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Assorted pictures and prints, to include Victorian portrait mezzotint, Guido Odiczha - Capri oil on canvas etc

Will Henderson, 'The Mill' Mezzotint after Rembrant, pencil signed to border 31 x 37.5cm.

Two engravings: An aquatint after Henry Alken (1785-1851), of the first steeple chase on record; jockeys are dressed in nightgowns and caps as it was night-time race, 1839 by Rudolph Ackerman, Eclipse Sporting Gallery, London, 15 x 20cm and mezzotint, 'A party angling', after George Morland (1763-1804), 15 x 20cm

Ward (James). His Majesty Reviewing the Third or Prince of Wales's Regiment of Dragoon Guards & the Tenth or Prince of Wales's Regiment of Light Dragoons..., Ward & Co. 1800, uncoloured mezzotint after Sir W. Beechy, slight spotting in the title, tread margins, 575 x 665 mm, framed and glazed, together with Houston (Richard). William Kingsley Esqre. Major General of His Majesty's Forces, Colonel of the 20 Regiment of Foot and Governor of Fort William in North Britain, Richard Houston, Thomas Jefferys and Robert Sayer, 1760, uncoloured mezzotint after Joshua Reynolds, water stained, 390 x 280 mm, mounted, framed and glazed, with Marquiss of Lothian, circa 1780, unattributed uncoloured mezzotint, thread margins, 345 x 245 mm, framed and glazed, plus Turner (Charles). Colonel John Cameron..., 1815, uncoloured mixed method engraving, water stained, 395 x 285 mm, mounted, framed and glazedQTY: (4)

After Lawrence Josset : A Cricket Match in Mary-le-Bone Fields. 1740, mezzotint engraving in colours, numbered 42/375, signed and titled in pencil, with the publisher's blindstamp, 36 cm x 45 cm, framed.

William Pether after Rembrandt, mezzotint, 'A Jew Rabbi', overall 53 x 39cm, another mezzotint after Rembrandt by McArdell and a pair of engravings of woodlanders

After Sir Joshua Reynolds (1723-1792), oil on canvas, Seated girl with grapes, 77 x 64cm, unframed, together with a mezzotint of the same subject

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

James Scales (early 19th century), by, Wisbech Bridge, [Cambridgeshire], [n.d., later dated 1817 in pencil], aquatint, 35cm x 51.5cm, (1); further early 19th century and later British topographical named-view prints, mostly lithographs and chromolithographs, including Rugby School, Wollaton Hall, others after Joseph Nash, mounted; etc; 18th century and later Old Master engravings and prints, including a portrait mezzotint Lord Mayor of London Crisp Gascoyne; humour and caricatures, including 20th century restrikes after Gilray; some maps, including The Environs of London, dated 1833 but later 19th century, mounted, (1); Terence Cuneo print, signed by the artist; late 20th century Lowry prints, various, late 20th century and unsigned, large formats; others pictures and prints, various media, dates, and sizes, including some large formats; etc., [large collection]

18th century black and white mezzotint - The Battle of the Boyne, printed for Kitchin, 46cm x 71.5cm, in glazed gilt frameRecess size as stated in the description, overall frame size 57.5cm x 83cm.

British School, early 19th c - Portrait Miniature of John Gray (1731-1811) of Newholm, Town Clerk of Edinburgh, in a white stock and black coat, ivory, oval, 82mm, papier mache frame with acorn hanger and old label inscribed with the sitter's details Sir Henry Raeburn's portrait of John Gray is in the Metropolitan Museum, New York. The portrait was engraved in mezzotint by John DawePlease note Mellors & Kirk have applied for an exemption licence for the ivory in this lot. Ref: H1JQKG88 ConditionGood condition, frame slightly chipped

After George Morland, maiden leaning on a horse watching a young man, with a new mother standing on the building steps watching on, engraved by WT Annis, 18th Century mezzotint, framed under verre eglomise glass, 70 x 58.5 cm

After George Morland, Girl and Pigs, colour mezzotint by William Ward, 33x41cm

'Mr Edwd Bright late of Maldon in Essex', mezzotint, 12.5" x 8.5" (32 x 22cm), along with, 'Margaret Finch Queen of the Norwood Gypsies', 10" x 8" (26 x 20cm), and 'Henry Rogers Pewterer of the County of Cornwall', 10.5" x 8" (27 x 20cm), (3).

J. Le Petit (publisher) - 'Emblem of Scotland', reverse glass mezzotint, circa 1801, 35.5cm x 25cm, within a gilt frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

British School - Mr Quin in the Character of Sir John Falstaff, oil on canvas after the mezzotint by James McArdell, 32.5cm x 24.5cm, within a gilt frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

19th century, a fine mezzotint portrait of a gentleman holding a riding crop & foxhounds, maple framed with B R F Print Guild stamp, approx. 65cm x 55cm

Leonard Russell Squirrell (British, 1893-1979), Castle Acre Priory, Norfolk monochrome mezzotint print, signed in the margin, 10x14ins.Qty: 1

John Martin (British, 1789-1854), The Fall of Man, 1831/35, mezzotint (with etching), 18 by 29cm, framed. Provenance: with William Weston Gallery

John Martin (British, 1789-1854), Adam Hearing the Voice of the Almighty, mezzotint in black ink, 20 by 28cm, framed. Provenance: with William Weston Gallery

G.J. PARKYNS AFTER J.MOORE, COLOURED MEZZOTINT, BOW & ARROW CASTLE, ISLE OF PORTLAND, 11cm x 16cm in grey borders, published by B. Benson, Weymouth, 1793; and a similar mezzotint, View of the Seat of G. Gould Esq, at Upway, published by I. Love, Weymouth, 1793, both in later Hogarth style frames

A 19TH CENTURY COLOURED MEZZOTINT, WATERSTONE, DORSET 41cm x 29cm, in later Hogarth style frame and glazed

A 19TH CENTURY COLOURED MEZZOTINT, HALL, ATHELHAMPTON, DORSETSHIRE, 30cm x 40cm, in later Hogarth style frame and glazed

THOMAS SUTHERLAND, after Henry Thomas Alken (1785-1851) 'Epsom Races' hand coloured mezzotint, 40cm x 65cm, framed.

TWO BOXES AND LOOSE SUNDRY ITEMS ETC, to include a boxed Gemstone globe with a rotating base, the centre column inset with four quartz clocks, approximate hight 29cm, two R. Whites Codd bottles, royal commemorative mugs, empty rifle cartridge boxes, David Cartwright limited edition prints depicting scenes from the Zulu wars, two signed Edward Jackson Stodart mezzotint prints, other assorted pictures etc

After Sir Joshua Reynolds, mezzotint, Emilia Duchess of Leinster, engraved by W. Dickinson, 33 x 28cm

Thomas Lewis Atkinson (British 1817-1898) after Frederick Richard Say (1805-1860): 'The Right Honourable William Henry Dawnay, 6th Viscount Downe, and his son, the Honourable Hugh Richard Dawnay', 19th century mezzotint

19th century coloured mezzotint of two sisters indistinctly signed, 19th century landscape watercolour, and a similar unframed oil on canvas (3)

'Fasting in Lent. Jeuner dans le Carême', mezzotint pub. Carington Bowles 1792, 35cm x 25cm

After Sydney E WilsonPortrait of an elegant lady in a white dress with blue sash, and a blue and pearl ribbon in her hair Mezzotint, published January 1911 by Vicars Brothers, 12 Old Bond St, London, bears Print Association blindstamp, signed in pencil in the margin, 32cm by 26.5cm; together with another similar mezzotint (2)

Earlom (Richard, 1743-1822). Seven plates from the Liber Veritatis of Claude Lorrain, circa 1777-1819, etchings with mezzotint printed in black and brown, one etching before mezzotint, very good, rich impressions on wove paper, with margins, together with, Arthur Pond (1701-1758). Landscape with the Rest on the Flight to Egypt, after Claude, 1734, etching with woodcut printed from two blocks in grey, plus, late printings on wove paper of Claude's The Goatherd, and Dominique Barrière (1610–1678) after Claude, Landscape with Mercury, after ClaudeQTY: (11)

Herkomer (Hubert von, 1849-1914). Woman holding a Lamb, etching on paper, signed in pencil lower right, 25 x 18 cm mount aperture, framed and glazed, together with Marsh Landscape, mezzotint, signed lower right, 29 x 36.5 cm mount aperture, framed and glazed, plus Country Lane with Two Figures, etching, signed lower right, 22 x 30 cm mount aperture, framed and glazed, and A private invitation "Prof Hubert Herkomer requests the honour of a visit from Miss Lloyd & friends to a private view of his pictures at 22 B Ebury Street, Belgravia April 6th, 7th, & 8th from 10 to 6", etching, "Miss Lloyd" written in ink, 18 x 14.5 cm, framed and glazedQTY: (4)

Turner (Joseph Mallord William, 1775-1851). The Bridge in Middle Distance, 1808, etching, aquatint and mezzotint on pale cream laid paper, a rare proof (the word Proof printed to lower left corner), with strong contrasts, a few light surface marks, and discolouration to outer blank margins, plate size 207 x 289 mm, sheet size 220 x 308 mm, tab-mounted in large card window-mount (41 x 56 cm), together with Drawing of the Clyde, 1809, etching and mezzotint on pale cream laid paper, a very fine impression of the second state, with wide margins, some light spotting and handling marks, upper outer blank corner torn and repaired, very short closed tear repaired to lower margin, plate size 210 x 289 mm, sheet size 278 x 395 mm, tab-mounted on pale cream card window-mount (41 x 56 cm), plus The Woman and Tambourine, 1807, etching and mezzotint on pale cream laid paper, a good impression, trimmed to plate margins, sheet size 209 x 291 mm, and Bridge and Cows, 1807, etching and mezzotint on pale cream laid paper, with wide margins, some light spotting and wormtrack to lower outer blank margin, plate size 206 x 286 mm, sheet size 295 x 370 mmQTY: (4)NOTE:Finberg 13, 18, 3 & 2 respectively. From Turner's Liber Studiorum, etched in outline by Turner himself, with mezzotint added by Charles Turner (1774-1857) under Turner's direction.

Walker (W.B., publisher, active circa 1801-1821). Jacob's First Sight of Rachel, mezzotint under glass, couple of light scratches (generally in good condition), 24.8 x 35.2 cm (9 3/4 x 13 7/8 ins), framed and glazed (30 x 40.5 cm), (unexamined out of frame)QTY: (1)

Ward (James, 1769-1859). A Cossack Horse [from A Series of Lithographed Drawings of Celebrated Horses from Pictures painted by James Ward, R. Ackermann, 1823-24], lithograph on chine appliqué, printed by C. Hullmandel, a rare proof impression from the first edition, signed and annotated by the artist 'Selected and retouched by J. W.' in pencil, with the printed script title and publication line: James Ward R.A. Pinxit et Delt / London Pubd. May 1st 1824 / R Ackermann Strand, printed by C. Hullmandel, London, with margins, the support sheet laid to board, image 33.5 x 45.5 cm., sheet size 51.2 x 53 cm, framed 55 x 66 cm QTY: (1)NOTE:Literature: Siltzer 285.Rare in 1794 Ward was appointed Painter and Engraver in Mezzotint to the Prince of Wales, the future King George IV, who commissioned, in the early 1820's, a series of fourteen lithographs from the artist of celebrated horses of the day, including Adonis, the prince's late father’s favourite charger.

Martin (John, 1789-1854). A collection of 23 mezzotint illustrations to The Paradise Lost of Milton, 1825-27 [but slightly later], 23 mezzotint engravings (from the total of 24), strongly-inked, well-contrasted impressions, without publisher's name or imprint, image size 145 x 205 mm (5.75 x 8 ins) or similar, plate size 180 x 270 mm (7 x 10.5 ins), each window-mountedQTY: (23)

Hunt (William Holman, 1827-1910). The Shadow of Death, 1878, uncoloured mezzotint and mixed method engraving by Frederick Stacpoole (1813-1907) after William Holman Hunt, a signed india proof, on pale cream wove paper, published May 30th 1878 by Thomas Agnew & Sons, signed in pencil (to lower margin) by both artist and engraver, with small oval Printsellers Association blindstamp to lower left, light overall toning, pale waterstain to lower right blank corner, plate size 82 x 63.2 cm (32 1/4 x 24 7/8 ins), slip size 91.5 x 76.2 cm (sheet folded over stretcher on verso), period moulded gilt frame and glazed, with gilt inner slip, some wear and loss, Sotheby's auction label to lower right corner (Lot 197: 10.10.02), Sotheby's photography label and L02193 sale barcodes to verso, (111 x 95 cm), unexamined out of frameQTY: (1)

Fairclough (Wilfred R. E., 1907-1996). Christ Church, Magdalen Bridge & The Gooseman of Nuremburg, etching, depicting Christ Church, Oxford, Magdalen Bridge and Tower and a statue of a man holding two geese under each arm, water pouring from the bills of the geese, all three signed in pencil by the artist to lower margin, image size from 21 x 13.7 cm (8 1/4 x 5 3/8 ins) to 27.5 x 27.5 cm (10 3/4 x 10 3/4 ins) mounted, framed and glazed, largest (46.5 x 36.5 cm), together with Strang (William, 1859-1921). The Errand, [1883], etching, depicting two women, one kneeling in front of a child, the other sitting next to a wheelbarrow on the ground, a landscape with trees and a cottage in the background, image size 15 x 20.1 cm (5 7/8 x 7 7/8 ins), mounted, framed and glazed (35.4 x 39 cm), plus a trial proof Frank Short mezzotint signed in pencilQTY: (5)

Minnie Cormack, Irish 1862-1920- Portrait of Horatio Nelson, 1st Baron and Viscount Nelson, after John Hoppner RA; hand-coloured mezzotint engraving, published London, Published 29th January 1894, by Paul & Dominic Colnaghi & Co. 14 & 14 Pall Mall East, 63.5x40.5cm Please refer to department for condition report

Gell (William, and John P. Gandy). Pompeiana. The Topography, Edifices, and Ornaments of Pompeii, 2nd edition, London: printed for Rodwell and Martin, 1821, half title, additional engraved title, 80 engraved maps, plates and plans including a colour and bistre plate, errata slip tipped-in at end (with tears), double-page plan at front torn without loss, some light offsetting and spotting, rear hinge broken, bookplate of William Dowdeswell (1804-1870, Conservative politician), Pull Court, Worcestershire, contemporary half morocco, joints and edges rubbed, large 8vo, together with Evans (Arthur J.) Through Bosnia and the Herzegovina on Foot, 1st edition, London: Longmans, Green and Co., 1876, folding map, wood-engraved illustrations, publisher's catalogue at end, Cobham Hall Estate Library stamp to front endpaper verso, front hinge breaking, original cloth gilt, upper joint split, lower joint splitting, spine a little faded and rubbed at ends, 8vo, plus Forester (Thomas, editor). Norway and its Scenery. Comprising the Journal of a Tour by Edward Price, Esq. With considerable additions and a road-book, with hints to anglers and sportsmen, 1st edition, London: Henry G. Bohn, 1853, 21 mezzotint plates, frontispiece detached, endpapers a little toned, previous owner signature, original cloth, spine toned, slight fading, 8vo, together with William Hepworth Dixon's Free Russia, 2 volumes, 3rd edition, 1870 QTY: (5)

Halifax. Horner (John), A View of Halifax from the S. E. N. Whitley, Halifax, 1822, uncoloured lithograph, slight water and dust staining, 330 x 475 mm, together with Smith (J. R.). Old Views in Halifax, Scott Bros. 1889, five (only) hand-coloured lithographs, 3 bound in publishers cloth gilt boards and two mounted, each approximately 380 x 380 mm, with Lucas (David). To His Grace the Duke of Northumberland K. G. Etc. Etc. This Historical Record of Female Heroism Inspired by Humanity as Exemplified in the Rescue on the 7th September 1838 on the Fern Islands, of the Nine Survivors of the Wreck of the Forfarshire Steam Packet, by Grace Darling and her Father..., Thomas Boys, Feby. 15th 1853, uncoloured mezzotint after P. Parker & J. W. Carmichael, one repaired marginal closed tear, slight spotting and staining, 555 x 690 mmQTY: (7)NOTE:The first described item is by John Horner, who went on to publish 'Buildings in Halifax' (Abbey Scenery no.148) in 1836, but this appears to be an earlier and scarce separately published lithograph.

Mezzotint Drolls. Sayer (R. & Bennet J. publishers), The Lovely Lavinia, January 1st. 1784, mezzotint with contemporary hand colouring, three lines of verse below the image, slight toning, trimmed to the image on three margins and laid on near-contemporary paper, 350 x 250 mm, framed and glazed, together with Stampa (P. publisher). Summer. April 26th 1800, mezzotint with bright contemporary hand-colouring, thread margins laid on near-contemporary paper, 360 x 250 mm, framed and glazedQTY: (2)

Mezzotint Drolls. The Christmas Pie or Richards Choice, Haines & Son, 29th April 1785, mezzotint with bright contemporary hand-colouring, some dust soiling and creasing, but confined to the margins, 355 x 255 mm, together with Stampa (P. publisher). Winter, August 26 1800, mezzotint with contemporary hand-colouring, one marginal closed tear, thread margins, 355 x 255 mm, with, Barnaschina P. publisher). An Emblem of America [and] An Emblem of Europe, March 15th 1800, two uncoloured mezzotints, some staining and marginal fraying, each approximately 355 x 255 mm, plus Sayer (R. & Bennett J. publishers). The Fair Quaker, 11th July 1782, mezzotint with contemporary hand-colouring, trimmed to image with some marginal fraying and slight loss, laid on near-contemporary board, 330 x 240 mmQTY: (5)

John Lindsay Lucas,British 1807-1874-Portrait of a Frances Anne Bate, Lady Rowe, standing three-quarter length, on a terrace with a landscape beyond, wearing a black dress and red shawl;oil on canvas, 142.2. x 111.5 cm.Provenance: With G. Trollope & Sons, London.; Collection of Mrs Chubb, 27 Silverdale Road, Sussex, 1959.; Private Collection, UK (by descent).Literature: Arthur Lucas, 'J.L. Portrait Painter', 1910, p.112.Note: Frances Ann Bate was the daughter of James Bate of Exeter, and later the wife of Sir Joshua Rowe, CB (see previous lot). She died on 28th October 1888.John Lucas began his career as an apprentice to mezzotint engraver Samuel William Reynolds (1773-1835). When his tenure with Reynolds ended in the late 1820s, Lucas established a practice as a painter. He exhibited his first portrait at the Royal Academy in 1828 and thereafter gained fame as a fashionable society portraitist. Lucas often exhibited his works publicly, showing ninety-six portraits at the Royal Academy from 1828 to the time of his death. Among his sitters were Prince Albert and the Duke of Wellington. A full list of his sitters is in his biography by his son, Arthur Lucas (see literature). The present work was painted in 1848.Please refer to department for condition report

Shirley Carnt, late 20th Century oil on canvas, titled ' Shovellers in Autumn ', ducks in flight above a pond, signed and framed, 18ins x 26ins, together with a 19th Century mezzotint, portrait of a girl with blue feathered hat, signed Sydney E. Wilson, 14.5ins x 17ins

Postcards, Military, a good printed selection of approx. 123 cards of UK military camps, inc. Salisbury Plain, Arundel, Parkhouse, Bulford, Minster, Newhaven, West Down, Swanage, Perham Down, Berwick, Seaford, Broadwater, Kingussie, Longmoor etc. Also shows soldiers marching, on parade, watering horses, on church parade, at rest, march past Brighton, Territorials, cook house, washing, rifle practice, Ian Hamilton reviews, camp views etc. A broad range of regiments. Many cards published by Mezzotint Co Brighton (mainly gd)

A 19th century mezzotint of a maiden dancing with a goat.

JOHN SMITH (DAVENTRY 1652-1743 NORTHAMPTPON)Portrait of Geoffrey Knellerinscribed Gotfridus Kneller... (bottom margin)mezzotint on paper, unframed366 x 275 mmPROVENACE: Alfred Morrison (1821-1897; his mark on the verso, L.151)John Young († 1874 or 1875; his mark on the verso, L.1560)*For a condition report and high-resolution images of this lot, please contact the Paintings Department at paintings@chiswickauctions.co.uk

Martin (John) [The Paradise Lost of Milton], calligraphic manuscript title in pen and black ink that reads 'Mezzotint Collection/ Engraved/ by/ John Martin/ London/ 1829', with set of 24 mezzotints with touches of drypoint and fully worked up by a contemporary expert hand with watercolour and gouache, plates with tissue guards and additional blanks, a composite set of early impressions, 11 plates lettered with caption "Proof", without any text leaves, each sheet approx. 340 x 250 mm (13 3/8 x 9 3/4 in), trimmed within the platemarks, some marginal foxing or surface dirt and toning, image areas largely unaffected, bound in full navy-blue levant morocco decoratively tooled in gilt, raised spine bands, morocco doublures elaborately ruled & tooled in gilt, moiré silk free endpapers, all edges gilt, some light fading to fore edge, joints lightly worn, front hinge strengthened, folio, Septimus Prowett, [c. 1824-27].Literature: cf. Campbell & Wees, 1992, nos. 26-49.⁂ Sumptuous, probably unique, copy with exceptionally fine contemporary hand-coloured mezzotints. When first released, the original mezzotints were greeted with outstanding critical acclaim - the critic for The Literary Gazette proclaimed: "we know no artist, whose genius so perfectly fitted him being the illustrator of the mighty Milton; and in what we have seen of his conceptions he has more than realised the highest of our hopes. There is a wildness, a grandeur, and a mystery about his designs which are indescribably fine:- the painter is also a poet. ... we look upon these engravings to belong to the foremost order of true genius: beyond this there is no praise." [The Literary Gazette, April 2nd 1825].

Scheuchzer (Johann Jacob) Physique Sacree, ou Histoire Naturelle de la Bible, 8 vol., first edition in French, half-titles to all but vol.3 and 6, titles in red and black with engraved vignette, engraved frontispiece (to vol.3), 2 portraits (one mezzotint), engraved head-piece at beginning of each volume, 756 plates (?of 758), a couple double-page and a couple folding, one partially hand-coloured, a few text leaves lightly browned, but generally a clean, crisp copy, contemporary russia, gilt, occasionally slightly rubbed or scuffed, vol.1 and 2 with lower cover slightly stained, traces of worming to spines and small patch on lower cover of vol.2, a couple of spine ends slightly chipped, folio, Amsterdam, Pierre Schenk & Pierre Mortier, 1732-37.⁂ A superb copy of this monumental work on natural history as it relates to the Bible, covering fossils, insects, birds, reptiles (particularly snakes), plants, diseases, the sky, storms, plagues and constellations all juxtaposed with passages in both testaments.

Lawrence Josset after Sir William Beechey, Vice Admiral Viscount Nelson, mezzotint, framed 71.5 x 54.5cmGenerally, condition is good. Noticeable foxing across the paper which has somewhat effected the colouring, particularly in in the bottom half of the composition.

A photogravure after Gainsborough, "Morning Walk", a mezzotint, Georgian beauty, and two other prints

North-West Passage Collection of travel narratives comprising: Franklin, Sir John. Narrative of a Journey to the Shores of the Polar Sea in the Years 1819, 20, 21, and 22. London: John Murray, 1823 [i.e. 1828]. 4to (27.5 x 21.2cm), 20th-century blue half morocco gilt, top edge gilt, 31 plates (including 9 hand-coloured aquatints, 2 hand-coloured engravings, the rest uncoloured engravings) and 4 engraved folding maps, plates offset, uncoloured engraved plates and adjacent text-leaves browned, maps mounted on linen stubs and somewhat spotted and offset, one map ('An Outline' with short closed tear to inner fold), manuscript date to title-page in blue ink [Abbey Travel 635; Nissen ZBI 1419; Sabin 25624]; Idem. Narrative of a Second Expedition to the Shores of the Polar Sea, in the Years 1825, 1826, and 1827. London: John Murray, 1828. 4to (27.5 x 21.2cm), 20th-century blue half morocco gilt uniform with the preceding work, 31 engraved plates, 6 engraved folding maps, light browning to plates, maps mounted on linen stubs, browning to 'Discoveries made by British Officers' map, variable light offsetting to others, repaired tears to text-leaves P4 and (in Appendix) d3, manuscript date to title-page in blue ink [Abbey Travel 635; Sabin 26228]; Parry, William Edward. Journal of a Voyage for the Discovery of a North West Passage from the Atlantic to the Pacific. London: John Murray, 1821. 4to (27 x 20.5cm), 20th-century half calf, [8] xxix [3] 310 [5] iv-clxxix pp., 14 engraved or aquatint plates, 6 engraved charts (several folding), errata slip, Appendix sig. c1 folding, plates and charts variably spotted and offset, nos. 16-18 bound out of order, repaired closed tears in Y3 and 'Chart of ... Baffin's Bay' [Nissen ZBI 3096; Sabin 58860]; Idem. Journal of a Second Voyage for the Discovery of a North-West Passage from the Atlantic to the Pacific. London: John Murray, 1824. 4to (27 x 20.5cm), 20th-century half calf uniform with the preceding work, [8] xxx [2] 571 [1] pp., 31 engraved or aquatint plates and charts including frontispiece, 4 engraved folding charts, 4 engraved folding plates of coastal profiles, variable spotting to plates and adjacent text-leaves [Sabin 58864] Ross, 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. London: A. W. Webster, 1835. First edition, 4to (30.1 x 22.8cm), contemporary tan calf decoratively tooled in gilt and blind, 30 plates and maps (engraved, lithographic or mezzotint, several hand-coloured, 'Discoveries in the Arctic Regions' map folding; lacking 'Tulluachiu and Family' plate), errata leaf (not mentioned in Abbey), inscribed 'To ... Johan Gustav Roof with the authors best regards, June 1835, John Ross' on the title-page, front joint repaired, rear joint cracked, marginal repair to title-page, offsetting and marginal tissue-consolidation to 'Discoveries' map, spotting to a few plates [Abbey Travel 636; Nissen ZBI 3481; Sabin 73381] (5)Note: Second and first editions respectively of Franklin's two works. The second edition of the Narrative of a Journey is described as such in the Introduction (p. xiv), and is extended to 784 from 768 pp.; the title-page remains dated 1823, but it was 'presumably produced to accompany the second volume' on its appearance in 1828 (Abbey).

FRED MILLER: 'INNOCENCE' late 19th century, mezzotint, signed to the margin, in gilt and black frame

Christopher Richard Wynne Nevinson ARA (1889-1946) - From an Office Window 1918-19, mezzotint, signed by the artist in pencil, 26.5 x 18.5cm From the unknown but small edition of Nevinson's earliest attempt at mezzotint Black No 46 De-framed for the present sale; virtually full sheet, generally lightly browned; mostly laid down; losses well clear of image. The image undamaged with good velvety tone

After James Gillray - A Barber's shop in Assize Time, from a picture painted by HW Bunbury Esq, colour mezzotint, 42x56cmDate of publication 1818.Appears original to the period.

Leon Danchin (French, 1887-1938) - Dog is a Pekinese, colour mezzotint, signed lower right, 33x47cm

A quantity of pictures and prints, to include summer landscape oil on canvas, Sleeping Beauty mezzotint etc

After J W Upham - Wyke & Portland, colour mezzotints; one other topographical mezzotint; and a print of a bridge (3)

F Bartolozzi after Wheatley, 'Winter', colour mezzotint, 17x14cm; together with 'Marcella', 18th century engraving by S. Shelley, c.1784, 8x10cm