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* Gole (Jacob, 1660-1737). Two Dancers in Costume, mezzotint on laid paper, with Strasburg Lily watermark, three marginal tears with slight loss to upper right corner (slightly affecting engraved area), and lower right corner (blank margin only), with collector's manuscript mark in pencil to verso 'TN7' (Lugt 2415), and with inscription below the image, also in pencil, possibly in the same hand 'Dancers in the reign of William & Mary', and further collector's manuscript mark to lower left corner below the image 'HCE 22' (Lugt 1299a, unidentified), plate size 260 x 340 mm (10.2 x 13.5 ins), sheet size 282 x 347 mm (11.15 x 13.75 ins), together with: Bang (Hieronymus, 1553-1630). Suite of 8 Putti, 8 copper engravings printed on 4 sheets, with watermark of a serpent coiled around a flower with letters NMH below, plate size 128 x 92 mm (5 x 3.7 ins), sheet size 119 x 330 mm (7.9 x 13 ins), plus other various Old Master prints, including Hendrick Goltzius (1558-1617), The Entombment, 1596 [or later], copper engraving on laid paper, trimmed to plate margins, Virgil Solis (1514-1562), Socrates Ridden by His Wife Xantippe, miniature copper engraving on laid paper, trimmed just inside the plate mark, a late copy after Federico Barrocci's Annunciation, 1585, without cat to left foreground, or engraved name of the artist to lower right corner, Pieter van Lisebetten (circa 163-1678), The Flaying of Marsyas after Jacopo Palma, and 26 later 18th and 19th century reworked or copied etchings after RembrandtQty: (40)

* Spilsbury (Jonathan, circa 1737-1812). Miss Jacobs, after Sir Joshua Reynolds, 1762, mezzotint on laid paper, the rare proof before letters, a rich, velvety impression, inscribed in pencil to lower blank area in a 19th century hand 'Miss Jacob - by Sir J. Reynolds - fine and rare proof by Spilsbury', plate size 505 x 355 mm (20 x 14 ins), with margins, antique-style black and gilt frame, glazed, with Thomas Agnew & Sons printed label to verso, and typewritten catalogue entryQty: (1)NOTESChaloner Smith (1883) 21, i/ii; Hamilton 111; O'Donoghue 1. The published state of this mezzotint obtained the highest premium in the year 1761, granted by the Society for the Encouragement of Arts, Manufactures and Commerce, as stated in the caption to the published state. The work apparently depicts the artists' model Esther Jacobs.

* Vasi (Giuseppe, 1710-1782). Monastero, e Chiesa di S. Egidio in Trastevere delle Suore Carmelitane, Chiesa e Monastero di S. Maria Annunziata, delle Suore Domenicane Neofite, Monastero, e Chiesa della SS. Annunziata delle Religiose Turchine, & Collegio de Neofiti, from Delle Magnificenze di Roma Antica e Moderna, Rome, 1747-1761, together 4 etchings on laid paper, numbered 147, 150, 157 and 169 respectively, each with narrow margins, plate size 220 x 337 mm (8.7 x 13.3 ins), sheet size 235 x 350 mm (9.25 x 13.75 ins), or very similar, together with: Bolswert (Boetius Adamsz, 1580-1633). Landscapes with Farmhouses after Abraham Bloemaert, 1613-14, 3 etchings on cream laid paper, each with posthorn watermark, being plates 8, 15 and 18 from the set of 20 landscapes by Bolswert after Abraham Bloemaert (Hollstein 338-357 for the set), each with wide margins, plate size 151 x 243 mm (6 x 9.5 ins), sheet size 233 x 317 mm (9.2 x 12.5 ins) or very similar, plus a duplicate of plate 8 from the same series, trimmed to plate margin, and laid down on modern card, and Swanevelt (Herman van, 1600-1655). The Little Waterfall, etching on laid paper (Bartsch 80; Hollstein 106, IV), trimmed to plate margins, and tipped onto old laid backing paper, 182 x 277 mm (7.1 x 10.9 ins), plus other various Old Master prints: 16 etchings on laid paper by Abraham van Diepenbeeck (1596-1675), from Michel de Marolles Tableaux du Temple des Muses (Paris, Nicolas Langlois, 1655), some full sheet, others trimmed to margins and mounted on old card, and 5 others various (Weisbrod after Pieter Bout, Le Chasseur prenant des forces, Ridinger, Die Wilde Sau oder Schwein, William Barnard after John Meheux, View of Hopping Dick's House, mezzotint, Fantetti after Raphael, Extendit Moyses manum contra mare, and Eynhoudts after Rubens (the last two with some damage to margins), various sizesQty: (30)

* After Edward Coley Burne-Jones (1833-1898). The Birth of Galatea, The Godhead Fires, by Charles William Campbell, London: Robert Dunthorne, 1885, mezzotint on chine collé, depicting Pygmalion's statue Galatea stepping forward from her plinth and being received by a garlanded divinity standing in a pool of light with doves at her feet, with a figure kneeling at a statue in the background beside a bowl of burning incense, signed in pencil by Burne-Jones lower left and Campbell lower right, mount-stained and spotted, 1" closed tear in right-hand blank margin, plate size 46.4 x 36.3 cm (18.25 x 14.25 ins)Qty: (1)NOTESAfter the painting of 1878, from the second series of four paintings illustrating William Morris's cycle of epic poems The Earthly Paradise , now at Birmingham Museums and Art Gallery (1903P25); the first series is in the collection of Sir Andrew Lloyd Webber.

* Hunt (William Holman, 1827-1910). The Shadow of Death, [1878], uncoloured mezzotint and mixed method engraving, by Frederick Stacpoole after William Holman Hunt, on india wove, captioned 'In progress for the Publishers Messrs Thos Agnew & Sons, 5 Waterloo Place, London', signed in pencil by the engraver, image size 73 x 57.5 cm (28.75 x 22.5 ins), framed and glazedQty: (1)

* After George Frederick Watts (1817-1904). Orpheus and Eurydice, by Frank Short, published by Frederick Goulding, 1889, mezzotint, signed in pencil by the artist, engraver, and publisher, image size 31.5 x 49.8 cm (12.5 x 19.5 ins), framedQty: (1)

* After George Frederick Watts (1817-1904). Self-Portrait, by Charles William Campbell, mezzotint, unpublished trial proof, half-length portrait half-profile to right, showing the artist wearing a wide-brimmed hat, plate size 49.5 x 36.7 cm (19.5 x 14.25 ins), framed and glazed, with The Mass Gallery label on versoQty: (1)NOTESProvenance: Family of the engraver and thence by descent. The original painting is in the Tate, London (N01561).

Botany.- Weinmann (Johann Wilhelm) Four plates from Phytanthoza Iconographia (or Duidelyke Vertoning...), including 'Banana', pl. no. 227, 'Faba major, Féve', pl. no. 500, 'Musa, Banana, Pican', pl. no. 737, and 'Cereus minimus serpens Americanus', pl. no. 354, etching and mezzotint printed in colours and finished by hand on laid paper, the first three mentioned with sheets approx. 525 x 460 mm (20 3/4 x 18 1/8 in), the last mentioned sheet 460 x 370 mm (18 1/8 x 14 1/2 in), central folds as issued, other handling creases, minor spotting and surface dirt, all unframed, [c. 1736-1748] (4)

NO RESERVE Cunego (Domenico) Scena di vita romana, after Jacques Sablet (1749-1803), mezzotint with etching on laid paper with 'P Miliani' watermark, platemark 475 x 580 mm (18 3/4 x 22 3/4 in), sheet 530 x 740 mm (20 7/8 x 29 1/4 in), large printer's crease running from the lower edge well into image, scattered spotting and light surface dirt, binding stitch-marks to extremity of left-hand margin, minor handling creases, unframed, Rome, [Pietro Paolo Montagnani?], 1790

After Daniel Orme, engraved by the artist and Robert Cooper, "Battle of the Nile - this print representing the quarter deck of Lord Nelson's ship The Vanguard on the night of the ever memorable 1st Aug", black and white mezzotint, published by Edward Orme, 1805, 42 x 57cm

After Sir William Beechey, RA, engraved by Edward Bell, "Horatio Lord Viscount Nelson, Duke of Bronte, KB, black and white mezzotint, published by J Freeman and F Bell, 1806, 63 x 42cm, unframed

After Hon Anne Seymour Damer, "The immortal Nelson", black and white mezzotint published by Edward Orme, Dec 2nd 1805, 44 x 35cm unframed

Portrait of Barbara Villiers (1640-1709), Duchess of Cleveland, three-quarter length, seated, holding flowers oil on canvas, in a carved gilt frame 125 x 107 cmFootnote: Provenance: The Royal Cambridge Hotel, Cambridge The overall format of the composition follows that by Sir Peter Lely from the mid 1670s of which numerous versions exist, that at Goodwood House, Sussex, being the best known. The Goodwood picture, however, is in reverse of the present painting and whilst a mezzotint after Lely's original, published after 1680s includes the fountain and sculpted figures in the Goodwood painting, another mezzotint published in the late 1670s by Richard Tompson not only excludes those figures, but is in the same direction as the present painting, which must therefore derive from Tompson's mezzotint.Condition report: Late 17th or early 18th Century copy Oil on canvas which has been lined. The canvas tension is slightly slack but the picture is generally in plane. The paint layer has a network of age cracks and a slightly uneven texture but is stable overall. There is a small dent in the canvas near the sitter's right knee. There are numerous scattered retouchings across the surface which are well matched to the original. The varnish is very glossy clear and even.

An eglomise framed coloured mezzotint; 'Adelaide', overall 50 x 37cm

Smith after Bigg, mezzotint, A Lady and her children relieving a Cottager, 44 x 55cm and two other prints

T. Hamilton Crawford, female portrait, mezzotint and another interior scene

Charles Henry Baskett (1872-1953), "The Dawn Wind", black and white mezzotint, signed and inscribed with title in pencil to lower margin, 34 x 51cm, unframed

After John Constable, engraved by David Lucas, "Yarmouth, Norfolk", black and white mezzotint , 14 x 22cm

Sir Frank Short, RA (1857-1945), "The Temple of Jupiter in the Island of Aegina (after J M W Turner)", sepia mezzotint, signed in pencil to lower margin, 19 x 27cm, unframed

Sir Frank Short, RA (1857-1945), "Cottage with harvesters", black and white mezzotint, signed in pencil to lower margin, 16 x 26cm, unframed

David Lucas (British, 1802-1881) after John Constable (British, 1776-1837), 'A Heath', mezzotint, proof before lettering, 1830, 14.1cm x 18.9cm, Provenance: with T & R Annan, Glasgow

Valentine Green after Reynolds/Duchess of Marlborough and Lady Caroline Spencer/proof mezzotint before letters, 41cm x 33cm and/Charles Turner after Thomas Phillips/Elizabeth Marchioness of Stafford/ mezzotint, 32.5cm x 28cm

Albin Trowski, water colour, Ernest Stamp colour mezzotint, an oil on board and another picture

Pair of large framed prints, figure studies in carved frames, pair of oak framed coloured prints after Stannard, gilt framed mezzotint, portrait of a lady

After John Hoppner R.A. (1758-1810), Three limited edition mezzotints on paper by E.M. Hester, 'Countess Of Euston', 'The Salad Girl' and 'Lady Langham', With a further limited edition Hester mezzotint after Sir Thomas Lawrence, 'Lady Peel', Each signed by Hester lower right with blind stamp lower left, gallery labels verso stating 'Edition strictly limited to 500 signed Artist's proofs', Each 15.5cm x 12.5cmIn matching glazed frames (4)

Two 1920's mezzotint portraits of Beethoven and Wagner by T Hamilton Crawford and Will Henderson, each signed in pencil lower right and published by The Museum Galleries, London, 24cm x 19cm and 28cm x 21cm respectively

Collection of 18th- &19th-century prints, to include Death of Oedipus (mezzotint by William Ward after Henry Fuseli, c.1785), Saint Francis of Assisi on his Deathbed (engraved by Audran after Annibale Carracci, c.1664), and others

Raine (The Rev. James) The History & Antiquities of North Durham, Now United to the County of Northumberland, folio, full morocco, illus. with mezzotint frontispiece, engravings, lithographs and map, published by John Bowyer Nichols & Son, Durham 1852.

After Henry Fuseli, The Weird Sisters (Witches), mezzotint by J. R. Smith, 45cm x 56cm.

After Sir Joshua Reynolds, Lady Bampfylde, colour mezzotint by Thomas Watson; After John Raphael Smith, 'Retirement'; colour mezzotint by William Ward; After Richard Cosway, Mrs Fitzherbert, colour stipple engraving by John Conde; After Sir Thomas Lawrence, Miss Farren, colour stipple engraving by Bartolozzi; After John Hoppner, Juvenile Retirement, colour mezzotint by William Ward, five, the largest 55cm x 45cm, (5).

RICHARD EARLOM AFTER JOSHUA REYNOLDS 'Samuel Barrington Vice Admiral of the Blue' mezzotint, another mezzotint of Mrs Barrington and one other

AN 18TH CENTURY MEZZOTINT BY RICHARD EARLOM: 'SALVATOR MUNDI' with a Medici Society framed print 'Madonna of the Cherries'

ARTHUR HOGG (1872-1949) 'Portrait of a Woman', colour mezzotint, 32cm x 41cm, framed (bears museum galleries label verso)

Important c. 1734 mezzotint portrait of Jonathan Belcher, the Colonial Governor of Massachusetts and founder of the College of New Jersey, now Princeton University; engraving by John Faber the Younger (British, 1684-1756) after the now-lost painting by Richard Phillips. Over the subject's left shoulder is a view of Beacon Hill and its environs, derived from a circa 1723 engraving by William Burgis. Belcher is depicted standing in curly white wig and formal coat, holding his commission, with the royal seal (lower right) and the Belcher family arms (center, lower margin). Old Bowling Green, KY framer's business card taped to back of frame. Housed under glass in an ebonized frame with gilt rabbet edge. Sheet - 9 3/4" H x 13 7/8" W. Framed - 16" H x 12 1/2" W. Note: Jonathan Belcher (1682-1757) was a third-generation descendant of an early settler of the Massachusetts colony (Andrew Belcher). He became a prosperous merchant and was colonial governor of the British colonies of Massachusetts and New Hampshire from 1730-1741, and of New Jersey from 1746 until 1757, the year of his death. According to the Princeton University website, Belcher, "alienated by religious developments at his alma mater, Harvard, sympathized with the fledgling college in New Jersey. On September 14, 1748, Belcher granted a second charter, which expanded the trustees from 12 to 23, stipulating that the governor would chair the Board of Trustees and that four seats would be reserved for members of the New Jersey Council. He also added three leading Philadelphians, placating a group that had felt excluded. These appointments, by not specifying religious affiliation, made Princeton the first American college whose trustees were drawn from more than one denomination. On November 9, 1748, at the College's first Commencement, the trustees conferred on Belcher Princeton's first honorary degree. Belcher encouraged the trustees to raise funds for a college building and played a central role in its location. While Newark, Elizabeth and New Brunswick were initial favorites, Belcher threw his influence behind Princeton -- 'as near the center of the Province as any and a fine situation.' Just before the College moved to Princeton, Belcher donated his 474-volume library, a full-length portrait of himself, his carved and gilded coat-of-arms, a pair of terrestrial globes, and portraits of 10 kings and queens of England. In gratitude, the trustees asked his permission to name the new building in his honor. Instead, the governor persuaded them to name it Nassau Hall, "for the glorious King William the Third of the illustrious House of Nassau," who was highly regarded by dissenters as a champion of religious freedom and political liberty. Although only six of Belcher's books have survived, he is still honored as the library's oldest benefactor. When Firestone Library was built in 1948, his coat of arms was carved in stone over the main entrance along with those of the University. Belcher's full-length portrait and the paintings of the 10 English monarchs were destroyed during the Revolution." (Source: https://princetoniana.princeton.edu/history/early-years/belcher). CONDITION: Even, overall toning. Margins trimmed to plate edge. Print has been fully adhered to a sheet of toned paper, which has been adhered to a mat board. Four small tears, up to 1" L, at lower edge of print (one extends to paper backing). Fine tear or deep crease/scratch upper left extending 2" from top edge of print. A few other small creases or fine tears extending from top edge. Scattered light abrasions and creases. Glass and frame appear to have some age but are likely not original; the print appears to have been re-framed in the 1970s. Scattered abrasions to the frame.

19th century portrait mezzotint; and two others (3)

Richard Easton, after Francis Wheatly, Preparing for market, coloured mezzotint, 44cm x 54cm.

John Coster Webb: a coloured mezzotint, 18th century portrait, in wash lined mount

An 18th century mezzotint of Kitty Clive, a hand-coloured print, "A Full Blown Macaroni", five other prints, various, and a signed photograph, Will Palmer 1909

William Barnard, After Lemuel Francis Abbott, Admiral Lord Nelson, Hand-coloured mezzotint, 63.5 x 40cm 

Salvador Dali (Spanish, 1904-1989): 'King of Aragon', etching with mezzotint printed in colours, 1971, signed and numbered 163/250 in pencil to lower margin, on Auvergne Richard de Bas wove vellum paper, printed by Ateliers Rigal, published by Christie's Contemporary Art, London, 1979, with Certificate of Authenticity, Michler & Lopsinger 528, plate mark 35.5 by 26.5cm, sheet 48 by 38cm, mounted, glazed and framed, 73.5 by 62cm.***May be subject to ARR***

NO RESERVE Peck (Francis) Desiderata Curiosa: or, a Collection of Divers Scarce and Curious Pieces..., 2 vol. in 1, first edition, engraved portrait, titles in red and black with engraved vignettes, lists of subscribers, engraved head-pieces, initials and 9 plates, with mezzotint portrait of the author by Faber after Highmore trimmed and mounted as frontispiece to vol.2, small stain to first portrait, occasional soiling, contemporary calf, rubbed, rebacked with gilt spine, corners repaired, folio, 1732-35.

Macaroni fashion.- Carrington Bowles (publisher) Welladay! is this my son Tom!, mezzotint after Samuel Hieronymous Grimm showing a distressed father meet his son dressed as a macaroni with high wig, cane and sword, platemark 355 x 250 mm (14 x 9 3/4 in), sheet 400 x 290 mm (15 3/4 x 11 1/2 in), repaired loss in upper right corner, numerous careful repaired nicks, mainly marginal, the date in the lower right scraped, some spotting and surface dirt, unframed, [BM Satires 4536], [circa 1773]; together with an uncoloured etching by Darly, 'Macaroni Courtship, or the two Insignificants', and another after Boilly, Grand Papa's Wig, various sizes, all unframed, 1772 and later (3)

The Hon. Mrs. Graham; mezzotint in colour by Elizabeth Gulland after the picture by Gainsborough, published in 1932, 41.5cm x 31cm

Mrs. Sheridan; mezzotint in colour by Elizabeth Gulland after the picture by Gainsborough, published in 1934, 41cm x 31cm

Lady in Hat; mezzotint in colour after the picture by Gainsborough, published in 1884, 35cm x 27cm

18th century mezzotint engraving depicting Edward Bright - the fat man of Maldon, 36 x 21cm, period glazed frame, trimmed, title retained to rear

A George III mezzotint under glass, Britannia Lamenting the Death of Admiral Lord Nelson, 'London, Pubd. Decr. 5, 1805 by W.B. Walker, Fox & Knot Co., Snow Hill', 9½ x 7½in. (24.2 x 19cm.), in ebonised and gilt frame. * Condition: Not examined out of frame. Some yellowing to mezzotint. No damage to glass - two small white pinhead flaws in centre near top and bottom (from the making). Frame worn to edges.

ANTHONY 'TONY' MAXWELL AYRTON (ENGLISH, 1909-1943) The fisherman, mezzotint, unsigned, inscribed to the margin 'To A.B. Thomson from Tony A.', 20.5cm x 17cm, mounted, unframed.

ALFRED HACKNEY (ENGLISH, 1926-1994) 'Longport', mezzotint, titled lower left, signed and dated '[19]48' lower right, 15cm x 21.5cm; together with 'The New Life', mezzotint, titled to mount lower left, signed and dated '[19]49' to mount lower right, 13cm x 20cm, mounted as one, unframed, (2).

ALEXANDER INGLIS (SCOTTISH, 1911-1992) 'Boxing Booth', mezzotint, titled lower left, signed lower right, 15.5cm x 19cm, mounted, unframed.

HUGH ROSS MACKEAN (SCOTTISH, EARLY-MID 20TH CENTURY) 'The Times', mezzotint, titled lower left, signed lower right and faintly dated '1939', 19.75cm x 13.5cm, mounted, unframed.

ALISTAIR MCPHERSON (SCOTTISH, EARLY-MID 20TH CENTURY) 'Circus Rehearsal', mezzotint, titled lower left, signed lower right, 17cm x 18cm, unframed.

Charles March Gere (1869-1957) "Cader Idris" mezzotint 11.5 x 16cm. Provenance: From the collection of John Redman (b.1937). John Redman lived with the Payne and Gere families in their Cotswold home during the 2nd World War from 1940 to 1944. He points out the home was a constant visiting location for a number of important artists and writers including Sir Stanley Spencer, Vanessa Bell, Virginia Woolf, Sir William Rothenstein, George Bernard Shaw, John Betjeman and many others. He has collected a comprehensive range of the Payne and Gere families works through a lifetime's friendship with Edward R. Payne (1906-1991), the Payne's second son of three and also an artist. These are well represented by the selection included in this auction.

Charles March Gere (1869-1957) "Knitting" after Edward R. Taylor stamped with South Kensington Schools Seal mezzotint 18.5 x 14cm. Exhibited: City Museum & Art Gallery, Birmingham, Mastery Art (Birmingham School of Art 1884-1920), November 1986 - January 1987; Provenance: From the collection of John Redman (b.1937). John Redman lived with the Payne and Gere families in their Cotswold home during the 2nd World War from 1940 to 1944. He points out the home was a constant visiting location for a number of important artists and writers including Sir Stanley Spencer, Vanessa Bell, Virginia Woolf, Sir William Rothenstein, George Bernard Shaw, John Betjeman and many others. He has collected a comprehensive range of the Payne and Gere families works through a lifetime's friendship with Edward R. Payne (1906-1991), the Payne's second son of three and also an artist. These are well represented by the selection included in this auction.

William Pether after George Garrard A Blacksmith at Work mezzotint with hand-colouring, published 1787 by T. Simpson 45.5 x 61cm. Provenance: Arthur Ackermann & Son Ltd.

After George Stubbs "Eclipse, the Property of Captain O'Kelly" mezzotint published 1904 by Laurie and Whittle 24.5 x 35cm.

'Clytie' by Frederick Lord Leighton of Stratton PRA (1830-1896) Mezzotint by H Scott Bridgewater (pencil signed on India paper). This engraving bears the PSA stamp and signature of the engraver, published by the Fine Art Society (1897 London). Framed and glazed, measures 36" x 31".

Rare 'Benjamin Franklin of Philadelphia' Early 18thC Coloured Mezzotint Engraving, after B Wilson, depicting Franklin pointing to the lightning bolt; slight foxing and browning, damage to corners; unframed; 11 inches x 8.5

* Atkinson (John Augustus, 1775-1833). An English Civil War skirmish by a spired church, watercolour on wove, unsigned, trimmed to line border of image, 24.7 x 19.8 cm (9.75 x 7.75 in), line wash mount, gilt frame, glazed (Qty: 1)NOTESThe artist, engraver and watercolourist John Augustus Atkinson (1775-1833) was born in London. He travelled to St. Petersburg in 1784 to his uncle James Walker (c.1760-c.1823), who was a mezzotint engraver to the empress Catherine the Great. Atkinson returned to England in 1801, and later published A Picturesque Representation of the Manners, Customs, and Amusements of the Russians in 1803 which contained 100 plates, drawn and etched by himself. Atkinson painted many watercolours during the Napoleonic wars including naval subjects and battle scenes, including a scene of the Battle of Waterloo, which was engraved by John Burnet.

Blomefield (Francis). An Essay towards a Topographical History of the County of Norfolk, 11 volumes , London: William Miller, 1805-10, mezzotint portrait frontispice to volume 1, numerous engraved plates (some folding), folding pedigrees, without maps, occasional toning and scattered spotting, near contemporary half calf, rebacked preserving spines, rubbed, 8vo, together with: Morant (Philip). The History and Antiquities of the County of Essex, 2 volumes , London: T. Osborne, J. Whiston, S. Barker, L. Davis & C. Reymers, 1768, engraved plates, lacking maps, contemporary gilt decorated calf, joints split and some boards detached, folio (Qty: 13)NOTESSold with all faults, not subject to return.