We found 6624 price guide item(s) matching your search

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)

By Markham after Burfordÿ Engraving:ÿÿ "The Reverend Doctor Jonathan Swift Dean of St. Patrick's Dublin,ÿPrinted for John Bowles & Son, Lond., 1744. Fine mezzotint, in hogarth type frame. (1) * Very Rare mezzotint of Swift.

A 19th century mezzotint, "Discretion", in gilt frame, and a sepia print after Alfred Ward, "Summer", in gilt frame

Turner (J.M.W.) The Harbours of England. Engraved by Thomas Lupton... with illustrative text by J. Ruskin, London: E. Gambart, 1856, 12 mezzotint plates, Dover plate splitting along upper plate mark, some light spotting, all edges gilt, contemporary half morocco, rubbed and scuffed with a stains, folio, together with Stanfield (Clarkson). Stanfields' Coast Scenery. A series of views in the British Channel, from original drawings taken expressly for the work, London: Smith, Elder, 1836, engraved frontispiece, additional engraved title, 38 engraved plates, a little minor spotting, all edges gilt, original black morocco gilt, lower joint splitting, a little rubbed, folioQty: (2)

CHANCELLOR OF THE EXCHEQUER A Battersea oval enamel plaque, c.1753-56, printed in pale manganese with a half-length portrait of a Chancellor of the Exchequer in full wig, lace cravat and elaborate embroidered jacket, the plaque 8.5cm high, in a modern frame. The identity of the subject is discussed by Bernard Watney, 'The Chancellor on a Battersea Enamel', ECC Trans Vol 7, pt 1 (1968). W B Honey suggested that the print was the work of two hands, the head by Ravenet and the costume by Hancock. See The Connoisseur, Vol LXXIV, 1932. Watney concluded that the subject was perhaps Henry Pelham after an engraving by John Hinton; however, more recent suggestion has been made that the likeness more closely resembles Henry Boyle, 1st Earl of Shannon and Speaker of the Irish House of Commons from 1733 to 1753, as depicted in a mezzotint engraved by John Brooks and sold by Thomas Jefferys and William Herbert. Provenance: sold (as Henry Pelham) Phillips, 6th June 2001, lot 210.

A 19th century mezzotint "Duchess of Devonshire" oval 48 cm x 39 cm with bowed glass and gilt frame.

After Raeburn, a mezzotint "Portrait of a Lady". 70 cm x 56 cm in Victorian gilt frame.

IRISH SCHOOL Trim Castle, East Meath Mezzotint, 17 x 21cm

JAMES MCARDELL (1729-1765) AFTER REMBRANDT The Holy Family at Night Mezzotint, 37 x 51.5cm

THOMAS FRYE (1710-1762) Portrait of an Elderly Gentleman in Brown Velvet Jacket Oil on canvas, 75 x 62cm Signed, dated 1745 and inscribed 'Aged 88' Provenance: With Gimbel Brothers, New York; Sale, Sotheby's New York, 17th January 1991, Lot no. 124, where purchased. Born in Edenderry, Co. Offaly into an Anglo-Irish family, he went as a young man to London where he commenced painting portraits in oils, pastel, charcoal and in miniature. Frye’s big break came with the commission from the Hall of the Saddlers, Cheapside in London to paint a full-length portrait of Frederick, Prince of Wales. This important work brought the young artist a great deal of attention and was the catalyst for a successful practice as a portrait painter. He developed a close and life-long friendship with Sir Joshua Reynolds. Described by Walter Strickland as a clever and versatile artist, in 1744 he became interested in a project for making porcelain and with Edward Heyleyn developed the Bow factory. Frye became manager and for a period of fifteen years devoted virtually all his time and energy to the creation of porcelain of distinction. However, he was forced in 1759 to withdraw from the management of the business due to ill-health and resumed his portraiture practice. Frye’s artistic legacy also includes the development of the mezzotint into an artform in itself - a printmaking process which enabled half-tones to be produced without using line or dot-based techniques, achieving tonality with a high level of quality and richness which was particularly useful in the production of portraits. In the 18th century the mezzotint was viewed largely as a reproductive process slavishly copying the fashionable portraits of the day. However, Frye was using mezzotint as a form of artistic expression in itself, his head series of portraits were conceived as mezzotints, executed as mezzotints, as original works of art and so from an 18th century point of view his approach was completely unique.

ROBERT HUNTER (FL.1752-1803) Portrait of a Gentleman, Wearing a Brown Coat Oil on canvas, 74 x 61cm Signed and dated 1762 bottom right Robert Hunter, widely regarded as the principal Irish portrait painter of his time, was a native of Ulster, but little of his family and early years are known. The earliest reference to his artistic activity comes with an 1752 advertisement in Faulkner's Dublin Journal for engravings after his portrait of Tom Echlin. As he painted Sir Charles Burton, Lord Mayor of Dublin (1752-3), the following year, he was by then becoming established as an important portraitist in the city. His portrait of Burton was afterwards engraved in mezzotint by J. McArdell; and ten years later, in 1763, the Dublin Society awarded him a premium of ten guineas for a full-length portrait of Lord Taaffe, which was engraved in mezzotint the same year by John Dixon. He contributed six works, including a Susanna and the Elders, to the exhibition of the Society of Artists in George's Lane in 1765, and was then living in Bolton Street. He regularly contributed to the exhibitions of the Dublin Artists down to 1777, and again, for the last time, in 1800. Strickland noted that Hunter was for many years at the head of his profession as a portrait painter and had a large and profitable practice but after the arrival of Robert Home in 1780 his vogue declined. He was a renowned collector of Old Master paintings and held an exhibition and sale of his pictures in 1792. Sleator's Gazetteer for 12 March 1763, contains verses on the merits of Hunter as a portrait painter. After lauding his great genius and matchless merits the writer concludes with the lines: “Could Hogarth, Reynolds, view the bold design, They'd gladly weave their richest wreaths with thine.” Strickland mentions that ‘an excellent example is the Portrait of a Gentleman which was formerly at Bellevue, Co. Wicklow, and was sold in 1906, a work which might almost pass as a Reynolds or a Cotes. W. B. S. Taylor (Fine Arts in Great Britain and Ireland) says he took excellent likenesses and his practice was extensive; he was truly a gentleman in feeling, and had he practised his art at a time or in a country where the arts were better understood, he would have been very eminent in his profession.

Miscellaneous 18th and 19th c prints and drawings, to include several mezzotint portraits, some faults, various sizes, sold in portfolio

19TH CENTURY MEZZOTINT PRINT, LORD VISCOUNT NELSON, DUKE OF BRONTE, FRAMED AND GLAZED, 80CM HIGH

19TH CENTURY MEZZOTINT STUDY OF A YOUNG LADY SET IN AN OVAL FRAME WITH RIBBON DETAIL

Francis Kelly (b.1927) - Sussex, colour mezzotint, signed, titled and numbered 19.35 in pencil to the margin; and four others by the artist entitled Broken Mirror, Coastline,Girl Drying, and Afternoon; together with Andre Bicat (1909-1996) - Fruit, lithograph, pencil signed, 31 x 24cm; and one other by the same artist (7) all unframed

Limited Edition Etching of 120 'Jeux Derisories?', signed indistinctly, 49.5 x 39cm; H. Stoddart circular mezzotint of a Young Girl, E. Jackson Stodart ' Le Billet Doux' signed print. (3)

Of Horatio Nelson interest, a collection of prints and ephemera, to include: an engraving after R Bowyer, I.62 x 40cm; a James Gillray cartoon, 17.5 x 22cm; an aquatint of 'The Grand Funeral Car', 29 x 18cm; an mezzotint of Lady Hamilton after G Romney, I.59 x 49cm.

James Ward (1769 - 1859), by and after, His Majesty Reviewing the Third or the Prince of Wales's Regiment of Dragoon Guards of the Tenth or the Prince of Wales's Regiment of Light Dragoons attended by His Royal Highness the Prince of Wales, His Royal Highness the Duke of York Sir William Fawcet, mezzotint, published 1799, 60cm x 68cm

John Simon (1675-1755), after Rosalba Carriera (1673-1757), The Seasons, comprising Summer, Autumn, and Winter, mixed unlettered and lettered impressions, [London: n.d., 18th century], monochrome mezzotint engravings, 34.5cm x 24cm, mounted en suite, (3); matched print of Spring from the same series, late 19th/early 20th century restrike, 34cm x 24cm, framed, (1), [4]

Dart (John), Westmonasterium, or The History and Antiquities of the Abbey Church of St. Peters Westminster [...], To which is added Westminster Abbey, A Poem [...], two volumes bound as one, of which volume I is the thick paper issue, first edition, London: Printed & Sold by James Cole [...], [1723-24], copperplate-printed, illustrated with a portrait mezzotint of the author by John Faber Junior (1684- 1756), 136 engravings (of which 4 are two-page) and inclusive of the 7 plates of subscribers' coats of arms, engraved historiated initials and in-text vignettes, later 19th century calf gilt (disbound, chipped, rubbed, and with losses (including the spine)), folio (41.5cm x 26.5cm), [1]

A pair of 19th century colour mezzotint roundels after Bartolozzi engravings, Pomona and Ceres, each 18cmD

An early 19th Century George III Regency Period reverse mezzotint on glass of vanitas / memento  mori theme. Entitled ' An Exact Representation of the Depositing the Body of her late MAJESTY QUEEN CAROLINE in the FAMILY VAULT BRUNSWICK Aug 24 1821. With the Reverend J.W.G. Wolff delivering her Funeral Prayer amidst the tears and sobs of the company ' Published by W.B Walker 4 Fox & Knot Court Cow Lane London. An unusual piece. Set to a period frame. Measures approx; 30cm x 40cm. No visible damage to the glass.

After Lemual F Abbott, 'Horatio, Viscount Nelson': A gilt framed and glazed coloured antique mezzotint by Arthur Hogg, signed Arthur Hogg. 71x58cm

Ellen Jowett (British, born 1874), by, George Romney, after, Lady Hamilton as Circe, coloured mezzotint, signed in pencil to margin, 57cm x 35cm.

Four antique prints of Norfolk, including mezzotint of Castle Acre priory after John Constable by D. Lucas, hand coloured engraving of Cromer, lithograph by Ladbrooke of Gissing Church, plus one other (4)

Richard Josey after Frederick Goodall- 'The Finding of Moses', mezzotint engraving, signed in pencil by artist and etcher, published by Fairless and Beeforth Gallery, 60.5 by 44.5cm, framed and glazed, 115 by 91.5cm overall. Condition Report: generally good- if a little discoloured from sunlight Condition Report Disclaimer

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

AFTER GEORGE SAUNDERS HIS GRACE GEORGE, DUKE OF GORDON mezzotint on paper, engraved by John Lucas, published by Thomas Boys, 1836, framed(51cm x 37cm)

* DOROTHEA WIGHT (BRITISH 1944 - 2013), THERE IS A GREEN HILL FAR AWAY mezzotint on paper, signed, titled and numbered artist's proof image size 15cm x 13cm, sheet size 28cm x 24cm, overall size 32cm x 28cm Framed and under glass. Note: see text with lot 631.

* DOROTHEA WIGHT (BRITISH 1944 - 2013), BEHIND THE CURTAINS mezzotint on paper, signed, titled and numbered 6/100 image size 20cm x 25cm, sheet size 40cm x 32cm, overall size 44cm x 66cm Framed and under glass. Note: see text with lot 631.

A mezzotint, after J McNeill Whistler, Symphony in White, No 2, signed Arthur L Cox, dated 1922, 40 x 27cm, plus frame and glazed, a print after Whistler, a study from the Magazine of Art, 30 x 22cm and a volume, Meryn Levy, Whistler Lithographs, 1975

Norman Hirst, mezzotint, An English River landscape, the print dated 1903, signed lower right, framed, 59cm x 48cm (excluding frame)

Eleven framed pictures:A signed watercolour of a moored boat on the river Exe, 22 x 31 cmA signed watercolour of Newbury by CFE Harvey, 24 x 34 cmTwo prints in a single frame of scenic views in British Columbia after Hubert van DrimmelenLithograph, Salisbury Cathedral after George Sear, signed in pencil 32 x 50 cmLimited edition mezzotint rural scene after George Morland (1762 – 1804) by Henry T Greenhead , signed published London 1910, 27 x 33cmLithograph “Golden Hours” after Arthur Elsley (1860 – 1852), 27 x 37 cmLithograph after Rembrandt (1606 – 1669), Girl with a broom 1651, 50 x 39 cmLithograph after Arthur Burgess (1879 – 1957) of the three masted top sail schooner Sunbeam IISteel engraving, Skating on the Serpentine by Torchlight, London Illustrated News 1859Tribute to Earl Mountbatten, Navy Times 1979, 40 x 60 cmA sea chart picture advertising the Maritime Museum of Macau, 78 x 53 cm

Samuel Cousins after Thomas Lawrence, Field Marshall The Duke of Wellington , mezzotint, along with other portrait engravings, 15 x 8 , (unframed), (5).

W. Ward after Morland, Fisherman Going Out , hand coloured Mezzotint, inscribed (Ward s name applied in ink a trial proof?), 18 x 22 .

* Landseer (Sir Edwin). [Scottish Hunter Returns to his Family] circa 1850, uncoloured mezzotint by H. T. Ryall on India wove, proof before title and letters, some dust soiling to the margins, 690 x 800 mmQty: (1)

* After Sir Joshua Reynolds (1723-1792). Anne Franks (née Day), Lady Fenoulhet, by James McArdell (circa 1729-1765), 1790, mezzotint, presumably on laid paper, a very good, rich impression, with narrow margins on three sides, trimmed within the platemark at bottom, laid to card, the upper sheet corners abraded, some surface dirt, sheet size 325 x 237 mm, framedQty: (1)

* Young (John). The Show, Freeman and Co. 1792, mezzotint after J. Hoppner with contemporary hand colouring, slight overall toning and staining, occasional repaired marginal closed tears, 630 x 635 mm, framed and glazedQty: (1)

* Decaisne (Henri, 1799-1852). Maria Malibran as Desdemona in Rossini's Otello, circa 1831, colour engraving by Charles Turner, after Decaisne, 36 x 26 cm (14 x 10 ins) mount aperture, framed and glazed, together with: Grevedon (Henri, 1776-1860). Mme. Damoreau-Cinti, 1832, colour lithograph by Lemercier, after Grevedon, published by Charles Tilt, 39.5 x 30.5 cm (15.5 x 12 ins) mount aperture, a little marginal toning, framed, plus Magnus (Eduard, 1799-1872). Jenny Lind, circa 1861, colour mixed-method engraving, after Magnus, printed by Hermann Sagert, 46 x 34 cm (18 x 13.25 ins) mount aperture, framed and glazed, and 14 other 19th century engravings and lithographs of female opera singers, including Madame Grassini, in the character of Zaira, uncoloured mezzotint by S.W. Reynolds after Madame LeBrun, published by Colnaghi, July 22, 1806, Melle Sontag after Grevedon, 1830, uncoloured lithograph, Mme. Meric-Lalande after Grevedon, published by Charles Tilt, 1831, Memorial to Giuditta Pasta, La Societa del Giardino, 1828, Mme. Malibran, lithograph by Adolphe Bilordeaux, Giulia Grisi after Negelen, published John Mitchell Library, May 21st 1835, Madlle. Sontag, hand coloured lithograph published by J. Dickinson, July 1826, printed by Hullmandel, Melle. Prevost, after Grevedon, Melle. Heinefetter, after Grevedon, published by Ostervald, Paris, 1829 and two others similar of Catinka Heinefetter and Mme. Sontag, all framed and glazed, largest overall size including frame 77 x 60.5 cmQty: (17)

After Sir Joshua Reynolds PRA, FRS, FRSA (1723-1792) Portrait of George Spencer, 4th Duke of Marlborough and his family Mezzotint, by Charles Turner (1773-1857) 83.6 x 67cm; 33 x 26¼in Together with John Smith (1652-1743) after Sir Godfrey Kneller (1646-1723); Portrait of Sir Christopher Wren; mezzotint; 35.2 x 25.7cm; 13¾ x 9¾in; John Keyse Sherwin (1751-1790) after John Francis Rigaud (French 1742-1810); Portrait of John Yenn, Architect; stipple; 32 x 26.2cm; 12½ x 10¼in; and John Simon (c.1675-1751) after William Hoare of Bath (1706-1792); Portrait of The Right Honourable Philip Dormer Stanhope Earl of Chesterfield; mezzotint; 34.5 x 26cm; 13½ x 10¼in (4)

A Framed Proof Mezzotint Print, Published Jowett 1914, Miss Croker, Print Measures 34x42cm

Cecil Aldin, pair of chromolithographs, The Bell at Stilton and The White Hart at Hook, 36 x 60cm and a mezzotint of Miss Farren after Thomas Lawrence

Four antique prints of Norfolk, including mezzotint of Castle Acre priory after John Constable by D. Lucas, hand coloured engraving of Cromer, lithograph by Ladbrooke of Gissing Church, plus one other (4)