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Crowley, Aleister. Hymn to Pan, London: Aeon Art Ltd., 1980, 1st ed., elephant folio Crowley's 'Hymn to Pan' was written during his visit to Moscow in the summer of 1913. It was first published in 1919 in The Equinox, Volume III, Number 1. This edition is accompanied by ten silkscreen prints by Andre Durand re-interpreted from chalk drawings he made in 1978, and is one of 75 copies plus ten artist's proofs. Durand's powerful images in the European Hermetic tradition are printed with four colour mezzotint separations with over-lays handworked by the artist, on BFK mould-made 270gsm paper. Each print is embossed with the printer's chop. The collection is contained in a handmade Solander box. Each print measures 23 x 17.5"

Charles Turner (1774-1857), Charles II King of England, mezzotint, 36.5x26.5cm

THE RELIEF OF LUCKNOW, CHARLES G. LEWIS AFTER THOMAS JONES BARKER, LONDON 1860 monochrome mezzotint, framed 78 x 145cm approx. This image, the full title of which is 'The Relief of Lucknow, a Triumphant Meeting of Havelock, Outram and Sir Colin Campbell', records the aftermath of one of the most traumatic episodes of the British involvement in India, when a siege that had lasted four months was finally lifted. The original version in oils is now in the National Portrait Gallery, London (NPG5851).

AFTER JOSHUA REYNOLDS, A MEZZOTINT BY J. GROZER, c.1785 entitled 'Master Braddylle' (Thomas Richard Gale Braddyll), mount size 60.5 x 48 cm

Early 20th century coloured mezzotint - portrait of Nelson, published 1924, indistinctly signed, in gilt and ebonised frame, 65cm x 45cm

Group of 17th and 18th century engravings and etchings to include: Johann Roos etching of livestock, two etching and mezzotints after Claude Lorraine, mezzotint after Philippe Mercier and an 18th century etching of horses in training by 'Remigius' Parr, each framed and glazed (5)

Sir Joshua Reynolds 18th century mezzotint on laid paper by Thomas Watson - Princess Sophia Matilda, Daughter to their Royal Highnesses the Duke and Duchess of Gloucester, published 1775 by W. Shropshire, in gilt and ebonised frame, 34cm square

F. Cotes 18th century mezzotint on laid paper by J. Watson - Miss Cuncliffe, sold by Ryland, Breyer & Co., circa 1770, in gilt and ebonised frame, 33cm x 22cm

A mezzotint of a blind man with children, circa 1790.

Armand Mathey after Thomas Gainsborough, Mrs Robinson (Perdita) with her pet dog, mezzotint, signed in pencil, 71 x 58 cm (print), i...

4 ANTIQUE MEZZOTINT ENGRAVINGS

C19th Floral water colour in maple frame 23 x 17 cm, C19th valentine card framed 18 x 11 cm, C19th after B West black & white mezzotint 'St John', after Moss black & white print 'Battle Abbey' & pair of mushroom shaped needlework panels unframed & Qty of pictures to include 3 watercolours, 2 prints of Harrovians, late C18th print after Metz 'Mother & Children', a floral watercolur & another 3 'Fungi' signed H Pratensis & qty of general pictures

AFTER SIR THOMAS LAWRENCE PRA (1769-1830)General Lord Lynedock, standing full length, a landscape beyondmezzotint engraving by Samuel W. Reynolds, proof before letterspublished Jan 1831 by Colnaghi, 23 Cockspur St. LondonPl. 25 x 15 1/2 in Thomas Graham, 1st Baron Lynedoch (1748-1843), Scottish aristocrat and British Officer had a distinguished military career during both the French Revolutionary & Napoleonic Wars. He acted as Aide-de-Camp to Lord Malgrave in the defence of the town of Toulon (1793). At that time according to the diplomat Sir Gilbert Elliot, 'Graham left the highest character possible both for understanding and courage'.

AFTER JOHN COLLET (c.1725-1780)'Bachelor Fare or Bread and Cheese with kisses'mezzotint engraving, published by Carrington Bowles, London, 1777with horizontal paper discolouration in lower plate, Pl.14 x 10 inSold with two other mezzotints after John Collet titled 'Miss Tipapin going for all Nine' (publ.1779 ); and 'The Ladie's (sic) Shooting Pony (publ.1780); together a further mezzotint engraving by Robert Hancock after I. Wright depicting 'Edward Scofield Aet 71. 3 feet 2 inches high, Deputy Clerk of St.Chad's in Shrewsbury', margins trimmed to plate on three sides; four (4)John Collet was a pupil of the artist George Lambert. He first exhibited at The Society of Free Artists in 1761. His satirical subjects were often based on those of William Hogarth whose 'Comedy in art' he strove to imitate. A number of his works were reproduced by leading printmakers of the day.Robert Hancock, (the engraver of the mezzotint depicting Edward Scofield), joined the Worcester Porcelain Company in 1756. He worked there for the next twenty years before having a short spell at Caughley. After 1780 he concentrated more on stipple and mezzotint portrait engravings.

J C WEBB, AFTER J M W TURNER; 'The Death of Nelson', colour mezzotint

A mezzotint of the Thames after J Farrington R.A. published 1793; and a chromolithograph of a mountain scene

An 18th century mezzotint, together with a collection of engravings and prints

The Dore Gallery, Two Hundred and Fifty Beautiful Engravings, Volume I & II, Cassell, Petter & Galpin, New York, together with a Victorian scrap album, circa 1875, containing watercolours and drawings, English Mezzotint Portraits and Their States, Russell and Holy Bible Illustrations, Fisher & Son, 1847, (5)

* Ward (William, 1766-1826). Portrait of John Cotes Esqr. M.P. for the County of Salop..., published Thomas Weaver, Shrewsbury, 1810, uncoloured mezzotint after Thomas Weaver, some staining and toning, trimmed to image on three sides, 595 x 725 mm, framed and glazed (Qty: 1)NOTESRothamsted Collection 178

Nelson & Sons (T. Publishers). English Scenery, 1889, numerous chromolithograph plates (some with tissues adhered to image), all edges gilt, original cloth gilt with blocked decoration, 4to, together with 2 duplicates published 1889 & 1892 (covers worn), plus Souvenir of Scotland, Its Cities, Lakes, and Mountains, 1890 (2 copies), n umerous chromolithograph plates (some with tissues adhered to image), all edges gilt, original cloth gilt with blocked decoration, some wear, 4to, together with 1891 & 1895 editions of the same work, and Ross (Frederick) , The Ruined Abbeys of Britain, London: William Mackenzie, [1882], chromolithograph plates, wood engraved vignette illustrations, occasional spotting, all edges gilt, original cloth gilt, folio, and Buckle (A.) , Lyrics and Sonnets of Northern Lands, Leeds: Richard Jackson, 1889, etched & mezzotint plates by the author, light toning and minor spotting, original cloth gilt, rubbed and some wear, 4to (limited edition 84/300), plus other miscellaneous topography related etc. (Qty: a carton)

A 19TH CENTURY MEZZOTINT OF JACK CRAWFORD NAILING THE COLOURS TO THE VENERABLE' S MAST DURING THE BATTLE OF CAMPERDOWN framed with presentation plate -- 21¾ x 16¾in. (55.5 x 42.5cm.)

Henry MacBeth-Raeburn, colour mezzotint, Cavalry officer, signed in pencil, 72 x 43cm and a similar mezzotint of a lady by another hand, 72 x 46cm

After George Morland, The Fern Gathers, hand coloured mezzotint, 46cm x 59cm

Frank Short, After George Frederick Watts, Hope, Mezzotint, signed by Artist and engraver, 48cm x 37cm

Mason, Randall, a pair of coastal scenes, one with fishing boats, mezzotint printed in coloured inks on wove paper, image size 30 x 24 cms, framed size 60.5 x 50 cms, pencil signed by the artist in the lower margins, right hand side.

Pablo Picasso (1881-1973)Homme avec deux Femmes, pl. 222, from Series 347 (B. 1702), 1968 Mezzotint on Rives BFK, with the artist's ink stamped signature, inscribed under platemark lower left épreuve avant aciérage, a proof before the plate was steel-faced (aside from the edition of 50), with the oval inkstamp of the Marina Picasso Collection on verso, published/printed by Galerie Louise Leiris/Crommelynck, Paris, with full margins, framed.12 1/2 x 15 3/8in (31.6 x 39cm)sheet 18 1/8 x 22 1/4in (47.2 x 56.5cm)

M. LazapebaWoods Limited edition mezzotint, numbered 17/50Signed in pencil lower right 24.5 x 29cm Please Note: This lot is subject to 20% Buyers Premium plus VAT and VAT on the hammer price (44% in total)

John MARTIN (1789-1854) Adam and Eve/Garden of Eden Mezzotint (Dimensions: 17 x 27cm)(17 x 27cm)

A MEZZOTINT OF THE DUKE AND DUCHESS OF CUMBERLAND AFTER GAINSBOROUGH, VERRE EGLOMISE MOUNT AND GILT CAVETTO FRAME, 73 X 63CM OVERALL

JOSEPH BISHOP PRATT (1854-1910) AFTER SIR SAMUEL LUKE FILDES, KSVO, RA [PORTRAIT OF KING EDWARD VII] "IN REMEMBRANCE OF YOUR VIGIL MAY 17TH-20TH 1910" mezzotint, signed in pencil George RI (HM King George V), 85 x 55.5cm Rare. Presented to one of the guards who stood vigil at the late King's lying-in-state in the Throne Room at Buckingham Palace and afterwards in Westminster Hall.++In very good condition with some dust and dirt under the glass the image generally clean and fresh, in the original gold leaf frame, scarce

M Cormack, after John Hoppner, LORD NELSON coloured mezzotint engraving, together with GOOD BYE MY LADS, and THE HERO OF TRAFALGAR

Pair of Georgian hand-coloured mezzotint engravings, 18th-century satires on fashion: 'What is this my Son Tom' (depicting fashionable young macaroni with outrageous wig), published in London by Sayer & Bennett, 24 June 1774; 'Is this my Daughter Ann' (depicting young lady with towering toupee), engraved by James Watson after Samuel Hieronymus Grimm, published in Covent Garden by Sarah Sledge, 27 June 1774. Presented in wooden Hogarth frames, each measuring 36cm by 25.5cm (frame window). Caricature Interest (2)

Royal Memorabilia - Early 19th Century mezzotint engraving of Her RH, Princess Charlotte of Wales and of Saxe Coburg Saalfeld engraved by E.Nelson, 7cm diameter, in original black-lacquered rectangular frame with gilt bezel and Crown and ring suspender, the frame 15cm x 12.5cm excluding loop

□ AFTER SIR JOSHUA REYNOLDS, P.R.A. THE DUCHESS OF BUCCLEUGH including a modern reproduction print of The Duchess Spencer mezzotint engraving 63.0 x 39.0cm / 24 3/4 x 15 1/4in (2)

ENGLISH SCHOOL (EARLY 19TH CENTURY) 'The Right Honorable Rear Admiral Lord Nelson K.B.', mezzotint, hand-coloured, 34.5 x 25cm; and Camille Foncé (1867-1937) - Rouen Cathedral, etching in colours on vellum, pencil signed in the margin, 58 x 46cm (2)

HUBERT VON HERKOMER (1849-1914) Portrait of John Ruskin, mezzotint, published by the Fine Art Society 1880 in an edition of 75, 49.5 x 36cm

JOHN YOUNG AFTER WILLIAM BEECHEY The Gypsy Fortune Teller, mezzotint, hand-coloured, 52 x 42cm; and John Young after John Hoppner - 'The Peep Show', mezzotint, 52 x 42cm (2)

MINNIE CORMACK (1862-1919) 'Nell Gwynne', mezzotint, pencil signed in the margin, pub. c.1903 by J.P. Mendoza, 50.5 x 43cm

After George Morland - "The Horse Feeder" and "The Corn Bin", mezzotint with hand-colouring, 42.5cm x 54cm, framed. (A pair)

***Collett, "Corporal Cartouch teaching Miss Camp-Love her manual exercise - ", late 18th Century hand-coloured mezzotint; and other similar mezzotints, framed. (6)

* English School. Study of Queen Charlotte, mid 18th century, half-length oil on canvas portrait, captioned to lower edge, relined, 76 x 64 cm (30 x 25 ins), stencil auction sale number 663TZ to stretcher, contemporary frame with acanthus leaf gilt moulded decoration and gilt moulded crown on cushion at head of frame, Parker Gallery picture dealer label to verso (Qty: 1)NOTESSimilar to a mezzotint portrait of Queen Charlotte (of Mecklenburg-Strelitz, wife of George III) (1744-1818) by Thomas Frye (Dublin 1710 - London 1762).

* Coornhert (Dirk Volkertsz, 1522-1590). The Parable of the Great Banquet: The Second Excuse, 1558-59, copper engraving after Maarten van Heemskerck, on laid paper (with indistinct watermark), published by Hieronymus Cock, small wormhole to centre of the image, minor waterstain to lower centre, a good impression, trimmed to platemark, sheet size 20.4 x 24.8 cm (8 x 9.75 ins) window-mounted, together with Sadeler (Jan, or Johannes Sadeler, 1550–1600). The Descendants of Lamech (from the series The Story of the First Men), 1583, engraving on fine laid paper, after Maarten de Vos, the second state (of two) with plate number 9 added to lower margin of the image, trimmed outside the platemark, laid down on archival paper, sheet size 21.3 x 26.8 cm (8.4 x 10.5 ins), light soiling, window-mounted, plus an etching by Daniel Hopfer (circa 1470-1536), Reliquary with a Pieta, the second state (Bartsch 17, ii), sheet size 24.3 x 16.7 cm (9.6 x 6.6 ins), window-mounted, and other Old Master prints, various, including 2 large etched landscapes by Herman van Swanevelt, 2 small landscapes by S. Le Clerc, Georg Pencz (circa 1500-1550), Virginia, circa 1546/47 (Bartsch 84, Hollstein 125), with margins unevenly trimmed touching the image, 2 battle scenes by Stefano della Bella, a mezzotint by Christian Rugendas after G. P. Rugendas dated 1696, a woodcut of Christ Purifying the Temple, from Speculum Passionis, 1507 by Hans Schaufelein (printed text to verso), etc., some mounted (Qty: 16)NOTESProvenance: Estate of Michael Jaffe (1923-1997). Hollstein 345 Coornhert) and 25 (Sadeler)

* Martin (John, 1789-1854). Belshazzar's Feast, 1826, large-scale mezzotint engraving published June 1, 1826 by Mr Martin, 30 Allsops Buildings, New Road, trimmed to plate mark, sometimes touching engraved area, some closed tears repaired, mainly to margins, sheet size 51.5 x 72cm (20.25 x 28.4 ins), framed and glazed, with printed label of Sanders of Oxford to verso (Qty: 1)

* Amling, (Karl Gustav, circa 1650 - 1703). Nox [Night], 1698, copper engraving on laid paper, after Pieter de Witte (1548-1628), trimmed just inside the platemark, a very good impression, sheet size 26.5 x 15.9cm (10.5 x 6.3ins), window-mounted, together with Edelinck (Jan, circa 1643 - 1680). Statue de Galatée, de marbre blanc...dans la grotte de Versailles, [Paris circa 1675] , fine copper engraving on laid paper by Edelinck after a drawing by H. Watelé, off the sculpture by Jean-Baptiste Tuby, plate size 38.5 x 29.7cm (15.25 x 11.7ins), with margins, a very good impression, window-mounted, plus Fantetti, (Cesrae, circa 1660-?). Adam and Eve, circa 1680-1700, copper engraving on laid paper by Fantetti after Raphael, published by De Rossi, Rome, numbered five to lower right hand corner, plate size 24 x 25.8cm (9.5 x 10.2ins), with margins, window-mounted, and other Old Master prints including a hand coloured woodcut illustration from a book signed in the image V S, German gothic printed text to verso, Willem Panneels, Mary Magdalene in the House of Simon the Pharisee, copper engraving after Rubens, trimmed to image, sheet size 14.2 x 17.1cms (5.6 x 6.8ins), a mezzotint portrait of Lucas Holstenius, Vatican Librarian, by Haid, copper engraving of a Roman marble frieze by Giovanni Battista Galestruzzi after Polidoro da Caravaggio (numbered 2 lower right corner), and a further group of 16th century German woodcut illustrations with printed text to versos (Qty: 16)

Figural Union Cases, 1-35, Common, G, Littlefield, Parsons & Co, Alone at the Rendezvous, prob. Anthony Schaefer, Mezzotint by Sartain, painting by A de Dreux, late 1850s, 124mm x 101mm, Ambrotype, quarter-plate, Portrait of two ladies, one seated, one standing, gilt highlights; 1-38, Common, A P Critchlow & Co, Sir Roger de Coverly and Gypsies, Silver Statue by Joseph Angell (Krainik Collection), before 1858, 123mm x 98mm, Ambrotype, quarter-plate, seated gentleman, tinted, with gilt highlights

Figural Union Cases, 1-108, Rare, G-VG Holmes, Booth & Hayden, The Highland Chief, Mezzotint by Francis Humphreys 1857, 1858, 84mm x 95mm, Ambrotype, sixth-plate, seated gentleman, tinted & gilded; 1-37, Common, VG, Samuel Peck & Co, Sir Roger de Coverly with the Gypsies, silver statue by Joseph Angell, circa 1858, 126mm x 103mm, Ambrotype, quarter-plate, seated portrait of Lydia Moore, daughter of George & Nancy Moore of Norwich, Conn., possibly in mourning

Folder containing nine unframed mezzotint engravings, portraits of 17th / 18th Century dignitaries

W. Appleton, watercolour, view of Lake Windermere, together with a watercolour, figure before thatched cottages, signed J.M.D. 1881, another, figure on a country lane, unsigned and a mezzotint, portrait of a lady

James McArdell (British, 1729 - 1765) after Rembrandt, The Holy Family at Night, mezzotint, framed 62 x 48 cmThe original painting, now called 'The Holy Family by Night', was acquired by the Rijksmuseum in Amsterdam in 1965.

A framed and glazed mezzotint engraving titled The Farriers Shop, after James Ward RA, 47 x 60cm

Two framed sets of four 19th century hand coloured mezzotint studies of fox and hounds, each print 11x14.5cm

the pipe player, mezzotint, signed with monogram in plate, framed, 38 x 29 cm

LAURIE AND WHITTLE, AUTUMN, A HAND COLOURED MEZZOTINT, 1794, 34 X 24CM AND A LATER PRINT, 30 X 25CM

***ADDITIONAL LOT***AFTER JOHN HOPPNERMrs. Richard Brinsley Sheridan and Her ChildBlack and white mezzotint, 58 x 40cmFintan Cullen notes that this is the prototype composition for H.P. Hamilton's masterpiece, Lady Conyngham and Her Son (destroyed);Together with After J.H. SmithVisit to the Grandfather (1798)Colour printed mezzotint by Dayes, 66 x 52cm;After RollinsThe Southwest Prospect of the Metropolitan Church at CanterburyEngraving by Smith, 50 x 60cm;And three others (one unframed), a stack. (6)

After Raeburn, four children, coloured mezzotint, pencil signed, 50cm x 48cm; two colour prints after Walter Dendy-Sadler. (Qty: 3)

Rosenburg after William Hugginscoloured aquatint'The Right Hon. Lord Yardborough's Yacht, The Falcon of 351 Tons' 17 x 24.5in, and Dr Thornton Publ., engraving of William Withering M.D.; an engraving of Jean Restout, 1771 and a mezzotint of Sir James Mackenzie17 x 24.5in.5% Import duty will be charged on the hammer price.The Beaulieu House Collection, the estate of John Bedford Esq. Removed from St Peter’s Port, GuernseyJohn Bedford of William Bedford was one of the major dealers in antique furniture in London in the 1970s and for the next 35 years dominated his corner of the trade.The business was started in the 1960s simply to help his brother William recover from an illness, with a small stall in the Kensington Antiques Hypermarket selling antique glass, while John continued in his role as company secretary at Smith’s Industries.Buying was fitted in at the weekends and evenings by John around other commitments.After a relatively short time it was found that the furniture used on the stand for display purposes sold more profitably than the glass and a decision was made to take a much larger premises in Upper Street, Islington, and concentrate on period furniture.John now took up the full-time role of running an antiques business with the skills and approach of a ‘true businessman’, driving the operation forward into what would become one of the first publicly quoted antiques businesses on the stock exchange.It operated out of the 15,000sq ft of The Merchants Hall in Islington.Dealers from across the world would find this often became a one-stop shop for their purchases, allowing them to shorten buying trips to the UK often by weeks.John was always a kind, cultured and generous man with wide-ranging interests from motor racing to building one of the finest private libraries in the world covering cabinet-makers and furniture designers to the brass-makers of Birmingham.

A 19th Century F. Winterhalter mezzotint, label verso, framed

A group of six, including watercolours: George Oyston, Near Totnes; C. White, figures by a cottage, and a scene of figures on a beach; together with an mezzotint self portrait of Rubens, an oriental style print and a 'Sertificat of Honer'.(6)

Peter Wilhelm Ilsted (1861-1933), Girl in a flat cap, colour mezzotint, signed and inscribed, 47.5cm x 47cm.

Peter Wilhelm Ilsted (1861-1933), Two girls at a window, colour mezzotint, signed and numbered 14/100, 39cm x 32cm.