Prints, Maps and Posters

After George Romney - 'The Right Honorable William Pitt, Chancellor of the Exchequer', mezzotint engraving by John Jones published 1789, 50cm x 36cm, within an ebonized frame, together with four further engravings of similar interest.

After Joshua Reynolds - 'The Right Honourable Charles James Fox', mezzotint engraving by John Jones published 1789, 50cm x 36cm, within a rosewood frame.

After John Constable - The Watering Hole, mezzotint by David Lucas, circa 1834, 57.5cm x 49cm, within a Hogarth style frame, together with another similar mezzotint, The Lock.

After William Hamilton - 'Constantia', a pair of tondo stipple engravings probably by Robert Samuel Marcuard, circa 1787, each diameter 30.5cm, both within verre églomisé mounts and gilt composition frames.

After Anthony van Dyck - 'Charles Prince of Wales, James Duke of York, Princess Mary, Princess Elizabeth, and Princess Anne, Children of King Charles the First', 18th century engraving by Richard Cooper, 47.5cm x 53cm, within a Hogarth style frame.

Victor Marie Picot - 'A Calm' and 'The Boat Builders', a pair of engravings published by T. Bradford in 1773, with later hand-colouring, each 27.5cm x 25cm, within burr walnut frames.

Moses Harris - Plates from 'The Aurelian, or Natural History of English Moths and Butterflies', six hand-coloured engravings published circa 1840, each 32.5cm x 24cm, within a painted mount and ebonized and gilt frames with extended corners.

Matilda Hayes - 'Baltimore Oriole Male', 'Icterus Oriole' and 'Black Bellied Grosbeak' (Plates from William Hayes' Portraits of Rare and Curious Birds from the Menagery of Osterly Park), three hand-coloured engravings, each 26cm x 20cm, framed as one within an incised ebonized and gilt frame.

After Vin Brenna - 'Faunus' and 'Bacchaet Centaur', early 19th century engraving by Giovanni Cassini, with later colour, each 36.5cm x 24cm, both within gilt frames.

Francesco Bartolozzi, after Marcantonio Franceschini - Bacchanal of Putti, a pair of sepia engraving circa 1765, each 27.5cm x 40.5cm, both within ebonized Dutch ripple style frames, together with two similar sepia engravings by Bartolozzi.

Pierre Contant - 'Élévation d'un Projet de Place Pour Le Roi', engraving circa 1765, 33cm x 61cm, within a gilt and ebonized frame of reeded section, together with six further architectural engravings.

John Rocque - 'A Topographical Map of the County of Surrey in which is expressed all the Roads, Lanes, Churches, Noblemen and Gentlemen's seats &c. &c.', engraving on laid paper in thirty-six sheets, published circa 1787, overall 165cm x 203cm.

After Rembrandt Harmenz van Rijn - The Raising of Lazarus, 18th century etching, 14.5cm x 11cm, together with two further prints, including one other after Rembrandt.

John Sell Cotman - 'French Beggars' 19th century etching, first state trial proof before the title and number, label verso, 14.5cm x 11cm, within a stained wood frame. Reference: Popham 358.

After Francis Calcraft Turner - 'Bachelor's Hall', a set of six hand-coloured aquatints, each 38cm x 47cm, within a Hogarth style frame.

After Canaletto - 'A West View of London with the Bridge, taken from Somerset Gardens', 20th century restrike engraving, 30cm x 44.5cm, within an ebonized and gilt frame, together with three similar restrike prints of London, uniformly framed.

W.F. Sedgwick, after Hans Holbein, Isaac Oliver, Nicholas Hilliard and others - Miniature Portraits of Royalty and Notable Persons, 12 colour prints circa 1910, 5.5cm x 4.5cm and smaller, all within gilt metal frames with Sedgwick's stamp verso, all contained within three faux carved wood frames.

Alphonse Legros - Breton Peasant, drypoint etching circa 1874, 23cm x 18cm, within an oak frame.

Kenneth Holmes - 'Behind the Capitol, Rome', mid-20th century monochrome etching, signed in pencil, 31cm x 20cm, together with an etching by Paul Geissler of similar interest.