. This is probably a result of the artist’s choice of materials and would have formed as the paint layers dried. The paint layers are stable overall. There are areas of overpaint across the surface which are generally well matched to the surface. The varnish is clear, even and semi-matte. There is a light layer of surface dirt present.

Emanuel Eichel (1717-1782), After August Scheller'Tobias Conrad Lotter, Statua Regum Europaeorum P.C.N. Nomina Continens'hand coloured copper engraving64 x 51cm, unframed;together with R Greeves, After James Pollard'London Fire Engines'mezzotint52 x 73cm, unframed;and three other prints, largest 48.5 x 62.5cm, unframed (5)Condition ReportAll unframed and in varying conditions. Eichel print has fold along centre, time stained and some light foxing, has tears on edges and holes from old fixing along top and bottom margins, plate itself is generally fine. Greeves is time stained and has foxing, damage in margins, a couple of repaired tears, please see images. View of Constantinople has folds, tears, time staining, tear at centre repaired verso. 'La galere reale' print has fold down centre, time staining, foxing. Map of England - folds throughout, some creases, time staining. Please see images or contact department for additional information.

SPILSBURY (FRANCIS B.)Picturesque Scenery in the Holy Land and Syria, Delineated During the Campaigns of 1799 and 1800, FIRST EDITION, mezzotint portrait frontispiece of Sydney Smith, 19 hand-coloured aquatint plates, light spotting to frontispiece, early brown calf gilt, red morocco spine label (short tears), g.e. [Atabey 1168; Blackmer 1585; Abbey Travel 381; Colas 2788], folio (468 x 325mm.), Edward Orme, 1803Footnotes:EARL OF DERBY'S COPY. Spilsbury was the surgeon aboard H.M.S. Le Tigre during the campaign against the French in Egypt and Syria between 1799 and 1800, and presents in this work 'sketches of almost every remarkable scene of object visible from Le Tigre' (Preface).Provenance: Earl of Derby, bookplate.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

Johann Joseph Zoffany (British, 1733-1810)After Johann Joseph Zoffany (British, 1733-1810)Colonel Mordaunt's Cock Match. At Lucknow in the Province of Oude in the Year 1786 at Which Were Present Several High and Distinguished Personages'hand-coloured mezzotint by R. Earldom after Zoffany, short tear just touching image, laid down, window-mounted, [1794]41 x 57cm (16 1/8 x 22 7/16in).Footnotes:One of the most famous portrayals of the interaction between Indians and the British. Johann Zoffany arrived in Calcutta in September 1783 and was rapidly accepted by British society there, painting many of their portraits, including that of the Governor-General, Warren Hastings. Hastings, together with leading Indian and European members of Lucknow society, attended the Cock Match organised in April 1784 by Colonel John Mordaunt, Commander of the Nawab Asaf-ud-daula's Bodyguard, and a favourite at his court. Others depicted include the Frenchman Claude Martin, the painter Ozias Humphry, the East India Company officer, John Wombwell, and Zoffany himself.For further information on this lot please visit Bonhams.com

Leonard Russell Squirrell, mezzotint "The Washing Place Sospel, France"

Mid-19th century English school - Three-quarter length portrait of an elderly woman, wearing a bonnet, miniature watercolour on paper, 9.2 x 7.5cm; together with a profile silhouette of Napoleonic officer, framed as oval, PRINT, 9.5 x 7.2cm; after Sir Thomas Lawrence - Mrs Siddons, colour mezzotint, 11.5 x 9.5cm; and one other portrait mezzotint of a middle-aged man (4)Mrs Siddons – some losses to black border.Old lady – good.Officer – is a print contrary to previous description.Man – some fading/browning.

William Ward after Henry Bernard Chalon (1770-1849)"A Famous Setter"Mezzotint, published 1825, together with a further black and white engraving, Woollett after George Stubbs "The Spanish Pointer", 34.5cm by 49cm and 38.5cm by 52.5cm respectively (2)

Benjamin Green after George Stubbs (1724-1806)"The Horse and Lioness"Mezzotint, printed 1774, second state, together with a further black and white engraving Pether after George Stubbs (1724-1806) "Gimcrack" and another coloured engraving E Duncan & J Webb after John Ferneley (1782-1860) "Riddlesworth", 41cm by 56cm, 35cm by 45cm and 31cm by 42cm respectively (3)Gimcrack - Surface dirt, old clean? Image looks abraded. Various tears/repairs along the upper edge. The longest is approx centre running from the outer edge into the plate by approx 1cm. Two subtle folds? to centre. Diagonal repair or general change of tone/loss of surface running from the background between the tiled roof and across the jockey's hat. Further old crease/repair lower right-hand corner. Two to three further damages to lower edge centre. Signs of old horizontal crease or tear left-hand side edge approx centre and also within the lower margin. Further damages to margin right-hand side etc. Slight cockle to paper, not examined out of the frame. Riddlesworth - Slight staining across the sheet. Some overall fading/reduction to colour as blue and green showing overly grey. Odd tiny foxing spots / very small-sized flecks or debris. Diagonal printing imperfection? from the upper roof of stable block across sky to outer edge. No evidence of cockling, not examined out of the frame. The Horse and Lioness - Trimmed, significantly stained across the entire sheet. Some general damages/creasing to title margin with evidence of old restoration or intervention. Other damages or slight nicks to upper reduced margin. Repaired damage within darker shadows of cave opening above and between the two animals approx 2-4cm overall of a regular shape. Imperfections or damages to outer edges in general etc. No evidence of cockling. Not examined out of the frame, a.f.

After Rembrandt, a proof mezzotint etching, self-portrait as St Paul, engraved by Charles Turner, framed, (52cm x 44cm)

After Reynolds, pair of 19thc mezzotint portraits, engraved, signed in pencil by Samuel Cousins, RA, published by Thomas Agnew and Sons, London, framed (45cm x 34cm) (2)

Grouse Shooters in the Forest of Bowland, mezzotint engraved by George Dawe after James Northcote, c.1804, mounted on canvas, framed & glazed

Master Bunbury, mezzotint portrait engraved by Francis Haward after Sir Joshua Reynolds, 1781, in Hogarth frame bearing Colnaghi label verso

An 18th-century handbill advertising a "chance" sale being drawn at the White Bear, Fleet Street, the viewing taking place at Mr. Cato's, dated 1731. The handbill promotes the sale of chances at two shillings each, and lists the lots & values [a lottery auction]. 'There will be 6000 chances, whereof 1000 will be advantageous, which makes but five to one.' Toning, some creasing & slight wear/loss, framed & glazed. Together with Spring, reverse painted mezzotint, engraved by John Simon after Rosalba Carriera, crack through lower-left, in antique Hogarth frame (2)

William Bromley. J. Edmond Barre: The Greatest 19th Century Court Tennis Player. Mezzotint engraving. London: J.H. Dark, 1849. Plate size 71x52cm. The Frenchman, J. Edmond Barre, is considered to be the greatest nineteenth-century player of the game of "court tennis." The son of a tennis professional in Grenoble and Paris, he first came to notice as a tennis player in the late 1820's, when the restored French royal court revived the game. Barre was so talented, that he was the World Champion from 1829 to 1862 when he finally succumbed, at the age of 60, to the 36 year old Englishman Edmund Tomkins. The present engraving shows him playing at the court at Lord's Cricket Ground in 1849 at which time he remained undefeated. In 1855, Barre famously re-opened the Versailles court after he became royal paumier (tennis professional) to the Emperor Napoleon III. It was here that the renowned Tiers Etat met on June 20, 1789, and took the celebrated "Oath of the tennis-court," essentially starting the French Revolution. His career was only ended by the Franco Prussian War and the Siege of Paris, leaving him to die impoverished.

Clifford R James, coloured mezzotint, portrait of a woman, signed in pencil, 18ins x 15ins

Frederick Morgan (1847-1927), after, His First Birthday, coloured mezzotint, 54cm x 70cm

Raphael Morghen (Italian 1758-1833) after François Gérard (French 1770-1837) Napoleon Engraving 43.9 x 31.7cm; 17¼ x 12½in (plate) Together with William Say (1768-1834) after Innocent Louis Goubaud (French act.1780-1847), Napoleon Buonaparte, Mezzotint, 59.4 x 47.5cm; 23½ x 18¾in (image); James Gillray (1756-1815), Westminster Conscripts under the Training Act; News from Calabria!, Two, both etching with hand-colouring, 26.6 x 36.7cm; 10½ x 14½in; 26 x 35.5cm; 10¼ x 14in (sheet); Robert Bowyer (1758-1834), The Royal Family of France, The Family of Buonaparte, French Generals, Statesmen &c, Etching, 43 x 31.5cm; 17 x 12½in (sheet); and After Claude Gautherot (1769-1825), Napoléon blessé devant Ratisbonne, Etching with hand-colouring, 19.1 x 26.6cm; 7½ x 10½in (6)

Follower of John Constable Yarmouth Jetty Oil on canvas 25.4 x 35.8cm; 10 x 14in Unframed Several versions of this composition are known, and it was also engraved in mezzotint by David Lucas (1802-1881) (see Graham Reynolds, The Later Paintings and Drawings of John Constable, Yale University Press, 1984, nos.22.36-22.41).

Carrington Bowles, publisher - The Prodigal Son in Excess, mezzotint, 1775, hand coloured, 15.5 x 35.5cm, a pair of engravings by and after William Hogarth from Hudibras and three other decorative prints (6) Carrington Bowles print in good condition, long undisturbed in the present frame. The other prints also in good condition

A PAIR OF 19TH CENTURY MEZZOTINT PRINTS FROM SHAKESPEARES "AS YOU LIKE IT", FRAMED AND GLAZED

19th century / early 20th century, a selection of fine mezzotint portraits of distinguished females, most signed by artists Sidney Hunt, William Henderson etc

Frank Atkinson (British fl. 1882-1893), After Henry Stacy Marks'The Cut Direct'mezzotint plate 37.8 x 45.4cm (14 7/8 x 17 7/8in).Footnotes:'The Cut Direct' was a Regency term meaning a public snub.For further information on this lot please visit Bonhams.com

* Gautier d'Agoty (Jacques Fabian). Figure 2e, Démontrée par Mr. Duverney, Peinte et gravée en couleur par J. Gautier, [from Myologie complette en couleur et grandeur naturelle, composée de l'Essai et de la Suite de l'Essai d'Anatomie, en tableaux imprimés, Ouvrage unique, utile et nécessaire aux Etudians et amateurs de cette Science, Paris: Gautier, Quillau, Quillau & Lemesle, 1746], fine colour mezzotint in four colours, on laid paper (bears indistinct watermark), some marks and creases, with paper repair to verso without loss, plate size 400 x 325 mm, sheet size 415 x 340 mm, tipped on to modern backing card (to upper margin only), framed and glazed QTY: (1)NOTE:Choulant-Frank, p. 271; Garrison-Morton-Norman 7494; Heirs of Hippocrates 940; Wellcome III, p. 97.This impressive large-scale plate gives an anatomical explanation of the muscles of the lip, the eyelid, the eye, the lower jaw, hyoid bone and larynx, and was issued in Gautier's Anatomie de la tête en tableaux imprimés qui représentent au naturel le cerveau sous différentes coupes, la distribution des vaisseaux dans toutes les parties de la tête, les organes des sens et une partie de la névrologie d’après les pièces disséquées et préparées par M. Duverney …en huit grandes planches dessinées, peintes, gravées et imprimées en couleur et grandeur naturelle par le Sieur Gautier, published in Paris, chez le Sieur Gautier, M. Duverney, Quillot, in 1748.Gautier, a French printmaker, was, like Ladmiral, an assistant to Le Blon and also like Ladmiral, claimed the colour printing process as his own. He published some ten collections of coloured plates of various portions of the anatomy, and was the first person to print anatomical plates in colour on a large scale. "Although Choulant writes that 'his anatomic illustrations . . . impress the critical observer with their arrogance and charlatanry and do not recommend themselves to the student of anatomy either for their faithfulness and reliability or for their technique' (Choulant-Frank, p.270), they are of great interest from the point of view of book illustration and the history of anatomic illustration. The dissections and preparations for the eight large figures in this atlas of the anatomy of the head were prepared by Joseph Guichard Du Verney, and some of the plates are among the most elaborate produced by Gautier, especially notable for the intricate network of blood vessels which are meticulously indicated by direct color printing. This work is extremely rare." (Heirs of Hippocrates).

Angelo (Henry). A Treatise on the Utility and Advantages of Fencing; Giving the Opinions of the Most Eminent Authors and Medical Practitioners, on the Important Advantages Derived From a Knowledge of the Art, as a Means of Self-Defence and a Promoter of Health..., A dissertation on the use of the Broad Sword..., Memoirs of the Late Mr. Angelo; and a biographical sketch of Chevalier St. George..., London: Mr. Angelo, 1817, 47 engraved plates after John Gwyn, 6 uncoloured aquatint plates by Thomas Rowlandson, and a mezzotint portrait of the Chevalier de St. George by Ward after Brown, address to reader slip tipped-in, occasional light spotting, contemporary ownership signature to front free endpaper Frederick Heberden October 1st 1826, contemporary half calf, neatly rebacked preserving original spine, corners repaired, extremities rubbed, oblong folioQTY: (1)NOTE:Thimm, pp.10-11. The volume contains the same plates as the "Ecole des Armes" of the author's father (Domenico Angelo) published in 1763, a portrait of St. George, engraved by W. Ward from a picture of Brown published 1788, and six plates engraved and designed by Rowlandson, under the care of Angelo himself, in 1798-1799.

The Fine Art Society. Catalogue of the Etched Work of Frank Brangwyn..., 1st edition, London, 1912, numerous monochrome illustrations, some light toning, original brown cloth with morocco spine label, slight rubbed, folio, includes an order form for The Etchings of Frank Brangwyn A Catalogue Raisonné, by William Gaunt, together with:Herkomer (Hubert), Etching and Mezzotint Engraving, Lectures Delivered at Oxford, 1st edition, London: Macmillan and Co., 1892, 13 monochrome etchings by the author, some spotting & toning, original white cloth, boards & spines toned & marked, large 8vo, plusO'Connor (John), Knipton, a Leicestershire village, limited edition, Risbury, The Whittington Press, 1996, signed by the author to the limitation page, 35 colour wood engravings, original cloth in slipcase, folio, 151/200, andSalaman (Malcolm C.), The Woodcut of To-Day At Home and Abroad, 1st edition, London: The Studio Ltd., 1927, colour &monochrome illustrations, advertisements to the front, some light toning & spotting, original wrappers, spine & rear cover slightly toned, large 8vo, plus other print & miscellaneous art reference, some leather bindings, many original cloth, some in dust jackets, some paperbacks, G/VG, 8vo/folioQTY: (6 shelves )

John Martin, Illustrations of John Milton's Paradise Lost, being an album of 24 mezzotint plates by Martin [1825-27 ?], modern obverse folio, leather spine and marbled boards, 34x41cm.Condition report:Varying degrees of foxing throughout the sheets. Plate 24 has a repaired tear. Plate 9 has a duplicated plate but different size - the larger noted as being suggested use as the frontispiece and that sheet has heavily discoloured. The plates are directly onto the present sheets, not remounted. There are also three additional plates at the rear, two after H Le Keux (Marcus Curtius, and The Crucifixion), and one after W R Smith, all three drawn by John Martin.

After Rayburn mezzotint of Col. Hay MacDonall

After Louis Waughley (?) (20th century): a Venetian canal scene, mezzotint, signed in pencil to lower right margin and numbered 154/750, 38 by 53cm, mounted, glazed, and framed, 59 by 74cm.

'The Welch Curate', 18th century mezzotint with later hand-colour pub. Carrington Bowles 1775

A Mezzotint portrait of the royal socialite, author and playwright Lady Craven aged 19, from the original painting in 1769 by George Romney (1734-1802), two years after she married the 6th Baron Craven, image 35 x 28cm, frame size 84 x 73cm

Francis Blomefield & Charles Parkin: 'An Essay Towards a Topographical History of the County of Norfolk', London, William Miller, 1805-1810, large paper edition, 11 volumes, mezzotint portrait frontis plus 3 folding engraved maps/plans (Norwich, King's Lynn, and Map of Marshland that is often lacking) plus 33 engraved plates (many folding) plus 14 pedigrees on 15 folding sheets as called for, half titles, 19th Century ownership signature/inscription at front of vol I of Nathaniel Micklethwait, of Beeston Regis and later Taverham Hall, 19t Century armorial bookplates to front pastedowns, plus mid 20th Century presentation bookplates to Charles L.S. Linnell, Rector of Wiveton, North Norfolk, 1956-58, from the Parishioners, to front pastedowns, 4to, contemporary diced calf gilt, professionally rebound/recased retaining backstrips by J.S. Wilson & Son of Cambridge, with 2016 invoice loosely inserted, together with John Nurse Chadwick: 'Index Nominum; Being an Index of Christian and Surnames, (with Arms,) Mentioned in Blomefield's History of Norfolk', King's Lynn, Privately Published, 1862, 348pp, 1932 typed letter signed by H.L. Bradfer-Lawrence FSA, secretary and editor of The Norfolk Record Society, tipped in at front, small number of interleaved pages of contemporary m/s notes, ownership signature of Charles LS Linnell, Rector of Wiveton, to front pastedown, contemporary polished buckram, calf gilt label to spine. From the collection of Father Peter Harris, with his bookplates (12)

Polar.- Ross (Sir John) Narrative of a Second Voyage in Search of a North-West Passage and of a Residence in the Arctic Regions During the Years 1829, 1830, 1831, 1832, 1833, first edition, 24 plates, of which 9 are hand-coloured or mezzotint, 6 maps, of which one is folding, contemporary ink ownership name to title, title, first 4 pages and final plate margins reinforced with tracing paper, some spotting and foxing to plates, original cloth, rebacked with original spine laid down, worn, corners bumped and rubbed, [Abbey Travel 636], lge 4to, 1835.

AFTER WILLIAM REDMORE BIGG BLACK MONDAY; DULCE DOMUM; TWO FAVOURITE CHICKENS GOING TO MARKET; TOGETHER WITH TWO OTHERS Coloured mezzotint 49.5 x 63cm (19¼ x 24¾ in.) and smaller (5) Together with 'Return from the market' after George Morland and another titled 'The Royal Mail Coach' (5)

ANDRE BONGIBAULT (FRENCH, BORN 1945) - 'Les Lornes Folles', mezzotint printed in colour, signed in pencil and numbered 40/99, framed, 49cm x 67cm, frame size 82cm x 101cm also Somia', mezzotint printed in colour, signed in pencil and numbered 61/99, framed, 30cm x 43cm, frame size 70cm x 81cm, and four other signed mezzotints by the same hand. (6)