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1799 -proof- mezzotint of Lady Anne Lambton and family by John Young (1755-1825) after John Hoppner (1758-1810) - frame 65cm x 50.5cm

A c.1920's stylised print of flowers, 40cms x 38cms, a mezzotint of Spa Well, Lower Harrowgate in 19th Century rosewood frame and others

David Lucas,  British 1802-1881- The Wreck of the Forfarshire Steam Packet by Grace Darling and her Father, after James Wilson Carmichael; hand-coloured mezzotint, 53.2 x 67.5 cm.; together with seven further mezzotints by David Lucas after John Constable, depicting The Young Waltonians; The Lock; The Cornfield; Summer Evening; Hampstead Heath; Mill Stream; and A Mill Near Brighton; an engraving of The Corn Field after Constable by Charles Cousen (British 1813-1889); and a mezzotint of Stratford Upon Avon after Constable by Alfred Lucas (British fl.1841-1886), signed in pencil (lower right), 63.5 x 74 cm. and smaller, ten (10), (part unframed). Provenance:  one with Thomas Agnew & Sons, London. (The Lock).  four with Goldmark Gallery, Rutland (The Cornfield, Mill Stream, Hampstead Heath, and Summer Evening).  all Private Collection, UK. Note:  Lucas studied under the engraver and landscape painter Samuel William Reynolds (1773-1835), and is best known for his close association with John Constable (1776-1837), working with Constable extensively in the 1830s to produce prints of the latter's paintings. 

18th century mezzotint 'Gulliver addressing the Houyhnhnms', after Gilpin. Published J Wesson, c1780. Framed and glazed. Frame: 75cm x 63cm.

Print after Thomas Gainsborough, detail from a portrait of Georgiana Cavendish Duchess of Devonshire by Henry Graves & Co, mezzotint80cm x 59cmQty: 1Toning commensurate with age. Surface dirt with white splashes down the paper, noticeable in the lower left and upper right. Water marks down the face and body ni the centre, and around the edges of the plate.

John Cother Webb (British 1855-1927) after Joseph Mallord William Turner RA (British 1775-1851): 'Ulysses Deriding Polyphemus', coloured mezzotint signed in pencil pub. Museum Galleries, London 1928, 34cm x 52cm

After Thomas Gainsborough 'The Blue Boy', mezzotint signed in pencil by the engraver 'C. Fitzgerald' printed by The Gainsborough Galleries, Liverpool, with 'Artists Proof' blind stamp, together with eight further mezzotint prints from the Gainsborough Galleries, including Will Henderson, Cox etc., three with original bill of sale dated 1926, unframed, in three folios (3)

* Shooting. Sayer (R. & Bennett J. publisher), Cock Shooting, 1775, mezzotint with contemporary hand-colouring, title repeated in French, 250 x 350 mm, together with Burford (Thomas). Partridge Shooting, March 25th 1770, uncoloured mezzotint, slight spotting and surface abrasion, 250 x 350 mm, uniformly framed and glazedQTY: (2)

* Turner (Charles, 1773-1857). Tiger & Crocodile, London: James Daniell & Co. No. 6, Great Charlotte Street, Blackfriars Road, December 7th 1799, mezzotint with etching after James Northcote, printed in colours and finished by hand, occasional marginal closed tears, the margins strengthened and repaired on verso, slight staining, one small wormhole, 485 x 600 mmQTY: (1)NOTE:Alfred Whitman, Nineteenth Century Mezzotinters: Charles Turner (1907), 802. A rare image. The last copy to appear in an auction was at Christie's in 1993.

* Ward (William). Violante rode by Buckle..., Boydell & Co. 1808, uncoloured mezzotint after H. B. Chalon, slight creasing, some marginal fraying and abrasion, 465 x 570 mm, mounted, framed and glazed, together with Havell (A. C.). [Minoru] Messrs. Fores, October 11th 1909, photogravure on India wove with contemporary hand colouring, slightly later pencil annotation below the image identifying the principal protagonists, slight spotting, some worming but mainly confined to the margins, 480 x 580 mm, framed and glazedQTY: (2)

Henry Macbeth-Raeburn (1860-1947) Maiden in flowing costume, artist signed mezzotint, 67cm x 42cm. Provenance from the Estate Mariota Bosanquet (1923-2022) 

Susan J. Jameson(b1944) Harvest Moon, artist signed coloured Mezzotint, 104/200, titled, 52.5cm x 64.5cm.

Susan J. Jameson(b1944) New Forest, artist signed coloured proof Mezzotint, 52cm x 67.5cm.

BOTANY -- TREW, C.J. Plantae Selectae quarum imagines ad exemplaria naturalia Londini in hortus curiosorum. Nuremberg, 1750-1773. Text-pp. present: 23-56, (2). W. 1 engr. title, (letters in red, black, and gold), 3 fine mezzotint portraits of Trew, G.D. Ehret, and J.J. Haid, 50 (of 100) handcold. engr. plates (nrs. 51-100) after Ehret by Haid, each with the first word of the caption highlighted in gold & 1 extra (unnumb.) plate by Ehret ('Agaricus Ramosus'). - Bound with: 21 handcold. engr. plates taken from Knorr's 'Thesaurus rei herbariae hortensisque universalis'. - Tog. in 1 vol. Lge-fol. Cont. cf. w. dec. gilt back (Bind. dam. and sides loose, free endpaper torn, faint waterstain in outer blank margin of some lvs., but else fine (apart from some minor foxing spots/yellowing) and with the plates in good condition). NOTE: Second half of one of the greatest eighteenth-century botanical colour-plate books. The Plantae Selectae is considered by Nissen to be the finest botanical work ever printed in Germany. Trew, physician at Nuremberg and amateur botanist, admired the talent and skill of his younger countryman, Georg Ehret, a gardener and flower painter. Ehret is one of the great painters of flowering plants in the eighteenth century and all 100 plates of the Plantae selectae were painted by him. Trew died in 1769, leaving the last three parts uncompleted. The work was finished by Benedict Christian Vogel, Professor of Botany at the University of Altdorf. The work was conceived as early as 1742 when Trew wrote to Christian Thran in Carlsruhe: "Every year I receive some beautifully painted exotic plants (by Ehret) and have already more than one hundred of them, which with other pieces executed by local artists, should later on, Deo volante, constitute an appendicem to Weinmann’s publication but will, I hope, find a better reception than his". In 1748, agreement was reached that Johann Jacob Haid from Augsburg should provide the engravings, and the first part appeared in 1750. - Dunthorne 309; Great Flower Books, p. 78; Hunt 539; Nissen, BBI, 1997; Pritzel 9499; Plesch Coll. 771. For the Knorr plates see: Hunt 538; Nissen, BBI, 1081; Pritzel 4757.

After Sir J. Reynolds A coloured mezzotint "Edmund Burke Esq.," and three other Etchings and Engravings. (4)

After Sir Joshua Reynolds Coloured Mezzotint "The Right Hon. Lady Elizabeth Lee," 48cms x 34cms (19" x 13 1/4"); and two others, one black and white Engraving. (3)

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

Two mezzotint engravings, one limited edition with label verso, a gilt frame, an etching signed 'Janczek 22/30' and an unframed print of the boat 'La Jeanne d'Arc' (8).

The MacNab, full length portrait of Francis MacNab (1734-1816) 16th Chief of the Clan MacNab, mezzotint in colour, signed E. Wardle in pencil, published by Frost & Reed, original gallery labels verso (with misspelling McNab), 55.5 x 35.5cm pl., framed and glazed.

A MEZZOTINT ENGRAVING OF “ADMIRAL LORD NELSON OF THE NILE”, ENGRAVED BY J. YOUNG, AFTER MATTHEW KEYMER “from a Portrait by a Celebrated Artist at Palermo, Portrait Painter to the King”, circa 1800, framed, 14 x 10 ½in. (35.5 x 27cm.); together with another framed portrait print of Admiral Lord Nelson, after Lemuel Abbott(2)

After Sir Thomas Lawrence ((1769-1830), Frank Sternberg early 20th century framed mezzotint print depicting Margaret Power, Countess of Blessington. Signed in pencil indistinct. (52cm x 40cm)

Thomas G.Appleton (British, 1854-1924), Portrait of a young lady, mezzotint, CJI Printsellers Association stamp lower left, published London, 1891, signed in pencil lower right, 39x50cm, framed and glazed.

After Lemuel Francis Abbott Portrait of Horatio Nelson, mezzotint, published by Barnard, London, 1798, 67 x 40cmProvenance: Heydon Grange, Norfolk

After Catherine Read Portrait of Elizabeth Duchess of Hamilton, mezzotint, 53 x 38cm; together with a further mezzotint of Lady Christian Moray of Abercairny (2)Provenance: Heydon Grange, NorfolkThe measurements for the frames are 62cm x 46.5cm and 58cm x 43cm. Both mezzotints have heavy abrasians to the paper. The portrait of the Dutchess of Hamilton has a couple of tears which have been crudely repaired. There are also signs of foxing on both mezzotints, mainly in the corners or border sections of the sheet. The paper has also discoloured with heavy marking on both works. There is  foxing on the Duchess Of Hamilton's face. There is signifcant creasing to the corners of the Moray mezzotint. A professional clean and restoration would recommended.

Gainsborough Dupont (1767-1797), after Thomas Gainsborough, R.A. Colonel St. Ledger, mezzotint, published by Dupont, London, 1783, 67 x 48cmProvenance: Heydon Grange, Norfolk

HAND TINTED COLOUR MEZZOTINT OF A LADY WITH RED SHAWL, SIGNED IN PENCIL BY THE ENGRAVER AND THE ARTIST, C1910, 19 X 16”

Arthur Hogg (British. 1872-1949). A mezzotint engraving of John Constable's The Hay Wain. Hand coloured and signed by Hogg. Framed and glazed. H.59 W.73 cm.

AFTER THOMAS FRYE (1710-1762) 'His sacred Majesty, George 111, King of England', varnished coloured mezzotint, laid on glass, 12 x 8 in; and a varnished colour reprint, laid on glass, titled 'Spring'; two (2), A/F

A miscellaneous collection of antique prints to include An Exact Perspective View of Dunmow, Essex, engraved by C. Mosley after David Ogborne, 1806; a mezzotint portrait of Robert Walpole, engraved by John Simon after Hans Hysing, [c. 1727-1742]; The North-West View of Grace Dieu-Nunnery in the County of Leicester, etching by Samuel & Nathaniel Buck, 1730 or later; Freiburg, etching by Helmut Philipp, limited edition numbered 34/50, signed & dated, 1977; Street in Toledo, etching by Albany E. Howarth, signed & numbered 194; portrait of Jacob Epstein, after Jacob Kramer, lithograph, and 17 other prints, including portraits, various sizes, together with two Acts published by John Baskett - one for erecting a workhouse in Canterbury, 1728; one for establishing a hospital in Bath, 1739 (25)

A MEZZOTINT 'IN THE MALL, ST JAMES PARK', mounted in a giltwood frame and glazed. 30cm x 23cm

His Majesty Mahommed Shah of Persia, Proof state of a mezzotint by J. E. Coombs, after a painting by J. H. Twigg (fl. 1839), published by Welch and Gwynne: 24 St. James's Street and printed by James Kahee and Co., dedicated by Twigg to Sir John N.R. Cambell Captain of the 2nd Regiment Madras Light Cavalry, Envoy from the Supreme Government of India to the Court of Tehran, depicted three-quarters length portrait, seated, turned to left, holding a paper on lap. He wears an elaborate crown and plumes and diamonds, a gown studded with stones and pearl, pearl chains, a jewelled belt and arm bands with Tehran in the background, in an early 20th century painted and gilt decorated frame, 59 x 46.5cm.  Footnotes: Another state of this mezzotint is in the Royal Collection Trust (RCIN 818294); another is in the British Museum (1902,1011.519).Mohammad Shah, born Mohammad Mirza, was the third Qajar shah of Iran from 1834 to 1848, having succeeded his grandfather Fath-Ali Shah. From a young age, Mohammad Mirza was under the tutelage of Haji Mirza Aqasi, a local dervish from Tabriz whose teachings influenced the young prince to become a Sufi-king later in his life. After his father Abbas Mirza died in 1833, Mohammad Mirza became the Crown Prince of Iran and was conferred the title of Governor of Azarbaijan. Not long after, Fath-Ali Shah died on his way to Shiraz, leading some of his sons—including Ali Shah Mirza and Hossein Ali Mirza—to revolt but Mohammad Shah, with the support of his grand vizier, Abol-Qasem Qa'em-Maqam, suppressed the rebellions and asserted his authority.After Fatḥ-ʿAlī Shah’s death in October 1834 Sir John Campbell played an effective role in securing the throne for his grandson Moḥammad Mīrzā. ʿAbbās Mīrzā had died before his father, and a British army detachment that had arrived in Persia in November, 1833, to support his succession was then employed in Azerbaijan training the troops of the new heir apparent; nevertheless at the time of his grandfather’s death Moḥammad Mīrzā was not yet ready to march from Tabrīz against the two rival Qajar claimants in Shiraz and Tehran. On Campbell’s advice military assistance was provided for the advance of Moḥammad Mīrzā’s troops to the capital, counter­acting a similar offer by the Russians. On 10 November, less than three days after news of the shah’s death had reached Tabrīz, the troops commanded by British officers set out for Tehran. It was a combination of British military leadership and an advance of 30,000 pounds sterling from Campbell to pay Moḥammad Mīrzā’s troops that won the throne for him.

An early 20thc colour mezzotint by Louis Busiere print of a mother and child, in a gilt glazed frame. (60cmx41cm)

A Victorian Mezzotint depicting numerous figures "Sunday Morning" in original gilt frame

Frank Sternberg (British 1858-?) after Jean-Louis-Ernest Meissonier (French 1815-1891): Emperor Napoleon on Horseback, mezzotint engraving with hand colouring signed in pencil by the engraver 45cm x 34cm

After Sir Henry Raeburn (British 1756-1823): 'The McNab' 12th Head of the Clan, mezzotint engraving signed pencil 49cm x 32cm

Edward Hacker (British 1813-1905) after William Barraud (British 1810-1850): 'The Beaufort Hunt - William Long on Bertha', mezzotint engraving with hand colouring 36cm x 50cm; after George Morland (British 1763-1804): 'St James Park' and 'Christmas Present to Old Nurse', two engravings with hand-colouring max 46cm x 38cm (3)

Frank Short (1857-1945), 'Wensley Dale' from the painting by Peter de Wint, mezzotint, plate size 8" x 13.5" (20 x 34.5cm) signed in pencil, along with another mezzotint by the same hand, also signed in pencil, 5" x 12" (13 x 30cm), unframed, (2).

Syer after Morland, 'Alehouse Kitchen' and 'Ale house door', hand coloured mezzotints, both 16" x 12", (40.5x30.5cm) and another larger mezzotint after Morland, 'The Warrener', figures and animals outside a cottage, 18.5" x 23.75", (47x60.5cm) (3).

Assorted pictures and prints to include colour topographical engravings, Cries of London mezzotint etc

After Jan van der Vaart The Ladies Frances and Catherine Jones, daughters of Richard Viscount Ranelagh, with negro boy Mezzotint, cropped and folded  13 x 9 in (33 x 23 cm).

After RembrandtJan Uytenbogaert the Goldweigher, monochrome print, 23 x 19cm; and five further to include: The Angel Appearing to the Shepherds; The Windmill; Seated naked woman with a hat beside her; Adam and Eve; and C Corbut after Rembrandt - 'A Jews Rabbi', mezzotint, 34.5 x 23.5cm (6)

After Anthony van DyckThe Five Eldest Children of King Charles I, 17th century mezzotint, sold by E Cooper at ye Pigeon in Bedford Street, 32 x 41cm(With the imprint of E Cooper replacing that of Alexander Browne)

William Ward after George MorlandA visit to the Child at Nurse, mezzotint, published by J R Smith, 46 x 56cm; one further similar - A visit to the Boarding School; and John Jones after Sir Joshua Reynolds - Fanny Kemble, mezzotint, 37 x 27cm (3)

Valentine Green after Sir Joshua Reynolds'Lady Elizabeth Laura, Lady Charlotte Maria and Lady Anne Horatia, daughters to James, late Earl of Waldegrave, Knight of the Garter', mezzotint, pub. 1781, 51 x 58cm

Gautier after Horace Vernet'Les Zouaves à L'Assaut', mezzotint, 40 x 33cm; and further loose prints and engravings pertaining to Horace Vernet From the estate of the late Dr Simon Lee, formerly Associate Professor of the History of Art, Reading University

* Smith (John Raphael, 1751-1812). Portrait of John Harrison, surgeon of Derby, after Joseph Wright of Derby (1734-1797), circa 1781, mezzotint on wove paper, half-length in three-quarter profile to left within oval frame, wearing plain dark vest, coat and white cravat, lettered with the title, and a quotation on friendship from a play by Plautus: 'Non invenies alterum Lepidiorem ad omnes res, nec qui amico sit magis', ('You will not find another more graceful in all things, nor one who is more of a friend'), and ‘Painted by J. Wright / Engraved by J.R. Smith’, plate size 375 x 275 mm (14 3/4 x 10 3/4 ins), some spotting and a few marginal closed tears to margins, sheet size 405 x 305 mm (16 x 12 ins), framed and glazed QTY: (1)NOTE:Provenance: Private Collection Gloucestershire, UK.For the original oil portrait by Joseph Wright of Derby see preceding lot 45.

After Sir Joshua Reynolds Mezzotint Henry Earl of Pembroke and Montgomery, engraved by J. Dixon, published 1779, framed and glazed, 46.5cm x 31.5cm, together with after Lowes Dickinson, mezzotint of Lieutenant General Lord Viscount Gough G.C.B, engraved by Henry Cousins, framed and glazed, 72cm x 43cm and five prints (7)

William Ward (1829-1908)/The Snowdrop/after Abraham Pether/mezzotint in colours, 44 x 33cm/with two further prints by different hands CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

TWO 18TH CENTURY BLACK AND WHITE MEZZOTINT ENGRAVINGS 'The Right Honourable Lady Elizabeth Cromwell' and 'FREDERICK Duke of SCHONBERG' - glazed ebonised and gilt frames.42cm high, 26cm wide - 38cm high, 26cm wide

David Lucas,  British 1802-1881- Spring, after John Constable RA; mezzotint, published by Mr Constable 35 Charlotte St Fitzroy Square 1832, 12.9 x 24.6 cm. (VAT charged on the hammer price). 

After Jan van Huysum,  Dutch 1682-1749- A fruit piece; coloured mezzotint, 54.6 x 40.6 cm. Together with a flower piece by Richard Earlom. Two (2). Provenance:  The Collection of Lord and Lady Weinstock. 

John Raphael Smith,  British 1751-1812- The Promenade at Carlisle House; mezzotint, 38.8 x 30.4 cm. Together with: three 19th Century framed pictures. Four (4).  

After Peter Graham A.R.S.A., (Scottish 1836-1921), highland cattle, mezzotint on canvas backed paper, signed and dated within the print 'Peter Graham 1898'75.5cm x 56cmQty: 1Dirt under the glaze. Some mild foxing. In generally good condition.

Print after Thomas Gainsborough, detail from a portrait of Georgiana Cavendish Duchess of Devonshire by Henry Graves & Co, mezzotint80cm x 59cmQty: 1Toning commensurate with age. Surface dirt with white splashes down the paper, noticeable in the lower left and upper right. Water marks down the face and body ni the centre, and around the edges of the plate.

JOSEPH GROZER, AFTER SIR JOSHUA REYNOLDS MRS SEAFORTH (A LADY AND CHILD) Mezzotint, 1787, the first state before letters Visible sheet: 48 x 35.5cm (18¾ x 13¾ in.)Please note measurements do not include the frame unless otherwise stated. Condition Report: Some undulation to the sheet, staining and foxing visible to the lower margin. Under glass and unexamined out of frame.Condition Report Disclaimer

JAMES WATSON, AFTER SIR JOSHUA REYNOLDS SIR JEFFREY AMHERST K.B. Mezzotint, first state (of four) Plate: 45 x 32.5cm (17½ x 12¾ in.)Please note measurements do not include the frame unless otherwise stated. Condition Report: Foxing and staining to the sheet, notably to lower margin with some scattered foxing through the image. Under glass and unexamined out of frame.Condition Report Disclaimer

SAMUEL WILLIAM REYNOLDS, AFTER JAMES NORTHCOTE THE FALCONER Mezzotint, 1797, a proof before letters Sheet: 51 x 35.5cm (20 x 13¾ in.)Please note measurements do not include the frame unless otherwise stated. Condition Report: Foxing and staining evident to the lower margin. Under glass and unexamined out of frame.Condition Report Disclaimer

JAMES MACARDELL, AFTER THOMAS HUDSON MARY, DUCHESS OF ANCASTER Mezzotint, 1757, first state (of five) Plate: 50 x 35cm (19½ x 13¾ in.)Please note measurements do not include the frame unless otherwise stated. Condition Report: In generally good condition. Under glass and unexamined out of frame.Condition Report Disclaimer

FOUR VICTORIAN PRINTS, 19TH CENTURY including a mezzotint by M. Skelton of Mrs Scott Moncreiff after the original by Sir Henry Raeburn, all framed and under glassMrs Scott Moncrieff 59.5cm x 49.5cm overallQty: 4

Nathaniel Hone ( 1718 - 1784) Self PortraitMezzotint174736x26cmIn handsome, pollard oak frame (55.5x49.5cm)