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A MODERNIST EASEL SHAPED ILLUMIINATED HALL STAND

A small collection of hallmarked silverware to include a square pin dish, a circular scalloped pin dish, approx 2.9ozt, four variously sized squat candlesticks, and a silver framed easel mirror, various dates and makers.

19th century mahogany adjustable table top easel. 46cm high approx. (B.P. 21% + VAT) No manufacturer mark.

OIL PAINTING OF COASTAL SCENE DATED 1901 ON N EASEL, DAMAGE TO FRAME

A beech travelling artist's carry case, converting to an easel.

An Early 20th Century oak double-sided easel Adjustable on crank mechanism, on casters and with handle 181cm; 71¼in high (unextended)

An Early 20th Century Madderton & Costained pine folding easel 227cm; 89¼in high (extended)

Silver pocket watch with easel travel box, silver photograph frame, card case and matchbox holder, silver handled shoe horn and button hook, and EP flatware.

Collection of seven various Victorian and Edwardian parlour chairs, folding chair, Victorian piano stool, Victorian toilet mirror, pine apprentice chest, standard lamp, parasol and artists easel (14).

VINTAGE FLOOR STANDING ARTIST EASEL

A gilt cherub decorated easel mirror

A metal artists easel

Silver sculpture with figures beneath a palm tree, approx 80 mm together with a white metal sculpture of a date palm, approx 90 mm, together with a finely painted study of the Taj Mahal approx 50 x 40 mm, housed in a carved hardwood easel frame. (3)

A PAIR OF ORNATE VICTORIAN COPPER EASEL PHOTOGRAPH FRAMES, cast and pierced, the rectangular apertures within heavily cast frames depicting dancing couples amongst baskets of flowers, putti and C-scrolls. (2) 34cm by 23.5cm 

Victorian papiermache and mother-of-pearl inlaid easel reading stand of cartouche shape, 28cm high with floral spray decoration and a Chinese antimony tea caddy (2)

Early 20th century mahogany chair with carved and pierced back splat, shaped arms, bowed seat, moulded leg, one further ladderback rush seated chair  and a modern pine stool together with modern Japanese painting of a farmer and ox ploughing a field, signed and another Mediterranean scene and a collection of LP's mainly classical to include Aida, Wilhelm Bacchus, Beethoven's Sonatas 1,5, 6 and 7, Mendelssohn's Concerto in E Minor by Yehudi Menuhin etc. together with an artist's easel and a walking stick

ART DECO - CHROME PLATED LEATHER CASED TRAVEL MIRROR  An Art Deco chromium plated easel travel mirror. Original bevelled glass and good quality tan leather case. Some corrosion to the easel stand on the back. 16x11cm.

A small easel and a box of paints

An oval silver easel back photo frame, Birmingham 1913 Turnbull Bros. 22.5cm l.Condition ReportSlight wood loss to easel and loose pin.

Windsor and Newton artists easel

Antique coal purdonium & artists easel

A micro mosaic picture frame / clock frame, 19cm tall, aperture 6.4cm, easel back missing, some minor losses

A Neo Classical silver easel mirror, weight: approx. 1.5kg 

An early 20th cent artists easel and two palettes

An Art Nouveau Pewter Easel Toilet Mirror, the top with three interlinking circles surrounded by sinuous plants, stained wood back, unmarked, 32cm wide 45.5cm high; and An Art Nouveau Twin-Handled Pewter Bowl and Cover, with stylised decoration, stamped 2/075, 20cm across (2)Condition report: 1. Mirror is missing pins and covers. Glass mirror plate has deteriorated. 2. Bowl has expected wear mis shapen rim, dents and surface wear.

Archibald Knox (1864-1933) for Liberty & Co.: A Tudric Pewter Easel Timepiece, model No.0482, of swollen square form with enamel honesty border, stamped TUDRIC 0482 MADE IN ENGLAND SOLKETS, 10cm square Ex-lot 296 Christie's British Decorative Arts 18 Feb 2000Condition report: Three of the enamels are matt and restored. The top right enamel has cracks and nicks. Expected wear to the pewter and movement case, movement is fully wound and not working. The left support damaged. Clock face is 5cm diameter.

Victor Hugo An oil on board study of a solitary figure on the seashore under stormy skies, 10 x 15 cm, signed and mounted on a miniature metal easel

A silver & green guilloche enamel framed travelling clock, (possibly Russian or Eastern Europe) c.1900, 8-days, Arabic numerals fitted Swiss movement, upon a folding easel stand, 14cm x 10.5cmCondition report: Bottom left corner has some chipped enamel. Wear to brass back over to movement, appeared seized.

A CARVED GILTWOOD EASEL BACK MIRROR.

VINTAGE COLLEGE GOWNS, A VINTAGE BLAZER AND AN ARTISTS EASEL.

A SELECTION OF WALL BRACKET IN VARIOUS WOODS TOGETHER WITH AN EASEL

A Victorian silver easel-back mirror with foliate scrolled relief, bevelled glass, 35cm x 33cm total

A Victorian Silver Photograph-Frame, by William Comyns, London, 1896, shaped oblong, the sides with openwork foliage scrolls populated by winged putto, with a vacant cartouche, 17.5cm by 21cm; Together With: an Italian Silver-gilt photograph-frame, 20th century, oval and with foliage borders, on two scroll and foliage stamped feet, with easel back, 17.8cm by 24cm high (2)

An Elizabeth II Silver Timepiece, by Carr's of Sheffield, Sheffield, 2000, oblong and with an easel-back, 7.5cm high; Together With: a chrome plated Eldonian barometer, the stand in the form of a stirrup, 14.5cm high (2)

A George V Silver and Tortoiseshell-Mounted Watch-Case, Probably by Charles and Richard Comyns, London, 1921, with easel back (a.f.); Together With: a Mappin and Webb brass timepiece, in fitted blue leather case and a gold plated half hunter pocket watch (3)

An artist's easel

JAPANESE COMPOSITION VASE,21cm tall, along with other items including a pair of globe bookends, a Mdina glass paperwase, a Millefiori paperweight, a brass minature easel, and a resin figure group of horses (7)

Brass easel cased clock timepiece and matching aneroid barometer, both within foliate pierced frames surmounted by the mask of a classical bearded man, 9.75" high (key) (2)

WMF Art Nouveau pewter dressing table mirror of oval form the bevelled plate flanked by a maiden playing pipes with easel strut back, stamped marks and number 315 H41cm

A Victorian silver easel-back mirror, all-over scrolled foliage with figural relief, bevelled glass, 47.5cm tall

A late Victorian satinwood and onyx novelty easel back photograph frame as a closed garden gate with ormolu mounts, opening to reveal the image

A late Victorian gilt brass novelty timepiece in the form of an artist's easel, the rectangular frame engraved with flowers and leaves framing a similarly decorated pierced and engraved panel surround, the drum cased movement with platform escapement, the circular enamel dial with black Roman hour numerals, height 36cm (lacking strut stand).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

An early 20th century weather forecasting calculator, detailed 'Negretti & Zambra London Patent 6276' and dated 1915, with ring suspension loop and easel stand, diameter 12cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A19TH CENTURY FRENCH BRASS EASEL CLOCK the 9cm x 13cm gilt brass dial inscribed " Martin & Comp Paris", with key wind drum movement, 28cm high, in original leatherette traveling case

A drawing board and an easel

David Linley, a burr walnut photograph frame, with broken arch pediment, easel back with stamped mark41.5 x 30cm

Pine adjustable artists easel

Assorted craft frames easel etc.

Artists easel

A beech artist's easel, with brass screws, when closed 90cm high.

Circle of IL GUERCINO (Cento, Italy, 1591-Bologna, 1666); second half of the 18th century."Penitent Saint Jerome.Oil on canvas. The original canvas is preserved.It has repainting and restorations.It has a 20th century frame.Measurements: 114 x 91 cm; 119 x 96 cm (frame).In this canvas the theme of penitent Saint Jerome is approached through a classical composition, in which the author arranges the saint in a sober interior, in which any anecdotal detail that could cloud the message of transmission of the Christian faith and devotion is eliminated. One of the four great Doctors of the Latin Church, Saint Jerome was born near Aquileia (Italy) in 347. Trained in Rome, he was an accomplished rhetorician and polyglot. Baptised at the age of nineteen, between 375 and 378 he withdrew to the Syrian desert to lead an anchorite's life. He returned to Rome in 382 and became a collaborator of Pope Damasus. One of the most frequent representations of this saint is his penance in the desert. His attributes are the stone he uses to beat his chest and the skull on which he meditates. Also the cardinal's cape (or a red mantle), although he was never a cardinal, and the tamed lion. The latter comes from a story in the "Golden Legend", where it is narrated that one day, when he was explaining the Bible to the monks in his convent, he saw a lion limping towards him. He removed the thorn from its paw, and from then on kept it in his service, instructing it to look after his donkey while it grazed. Some merchants stole the donkey, and the lion recovered it, returning it to the saint without hurting the animal.Given its technical characteristics, it is possible to relate this piece to the artistic circle of Guercino, who was one of the most acclaimed Italian artists of the first half of the 17th century. He was born in Cento, in the province of Ferrara. The principal influences that shaped his style were the Bolognese Ludovico Carracci, his cousin Hannibal Carracci and the Ferrara-born Ippolito Scarsella. Apart from a two-year stay in Rome during the papacy of the Bolognese Gregorio XV Ludovisi, he was active in his native town until 1642 when he moved to neighbouring Bologna. He was about twenty-five years old when he came to the attention of his first important clients, among them Cardinal Alessandro Ludovisi, Archbishop of Bologna; Cardinal Jacopo Serra, papal legate in Ferrara; Grand Duke Cosimo II of Tuscany and Duke Ferdinand Gonzaga of Mantua. By the mid-1620s he had turned down invitations to work outside Italy, from Charles I of England among others. He seems to have been reluctant to enter into direct competition with his Bolognese rivals, especially Guido Reni, who from around 1610 was the most celebrated painter in Italy. Most of his abundant output consists of altarpieces and easel paintings, but in the first half of his career he also painted frescoes in Cento, Bologna, Rome (the Aurora on the ceiling of the Casino Ludovisi) and the cathedral of Piacenza (1626-1627). His early "Tenebrist" style is characterised by dramatic lighting, saturated colours and agitated compositions. His stay in Rome led him to gradually modify his style towards a much more idealised and classical language, with calmer and more structured compositions, more elegant contours, a generally lighter palette and richer pastel tones.

English school; late 18th century."Naval battle".Oil on canvas. Re-coloured.Signed in the lower left corner.Measurements: 45 x 44 cm.In this work the author places us in front of a navy with several ships and a small boat where we can appreciate the figure of several sailors. The sailors, sketched with rapid brushstrokes, are threatened by moving waves, dark and transparent waters at the same time, worked with great virtuosity. Beyond, we see a low horizon with a glimpse of the sky, which is joined to the sea by the tonality and humidity of the atmosphere. The scene is notable for the great dynamism and expressiveness achieved by the artist through the waves and the attitudes adopted by the figures in the painting.Ships and boats have been depicted in art since antiquity, but seascapes only began to become a genre at the beginning of the Renaissance, with the spread of landscape as an independent genre. Pure seascapes, however, did not become widespread until the 17th century, especially in Dutch painting, reflecting the very powerful foreign trade and the large Dutch naval fleet. These same motifs would encourage the cultivation of seascapes in British painting. Later, Romanticism revived the theme of the sea and the coast, especially in its more tempestuous aspects. Germans and Englishmen excelled in depicting raging seas or lonely, mystical cliffs. In the 19th century the art market expanded considerably and genre painting, especially landscape painting, enjoyed great success in bourgeois circles. The generalisation of plein air painting, moreover, meant that promenades, beaches and ports were filled with easel painters immortalising maritime scenes. Pure seascapes were a reflection of Holland's powerful foreign trade and large naval fleet. In marine painting, artists very often opted for turbulent views, dominated by grey, stormy skies and ships battling the elements.

Rouvier (French, 18th century)An oval miniature portrait of Pierre Corneille, the 17th century French Dramatist, signed, watercolour on ivory, 68 x 51mm, in gilt brass easel frame with ribbon cresting.

A late Victorian oak folio stand with easel type support and with Morocco leather covered fall, 82cm wide Provenance: From the Estate of Patrick Dockar-Drysdale

An 18th century lead tobacco box and cover, of chamfered rectangular form, with figural and dolphin finial, 15.5cm wide, a 19th century small oil on panel, depicting shipping on rough seas, 5.5 x 9.5cm, in bird's eye maple frame, and with miniature easel stand, a Stevengraph "Full Cry", and a late 19th century carved ivory puzzle ball (AF), on turned stand. (4)

MARCEL SCHELLEKENS (DUTCH CONTEMPORARY b.1954) SUNFLOWERS WITH EASEL IN DOMESTIC SETTING Etching, signed lower right, 88 x 69cm Condition Report:Available upon request

A modern ash artist's easel, 199cm maximum height x 56cm wide x 60cm deep

to include three Dresden Meissen style figure groups; together with a MEISSEN FOLIATE ENCRUSTED EASEL MIRRORMirror 35cm high, tallest figure 29cm high, smallest figure 22.3cm high

the bear with a brush and palette seated before a miniature easel, on which rests a small oil painting on board, the base carved with drawing tools, books and a scroll of paper, mounted on a later oval wood base26.5cm high, 30cm wide (including stand)

A 19th century easel pocket watch stand, cast as a sunflower, 15.5cm high