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19th century colour mezzotint "What's That, Mother?", 26x20cm, and three others (4)Condition report: Some light marks, otherwise prints are in good condition.Frames are poor, with losses and wear throughout.

After George Harvey, engraved by W H Simmons, "The Bowlers", black and white mezzotint, published by L Brall & Sons, 1866, 37 x 74cm, mounted but unframed

EDMUND WARDLE (BRITISH 20TH CENTURY),LADY STEWARTmezzotint on paper, signed, after the original picture by George Romney, edition limitedimage size 25cm x 18cm, overall oval size 42cm x 34cm Mounted, framed and under glass.

NO RESERVE India.- Faden (William) An Epitome Geographical and Political of Hindoostan, engraving with hand-colouring, on Whatman wove paper, platemark 355 x 310 mm (14 x 12 1/4 in), wide margins, some surface dirt and browning, marginal nicks to edges, unframed, [1788]; together with another map of India published as a supplement to 'The Queen, The Lady's Newspaper', titled Map of India shewing the Route of H.R.H. The Prince of Wales, on his visit 1875-76, lithograph, 550 x 420 mm (21 5/8 x 16 1/2 in), unframed; with a deceptive facsimile after Earlom's mezzotint of Zoffany's painting 'Colonel Mordaunt's Cock Match', and Harrison's map 'Drawn from D'Anville's Map of the Coast of Guinea, Between Sierra Leona and the crossing of the Line, 1788, all unframed (4)

AFTER THOMAS BENNETT AN ANTIQUE MEZZOTINT OF BADGERS, PERIOD GILT FRAME 42 x 51cms

AFTER GEORGE MORLAND (1763-1804) GIRL AND PIGS; THE FLEECY CHARGE Two, a coloured mezzotint and a colour stipple engraving Each 34 x 44.5cm. approx.; with `Wood Straw-berries` and `Wild Cherries`, colour stipple engravings by J. Pierson, 30 x 39cm. approx. (4) ++ Each discoloured; Pierson damaged in margins; each in verre eglomise mounts and gilt frames

JOHN SMITH (1652-1743), AFTER SIR GODFREY KNELLER (1646-1723) THO[MAS] TOMPION, AUTOMATOPAEUS Mezzotint, c.1697, a good impression of this famous print Plate 34 x 24.7cm.; sheet 36 x 26.5cm.; with Smith's portrait of Christopher Wren after Kneller, 1713, trimmed, sheet 34 x 25cm. (2) * Smith's engraved portrait of the celebrated horologist is one of his most sought after subjects. In pure mezzotint, Smith translates Kneller's portrait into an image that is both dignified but informal. Tompion's skills with craftsmanship and innovation were so impressive that he abandoned his early training as a blacksmith and made a watch for King Charles II in 1675, just four years after his apprenticeship. ++ Tompion a little creased and grubby, slight foxing; Wren damaged at right edge, pale stains, a richer impression

* Glass Paintings. A Matronly Lady in white satin be-ribboned bodice and lace cap, circa 1760, reverse glass mirror painting, framed as an oval, frame opening 20.2 x 16.6 cm. (8 x 6 1/2 ins), gilt wood frame (34 x 30.5 cm), together with four mezzotint transfer glass pictures: Faber (John, the Younger, 1684-1756), Portrait of Abraham Stanyan, after Sir Godfrey Kneller (1646-1723), 1733, mezzotint on glass, frame opening 36 x 25.7 cm (14 1/4 x 10 1/8 ins), framed 43 x 32.5 cm; Simon (Jean, or John, 1675-1754), His Royal Highness Frederick Duke of Glocester, 1718, hand-coloured mezzotint laid on panel, published by the artist, frame opening 35.2 x 25 cm (13 7/8 x 10 ins), framed and glazed (41 x 31.5 cm); Britannia Crowning the Duke of Wellington with Victory after the ever Memorable Battle of Waterloo, printed by W. B. Walker, 1815, frame opening 25.5 x 35 (10 x 13 3/4 ins), framed and glazed 30.5 x 40.5 cm; and Burford (Thomas, circa 1710-1780),The Death of the Fox, after James Seymour, 1766, from the set of four, frame opening 25.4 x 35.5 cm (10 x 14 ins.), framed and glazed 32 x 42.5 cm, all apparently in good condition (unexamined out of frames)Qty: (5)NOTESThe 18th century English School Portrait of a Lady glass painting showcases a straightforward technique, in which paint has been applied to one side of the glass. The remaining four mezzotint transfer glass pictures are achieved by the very delicate operation of fixing the original black and white mezzotints to the back of the glass, then carefully scraping it off to leave an outline, or transfer, of the subject, which is then painted. Provenance: English 18th Century School, Portrait of a Lady: With Mary Wise & Grosvenor Antiques, London; After Godfrey Kneller, Portrait of Abraham Stanyon, and with Sue Killinger of Great Missenden; Thomas Burford after James Seymour, The Death of the Fox, with Nicholas Fowle Antiques, Norwich.

* Laurie (Robert, circa 1755-1836). Tippoo Saib's Two Sons deliver'd up to Lord Cornwallis, as hostages, after he had so gloriously conquered that proud Sultan at Seringapatam, the capital of the Mysore Country, in the East Indies, in 1792, 12th May 1794, uncoloured mezzotint on heavy wove paper, published by Laurie & Whittle 12th May 1794, with printed number 287 to the left of the caption, and (Plate 2) to the right of the plate, some light marks and one or two minor creases, plate size 355 x 250 mm (14 x 9 4/5 ins), sheet size 440 x 305 mm (171/4 x 12 ins), modern black and gilt frame, glazedQty: (1)NOTESThe companion print to Tippoo Saib's two sons taking leave of their mother, published as Plate 1 by Laurie & Whittle on the same day, which was a retouched, reissue of an engraving first published by Robert Sayer on 24th December, 1792.

* Stolker (Jan, 1724-1785). Backgammon Players in an inn, mezzotint after Jan Steen (circa 1625-1679), on laid paper, two or three short closed tears to right margin neatly repaired to verso, trimmed to plate margin, 282 x 370mm (111/8 x 141/2 ins), window mounted (with a typewritten label to mount, possibly by Christopher Mendez)Qty: (1)NOTESLe Blanc 17.

MEZZOTINT: DRAUGHT HORSES 87 x 81.5cm including frame

Richard C. Harden (American b. 1956)CrucibleMezzotintSigned in pencil and inscribed AP (aside from the edition of 20)37.5 x 51cm (14¾ x 20 in.)UnframedTogether with a further mezzotint, 'N.Y. Street', 1987 and two lithographs 'Between the Walls' and 'Landscape with chimneys', various sizes, all unframed. (4)Provenance:Private Collection, USAThence by descent to the current ownerCondition Report: All unframed. Apart from some minor scattered handling marks and very slight discoloration to the sheets, all works are in good original condition.Condition Report Disclaimer

Carson after Eridge, mezzotint, portrait of William Pitt, 1801, 37 x 28cm. and another similar print, 45 x 34cm.

Jean François Janinet (1752-1814) after Hubert Robert (1733-1808) "The Villa Sachetti", mezzotint printed in colour, 34.5cm by 46.5cm

A 19th century colour engraving of a British army officer, 54x34cm; together with a print of 'Trooper: 1st Dragoon Guards 1832', 45x31cm; 18th century colour mezzotint by McArdell after Sir Joshua Reynolds; and one other engraving of Lord Viscount Exmouth (4)

DAVID SMART A.R.E Entrance to Boulogne Harbour, signed, mezzotint, 26 x 36cm Condition Report: Available upon request

After De Morgan -Ferdinand Duke of Brunswick Wolfenbuttle mezzotint 18/19th century, 38cm x 28cm, framed and glazed

Ammirato (Scipione). Delle Famiglie Nobili Fiorentine, Florence, parte prima [all published], Appresso Gio. Donato, e Bernardino Giunti, & Compagni. 1615, title with engraved armorial of the Medici family, [6], 5-212, [8]pp., and 13 engraved genealogical charts, or family trees, of Florentine noble families, including many folding, a few marks, one or two small paper repairs to folds, 3rd chart (of the Cancelliera family) with left margin torn with slight loss, touching the engraved area, three later sepia mezzotint plates bound in at the front of the volume of the Ponte della Santa Trinita, Florence, and Vallombrosa (2) by Thomas Lupton after Rev. Edward Bury [from Lady Charlotte and Reverend Edward Bury, The Three Great Sanctuaries of Tuscany, Valombrosa, Camaldoli, Laverna: A Poem, with Historical & Legendary Notices, Illustrated by engravings of the scenery from original drawings by the late reverennd Edward Bury, London: John Murray, 1833], the first with some spotting, marbled endpapers, 19th century black full morocco gilt, with gilt armorial to upper cover, scuffed and worn with covers detached, some loss to head of spine, folio (38.2 x 25.5 cm, 15 x 10 ins)Qty: (1)NOTESLozzi I, 1578: "raro".

19th century mezzotint after W. Kidd - The Music Makers, published by Tilt 1835, in period glazed frame, total size 49 x 40cm

After J. M. Turner, etching and mezzotint - Water Mill, from Liber Studiorum, 22cm x 31cm, in glazed gilt frame Provenance: Goldmark Gallery, Rutland

A XIX Century Print after Sir Henry Roeburn by Elizabeth Gurland , R.A. Mezzotint by S.E Wilson, "A Boy and Rabbit" text on verso, together with one other XIX Century print Meissonier 1872 of two artist, signed bottom right L. Chiginety? (2)

Scheuchzer (Johann Jacob) Kupfer-Bibel in welcher die Physica Sacra, 4 vol., first edition in German, vol.1 with half-title and engraved frontispiece, fine mezzotint portrait, 759 engraved plates (of 760), one partially hand-coloured, a few folding, occasional browning and foxing, marginal stain to several leaves in vol.2, contemporary calf, rebacked and corners repaired, folio, Augsburg & Ulm, 1731-35.⁂ Monumental work undertaken by the polymath Scheuchzer, attempting to marry the scriptures with the sciences, including paleontology, zoology, biology, astronomy and geology. The plates are after drawings by Johann Melchior Fuessli and are set within borders, often allegorical, by J.D. Preissler.

An 18th century hand coloured mezzotint after Sir Joshua Reynolds and engraved by J. Jones 'To The Worshipful Company Of Ironmongers This Plate Of Rear Admiral Lord Hood Is With Permission Dedicated ....' published 1783, within gilt gesso frame, 50 x 35cm.

An important Chamberlain Worcester vase and cover by Humphrey Chamberlain, circa 1822Of ovoid form with brightly gilded dragon handles, the front panel finely painted with a head and shoulder portrait of the late Princess Charlotte, wearing jewels and a chaplet of pink roses in her hair, signed 'H Chamberlain', the panel richly framed with raised and tooled gilding, reserved on a deep blue ground, the neck and foot moulded with acanthus leaves left in the white and picked out in gold, 53cm high, titled beneath the cover 'Her Royal Highness Princess Charlotte of Saxe Coburg &c. &c.', with puce script mark referring to the New Bond Street address (2)Footnotes:ProvenanceBonhams sale, 2 December 2009, lot 209Twinight CollectionPrincess Charlotte Augusta of Wales (1776-1817) was the only legitimate child of the Prince of Wales, later George IV. Charlotte married Prince Leopold of Saxe-Coburg-Saalfeld in 1816, but tragically she died on 6 November 1817, the day after giving birth to a stillborn child. Charlotte's passing was greatly mourned, not least by the Chamberlain family in Worcester for Princess Charlotte had been a major patron of the factory. In 1814 she awarded Chamberlains her own special warrant, a fact they advertised in The Courier in May and July of that year. Richly decorated dinner and dessert services were ordered by the Princess shortly afterwards and Chamberlain's factory marks were updated to include their 'Special Appointment to her Royal Highness, Princess Charlotte of Wales'.A Chamberlain plaque now in the Museum of Royal Worcester is painted with a very similar portrait of the Princess, also by Humphrey Chamberlain. The plaque is inscribed on the reverse 'Her Royal Highness Princess Charlotte of Saxe-Coburg etc etc. H Chamberlain Jnr'. On this plaque and on the present vase, the costume worn by the Princess is identical to that in a mezzotint by William Saye after a full length portrait by George Dawe, now in the Belgian Embassy in London. In the Chamberlain version, however, the Princess's hairstyle relates to that seen in another portrait by Dawe, showing the Princess with Prince Leopold, apparently in a box at the theatre. Interestingly, the Chamberlain factory records show a payment to a Mr Dawes for £34 5s 0d in July 1822, a very large sum for the time. The plaque in the Museum at Worcester is dated 13 August 1822. Possibly the payment was for another portrait by Dawe, incorporating elements of both those discussed, and the true source for the Chamberlain image.Humphrey Chamberlain Jnr. was the only artist permitted to sign his work at the Chamberlain factory, and deservedly so, for its execution is quite breath-taking. R.W. Binns was full of admiration, writing in his Century of Potting (1865) '... one of the boasted beauties of Mr Chamberlain's work was that you could never distinguish the touch nor discover how the effect was produced, hence a powerful magnifying glass was always placed in the hands of strangers in order that they might examine its minute beauties...'Binns was inviting comparison with the work of Thomas Baxter, who had painted alongside Humphrey Chamberlain from 1819-21. According to Binns, there were 'frequent discussions' between the two painters about the artistic merit of Humphrey Chamberlain's work. Baxter felt that Chamberlain's work was wonderful for its manipulative power but for nothing else. This was at the time when Baxter was unhappy that he had to paint 'dear little things', while the son of the factory owner was able to work on Shakespearian scenes and royal portraits.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Valentine Green after Nathan Drake, A 18th Century mezzotint engraving of Francis Drake, 14" x 9".

Valentine Green After Reynolds, 'His Grace The Duke of Bedford, his brothers and Miss Vernon', mezzotint, 20" x 17" and another mezzotint, by Ward after Cosway, of George and Lord Charles Spencer, 20" x 14", (2).

Frederick Bromley After Lady Burghersh, 'Wellington writing the Waterloo Dispatch' mezzotint, 22.5" x 15", another of Wellington by Wagstaff 17" x 11.75" and a small, coloured mezzotint of Wellington 8" x 7", (3).

Pether after Palthe, 18th Century mezzotint of 'The violinist Carlo Tessarini', 13.75" x 9.75" and two further portrait prints of a military officer, 13.75" x 7.25" and Sir Christopher Wren 8" x 4.5", (3).

A 19th cent Mezzotint Nelson interest 

A mezzotint of an Alpine Scene, (glass damaged).

STUART PEARSON WRIGHT (b. 1975) 'Self portrait in profile 2004' Mezzotint, drypoint and linocut on paper, 25 x 26 cms Guide £200 - £500Stuart Pearson WrightBorn in 1975 and lives in a castle ruin in the middle of nowhere, somewhere in England. After painting Prince Philip naked in 2003 he has been on the run and in hiding from Scotland Yard. He is plagued by an existential void due to his conception in the mid-1970s by anonymous donor insemination. This compels him to spend far too much time by himself in a studio, wrestling with notions of identity, often on a canvas, but not always.He once met former British Prime Minister Gordon Brown in J.K.Rowling’s kitchen whilst she was making him a salmon sandwich. The salmon was, perhaps surprisingly, from a can. Stuart has a wife, two children and five sheep.

Mezzotint portrait 'Lady Hamilton' - Sydney E.Wilson. Signed 1st proof print landscape - Kathleen Caddick (2)

Pencil signed mezzotint portraits - Miss Rosamund Croker, Julia Lady Peel etc -Sydney E Wilson (3)

A 19th century mezzotint, titled 'The Noon' in an oval mount, framed and glazed 50cm x 41cm 

Engravings etc:ÿ A large folio Album, of over 140 large sepia, engraved and mezzotint plates, portraits, views etc., some hd. coloured, plus several smaller examples, all mostly late 18th Century to early 19th Century, mor. backed boards, as an Album, w.a.f. (1)

'QUEEN VICTORIA RECEIVING THE SACRAMENT AT HER CORONATION' AFTER CHARLES ROBERT LESLIE (1794-1859) a mezzotint and mixed media engraving by Samuel Cousins (1801-1887), published by Sir Francis Graham Moon, 1st Baronet, 1st May 1843, in an impressive glazed maple and gilt composition frame decorated with scrolls and with a Royal Coat of Arms surmount, the back with publisher's label and the remains of a chart to identify the participants 67.5 x 118cm Provenance From a Private Cornish Country Estate.

Late 18th century mezzotint by W. Ward after George Morland - The Barn Door, published 1792 by T. Simpson, 53cm x 67cm, in glazed frameProvenance: Leggatt Brothers, St James's Street, The Sir W. Lawson Collection

Late 18th century mezzotint by W. Ward after George Morland - The Woodcutter, published 1792 by Orme, 47cm x 57cm, in glazed frame

Late 18th century mezzotint by W. Ward after George Morland - The Country Stable, published 1792 by Orme, 50cm x 63cm, in glazed frame

JOHN RUSSELL (AFTER) R. H. GEORGE PRINCE OF WALES In the Uniform of the Kentish Bowmen,Stipple engraving by Bartolozzi, 54cm x 34cm (cut to plate mark), also a mezzotint portrait of Henry Lord Viscount Melville, by G. Dawe after the original by Sir Henry Raeburn, 67cm x 42cm, each framed and glazed in Hogarth grames (2) Provenance: The William Mowat-Thomson Collection

ALLAN RAMSAY (AFTER) HON. THE EARL of LOUDOUN in the REGIMANTALS of his HIGHLAND REGIMENT Mezzotint by J. Faber, 48cm x 35cm (image size), also a line engraved portrait of Prince Charles Edward Stuart, a mezzotint of Flora Macdonald by J. Faber after Thomas Hudson and three other portrait engravings, of sizes, all framed and glazed (one damaged) (6) Provenance: The William Mowat-Thomson Collection

SIR JOSHUA REYNOLDS (AFTER) JAMES EARL of ERROLL, LORD HIGH CONSTABLE of SCOTLAND Standing on a balustraded terrace in regalia, Mezzotint by Thomas Watson, 63cm x 38cm, also a full length mezzotint portrait of Sir Nathaniel Dance, with charts, standing by an oil painting of a naval engagement, print executed by J. R. Smith, 66cm x 45cm, framed and glazed (2) Provenance: The William Mowat-Thomson Collection

GARDINER (Samuel Rawson) - OLIVER CROMWELL, Illustrated and with mezzotint portrait frontis., half morocco gilt, published by Goupil & Co., 1899 also Oliver Cromwell by Charles Firth, 1900 (2) Provenance: The William Mowat-Thomson Collection

SIX 18th CENTURY MEZZOTINT PORTRAIT ENGRAVINGS BY VARIOUS HANDS Depicting The Rt. Hon. Philip Lord Hardwicke; Charles Duke of Queensbury & Dover; Dr. Archibald Cameron (executed 1753); John Earl of Rothes; Thomas Graham of Balgowan and Mr. Richard Steele, all framed and glazed, mostly in Hogarth frames (6) Provenance: The William Mowat-Thomson Collection

ALLAN RAMSAY (AFTER) Mrs. FLORA MACDONALD Mezzotint by J. McArdell, a good fresh impression, No. 54 in ink top right, 33cm x 22.5cm, framed and glazed Provenance: The William Mowat-Thomson Collection

VALENTINE GREEN (AFTER) KING GEORGE IV as PRONCE of WALES and HIS BROTHER FREDERICK, DUKE OF YORK and ALBANY and BISHOP of OSNABURGH Mezzotint by Benjamin West, published 1789, cut to image, 52cm x 38cm, also a line engraved portrait of James Francis Edward Stuart, half length, as a child, with cravat and armour by Gererd Edelinck after Jean-Francois de Troy, both framed and glazed (2) Provenance: The William Mowat-Thomson Collection

R. SMITH (AFTER), PORTRAIT OF THE RT. HON. CHARLES JAMES FOX, Mezzotint, 65cm x 45cm, framed and glazed Provenance: The William Mowat-Thomson Collection

SIR JOSHUA REYNOLDS (AFTER) THE RIGHT HON. JOHN LORD VISCOUNT LIGONIER on horseback with battle raging beyond, Mezzotint by E. Fisher, 59cm x 44cm, also a mezzotint portrait of Charles II after Kneller and a mezzotint of The Lord Euston, Charles Fitzroy, 2nd Duke of Grafton, as a boy, of sizes, all gramed and glazed (3) Provenance: The William Mowat-Thomson Collection

ALLAN RAMSAY (AFTER) HALF LENGTH PORTRAIT OF SIR PETER HALKETT of PITFIRRANE Colonel of his Majesty’s 44th Regiment of Foot, Killed in the Action near the River Monongabels, July 9th 1755 Mezzotint by J. McArdell, 34cm x 23cm (plate mark), also three other mezzotint portraits of The Rt. Hon. William Grant; Lieut. General Wills after the portrait by Michael Dahl and Prince Charles of Lorrain, of sizes, all framed and glazed in Hogarth frames (4) Provenance: The William Mowat-Thomson Collection

THOMAS HUDSON (AFTER) THREE QUARTER LENGTH PORTRAIT OF FLORA MACDONALD Mezzotint by J. Faber, 37cm x 28cm, also three other engraved portraits of Flora Macdonald, by various hands, all framed and glazed (4) Provenance: The William Mowat-Thomson Collection

An 18th century reverse glass mezzotint'portrait of a gentleman', Adam style painted and gilt gesso frame with vase and swag surmounted surroundaperture 20.8 15.7 cm., overall 40.5 x 33 cm.Condition: Mezzotint plate possibly reduced in size. Paintwork on frame later, rubbing to gilt

John Raphael Smith after Anthony Van Dyke. Charles I, mezzotint, 37cm x 29cm.

A Framed Coloured Mezzotint by Miss E Milner, HRH The Duke of Cambridge, Signed and with Print Sellers Stamp, 23x31cm

Pair of framed mezzotint engravings by A Galain, 'Boats at Low Water' and 'Ships in a Calm', both after William Van de Velde, limited edition no. 375, approx 36cm x 30cm

A FRAMED CARRINGTON BOWLES MEZZOTINT 'A DRAP OF COMFORT', c.1792, hand coloured, frame size 18.5 x 14.5 cm

After Francis S. Walker (British 1848-1916): Lady Feeding Chickens, mezzotint signed in pencil together with After William Hogarth (British 1697-1764): 'Industry and Idleness' set plates 1-8 engravings max 48cm x 33cm (9)

NO RESERVE Hamanishi (Katsunori) Position VI, mezzotint with etching printed in colours, signed in pencil, inscribed, dated and numbered from an edition of 50, platemark 180 x 135 mm (7 x 5 1/4 in), sheet 330 x 245 mm (13 x 9 3/4 in), unframed, 2000; together with a good group of 18 prints printed in colour, including work by Peter Reddick, Owen Jones, Giorgio Ferrari, H.W. Freeth, Sophie Jensen, Benet Johansen, Helen Hanson, and N. Stortenbecker, various sizes, all hinged into mounts, unframed, mainly late 20th century (19)Provenance:From the collection of the late Mr. Laurence Lee

After Wade, McArdell & Williams  "The Four Seasons," a set of 4 black and white mezzotint Engravings, framed as one, engraved by Houghton, each 14" x 10" (36cms x 25cms). (4)

After F.C. Turner & Others  A set of three coloured Hunting Prints, "The Fox Chase" [Plates 1,2,&4] engd. by Charles Hunt, each approx. 19 1/4" x 23 1/4" (49cms x 59cms), in Hogarth type frames; after Francis Grant [ARA] "The Earl of Harewood on horseback with Hounds," engd. by George R. Ward, approx. 31" x 34" (79cms x 87cms) in pine frame; together with a coloured mezzotint Engraving after Frank Grant, "Captain Easkin Weymss, and old Driver" as a lot, w.a.f. (5)

After Thomas Frye (c. 1710 - 1762)ÿ A set of 6 original mezzotint Engravings, including self portrait,ÿ "Fashionable women holding a Fan," "Young Woman wearing dark hat and holding a closed fan" "Man wearing Cloak" "Man leaning on right elbow" "Fashionable Women wearing lace necklet," each approx. 20" x 14" (51cms x 36cms) in similar hogarth type frames. (6)