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A Hallmarked Silver Match Box Holder, Birmingham 1904, detailed in relief with a pheasant (worn); A Hallmarked Silver Mounted Desk Calendar, (damage) on wooden easel back; A Hallmarked Silver Mounted Pen Wipe Brush, and a plated cylindrical pot. (4)

A RAIMOND AMERICAN STERLING SILVER RECTANGULAR PHOTOGRAPH FRAME of plain design, engraved 1963, fabric easel support, 13cm x 10cm, one other American sterling silver photograph frame (lacking back), an American sterling silver circular pin tray, 8cm diameter and an English silver miniature circular photograph frame

Jess Quinn(b.1968)The Artist's Easel,signed with initials,Japanese watercolour and gouache,35 x 26.5cms, framed.Provenance: with Henry Brewer Gallery Ltd, July 2019.

Dorothy Wilding, a pair of portrait photographs of King George VI and Queen Elizabeth, signed below in ink 'George R.I. 1947' and 'Elizabeth R 1947', in original leather frames with Royal monograms above, photograph sizes 20.5 x 15.5cm approx., with taped strut backs12.5' x 9'inches. There is repair to the easel stands and the ribbons are still attached - see images for details.

Hatherley Patent wooden easel, 39cm tall.

O&B artists easel. 

CARTIER, REF. 7517 A GILT METAL AND CREAM ENAMEL DESK ALARM CLOCK Movement: Quartz alarm Case: Gilt metal and cream lacquer, easel back Dial: White Size: 75mm Signed: Case, dial Accessories: Les must de Cartier box, instruction booklet   Together with a matching photo frame, ref. 8517, with a must de Cartier box  

A mid Victorian calamander and brass mounted travelling box with fitted interior, two drawers and fold-out easel mirror, silver mounted toilet jars and boxes, supplied by T W Hopkins, 22 New Bond Street, box 14" wide x 10" deep x 8" highCondition:The top of the box has numerous marks from wear and tear, metal corners are worn as well.The main lock plate is misshapen. The bottom drawer is locked.The long rectangular glass box has a chip to the corner of the glass.One of the cologne/perfume bottles has a bruise to one corner.One of the round topped bottles is cracked and has a couple of small bruises to the corners.Another of the perfume/cologne bottles has a misshapen top and small chips to the base on the corners. 

JAMES MILLER (1893-1987). SELF PORTRAIT IN THE STUDIO. (d) Signed, oil on canvas, 126 x 70cm., Exhibited: Glasgow Art Club, 1940, , Literature: Lesley Duncan, `James Miller R.S.A.’ (pub. Royal Scottish Academy 1990), , The artist depicts himself in his mid forties. One of his own nocturnes hangs on the wall behind him., , In her monograph on the artist (in which this painting provides the cover image), Leslie Duncan notes that the self-portrait shows Miller in young middle age with flamboyant high brimmed hat and long white coat, its folds skilfully rendered. `Behind the round spectacles his eyes look intently at his easel rather than the viewer. He was not concerned with self-flattery. The wide-spread feet, however, and the figure’s whole mien speak of confidence in his own presence and talents’. * Lined; replaced stretchers; some associated retouching. **BP 22.5% inc VAT + Lot Fee of £8

A Unusual Leitz FILOY Photographic Enlarger, a very early Leitz enlarger, c.1930, body G, with a fixed f/3.5 lens, relative values marked to the base of the column, missing easel,

London. Lee (Kerry), London. The Bastion of Liberty, circa 1950, large colour lithograph pictorial map of London, very slight creasing, 990 x 1230 mmQTY: (1)NOTE:A charming portrait of the artist Kerry Lee (1902 - 1988) can be seen in the lower right corner, his name signed on an easel with his faithful dog Jim, sitting by his side. Kerry Lee produced two colour pictorial maps for British Railways in the 1930s which were revised up until the 1950s. These railway posters are very much in the style of Macdonald Gill.

DOUGLAS CLOCK CO; an Edward VII hallmarked silver mounted easel back travelling clock, with cast repoussé decoration, housing a Goliath watch bearing Roman numerals and subsidiary seconds dial, the silver marked for Birmingham 1901, 11 x 10cm.Additional InformationMinor tarnishing and denting to the case, when wound the watch does not run, scratches to the glass, minor tarnishing and wear.

W.I BROADWAY; two Elizabeth II hallmarked silver circular photograph frames with cast beaded rims, Birmingham 2003, together with a further hallmarked silver mounted easel back photograph frame (3).Additional InformationEach with light wear but overall good condition.

CARRS OF SHEFFIELD; an Elizabeth II hallmarked silver mounted easel back photograph frame with cast decoration of ribbons and swags, Sheffield 2002, together with three further hallmarked silver mounted easel back photograph frames (4).Additional InformationThe glass would benefit from cleaning, light wear throughout, but good condition.

CHARLES S. GREEN & CO. LTD. (Probably); an Edward VII hallmarked silver mounted easel back photograph frame with embossed Arts & Crafts style decoration of flowers and stylised hearts, and embossed verse 'For Auld Lang Syne', Birmingham 1905, 22 x 21cm. Additional InformationNumerous polish holes throughout, denting, tarnishing, marks are slightly rubbed. 

A useful large artist's easel, H. 178cm.

A large quantity of artists materials with easel and a further portable easel.

Edward R. Taylor (British, 1838-1912)A portrait of a young boy, traditionally identified as John 'Jack' Stanhope Arkwright aged three or four, ovalSigned and dated 'E Taylor/1876' (lower left) Watercolour 38 x 32cm (14 15/16 x 12 5/8in).Footnotes:Lucy's letters reveal that in 1887 she returned, while in London, to Edward Taylor's studio to organise pictures of the children. 'On a little easel in the passage leading to the studio was a little picture of a child in a cap done from the photograph of Wee Wee' [Evelyn, Jack's younger sister, born 1876].With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com

20th century wrought iron easel photograph frame, of arched scrolling form, 26cm tall

Two boxes of mixed items to include film developers and easel. Not available for in-house P&P

Folding wooden artists easel. Not available for in-house P&P

Beech folding artist easel. Not available for in-house P&P

A GEORGE V MOUNTED WOODEN PHOTOGRAPH FRAME. with an applied Regimental badge of the Scots Guard and an easel back, maker's mark mis-struck ("("G&S"?)"?), London 1926, together with an Edwardian mounted leather photograph frame with a laurel leaf border, textured ground and an easel back, by Walter Jones, Birmingham 1901; the largest frame 10" (25.5cm) high (2). **BP: 22.5% (inc VAT) + Lot Fee of £8

A VICTORIAN NATURALISTIC PHOTOGRAPH FRAME. with a wavy edge, resembling a rectangular piece of cloth, a bark-textured border around the window, an applied beetle in one corner and a sprig of flowers in another and a felt covered easel back, maker's mark "J.B" for either John Batson or Brashier, London 1885; 9" (23cm) high. **BP: 22.5% (inc VAT) + Lot Fee of £8

AN EDWARDIAN ART NOUVEAU WOODEN MOUNTED PHOTOGRAPH FRAME. decorated in relief with a young lady picking fruit from a tree, with an easel back and registered design number "RD427887" by Charles S Green & Co, Birmingham 1904; 9.7" (24.8cm) high. **BP: 22.5% (inc VAT) + Lot Fee of £8

AN EDWARDIAN WOODEN MOUNTED PHOTOGRAPH FRAME. with engine-turned decoration and an easel back, by Charles S Green, Birmingham 1902; 10.4" (26.5cm) high. **BP: 22.5% (inc VAT) + Lot Fee of £8

TWO LATE 19TH/EARLY 20TH CENTURY GERMAN PHOTOGRAPH FRAMES. both decorated in relief with floral scrolls and cherubs, easel backs and miniature paintings of a lady under glass, c.1900; the largest one 5.5" (14.5cm) tall (2). **BP: 22.5% (inc VAT) + Lot Fee of £8

A box of portrait oil paintings on canvas, artist easel, picture mirror etc

An artist's case containing paint, brushes and palette together with a boxed easel.

A Victorian silver framed easel mirror, maker William Comyns, London, 1894: with heart-shaped bevelled mirror plate, 27cm high.

A Victorian silver framed easel mirror, maker William Comyns, London, 1894: with heart-shaped bevelled mirror plate, 27cm high.

A large artists easel

A gilt metal easel picture frame

A box containing a pair of wooden handled nut crackers, miniature easel photo frames, and inkwell etc.

19th century porcelain figurine of an artist next to easel and painting on oval frame. Crossed swords markings to the underside in the manner of Meissen. Together with another  figurine having book and raised hand (af) and two others 

A SET OF FOUR ROYAL WORCESTER FOR COMPTON & WOODHOUSE LIMITED EDITION FIGURES 'THE GRACEFUL ARTS', comprising Painting, Embroidery, Music and Poetry, sculpted by Maureen Halson, all four no. 1488/2500, each with a wooden plinth, all four with booklets, two with certificates and two with card boxes (4 figures and plinths, a bag of booklets and certificates and 2 boxes) (Condition report: Painting has a bent paint brush with glue inside her palm, and comes with an additional paintbrush, the whole of the bow on the back of the dress has been off and is fastened back on with adhesive pads at the bottom of the ribbons as well as glue behind the knot of the bow, there appears to be dry glue at the bottom of the front leg of the easel, Embroidery table has one leg with blob of glue tucked into the hem of the skirt, the other two feet are lifted off the base, glue visible to palm of the hand the other end of the thread is hanging loose, otherwise appears ok, Music has slight rough patch around the back of the bottom edge, Poetry has two feet of the table lifted off the base, otherwise appears ok)

A late Victorian repousse silver mounted heart shape easel mirror, William Comyns, London, 1900, 26.5cm.

A George V silver photograph frame, of circular for with easel stand to reverse, marks for Birmingham 1935, maker Charles Edwin Turner, 15.5cm diameter.

A pair of early 20th century silver photograph frames, of rectangular form with engraved foliate decoration, easel stand to reverse (one lacking back and stand), rubbed Chester hallmarks, 16.5cm x 12.5cm

A George V silver photograph frame, of rectangular form with arched surmount, marks for Birmingham 1919, maker Charles S Green & Co Ltd, 23cm x 16cm lacking glass and back panel & easel stand.

Large beechwood artist's easel

A vintage pine easel. 180 cm high.

An Art Nouveau silver photograph frame, Birmingham 1904, with embossed floral decoration, 19 x 14cm, easel A/F, two other Edwardian examples, Chester 1903 and Birmingham 1905 and two other later frames

A pierced bronze framed easel mirror, 37cm high.

A large Victorian silver pierced frame, with central vacant cartouche, profusely chased and pierced with flowers and foliage, hallmarked by Deakin & Francis, Birmingham, 1899, easel back detached,  approx 29 cm long x 22cm wide (1) 

A miniature framed sepia photograph of HM Queen Victoria, the silver frame surmounted by a Crown, halmarked by EM & S, Birmingham, 1900, 2.3 x 2cm easel backed together with a collection of early 20th Century silver mounted frames, all various dates and makers, sizes (the largest 16 x 12cm) and condition (1 bag )

Two sets of Edwardian postal scales, an early Victorian copper tea caddy, clock mounted Rococco type easel toilet mirror, a 20th century drum form table casket set with printed portrait of a young Queen Victoria and other items

LUCIEN GENIN (Rouen, 1984 - Paris 1953)."Place du Tertre, Sacre Coeur".Gouache on paper.Signed in the lower margin.Size: 15,5 x 19,5 cm; 30 x 33,5 cm (frame).Lucien Genin studied at the School of Fine Arts in Rouen, where his teachers were Alphonse and Albert Guilloux, and later enrolled in Decorative Arts at l'École-de-Médecine. He took evening classes in sculpture, architectural composition and mathematics. He arrived in Montmartre in 1912, after a series of small trades, Maclet finally earned his living with his painting. Lucien Genin settled permanently in Montmartre at the age of twenty-five. More than a painter of Paris, Genin is a painter of Parisians, of the devouring passion that stirs all his characters in the big city. He paints them in the alleys of Montmartre, dining at night in the Place du Tertre, singing in the Lapin Agile, cars on the boulevards, spectators and street singers; he follows them on the banks of the Marne at the first rays of the sun and in the south of France in summer. In turn, he is in Nogent-sur-Marne, Marseille and Cassis, Cannes and Villefranche-sur-Mer. He was in Douarnenez in 1929 with Pierre Colle, Giovanni Leonardi and Max Jacob. He painted the port of Rosmeur at the feast of the blue nets and exhibited his painting at the Salon d'Automne in 1930. In November 1929, André Warnod wrote about his painting: "Lucien Genin depicts Paris with a sometimes hasty ardour but with a pleasant flavour of vivid colours". During these ten years, he practised a painting that was composed, colourful, sensitive, skilful, delicate, humorous and comic. A painting by Lucien Genin won the Art Institute of Chicago prize in 1932. In 1940, he took refuge in Marseilles for a few months. In 1941, the Paris City Council bought him a gouache and in 1944 René Fauchois presented his exhibition at the Bernard gallery. In 1947 he left for Cassis for the last time and exhibited at the Bernard gallery on his return. In his last years he devoted himself to painting landscapes in his room, with his easel under the window, where Robert Doisneau visited him a few weeks before his death. Lucien Genin was immortalised in 1953 in Le Vin des rue by Robert Giraud and Robert Doisneau. A retrospective exhibition was organised for him at the Galerie Seine in 1954.

An Art Deco silver and blue guilloche enamel hexagonal easel back timepiece, Birmingham 1929, 7.5cm high.

A late Victorian silver easel back timepiece, Birmingham 1900, with enamel dial, 7.5cm high, (lacking easel); together with a 'Regulateur' pocket watch, 6.5cm diameter, (a.f.); and a vintage silver ladies cocktail wristwatch. (3)

A 20th century artist's easel, 160 cm high

A SAMSUNG STEREO TOGETHER WITH A LARGE QUANTITY OF SUNDRIES, WOODEN EASEL - WHOLE SHELF

Brass framed easel back oval mirror and circular convex mirror

An oak folding artist's easel/book stand, 56cmW

A Winsor & Newton floorstanding easel

A Victorian floor standing folding easel, bears label for Hunt-Broadhurst Ltd. Oxford

A Victorian silver photograph frame, Charles Dumenil, London 1899, rectangular, embossed in relief with knotted foliate scrolls, Rococo cartouche, oak backed, with easel support, opening 20cm x 15cm, overall 32cm x 24.5cm

An Art Deco style frameless dressing mirror, of elongated form, with faceted mirrored and black glass frame, on an easel type stand. H.151 W.40cm.

A 19th century Sheraton revival green painted metamorphic artist's easel table, of the type made by Roberson & Co, 99 Long Acre, London, the work surface adjustable in height and angle, over a single side drawer. H.80 W.62 D.64cm

A collection of easel backed picture frames, including three silver picture frames. H.26 W.21cm (largest)