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L Nosworthy: a signed colour mezzotint, "The hill at Eve after Tatton Winter", in gilt frame

GEORGE MORLAND - THE COWHERD AND MILKMAID, MEZZOTINT, 19TH / EARLY 20TH C RE-ISSUE, MOUNTED TO WITHIN PLATE MARK, 45 X 56.5CM AND A NEW MAP OF LEICESTERSHIRE DIVIDED IN TO HUNDREDS BY JOHN CARY 1801 (2) The first slightly faded and a little stained and dusty. The second browned somewhat

George Harvey (British 20th Century), 'The Shimmering Medway', signed, watercolours. 38 x 28cm approx. Together with a Victorian mezzotint print, 'Domestic Happiness'. (2)(B.P. 21% + VAT)

SYER, AFTER ABBOTT: 'LORD VISCOUNT NELSON', MEZZOTINT 'Proof impression', pub. A.R. Burt, Clerkenwell with a Baxter print of the same subject, and another of Wellington (3)

Gole, Jacob (1660-1737), signed in print, tavern, mezzotint after Adriaen van Ostade, 25 x 20 cm.GOLE, JACOB (1660-1737), ges. in druk r.o., Herbergscene, mezzotint naar Adriaen van Ostade, 25 x 20 cm.

Sydney Ernest Wilson (1869-c1963) - Portrait, colour mezzotint, signed in pencil to the margin and with blindstamp, 36 x 35cm; French portrait mezzotint; and a contemporary print (3)

A Joseph Pimm signed Mezzotint of Greta Bridge and an unsigned Watercolour.

Early 20th C oval mezzotint engraving of Cupid, 24cm x 19cm, another of a mother with child and fox, and a French study of a young girl on a swing (3)

Two coloured mezzotint engravings by W. Ward after after J. Ward ‘Hay Makers’ and ‘Compassionate Children’, a Japanese brushwork female figure study, woodblock print of women paddling in a stream, and four engravings after portraits (8)

* Killigrew (Sir Thomas, 1618-1682, subject). [Portrait of Sir Thomas Killigrew as a pilgrim], c.1680, mezzotint on laid paper, unsigned, engraved quotation in lower margin 'You see my Face, and if you'd know my Minde/Tis this: I hate my self, and all Mankinde', mounted, framed and glazed (not examined out of frame), visible area 34.5 x 24.5 cmQty: (1)NOTESProvenance: Malcolm Rogers CBE FSA (1948-), British art historian and director of the Museum of Fine Arts, Boston from 1994 to 2015. O'Donoghue, Catalogue of Engraved British Portraits: Preserved in the Department of Prints and Drawings in the British Museum, II p.695 no. 8 (unattributed; a proof, without the distich in the the lower margin). Killigrew was a dramatist, theatre director, page of honour to Charles I, and groom of the bedchamber to Charles II. The catalogue of the Pepys Library in Cambridge, however, identifies the sitter as Abraham Simon (1617-1692), medallist. In the first edition of the Dictionary of National Biography (1892) the portrait is attributed to William Faithorne (vol. 31, p. 144).

* Prints & Engravings. A collection of eleven engravings, 18th & 19th century, including Heath (James & Middiman Samuel). Adam and Eve in Paradise, J & J Boydell, 1799, uncoloured mixed method engraving after Jan Brueghel, toned and mount stained, margins abraided, stained and torn with some loss but only to the platemark, 530 x 665 mm, together with Peltro (John). Hunting Plate I, Brushing into Cover, John Harris, 1790, uncoloured engraving after J Sartorius, some creasing and slight surface abrasion, trimmed to plate mark some staining to margins, old adhesion scaring to verso, 480 x 605 mm, with Woollett (William). [Shooting Plate IV] Thomas Bradford, circa 1771, uncoloured engraving after George Stubbs, laid on near-contemporary linen and toned overall, title and eight lines of verse trimmed from below the image and place on the verso, 450 x 550 mm, plus Cousins (Samuel). [Bolton Abbey, ], circa 1837, mixed-method engraving on India wove after Edwin Landseer, proof before title and letters, signed in pencil by the artist and the engraver below the image, slight spotting to the margins, light overall toning, 660 x 770 mm, and Landseer (Thomas). [Geneva, Henry Graves and Company 1860], uncoloured mixed-method engraving in India wove after Sir Edwin Landseer, proof before title and letters, some spotting and water staining, margins frayed and with several closed tears but not affecting the image, 630 x 940 mm, together with Pether (William). A Philosopher giving a Lecture on the Orrery, 1768, uncoloured mezzotint after Joseph Wright, heavily creased with several repaired closed tears affecting image, laid on later thin card, 485 x 590 mm, with Wilkie (David). The Reading of the Will [and] Rent Day, Henry Gibbs & Robert Simpson respectively, circa 1840, two uncoloured engravings by John Burnet and A. Raimbach respectively, both toned and spotted and laid on later thin card, each approximately 480 x 620 mm, plus another three large scale engravings, various sizes and conditionQty: (11)

* Reynolds (Sir Joshua). [His Grace the Duke of Bedford with his Brothers Lord John Russell, Lord William Russell, and Miss Vernon], London: Walter Shropshire, No. 158 New Bond Street, 1 May 1778, mezzotint by Valentine Green after Sir Joshua Reynolds on laid paper, proof before letters but with scratched production and publication detail, damp-stain and apparent repair to lower margin on right, mounted, framed and glazed (not examined out of frame), plate size 51.5 x 43.4 cm, good marginsQty: (1)NOTESProvenance: Malcolm Rogers CBE FSA (1948-), British art historian and director of the Museum of Fine Arts, Boston from 1994 to 2015. Hamilton, Catalogue Raisonné of the Engraved Works of Sir Joshua Reynolds ... from 1755 to 1820, p. 6.

* Robinson (Henry). An accurate Representation of the Meteor which was seen on Augt. 18th 1783. - At first it appeared as one Ball of Fire, but in a few Seconds, broke into many small ones. It's Course was from N.W. to S.E. - This extraordinary Phaenomenon was of that Species of Meteor which the great Phisiologist Dr. Woodward and others call the Draco volans or Flying Dragon. - The above View was taken at Winthorpe near Newark upon Trent, by Henry Robinson, Schoolmaster. - and Published by him as the Act directs, 14 Octr. 1783, uncoloured mezzotint on laid paper, a very good impression, with margins, light spotting to sheet edges, plate size 188 x 250 mm (8.4 x 9.8 ins), sheet size 217 x 282 mm (8.5 x 11 ins)Qty: (1)NOTESOnly three institutional copies located (British Library, British Museum, and Wellcome Collection). Rare mezzotint in excellent condition depicting the great meteor seen over Britain on August 18th, 1783. The great meteor of 1783 was visible for a thousand miles over northwestern Europe. It “ranks among the brightest and most spectacular of such objects ever recorded” and was responsible for some of the “first detailed and generally accurate representations of such a phenomenon” (Beech). Witnesses reported that the meteor lit up the whole sky, with a letter in the Evening Chronicle recounting that its “lustre almost equalled the sun”. The natural philosopher Tiberius Cavallo viewed the meteor with a group of friends from the terrace at Windsor Castle, later writing that “every object appeared very distinct; the whole face of the country being instantly illuminated” (Payne). Literature: Martin Beech, The Great Meteor of 18th August 1783, Journal of the British Astronomical Association, volume 99, number 3 (1989); Richard J. Payne, Meteors and perceptions of environmental change in the annus mirabilis AD 1783-4, North West Geography volume 11, number 1, 2011.

* Van Dyck (Anthony). The Five Eldest Children of Charles I, London: sold by E. Cooper at ye Pigeon in Bedford Street, c.1680, mezzotint after Van Dyck on laid paper, the third state of three (with E. Cooper's imprint replacing Alexander Browne's), British Museum catalogue number BM 1902-10-11-372, a few chips and creases, narrow margins, sheet size 32.9 x 41.4 cm, together with approximately 60 other engravings, etchings and mezzotints, nearly all late-17th or 18th century, including John Smith after Nicolas de Largillierre, 'Le Prince de Galles et la Princesse sa Soeur' (mezzotint, toned and chipped), 3 oval aquatints of Louis XVI, Louis XVII and Elisabeth de Bourbon (backed on card), numerous portraits of British and European aristocrats after Kneller, Lely, van der Werff and others (a few trimmed to image in oval form), an etching of leopards by Richard Gaywood after Francis Barlow, and similarQty: (approx. 60)

* Bridges. Hawkins (G.), Britannia Bridge. General View of Works, September 1848, 1st August 1849, tint stone lithograph, some spotting, margins frayed and chipped but not affecting image, 340 x 465 mm, mounted, together with Orme (William). Drawn on the spot by Wm. Orme of Manchester, for which he obtained the larger Silver Pallett from the Society for the encouragement of Arts, Manufactures & Commerce. To His Grace the Duke of Norfolk, President. This View of the celebrated Aqueduct at Barton in Lancashire, Built by His Grace the Duke of Bridgewater, [Daniel & William Orme, 1793], uncoloured mezzotint, trimmed inside the platemark, central fold, backed with later paper, some creasing and slight surface abrasion, 435 x 525 mm, with Raffield (J.). Wearmouth Bridge, Sunderland, circa 1800, aquatint with contemporary hand colouring, trimmed with loss of title, thread margins, slight marginal staining, 430 x 735 mm, mounted, plus Weale (John, publisher). Cast Iron Girder Bridge intended for Crossing the River Nene near Wisbeach [and] Britannia Bridge, Anglesey Entrance, 1st August 1849, two uncoloured engravings, some spotting and staining, each approximately 335 x 500 mm, uniformly mountedQty: (5)

* Earlom (Richard). The Inside of the Pantheon in Oxford Road, Robert Sayer, 1772, uncoloured mezzotint after Charles Brandoin, title repeated in French, trimmed to the image on three margins, slight creasing, occasional marginal closed tears, mounted in verre églomisé with an additional title in gilt below the image, framed in a later black and gilt mouldingQty: (1)NOTESBM satires 5091. The Pantheon was a highly fashionable place of public entertainment on the south side of Oxford Street which was designed by James Wyatt. Charles Burney stated that "The Pantheon is regarded both by natives and foreigners as the most elegant structure in Europe, if not on the globe......No person of taste in architecture or music, who remembers the Pantheon, its exhibitions, its numerous, splendid and elegant assemblies, can hear it mentioned without a sigh." The building was all but destroyed by fire in 1792 and although rebuilt it never regained its former popularity. It was finally demolished in 1937 and a Marks and Spencer store now stands on the site.

* Piers. Picken (Thomas lithographer), The Blackwall Railway Terminus & Brunswick Pier, with the Brunswick, Propeller & other Steam Vessels, Day & Haghe, circa 1870, tint stone lithograph after W. Ranwell, mount stained and lightly toned, some marginal creasing and occasional marginal closed tears, 335 x 555 mm, together with Ward (William). Ramsgate from the West Pier, circa 1800, uncoloured mezzotint after W. Crambrook, trimmed just inside the platemark, several repaired marginal closed tears, some affecting the image, torn with slight loss to the printed title, laid on modern thin card, 475 x 615 mm, plus Pollard (R.). A North West View of the Quay of Great Yarmouth, J. Butcher, Jany 16th 1790, uncoloured mezzotint after J. Butcher, several repaired closed tears affecting image, trimmed to platemark, laid on later thin card, 425 x 670 mm, and Cartwright (R.). View of Herne Bay shewing the proposed Pier as designed by Thos. Telford Esq. F. R. S. L. & E., circa 1870, uncoloured lithograph, old folds, several repaired closed tears, 270 x 440 mm, mounted, together with Wing (C. W.). Brighton & the Chain Pier from the Pier Head, William Tuppen, Brighton, circa 1870 but later impression, hand-coloured lithograph, mount stained and with some marginal closed tears, laid on later card, 240 x 365 mm, mounted, with an unattributed chromolithograph of Plymouth Pier, old folds, some dust soiling, old folds strengthened on verso m320 x 610 mmQty: (6)

After George Morland (British 1763-1804): 'Peasant and Pigs', coloured mezzotint 45cm x 54cm; After Edwin Edwards (British 1823-1879): 'A June Morning', colour print 39cm x 58cm; together with three fashion engravings and a Vanity Fair print, max 34cm x 20cm (6)Click here to view further images, condition reports, sale times & delivery costs for this lot.

James Alphege Brewer (British 1909-1938): 'Mercery Lane Canterbury', coloured etching signed in pencil 27cm x 14cm; R Houck (20th century): 'La Dordogne', oil on canvas signed, titled on the stretcher verso (a/f) 65cm x 100cm; together with a mezzotint after Thomas Lawrence and five Le Blond prints, max 34cm x 28cm (8)Click here to view further images, condition reports, sale times & delivery costs for this lot.

AUSTRALIALEICHARDT (FRIEDRICH WILHELM LUDWIG) Journal of an Overland Expedition in Australia from Moreton Bay to Port Essington, a Distance of Upwards of 3000 Miles, During the Years 1844-1845, edited by Phillip Parker King, 7 mezzotint plates (including frontispiece) after H. Melville and Charles Rodius (one folding, one slightly cropped touching caption), wood-engraved illustrations in the text, additional folding engraved map of 'Stuart's Discoveries in the Continent of Australia from 1858 to 1862' (with routes hand-coloured in outline, some blue wash), without advertisements, some spotting (heaviest on title), and offsetting from plates to text, several pencil annotations and corrections, late nineteenth century half calf, spine gilt in compartments with morocco lettering labels, slightly rubbed [Abbey Travel 579; Ferguson 4571; Wantrup Checklist 138a], 8vo, T. & W. Boone, 1847Footnotes:Leichardt's account of the privately funded expedition of volunteers he led overland from Sydney to Port Essington in the Northern Territories is 'one of the foundation stones of an exploration collection and every collector should acquire a copy' (Wantrup).Provenance: Henry Gerard Sturt, first Baron Alington (1825-1904), armorial bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

MACKMURDO, Arthur Heygate; “Wren’s City Churches”, first edn. publ. 1883 by G. Allen, Orpington, Mezzotint fronticepiece by Allen after Mackmurdo, decorative title page by the author, quarter vellum, book-plate of Stephen Powys Marks.  (The title page, designed by MacMurdo, is considered to be the first depiction of the Art Nouveau style to appear in England).

A pair of coloured mezzotint engravings after F. Bartolozzi, each depicting the Three Graces. 12” x 10½”, in matching glazed frames.

Grozer after Reynolds, mezzotint, Portrait of Viscount Duncannon, 38 x 27cm, a signed Norman Wilkinson print, overall 43 x 43cm and an oil sketch of a girl

After George Morland (1762/3-1804) English, "Delia in the Country", a coloured mezzotint engraved by M.C. Thorne (signed), with limited edition embossed seal, within a sophisticated frame, (29x22 cm mezzotint).

A selection of 19th prints, inc mezzotint , portrait studies and frames, various, inc engraving, after Fisher and Hall, 23 x 18cm, plus frame and glazed

AFTER BREMONT 'French Boy with Dog', coloured mezzotint, signed in pencil, 50cm x 39cm, framed.

REMBRANDT HARMENSZ VAN RIJN(Leiden 1606 - 1669 Amsterdam)Der stehende Jesusknabe inmitten der Schriftgelehrten, 1652.Radierung auf Bütten ohne Wz..Am unteren Rand links gestochen signiert und datiert: Rembrandt f. 1652.12,6 x 21,4 cm. Gerahmt.Bartsch 65; White/Boon 65 II (von III); Nowell-Usticke 65 II (von III); Hinterding/Rutgers (New Hollstein) 267 I (von II, vor den Überarbeitungen in Mezzotinto). - Ausgezeichneter, kräftiger und überwiegend klarer Druck mit dem für das Blatt typischen Plattenschmutz. Überwiegend mit feinem Rändchen um die Plattenkante. Die oberen Ecken mit braunen Verfärbungen von altem Klebstoff ehemaliger Montierungen, der von der Rückseite durchdrückt. Die Darstellung minim stockfleckig. Verso mit Bleistift mehrere ältere Nummerierungen und wenige Reste alter Montierungen. REMBRANDT HARMENSZ VAN RIJN(Leiden 1606 - 1669 Amsterdam)Christ disputing with the Doctors, 1652.Etching on laid paper without watermark.Engraved signed and dated at the lower left margin: Rembrandt f. 1652.12.6 x 21.4 cm. Framed.Bartsch 65; White/Boon 65 II (of III); Nowell-Usticke 65 II (of III); Hinterding/Rutgers (New Hollstein) 267 I (of II, before the mezzotint revisions). - Excellent, strong and predominently clear impression with the plate residue typical for the sheet. Predominantly with thread margins around the platemark. The upper corners with brown discolouration from old adhesive of previous mounting, showing through from the reverse. The image with minimal foxing. the reverse with various old numbers in pencil and some traces of previous mounting.

Léon Danchin (French 1887-1939): Chasing the Rabbit, colour lithograph signed in pencil pub. 1938, 30cm x 47cm, and an early 20th century mezzotint of a stable scene indistinctly signed in pencil 33cm x 46cm (2) - Condition Report

After George Morland (British 1763-1804): 'Blind Man's Buff', colour mezzotint by Clifford R James signed in pencil with Print Sellers Association blindstamp 42cm x 53cm; 'Canterbury Cathedral', 19th century hand-coloured engraving 35cm x 52cm (2) - Condition Report

* Lucas (David, 1802-1881), after John Constable (1776-1837). The Watering Hole, 1834, mezzotint proof before title, a good, strong impression with wide margins, published by F.G. Moon, London, 1834, plate size 69.5 x 52 cm (27.3 x 20.5 ins), sheet size 78 x 58 cm (30.75 x 22.75 ins), framed and glazedQty: (1)NOTESShirley 36.

* Margetson (William Henry, 1861-1940). The Sea Hath Its Pearls, & The Flowers of the Fields, circa 1900, a pair of circular sepia mezzotint engravings on paper, after the original paintings by W.H. Margetson, diameter 51 cm (20 ins), matching period heavy gilt-moulded frames, glazed, with original printed label of W. Herbert Yates, Frame Maker and Gilder, 11, Petersham Road, Richmond, to verso of eachQty: (2)

Charles Turner after J Hoppner, 'Admiral Lord Nelson', 19th Century mezzotint, 62 cm x 40.5 cm glazed in an ebonised frame, together with a 19th century engraving, after Louis Albert Guislain Bacler d'Albe (1761-1824), portrait of Napoleon Bonaparte, engraved by Mercoli Fils, 44.5 cm x 37 cm glazed in an ebonised frame.Qty: 2

T. Hamilton Crawford after Archibald Thorburn, Two Golden Eagles, mezzotint, signed in pencil in the margins, published W F Embleton 1923, image 48cm x 35.5cm: and a set of four Archibald Thorburn colour prints, signed in pencil, published A Baird Carter, 20.5cm x 30cm, all mounted and in oak framesQty: 5

J. Smith after Kneller, two mezzotint prints, the first of Mary II as Queen and the second of the Lord Churchill's two daughters, mezzotint, both inscribed, the first 18" x 12" the second 5.75" x 11", (unframed).

Richard Earlom (1743-1822), after Charles Towne (1763-1840), Bull Dogs and Badger, London: Published by R. Lambe & Son [...], [1807], hand-coloured mezzotint engraving, trimmed, 49cm x 58cm; after Archibald Thorburn FZS (1860-1935), a set of six studies of game birds, lithographs, 8cm x 10.5cm, framed as one; John Hanbury-Tracy (1910-1971), a pair, a Provençal village, monogrammed, indistinctly titled and dated 1949, pencil on paper, 23cm x 17cm and 17cm x 21cm, framed as one, [3]

AN ANTIQUE PART OIL ON PANEL OF A RELIGIOUS FIGURE A/F TOGETHER WITH A WATERCOLOUR PORTRAIT STUDY OF A LADY PLUS A G. MOORLAND MEZZOTINT ENTITLED 'VILLAGERS' AND A BLACK AND WHITE PHOTOGRAPH OF A GENTLEMAN (4)

Sporting, Veterinary. Bee, John. Sportsman's Slang; A New Dictionary, For the Author, 1825. Orig. cloth backed boards (one leaf of Preface loose) Folding aquatint frontispiece and 4 other uncoloured plates - Egan, Pierce. Sporting Anecdotes, 1820. Cont. half calf --Blaine, Delabere. Canine Pathology, Second Edition, 1824. Orig. boards - Anecdotes on the Origin and Antiquity of Horse-Racing from the Earliest Times, 1825. Orig. boards (spine torn). Mezzotint frontispiece. All 8vo. With 17 others (21)/Provenance: Spetchley Park

After William Clarke Wontner; an original 19th century mezzotint of Lorna Doone, engraved by Frederick Miller and pub Robert Dunthorne 1892 (14 1/4' X 12') 37cm X 30.5cm in parcel gilt frame

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)

L. Busiere, after, Princess of France, signed in pencil, mezzotint, 66.5cm x 52cm; Gainsborough, after, Mrs Siddons (2)

A pair of early 20th century coloured mezzotint portraits of 18th century ladies, 45 x 33cm

Walton After Reynolds, mezzotint, Lady Bampfylde, 64 x 39cm

Assorted pictures and prints, to include after Bartolozzi colour mezzotint, topographical engravings etc

Frederick William Herschel 1738-1822 framed Mezzotint portrait of The Britain composer and a Astronomer by Sidney Litton

J Chamberlain - Still Life of Flowers - signed in pencil to the margin, mezzotint, framed & glazed, 51 by 41cms (20 by 16ins).

BOYDELL, John : Titian Pinxit, hand coloured mezzotint, size : 540 x 420mm, in an old frame probably laid down, 1780.

CIPRIANI, J. B : ' The Languishing Fair, ' coloured mezzotint, 290 x 200mm (to plate marks) engraved by J. K. Sherwin, published by E. Wyatt, 1787. With a collection of misc. prints, maps and some topographical drawings.(portfolio)

STUBBS, George Townly [1756-1815] after George Stubbs:- ' Baronet ', hand coloured mezzotint published 1794, sheet size 510 x 385 mm, attractively framed & glazed.

Randall Mason, a pair of coastal scenes, one with fishing boats, mezzotint prints, pencil signed, 29cm x 23cm, (2)

Heidrun Rathgeb Mangata, 2020 Mezzotint Etching Edition:!0 Signed verso 10 x 15cm (3¾ x 5¾ in.)   I am a painter- printmaker living in the South of Germany, not far from Lake Constance. My work is based on specific, special moments in daily life. Often I am drawing my children, the landscape around or a particular memory. Over the past 20 years I have filled hundreds of small sketchbooks with personal‚ magic moments. The best of these drawings lead to an etching or a painting with an idea of a light, of an atmosphere and the intensity of a particular moment in time.   Education   Slade School of Fine Art , MFA 1996- 1999 Byam Shaw School of Art , London 1993-1996 Fachhochschule Wiesbaden, Germany , MA in Zoological Illustration(1987-1993) DTS University Sydney, Australia 1990, Schoolarship for Art& Design   Exhibitions   Browse& Darby Gallery London since 2007 until now yearly Gallery Artist's Exhibitions Kloster Siessen , Germany 2017 solo show Royal Academy Summer Exhibition 2019 and 2020 upcoming : Oliver Projects , Woolwich Print Fair , November 2021   Awards: DAAD Schoolarship 1990 DAAD Schoolarship 1997-1999 Heitland Foundation Schoolarship 1996 Artist in Residence 1993 Ladakh , Leh 2018 Bhaltos Trust, Isle of Lewis 2019 Künstlerhäuser Worpswede, Germany 2020 Kulturhuset Vemb, Artist in Residency West Jütland 2021 KH Messen, Norway artist residency for printmaking   Gallery Representation   Oliver Projects, London, Browse and Darby Gallery London, Mothflower.com   About the postcard artworks   The artworks are original etchings in a very limited edition maximum of 10.

Partridge shooting, an early 19th century reverse painted mezzotint on glass in a period frame, together with two further reverse painted mezzotints; and aquatint of Grouse shooting published by T. Helme, an aquatint by D. Wolstenholme of Village Scenery - Hounds going to Cover and 2 small engravings on silk of classical scenes (7)

JOHN MARTIN 'Adam and Eve driven from Paradise' 'The World was all before them' (Milton), mezzotint engraving taken from an album of watercolours and prints dated 1833, 13 x 20cm The margin inscribed 'The writing above the engraving is John Martin's'

SAMUEL COUSINS AFTER SIR EDWIN LANDSEER Scene from 'A Mid-Summer Night's Dream', mezzotint, inscribed in pencil 'Saml Cousins', to the margin, published by Henry Graves & Company, 64.5 x 94cm

A Gaymard, After William Ward R A, Lovely Brunette, mezzotint, 23cm x 18cm; others IG Wood, Penydarran Iron Works, Etching, 20cm x 33cm; Copper Works, with part of Morris Town, published 1811, 22cm x 53cm (3)

An early 20th century coloured mezzotint engraving by Miss E Milner after the portrait by Thomas Gainsborough of HRH Prince Octavius, signed in pencil and published 1921, 36 x 26.5cm approx, together with two Baxter prints of children, a coloured print after Henry Hobein, etc, all framed (5)

English School, 19th Century, Portrait of a boy, pastel and chalk, 40 x 32.5cm, together with; a mezzotint after Sir Thomas Lawrence of Lady Castlereagh, 42 x 34cm; an engraving of a gentleman with a flower in his waistcoat, 29 x 21cm; a print of Duke Street Theatre, Brighton, 17 x 24cm; a portrait miniature print of a gentleman in uniform, 10.5 x 8.5cm; and an overpainted print of Charles II, 14 x 12.5cm (unframed) (6)

After Frank Feller (Swiss, 1848-1908): 'The Last Eleven at Maiwand', mezzotint engraving, engraved by C.A. Tompkins, published by Henry Graves & Co. 1884., mounted, glazed, and framed.

Victorian coloured mezzotint of a seated lady with flowers in her hair and on her dress, oval, in rosewood frame with gilt slip, 26cm x 21cm 

A WOODEN CASED MAGNETO-ELECTRIC MACHINE - top of lid is loose, three wood golf club with True Temper shaft, an album containing early 20th Century greetings cards, envelope containing later 20th Century topographical postcards and a mezzotint engraving after George Moreland

John Faber II (1684 - 1756) after William Hoare, mezzotint, portrait of Miss Hoare daughter of William Hoare, first state, image 10.5" x 9", mountedLight foxing in the margin and around the title panel