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JAMES WALKER (1748–1808) AFTER GEORGE ROMNEY (1734 – 1802) Portrait of Frances Woodley, Mrs Henry Bankes the Younger (1760-1823) Mezzotint on paper with margins Published as the Act directs Dec. 12th 1781 by I Walker No. 50 Charlotte Street, Portland Place 41 x 25 cm Miss Frances Woodley is the eldest daughter of William Woodley (1728- 1793) and Frances Payne (1738 - 1813). The portrait was painted, during the winter of 1780-81 according the artist’s sittings’ records, before Frances Woodley, ‘one of the most remarkable beauties of the day’, married Henry Bankes the younger (1757 - 1834) in 1784. In 1784-1802 and in 1805 Walker worked in St. Petersburg, creating an outstanding gallery of engraved portraits of the Russian aristocracy.

JOHN OPIE: LECTURES ON PAINTING DELIVERED AT THE ROYAL ACADEMY OF ARTS..., London for Longman, Hirst, Rees & Orme, 1809, 1st edition, mezzotint portfrontis, subscribers list, 4to, original drab boards, very worn, lacks blanks, inner joints split + ADA EARLAND: JOHN OPIE AND HIS CIRCLE, London, Hutchinson, 1911, 1st edition, original buckram gilt worn and soiled, top edges gilt + W ROBERTS: SIR WILLIAM BEECHEY, RA, London, Duckworth, 1907, 1st edition, original cloth gilt, ex-lib (3)

James McArdell (1729-1765) Mrs Mary Smith of Portsmouth, mezzotint on glass, in a period frame, 38.5 x 26.5cm

Samuel William Reynolds (British, 1772-1835). Portrait of John Opie Esqr after a self portrait by this artist. Mezzotint c1800. 19.5 x 16.5cm. Framed and glazed.

Blomefield (Francis). An Essay towards a Topographical History of the County of Norfolk, 11 volumes, 2nd edition, London: William Miller, 1805-10, half-titles, mezzotint portrait frontispiece to volume 1, four folding engraved maps & plans (city plan of Norwich linen-backed), 31 engraved plates (including 4 folding),15 pedigrees (including 8 folding, one with closed tear to fold and another linen-backed), two folding tables (all plates, maps/plans & pedigrees as Upcott), few engraved illustrations to text, list of subscribers present, occasional marginal notes and drawings to few leaves, some browning, damp-soiling and spotting, bookplates of Charles George Milnes Gaskell and Harry Lawrence Bradfer-Lawrence to front endpapers, top edges gilt, remainder untrimmed, late 19th/early 20th century uniform half vellum gilt by Riviere & son, green morocco title labels to spines, few volumes with light wear to boards (mostly fore-edges), large 4to (approximately 31 x 24 cm)Qty: (11)

Attributed to Joseph Nash (1809-1878), coloured mezzotint, after the original drawing by David Wilkie (1785-1841), "The Muleteer". 46 x 31 cm in later gilt frame and glazed with Kufa Gallery label verso.

Collection of framed pictures relating to the Anson family, including two late-18th century engravings (The Engagement of the Centurion and Acapulco, and Lord Anson attending George II), a photomechanical copy of a mezzotint portrait of General Sir George Anson, a 19th-century watercolour miniature portrait of a young woman (the oval frame bearing a later label verso stating 'Thought to be Lady George Anson'), and others. Together with a framed postcard of Rolleston Hall (7)

Sir Frank Short (1857-1945), mezzotint, A Sussex Down after John Constable, signed in pencil, label verso, 14 x 25cm

Rare George Caleb Bingham 1811-1879) American Engraving and Mezzotint. Titled "Stump Speaking". Overall: 23 1/2 x 29 1/2 in. Sight: 16 x 22 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.

Charles Turner (1774-1857), after Francis Delaram (fl. 1615-1624), James the First, King of Great Britain, London: Published by S. Woodburn, [n.d., c. 1814], equestrian portrait with London in the background, mezzotint engraving, 32cm x 21.5cm, contemporaneous gilt gesso frame

John Fairburn (fl. 1789-1840, publisher), a pair, Summer and Autumn, from Thompson's Seasons, London: June 1st, 1796, mezzotint engravings with contemporary hand-colouring, 36cm x 25cm, (2); George Vertue FSA (1684-1756), by, [Franis Bacon, Viscount St. Albans], the portrait frontispiece from Bacon's Opera Omnia, London: 1728, engraving, 29cm x 17.5cm, (1), [3]

Jean Faber, by, Peter Vandyck, after, Son Altesse Serenissime Guillaume Charles Henri Friso, Prince d'Orange et de Nassau &c., mezzotint, 35cm x 25cm; John Watts, by, Sir Joshua Reynolds, after, portrait of The Rt. Hon. Francis Seymour Conway, Earl of Hertford, published Jan 28th 1786, New Bond Street, London, mezzotint, 38.5cm x 28cm (2)

MEZZOTINT BY JOHN COTHER WEBB - CALIGULAS PALACE AFTER J M W TURNER

Fine autographed letter, probably circa 1626, signed Henriette R in French (no place or date), to her brother, the Duke of Orleans, thanking him for his letter given to her by De Boissinon and congratulating him on his marriage, applied with two red wax seals, one with a small length of original silk tie attached and contemporary endorsement verso, together with a mezzotint print of the author, 10ins x 6.75ins approximately

Smith after Wissing, mezzotint, Portrait of Guilielmus Wissing, 34 x 24cm

Sydney E Wilson (1869-c1963) - Young siblings, colour mezzotint, pencil signed to the margin, 38 x 35cm; one other mezzotint and a modern print (3)

After Francesco Bartolozzi (1727-1815) - Pair of coloured mezzotints depicting Spring and Autumn - Scantily clad young ladies attended by Putti, 10ins diameter, a pair of coloured mezzotints each depicting three figures within landscapes, 6.75ins diameter, a pair of oval mezzotints depicting Fonrose and Adelaide, ovals 5.25ins x 4ins, all in gilt moulded frames and glazed, a late Georgian silk needlework panel depicting a shepherdess and two sheep in a landscape, oval 12ins x 10ins, (damaged), and two other colour prints - sepia mezzotint depicting a family scene, 12.25ins diameter, and a colour print depicting classical female and three cupids, 7ins diameter, all in gilt frames and glazed

Francesco Bartolozzi (1727-1815) after Anniball Caracci - Coloured mezzotint - "Clytie being led by Cupid", 17ins diameter, published Novr. 26th 1772 by John Boydell, Cheapside, London, and after Francesco Bartolozzi (1727-1815) - Coloured mezzotint - "Blind Man's Buff", 10.5ins diameter, both in gilt moulded frames and glazed

A Signed John Cother Webb mezzotint, framed

Francis Blomefield: 'An Essay Towards a Topographical History of the County of Norfolk', London, William Miller, 1805-1810, 11 volumes, mezzotint portrait frontis plus 3 folding engraved maps/plans (comprising Norwich, King's Lynn & Map of Marshland (often not present)), plus 33 engraved plates (many folding) plus 14 pedigrees on 15 folding sheets as called for, half titles, ex Exeter City Library, uniform rebound green library cloth gilt, some library markings and some single page plates toned as usual, but else internally an extremely clean and tidy set, with all folding maps, plates and pedigrees professionally backed onto linen to reinforce and conserve them, inner joints professionally reinforced, a good, presentable utilitarian set of Blomefield's comprehensive history of the county of Norfolk, widely considered to be detailed, reliable and comparable with the best county histories of the period (11)

AFTER ABRAHAM COOPER (1787-1868) "Daniel Haigh Esq.", study of a gentleman seated on horseback in a landscape with hunt on hills in background, mezzotint engraving by W Giller, image size 46 cm x 58 cm, in verre eglomise Hogarth frame

Charles George Lewis (1808-1880) after Sir Edwin Landseer RA'Otters and Salmon'mezzotint engraving with hand-colouring, signed '...Landseer' in pencil l.l., with Printsellers' Association blind stampplate 55.7x 87cm

Sydney E Wilson, coloured mezzotint, in a glazed frame, size overall 63 x 53cm

Ten assorted volumes, including Baedeker's Rhine, 1886, 30 maps and 22 plans; 19th Century bound volume of Punch, vols 9-12; King Albert's Book 1914 (2); Wilson "Engravings in Mezzotint", circa 1900, etc (10)

A small folding lacquered and applique screen; a large watercolour of hydrangea by Patricia Dyson '81; another P Dyson watercolour; After Ellen Jewett (19th century), Mother and Child, mezzotint, signed; four smaller framed watercolours and an unframed example (9)

Thomas Frye (Irish 1710-1762)Portrait of a Gentleman, seated three-quarter-length, at a table Oil on canvas125 x 104cm (49 x 40¾ in.)Original 18th century carved and gilded frame. Provenance:Sale, Christie's, London, 19 June 2012, lot 100 The Irish-born Thomas Frye was one of the most original artists and designers of the 18th century. He engraved a celebrated series of life-size heads in mezzotint as well as being the founder and manager of the Bow porcelain factory in East London where he designed many of the early figures. Ill-health from the factory caused him to retire to Wales in 1759 when he took up oil painting again, from when this portrait likely dates. Condition Report: The canvas has been relined. There is surface dirt, including white blemishes and craquelure throughout. There are light stretcher marks visible. Inspection under ultraviolet light reveals scattered retouching throughout and a heavy varnish. In overall reasonable condition.Condition Report Disclaimer

W Ward ARA, by, Thomas Weaver, after, A Prized Bull in a Pastoral landscape, mezzotint, 45cm x 59cm, framed; a watercolour sketch of three pet dogs, 23cm x 32cm; a hunting print; other prints (5)

William Ward, by, George Morland, after, The Thatcher, engraved mezzotint, hand coloured,40cm x 51cm, framed; J Flower, by, The Town Hall, Leicester, engraving, hand tinted, 21.5cm x 34cm, framed (2)

PENCIL SIGNED MEZZOTINT ''THE BENT TREE'' AFTER COROT, IN DECORATIVE ANTIQUE GILT FRAME, SIGNED IN PENCIL AND LABEL TO REVERSE.

After James Stuart (fl.c.1764): Miniature Bust Portrait of Admiral Sir John Jervis, wearing naval uniform, on ivory, oval, 7.8cm by 6cm, in a brass mounted ebonised frameThe portrait derives from the mezzotint produced by Robert Laurie in 1794 after the oil by James Stuart. Jervis was a popular subject at the time as a naval hero who commanded the English Fleet at the victory of the Battle of Cape St Vincent CONDITION REPORT: . Not examined out of frame. Miniature appears to be in good condition. Frame with some deep scratching.

A 19th Century framed limited edition mezzotint of Lady Petre by E.E. Milner, 45cm x 29cm

Isaac Beckett, after G.D. Vois, mezzotint, Print of John Earl of Rochester aged 33 years, Peccatum Originale, This was she that first plucked fruit from the forbidden tree, Is Beckett, 26cm x 34cm

NO RESERVE Scottish Fishing.- Heath (William) Sporting in the Scottish Isles no. III. Salmon Fishing, lithograph with hand-colouring, heightened with gum arabic, 280 x 300 mm (11 x 11 3/4 in), under glass, possibly laid onto support, minor browning and toning, framed, published by Ackermann, 1835; together with an anonymous portrait of a gentleman in tartan suit and bonnet sitting at a table beside three small fish (salmon?), mezzotint with hand-colouring, 260 x 210 mm (10 1/4 x 8 1/4 in), under glass, trimmed, framed, early 19th century (2)Literature:Beazley, David, Images of Angling. Three Centuries of British Angling Prints, Creel Press, 2010, nos. 189 and 213⁂ An early illustration of fishing in the remoteness of the Western Isles.

NO RESERVE Angling's Age of Romance.- Sayer (Robert, publisher) Straphon & Chloe, mezzotint, numbered '151' in the lower right corner, platemark approx. 150 x 115 mm (5 7/8 x 4 1/2 in), under glass, minor damp-stains and surface dirt, framed, circa 1760-1794; together with Sayer's Strephon & Phillis, mezzotint with engraving, numbered '196', on coarse wove paper, sheet 152 x 112 mm (6 x 4 1/2 in), thread margins, minor spotting and surface dirt, unframed, 1787 (2)Literature:Beazley, David, Images of Angling. Three Centuries of British Angling Prints, Creel Press, 2010, nos. 43 and 44

Angling's Age of Romance.- R. Laurie & J. Whittle (publishers) The Sweet Little Girl That I Love, mezzotint with early hand-colouring on wove paper, platemark 345 x 245 mm (13 1/2 x 9 3/4 in), small margins, some areas of expert restoration to marginal loss and nicks, minor surface dirt, unframed, 1794; together with a good group of 4 further prints, including James Wilson's uncoloured mezzotint 'Gudgeon Fishing, or He's fairly Hook'd', after Anthony Walker, Sullivan's engraving after Hogarth's Perspective frontispiece, and 3 other 19th century Romantic fishing prints, various sizes, all unframed, 1770-1830 (6)Literature:Beazley, David, Images of Angling. Three Centuries of British Angling Prints, Creel Press, 2010, nos. 48-49

NO RESERVE Constable (John), After. Mill Stream, mezzotint with etching by David Lucas, platemark 175 x 220 mm (6 7/8 x 8 3/4 in), sheet 260 x 290 mm (10 1/4 x 11 1/2 in), some spotting and browning, unframed, Bohn edition, 1831 [but circa 1855]; together with four further works, including 3 sepia printed mezzotints with etching by Turner and William Say, with two variant impressions of 'Near Blair Athol, Scotland', and one of 'Young Anglers', and John Boydell's engraving 'No. 4. Drawn From Nature' after Gainsborough, all unframed, [circa 1770s to 1811] (5)Literature:Beazley, David, Images of Angling. Three Centuries of British Angling Prints, Creel Press, 2010, cf. nos. 154-158

Angling's Age of Romance.- Sayer (Robert, publisher) & J. Bennett. The Angelic Angler, Lennox-Boyd's final state (of three), mezzotint with etching on laid paper with early hand-colouring, 365 x 260 mm (14 1/4 x 10 1/4 in), under glass, some damp-stains and surface dirt, framed, published by Sayer & Bennett, 1781; together with another anonymous mezzotint with early hand-colouring, 'Spring', published by G. Thompson and J. Evans, 255 x 255 mm (14 x 10 in), under glass, surface dirt and browning, framed, 1796 (2)Literature:Beazley, David, Images of Angling. Three Centuries of British Angling Prints, Creel Press, 2010, nos. 45 and 52

Scottish Fisherman.- Frain (Robert), After. Rob 'O The Trows, Fisherman, lithograph by Charles Couzens, sheet 575 x 400 mm (22 3/4 x 15 3/4 in), under glass, appears to be laid onto support, creases and repairs, mainly marginal, surface dirt and browning, framed, printed by M. & N. Hanhart, [circa 1842]; together with a mezzotint printed in colours after Sir Henry Raeburn's 'Lt. Col. Bryce McMurdo', 550 x 350 mm (21 3/4 x 13 3/4 in), under glass, framed, published by Arthur Greatorex, [1931] (2)Literature:Beazley, David, Images of Angling. Three Centuries of British Angling Prints, Creel Press, 2010, nos. 215-216⁂ "Rob o' the Trows" was the well known Tweed professional, Rob Kerss (possibly Kerse), who was fisherman to Lieut.-General Sir Thomas Brisbane of Makersta (now Makerstoun) on the River Tweed, above Kelso. He was called 'Rob o' the Trows' after a stretch of the river on the Makerstoun water that was also the name of a small village where he probably lived. He is said to have been well known to everyone who fished the middle Tweed in the early-to-middle 19th century. He was born about 1770 and died age 79 in 1849. Thomas Tod Stoddart recalls him in the autobiographical sketch he wrote for Songs of the Seasons, Kelso, 1881.

Angling's Age of Romance.- Dighton (Robert), After. Fair Emily, mezzotint with etching, platemark 350 x 250 mm (13 3/4 x 9 7/8 in), under glass, minor surface dirt, framed, published by Haines & Son, 1796; together with 3 others, including a hand-coloured mezzotint published by Carrington Bowles after Dighton, 'August / Aout', a mezzotint by Thomas Burford 'August', and a stipple engraving printed in colours by John Pierson of an angling couple, each between 310 x 220 mm (12 1/4 x 8 1/2 in) and 370 x 270 mm (14 1/2 x 10 1/2 in), all under glass, framed, [late 18th century] (4)Literature:Beazley, David, Images of Angling. Three Centuries of British Angling Prints, Creel Press, 2010, nos. 41, 46, 47, and 55

Fishing Portraits.- Zoffany (Johan), After. Master James Sayer, at the age of 13, mezzotint with etching by Richard Houston, scratch letter proof on laid paper, platemark 505 x 360 mm (19 3/4 x 14 1/8 in), under glass, wide margins, minor surface dirt, framed, 1772.Literature:Chaloner Smith 109 i/iiBeazley, David, Images of Angling. Three Centuries of British Angling Prints, Creel Press, 2010, nos. 225

Collins (William) & William Ward. Boys Fishing, two variant states, one proof impression re-worked by Ward in mezzotint and published by Francis Collins, etchings and mezzotint, each sheet 275 x 325 mm (10 3/4 x 12 3/4 in), hinged into mounts, minor surface dirt, unframed, [circa 1814-1820]; together with a mixed group of 27 fishing prints, including landscapes, portraits, and advertisements, various sizes, all unframed, [late 19th century and early 20th century] (29).Literature:Beazley, David, Images of Angling. Three Centuries of British Angling Prints, Creel Press, 2010, nos. 227-228

NO RESERVE Haden (Seymour) Grayling fishing, mezzotint with drypoint, signed in pencil on cream wove paper, platemark 190 x 295 mm (7 1/2 x 11 3/4 in), full margins, [circa 1897]Beazley, David, Images of Angling. Three Centuries of British Angling Prints, Creel Press, 2010, no. 284

D'Éon de Beaumont (Charles, Chevalier D'Éon in the French nobility, diplomatist and transvestite, 1728-1810).- Peter Henry Treyssac de Vergy ... true copy of the last will and testament..., printed broadside with mezzotint portrait, 420 x 270mm., irregularly trimmed, crease to upper left corner, unframed, [ESTC records 1 copy only (Guildhall)], [London], [1775.]."Following the publication of the Lettres, mémoires et négociations Guerchy sued D'Éon for libel, and the case was heard in the court of the king's bench on 3 July 1764. D'Éon did not present himself and was found guilty by default. Sentence was postponed until he could be brought to court. He was subsequently outlawed. He had disappeared, adopting female attire as a disguise. He hid himself at Byfleet, Surrey, in the house of an opposition MP, Humphrey Cotes, a friend of John Wilkes. On 12 February 1765, on the evidence of an adventurer called Treyssac de Vergy, originally an acolyte of Guerchy but now an ally of D'Éon, the French ambassador was indicted in the court of common pleas of having incited Treyssac to kill D'Éon. The case went through several stages. Guerchy's residence was stoned by a Wilkite mob. The ambassador was recalled, and the chief cause of D'Éon's agitation was removed." - Oxford DNB.

Watson (Thomas) Lord Apsley and his Brother, mezzotint, a good impression on laid paper with margins, neat restoration to reinforce platemark all round, in modern mount, plate measures 500 x 355 mm (19 3/4 x 14 in), Thomas Watson & W. Dickinson, 28 June 1776.⁂ Henry Bathurst, 3rd Earl Bathurst (1762-1834) to the left, and Hon. Apsley Bathurst, then Viscount Apsley (1769-1816) to the right.

Hubert Von Herkomer (1849-1914) British, a Highland gentleman, mezzotint, signed in pencil, 29" x 16", (unframed).

James Macardell, 'Sir Isaac Newton', Mezzotint, 10.5" x 7", (unframed).

After Godfrey Kneller, 'Mr Grinlin Gibbons', mezzotint, along with two other antique portrait prints, the first 14" x 10.5", the other two around 15" x 10.75". (unframed), (3).

COLLECTION OF ELEVEN MEZZOTINT EQUESTRIAN PRINTS LATE 18TH CENTURY mostly published by T.Burford, including some titled examples, within giltwood and gesso frames, behind glass with reverse painted black and gilt borders,(40.5cm x 51cm (16in x 20in))Provenance: Property from Kilmany House, Fife

Herbert Thomas Dicksee RE (1862-1942)'A Place in the Sun'etching, dated 1924, published by Frost & Reed, with blind stampplate 36.5 x 57cm, unframed;together with a mezzotint engraving after Fred Morgan, 'Babes in the Wood', unframed (2)Condition report: A place in the sun - some time staining and discolouration to the paper, some water staining on the mount.Babes in the Wood - full sheet, laid down onto card. some time staining.

After George Morland, The Fishermen, a 19th century mezzotint, 43cm x 56cm, in a verre eglomise frame

After George Morland, The Fern Gatherers, a 19th century mezzotint, 42cm x 58cm

After Lucy Elizabeth Kemp-Welch (1869-1958): An Artist's Proof, monochrome mezzotint, of three English Civil War cavaliers on horseback speaking to two children standing in a field, Artist's Proof blind stamp lower right and signed in pencil below lower left, 36cm x 66cm

Johann Gerhard Huck (1758 Düsseldorf - 1811 Hannover)"Mauriz von Brabeck". OriginaltitelMezzotinto/Papier, 1795-1806. In der Platte sign., bez., dat. u. betitelt. Porträt nach einem Gemälde von A. Graff. Herausgegeben von der "Chalcographischen Gesellschaft", Dessau. Beschnitten, alt auf Hinterlegpapier kaschiert. Blatt 33,7 cm x 26,3 cm.Der Kunstsammler Friedrich Moritz von Brabeck (1742 - 1814) war Gründer der "Chalcographischen Gesellschaft" in Dessau.Mezzotint on paper, 1795-1806. Signed, inscribed, dated and titled in the plate. After a painting by A. Graff. Cut to the margins, laid down on a backing paper.

Johann Joseph Freidhoff (1768 Heggen bei Olpe - 1818 Berlin)ChristuskopfMezzotinto/Papier, 1798. In der Platte sign., bez. u. dat. u. betitelt. Nach einem verschollenen Gemälde von Annibale Carracci in der Staatl. Gemäldegalerie in Dresden. Herausgegeben von der "Chalcographischen Gesellschaft" in Dessau, 1798. Stockfleckig. Blatt 40 cm x 32 cm.Mezzotint on paper, 1798. Signed, inscribed, dated and titled in the plate. After a painting by Annibale Carracci. Published by the "Chalcographische Gesellschaft" in Dessau, 1798. Foxing.

Two portrait prints including John Jacobe after Joshua Reynolds, 'Mary Meyer as Hebe', mezzotint, 56.5 x 38cms, published 1780 by J. Boydell, London; and another print by John Raphael Smith after Sir Thomas Lawrence 'John Philpot Curran', published by I. R Smith 37.5 x 30.5cms (2) Condition Report: The first with damaged frame and broken glass, print with scattered spotting and discolouration, very tight mount means margins are obscured; The second discoloured spotting and stating notably to lower left hand corner and has large water stain. Condition Report Disclaimer

19th Century oval colour mezzotint of a lady, 40cm x 30.5cm Condition: Heavy damage present to the gilt frame with chunks missing, signs of restoration, with cracks, please check the extra images provided prior to bidding. **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.

Henry Perronet Briggs RA, 1793-1844, attributed.Portrait of Charles George Perceval, 2nd Baron Arden 1756-1840 Oil on canvas126.5 x 101cmOrnate gilt frame,152x125cm, (damage)Note: See the mezzotint by Thomas Goff Lupton, after Henry Perronet Briggs in the National Portrait Gallery (NPG D7087)Charles George Perceval, 2nd Baron Arden, Lord of the Admiralty 1783-1801, Tory MP for Launceston, Warwick & Totnes, Fellow of the Royal Society 1786, Privy Counsellor 1801, Lord of the Bedchamber 1804-1812, Lord Lieutenant of Surrey 1830-1840.Provenance: With the Lefroy family (Helen Lefroy, Granddaughter to the 2nd Baron Arden) thence by decent.Perronet Briggs was predominantly an historical painter. After his election to the Royal Academy in 1832 he devoted his attention almost exclusively to portraiture. His cousin Amelia was married to the noted Cornish portraitist John Opie.

A framed and glazed coloured mezzotint by French artist Heran Chaban (1887 - 1939) of sailing boats on the water at sunset. Signed by artist. H.63xW.74cm

LAMB, Charles (1775-1834). Autograph letter signed ("C. Lamb") to Mr. Allsop. N.p., 29 May 1829.1 page, 8vo, a few holes or tears from rough opening. Lamb writes English stockbroker, author, and follower of radical politics, Thomas Allsop (1795-1880): "I do not know a soul that at my recommendation is likely to do what you wish to have done. I have considered all my friends round, and there is not one to whom I could apply with a chance of success. You know pretty well of whom they consist."[With:] Mezzotint portrait engraving of Charles Lamb by Samuel Arlent Edwards (1862-1938), matted and framed.Property from Historic Sengen House, Cornwall-on-Hudson, New YorkFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

Richard Smythe: a signed coloured mezzotint, "The Cavendish Children" after Hopner, in strip frame, a copy of an 18th century French coloured print, "Les Hazards Heureaux De L'Escarpolettes", Blome's map of Cumberland, in Hogarth frame, Richard Humphreys Jones: two signed limited edition prints, "Pont Twr Bethesda", 21/500, and "Tryfan from Talybraich", 21/500, in strip frames, and six other prints