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After William Beechey, 'Lord Horatio Nelson', mezzotint, Boydell pub., 52x36cm, in gilt frame

Stowe.- Temple-Nugent-Brydges-Chandos-Grenville (Richard, 2nd Duke of Buckingham) [Sale Catalogue] Catalogue of the Contents of Stowe House, near Buckingham, lithographed frontispiece and 2 plates, some prices and buyers' names supplied in manuscript, original printed blue wrappers, rubbed, frayed at edges, modern marbled slip-case, [Lugt 19122], Christie & Manson, 1848; [Sale Catalogue] Catalogue of the Library removed from Stowe House, Buckinghamshire, 1849 bound with The Stowe Granger. Catalogue of Engraved British Portraits, [Lugt 19255], 1849 and Catalogue of the remaining portion of Engraved British Portraits, [Lugt 19283], 1849, together 3 works in 1 vol. (the second bound last), a few prices and buyers' names in manuscript, modern half morocco, calf label, S.Leigh Sotheby & Co. § Forster (Henry Rumsey) The Stowe Catalogue Priced and Annotated, mezzotint frontispiece of Rembrandt's Unmerciful Servant' (foxed), title in red & black, lists of both subscribers & purchasers, plates, advertisements at end, contemporary blind-stamped cloth, rebacked in calf, 1848 § Thompson (E.Maunde) Catalogue of a selection from the Stowe Manuscripts...in the British Museum, plates, bookplate of Rev. C.H.Middelton Wake with A.L.s. from the author to him tipped in, original cloth-backed boards, 1883 § [Sale Catalogue] The Ducal Estate of Stowe, catalogue no.300, plates, folding colour plans, joints split, original cloth-backed boards, rubbed, spine torn, Jackson Stops, 1921; and another on Stowe, v.s. (6)⁂ Group of sale catalogues of various portions of the great art collection and library at Stowe, following the bankruptcy in 1847 of the Duke of Buckingham and Chandos, who was rumoured to have left for the Continent with debts exceeding £1,000,000. The first sale of the contents totalled £75,562 4s 6d. It included the famous "Chandos Portrait" of Shakespeare which sold to the Earl of Ellesmere for £372 15s. and in 1856 became the first donation to the newly-created National Portrait Gallery. "A tragic sale this...It lasted thirty-five days and the prices were incredibly low. This was probably because such a vast accumulation of treasure by many generations of a single family was just more than the trade, collectors and local gentry between them could absorb at one go." The English as Collectors, p.435

Jean Baptiste Camille Corot, after, H Scott Bridgwaer, by, Dance of the Nymphs, coloured mezzotint, published by He Museum Galleries; others, Souvenir D Italie; Danse Des Bergeres; others (19)

York Cathedral Bosses, three 19th engravings by J Browne, 'The Swing' and 'The Dance', two stipple engravings signed in pencil by William J Allingham 'The Sweetest Beggar...', mezzotint singed in pencil by William Powell Frith, Figure by a River, 19th century watercolour unsigned and four other engravings max 475cm x 32cm (11) Condition Report Click here for further images, condition, auction times & delivery costs

After Bartolozzi - Thomas 7th Earl of Northumberland, mezzotint, 26x17cm, published 1799 by Edward Harding of Pall Mall

ELLEN JOWETT; a signed mezzotint, 'Boy and Rabbit' after Sir Henry Raeburn, copyright 1923 by Frost & Reed Ltd (Bristol, England), with KAWJ blind stamp lower left, 46 x 36.5cm, framed and glazed.Additional InformationSome spotting and fading to the lower section where the signature and the blind stamp are.

Early Colonial American interest Richard Phillips (British, 1681-1741), Portrait of Governor Jonathan Belcher (1682-1757) oil on canvas, inscribed on reverse of canvas "---- Jonathan Belcher of Boston New England. Anno AEtatis Suae [in the year of his age] 34 1/2 R Phillips pinxit 1716", painted in 1716 when Jonathan Belcher was 34 years old, in original early 18th century portrait frame 35¼ x 28¼in. (89.5 x 71.75cm.) * Provenance: By descent from the Chamberlayne family of Stoneythorpe Hall Warwickshire, England. The family had lived there since the 1600s. Thermuthes Chamberlayne married the son of the Governor of Virginia in 1797.** Notes: A significant Colonial portrait of one of the most interesting and influential figures in early American history. Jonathan Belcher became Governor of the Province of New Jersey from 1747 to 1757 and is regarded today as the founder of Princeton University. He was born on 8th January 1682 in Cambridge, Massachusetts, the son of Captain Andrew Belcher and Sarah Gilbert. He descended from the Belcher family of Guilsborough, Northamptonshire. He graduated from Harvard College in 1699 and in 1704 embarked upon a grand tour of Europe, visiting Holland, Germany and England where he met Princess Sophia and the future George II. In 1706 he married his first wife, Mary Partridge, the daughter of a former lieutenant governor of New Hampshire. In 1715 Jonathan Belcher made another trip to England where he defended Massachusetts' charter privileges and helped Governor Samuel Shute in his bid to become Governor of Massachusetts and New Hampshire, which he accomplished in October 1716. It was during Jonathan Belcher's visit to England in 1715/16 that Richard Phillips (1681-1741) painted this portrait. Richard Phillips was born in London in 1681 and, as far as it is known, he lived there until the end of his life in 1741. He was a principally a portrait painter and developed a prestigious client list including politicians and landowners and there are portraits by him in the National Portrait Gallery and Bank of England. Some of his portraits were engraved. A mezzotint of Jonathan Belcher was published in 1734 after a copperplate engraving by the Dutch portrait engraver John Faber the Younger (1684-1756), who was active in London. This was derived from a portrait by Richard Phillips, potentially the present picture. Copies of the mezzotint survive but not the engraving. Belcher ordered the plate to be destroyed and all impressions taken from it. The mezzotint depicts the sitter as Royal Governor of Massachusetts Bay and New Hampshire prior to becoming Governor of New Jersey. Although the coat and background are notably different the head and hand bear a very close resemblance to the portrait offered here. A full length portrait by Richard Phillips is recorded as having been presented to Princeton College by Jonathan Belcher at the time that he donated his extensive library. Sadly, this portrait was destroyed during the American Revolution. The portrait offered here is therefore a very significant discovery as it is the most authentic likeness of an historic figure from America's Colonial past. * Condition: Original strainer. The canvas is unlined but is badly torn in several places, including a horizontal six inch tear to the left of the face and a large puncture in the centre of the coat. The canvas is partly detached from the strainer on the left side. There are four patches on the reverse and old fillings. The surface is very dirty and the varnish has discoloured. There is evidence of paint shrinkage in the dark areas where the artist has mixed bitumen with the pigment.

JOHN RUSKIN (1819-1900) THREE RARE ETCHINGS comprising Lucerne after in part J M W Turner with old pencil inscriptions recto and verso including Given me by G A [? George Allen] Private work - never published - Etched by J R from Turner's Lucerne the little bits are experiments..., 17.5 x 27cm, laid down on the original mount, 30 x 33.5cm, Dawn after the Wreck, after J M W Turner, 1860 for the mezzotint engraved by T G Lupton for Modern Painters Vol V, with old pencil inscriptions recto and verso, 30 x 43.5cm and sheet of studies including Ruskin's chair in which he wrote Modern Painters and seashells, apparently unpublished, with old pencil inscription verso, 24.5 x 16.5cm, laid down on the original mount, sheet 44 x 29.5cm, unframedProvenance: The local Antique Dealer Miss Elizabeth Tyson (1878-1970) of Busk House, Ambleside by whom acquired in person at the Sale of the remaining contents of Brantwood, Coniston, July 1931 or else shortly thereafter; thence by descent to the present vendor++One with loss upper right corner and foxed, the others in better condition, handling marks/slightly soiled.

PICTURES AND PRINTS, etc, to include prints by Grandville (J J) 'Chevre-Feuille', 'Bleuet Et Coquelicot', 'Pensee' and 'Primevere et Perce Neige', framed, approximate size 19cm x 14cm, together with a mezzotint after W R Bigg 'A lady and Her Children', framed, Doris Zinkeisen 'In Regency Times' a print on canvas, framed and an architectural print (7)

AFTER JOSHUA REYNOLDS 'CHILDREN FEEDING CHICKENS', a mezzotint, engraving, framed, approximate size 20cm x 25cm, together with a framed Pears print 'The Cottage Door' after Francis Wheatley, approximate size 36cm x 29cm

A DECORATIVE MEZZOTINT after Franciscus Albanus, depicting Cupids having their bows broken and wings clipped with Diana looking on from above 55cm x 61cm

Charles Bartlett (1921-2014), 'September Sun', etching and aquatint, signed, titled and numbered 1/60 and a mezzotint by Dorothea Wight, 'After the Rain', signed, titled and numbered 52/100 (hand-written RA exhibition label verso), 21 x 22cm, the Bartlett etching with Mall Galleries 'National Print Exhibition 1995' label verso, 33.5 x 42cm (2)

THOMAS LUPTON AFTER H.P. BRIGGS The Duke of Wellington, mezzotint, 65.5 x 39cm; and Lamb Stocks after Daniel Maclise - 'Wellington and Blucher meeting after the Battle of Waterloo', monochrome print, 20 x 76cm (2)

Prints and engravings. A mixed collection of approximately 170 prints and engravings, mostly 19th & early 20th century, prints, lithographs and engravings of topographical views, portraits, sporting, caricatures including two mezzotint drolls, Vanity Fair cartoons and political cartoons by Reynolds, Bridgeman, Lee and Alexander, posters, scraps, genre, military, sporting and reproduction Gould prints of birds, various sizes and condition (Qty: approx. 170)

Ward (William, 1766 - 1826). A view from the East-End of the Brewery Chiswell Street, G. Garrard, 1792, hand coloured mezzotint after G. Garrard , slight cracking to image, some marginal repaired closed tears, 455 x 555 mm (Qty: 1)A view of the famous Whitbread Brewery. In the foreground is a carthorse being backed into a dray. The site, at 52 Chiswell Street, was the first purpose-built mass-production brewery in Britain. After two centuries brewing on the site ceased in 1976, after which the building became a conference and events venue, named 'The Brewery'.

Constable (John). English Landscape Scenery, Henry G. Bohn, 1855, 40 mezzotint plates by David Lucas after Constable,plate 26 with small repair to verso, some light spotting and water stains, contemporary half calf, repaired by Sangorski & Sutcliffe in 1981 (pencil note at front), a few stains to covers, folio (Qty: 1)

A group of three coloured mezzotint engravings signed 'W.A. Cox', each glazed and framed, approx. total dimensions 42cm x 50cm.

Arthur Hogg, pair of mezzotint colour engravings, one portrait of a Dutch lady after Miervelt and the other the Gypsy Girl after Fragonard.

Dr Robert Thornton (Publisher), The Night-Blowing Cereus from The Temple Of Flora, c. 1800, aquatint, mezzotint and stipple engraving with handcoloring, after Reinagle and Pether, 49cm x 36cm.

Dr Robert Thornton (Publisher), The White Lily, from The Temple Of Flora, c. 1800, aquatint, mezzotint and stipple engraving with hand colouring, after Henderson, 53cm x 40cm.

Dr Robert Thornton (Publisher), The Oblique Leaved Begonia, from The Temple Of Flora, c. 1800, aquatint, mezzotint and stipple engraving with hand colouring, after Reinagle, 51cm x 38cm.

Dr Robert Thornton (Publisher), The American Cowslip, from The Temple Of Flora, c. 1800, aquatint, mezzotint and stipple engraving with hand colouring, after Henderson, 48cm x 36cm.

Tony Price [Contemporary]-'He closed his eyes for just a moment ....',:-coloured etchingsigned, inscribed and numbered 81/150 in pencil along the bottom marginimage size 21 x 22.5cm, together with a Martin Langford [20th Century] mezzotint titledThe Bigger Picture, image size 22 x 35cm. [2]

AFTER GEORGE JOY VICTORIAN MEZZOTINT ?Nelson?s First Farewell? 21? x 16? (53.3cm x 40.6cm)

Late 18th or early 19th Century mezzotint portrait of a lady and gentleman after Gainsborough, together with another similar, portrait of a lady, and a circular gilt framed convex mirror

John Cotha Webb Countryside Scene, Mezzotint, 36.5 x 50.5cm signed (foxed), another after Constable, Admiralty Satirical engraving, another fox hunting after J.F. Herring Senior. (4)

Smith after Kneller, 'The Right Honorable Robert Earl of Oxford, mezzotint, 34cm x 24.5cm, together with an engraving of Thomas Harley and another of Sir Edward Harley, copper line form, depicting portraits of the Earl of Oxford, Thomas Harley and Edward Harley, in black and gilt slip frames

MAX ŠVABINSKÝ 1873 - 1962: SUMMER NIGHT 1911 Mezzotint on paper (print: 55.0 cm x 49.0 cm)550 x 490 mm Signed lower right: "M. Švabinský" “Švabinský, a poet of bright sunshine and songful contours, occasionally longed for subjects dominated by darkness, with meticulously plotted lines giving way to picturesque transitions of soft, deep tones.In his oeuvre, the night is amiable, cozy, full of calm and warmth. Mezzotint is a technically exacting and delicate method. Švabinský had his mezzotint plates machine-rocked with fusiform dots, which were larger and less vulnerable. He did this because while working outdoors at night, he could have easily damaged the plates. More than any other technique, mezzotint requires an absolutely unique subject. It must be dark so that the material may be used as beautifully as possible. An August night in 1911 in Kozlova inspired the subject for Švabinský’s print. The weather was unusually hot, the stars sparkled with brilliance. An enormous linden tree stood next to the land opposite the farmhouse. Enchanted by the motif, Švabinský had a large plate brought in from Prague and for several nights he worked on it based on what he actually saw, a small lamp hanging from his neck.” From J. Kaušitz, Se Švabinským o grafice (With Švabinský about Graphic Art), SPN 1959, no. 26.

After George Moorland, colour mezzotint in a verre églomisé, 43x52cm

After Thomas Jones Barker The Capitulation of Kars, Crimean War, 28 November 1855; The Allied Generals and their Staff Officers at Sebastopol Mezzotint Each: 63 x 111cm (24¾ x 43½ in.) (2)

ENGRAVED BY H. MEYER AFTER LASCELLES HOPPNER, a mezzotint print on board entitled 'Manuella Sancho, the Heroine of Saragossa', c.1811

A FRAMED AND GLAZED MEZZOTINT PRINT "THE RABBIT ON THE WALL", engraved by John Burnet, printed by David Wilkie, 63 x 47.5 cm inc. frame, c.1821

After John Hoppner, Lord Nelson, mezzotint, 70 x 49cm (PL)

A coloured mezzotint engraving 21cm x 27cm.

Arthur Ralph Middleton Todd (1891-1966) two drypoints, 'Woman Looking out of the Window', signed in pencil to margin, 16.5 cm x 12.5 cm, framed and glazed; and 'Gypsy Girl', 1st state, signed and inscribed in pencil to margin, 17.3 cm x 12.3 cm, framed and glazed; together with After Lege Suthers photographic canvas, 'Portrait of Lois Byng', 51 cm x 41 cm, framed; and After George Morland mezzotint, 'Woman having Palm Read', 33 cm x 43 cm, framed and glazed (4)

After John Hoppner - The Cavendish Children, colour mezzotint by Richard Smythe, 45 x 33cm; and three others being after Sir Henry Raeburn, William Ferguson of Kilrie, after Thomas Gainsborough pair HRH Prince Octavius and Prince Sophie (4)

ARTHUR HOGG After MIEREVELT Portrait of A Dutch Lady, mezzotint, signed, 40 x 31cm and four others (5) Condition Report: Available upon request

AFTER COROT Macbeth and the witches, signed H SCOTT BRIDGEWATER, mezzotint, 36 x 43cm Condition Report: Available upon request

After SIR THOMAS LAWRENCE Lady with muff engraved by ARTHUR B BROOK, 34 x 25cm, another by JOWETT, 35 x 28cm and after LANDSEER signed, mezzotint, 49 x 58cm (3) Condition Report: Available upon request

After SIR THOMAS LAWRENCE Miss Farren, JOWETT, mezzotint, 38 x 24cm and another (2) Condition Report: Available upon request

After J L E Meissonier, two Mezzotint pencil signed engravings by T Hamilton Crawford, frames and glass a/f, 34cm x 44cm and 40cm x 30cm

After Johannes Verneer, a Mezzotint engraving by T Hamilton, Crawford pencil signed, limited to 300 'The Girl with a pearl earring', framed and glazed, 38 x 30cm

After J L E Meissonier, a Mezzotint engraving by T Hamilton Crawford, framed and glazed, 51 x 50cm

George Sidney Hunt (1856-1925) 'A Cavalier' after meissonier mezzotint, pencil signed, published by Howell & Co London 1918, framed and glazed, 26 x 17cm

George Sidney Hunt (1856-1925) 'Soldiers Gambling' after Meissonier', mezzotint pencil signed, published by Howell & Co London 1918, 23cm x 28cm

West Country Poet.- Webb (Francis) Poems On Wisdom, On the Deity, On Genius, first edition, half-title, with mezzotint portrait of Webb tipped in as frontispiece (trimmed), Salisbury, E.Easton, 1790; Hymn to the Dryads inscribed to Dr. Turton, 1796; Ode to the Rural Nymphs, written at Comb-Bank inscribed to Lord Frederick Campbell, 1801; Somerset, a Poem, with final blank, 1811, Friendship: a Poem inscribed to a Friend..., presentation copy from the author to Maria Milner inscribed at head of half-title (partly erased by water and lightly stained), etched title vignette, for G.Kearsly..., 1769; An Epistle to the Rev. Mr.Kell with an Ode to Fortitude, Salisbury, E.Easton, 1788, together 6 works in 1 vol., first editions, the second, third and fourth items with engraved head-piece, Hannah Webb's copy with her signature and manuscript list of contents on front free endpaper, some light foxing, mostly to fourth item, slight worming to outer margin of last two works, contemporary calf, spine gilt, rubbed, head of spine worn, 4to⁂ Francis Webb (1735-1815) was born in Taunton and was a non-conformist minister but in 1766 he retired from the ministry and became a writer, including mistakenly giving his support to William Henry Ireland's Shakespearian forgeries being genuine. In 1801 he travelled to Europe as Francis Jackson's secretary at the negotiations for the Treaty of Amiens and acted as an intermediary with the French. He married Hannah Milner of Poole in 1764. Although the fifth item Friendship, a Poem is anonymous and the author unidentified on ESTC and COPAC it is clear that the author must be Webb.All the items are scarce, with between 2 and 4 UK copies of each listed by ESTC or COPAC (all in BL, and mostly Oxford and/or Cambridge).

Edward Fisher (Irish, 1730-1785), after Sir Joshua Reynolds PRA ), (1723-1792), Mifs (sic) Kitty Fischer (sic, Fisher), [London] 1759, mezzotint, 33.5cm x 24cm, gilt and ebonised frame; Richard Houston (Irish, 1721?-1775), after Sir Joshua Reynolds PRA (1723-1792), Mary Duchefs (sic) of Ancaster, 1756, [London] 1758, mezzotint, 29cm x 22.5cm, gilt frame; Richard Houston (Irish, 1721?-1775), [after Francis Cotes RA (1726-1770)], Elizabeth Dutchefs (sic) of Hamilton, Brandon &c., [London c. 1760], mezzotint, 33cm x 23.5cm, gilt frame; James MacArdell (Irish, 1729?-1765), after Andrea Soldi (1703-1771), The Honourable Susanna Fitzpatrick, [London c. 1750], mezzotint, 36.5cm x 25cm, gilt frame, [4] Condition Report: Each frame harlequin, fair country house condition with losses, Kitty Fischer speckled plate margins, otherwise goodDuchess of Ancaster cropped to image and margin, ripple and some soilingFitzpatrick browned to large centre portion and some specklingDuchess of Hamilton neat crop to margin, minor creases to angles, very minor speckles

John Jones (c.1755-1797), after Thomas Beach (1737-1806), The Right Honourable Lord Viscount Milton, Colonel of the Dorsetshire Volunteer Rangers, Published as the Act directs by Tho:s Beach, [London] 1795, mezzotint, 51cm x 33cm; Thomas Phillips RA (1770-1845), after William Whiston Barney (act. 1805), His Royal Highnefs (sic) George, Prince of Wales, [London] 1807, mezzotint, 52.5cm x 38.5cm, [2] Condition Report: Prince of Wales cut to plate margin, lower titled portion creased, scuffed to edge, light grime and speckling, very minor sporadic foxed spots to imageMilton trimmed to plate, otherwise goodframes and mounts worn

John Smith (c. 1652-c.1742), after Willem Wissing (1656-1687), Self-Portrait, [London] 1687, mezzotint, 34cm x 25cm, gilt frame

John Smith (c. 1752-c. 1742), after Sir Godfrey Kneller, Bart (1646-1723), The Right Honourable Ann Lady Torrington, [London] 1709, mezzotint, 35cm x 25.5cm, gilt frame; Hans Hysing (1678-1752/3), after John Faber Junior (c. 1684-1756), Her Highnefs (sic) Princefs (sic) Carolina, Third Daughter to his Majesty King George 2d [...], [London, mid-18th century], mezzotint, 34.5cm x 25cm, [2]

Local Interest - John Raphael Smith (1751-1812), after Sir Joshua Reynolds PRA (1723-1792), Lady Catherine Pelham Clinton, [granddaughter of Henry Pelham-Clinton, 2nd Duke of Newcastle, of Clumber Park, near Worksop, Nottinghamshire], London 1792, mezzotint, 52.5cm x 37.5cm, large Hogarth frame Condition Report: Please see additional images

David Lucas, after Constable, Summer Morning, mezzotint, 14 x 22cm, together with two others similar

Still life on board, an engraving, Cromwell, and a coloured mezzotint, Sydney Wibon (Mrs Curtis)

XIX Century, After Thos. Gainsborough, 'Lady Sheffield', mezzotint, 71 x 58cm.

After Sir John Hoppner R.A. (1758-1810) Portrait of Admiral Lord Nelson Mezzotint engraved by C. Turner, 62x42cm, together with another colour print of Lord Nelson walking down the steps at Sallyport, 60x38cm (2)

AFTER G. MORLAND - A MEZZOTINT TITLED 'THE HORSE FEEDER' engraved by J. R. Smith c.1799 together with a lithograph of a horse in a stable dated 1860 A/F, HOWITT - A COLOURED STIPPLE ENGRAVING entitled "Horses Frightened By Lightening", published by R. J. Hixon at his Cheap Print Warehouse, 44o. Strand A/F and KARL DU JARDIN - FOUR ETCHINGS A/F, c.1870, unframed, approx. 18 x 22 cm (4)

R EARLOM After Joseph Wright of Derby: "An Iron Forge" mezzotint

After John Singleton Copley (1738-1815)/The Death of Major Pierson, 6 January 1781/hand coloured lithograph, 56cm x 77cm/in a birdseye maple frame/after Angelica Kauffman/The Bathers/mezzotint oval, 33cm x 40cm/and sundry Baxter and other prints

John Cother Webb (1855-1927) - The Embarkation of the Queen of Sheeba at the Port of Africa after Claude Gelee, mezzotint, 37 x 49 cm to/w The Grand Canal after Turner, both pencil signed to lower right margin (2)

N.J. Stark, oil on canvas, Still life of fruit, signed, 27 x 37cm and Dunkerton after Barney, colour mezzotint, 'The Little Red Riding Hood', 47 x 38cm and John Smith, pair of oils on board, Still lifes of fruit, 11 x 16cm, two small landscapes by Denis Blow and two colour prints