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Frye (Thomas, portrait painter, mezzotinter and porcelain manufacturer, c. 1710-1762) A fashionable lady, from: 'Ladies, very elegantly attired in the fashion, and in the most agreeable attitudes', mezzotint, an excellent richly inked impression, on laid paper with indistinct text-based watermark and countermark of a Strasbourg lily, platemark 500 x 350 mm (19 3/4 x 13 3/4 in), sheet 520 x 370 mm (20 1/2 x 14 1/2 in), under glass, hinged with tabs onto mount support, faint crease to lower left corner, other minor handling creases, marginal surface dirt and browning, framed in 18th century-style black frame with sand gilt slip, 1761.Literature:Chaloner Smith 23

Theatre.- Pine (Robert Edge, publisher) The Death Mask of David Garrick, mezzotint, scratch letter proof, with [?]collector's initials in brown ink in lower right corner of lettered margin, a slightly rubbed impression on laid paper mounted on support, platemark 240 x 154 mm (9 1/2 x 6 1/8 in), sheet 304 x 250 mm (12 x 3/4 in), old folds visible, surface dirt, minor abrasion, pencil inscriptions to lower margin, marginal spotting, unframed, 1779.Literature:Chaloner Smith 68⁂ Scarce at auction. Only a small number of impressions have appeared on art market in the last two decades; most notably the Christopher Lennox-Boyd copy selling at Christie's in 2008 (see British Mezzotints and Printed Handkerchiefs, 3rd December 2008, lot 18)

Bianchini (Francesco) Hesperi et Phosphori, first edition, title in red and black, with engraved vignette, engraved frontispiece, engraved head-piece, 2 initials and 2 embedded vignettes, one embedded mezzotint vignette, 10 plates, of which one mezzotint the others engraved (2 folding, one double-page), some foxing and light browning, including to some plates, contemporary vellum, spine worn with small section restored, [Honeyman 323; Graesse I, 437; Riccardi I, 132.15], folio, Rome, Giovanni Maria Salvioni, 1728.⁂ The first book of telescopic observations of the planet Venus. Bianchini (1662-1729) sought to determine the rotational period of Venus and to draw a map of its surface. Although his results on the rotation proved incorrect, his topographical observations were a pioneering effort in investigating the planet, identifying 'continents' and 'oceans'. The text is also significant in the history of lunar cartography, notably for the mezzotint views of the crater Plato and the Alpine Valley, which Bianchini was the first to chart, cutting through the mountain range of the Alps; this phenomenon was uncharted by the great Cassini lunar map (1670s). Bianchini's book is perhaps best known today for two often reproduced plates of aerial telescopes, of extremely long focal length, with lenses by Campani.

Earlom (Richard, 1743-1822) A blacksmith's shop, after Joseph Wright of Derby, mezzotint, an even impression with scratched publisher's letters on laid paper with countermark of letters 'IHS' in a circle, indistinct text-based watermark, platemark 600 x 430 mm (23 3/4 x 17 in), sheet 604 x 440 mm (23 3/4 x 17 1/4 in), lower edge trimmed to or just within the platemark, a few small marginal nicks and losses, some minor surface dirt and browning with exposure line visible in the lower edge, tipped onto wove paper support in several places, unframed, J. Boydell, 1771Literature:Chaloner Smith 47 i/iiClayton P7 ii/iii

Frye (Thomas, portrait painter, mezzotinter and porcelain manufacturer, c. 1710-1762) Portrait of an elderly lady holding cane, from: 'Ladies, very elegantly attired in the fashion, and in the most agreeable attitudes', traditionally thought to be a portrait of the artist's wife, mezzotint, an excellent richly inked impression, with burr to the first letters in the lettered margin, on laid paper with small armorial watermark, platemark 505 x 350 mm (19 3/4 x 13 3/4 in), sheet 520 x 370 mm (20 1/2 x 14 1/2 in), hinged with tabs into mount, small marginal split in the upper centre, minor surface dirt, unframed, 1760.Literature:Chaloner Smith 15

After Francesco Bartolozzi (1727-1815), 'Spring', colour mezzotint, in verre eglomise frame, 27cm diameter; together with two further 19th century prints, 'Sorrows of Werter', 20x16.5cm, and one after Francis Wheatly, 'Eloisa meditating on St. Preux's Letter', 29x23cm (3)

Kyu-Baik Hwang (b.1932), 'Swans', limited edition signed mezzotint, numbered 94/110, 27 cm x 34.5 cm with margins, framed and glazed.Private collection. Christie's Contemporary Art certificate present.

A framed and glazed signed mezzotint by Japanese artist Tomoe Yokoi, depicting a bowl, half an apple and a violin. Edition 16/100. H.46 W.52

A framed and glazed signed mezzotint by Japanese artist Tomoe Yokoi, depicting peaches on a checked cloth. Edition 8/100. H.45 W.51

A 19TH CENTURY MEZZOTINT, THE POULTRY MARKET, BY JAMES WARDS

A mezzotint engraving by Walter Alfred Cox.

Frank Short (1857-1945) British, 'Vesuvius from the Bay of Naples', signed, mezzotint, 11.25" x 18", along with five further prints by the same hand, all signed, (6).

John Raphael Smith, after George Morland - 'The Fern Gatherers', mezzotint with later hand-colouring, published by John Raphael Smith circa 1799, 18" x 24".

After William Redmore Bigg (1755-1828), Engraved by William Ward, published 1798, 'The Stormy Night', mezzotint, 17" x 21",

Richard Earlom (1743-1822) After Ferdinand Boll drawn by George Farington, 1775, mezzotint, published by John Boydell of London, H.46cm W.31cm

A MEZZOTINT OF LADY PEEL, unframed proof of a coloured Mezzotint of Lady Peel after Lawrence (51cm x 42cm)

LARGE BLACK AND WHITE MEZZOTINT PRINT, DEER HUNTING SCENE, F/G, 114CM WIDE

AFTER FREDERICK TAYLOR, 'MORNING OF THE CHASE, HADDON HALL IN DAYS OF YORE', BLACK AND WHITE MEZZOTINT, SET IN MAPLE FRAME AND GLAZED, 110CM WIDE

Mid 18th century black and white mezzotint by Burford after Seymour - Hunter and Hounds, published 1752, 26cm x 36cm, in glazed frame

James Ward after Reynolds, 18th century mezzotint - Richard Burke (London 1795), 28cm x 33.5cm in glazed gilt frame.

A pair of early 19th Century Regency reverse painting on glass / mezzotint pictures. Both depict scenes of grazing cattle by a lake side with trees and grassy hill. Set within birdseye maple frames. Measures approx; 56cm x 71cm.

NO RESERVE Ex-collection of Minto Wilson.- Pichler (Johann Peter) Venus with an Organist and Cupid, after Titian, mezzotint, on thick wove paper, platemark 600 x 840 mm (23 3/4 x 33 in), small margins but trimmed to or just within the lower edge of platemark, some minor creases and areas of careful restoration, small ink stain to upper centre, spotting and browning, framed, [circa 1800]; together with another large mezzotint by Pichler after Rubens, Double portrait of Albert and Nikolas Rubens, some creasing in the lower right corner, splits and tears to platemark and edges, framed, [1802] (2) Provenance:[Venus] Cabinet Brentano - Birkenstock/ Johann Melchior von Birckenstock (1738-1809) [L. 345][Venus] Fritz Reiss [L. 2178][Venus] Probably his sale, Christie's, London, 18th and 19th December, 1923Humphrey Minto Wilson (fl. 1938-1951)Thence by descent to the present owner

NO RESERVE Ex-collection of Minto Wilson.- Smith (John Raphael) Lieut.- Col.Tartleton, after Sir Joshua Reynolds (1723-1792), mezzotint, proof before letters, but with scratched inscription, a good impression on laid paper with text-based watermark and armorial countermark, sheet 648 x 400 mm (25 1/2 x 15 3/4 in), small margins, nicks and small losses to edges with a few strengthened verso, spotting and surface dirt, framed, 1782Provenance:Humphrey Minto Wilson (fl. 1938-1951) [Lugt 1922a]Thence by descent to the present owner⁂ Tarleton was a captain of cavalry and gained wide fame and the soubriquet 'Bloody Tarleton' for his exploits in the American War of Independence. He returned to England at the beginning of 1782, and was already sitting to Reynolds on 28 January. The painting was shown at the Royal Academy in 1782, and is now in the National Gallery [Text from BM website]

NO RESERVE Ex-collection of Minto Wilson.- Blooteling (Abraham) Portrait of Hieronymus van Beverningk, mayor of Gouda, after Nicolaas Maes, etching with mezzotint, 415 x 307 mm (16 1/4 x 12 1/8 in), scattered spotting and browning, surface dirt, framed, [circa 1679]; toegther with six further framed prints, including two portrait mezzotints, one after Reynolds by McArdell, another engraved portrait, two engraved views of Durham, another of Sissinghurst, and with an original pen and ink with wash drawing of 'Rosewell House, Kingsmead Square, Bath', various sizes, all framed and glazed, 18th and 19th century (8).

NO RESERVE Turner (Joseph Mallord William) The Turner Gallery: a series of sixty engravings, engraved portrait frontispiece, 60 engraved plates, tissue-guards, scattered faint spotting, contemporary morocco, heavily gilt, bumping to corners and spine extremities, [c.1860] § Earlom (Richard) & Charles Turner. Portraits of Characters Illustrious in British History ..., engraved title, 100 mezzotint plates, scattered spotting, bookplate, contemporary straight-grain morocco, gilt, rubbed, n.d.; folio & 4to (2).

NO RESERVE Ex-collection of Minto Wilson.- Dupont (Gainsborough) The Right Honble. Lord Rodney, after Thomas Gainsborough, mezzotint, proof before letters, but with scratched inscription, platemark 615 x 390 mm (24 1/4 x 15 1/4 in), under glass, framed, 1788; together with James Watson's 'The Right Honble. Augustus John', after Thomas Gainsborough, John Walker's 'Sir Hyde Parker Captain of the Phoenix', after Romney, and with an impression of Charles Turner's 'Napoleon Bonaparte as he presented himself at the gangway of HMS Bellerophon in Plymouth Sound in the month of August 1815', mezzotints, various sizes, all framed, [18th and 19th century] (4)Provenance:Humphrey Minto Wilson (fl. 1938-1951)Thence by descent to the present owner

After John Hopner, portrait of George Keith Elphinstone, later Viscount Keith (1746-1823), oil on board, 25 x 19.5; together with a mezzotint portrait of Charles I and other various prints (qty)

Jean Baptiste Greuze, after, Portrait of Love, Mezzotint, 35cm x 30cm, ornate mahogany and gilt frame; Lord Leighton, After, Wedded, 62.5cm x 35cm; set of four Coronation prints (6)

MARIA COSWAY (BRITISH 1759-1838)PORTRAIT OF CAROLINE, PRINCESS OF WALES AND HER DAUGHTER, PRINCESS CHARLOTTEOil on canvas laid to panel59 x 49cm (23 x 19¼ in.)The heads purportedly later touched and altered by Sir Thomas Lawrence in 1801.Provenance: Gifted to Lady Glenbervie by Queen Caroline (then Princess Caroline)The Hon. Frederick Sylvester North Douglas and Harriet Wrightson Thence by descent at Weston Hall. Literature:S. Lloyd, Richard & Maria Cosway: Regency Artists of Taste and Fashion, Edinburgh, 1995, no. 225, plate 72.Catalogue Note:This romantic painting by Maria Cosway (1760-1838) of Caroline of Brunswick, Princess of Wales (1768-1821), consort of George, Prince of Wales (later George IV, 1762-1830), with her daughter, Princess Charlotte Augusta (1796-1817), shows Caroline leaning against a statue of Britannia seated in profile, and Charlotte sitting on a lion couchant, which rests at Britannia's feet; St. Paul's Cathedral, London is in the background. The original giltwood frame is surmounted by the Prince of Wales's crest of the three ostrich feathers. By repute, it was a Royal gift from Princess Caroline to Catherine Anne Douglas, Lady Glenbervie (1760-1817), who was her Mistress of the Robes from 1809-20. A label on the back bears the inscription:'Caroline, Princess of Wales aged 32, and Princess Charlotte her daughter; designed and painted by Maria Cosway (wife of Mr Cosway), around 1800. The heads afterwards touched and altered by Lawrence in 1801. The Princess sat to both the painters. Given by HRH The Princess of Wales, Feb. 1801 to Lady Glenbervie when she was about to embark for the Cape of Good Hope'.Although the painting is unsigned it is the exemplar for a mezzotint ; an example is in the Royal Collection (RCIN 605385), the artist is inscribed to the left: 'Maria Cosway pinxit.'; the engraver to the right: 'S.W. Reynolds sculpt.', and below the publisher 'London, Published May 1 1801, at R ACKERMANN'S Repository of Arts, No.101, Strand'. Another copy is in the British Museum (1902,1011.3809).The choice of Maria Cosway as artist was undoubtedly due to the close friendship that existed between Maria and her husband Richard, a leading portrait painter of the Regency period, with the Prince. In 1785, Richard was appointed Principal Painter to the Prince, and the Prince and the bon ton were frequent visitors at Maria's glittering salons and concerts at Schomberg House, 80-82 Pall Mall, London. That the Princess might ask Sir Thomas Lawrence (1769-1830) to re-touch the faces of this painting because she was unhappy with the original is feasible. Lawrence was the most celebrated portraitist of his age, and patronised by international statesmen and society figures as well as royalty and military leaders. He was a favourite of the Princess, painting her at least three times, including another painting of her and her daughter (1801-2), which survives in the Royal Collection (RCIN 407292). It shows the Princess playing a harp watched over by a shadowy bust of Minerva, patroness of the arts; Caroline tunes her harp and prepares to play the music offered up by her daughter Charlotte. In 1806, the conduct of Lawrence and the Princess while it was being painted was scrutinised during the 'Delicate Investigation'. A commission of Cabinet ministers assessed the allegations that the Princess had had an adulterous affair with, amongst others, Lawrence. The Princess stated that Lawrence 'stayed a few nights, that by early rising, he might begin painting on the picture before the Princess Charlotte (who as her residence was at that time at Shooter's Hill, was enabled to come early) or myself came to sit' (. Accessed 9 August 2021).Catherine Anne Douglas, Lady Glenbervie, is recorded as Mistress of the Robes to Caroline, Princess of Wales from 1809-20 (. Accessed 9 August 2021). Her spouse, Sylvester Douglas, 1st Baron Glenbervie (1743-1823), was offered the prospect of becoming governor of the Cape in September 1796, and again in January 1800, which he initially refused. In October 1800, he was again proposed for the Cape but political circumstances prevented the appointment. Therefore, while the label on the back of this painting mentions Lord Glenbervie and the Cape, it seems more likely that the Princess gifted the painting offered here during Lady Glenbervie's term as Mistress of the Robes. This supposition is reinforced by the Lawrence painting discussed above, which was originally painted for a Mistress of the Robes, Anne, Marchioness Townshend (her appointment between 1795 and 1808).This painting came to Weston Hall through the marriage of Lord and Lady Glenbervie's son, Frederick Sylvester North Douglas (1791-1819), politician and classical scholar, to Harriet Wrightson (d. 1864), eldest daughter of William Wrightson of Cusworth, Yorkshire; Harriet inherited Weston Hall through her aunt, Mary Heber, in 1809.Condition Report: The paint surface is uneven in places and dirty, with some areas of more ingrained dirt. There is a strip of paint loss to the framed edge at the upper left. There are a number of surface scuffs and scratches. UV light reveals scattered retouching throughout. Frame has had some restoration. Losses and regilding to floral swags. Restoration to top left corner and top edge and round the frame edge. Prince of Wales crest has been off and reattached and has old damage and restorations Gilding flaking and worn consist with age Condition Report Disclaimer

FREDERICK MARRIOTT (BRITISH 1860- 1941), ALPS BY MOONLIGHT mezzotint on paper, signed and titled image size 17cm x 12cm, overall size 42cm x 31cm Mounted, framed and under glass.

A coloured mezzotint, Woman Surrounded by Industry, Trade, War and other Human Attributes, paper label verso inscribed December 1970, The Curator's Office of the ... City of Galloway after Careful Examination decided this Picture as a pure mezzotint from the work of Barrington-Jones 1770, he sold his pictures on the steps of St Paul's London (31cm x 25cm)

19th century mezzotint of Napoleon, under glass within a rosewood frame, 35 x 43cm

Dreghorn Castle, a 19th century mezzotint, framed under glass, 65 x 50cm

After John Hopkins, 'A Tribute to the Memory of The Late Vice Admiral Lord Viscount Nelson', mezzotint, 65 x 49.5cm.

Percy Thomas (British 1846-1922) six various views of buildings in the Temple, London including Temple Church interior and entrance to the Lambs Building, six etchings, signed in pencil, 22cm by 16cm together with an engraving by Bartolozzi after Henry Bunbury and a mezzotint portrait of a lady 38cm by 27cm

John Smith, after Godfrey Kneller - 'Madam D'Avenant', mezzotint, circa 1689, 34.5cm x 26cm, within a Hogarth style frame, together with eleven other prints, mostly portrait engravings and mezzotints, all within frames.Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

After J. Jackson - 'His Grace, the Duke of Buckingham, Colonel of the Buckingham Yeomanry Cavalry 25.5.1841', mezzotint engraving by John Porter, 39cm x 29cm, together with a similar mezzotint, within matching gilt resin frames.Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

A 19TH CENTURY MEZZOTINT, THE POULTRY MARKET, BY JAMES WARDS

Cavendish, William, 'Capriolles pour les Voltes Mains Gauches', from La Méthode et Invention Nouvelle de Dresser les Chevaux, 1737, Engraving transfer glass picture, hand coloured and heightened with gilt, 358 x 517 cm; with William Nutter after Henry Singleton, The Destruction of the Bastile, 1792, etching and stipple engraving, a good impression, published by Benjamin Beale Evans, London, 48.5 x 61.8 cm; with David Loggan, Portrait of Jacob Bobart, Keeper of the Oxford Physic Garden, engraving, a fine, clear impression, sheet 17.4 x 12 cm; with William Faithorne the Elder, Portrait of King Charles, engraving, circa 1658, a fine, rich impression, sheet size 25 x 16.4; with John Smith after Sir Anthony van Dyck, Portrait of James I, mezzotint, mount opening 40.5 x 27 cm, all framed, The Destruction of the Bastile with a couple of waterstains in the lower margin, otherwise all apparently generally in good condition, unexamined out of the frames; with six unframed prints; After John Constable by Frank Short, Flatford Lock, mezzotint, on wove paper, a fine, rich impression, signed in pencil; Three etchings with mezzotint printed in sepia from the Liber Studorium by printed in sepia, etched by Joseph Mallord William Turner, one further engraved by Robert Dunkarton,1807-1819, on laid paper, some waterstaining and discolouration; and Portrait of Oliver Cromwell, engraving after the portrait by Robert Walker, circa 1649, laid on thick card, some defects; and Portrait of King Charles Praying, engraving by Abraham Hertochs after P. Fruytiers after W. Marshall, 1662, some defects, 5 framed works and 6 unframedQty: (11)Footnote: This transfer print on glass shows a nobleman galloping past Bolsover Castle in Derbyshire. The print is from the 1737 English edition of Cavendish's exposition on the theory and practice of equestrian dressage. La Méthode et Invention Nouvelle de Dresser les Chevaux, was first published in 1657 in Antwerp. William Cavendish, The Duke of Newcastle, lost his fortune and title after the Battle of Marston Moor and went into exile on the continent. Whilst in Paris, he purchased eight Barbary horses, set up a manège and developed his own training methods.

Houston (Richard). Four Portraits of 'Celebrated Racehorses', The Portraiture of Crab..., The Portraiture of White-Nose, The Portraiture of the famous Horse Old Partner [and] Childers, the Fleetest Horse that ever run at Newmarket, 1755 - 76 [but later impressions], hand-coloured mezzotint portraits after J. Seymour and T. Spencer, each enclosed within a decorative border with a descriptive legend below the image, slight spotting, each approximately 300 x 350 mm, uniformly framed and glazed, together with Darley (M. publisher). The Ladies Ridicule, The Clerical Macaroni [and] The Farmer Macaroni, circa 1775, together three engraved caricatures after R. St. George Mansergh with contemporary hand-colouring, toned overall, uniformly framed and glazed in verre eglomise mounts and 19th century 'Hogarth' framesQty: (7)

Mezzotint Drolls. The Camp Laundry, Corporal Cartouche teaching Miss Camp-Love her Manual Exercise [and] Jack Oakham throwing out a Signal for an Engagement, R. Sayer & J. Bennett, 1781, together three mezzotints with contemporary hand-colouring, trimmed to the image or with thread margins, some creasing, slight staining, Jack Oakham with slight surface abrasion and worming, frayed with slight loss to the margins, each approximately 350 x 250 mm, framed and glazedQty: (3)

Mezzotint Drolls. Virtue Weeping over the Tomb of George Washington, President of the American Congress [and] & Fame, Crowning the Bust of His Majesty George the Third with Laurels, Frans Anone, June 20th, 1800, a pair of allegorical mezzotint drolls with contemporary hand-colouring, slight worming to the margins, just affecting the printed image, each approximately 355 x 250 mmQty: (2)

WILLIAM WARD (1766-1826) AFTER THOMAS WEAVER (1774-1843) Portraits of the Blyth Comet Ox, 2 Years & 11 Months old, and Four Wether Sheep, 21 Months old Mezzotint 59.7 x 73.3cm Provenance O'Shea Gallery, London Upper Slaughter Manor, The Collection of Micheál and Elizabeth Feller.

'THE LADIES WALDEGRAVE' AFTER SIR JOSHUA REYNOLDS (1723-1792) a black and white mezzotint engraving by Valentine Green (1739-1813), 'Published Decr 1st 1781, by V. Green, No.29 Newman Street, Oxford Street, London', in a glazed ebonised and giltwood frame 51.2 x 58.5cm Provenance Upper Slaughter Manor, The Collection of Micheál and Elizabeth Feller.

Good 19th century gilt Florentine picture frame containing an 18th century classical mezzotint, frame size to take a picture 47.5cm x 62.5cm, overall size 68cm x 83cmCondition report: Glazed frame, print not examined out of frame, has some foxing but no severe damages. The frame has small loss lower left corner, another top right, slightly open at the joins, otherwise anticipated wear, small splits etc. Mostly ok

Richard Houston (Irish 1721-1775) after Gerlach Flicke (German 1545-1558): Portrait of Thomas Cranmer, mezzotint pub. 1759 together with Portrait of Heinrich Bullinger, engraved by the same hand each 26cm x 20cm (2)

Jackson (S.) The Shaftsbury Election or the Humours of Punch, satire showing the malpractices at the Shaftesbury election of 1774 which became notorious owing to the petition of the defeated candidate, the subsequent proceedings in the House of Commons, and actions at law 1775-6, mezzotint with etching, a good richly inked impression on laid paper with indistinct armorial watermark, platemark 292 x 465 mm (11 1/2 x 18 1/4 in), sheet 315 x 480 mm (12 3/8 x 18 7/8 in), faint central vertical fold, tape stain to lower part of fold, marginal nicks and tears, particularly to the lower left, small perforation within the image at the upper left corner, minor damp-stains to upper corners, other minor spotting and surface dirt, printers' creases, unframed, 1775.Literature:BM Satires 5341

Lieutenant General Hay-MacDougal, mezzotint engraving by H Macbeth Raeburn, after Sir Henry Raeburn, signed in pencil 67x40cm, Mr and Mrs Robert Campbell mezzotint engraving by H Macbeth Raeburn both by Henry Graves and Co Ltd Sloane Street London (2)

'Piping Boy', Mr and Mrs Davenport, 'The Harvest Dinner' and 'Summer' mezzotint engravings by Louis Busiere, and another similar by the same hand, 63x44cm (5)

Attributed to Jean (John) Simon (1675-1751) mezzotint portrait of Regina Elizabeth Furis A.C Liber totum popule Sui temper conservatrix; et Affictorum qua pat et Europa Vindex.Nata Grenvici 1553 Sept 7th. Printed and Sold By George Bickham

A 1920's gilt framed pencil signed mezzotint by L Busiere (French 1880 - 1960) entitled ' Crossing the Brook' after Henry Thompson R.A, frame size 67 x 89cm.

JOHN COTHER WEBB (1855-1927) (after Turner). Venetian Cappriccio; and a Triumphal Bridge, pencil signed in margins, with blindstamps of the Printsetters' Association, colour mezzotints, pl.13 x 18in, a pair (2) John Cother Webb is said to have studied under Thomas Landseer (1795-1880).He later became a regular exhibitor at the Royal Academy, and became best known for his mezzotint engravings.

LOUIS BUSIERE (1880-1960) (after Henry Thomson RA) 'Crossing the Brook' and 'The Piping Boy', pencil signed, colour mezzotint engravings, published by Henry Graves & Co 1923, pl.24 x 16in, two (2) Louis Busiere worked principally France.He exhibited at the Royal Academy in 1925

NO RESERVE Jones (Shirley, Welsh artist and founder of Red Hen Press) Llangors from Llangasty, Etched in Autumn, mezzotint and etching, printed in colours on Somerset wove paper, signed, inscribed and numbered in pencil, from an edition of 70, platemark 305 x 240 mm (12 x 9 1/2 in), sheet 455 x 360 mm (17 7/8 x 14 1/4 in), full margins with deckle edge, unframed, 1997.

Early 19th Century, The Russian military hero Prince Vorontsov, hand coloured mezzotint, 16.75" x 11.75".

Norman Hurst, 1924, 'Oxen Ploughing' Exceat Farm, mezzotint, signed in pencil, 7.75" x 10.5", and a signed limited edition print of the 'Along the Seven Sisters at Crow Link', by Frank Wootton, print no 9, 11.5" x 14.75", (2).

S W Reynolds after John Hoppner, 'George John, Earl Spencer', mezzotint 13" x 10", along with another similar portrait of a lady, 14" x 10" (2).

After Gainsborough, portrait of a little boy with dog, coloured mezzotint engraving in Hogarth frame. 60 x 40cm approx.(B.P. 21% + VAT)

French School, late 18th CenturyPortrait of the Comte de Provence, later King Louis XVIII, bust-length, wearing the Star of the Order of the Saint'Esprit and the Order of Saint Lazarus; and Portrait of Marie Josephine, Comtesse de Provence, bust-length, in a pink and lace dress a pair, oil on canvas, ovals55.5 x 47.7cm (21 7/8 x 18 3/4in). (2)Footnotes:The portrait of the Comte de Provence is based on the mezzotint of 1778 by William Pether, after Elisabeth Vigée Le Brun's original portrait of him, which is now lost. The portrait of his wife, Marie-Josephine, is very loosely based on a portrait of her by François Hubert Drouais of which numerous versions are known.For further information on this lot please visit Bonhams.com

ROBERT & LADY PEEL, framed miniature portrait of Sir Robert Peel, after the full length portrait by Lawrence (9cm x 8cm) and an unframed proof of a coloured Mezzotint of Lady Peel after Lawrence (51cm x 42cm)