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TURNER: The Hare- A mezzotint from Liber Studiorum & another. Please see the enclosed letter from the British Museum about this print and its rarity (3)From the Paul Bentley collection of maps and atlases.

Goldener Filigrananhänger mit innenliegendem Schabstein, deutsch, 17./18. Jhdt. Runder, sehr aufwendig aus 18kt Gold gearbeiteter, im Scharnier zu öffnender Anhänger. Darin schwärzlicher runder Schabstein. Ausgezeichneter Zustand. Durchmesser 2,85 cm, Gewicht 11 g. A German golden filigree pendant with inlaid mezzotint, 17th/18th century A German golden filigree pendant with inlaid mezzotint, 17th/18th centuryRunder, sehr aufwendig aus 18kt Gold gearbeiteter, im Scharnier zu öffnender Anhänger. Darin schwärzlicher runder Schabstein. Ausgezeichneter Zustand. Durchmesser 2,85 cm, Gewicht 11 g.Condition: I -

AFTER GILBERT STUART Portrait of The Right Honourable William Burton Conyngham Black and white mezzotint, 38.5 x 29cm By C.H Hodges, published 1792, 15th of November 1792 by George Cowan at the Thomas Macklins Poets Gallery, Fleet St, London and at his house on Grafton Street, Dublin

J. MCARDLE AFTER REMBRANDT Tobias with the Angel Black and white mezzotint, 50.5 x 35cm

After Sir Thomas Lawrence (1769-1830) - 'Countess Grosvenor', 20th century mezzotint with colour added, published by Thomas Ross Collection with certificate of authenticity attached verso, in 20th century gilt frame with scrolling decoration, frame size: 74 x 84 cm

Thomas Watson (1743-1781) After Joshua Reynolds (1723-1792) - 'Mrs. Crew', mezzotint, published October 25th 1773 for S.Hooper, 50 x 45.7 cm (inside margin) glazed and gilt framed

AFTER SIR JOSHUA REYNOLDS BY V. GREEN SIR WILLIAM CHAMBERS Mezzotint Published, London 1780 48 x 37cm (18¾ x 14½ in.)Together with two mezzotints, the first AFTER THOMAS PHILIPS R.A., BY N. SCHIAVONETTI, SIR JOSEPH BANKS BART, the second AFTER HOFFMAN BY KINGSBURY, OF LINNAEUS IN HIS LAPLAND DRESS

Three mezzotint engravings after G.Stubbs -The Horse and Lion, Tigress, 41cm x 55cm, framed under glass, and The Spanish Pointer (3)

A mezzotint, 'The Porter and Hare', by Richard Earlom after Johan Zoffany, 1774, 55 x 42cm;together with a stipple engraving, 'The Show Man', by Thomas Gaugain after J. Barney (2)

19th century mezzotint print of a gentleman, set in a gilt frame

Antoine Gaymard, 1878-1916. Coloured mezzotint after Jean Louis Ernest Meissonier “The Art Lovers”. Framed. 29x23.5cm

After George Morland (British 1763-1804): 'The Corn Bin', mezzotint engr. John Raphael Smith pub. 1797, 43cm x 54cm

After Sir William Beechey (1753-1839) - Coloured mezzotint - Portrait of Mrs Sarah Siddons, 23ins x 19ins, in gilt moulded frame and glazed

After Henry Raeburn (1756-1823) - Coloured mezzotint - Portrait of Mrs H W Lauzen, 23ins x 19ins, in gilt moulded frame and glazed

A Mezzotint Engraving; John, Duke of Marlborough, after Sir Geoffrey Kneller published by John Smith 1705. 49cm x 39cm

William (The Younger) Ward, (British 1829-1908) after Thomas Weaver, 'John Coles Esq MP for the County of Salop' and 'Thomas William Coke Esq. MP for Norfolk' mezzotint engravings (laid down on board) 56cm x 72cm, (2)

JOHN FABER, IOHANNES DUNS SCOTUS, DOCTOR SUBTILIS, MEZZOTINT ENGRAVING. 35 x 25cms

AFTER WOODWARD BY HARRIS, ISAAC WITH SAMUEL DARLING UP, MEZZOTINT IN A BIRDS EYE MAPLE FRAME. 66.5 x76cms.

Framed antique mezzotint of Henry Frederick, Prince of Wales (1594–1612) (Exercising with a Lance) after Simon de Passe (1595-1647) - frame 55cm x 42.5cm ~ SOLD IN AID OF STALBRIDGE COMMUNITY CHARITY

Framed 17th century mezzotint print of landowner Thomas Thynne (1648–82) by Alexander Browne after Sir Peter Lely (1618–80) frame 59.5cm x 46.5cm ~ SOLD IN AID OF STALBRIDGE COMMUNITY CHARITY

A Nice Collection of Pictorial Rectangular-Cased Manivelles Swiss, circa 1870-1910, single, double and triple-playing air programmes, from colour lithographed studies to painted and mezzotint portraits, most with tunesheet/label beneath, all with porcelain handle cranks. (12)

A re-print of an 18th century mezzotint “Teeth Drawn With a Touch” after Wilson, 46cm x 37cm; and a folio containing various modern loose prints & coloured lithographs, some views of Bath by Dennis G Leach, etc.

CIRCLE OF SIR JOSHUA REYNOLDS (1723-1792) An oil on canvas portrait thought to depict a young Charles James Fox (1749-1806), son of Henry Fox 1st Baron of Holland (1705-1774) and future prominent Whig statesman, Foreign Secretary.59cm x 44.5cmFox was a gambling addict, womaniser, debtor, and dandy who was forgiven his failings by many because of his defence of civil liberty and his overwhelming charisma. This painting is perhaps a rare depiction of Fox as a young man, on the cusp of adolescence but still very much with an air of child-like innocence.Reynolds was known to have painted Charles Fox's portrait as an adult in 1783, as well as painting his father Henry Fox and Lady Caroline Fox in 1757.The work was reframed on the 23rd October 1987 at Colin Denny Ltd Fine Art Dealers in Chelsea, London. There is another receipt possibly related to this painting from July 28th 1987 at Colin Denny Ltd Fine Art Dealers, which states 'reline with wax impregnation, clean and restore'.Inscription on the back of the stretcher reads: 'Charles James Fox 1747-1806 first son of Henry Fox first Lord Holland by Lady Caroline daughter of 2nd Duke of Richmond. Foreign Secretary 1780 and 1806. This information may have been taken from a label on the original frame before the 1987 re framing.See the link below for a comparatively young looking Charles James Fox after Reynolds: A mezzotint of a triple portrait with Charles James Fox standing beside Lady Susan Strangways at a corner of Holland House, both three-quarter length, Lady Susan holding dove in her hands; with Lady Sarah Lennox leaning out of window above, towards her.This print was made by James Watson after a painting by Sir Joshua Reynolds. https://www.britishmuseum.org/collection/object/P_1832-1211-77

After John Cother Webb (1855-1927), a coloured mezzotint engraving, Figures within a Grecian landscape, JLNC blind stamp to the lower left, and signed in pencil to the lower right, published in 1929, framed, mounted, and under glass, 38cm x 51cm, & 62cm x 73cm overall

After Northcote, a coloured mezzotint “A visit to the Grandmother” (1785) in a gilt frame, 81cm H, 65cm W

After W R Bigg, a mezzotint "Dolce Dommum or the Return from School. Framed and glazed, 71cm x 83cm.

After W Hamilton RA, a hand coloured mezzotint, 70cm x 55cm, of The Sheperdess of the Alpis in ornate gilt frame

Five assorted pictures to include, after Campion, Ad Montem, a mezzotint with Georgian interior and three hand coloured engravings entitled Mill Ferry, Bathampton, Great Western Railway…Bath and Bathampton Church Condition Report: The largest pictures measuring: 83cm x 70.5cm (including frames)/ 58.5cm x 61cm (excluding frames) and 62cm x 75cm (including frames)/45cm x 60cm (excluding frames)

After Vernet, a pair of French hand coloured engravings, 41cm , 46cm W, together with a hand coloured mezzotint of Edward Topham Esq

A Victorian woolwork depicting flowers in a maple frame, 55cm H, 56cm W, together with a mezzotint entitled Night, 52cm H, 40cmW, and a reprint coloured engraving called July, 49cm H, 38cm W

After Pollard, hand coloured engraving, The Royal Hunt in Windsor Great Park, 46cm H, 59cm W, together with a hand coloured print of George III, 38cm H, 34cm W, and another hand coloured mezzotint after Charr, Le Dance Turce, 28cm H, 33cm W

Earlom after Claude Lorrain (1600-1682)Cattle crossing a riverMezzotint and etching, together with a further work by the same hand, a print of Bartolozzi and a print after Reynolds (4)The largest work (after Reynolds) measures 32cm by 25.5cm.

Netherlands; Germany; Rhineland Admirandorum quadruplex spectaculum delectum, pictum, et aeri in cisum, per Johannem van Call. Amsterdam: Pieter Schenk, c.1700. Oblong 4to, 19th-century half calf, engraved throughout, with allegorical title-page, 64 plates (views of Amsterdam, The Hague, Het Loo palace, and the Rhineland), 4 calligraphic part-titles, dedication leaf, and mezzotint portrait of Frederick Duke of Saxony, lacking 7 plates (71 called for) and register leaf, part-titles, dedication leaf and portrait all bound out of order, title-page repaired verso, light foxing and a few other marks to margins, binding rubbed. Together with:[Denmark] [Album of maps and views of Denmark mainly by Jonas Haas] 1760s. 4to (19 x 19cm), contemporary Dutch floral boards, contents comprise: 1) Generalem et prorius novam Siaelandiae tabulam geographicam, folding map of Zaeland, opening to 55 x 45cm; 2) Den Kongel. Residentz Stad Kiobenhafn ... 1764, folding plan of Copenhagen, approx. 55 x 40cm, a few small holes at folds; 3) Folding panorama of Copenhagen, 1764; 4) Folding plan of Frederiksberg; 5) Folding view of Frederiksberg slotsgaard; 6) Costume plate; 7-13) Further views of buildings and cities including Sophienberg palace, Fredensborg, etc.

Martin, John Illustrations for the Bible London: Charles Tilt, 1838. First edition, folio, 20 mezzotint plates, original cloth gilt rebacked, bookplate of Joseph Crawhall, some wear to cloth, foxing particularly affecting plate margins

Clerk, John, of Eldin A Series of Etchings chiefly of Views in Scotland With Additional Etchings and Facsimiles from his Drawings. Edinburgh: for the Bannatyne Club, 1855. Large folio (50.5 x 31cm), original maroon quarter roan (rebacked), printed paper label to front board, xxx pp., lithographic portrait frontispiece and additional mezzotint portrait, both on india paper, mounted, 55 etched or tinted lithographic plates (numbered 1-55 but many containing multiple separately printed images), one unnumbered plate, tissue-guards, wear to corners of boards Note: Note: Second edition, greatly enlarged, number 98 in the Bannatyne Club series; it was first published in 1825 with 28 plates only. John Clerk of Eldin (1728-1812), 'a true child of the Enlightenment' (ODNB) is best remembered today for his Essay on Naval Tactics (1790). 'Clerk was an exceptional amateur artist. His wealthy background afforded him the luxury of entertaining numerous careers, including medicine and business, and he also showed a considerable interest in geology. In the 1740s he began sketching alongside his brother-in-law, Robert Adam, and the artist Paul Sandby. Clerk travelled extensively throughout Scotland, recording a wide range of landscapes and ancient buildings. His sketches of Edinburgh and the surrounding areas are highly personal representations of his native countryside' (National Galleries of Scotland, online). The Bannatyne Club was an antiquarian printing society founded in Edinburgh in 1823 by Sir Walter Scott on the model of London's Roxburghe Club.Provenance: Sir James Young Simpson (1811-1870), physician and pioneer of chloroform, original subscriber; thence by descent.

John Raphael Smith, 'Miss Montagu', mezzotint engraving, 27 x 20cm. framed and glazed.

Dorothea Wright (1944-2013). 'Through the Open Window'. Mezzotint in colours. Artist's proof. Signed and titled beneath the plate. Plate size 21 x 22.5cm, sheet size 45 x 43cm. Framed and glazed

19th Century, After Sir Joshua Reynolds, 'The Ladies Waldegrave', mezzotint, with print sellers Association blind stamp, 18.25" x 22.5", (46.5x57cm).

Six 18th century portrait engravings, including Robert Devereux, Earl of Essex, publ. London 1738, together with a mezzotint after John Hoppner, largest 36 x 27cm

Graham Barry CLILVERD (1883-1959) Winter II Etching Signed within the plate and signed in pencil to margin Published by Connell in an edition of 100 14cm x 17cm Together with a Frank STERNBERG (1858-?) Mezzotint 23.5cm x 18cm. Lay's Auctioneer's are able to offer in-house postage on this lot from £25.22. For more information contact postage@davidlay.co.uk 

Henry Macbeth-Raeburn (British, 1860-1947), after Sir Henry Raeburn (British, 1756-1823)The Macnab signed in pencil 'H. Macbeth-Raeburn' (lower left)mezzotint published 1918plate size 64.5 x 39cm (25 3/8 x 15 3/8in).For further information on this lot please visit Bonhams.com

By and after James Ward'A Cottager Going to Market';'A Cottage Return'd';a pair, coloured mezzotints47 x 57cm, andtwo others by William Ward, after James Ward'Selling Rabbits'coloured mezzotint49 x 61cm;'The Citizens Retreat'coloured mezzotint49 x 61cmin verre églomisé mounts and gilt frames (4)Condition Reportoverall: 'A Cottager Going to Market' and 'A Cottage Return'd', 68 x 78cm; 'Selling Rabbits' and 'The Citizens Retreat', 69 x 82cm.Paper discolouration with foxing, staining and dirty marks, please see images. Not viewed out of glazed frames.

William Ward, after William Redmore Bigg'The Romps';'The Truants'a pair, coloured mezzotints48 x 59cm,and two othersThomas Burke, after William Redmore Bigg'Saturday Morning Going to Market'stipple engraving51 x 60cm;A family outside a cottagecoloured mezzotint45 x 57cm (4)Condition Reportoverall: 66 x 77cm and similarPaper discolouration and cockling with foxing and time staining to all. A family outside a cottage has slipped in the frame and appears to have been laid down. Not viewed out of glazed frames.

George White, after Sir James Thornhill 'John Sheppard'mezzotint36 x 25.5cm,After RembrandtWoman drawing aside a curtain;Young woman at a windowtwo engravings,together withEngraving of a scholar, after Gerrit Dou;'Beer Street', after William Hogarth;'The Hermit' after Alexander Fraser (6)Condition Reportoverall: 'John Sheppard', 44 x 36cm; Woman drawing aside a curtain, 43 x 40.5cm; Young woman at a window, 47.5 x 40.5cm; Engraving of a scholar, 42.5 x 34cm; 'Beer Street', 62 x 50cm; 'The Hermit', 57.5 x 42.5cmPaper discolouration with foxing, dirty marks and staining to all. Rip, tears and creasing to 'The Hermit' and the engraving of a scholar. Not viewed out of glazed frames.

William Ward, after George Morland'Blind Man's Bluff'coloured mezzotint43 x 54cm, andfour others:'The Country Stable'47 x 59cm;'The Turnpike Gate'46 x 61cm;'The First of September - Evening'49 x 62cm;'Inside a Country Alehouse'49 x 61cm all in verre églomisé mounts and gilt frames (5)Condition Reportoverall: 'Blind Man's Bluff', 64.5 x 74cm; 'The Country Stable', 66 x 76cm; 'The Turnpike Gate', 56 x 78.5cm; 'The First of September - Evening', 69.5 x 82.5cm; Inside a Country Alehouse', 69.5 x 82cm.Paper discolouration with foxing and staining and some dirty marks. The glazing of 'The First of September-Evening' is cracked. Not viewed out of glazed frames.

George Keating, after George Morland'Children Playing at Soldiers'coloured mezzotint44 x 54cm,William Ward, after George Morland'The Effects of Extravagance and Idleness'plate 64 x 48cm,others, after George Morland'Setters'mezzotint32 x 38cm;Figures resting with dogscoloured stipple engraving45 x 35cm (4)Condition Reportoverall: 'Children Playing at Soldiers'; 62.5 x 72cm; 'The Effects of Extravagance and Idleness', 78 x 60,5cm; 'Setters' 48 x 55cm; Figures resting with dogs, 59 x 49.5cm.Discolouration to the paper with time staining, foxing and light creasing. The glazing of 'The Effects of Extravagence and Idleness' is cracked and missing the top half. Not viewed out of glazed frames.

William Ward, after James Ward'The Citizens Retreat';coloured mezzotintplate 48.5 x 61cm,By and after James Ward'The Dairy Farm';coloured mezzotint49 x 62cm,a pair by William Ward, after Francis Wheatleycoloured mezzotints48 x 34cm, andWilliam Annis, after Francis Wheatley'At Market' coloured mezzotint53 x 43cm (5)Condition Reportoverall: 'The Citizens Retreat', 65 x 78cm; 'The Dairy Farm', 70 x 62; William Ward after Francis Wheatley, 67 x 53cm (2); 'At Market' 75 x 61.5cm.'The Citizens Retreat': Paper discolouration with dirty marks, creasing and staining. A 10cm x 4cm stain to the lower right corner and a small rip to the top left corner. The remaining works have slipped in the frames and are time stained with dust and dirt trapped behind the glazing. Not viewed out of glazed frames.

The Agricultural Revolution - G Tredegar (pub), Hereford Ox, Property of the Earl of Warwick, mezzotint, 34.5cm x 47cm, 19th century

British Prime Ministers & Political History - Anthony Cardon, by, H Edridge, after, The Honorable William Pitt, mezzotint, 37cm x 28cm, early 19th century

Napoleon Bonaparte and the Napoleonic Wars - Jean Pierre Marie Jazet (1788-1871), Bataille de Waterloo, mezzotint, 78cm x 99cm; another, Napoleon Bonaparte on the Harbour Side, 31.5cm x 64cm, oak frame, early 20th century (2)

Royal History - Benjamin Smith, by, Sir William Beechey, after, His Most Gracious Majesty King George the Third, mezzotint, published Dec. 1804 by J & J Boydell, London, 59cm x 41cm, Hogarth frame

After Sir Joshua Reynolds R.A. : Portrait of Mrs Braddyll, mezzotint by Ellen Jowett, signed to margin, together with five similar mezzotints after Thomas Gainsborough etc (6). *Provenence : Property of the Earl of Durham, Lambton Castle, County Durham.

After William Collins, mezzotint engraving, Cromer, framed and glazed

Leonard Russell Squirrell RWS RI RE (British,1893-1979), 'The High Mill', mezzotint,signed in pencil to plate margin, 25x32cm, framed and glazed.

Peter Ilsted (1861 Kopenhagen - 1933 ebenda) "Hos bedstefar" (Beim Großvater). OriginaltitelMezzotinto-Radierung/Papier, 1911. R. u. sign. oder bez. "Orig. Radering af Peter Ilsted". Der Maler und Grafiker Peter Ilsted malte mit Vorliebe Interieurszenen und war neben Vilhelm Hammershøi, Carl Holsøe und den Skagen-Malern (Peder Severin Krøyer, Anna und Michael Ancher) einer der führenden dänischen Künstler zu Beginn des 20. Jhs.; Plattenmaß ca. 30 cm x 26,5 cm; Blatt ca. 36,5 cm x 31 cm. Rahmen.Mezzotint on paper, 1911. Signed or inscribed.

NO RESERVE Slavery.- Faithorne (William) [Beauty's tribute], mezzotint after Sir Peter Lely, engraved title, verse, imprint, and margins trimmed away, upper corners worn, a few small chips and very short tears, 319 x 255mm., [c.1690]. sold not subject to return. ⁂ A seemingly rare work in any condition. The female sitter is Elizabeth Cooper, daughter of the print publisher and seller Edward Cooper. The original verse beneath read 'Beauty commands Submission as it's due / Nor is't the Slave alone that owns this true / Much fairer Youths shall this just Tribute pay / None Fate deplore, but thankfully obey'.

JOHN SMITH (BRITISH, C. 1652-1742) AFTER SIR GODFREY KNELLER (5)Christopher Wren mezzotint 34 x 25cm together with four other mezzotints by John Smith after Kneller; John Egerton, Earl of Bridgwater, 34 x 24.5cm; Mary of Modena, 34.5 x 25cm; Godfrey Kneller, 36 x 27cm; John Smith, 34 x 25.5 (5)

John Faber the Younger (c.1684-1756) after Willem Verelst (c.1680-after 1756)Tomo Chachi Mico, or King of Yamacran, and Tooanahowi, his Nephew, son to the Mico of the EtchitasMezzotint36 x 25cm; 14¼ x 9¾in (sheet)Tomochachi was a Native American who was taken to England in 1734 by the directors of the newly-founded colony of Georgia. He was presented to King George II and had an interview with the Archbishop of Canterbury.

Edward Fisher (1722-1781/2) after Sir Joshua Reynolds (1723-1792) Portrait of The Right Honble Lady Elizabeth Lee Mezzotint 50.8 x 35.8cm; 20 x 14in (plate)Together with James McArdell (Irish 1729-1765) after Thomas Hudson (1701-1779); Portrait of Mary, Duchess of Ancaster; Mezzotint; 50.7 x 35.6cm; 20 x 14in (sheet); and James Wilson (act.1760-1780) after Catherine Read (1723-1778); Portrait of Miss Jones; Mezzotint; 35.5 x 24.9cm; 14 x 9¾in (plate) (3) Provenance: Private Collection, Salisbury

Richard Houston (c.1721-1775)Mrs Brooks; Morning (after Philippe Mercier)Two, both mezzotint33 x 22.4cm; 13 x 8¾in; 35.5 x 25.3cm; 14 x 10in (plate) (2)