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JOHN JONES AFTER SIR JOSHUA REYNOLDS `The Right Honourable...Fox`, mezzotint, 20" x 14"

ROBERT SAYER AND JOHN BENNETT (pubs) `Blind Plaintiff, lame Defendant Share the Friendly Laws Impartial Care`, mezzotint c. 1779, mounted but unframed, 14" x 10"

AFTER JOSEPH M.W TURNER RA A set of twelve mezzotint engravings by John Cother Webb, depicting the various masterpieces by Turner, the majority inscribed verso, in attractive gilt frames under black and gilt glass mounts, 15” (39cms) x 19.25” (49cms). (12)

AFTER ANGELICA KAUFFMAN "Study of three Muses alongside a cherub and shepherd", black and white mezzotint

RUSSELL, Charles E. English Mezzotint Portraits, 2 vols (volume one plate volume ), 64 plates, org. half morocco, folio & 4to, limited edition of 625 copies, 1926. With ... Goodwin, Gordon. British Mezzotinters, illustrated, org. cloth, 4to, limited edition, 1904. (3)

An early 20th Century Continental coloured mezzotint "Vendredi a Bruges" limited edition numbered 16/350, 34.5cms x 32cms

George White (printmaker) - `Old Parr Aeta 152` (Portrait of Tom Parr), early 18th Century monochrome mezzotint, published by S. Simpson, approx 20.5cm x 15.5cm, together with two further prints of Old Tom Parr. Note: Tom Parr is famous for his long life, reputedly dying at the age of 153.

After Peter Lely - `Carolus II`ds. D.G. Angliae Scot. Fran. & Hiber. Rex, Fidei Defensor &ct` (Head and Shoulders Portrait of King Charles II), monochrome mezzotint, circa 1680-1704, by E. Cooper, published by R. Williams, approx 34.5cm x 25.5cm.

After Godfrey Kneller - `Carolus II`dus...` (Head and Shoulders Portrait of King Charles II), monochrome mezzotint, circa 1680-1685, by Robert Williams, published by J. Smith, approx 34cm x 25cm.

After Nicholas de Largillière - `Jacobus II`dus...` (Portrait of King James II wearing Armour), late 17th Century monochrome mezzotint by Isaac Beckett, approx 33cm x 24.5cm, together with four other prints relating to King James II.

Jacob Gole (printmaker) - `William Rex` (Head and Shoulders Portrait of King William III holding a Sceptre), late 17th/early 18th Century monochrome mezzotint, sheet size approx 31.5cm x 23.5cm, together with two engravings of related interest.

After Anne Killigrew - `Anne Killigrew` (Portrait of the Poet and Artist), monochrome mezzotint, circa 1680, by Abraham Blooteling, approx 28cm x 20cm, together with a collection of other prints of literary figures.

John Faber II (printmaker) - `Sr Godfrey Kneller...`, monochrome mezzotint, circa 1735, by Faber, approx 41.5cm x 28cm, together with a collection of prints, the majority of artists.

HAMERTON (P.G.). "Imagination in Landscape Painting." 2nd edn, 14 mezzotint plts after Claude Turner etc. comp, orig cl, gt, folio, 1887 good.

Samuel Arlent Edwards (1862-1935) Gentleman of Bruges, Mezzotint, Signed and inscribed lower right. h: 15.50 x w: 11.50 in.

Loggan (David). Cantabrigia Illustrata sive Omnium Celeberrimae Istius Universitatis Collegiorum Aularum, Bibliothecae Academicae Scholarum Publicarum, Sacelli Coll: Regalis nec non Totius Oppidi Ichnographia, 1st ed., Cambridge, c. 1688, mezzotint portrait frontispiece of the Duke of Somerset, engraved title, dedication to William and Mary, preface and index, engraved double-page plan of Cambridge, 29 fine copper-engraved double-page plates, one or two leaves with marginal repaired tears along folds and reinforcements to versos, a few light spots, bookplate of Thomas Graham Jackson, Architect, 1894, a.e.g., contemporary red morocco, covers with double fillet border and gilt rectangular panels with corner volutes, rebacked retaining original spine, folio. A good copy of Danzig-born Loggan`s second major work, following on from Oxonia Illustrata (1675). After being appointed engraver to Oxford University in 1669, Loggan began work on Cantabrigia Illustrata in 1676, before becoming engraver to Cambridge University in 1690. Wing L2837. (1)

Adams (George). Essays on the Microscope; Containing a Practical Description of the Most Improved Microscopes: A General History of Insects..., A Description of Three Hundred and Seventy-Nine Animalcula, with a Concise Catalogue of Interesting Objects..., and the Configuration of Salts when Under the Microscope, 2 vols. (text/plates), 1st ed., 1787, half-title present, allegorical mezzotint frontis., thirty-two double-page leaves of uncol. aqua. and eng. plts. (complete), piece missing from margin of title (not affecting text), recent maroon qtr. morocco, gilt dec. spines, 4to. (2)

Wharton (R.). Roncesvalles: A Poem, in Twelve Books, 1812, half-title present, fine sepia mezzotint frontis., a.e.g., contemp. gilt-panelled navy straight-grained russia, rubbed on joints, 4to, together with Duplessis (Georges), Coup d`Oeil sur l`Histoire de la Gravure, Paris, 1881, fine chromo-illuminated additional title (detached and a little frayed at edges), numerous col. and b & w illusts., orig. linen-backed marbled boards, a little rubbed, 4to, plus Foster (Joseph), Pedigrees of the County Families of England, vol. 1, Lancashire, 1873, numerous folding pedigrees and eng. armorials, orig. cloth gilt, worn on spine, 4to, and other miscellaneous antiquarian, including atlases and part-atlases, miscellaneous prints and engravings, etc. (4 cartons)

JAMES McARDELL (1729-1765) AFTER SIR JOSHUA REYNOLDS, PRA (1723-1792) PORTRAIT OF MRS HUGH BONFOY NEE ELIOT proof mezzotint before letters, trimmed to within plate mark, 1755, 37.5 x 27.5cm, and four other mezzotints by McArdell, comprising Mary Duchess of Ancaster 1757 and John Duke of Montagu both after Thomas Hudson, John Couts Esqr after Allan Ramsay and Rembrandt`s mother, all trimmed to or within plate mark, some faults (5) Provenance: Collection of Leonard Daneham Cunliffe (d 1937) benefactor of the Fitzwilliam Museum (d1937) thence by descent to the present vendor. Reynolds evident pleasure in his portrait of Mrs Bonfoy was such that "it was one of the first of his works to be engraved as a mezzotint, despite the obscurity of the sitter" (N Penny quoted by D Mannings in Sir Joshua Reynolds, Complete Catalogue of his Paintings 2000, no 200, pp94-5). ++++

PIETER VAN BLEECK (1697-1764) BY AND AFTER PHEBE [PEG WOOFINGTON] mezzotint, first state, 1747, trimmed to within plate mark, laid down, stained, 35 x 34.5cm and six other mezzotints and one engraving, comprising Frances Stewart Countess of Portland published by Alexander Brown after Sir Anthony van Dyck, c1684, Rembrandt by Richard Huston (1721-1775) proof before letters, Mr Hayley by Johan Jacobe (1733-1797) after George Romney, Sir Nathaniel Dance by Charles Turner, ARA (1773-1857) after Richard Westall, RA, Jane Countess of Harrington by Valentine Green, ARA (1739-1813) after Sir Joshua Reynolds, Mrs Orby Hunter by John Young (1755-1825) after John Hoppner, RA, proof and General Fleetwood by Jacobus Houbraken (1698-1780) after Robert Walker, all late 17th/18th c, trimmed to or within plate mark, laid down and with some faults, various sizes (8) ++++

A HAND COLOURED MEZZOTINT ENTITLED “DIAMOND” PUBLISHED DEC. 12th 1799 BY LAURIE & WHITTLE, NO. 53, FLEET STREET, LONDON, APPROX. 40 X 31cm TOGETHER WITH A HAND COLOURED MEZZOTINT ENTITLED " HAMBLETONIAN " PUBLISHED BY LAURIE & WHITTLE, NO. 53 FLEET STREET, LONDON AND PAINTED BY J SARTORIUS, APPROX. 40 X 31cm ( 2 )

A COLOURED MEZZOTINT ENTITLED “WARTER “PUBLISHED JAN. 1st 1802 BY LAURIE & WHITTLE AND PAINTED BY J N SARTORIUS, APPROX. 40 X 31cm

Maile after Marsh-Sportsman-coloured Mezzotint, mounted & framed, c.1830.

A framed and glazed mezzotint after Abbot of 18th century golf, together with a framed and glazed set of golfing Players cigarette cards, a wall mounting backgammon board and a reproduction print of cyclists.

Arnold (John).- Reid (Susan Esther, engraver) Mr John Arnold, mezzotint portrait after R.Davy, a worn restrike, c.360 x 260mm., framed and glazed, [c.1790, but later]; with a lithograph of Louis Moinet and a photograph with signature at foot of Arthur Paul Walsh, London clockmaker (3)

Ellicott (John).- Dunkarton (Robert, engraver) John Ellicott F.R.S. Etat 67 Clockmaker to his Majesty, mezzotint portrait, a late impression, c.370 x 270mm., light spotting and water-staining, framed and glazed, [c.1785, but later].

Ferguson (James).- Stewart (Robert, engraver) James Ferguson Astronomer F.R.S. at 66, mezzotint portrait after John Townsend, scratched letter proof, the title added in manuscript (ink faded), c.355 x 250mm., trimmed to edge of image and laid down or remargined, framed and glazed, 1776.

Graham (George).- Faber (John, engraver) George Graham, Clock Maker, mezzotint portrait after T.Hudson, c.360 x 255mm., lightly soiled with a few small tears at edges, trimmed close to plate mark and laid down, framed and glazed, [c.1740].

Pinchbeck (Christopher).- Faber (John, engraver) Christopher Pinchbeck, mezzotint portrait after Isaac Whood, c.320 x 230mm., creased from folding (fairly unobtrusive), a little soiled, trimmed just touching image at upper edge, framed and glazed (early gilt frame), [c.1725].

Tompion (Thomas).- Smith (John, engraver) Tho: Tompion Automatopoeus, mezzotint portrait after Kneller, c.350 x 255mm., lightly soiled, unobtrusive tear affecting title repaired, framed and glazed, [c.1710].

Leonard R Squirrell, a drypoint of Bamburgh Castle, an aquatint, and a mezzotint of Castle Acre, Norwich, largest 25cm x 34cm (3)

Francis S. Walker - Maiden on a Beach, monochrome mezzotint, inscribed in pencil, together with four further prints, including a variant of the same image.

COOKE, W.B (publisher). Gems of Art. London: 1823. 1 vol. only, folio (404 x 266mm.) 30 mezzotint plates, extra-illustrated with 10 lithographic plates and 17 proof plates. (Some spotting, occasionally heavy.) Contemporary morocco gilt, g.e. (extremities rubbed and scuffed). Provenance: Richard Paterson (armorial bookplate to front pastedown).

Sir Frank Short RA PRE (1857-1945) after George Frederick Watts OM RA (1817-1904) `Love and Death`, mezzotint, lettered proof, published 1900 by Robert Dunthorne, 57 x 27 cm (22 1/2 x 10 1/2 in)

Terence Warren, British b.1948- "Waste not want not"; etching with aquatint printed in colours, signed, titled, dated `80 and numbered 92/125, 23x19.3cm: together with five further etchings with aquatint printed in colours by the same artist entitled "Where there`s a will there`s a way", "A fence between keeps friendship green", A bad workman always blames his tools", "Last but not least" and "Prevention is better than cure", all signed, titled, dated `80 and numbered, ea. 23x19.3cm: Richard Bawden, British b.1936- "Nightwatch"; mezzotint, signed, titled and inscribed `A/P`, 41.4x30.7cm: Philip Bawden, British, late 20th/early 21st century- "Boredom"; etching with aquatint, signed, titled and numbered 6/40, 25.7x21.3cm., (7) (unframed) (may be subject to Droit de Suite)

Arthur Cox, British 1840/44-1917- Discussions in the stable, publ. Alfred Bell & Co, 1926; mezzotint printed in colours, signed in pencil, 29.5x37.5cm: together with another mezzotint printed in colours depicting a cottage scene, by a different hand publ. by Alfred Bell & Co, in matching gilt frames, (2)

AFTER JOHN SARTORIOUS. Hambletonian, mezzotint engraving, published by Laurie and Whittle 1799, unframed, Pl. 9 x 14 in; and two other unframed prints after J. Ward, and Martin de Vos; three (3)

AFTER H.A. OGDEN "American-New England scenes", a pair of coloured prints, published Paris 1899, AFTER ARLENE EDWARDS "Victoire Therese", coloured mezzotint, a set of three botanical prints, and a pair of Continental figural prints (8)

After Sir John Everard Millais S. COUSINS The Order of release 1745. Mezzotint. Published 1856 by Henry Graves & Co. 75 x 55cm.

Approximately 17 mezzotint portraits. "Famous portraits in colour". Each signed by the various engravers. Sitters include Cromwell, Bonaparte, Sarah Bernhardt and Robert Peel.

Frank Arthur Nankivell, American 1869-1959- `Mark Twain`; mezzotint, signed and titled, selected as `Fine Print of the year 1935` according to inscription (recto), 37.5x28.5cm: William Edgar Marshall, American 1837-1906- "George Washington", after Gilbert Stuart; engraving on paper laid down on fabric, 34x28.5cm., (unframed) (2)

After Maria Sybilla Merian, German 1647-1717- Tiger lily with moth and tulip with butterfly; hand-coloured engravings, two, 38x27cm., ea.: Ernest Herbert Whydale, British 1886-1952- Horse and cart by a building undergoing renovation; etching, signed in pencil, 25x30cm: After Valentine Green, British 1739-1813- "To the Society of Goffers at Blackheath", after Lemuel Francis Abbott; mezzotint engraving with hand-colouring, this example from a later edition, 53.5x38.2cm., (4) (may be subject to Droit de Suite)

William Pether, British 1731-1821- `The Standard Bearer`, after Rembrandt, publ by Robert Sayer, London; mezzotint, bears a stamp on the reverse, 54.2x38.5cm., (sheet) (unframed) Provenance: Marquis of Bute Collection according to inscription on the mount.

Sidney Ernest Wilson, British 1869-1963- "Sir Walter Scott", after Sir Henry Raeburn RA, publ June 1st 1935 by Vicars Brothers Ltd, London; mezzotint printed in colours, signed in pencil, bears publisher`s blind stamp, 47x37.9cm: Charles Turner ARA, British 1773-1857- "Sir Walter Scott", after Sir Henry Raeburn RA; mezzotint, engravers` proof, 48.5x39.5cm: Charles Turner ARA, British 1773-1857- "The Rt. Hon Lady Louisa Manners in a Peasant`s Dress", after John Hoppner RA; mezzotint, 51x37cm., (unframed) (3) (may be subject to Droit de Suite)

Richard Houston, British 1721-1775- `Miss Beatson` after Catherine Read; mezzotint, proof before title, stamped verso, 56x40.5cm., (unframed)

John Dixon, British 1720-1811- `Elizabeth, Countess of Pembroke with her son, the Rt. Hon George, Lord Herbert`, after Sir Joshua Reynolds RA, publ July 10th 1771, Kemps Row, Chelsea; mezzotint, first state proof before title, 45.5x33.2cm (unframed)

Edmund Wardle, early 20th century- `Miss Croker` after Sir Thomas Lawrence RA; mezzotint printed in colours, bears publisher`s blind stamp, signed, 26x21.5cm: After Charles Le Brun, French 1619-1690- `Relationship of the Human Figure with that of the Bear`, plate 29A/29B, `Relationship of the Human figure with that of the Camel` Plate 17A/17B, `Relationship of the Human figure with that of the Hog` Plate 22A/22B - from Physiognomic Heads; engravings, 20th/21st Edtions, blindstamp `Musee de Louvre, Chalographie`, in matching parcel-gilt frames, 50x31.5cm., ea., (4) (a lot) (may be subject to Droit de Suite)

James Ward, British 1769-1859- "William Markham" after George Romney RA, publ May 1800 by J Boydell, London; mezzotint, 47x33cm: After Ellis Roberts, British 1860-1930- Portrait of a lady standing full-length, together with one other; mezzotint, 61x37 and 60x38cm: Henry Thomas Ryall, British 1811-1867- Portrait of Wellington, after Sir Thomas Lawrence RA FRS; engraving, 37x32cm: Thomas Fairland, British 1804-1832- Portrait of a young man, after John Watson Gordon; lithograph, 41.5x33cm: together with a quantity of prints of varying sizes and styles, 48x92cm (max), (a lot)

W BARKER (19th CENTURY) "Stonegate York" and "Near Lichfield", watercolours, ovals, MEYER EBERHARDT "Study of a terrier seated in the rain", black and white dry point etching, IN THE MANNER OF BARTOLOZZI "Figures in an interior with a gentleman looking on", coloured mezzotint, EARLY 20th CENTURY SCHOOL-a pair of over painted portraits and a quantity of miscellaneous prints

Minnie Cormack, Irish 1862-1919- `Mrs. Scott Moncrieff`, after Sir Henry Raeburn RA, publ June 1912 by the Fine Art Society, London; mezzotint printed in colours, signed in pencil, bears inscription and publishers blindstamp, 41x34cm (unframed)

ENGLISH SCHOOL, LATE 19th CENTURY. A tranquil Landscape with cattle crossing a Bridge, oil on board, 10 x 12 1/2 in; and a mezzotint print of Edmund Burke,, varnished, laid under glass, damaged, sold a/f

AFTER SIR HENRY RAEBURN RA (1756-1823), `Colonel Ranaldson MacDonell of Glengarry`, 19th century mezzotint engraved by Thomas Hodgetts, in a period rosewood frame with gilt inset, 73cm x 45cm.

William Barnard (1774-1849): after Lemuel Francis Abbott mezzotint engraving of Vice Admiral Lord Viscount Nelson, Duke of Bronti, titled detached and pasted verso, gilt framed, 46 by 36cm.

Victorian mezzotint after Frederick Taylor, `Morning of the Chase`, `Haddon Hall in Days of Yore`, 60cm x 94cm.

* A MINIATURE ICON OF CHRIST PANTOCRATOR IN A RIVER PEARL, SILVER AND ENAMEL OKLAD MEZZOTINT, OKLAD STAMPED WITH MARK OF PAVEL OVCHINNIKOV IN CYRILLIC UNDER IMPERIAL WARRANT, CIRCA 1900, 84 STANDARD 7.5 by 6.5 cm.

LATE 19th CENTURY ENGLISH SCHOOL "Portrait study of a young woman seated upon a chair wearing blue and lace trimmed dress", watercolour, unsigned, AFTER THOMAS GAINSOROUGH "Mrs Sheridan", a coloured mezzotint by EDMUND WARDLE, signed in pencil, two further figural coloured mezzotints and three further pictures

ROBERT SAYER, PUBLISHER (1725-1794) PUBLISHER GENERAL GEORGE AUGUSTUS ELIOTT BARON HEATHFIELD OF GIBRALTER mezzotint mounted to or within plate mark, in fresh contemporary colour, unexamined out of the frame, published 14 September 1789, 35.5 x 25cm and a coloured etching of the Rock and town of Gibraltar published by R H Laurie (2) ++Mezzotint with some mushroom coloured stains, in old wormed frame with a few thunder flies beneath the glass, the second print with light overall staining

THOMAS LANDSEER, ARA (1795-1880) AFTER SIR EDWIN HENRY LANDSEER, RA (1802-1873) THE LION DOG FROM MALTA, THE LAST OF HIS TRIBE mixed method intaglio print (etching with mezzotint) signed by the engraver in pencil, a rich impression, lightly creased and stained, mounted to within the plate mark and unexamined out of the frame, 42 x 52cm ++Consigned by executors and purchased by the late owner from John Maggs of Falmouth

AFTER HENRI GASCAR PORTRAIT OF LOUISE DE KÉROUALLE, DUCHESS OF PORTSMOUTH (1649-1734) with a King Charles Spaniel, half length before drapery, 92 x 73cm, in a carved giltwood frame Despite the artist having painted the sitter fair haired, the present picture is unmistakably a portrait of Charles II`s fRENCH mistress. It is based on a mezzotint probably by and certainly after Henri Gascar. The intimate setting, rich drapery and her opulent dress would indicate that the Duchess is depicted in her private apartments at Whitehall and is wearing the type of "loose gown" as her dress was described by John Evelyn. See the Catalogue of the NPG Exhibition, Painted Ladies Women at the Court of Charles II by C Macleod (et al) 2001, No 52. Provenance: anon sale, Knight, Frank & Rutley, London (as "Lady of the Court of Charles II by Sir Peter Lely") 28 March 1956. ++In ready to hang condition, lined but not in recent years and restored with some overpainting, subsequent patched repair lower centre,(sitter`s right index finger and dog`s forelegs) the pigments in particular the red, the embroidery and lace etc rich and decorative. In good quality 19th c carved giltwood frame in the style of the period with small losses, not recently regilt

John Martin - Belshazzar`s Feast (First steel plate) 1826, original mezzotint with etching, with artist`s name in the plate, inscribed proof in lower margin (Ref: Campbell-Wees 74), 47cm x 72cm, in glazed ebonised frame Further images and condition reports are available at www.reemandansie.com