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A set of nine portrait mezzotint engravings, second half of the 18th century, including:'Miss Frances Woodley', by Harry Scott-Bridgwater, after George Romney,'Lady Mary Isabella Somerset, Duchess of Rutland', by Samuel Cousins,'Francis Rawdon-Hastings, 1st Marquess of Hastings' and 'Sir Edward Hughes, K.B.', by John Jones,'Lieutenant-Colonel Banastre Tarleton', by John Raphael Smith, 'Miss Harriet Powell', by Richard Houston, after Sir Joshua Reynolds,'Henry Dundas, 1st Viscount Melville', by George Dawe, after Sir Henry Raeburn, and'King William IV', by James Ward, after Sir Martin Archer,predominantly approximately 62 x 38cmframed 82.5 x 59cm (9)Condition ReportOverall the prints are in good condition. There are two copies of 'Lieutenant-Colonel Banastre Tarleton' and one is unmounted. There are a few handling creases, areas of foxing and discolouration of the paper. Francis Rawdon-Hastings and 'The Duke of Clarence' unmounted. Not inspected out of frame. Please see additional images for reference.

A set of seven portrait mezzotint engravings, late 18th century, to include:'Sir Harbord Harbord, Bart', by John Raphael Smith,'The Hon George Cranfield Berkeley', by Henry Birche, after Thomas Gainsborough,'Lady Elizabeth Keppel', by Edward Fisher,'Mrs Matthew Ellis' and 'Elizabeth, Countess of Derby', by William Dickinson,'Mary Amelia Cecil, Marchioness of Salisbury', by Valentine Green, after Sir Joshua Reynolds, 'Mrs Woodhull', by Richard Houston, after Johan Joseph Zoffany,each in an ebonised and gilt-metal-mounted Hogarth frame,various sizes, largest 66 x 46cm, framed 82 x 62cm (7)

After Samuel and Nathanial Buck The North-East View of Scaleby Castle in the County of Cumberland 18th century engraving, and a colour mezzotint of King Henry VI, founder of King's College, Cambridge, from the original housed in King's College, 15cm x 12.5cm.  (2)

After William Heath 2nd Foot Guards Hand-coloured engraving, 1827, SW Forbes, 41 Piccadilly, London, 32cm x 23.5cm, and coloured portrait mezzotint after Rudolph Ackerman of a 10th Hussar.  (2)

After Green ValentineArthur Wentworth of Bulmer, near Castle Howard, Yorkshire, aged 75, earth stopper to Charles, late Earl of Carlisle Coloured mezzotint, 26cm x 34cm.

"Thunder" Old English Setter mezzotint on wove, not laid down William Ward after HB Chalon "Horse painter to the Duke and Duchess of York". Pub. London 1798. Framed and glazed Hogarth frame. 55cm x 65cm.

Lawrence Josset a mezzotint after Sir Oswald Birley, "Winston s Churchill" plain oak framed, together with two other framed prints of Churchill, one finished to resemble an oil painting (3)

18th century coloured mezzotint of Louis XVI, King of France, after Joseph Boze (1745-1826), together with another of Marie Antoinette, Queen of France, after Dufroe, 19cm x 14.5cm, both within gilt and ebonised frames (2)

JOHN DRAWBRIDGE (New Zealand 1930-2005) An unframed limited edition mezzotint - 'Pacific Horizons'. Pencil signed, 324/50 Imp. Plate size 17cm x 12.4cm, overall 33.2cm x 29cm. Together with a hard back book by Damian Skinner on the artist etc

* Peter (Robert Charles, 1888-1980). Winter Garden, circa 1920, mezzotint on thick wove paper, an eye-catching and stylised image of Adam and Eve standing inside an Art Deco style conservatory, surrounded by a snake and foliage, signed and titled by the artist, plate size 55.5 x 29 cm (21 3/4 x 11 1/2 ins), sheet size 60.5 x 44 cm (23 3/4 x 17 1/4 ins), tipped onto backing card, some spotting, hinge-mountedQTY: (1)

* Vicentino (Giuseppe Niccolo, active c.1510-c.1550). Olympus (Surprise), after Girolamo Francesco Maria Mazzola, known as Parmigianino, circa 1540s, chiaroscuro woodcut on laid paper, published by Andrea Andreani (1540/46-1623), Henry Foster Sewall's collector's mark to verso (Lugt 1309), numerous other stamps to verso: 'Duplicate sold by the Museum of Fine Arts, Boston', 'M. F. A. H. D. F. Coll. No, 1700', 'Forbes Library, Northampton, Mass.', minimally tipped-on to backing board, remnants of old tape to verso, a few old creases, some minor discolouration to lower portion of sheet, sheet size 24.4 x 15.7 mm (9 1/4 x 10 ins), framed and glazed (41 x 31.5 cm), together with Prestel (Johann Gottlieb, 1739-1808). Saint Francis, Catherine and Jerome, 1786, chiaroscuro woodcut printed in pale green, blue, brown and black, 25.6 x 19.6 cm (7.75 x 10.1 ins), laid down on old paper, framed and glazed, together with Prestel (Marie Catherine, 1747-1794). Roman Sacrifice (after Abraham Bloemaert), 1780, chiaroscuro aquatint in dark brown, light brown and black, 16 x 12.5 cm (6.3 x 4.9 ins) mount aperture, framed and glazed, plus Kirkall (Elisha, c.1682-1742). Noah's Sacrifice, after Paolo Veronese, circa 1724, etching and mezzotint, overprinted with a woodcut block, old fold, some creases, closed tears to lower margin, plate size 48 x 33 (19 x 13 ins), sheet size 54 x 37 cmQTY: (4)NOTE:Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge.Olympus (Surprise) is also attributed to Ugo da Carpi (1450/80-1532).

* Martin (John, 1789-1854). Adam and Eve - The Morning Hymn, 1825, mezzotint on laid paper, a proof of the small plate version of Paradise Lost by John Milton, printed by J Lahee, and published by Septimus Prowett, 1825, overall toning, 27.3 x 37.1 cm (10 3/4 x 14 5/6 ins), toned to verso, mounted (40.5 x 50.5 cm) together withWith the Approach of the Arch Angel Raphael and Adam and Eve Driven out of Paradise, two mezzotints on laid paper, proofs from the small plate version of Paradise Lost by John Milton, printed by J. Lahee, and published by Septimus Prowett, 1825, some handwritten notes in brown ink to lower margin, some overall toning, some light abrasion to paper lower middle, closed tear to right margin to latter, 29.6 x 39 cm (11 6/8 x 15 3/8 ins), mounted (40.5 x 50.5 cm), plusEarlom (Richard, 1743-1822). Liber Veritatis, No. 104 & 125, from the Original Drawing in the collection of the Duke of Devonshire, after Claude Lorrain, published by John Boydell, 1st Sept 1775 & 1st Jan 1776, mezzotints, plate size 20.8 x 26 cm (8 1/8 x 10 1/4 ins), both mounted, framed and glazed (40 x 45 cm) and Lake Zuz, a mezzotint by Ruskin after Turner, in need of some restorationQTY: (6)

* Wright of Derby (Joseph, 1734-1797). Portrait of John Harrison, surgeon of Derby, circa 1781, oil on canvas, half-length in three-quarter profile to left, wearing a plain dark vest, coat, and white cravat, 74 x 61 cm (29 x 24 ins), gilt moulded frameQTY: (1)NOTE:Provenance: Nathaniel Curzon, Esq., 1870; thence by descent to John Curzon of Lockington Hall, Derby (Derby Art Gallery labels for Joseph Wright of Derby exhibition loans for 1934 & 1947 to verso); acquired by the current owner's family at Christie's, King Street, London, 21 March 1975, lot 81. Literature: Benedict Nicolson, Joseph Wright of Derby, 1968, vol. 1, pp. 69-70, 200-201; vol. 2, p. 122, plate 199. 'Not only is the portrait listed in the Account Book among portraits of c. 1781, it also belongs stylistically to this date or slightly earlier. The subject must therefore be wrongly identified as John Harrison, clock-maker and inventor of a marine chronometer who died in March 1776 before Wright got back from Bath. Wright calls him a doctor, so he is probably the "surgeon in Wardwick", Mr. John Harrison, in whose house the daughter of Edward Wilmot of Duffield died (see Derby Mercury, 24th September 1786). He is described in Derby Mercury, 11th October 1781 as having died: "surgeon aged 64..." The portrait could show a man of c. 56.' (Nicolson, ibid., pp. 201-203). John Harrison (circa 1723-1787), surgeon of Derby, was appointed the first surgeon to Derby Gaol, on compulsion by Act of Parliament, in 1774, Timothy Pitman becoming a partner in this role in 1784. A notice in the Derby Mercury (13 December 1771) advertises the resumption of Harrison's inoculation service 'for the Season, to Inoculate as usual, on Mr. Sutton's Plan'. A mezzotint engraving from this portrait was engraved by John Raphael Smith (1751-1812), circa 1781

* Stubbs (George Townley, 1756-1815). Brown Horse Mask, Robert Sayer, October 24 1773, mezzotint on wove paper, after George Stubbs (1724-1806), a strong richly inked impression, a few closed repaired edge tears, thread margins on vertical borders, plate size 45.4 x 56.0 cm (17 7/8 x 22 ins), sheet size 46.8 x 56.5 cm (18 3/4 x 22 1/4 ins), fully conservation mounted, framed and glazed (58 x 68.5 cm) by Philippe Muler, 24 rue de La-Ville-l'Eveque, 75008 Paris (label on frame verso), together with: Bell (Edward, active 1794-1826), The Well Bred Stallion Cormorant the Property of Mr. Haynes, John Harris, June 20 1803, mezzotint on paper, after John Nost Sartorius (1759-circa 1828), plate size 45.2 x 55.5 cm (17 3/4 x 21 7/8 ins), visible size 46.1 x 56.6 cm, matching conservation mounted, framed and glazed by Philippe Muler (58 x 68.5 cm)QTY: (2)NOTE:Stubbs: Lennox-Boyd, Dixon & Clayton, 25, state 3.

* Beckett (Isaac, 1653-1719). Portrait of Sir Peter Lely, circa 1684-88, uncoloured mezzotint by Isaac Beckett after the self-portrait by Sir Peter Lely, with engraved inscription to lower margin Petrus Lellii Eques Pictor Caroli 2di Magnae Britanniae Franciae & Hiberniae Regis, published by John Smith 'J. Smith at ye Lyon & Crown in Russell Street, Covent Garden', a fine dark impression, 340 x 255 mm, narrow margins, laid down on modern card, mounted, framed and glazed, together with Paulus Pontius (1603-1658), Portrait of Nicholaus Rockox, after Van Dyck, circa 1650, Andreas Kohl (1624-1657), Portrait of the lawyer Paul Freher, circa 1650, Pieter de Jode II (1606-circa 1674), Portrait of the engraver Paulus Pontius, after Jan Lievens, circa 1640, and Jacques Lubin (1659-1695), Portrait of René Descartes, after Frans Hals, circa 1680, all good impressions, similarly presented in Hogarth-style black and gilt frames, the largest 51 x 41 cmQTY: (5)NOTE:Sir Peter Lely (1618-1680) spent the majority of his career in England, where he became the most significant and influential portrait painter at the court of Charles II.

* Hunt (William Holman, 1827-1910). The Shadow of Death, 1878, uncoloured mezzotint and mixed method engraving by Frederick Stacpoole (1813-1907) after William Holman Hunt,on pale cream india wove paper, published May 30th 1878 by Thomas Agnew & Sons, signed in pencil (to lower margin) by both artist and engraver, 'Printsellers Association' blindstamp to lower left, original information label to verso, a fine impression, image size 74 x 57 cm (29 x 22 1/2 ins), in a period gilt frame (slightly damaged) 106 x 82 cmQTY: (1)

After William Beechey R.A (1753-1839), mezzotint, Lord Horatio Nelson, published 3rd January 1895 by Boydell, 51 x 36cm

Antoine Gaymard, British, 1878 - 1916. Two signed early 20th century mezzotint prints, in colour, 'January' and 'December'. Signed in pencil bottom right. Both in oval mounts, maple frames and glazed. 27cm x 32cm

After Bosselman - colour mezzotint; together with unframed engravings etc

An Elegant Lady Mezzotint Indistinctly signed lower right, blind stamp lower left Framed and glazed Picture size 41 x 30cm Overall size 65 x 52cm

Spain.- Negges (Johann Simon) and Johann Matthias Lederer. Chronologia Hispanica seu Regum Hispaniae Series... Carolus III, rare broadside, with portrait of Charles III of Spain, map of the Iberian Peninsula and panorama of Madrid below, the borders listing the kings of Spain, engraving, mezzotint, the map with hand-colouring, the mezzotint pasted on in place, the sheet 690 x 450 mm (27 1/4 x 17 3/4 in), horizontal drying crease, edges with minor nicks uniformly reinforced with conservation support verso, surface dirt, unframed, [circa 1745]*** From a series of broadside histories printed with a portrait, map, topographical view and history of the country. The Royal Collection hold another impression, but we cannot trace any examples having been offered at auction.

'PRINCE CHARLES EDWARD READING A DESPATCH FROM SIR JOHN COPE', J. HORSBURGH AFTER W. SIMPSON, MEZZOTINT depicting Bonnie Prince Charlie, mount titled, framed and under glass34.5cm x 27cm,

I McArdell after Joshua ReynoldsThe Honourable Edward Boscawen, Admiral of the Blue Squadron of His Majesty's Fleet, mezzotint, 51 x 35cm; and three further to include another - the Honourable Edward Boscawen; the Right Honourable Sir Archibald MacDonald, Knight and Baronet; and John Randolph, Bishop of London; and a South West Prospect of the City Of Durham by Samuel and Nathaniel Buck (5)

* Smith (John Raphael). Lt. Col. Tarleton, published J. R. Smith, Oct 11th 1782, uncoloured mezzotint after Sir Joshua Reynolds, on soft fold affecting the printed image, 640 x 395 mm, mounted, framed and glazed, together with Haward (Francis). Mrs Siddons in the Character of the Tragic Muse, [June 4th 1787], uncoloured mixed-method engraving, after letters but with a scratch letter title, 590 x 420 mm, mounted, framed and glazedQTY: (2)NOTE:Sir Banastre Tarleton is remembered today for his military service during the American War of Independence. He became the focal point of a propaganda campaign when he was accused of firing on surrendering continental troops at the Battle of Waxhaws. Because of this episode, the American forces referred to him as 'Bloody Ban' or 'The Butcher'. However, he was hailed by the Loyalists and the British as a brilliant leader of light cavalry and was praised for his tactical prowess. He later became the Member of Parliament for Liverpool and a prominent Whig politician.

Stukeley (William). Stonehenge, A Temple Restor'd to the British Druids, 1st edition, London: W. Innys and R. Manby, 1740, engraved portrait frontispiece (offset to title), 35 engraved plates (including 7 folding and 2 double-page), title with few short closed tears to margins and initial leaves creased, folding plate number V with long closed tear, plate XXIII cropped to ruled border and lined to verso, bound with Abury, A Temple of the British Druids, with some others, described. Wherein is a more particular account of the first and patriarchal religion; and of the peopling the British Islands, 'volume the second', 1st edition, London: Printed for the Author: and sold by W. Innys, R. Manby, B. Dod, J. Brindley, and the Booksellers in London, 1743, 40 engraved plates including folding bird's-eye view frontispiece of Avebury (4 plates folding including frontispiece), two woodcut tailpieces and one engraved illustration, frontispiece with short closed tear to fold near gutter and folding plate XXV slightly trimmed to fold with minor loss, together with:Stukeley (William). Itinerarium Curiosum: Or, An Account of the Antiquities, and Remarkable Curiosities in Nature or Art, Observed in Travels through Great Britain, Centuria I [& II), 2 volumes (text and plates), 2nd edition, with large additions, London: Messrs. Baker and Leigh, 1776, engraved portrait frontispiece (slightly creased and offset to title), text to Centuria I and II bound together, plate volume containing 206 engraved plates, plans and maps (including 4 double-page plates, 2 double-page maps and 2 mezzotint plates), occasional light toning and minor spotting, all edges gilt, contemporary uniform straight-grain red morocco, gilt border decoration to boards, spines with volume numbers I - III in gilt (comprising vol. I - Itinerarium Centuria I & II, vol. II - Itinerarium plates, vol. III - Stonehenge & Abury), spines lightly rubbed, first volume of Itinerarium Curiosum with remnants of small paper label to upper board, folioQTY: (3)

* Ward (William). The Snowdrop, Dr Thornton, Sept. 1804, mezzotint after Abraham Pether with contemporary hand-colouring, large margins, 480 x 345 mm, framed and glazedQTY: (1)NOTE:Originally published in 'The Temple of Flora'. Dunthorne 301. state 1.

* Ward (William). The Supurb Lily, Dr Thornton, June 1st. 1799, mezzotint after Philip Reinagle printed in colour and finished by hand, large margins, some staining to the borders, but not affecting the printed image, 470 x 350 mm, framed and glazedQTY: (1)NOTE:Originally published in 'The Temple of Flora'. Dunthorne 301. Plate A, state 1.

Clapperton (Hugh). Journal of a Second Expedition into the Interior of Africa from the Bight of Benin to Soccatoo... To which is added the journal of Richard Lander from Kano to the sea-coast, partly by a more eastern route, 1st edition, London: John Murray, 1829, mezzotint portrait frontispiece, single-page plan and folding engraved map all laid down on linen, some spotting to plates, offsetting to title, some light marginal soiling, modern cloth-backed boards, 4to, together with [Skinner, John]. A True Relation of the Unjust, Cruell and Barbarous Proceedings against the English at Amboyna in the East-Indies, by the Neatherlandish governour and councel there, part 1 only (of 3), 2nd impression, London: [H. Lownes for N. Newbery, 1624], part 1 only, 38 pp., lacking woodcut frontispiece, title imprint shaved, upper corner of title repaired, some soiling and spotting, later half calf, rebacked, edges rubbed, 8vo QTY: (2)

After Sir Joshua ReynoldsPortrait of Elizabeth Countess of Derby; Portrait of Frances Greville and her brother William Greville; The Student; A Lady and ChildFour, each mezzotint by William Dickenson (1746–1823), James McArdell (1729-1765), John Raphael Smith (1751-1812), and Joseph Grozer (1755–1799)Largest 60 x 38.1cm; 23¼ x 15in; Smallest 34.7 x 28cm; 13¾ x 11in (image) (4)

English School 18th CenturyGeorge Frideric Handel, Johann Sebastian Bach, Giuseppe Tartini; Johann Joachim Quantz; Christoph Gluck and Niccolò Jommelli making musicMezzotint23.8 x 24.7cm; 9¼ x 9¾in (sheet)Together with English School 18th Century; The Pretty Milliners; Mezzotint with hand-colouring; 35.6 x 25.1cm; 14 x 9¾in (plate); British School 18th Century; Expectation; Mezzotint; 35.7 x 25.3cm; 14 x 10in (plate); and After John Collet; Reynard's Last Shift; Mezzotint with hand-colouring; 35.2 x 25.2cm; 13¾ x 10in (plate) (4)

John Raphael Smith (1751-1812) after Nathaniel Hone (1718-1784)Portrait of Sir John Fielding (1721-1780)Mezzotint38.8 x 28.2cm; 15¼ x 11in (sheet)Together with John Raphael Smith; Portrait of Miss Montague; Mezzotint; 26.3 x 21.1cm; 10¼ x 8¼in (sheet); Valentine Green (1739-1813) after Edward Francis Cunningham (c.1741-1795); Portrait of Kitty Hunter (1742-1795); Mezzotint; 40.9 x 29.4cm; 16 x 11½in (sheet); and P. Stee (18th Century) after I. Toer (18th Century); Portrait of Miss Salethea Dawkens; Mezzotint; 38.9 x 28.5cm; 15¼ x 11¼in (sheet) (4)

A Collection of 18th and 19th-Century prints, drawings, and watercolours of musical and theatrical subjectsIncluding John Smith (1652-1743) after Domenico Tempesti (Italian c.1655-1737); Frontispiece for Sonate da camera by Nicolo Cosimi; Mezzotint; 24.3 x 33.6cm; 9½ x 13¼in (sheet); Unframed; Georgiana Keate (1771-1850); Edwin in the Character of Caleb; Signed and dated Georgiana Keate 1786 (lower right); Pen and ink with watercolour; 24.7 x 17.2cm; 9¾ x 6¾in; Unframed; George Cruikshank (1792–1878); The Opera Boxes During the time of the Great Exhibition; Etching; 21.9 x 26.5cm; 8½ x 10½in (sheet); Unframed; Thomas Rowlandson (1756-1827); Dr Syntax at Covent Garden Theatre; Aquatint with hand-colouring; 10.7 x 18.1cm; 4¼ x 7in (sheet); Unframed; and twenty-one further unframed works (25)Provenance:Property of a former museum keeper, collected between the 1930s and 1970s;Woolley and Wallis, Salisbury, Old Masters, British and European Paintings, 5 September 2023, lot 199, where purchased by the present owner

After George RomneyPortrait of Henrietta Maria North (d.1796); Portrait of Richard Cumberland (1732-1811); Portrait of William Hayley (1745-1820)Three, each mezzotint by John Raphael Smith (1751-1812); Valentine Green (1739-1813), and Johann Jacobé (1733-1797) Largest 45.3 x 35.4cm; 17¾ x 14in; Smallest 32 x 26.9cm; 12¼ x 10½ (image)Together with James Wilson (act.1760-1780) after Francis Cotes (1726-1770); Portrait of Mary, Lady Boynton (d.1815); Mezzotint; 44.1 x 29.3cm; 17¼ x 11½in (sheet) (4)

James Ward (1769-1859) after John Hoppner (1758-1810)Children Bathing; Juvenile RetirementTwo, both mezzotint56.1 x 45.4cm; 22 x 17¾in; 55.9 x 45.3cm; 22 x 17¾in (sheet)Together with John Finlayson (c.1730-c.1776) after Catherine Read (1723-1778); Portrait of Elizabeth Campbell, Duchess of Argyll and Baroness Hamilton of Hameldon (c.1733-1790); Mezzotint; 51.4 x 36.8cm; 20¼ x 14½in (sheet); and William Dickinson (1746-1823) after Rev. Matthew William Peters (1741/2-1814); Portrait of Lady Charlotte Bertie; Mezzotint; 53.2 x 39.6cm; 21 x 15½in (sheet) (4)

John Smith (1652-1743) after Sir Godfrey Kneller (1646-1723)Portrait of John Smith the engraverMezzotint34.3 x 26.1cm; 13½ x 10¼in (sheet)Together with J. Cole; Portrait of Philip V of Spain; Mezzotint; 24.8 x 18.4cm; 9¾ x 7¼in (plate); Wallerant Vaillant (1623-1677); Portrait of Charles II as a boy; Mezzotint; 29.9 x 23.7cm; 11¾ x 9¼in (sheet); and Wallerant Vaillant (1623-1677); Portrait of Willem Goeree (1635-1711); Mezzotint; 31.9 x 25.5cm ; 12¼ x 10in (sheet) (4)

A Late Victorian 1903 Giclee Print 'Penelope', engraved by Norman Hirst (British, born 1862-1955), 1903 (mezzotint) by Frank Dicksee. Mounted & framed. Measures approximately 85x68x3cm

After Philip Westcott (British 1815-1878), Sir William Fairbairn, first Bt, mezzotint, 56cm x 43.5cm, after John Lucas (British 1807-1874), George P. Bidder Esq., mezzotint, 56cm x 43.5cm.

A pair of mid 18th century Mezzotint prints, after Samuel Wale, published by John Bowles, engraved by Richard Houston, and titled, Winter, and, Summer, from The Seasons, both framed 46cm by 36cm (2)Both in good condition, usual age-related discolouration. Framed to the images in very sensitive and tastefully appropriate modern frames in the 18th Century taste with gilt-sanded slips.

Two hand coloured Mezzotint prints, one, Lady Gorget (raising Recruits for Cox Heath), the other, Lady Time Present & Lady Time Past, both framed (2)Both in good condition, usual age-related discolouration. Framed to the images in very sensitive and tastfully appropriate frames. Lady Gorget (raising Recruits for Cox Heath) slight fritting to right margin, Lady Time Present & Lady Time Past slight crease to bottom right hand corner.

Three hand coloured Mezzotint prints, including Autum, published by Stampa, 41cm by 31cm, also Autumn, published by Carrington Bowles engraved by Houston, and, Autum & Winter, published by Barnaschina (3)"Autumn" by Stampa staining to bottom margin, usual age-related discolouration, rubbing to the publication details, framed to the image, possibly original frame still sound but much worn. "Autumn" by Carrington Bowles scuffed, spotted, stained and worn, colouring faded to predominantly blue tones, evidence of worm holes to bottom margin, framed to the image, possibly original frame, still sound but much worn and beneath old ripple glass with bubble inclusions, single wormhole evident to backboard. "Autum & Winter" by Barnaschina in good condition, usual age-related discolouration, possibly original pearwood frame still sound, framed to just outside the margins, appears to have been remounted recently within the frame and is now well-presented, a triangular loss to the top right corner of the print has been touched-in, backboard with clean modern gummed paper tape.

A set of four hand coloured Mezzotint prints published by Carrington Bowles, each depicting scenes from The Prodigal Son, late 18th century, each framed, 34cm by 44cm (4) Prints and frames all in good condition, one with minor split to frame at the gilded line. Usual discolourtion of antiquity. Colouring still strong. Frames appear to have been opened recenty, possibly for reglazing, and have not be resealed with paper tape etc. No signs of worm.

An Indian brass repousse tray, early 20th c, 91cm diam, a copper electrotype bas relief of St John baptising Christ, late 19th c, 17 x 13.5cm, a Japanese Imari cache pot, Meiji period, 14cm h, a late 19th c Staffordshire earthenware toby jug, a Staffordshire Japan pattern earthenware dinner service, oil painting of roses, signed with initials *GB, 24 x 44cm, Thomas Barrett - Fisherfolk on the Shore, mezzotint, signed by the artist in pencil, 31 x 37cm and miscellaneous ceramics, glass and metalware

PETER VILHELM ILSTED (1861-1933) 'Silhouette with garland of flowers'signed lower right, mezzotint, dedication in pencil lower left, 21cm x 17cm Provenance: Bearing a Lumley Cazalet Ltd label verso.Selected contents of 137 Gloucester Road, London.

John Conde, by, Richard Cosway, after, Mrs Fitzherbert, mezzotint, published February 7th 1792, 41cm x 32cm

Wagstaff after R.B Davis, 'John Musters Esq. and his hounds', published 1847, mezzotint, the plate 53x69cm

19th century mezzotint, mother protecting her child, heightened in white, 58x40cm

J. Richardson Jackson after John Prescott Knight RA, full length portrait of Thomas William Giffard, 19th century mezzotint, 71x48cm

19th century colour mezzotint, Uniforms of the Royal Artillery, 31x46cm

Michael Parkes (b.1944) American, Last Circus, signed and numbered 16/20 AE, lithograph, 55.5 x 74.5 cm, unframed; and T. Donatella (b. 1947) French, 'Emprise', signed, titled and numbered 13/99 in pencil, mezzotint, image 46.5 x 37.5 cm, sheet 49.5 x 64 cm, unframedQty: 2Last Circus - Printed to the edge of the uncut wove paper (no watermark found). Shadow of impression visible on the reverse. Also a foxing spot visible on the reverse. Possibly another foxing spot on the dancer's raised leg, but otherwise the impression looks to be in good condition. Emprise - Jacqueline de Champvallins Paris blind stamp bottom left, printed on uncut wove paper with globe watermark bottom right. Some creases to the corners and edges of the paper, but these do not extend to the plate. Signs of previous mounting on the reverse. Plate itself is good, but with a slight crease top centre.Both are rolled and stored in a tube.

A FOLDER OF 2 UNFRAMED OIL PAINTINGS OF STYLISED LANDSCAPES BY A W PAYNE, DATED '35 AND AN ANTIQUE MEZZOTINT BY T HAMILTON-CRAWFORD OF A GEORGAIN PARTY, SIGNED IN PENCIL WITH EMBOSSED BLIND STAMP, INITIALLED JBH 15'' X 22'' [3]

After William I. Ward (1766-1826). Wasp, child and Billy, mezzotint, 56.5cm x 69cm.

After Thomas Clater (1789-1867). Jem Burn's four pets, mezzotint, 44cm x 47.5cm.

After George Romney (British 1734-1802), mezzotint, The Honourable and Right Reverend Shute Barrington, engraved by John Jones, 49 x 34cm

Framed Mezzotint engraving of Admiral Lord Nelson by William Barnard 1774-1849, after L F Abbott 1760-1802

A mezzotint engraving of Admiral H Nelson dated 1st June 1799 by William Barnard (1774-1849) image measuring approx. 59cm h x 41cm w.

Two sets of metal letter stencils, a cased set of drawing instruments, a Mercury fishing reel, a Bartolozzi mezzotint print of two women and a modern chess set etc

After Reynolds Coloured Mezzotint, "Figures Gathered Together - Storytelling," 50cms x 61cms (19 3/4" x 24"); together with a collection of miscellaneous Engravings, etc., and including after Hoppner, "Miss Cholmondeley," engraved by Turner in a burr walnut frame, with gilt slip, 35.5cms x 27cms (14" x 10 3/4"); a black and white Engraving "Le Jemes de Couvre la Verite," and two sepia in verre eglomise frames. (5)

The Installation of HRH The Prince of Wales KG as Most Worshipful Grand Master of the United Grand Lodge of Ancient Free and Accepted Masons of England, mezzotint, published 1878 by Edward Harty, plate size 23.75" x 37.5" (60 x 95cm).

Cousins after Reynolds, 'The Lady Bingham', mezzotint, 16" x 12" (40 x 30cm), along with four other antiquarian prints of people, (5).

Francis Kelly (1929-2012), 'Solitude', mezzotint, signed and inscribed in pencil and numbered 19/50, 17.5" x 14" (44.5 x 36cm).