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A collection of pictures: a mezzotint of the Hon Sir Robert Chambers KN, a watercoour of a pacific island signed Vautier, a reproduction print of the Madonna and child, a pair of shooting steel engravings, two photographic portraits of Naval Officers, a watercolour of a coastal scene indistinctly signed, a watercolour of a jungle track signed Dougall, a print of a tropical island and a watercolour of a family crest titled 'Res Non Verba'.

After Sir William Beechey. Portrait of Mrs Siddons, mezzotint, 60 x 49cm (SH)

D. J. Gough, mezzotint, walnuts, signed, 10/25, 6.5 x 5.5in., together with a group of assorted pictures and prints

After George Fredrick Watts (British 1817-1904), 'Sir Galahad', mezzotint with touches of line and stipple by D.A. Wehrschmidt published by Gainsborough Gallery 1898. 63cm x 33cm. Provenance: Christopher Wood gallery label verso.

A coloured mezzotint engraving of Mrs Hume Drummond by L Busiere after Sir Henry Raeburn, circa 1930 in gilt frame.

A framed and glazed mezzotint of 'The Countess de Dilliers' by M Thirne after J M Nattier signed artist proof and a framed and glazed engraving of Venus & Cupids by R M Headons after R Westall.

PRINTS & ENGRAVINGS: a bundle of approx 27 prints and engravings, mainly 18th-19thc, including 'Jew purchasing old clothes', printed W Davison Alnwick: 2 sheets of small format Baxter-type prints: hand-coloured Valentine's card: some 18thc mezzotint portraits: hand-coloured genre prints, Indian School watercolour: 'Game of Chess' pub. McLean, 1835, hand-coloured, laid down and some damage to corners, together with 'Pencil Jottings from the Ajax', Cambridge 1883, series of 8 etchings in original printed blue wrappers. (A bundle)

After Heywood Hardy (1842-1933) British. A Child Feeding Biscuits to Spaniels, Coloured Mezzotint, 12" x 16.5".

*Acrobat. Houston (Richard), [Anthony Maddox], published John Smith & Robert Sayer, circa 1751, uncoloured half length mezzotint on laid after Thomas King, ten lines of verse describing the artist below image, with margins, 350 x 255 mm Anthony Maddox was a slack-wire acrobat. His debut season at Sadlers Wells was in 1751 and his ability as an acrobat was immediately apparent. Whilst the wire was swinging he would balance his hat on his chin, whilst playing the violin. He would lie on the wire or stand on his head and balance full wine glasses and then conclude his act by dancing the hornpipe. Contemporary engravings suggest that it was the ability to pass a straw from foot to face and back again that most caught the public imagination. His extraordinary success allowed him to retire in 1754. (1)

*Actors. Park (Thomas), Mrs Jordan in the character of the comic muse; Supported by Euphrosyne who represses the advances of a Satyr, published T. Park, 1787, uncoloured full length mezzotint on laid after J. Hoppner, trimmed to plate mark, 650 x 460 mm, together with Walker (James), A scene in Cymbeline, published James Walker, 1783, uncoloured mezzotint on laid after Edward Penny, good margins, 500 x 550 mm, with Ward (J.), Wm. Henry West Betty, aetatis suae 13, published Mr Betty at Messrs. Colnaghi & Co., 1805, uncoloured half length mezzotint on laid after J. Northcote, good margins, 375 x 275 mm, plus Van Bleeck (Peter), Griffin & Johnson in the characters of Tribulation and Ananias Act 3d scene 2d, 1738, uncoloured mezzotint on laid, repaired closed tears to lower left margin, 480 x 310 mm, good margins, and Smith (John), Anthony Leigh or the Spanish Fryer, published John Smith, circa 1690, uncoloured mezzotint, trimmed to image, mounted, framed and glazed (5)

*Artist and Writers. Green (Valentine), Inigo Jones..., published J. Boydell, 1775, small mezzotint on wove after Van Dyke, thread margins, 180 x 130 mm, together with Watson (James), Mr Bartolozzi, 1785, uncoloured half length portrait on laid after Sir Joshua Reynolds, scratch letter proof, title added in near contemporary ink manuscript, small margins, 380 x 280 mm, with Esplens (John & Charles), George Heriot, Jeweller to King James VI who besides founding & endowing his stately hospital at Edin. bequeath'd to his relations above sixty thousand pounds..., 1743, uncoloured mezzotint on laid after John Scougal, trimmed to image with slight fraying, some marginal repaired closed tears, laid on archival paper, 350 x 235 mm, plus Lebenck (Petrus), Godfridus Kneller Germanus in aula Brittanica pictor ver‚ regius..., circa 1720, small uncoloured mezzotint on laid, small margins, 240 x 175 mm, and Turner (Charles), J M W Turner, circa 1820, uncoloured half length mezzotint on india laid, showing the artist in profile with a sketch book, good margins, 430 x 330 mm, with one other similar (6)

*Female portraits. [Green (Valentine), Elisabeth Lady Nuneham, circa 1780], uncoloured full length mezzotint on laid after Peter Falconet, small margins, 610 x 385 mm, together with Corbutt (C. pseud. Richard Purcell), Georgiana Countess Spencer & her daughter the Honble. Miss Georgiana Spencer, circa 1760, uncoloured half length portrait on laid after J.Reynolds, small margins, 385 x 275 mm, with McArdell (James), Lady George Lennox, circa 1760, uncoloured half length portrait on laid after A. Ramsay, thread margins, 330 x 230 mm, plus Faber (John), [Shepherdess, circa 1750], uncoloured half length mezzotint on laid after Henry Pickering, proof before title and letters, small margins, 355 x 250 mm, and Watson (J.), Lady Erskine, published Carington Bowles, circa 1780, uncoloured half length mezzotint on laid after A. Ramsay, thread margins, 355 x 255 mm, with Watson (James), The Dutchess of Mazareen & Count Colbert in the characters of Verumnus and Pomona..., published J. Boydell, 1777, uncoloured mezzotint on laid after Gaspard Netscher, small margins, 500 x 355 mm, plus, Smith (J.), The most Illustrious Princess Sophia Electrice Dowager of Brunswick, successor to ye crown of England &c. after Her Majesty Queen Ann & her Royal Issue, circa 1720, uncoloured half length mezzotint on laid, good margins, old collector's ink stamp to lower margin, 350 x 250 mm, mounted (7)

*Female portraits. Watson (James), [Mary (n‚e Heblethwayte) Lady Boynton, published Robt. Sayer, 1770], uncoloured full length mezzotint on laid after Francis Cotes, trimmed to image, central horizontal fold, slight creasing, 630 x 385 mm, together with Green (Valentine), The Right Honble. Lady Betty Delm‚, W. Richardson, 1790, uncoloured full length mezzotint after Sir Joshua Reynolds, good margins, laid on later card, 630 x 385 mm, with Smith (John), Serenissima Maria Beatrix G. G. Angliae Scotiae Franciae et Hiberniae Regina &c., sold by Alex Brown, [1686 or later], uncoloured oval portrait on wove after N. de Langillierre, trimmed to plate mark, 345 x 250 mm, mounted (3)

*Glass paintings. Purcell (Richard), Domestick Amusement, The lovely spinner, published Henry Park, circa 1770, colour mezzotint on glass after Heilmann, 355 x 255 mm, near contemporary stained wood frame, together with P. Rapin de Thoyras, circa 1770, line engraving on glass in the manner of Houbraken, 325 x 220 mm, framed (2)

*Martin (John, 1789-1854, after). The Paphian Bower, published F. G. Moon, 1826, uncoloured mezzotint by G. H. Phillips, 465 x 600 mm, framed and glazed in a good 19th century gilt moulding, together with The Last Judgement, published Thomas McLean, 1857, uncoloured mixed method engraving by Charles Mottram, several holes in margins, slight surface arasion, slight staining, 770 x 1070 mm, framed and glazed, with The Great Day of his Wrath, published Thomas McLean, 1857, uncoloured mixed method engraving by Charles Mottram, slight overall toning, slight dust soiling to margins, 690 x 970 mm, framed and glazed, plus The Plains of Heaven, published Thomas McLean, 1857, uncoloured mixed method engraving by Charles Mottram, two holes in margins, one small hole to image, toned overall, 670 x 980 mm, framed and glazed (4)

*Mezzotint portraits. A mixed collection of eleven engravings, late 18th & early 19th century, full and half length mezzotints of clergymen, politicians, freemasons, aristocracy and royalty, including examples by James Watson, Charles Turner, John Dixson, William Ward, Robert Dighton, John Murphy, Henry Cousins and Samuel William Reynolds, two duplicates, various sizes and condition (11)

*Military. Watson (James), The Right Honble. John Manners, Marquis of Granby, one of His Majesties most honourable Privy Council, Colonel of His Majesties Royal Regiment of Horse Guards, Commander in Chief of His Majesties forces and Master General of the Ordnance &c. &c., Ryland Bryer & Co., circa 1785, uncoloured full length mezzotint on laid after Joshua Reynolds, some marginal closed tears and fraying, repaired on verso, slight abrasion to printed surface, small margins, 610 x 460 mm, together with, Turner (Charles), General Sir Charles Asgill Bart..., published C. Turner, 1822, uncoloured half length mezzotint on laid after T. Phillips, slight toning and spotting, good margins, 505 x 355 mm, with [Meyer (Henry], [Thomas Graham, Baron Lyndeoch, circa 1820], uncoloured mezzotint, proof before title and letters, good margins, backed with later paper, 505 x 350 mm, plus Ward (James), His most Gracious Majesty George the Third on his favourite charger Adonis, J. P. Thompson, 1811, uncoloured full length mezzotint on wove after Sir William Beechey, small margins, 715 x 560 mm, and Say (William), His Royal Highness William Frederick Duke of Gloucester and Edinburgh &c. &c. &c. published William Say, 1807, uncoloured full length mezzotint after Sir William Beechey, thread margins, laid on modern card, some abrasion to printed surface, 715 x 450 mm (5)

*After George Morland (1763-1804). The Frighten'd Horse, 1804, fine hand-coloured mezzotint by E. Bell after George Morland, published by Edward Orme, January 1, 1804, a few minor marks to lower margin (generally in very good condition), plate size 40 x 30 cm (15.75 x 11.75 ins), with margins, framed and glazed (1)

*Naval and maritime. Green (Valentine), The Right Honble. Lord Hood, Admiral of the Blue and Commander in Chief of His Majesty's Fleet in the Mediterranean, L. F. Abbott, 1795, uncoloured full length mezzotint on wove after L. F. Abbott, thread margins, slight overall toning, 640 x 405 mm, together with Dickinson (W.), Sir George Bridges Rodney Bart. Admiral of the White, Dickinson & Watson, 1780, uncoloured half length mezzotint on laid after Sir Joshua Reynolds, thread margins, 455 x 330 mm, with Fisher (Edward), George Lord Edgcumbe, 1761, uncoloured half length mezzotint on laid after Joshua Reynolds, large margins, 385 x 280 mm (3)

*Politicians & aristocracy. Reynolds (S. W.), Henry Gally Knight Esq., circa 1810, uncoloured mezzotint on laid after Henry Edridge, good margins, 490 x 365 mm, mounted, together with Jones (J.), Lady Charlotte Spencer in the character of Miss Rivers [and] Lord Chas. Spencer in the character of Col. Rivers, To their Graces the Duke and Duchess of Marlborough this plate is most respectfully dedicated..., published J. Roberts Oxford and J. Jones, London, 1788, uncoloured mezzotint after J. Roberts, laid on card and backed with linen, 460 x 355 mm, mounted, with Smith (J. R.), Erasmus Darwin M.D. & F. R. S., published J. R. Smith 1797, uncoloured half length portrait on laid after J. Wright, 380 x 280 mm, good margins, plus Houston (Richard), The Right Honourable Henry Pelham, Chancellor of the Exchequer and John Roberts Esqr., Joshua Edmondson, circa 1760, uncoloured mezzotint on laid after John Shackleton, margins repaired on verso, 390 x 390 mm, and Faber (J.), Henricus Gale Armigr. De Taunton Dean in Agro Somersetensis, 1742, uncoloured half length mezzotint on laid after J. Whood, 325 x 225 mm, with Barney (William Whiston), To the Marquis and Marchioness of Blandford. This plate of their sons, George Spencer Earl of Sunderland and Lord Charles Spencer..., 1805, uncoloured full length mezzotint on laid after R. Cosway, slight staining, small margins, 530 x 400 mm, plus Smith (John), The Rt. Honble. Sr. Robert Clayton Kt., Lord Mayor of the City of London, 1680, circa 1720, uncoloured mezzotint on laid after J. Riley, small margins, 410 x 290 mm, with one other similar (8)

*Watson (James). [The Confidante or The Billet-Doux], published Watson & Dickinson, 1780, uncoloured mezzotint after E. Martin, proof after letters but before title, 260 x 200 mm, mounted, framed and glazed (1)

AN ANTIQUE MEZZOTINT DEPICTING A CAVALRY OFFICER AND HIS HORSE, framed and glazed, 70 x 40 cm

Lewis after Evans, coloured mezzotint, 'The Celebration of 4th June at Eaton', 14 x 19in.

Signed W.A. Cox Mezzotint, Signed Blairgowrie Golf Picture and Ship Picture together with Two Gilt Framed Watercolours indistinctively signed and another Watercolour signed A. Martin.

Early 19th Century engraved oval mezzotint 'The Masked Ball', engraved by Stodart after Hamilton, 35cm x 46.5cm, in rectangular gilt frame under glass Condition:

Pair of oak framed engraved portraits, Mezzotint of Rev. Wesley, 1825, and an engraving of Wesley by Cochran after William Gush (2)

A collection of thirteen Mezzotint engravings, after Wheatleys Cries of London, each signed in pencil by Edward Stodart, framed and glazed

"Woman and Children Collecting Wheat", mezzotint, framed

Thomas Lupton after B.R Haydon The Hero and his Horse on the Field of Waterloo, mezzotint, published 1843 by Thomas McLean

William Ward ARA (1766 - 1826), after George Morland (1763 - 1804), an equine pair, The First of September: Morning and Evening, Published by T. Simpson [...] and Darling & Thompson, London, September 1796, mezzotint engravings, 48.5cm x 61cm, 19th century ebonised and gilt cavetto frames

*English School. A group of 19th century pencil, wash or watercolour portraits and landscapes, including a pencil, wash and black chalk study of the head and shoulders of a young woman in medieval dress, a watercolour and gouache portrait of William Shakespeare, 13 x 10.5 cm, a black ink and grey wash portrait of a female saint, 27.5 x 17 cm, a trimmed mezzotint portrait of a young woman after Sir Thomas Lawrence, a view of picturesque old buildings and bridge (signed H. Ord), a large pencil and black chalk study of an old gnarled tree with ruin beyond (dated 1863), 39 x 28.5 cm, and a pencil and sepia wash copy of the Gate of Justice, Alhambra, Granada, Spain, after David Roberts (1796-1864), the original of which is in the V & A Museum, London (Prints & Drawings Study Room, level D, case 87, shelf SC, box 32), but here probably taken from the engraved version in The Tourist in Spain: Granada, published in 1835, 20.1 x 14.2 cm framed and glazed (with incorrect attribution on the mount to Thomas Allom) (7)

*Brammer (Leonard Griffiths, 1906-1994). Evening Landscape, Five Towns, 1932, etching and mezzotint on cream wove paper, a signed proof, a rich impression in excellent condition, plate size 16 x 25 cm (6.25 x 9.8 ins), sheet size 26.2 x 36.8 cm (10.3 x 14.5 ins), window-mounted (1)

*Lucas (David, 1802-1881). The Glebe Farm, Weymouth Bay, Dorsetshire, Old Sarum, View on the River Stour, Sir Richd. Steele's Cottage, Hampstead Road, & Opening of Waterloo Bridge (from English Landscape Scenery by John Constable), six mezzotint engravings by David Lucas after John Constable, on thick wove paper, plate size 17.5 x 25 cm and similar, sheet size 29 x 41 cm and similar, together with other various 19th and early 20th century engravings and etchings, including Kirkstall Abbey on the River Aire by John Bromley after J.M.W. Turner, 1826, 3 engravings after John Martin published by James Virtue, a signed wood engraving by Leslie Benenson of Balcombe House, 1970, a signed etching with drypoint by Alfred Ehlers of women in a box at the theatre, 1910, an etching by Alphonse Legros entitled The Wayfarer, William Strang, Lucien Boucher, an etching by Nikolaas Eekman entitled Vliegers, signed and marked Epreuve d'artiste, Brunet-Debaines, a lithograph by Eugene Carriere entitled L'enfant au chien, signed and titled, etc., various sizes (65)

*Tissot (James Jacques Joseph, 1836-1902). Apparition Mediunimique, 1885, mezzotint on heavy wove paper, the second state, with lettering, and stamped monogram lower right, lower edge of plate mark neatly restrengthened with archival tissue to verso, plate size 490 x 340 mm (19.29 x 13.38 ins), sheet size 690 x 525 mm (27.16 x 20.66 ins) Wentworth 76 ii/ii. The published state of Tissot's remarkable mezzotint depicting the spectral appearance of his deceased muse and mistress Mrs. Newton (described by the artist's French friends as 'la ravissante irlandaise') at a spiritualist séance, arranged for him by the practitioner William Eglington. The accompanying male figure, named Ernest, is a benign spiritual guide. (1)

Early 20th Century framed photographic print of the golfer, Harry Vardon together with another similar of a cricketer, a mezzotint portrait of a lady wearing a wide brimmed hat, together with another similar after Lawrence CONDITION REPORT The cricketer is believed to be the Australian Victor Trumper, photograph by George Beldam. The Trumper image is also signed by the photographer.

Coloured print, still life after Lionel Ellis, with Frost and Reed label verso, framed mezzotint portrait of a lady after Sir Thomas Lawrence, together with a quantity of small framed prints and engravings

After Bartolozzi, five maple framed mezzotint portraits and two additional lithograph portraits, largest 21 x 30cm

After Sir Joshua Reynolds, The Rt Hon Lord Robert Manners; The Rt Hon Lady Jane Halliday, a pair of mezzotints by Valentine Green, each 63cm x 38.5cm.; together with a further mezzotint of a landowner overseeing a plough team.(3)

Earlom (Richard, 1743-1822) A collection of eleven drawings, possibly after Giovanni Battista Cipriani and other old masters, chalks, conté crayon, graphite, on various papers, some with prepared and coloured grounds, various watermarks, all appear to be late 18th century, each numbered in the lower left corners in pencil, one sheet indistinctly inscribed in pencil '[?]for Plate' and dated 'Jan. 20th 1792', various sizes from 255 x 210 mm. (10 x 8 1/4 in) to 455 X 355 mm. (18 x 14 in), uniformly mounted with various inscriptions and attributions in German, presented in cloth drop-back box, [late 18th century]Provenance:Sale. Dr. Ernst Hauswedell, Hamburg, Gemalde Zeichnungen Und Graphik des 16-19 Jahrhunderts Dekorative Graphik, 8th June 1972 (individual lots, nos. 145-159, sold as Attributed to;Anonymous sale. Christie's London, 18th December [year unknown, probably mid to late 1970s], lot 5 (lot label to drop-back box);Private collection, UK. ⁂ Known to have been a student of Giovanni Battista Cipriani (1727-1785), Earlom was highly regarded for his drawing ability, but his reputation was to be defined by the masterful achievements of his mezzotint grounds, culminating in the monumental two volume Liber Veritatis, which contained 200 prints after original drawings by Claude Lorraine. The present collection of eleven drawings not only show the influence of Earlom's master, Cipriani, but they also bear close similarities to the known body of drawings by Earlom. Interestingly, the provenance of the drawing held in the British Museum for Earlom's chalk drawing 'A sleeping youth' (see acc. no. 2011,7084.50), which is also on prepared paper, suggests it was probably bought in the same auction in 1972 as the drawings above; the BM state their drawing was bought from an auction that took place in 'Hamburg, late 60s early 70s' prior to its purchase by Christopher Lennox-Boyd at Christie's 'a year later'. Other similar drawings can be found at the Fine Arts Museum of San Francisco (Achenbach Foundation for Graphic Arts, acc. no. 69.30.59), and also the drawing 'Study of a draped figure' offered Sotheby's London (Drawings from Britain and the Continent, 10th July, 1995, lot 214).

Earlom (Richard, 1743-1822) The Royal Academy of Arts, instituted by the King, in the year 1768, after Johann Zoffany, mezzotint, 505 x 720 mm. (19 7/8 x 28 1/4 in), laid onto paper support, with central crease, repaired nicks and tears to extremities, some minor lifting off, surface dirt, unframed, Robert Sayer, 1773.Literature:Chaloner Smith 1

EDWARD BOUVERIE HOYTON (1900-1988) 'Wooda Bay', etching, pencil signed in the margin and inscribed with title on the mount', 13 x 14.5cm; another attributed to the same hand - Figure approaching a cottage, inscribed in pencil to the margin and numbered 1/100, 25 x 35cm; and Alfred Richard Blundell (1883-1968) - 'The End of The Glade', mezzotint, pencil signed in the margin, 16.5 x 25cm, all mounted but unframed (3)

A * STEWART WRIGHT (19TH/20TH CENTURY) Portrait of Horatio Nelson, mezzotint c.1924, hand-coloured, pencil signed in the margin, 64 x 43cm

Indian brass and silvered circular plaque, The Little Angler, mezzotint, R. Morden, two framed maps and 1973 Pirelli calendar (5)

After Henry William Bunbury (1750-1811), mezzotint, 'A Long Minuet as danced at Bath, 25 x 211cm

AFTER GEORGE MORLAND (1763-1804) PEASANT AND PIGS Oil on panel 48.5 x 62cm. * The subject was engraved in mezzotint by J. R. Smith in 1803 ++ Some craquelure; needs a light clean

Thomas Lupton after B.R Haydon The Hero and his Horse on the Field of Waterloo, mezzotint, published 1843 by Thomas McLean

Thomas Watson after Sir Joshua Reynolds, P.R.A., Warren Hastings Esq. Governor General of Bengal, mezzotint, published London 1777, 36 x 49cm (sheet); P. Gunst after Sir Anthony Van Dyck. Philadelphia and Elizabeth Wharton, engraving by Boydell, 51 x 31.5cm; two other engravings (4)

After Kirehoff. Arch Duke Charles of Austria portrait, mezzotint, published 1801, 50cm x 35cm.

J. R. SMITH, AFTER R. HOME GEORGIAN REVERSE MEZZOTINT ON GLASS depicting Astarte and Zadig, with inscription VIDE VOLTAIRE BOOK OF FATE/ LONDON/ PUBLISHED JULY 1 1782 BY J. R. SMITH/ NO. 83 OXFORD STREET & J. BIRCHALL *73 STRAND, in a glazed giltwood frame with a printed label verso 44.5cm x 49.5cm

A Highland waterfall mezzotint, and B S Strachan - Country path by a river, watercolour, signed lower left, 25 x 34cm, and one other unsigned of a farmhouse with girl at gate, 20 x 25cm (3)

Saint Helena.- Durand-Brager (Jean Baptiste Henri), after. Three views of Saint Helena, 'Rade et Ville de Jame's Town', Long-Wood', 'Vue de James-Town', tinted lithographs, on thick wove paper, each sheet approx. 440 x 580 mm. (17 1/4 x 22 3/4 in), and smaller, nicks and tears, some spotting and surface dirt, [Edité par Gide, Paris, 1844]; together with three other works, including 'Tombeau de Napoléon', by Hostein after Sanson, an etching with mezzotint of Napoleon in gardening attire, and an engraved view of Saint Helena, various sizes, all unframed, [early 19th century] (6).

After Abraham Diepenbeeck, four coloured reproduction prints from the Duke of Newcastle's book on horsemanship; 19th century mezzotint; after Charles le Brun, a pair of black and white engravings; a pair of reproduction prints after Stow's 1754 survey of London and others (qty)

After Lemuel Francis Abbott (British, 1760-1803): Horatio Nelson, colour mezzotint, made & published by W. Barnard, 1798, H 63 x W 42 cm

After Sir Godfrey Kneller (1643-1723):The Kit Kat Club, by John Faber Jr., the complete set of 49 mezzotints with frontispiece & contents, from the original paintings of Kneller, 1735, sold by T. Tonson in the Strand & by J. Faber at the Golden Head in Bloomsbury Square,contained within a fine leather album with gilt decoration. Note: The Kit-Kat Club obtained its name from the tavern where the members originally met, run by Christopher Cat (or Kat), famous for his "Kit-cat" mutton pies. Luminaries included nearly all the most powerful Whig politicians from 1688 to 1710, & there was much gossip in the period about the activities of the members. By 1703 the group had grown too large for Christopher Cat's tavern, and soon thereafter Tonson used the members' dues to build a special clubroom at his residence in Barn Elms, Surrey. Around this time Tonson commissioned Sir Godfrey Kneller (himself a member) to paint portraits of forty-eight of the Kit-Cats-including the Dukes of Newcastle & Somerset, the Earls of Dorset & Essex, & others including Cornwallis & Godolphin-as well as Tonson himself (these originals are housed in the National Portrait Gallery). This series of plates, by the leading mezzotint artist of his era John Faber the Younger, was issued by Tonson in the 1730s.

Continental School (19th century):An elaborate gilt metal frame with cherub & torch design, inset with a portrait miniature of an 18th century lady, colour mezzotint, the whole H 18 x W 18 cm

A RICHARD SMYTHE MEZZOTINT - 'THE CAVENDISH CHILDREN' AFTER A PAINTING BY JOHN HOPPER - WITH BLINDSTAMP

After George Morland, 'Dancing Dogs', mezzotint engraving in original black gilded mount glass with Hogarth frame, 54 x 38cm approx.(B.P. 24% incl. VAT)

SUNDRY PRINTS AND PICTURES TO INCLUDE; SPANISH LADY MEZZOTINT

AFTER WILLIAM SIMSON. (1800-1847) SALMON SPEARING BY TORCHLIGHT ON THE TWEED, A HAND COLOURED MEZZOTINT. 46 x 61cms.

David Lucas (1802-1881) British after John Constable (1776-1837) British. "The Watering Hole", Mezzotint, Unframed, 22.5" x 19.5", and a companion piece, "The Valley of Dedham", Unframed, 23" x 19.5".