Medium: etching and drypoint. This is Seymour Haden's etched version of the painting by Thomas Wright of Derby entitled "Edwin the Minstrel". The man in the portrait was actually Sir Francis Seymour Haden's own grandfather. This is a very rare first state impression circa 1864 -- before the artist added additional crosshatched drypoint shading at the back of the figure. An additional plate signature would also be added for the second state. There were five different states in all. Catalogue references: Drake 51 and Schneiderman 53. This impression is signed both in pencil and in the plate. Printed on watermarked laid paper, the plate measures 14 x 9 1/2 inches (355 x 242mm). The total sheet measures 17 x 12 1/8 inches (434 x 308mm).

Condition: the paper is age-toned and light struck.

Medium: original etching. This impression on Alton Mill laid paper was printed in 1883 for "An English Version of the Eclogues of Virgil" and published in London by Seeley and Company. Samuel Palmer had planned a series of etchings to illustrate his translation of Virgil's Eclogues, but this etching is the only one he completely finished before his death in 1881. Catalogue reference: Lister E13. Image size: 4 5/8 x 7 inches (117 x 176 mm). Plate size: 6 x 8 3/8 inches (151 x 214 mm). Sheet size: 8 1/2 x 12 1/2 inches (215 x 317 mm). Signed in the plate (not by hand).

Condition: there is some foxing, plus age-toning near the edges of the sheet.

Medium: original etching. This work is also called "The Herdsman's Cottage". Printed in 1880 on Arches laid paper for Philip Gilbert Hamerton's very scarce "Etching and Etchers". Image size: 3 7/8 x 3 inches (97 x 77 mm). Sheet size: 12 x 8 1/2 inches (305 x 215 mm). Signed in the plate, not hand-signed.

Medium: original etching. This impression on Alton Mill laid paper was printed in 1883 for "An English Version of the Eclogues of Virgil" and published in London by Seeley and Company. Samuel Palmer had planned a series of etchings to illustrate his translation of Virgil's Eclogues, but died in 1881 before finishing the project. The Homeward Star is one of four etchings left by the artist in an advanced state of completion, and the final details were finished by his son Alfred Herbert Palmer. Catalogue reference: Lister E14. Image size: 4 x 6 inches (100 x 152 mm). Plate size: 5 1/4 x 7 3/8 inches (133 x 189 mm). Sheet size: 8 1/4 x 12 5/8 inches (212 x 320 mm). Not signed.

Condition: there is age-toning near the edges of the sheet.

Medium: original etching. This impression on Alton Mill laid paper was printed in 1883 for "An English Version of the Eclogues of Virgil" and published in London by Seeley and Company. Samuel Palmer had planned a series of etchings to illustrate his translation of Virgil's Eclogues, but died in 1881 before finishing the project. The Sepulchre is one of four etchings left by the artist in an advanced state of completion, and the final details were finished by his son Alfred Herbert Palmer. Catalogue reference: Lister E16. Image size: 4 x 6 inches (100 x 152 mm). Plate size: 5 1/4 x 7 3/8 inches (133 x 189 mm). Sheet size: 8 1/4 x 12 5/8 inches (212 x 320 mm). Not signed.

Condition: there is age-toning near the edges of the sheet.

Medium: original etching. This impression on Alton Mill laid paper was printed in 1883 for "An English Version of the Eclogues of Virgil" and published in London by Seeley and Company. Samuel Palmer had planned a series of etchings to illustrate his translation of Virgil's Eclogues, but died in 1881 before finishing the project. The Cypress Grove is one of four etchings left by the artist in an advanced state of completion, and the final details were finished by his son Alfred Herbert Palmer. Catalogue reference: Lister E15. Image size: 4 x 6 inches (100 x 152 mm). Plate size: 5 1/4 x 7 3/8 inches (133 x 189 mm). Sheet size: 8 1/4 x 12 3/4 inches (212 x 323 mm). Signed in the plate (not by hand).

Condition: there are a few spots of foxing, plus age-toning near the edges of the sheet.

Medium: original etching. This impression on Alton Mill laid paper was printed in 1883 for "An English Version of the Eclogues of Virgil" and published in London by Seeley and Company. Samuel Palmer had planned a series of etchings to illustrate his translation of Virgil's Eclogues, but died in 1881 before finishing the project. Moeris and Galatea is one of four etchings left by the artist in an advanced state of completion, and the final details were finished by his son Alfred Herbert Palmer. Catalogue reference: Lister E17. Image size: 4 x 6 inches (100 x 152 mm). Plate size: 5 1/4 x 7 3/8 inches (133 x 189 mm). Sheet size: 8 1/4 x 12 5/8 inches (212 x 320 mm). Not signed.

Condition: there is age-toning near the edges of the sheet.

Medium: mezzotint. Catalogue reference: Hardie 95. Executed in 1913 by Sir Frank Short after J. M. W. Turner and signed in pencil by Sir Frank Short. Printed on chine-collé paper in an edition of 50. Plate size: 10 7/8 x 15 3/4 inches. Some consider that Sir Frank Short was at his best when interpreting J. M. W. Turner.

Condition: some age-toning and discoloration to the paper.

Medium: mezzotint. Executed by John Cother Webb after the J. M. W. Turner painting and signed in pencil by John Cother Webb. Printed on chine-collé paper (china paper mounted by the publisher onto a heavy wove paper support sheet) and published in London in 1924 by The Museum Galleries; with the publisher's blindstamp in the margin. Image size: 13 1/4 x 17 3/4 inches. Plate size: 16 1/2 x 21 1/2 inches. Sheet size: 21 1/2 x 27 inches.

Condition: there is age-toning to the paper, and a mat stain in the margin. Laid down (mounted) many years ago onto a paperboard backing, although the glue seems to have been applied only along the edges of the sheet, not in the area of the image.

Medium: original etching. Signed both in the plate and in pencil. Catalogue reference Schneiderman 202. Executed in 1881, and printed on laid paper with full margins. Plate size: 7 x 10 1/4 inches (262 x 180 mm). A rich impression with plate tone.

Condition: there is foxing, minor creasing, a mat stain and two repaired tears in the margin.

Medium: mezzotint engraving (engraved by John Jones after the William Redmore Bigg painting). The full title is "Dulce Domum or the Return from School". This magnificent print was published in London in 1790 by the painter himself. The image is 17 1/2 x 24 inches, the plate size is 19 x 24 3/4 and the full sheet measures 22 x 28 inches.

Condition: discoloration and a tear to the margin; old glue remains near the top edge of the sheet; and most notably, several scratches and skinned spots to the surface of the paper. Due to its imperfect condition this rare print is offered at a very attractive price.

Medium: mezzotint (engraved by David Lucas after the John Constable painting). This impression was printed in 1831 on laid paper for the "English Landscape" series. Image size: 5 1/2 x 8 1/2 inches (140 x 217 mm). Sheet size: 6 3/8 x 8 7/8 inches (163 x 225 mm). Summer Evening is considered one of the finer plates from this series. Not signed.

Condition: There is foxing to the paper, and the sheet has been trimmed by a previous owner, leaving narrow margins.

Medium: original etching and drypoint. Catalogue reference: Hardie 367. Signed in pencil. Executed in 1910, this is a nice impression with plate tone printed on laid paper. Plate size: 7 1/4 x 12 1/2 inches (183 x 317mm).

Condition: there is age-toning to the paper, with a faint mat stain and wear to the margins.

Medium: original etching with drypoint. Catalogue reference: Schneiderman 98. Executed in 1865; this is a rich, dark impression on laid paper with full original margins from the 1872 edition of "The Portfolio" published in London by Seeley, Jackson & Halliday and edited by 19th Century artist and art critic Phillip Gilbert Hamerton. The plate measures 5 7/16 x 8 7/16 inches (137 x 214 mm). Signed in the plate, not by hand.

Condition: minor creasing in the margins, not affecting the etched image.

Medium: original woodcut. Catalogue reference: Colnaghi 142. Published in London in 1921 by Herbert Furst at the Little Art Rooms for inclusion in the "Modern Woodcutters 4" volume, now very rare, which showcased original Edward Wadsworth woodcuts. This impression was printed on Basingwerk Parchment wove paper by Walter Bradley at the Morland Press. The image measures 7 x 3 inches. Not signed.

Medium: original etching. Catalogue reference: Schneiderman 21. Executed in 1859; this very nice impression on thin laid paper is from the Gazette des Beaux Arts edition of 1864. Plate size: 5 7/8 x 8 7/8 inches. Signed by Seymour Haden in the plate, not by hand.

Medium: original etching. Catalogue reference: Sanchez and Seydoux 1899-2. Published in Paris in 1899 for Gazette des Beaux-Arts. This is a fine impression on laid paper printed by Leroy. Plate size: 5 3/8 x 8 1/2 inches (137 x 215 mm). Signed in the plate (not by hand). Scottish artist Frank Laing was one of the best known followers of James Whistler.

Condition: there is a water stain in the margin, not affecting the etched image.

Medium: original etching. This impression on cream laid paper was printed by Lienard and published in Paris by L'Art in 1879. The plate size is 7 3/4 x 11 3/4 inches (200 x 300 mm). Signed in the plate, not by hand.

Medium: engraving (after the painting). Printed on Holland-style wove paper, from the rare large size deluxe portfolio entitled "Picturesque Views on the Southern Coast of England", published in parts between 1814-1826 by John and Arthur Arch. Image size: 6 1/2 x 9 1/2 inches. Sheet size: 13 x 17 1/2 inches (325 x 447 mm) with full original margins. There is a platemark surrounding the image (not shown in this photo). Not signed.

Medium: engraving (after the painting). Printed on Holland-style wove paper, from the rare large size deluxe portfolio entitled "Picturesque Views on the Southern Coast of England", published in parts between 1814-1826 by John and Arthur Arch. Image size: 5 3/4 x 8 3/4 inches. Sheet size: 13 x 17 1/2 inches (325 x 447 mm) with full original margins. There is a platemark surrounding the image (not shown in this photo). Not signed.

Medium: engraving (after the painting). Printed on Holland-style wove paper, from the rare large size deluxe portfolio entitled "Picturesque Views on the Southern Coast of England", published in parts between 1814-1826 by John and Arthur Arch. Image size: 6 1/2 x 9 1/2 inches. Sheet size: 13 x 17 1/2 inches (325 x 447 mm) with full original margins. There is a platemark surrounding the image (not shown in this photo). Not signed.

Medium: engraving (after the painting). Printed on Holland-style wove paper, from the rare large size deluxe portfolio entitled "Picturesque Views on the Southern Coast of England", published in parts between 1814-1826 by John and Arthur Arch. Image size: 6 1/8 x 8 3/4 inches. Sheet size: 13 x 17 1/2 inches (325 x 447 mm) with full original margins. There is a platemark surrounding the image (not shown in this photo). Not signed.

Medium: engraving (after the painting). Printed on Holland-style wove paper, from the rare large size deluxe portfolio entitled "Picturesque Views on the Southern Coast of England", published in parts between 1814-1826 by John and Arthur Arch. Image size: 6 1/4 x 9 3/8 inches. Sheet size: 13 x 17 1/2 inches (325 x 447 mm) with full original margins. There is a platemark surrounding the image (not shown in this photo). Not signed.

Medium: engraving (after the painting). Printed on Holland-style wove paper, from the rare large size deluxe portfolio entitled "Picturesque Views on the Southern Coast of England", published in parts between 1814-1826 by John and Arthur Arch. Image size: 6 1/2 x 9 1/2 inches. Sheet size: 13 x 17 1/2 inches (325 x 447 mm) with full original margins. There is a platemark surrounding the image (not shown in this photo). Not signed.

Medium: engraving (after the painting). Printed on Holland-style wove paper, from the rare large size deluxe portfolio entitled "Picturesque Views on the Southern Coast of England", published in parts between 1814-1826 by John and Arthur Arch. Image size: 6 x 9 1/4 inches. Sheet size: 13 x 17 1/2 inches (325 x 447 mm) with full original margins. There is a platemark surrounding the image (not shown in this photo). Not signed.

Medium: engraving (after the painting). Printed on Holland-style wove paper, from the rare large size deluxe portfolio entitled "Picturesque Views on the Southern Coast of England", published in parts between 1814-1826 by John and Arthur Arch. Image size: 5 3/4 x 9 inches. Sheet size: 13 x 17 1/2 inches (325 x 447 mm) with full original margins. There is a platemark surrounding the image (not shown in this photo). Not signed.

Medium: engraving (after the painting). Printed on Holland-style wove paper, from the rare large size deluxe portfolio entitled "Picturesque Views on the Southern Coast of England", published in parts between 1814-1826 by John and Arthur Arch. Image size: 6 x 9 1/2 inches. Sheet size: 13 x 17 1/2 inches (325 x 447 mm) with full original margins. There is a platemark surrounding the image (not shown in this photo). Not signed.

Medium: engraving (after the painting). Printed on Holland-style wove paper, from the rare large size deluxe portfolio entitled "Picturesque Views on the Southern Coast of England", published in parts between 1814-1826 by John and Arthur Arch. Image size: 6 1/4 x 9 1/2 inches. Sheet size: 13 x 17 1/2 inches (325 x 447 mm) with full original margins. There is a platemark surrounding the image (not shown in this photo). Not signed.

Medium: original etching. This impression on cream wove paper was published in Paris in 1897 by Gazette des Beaux Arts. The plate size is 5 x 9 inches (125 x 227 mm). Signed in the plate by John Postle Heseltine, not hand-signed.

Condition: there is foxing in the margins, not affecting the etching.

"Satan Contemplating Adam and Eve in Paradise"
Medium: original mezzotint. This is one of the exquisite mezzotint engravings executed by John Martin to illustrate John Milton's epic poem "Paradise Lost". This impression is from the 1858 edition published in London by Henry Washbourne, and printed on wove paper. The image measures approximately 5 1/2 x 8 inches and the total sheet is 7 x 10 3/4 inches. This print is in remarkably fine condition, without foxing and with only minimal aging to the paper.

"Adam Reproving Eve"
Medium: original mezzotint. This is one of the exquisite mezzotint engravings executed by John Martin to illustrate John Milton's epic poem "Paradise Lost". This impression is from the 1858 edition published in London by Henry Washbourne, and printed on wove paper. The image measures approximately 5 1/2 x 8 inches and the total sheet is 7 x 10 3/4 inches. This print is in remarkably fine condition, without foxing and with only minimal aging to the paper.

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape Scenery" portfolio, published in London by Henry Bohn. Plate size: 7 3/4 x 9 1/4 inches (197 x 238 mm). Sheet size: 11 3/4 x 16 1/2 inches (290 x 420 mm). Constable and Lucas collaborated closely in the making of these prints -- in fact, Lucas was known as "Constable's Engraver" and the great painter would work with no other. Not signed.

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape Scenery" portfolio, published in London by Henry Bohn. Plate size: 7 x 9 inches (175 x 222 mm). Sheet size: 11 3/4 x 16 1/2 inches (290 x 420 mm). Constable and Lucas collaborated closely in the making of these prints -- in fact, Lucas was known as "Constable's Engraver" and the great painter would work with no other. Not signed.

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape Scenery" portfolio, published in London by Henry Bohn. Plate size: 7 x 10 inches (175 x 252 mm). Sheet size: 11 3/4 x 16 1/2 inches (290 x 420 mm). Constable and Lucas collaborated closely in the making of these prints -- in fact, Lucas was known as "Constable's Engraver" and the great painter would work with no other. Not signed.

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape Scenery" portfolio, published in London by Henry Bohn. Plate size: 7 x 8 1/4 inches (175 x 210 mm). Sheet size: 11 3/4 x 16 1/2 inches (290 x 420 mm). Constable and Lucas collaborated closely in the making of these prints -- in fact, Lucas was known as "Constable's Engraver" and the great painter would work with no other. Not signed.

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape Scenery" portfolio, published in London by Henry Bohn. Plate size: 7 x 8 1/2 inches (175 x 220 mm). Sheet size: 11 3/4 x 16 1/2 inches (290 x 420 mm). Constable and Lucas collaborated closely in the making of these prints -- in fact, Lucas was known as "Constable's Engraver" and the great painter would work with no other. Not signed.

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape Scenery" portfolio, published in London by Henry Bohn. Plate size: 7 x 9 3/4 inches (177 x 248 mm). Sheet size: 11 3/4 x 16 1/2 inches (290 x 420 mm). Constable and Lucas collaborated closely in the making of these prints -- in fact, Lucas was known as "Constable's Engraver" and the great painter would work with no other. Not signed.

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape Scenery" portfolio, published in London by Henry Bohn. Plate size: 7 x 9 1/2 inches (175 x 240 mm). Sheet size: 11 3/4 x 16 1/2 inches (290 x 420 mm). Constable and Lucas collaborated closely in the making of these prints -- in fact, Lucas was known as "Constable's Engraver" and the great painter would work with no other. Not signed.

Medium: engraving (after the painting). Printed on Holland-style wove paper, from the rare large size deluxe portfolio entitled "Picturesque Views on the Southern Coast of England", published in parts between 1814-1826 by John and Arthur Arch. Image size: 6 1/4 x 9 1/2 inches. Sheet size: 13 x 17 1/2 inches (325 x 447 mm) with full original margins. There is a platemark surrounding the image (not shown in this photo). Not signed.

Medium: engraving (after the painting). Printed on Holland-style wove paper, from the rare large size deluxe portfolio entitled "Picturesque Views on the Southern Coast of England", published in parts between 1814-1826 by John and Arthur Arch. Image size: 5 3/4 x 9 3/8 inches. Sheet size: 13 x 17 1/2 inches (325 x 447 mm) with full original margins. There is a platemark surrounding the image (not shown in this photo). Not signed.