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AN ITALIAN REVERSE GLASS PAINTING OF GHISMONDAAFTER CORREGGIO (1489-1534),18TH CENTURYdepicted weeping, leaning on a ledge behind the heart of Guiscardo, resting on a tazza, in a gilt and ebonised moulded frame24.5 x 18.2cmProvenanceParker & Morris: The Art of Decorating.PLEASE NOTE THAT THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Catalogue NoteThis painting is probably based on a mezzotint by James McArdell (1729-1765) after the original oil painting by Correggio.PLEASE NOTE THAT THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

ADOLF VAN DER LAAN (DUTCH 1684-1755) AFTER JOHANNES GLAUBER (DUTCH 1646-C.1726) Arcadian river landscape with a sphinx; Arcadian river landscape with figures worshipping a statue A pair, both etching with hand-colouring 22.6 x 35.4cm, 23 x 35.6cm (image)Together with Gotfried Eichler (1715-1770) Joseph's brothers kneel before him. Jacob learns that Joseph is alive, A pair, both mezzotint in blue, 24.5 x 35.7cm, 24.7 x 35.8cm (plate) (4) ProvenanceParker & Morris: The Art of Decorating.PLEASE NOTE THAT THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

After Romney 19th century mezzotint engraving of a young woman in lace bonnet. 36x29cm approx., together with stipple engraving of His Royal Highness George Augustus Frederick, Prince of Wales. 47x38cm approx. Framed. (2) (B.P. 21% + VAT)

Dorothea Wight (British, 1944-2013), ‘Palm Tree’ coloured mezzotint on paper. Signed, titled and numbered below print in pencil, edition 51/75. Framed and glazed. Plate measures 34cm x 27cm, paper measures 62cm x 51cm, frame measures 67cm x 54cm.

A PAIR OF OVAL REVERSE GLASS PORTRAITSAFTER SIR GODFREY KNELLER, EARLY 18TH CENTURYthe mezzotint portrait prints of Queen Anne and Prince George of Denmark, Duke of Cumberland, in giltwood frames, with paper trade labels for 'W. Boswell, Norwich' (2)28.5 x 23cm

A late George III reverse painted mezzotint under glass print 'The Contented Shepherd' after David Teniers and printed by T.Burford, 36 x 25 cm in contemporary ebonised frame.

A George III reverse glass mezzotint, entitled ‘St. John’, James Bateman, circa 1816, 36cm x 25cm, framed.

A George III reverse glass mezzotint, entitled ‘Admiral Lord Nelson the Hero ot the Nile, of the Battle of Copenhagen, falling into the Arms of Victory in the ever memorable Engagement with the combined Fleets of France and Spain off Trafalgar, on the 21 Oct'r 1805’, Pub'd Jan'y 20. 1806, by W. B. Walker, Fox & Knot Co't, Snow Hill, London, 26cm x 36cm, framed.

A George III reverse glass mezzotint, entitled ‘Prince Leopold & the Princess Charlotte enjoying the Happiness of Love & Retirement in Claremont park', Painted by W. B. Walker, 4 Fox & Knot Court, Cow Lane, London, 26cm x 36cm, framed.

A George III reverse glass mezzotint, entitled ‘General, Field Marshall Kutusoff, Prince Smolensco, Commander in Chief of the Russian Army’, painted by W. B. Walker, 26cm x 36cm, framed.

A George III reverse glass mezzotint, entitled ‘Sculpture’, Printed for & Sold by H. Overton at the White Horse without Newgate, London, 26cm x 36cm, framed, together with two other reverse glass mezzotints, including ‘Astronomy’, 26cm x 36cm, all framed (3)

After James MacArdell (1729-1765), Mr Quin in the Character of Sir John Falstaff, mezzotint, 'Sold at the Golden Head in Covent Garden', sheet size 36cm x 26cm, cut close, framed, together with an architectural print, depicting the facade of a neo-classical building, 46cm x 73cm, framed (2)

A George III reverse glass mezzotint, entitled ‘The Affectionate Departure’, Published as the Act directs, by P.& P. Gally, 9 Turnmill treet, Clerkenwell, June 29th 1816, 26cm x 36cm, framed.

After Sir Henry Raeburn (British 1756-1823): Portrait of a Lady, coloured mezzotint blind stamped and indistinctly signed in pencil 34cm x 26cm

Property of the Late Countess Haig: Samuel William Reynolds (British 1773-1835), Georgiana Elizabeth Duchess of Newcastle, engraving, published 1825 by William Welton, titled bellow, mezzotint, framed (64cmx37cm) together with After Sir Thomas Lawrence (British 1769-1830) engraved by Charles Turner A.R.A (British 19thc), Henry Pelham, Duke of Newcastle & K.G. Lord Lieutenant of the Country of Nottingham, published 1830, titled bellow, mezzotint, framed. (68cmx37cm) (2)

AMALGAMATED SOCIETY OF ENGINEERS, MACHINISTS, MILLWRIGHTS, SMITHS & PATTERN MAKERS CERTIFICATE, MID-19TH CENTURY mezzotint engraved certificate presented to John [indistinct] ...member of Glasgow 4th Branch, on the 2nd day of October 1865..., signed by both president and secretary, and mounted with wax seal, framed and under glassoverall size 74.5cm high x 59.4cm wide

William PETHER (1731-1821) The Alchemist, after Joseph Wright of Derby Mezzotint, 58x45.5cm

Georgian mezzotint on glass 'Angling', published 1800 by P Dawe, 44 Wells St,  26 x 35cm

Georgian mezzotint on glass 'May' printed for Robert Sayer and Carrington Bowles, No 60 St Paul Churchyard, 36 x 26cm 

Georgian mezzotint on glass 'South East View of Copenhagen House', printed for Robert Sayer 1789,  25 x 35cm

Georgian mezzotint on glass 'Sir Francis Burdetts Triumphal Car', published 1807 by Hinton, 25 x 35cm 

Regency mezzotint on glass 'Funeral Procession of her most lamented Majesty, Queen Caroline, entering the City at Temple Bar Aug 14th 1821. Being the general wish of the people', published by Pand P Gally

Georgian mezzotint on glass 'A view of the Thames, from Millbank, Chelsea and Battersea', printed for Robert Sayer 1789, 25.5 x 35.5cm

Georgian mezzotint on glass 'Sweet Nan of Hampton Green', published July 1803 by Valentine, Bernarda and Cermenati 

Georgian mezzotint on glass 'Baron Lord Clive, Baron of Playsey, Major, Major General in the East Indies, etc', printed for John  Bowles, Robert Sayer and Carrington Bowles, 35 x 24cm

* Smith (John, 1652-1743). Johannes Smith, after Kneller, 1696, uncoloured mezzotint after Godfrey Kneller, small margins, laid on later paper, 345 x 260 mm, framed and glazedQTY: (1)NOTE:A self-portrait of the eminent mezzotint engraver, John Smith. He shows himself holding his mezzotint portrait of his principal patron, the artist Sir Godfrey Kneller.

Rennie (John). The Theory, Formation, and Construction of British and Foreign Harbours, 2 volumes, 1st edition, London: John Weale, 1854, mezzotint portrait frontispiece of the author by J. Andrews (offset to title), 122 engraved charts and plans, some spotting, 2 small circular institutional ink stamps at head of first text leaf to volume 1, all edges gilt, contemporary half morocco gilt over cloth, rubbed and soiled, large folioQTY: (2)

Pennant (Thomas). Some Account of London, 3rd edition, bound in 3 volumes, London: printed for Robert Faulder, 1793, portrait frontispiece of King Charles I, title with engraved vignette, folding map, 13 engraved plates, EXTRA-ILLUSTRATED with at least 420 mainly 18th century (but including some 17th and 19th century) engraved maps, plans, mezzotint portraits, topographical views, etc., many folding, some trimmed and mounted, blank interleaves, occasional offsetting, light spotting and water stains, a few small tears, bookplate of Mark Girouard, contemporary diced calf gilt, covers detached, volumes 2 & 3 lacking spines, rubbed with some edge wear, 4to, 24 x 19 cmQTY: (3)NOTE:A handsomely grangerized copy of Pennant's Account of London. The additional maps include Wallis's Plan of the Cities of London and Westminster, 1797, A Contracted Sketch of the Plan of London (reticulated key plate only), 1746, by John Pine and John Tinney, 16 engraved ward plans from Stowe's Survey of London, engraved plates and mezzotints including examples by or after F. Bartolozzi, B. Cole, J. Closterman, Sutton Nichols, W. H. Toms, Carington and John Bowles, H. Fletcher, an eighteenth-century copy of Ralph Agas's Elizabethan plan of London and Westminster, portraits by Kneller & Houbraken, J. Boydell, Robert Sayer, Richard Blome et al.

THOMAS LANDSEER AFTER SIR EDWARD LANDSEER THE DEER PASS, 1854 Mezzotint Published London, Henry Graves and Company 44.5 x 95cm (17½ x 37¼ in.) Bird-eye maple frame Condition Report: Unexamined out of glazed frame. Light undulation to the sheet. Two spots at the top of the plate and overall browning.Condition Report Disclaimer

After Henry Raeburn (British, 1756 - 1823) - ' Boy with Rabbit ' - A believed early 20th century coloured mezzotint engraving on paper of boy with white rabbit. Unsigned. Framed & glazed with label to back ' The Fine Arts Publishing Company '. Measures approx. 17cm x 13cm framed. 

A Staffordshire pottery group of golfers, with related colour mezzotint, after Lemuel Francis Abbott (1760-1803), ‘To the society of coffers at Blackheath’

Joseph Bishop Pratt (1854-1910) mezzotint, Lady Hamilton, signed in pencil, Print Sellers Association blindstamped, 52 x 40cm

19th century colour mezzotint of Miss Rosamund Croker, after Sir William Lawrence and signed in pencil by T Hamilton Crawford, 51x41.5cm

A late 18th century colour mezzotint portrait of a lady, in a gilt gesso oval frame with ribbon cresting (af), 54.5x44.5cm, frame 66x52cm

John Raphael Smith (1751-1812) after George Morland Return from Marketmezzotint, published 180137 x 57cm

BAKER (George) The History and Antiquities of the County of Northampton, in 2 vols., London: John Bowyer Nichols & Son, 1822-30, large paper copy, 39 plates, extra-illustrated with numerous proof plates and vignettes on india paper, with 2 original drawings by Edward Blore of Brington Church and Rectory, and some mezzotint portraits, lacking Pytchley House plate as often, some foxing, later quarter brown morocco (2)

A mezzotint of a cherub with butterfly after Cosway 'Love' 19 x 23cm and a Bartolozzi angel print

After George Morland, 'Pheasant Shooting', mezzotint engraving. 34x38cm approx. Framed and glazed. (B.P. 21% + VAT)

19th Century Gilt Framed Mezzotint, Frame 76x59cm

19th c. oval framed mezzotint of a woman with children and a beehive

Group of four etchings and one portfolio of Cranach's etchings. Including:Hans Burgkmair the Elder (German, 1473-1531). Two engravings titled "The Triumphal Procession of Emperor Maximilian" depicting three figures on horseback with banners.Theodore Cruger (German, active 1613-d. 1624) after Jacopo Bassano (Jacopo da Ponte) (Italian, 1510-1592). Engraving titled "Jacob Guarding Laban's flock" depicting a figure on the ground surrounded by sheep, ca. 1613-24.James McArdell (Irish, 1729-1765) after Anthony van Dyck (Flemish, 1599-1641). Mezzotint depicting a portrait of Ruben's second wife Helena Fourment.One paper-bound portfolio titled "Aus Cranachs Holzschnitten (Of Cranach's Woodcuts)" published by the Youth Literature Committee of the General Teachers' Association of Dusseldorf. Published by Fischer & Franke, Berlin.Height ranges from 15 in to 16 1/4 in; width ranges from 11 in to 21 in.Condition:The sheets are toned. There are small tears, creases, and areas of wear throughout. To the print of Helena Fourment and Jacob with a flock of sheep, there are tidelines and signs of moisture exposure. Heavy wear to the front and back pages of the Cranach book. None of the work are framed.

A framed and glazed mezzotint of Disraeli, approx 42cm x 49cm. Shipping category D.

After Hoppner, a portrait of Admiral Lord Nelson, mezzotint, 24" x 16" (61 x 40cm).

Samuel Cousins after Reynolds, 'Lady Caroline Montagu', mezzotint on laid India paper, 'First 100' printed below the title, image size 18" x 14" (46 x 36cm).

Set of nine George Baxter Needlebox Prints, Queen Victoria & family, Osborne House, a Brunel steamship & others, framed as one; also small oval col. print after a mezzotint, "Infantile Tenderness" & 6 others. (8)

A hand-coloured mezzotint engraving from his collection of Greek and Roman antiques circa 1766.20.5 x 19.5cm to the plate markQty: 1In generally good condition. Some slight warping to the paper.

From the series ‘Perspective Views of the Market Towns Within the County of Worcester.’ To include a view of Bromsgrove from a hilltop; a view of Dudley from Eafey Hill; Bewdley; Kidderminster; and Tenby. Together with William Trost Richards (American 1833-1905), a view of Tenby, mezzotint on paper.William Trost Richards 22 x 32cmQty: 6Light foxing and toning throughout all.

° ° Horsfield, Thomas Walker - The History, Antiquities, and Topography of the County of Sussex. 2 vols. with 7 portraits (I a mezzotint), 2 folded pictorial maps and 49 other engraved plates, num. engraved illus.; mid 19th century gilt ruled half morocco and cloth, panelled spines with red labels, marbled e/ps., roy. 4to. Lewes, 1835

After Ellen Jowett (b1874) a coloured mezzotint engraving, Ring a Ring of Rosies, published 1902, mounted framed and glazed 87 cm x 72 cm.

• MALTE SARTORIUS (GERMAN 1933-2017) (i) PONT DE L'ALBERGO II; (ii) CALLE A. FIANCO, A PAIR(i) signed, titled and numbered 17/40 lower margin(ii) signed, titled and numbered 10/40 lower marginetchingseach 39 x 29 1/2cm; 15 1/2 x 11 1/2ineach 63 x 53cm; 24 3/4 x 20 3/4in (framed)Sold together with two further etchings by the same hand and a mezzotint by Judith Rothchild (5)Property from a Private Collection ProvenanceFrancis Kyle Gallery, London

A selection of objets d'art, including brass picture stand, mother of pearl on stand, brass French ink stand, Victorian tulip design ewer, mezzotint prints and a Victorian woolwork tapestry.

A pair of engravings by James Scott, after E. PrentisThe Spirit, The Manunsigned, mezzotint, mahogany frames, 47cm x 35cm (2)

After Robert Charles Peter A.R.E (British, 1888-1980),A stylised classical scene depicting nude figures and white horses in a landscape,Sepia mezzotint print on wove paper made by print dealer Norman Blackburn from the original plate following the death of the artist,The plate 28cm x 48cm,The sheet 50cm x 67cm,Unframed,With three further prints by R.C. Peter from the same Norman Blackburn series, each depicting stylised classical scenes with nude figures, unframed (4)

After Frederic, Lord Leighton PRA 'Viola'signed in pencil by the artist and engraver George H. Every (1837-1910), bears PSA stampmezzotint published by Arthur Lucas, 188242 x 28.5cm;together with 'Anita' signed by the engraver Thomas L. Atkinson (1817-1898), bears PSA stamp mezzotint published by P & D Colnaghi & Co., 187942.5 x 32cm (2)

Thomas Lewis Atkinson (1817-1898) after Henry Tanworth Wells RA (1828-1903) Volunteers at the Firing Point, 1866signed in pencil by the artist, engraver and all the sitters presentation proof in original framemezzotint published by Henry Graves & Co., 187266.5 x 96cmProvenance: Captain Henry Heaton, Manchester Regiment (depicted in the foreground lying down firing), Thence by family descent,The Maas Gallery, LondonThe original painting is in the Royal Academy Diploma Collection, painted in 1866. On 19th July that year, the Prince of Wales was visiting on the fifth day of the National Rifle Association's Wimbledon Prize Meeting and, borrowing Captain Ross Senior's Whitworth rifle, he hit the target. The rest of Ross' company are depicted before a large canvas wind screen: Captain Ross Junior is capping his rifle preparatory to taking his place before the target. Captain Heaton is firing, lying down (this was his personal impression of the engraving). Lord Elcho is on horseback at the back — Sergeant Pixley, Lt-Colonel Holford, Captain Heaton, Captain Drake, Colonel Colville, Captain Horatio Ross (father of Edward), George Mackenzie and Martin Smith are in the foreground. All have signed this engraving together with the artist and engraver.

Thomas Lewis Atkinson (1817-1898) after Sir Edwin Landseer The Forester's Familybears PSA stampmezzotint published by Henry Graves and Co., 185166 x 92cm;together with James Henry Watt (1799-1867) after Sir Edwin LandseerHighland Drovers Departing for the South mixed method engraving published by Henry Graves & Co., 184166 x 89cm Pl. (2)

The Four Seasons, a group of four reverse mezzotint prints on glass, 19th century, each with a representation of an individual season35 x 24.5cm

Charles Turner (1774-1857) after Joseph Mallord William Turner Norham Castle on the Tweed; and The Tenth Plague of Egyptplates 57 and 61 from the Liber Studiorum, 1816, part XIIetching and mezzotinteach 17.5 x 26cm (2)Both sheets stuck down to mounts along their outer edges but original text and plate lines visible beneath mounts.Tenth Plague of Egypt overall in good, clean condition. Sheet size 27.5 x 36.5cmNorham Castle with light spotting and 7 small pinholes to the sky. Sheet size 26 x 36.5cmFramed 33 x 41cm

Sir Godfrey Kneller (1646-1723) Portrait of Edward Richard Montagu, Viscount Hinchingbrooke (1692-1722) aged 8, half length, in a silver-trimmed plum-coloured coat with blue and pink cap, his right arm akimbo signed with monogram and dated 1700 centre left oil on canvas 74 x 61.5cm Provenance: Christie's, London, 26 June 1981, lot 123, for £4,460, as by Kneller of an unknown sitter The sitter was the son of Edward Montagu, 3rd Earl of Sandwich and Lady Elizabeth Wilmot, daughter of the 2nd Earl of Rochester. In 1707, aged only 14, Viscount Hinchingbrooke married Elizabeth Popham (d. 1761) shortly before departing on his Grand Tour. He served as Member of Parliament for Huntingdon between 1713-1722. In 1715, he was commissioned Captain of the Grenadier Company of the Coldstream Guards and later the same year was appointed an aide-de-camp to George I. He gained the rank of Colonel in the 37th Regiment of Foot in 1717 and became Lord-Lieutenant of Huntingdonshire in 1722. Viscount Hinchingbrooke died at the young age of 30, predeceasing his father, and so his son, John, succeeded his grandfather as 4th Earl of Sandwich in 1729. The present painting was engraved in mezzotint by John Smith, published in 1701. The painting is executed in oil on a canvas support which has been lined. The canvas has good tension and the picture is in plane. The paint layers are in a good stable condition overall. There is a network of age cracks present across the surface which are slightly darkened in areas but secure. The varnish is glossy but has yellowed with age and become slightly dull. There are scuffs across the surface affecting the varnish and causing matte patches. A light layer of surface dirt sits on top of the varnish.

Sir Hubert von Herkomer CVO RA RWS (1849-1914) John Ruskinmezzotint published by The Fine Art Society, 188050 x 36.5cm Pl.Provenance: By descent in the artist's familyLiterature: J. Saxon Mills, Life and Letters of Sir Hubert von Herkomer, 1923, pp.107-8Engraved after the watercolour portrait by Herkomer, done in 1879 (now in the National Portrait Gallery), which Ruskin declared "a beautiful drawing of me, the first that has ever given what good may be gleaned out of the clods of my face".