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Mixed lot including a pair of cloisonne vases, 21cm high, toleware twin-handled tub, toleware clock and a toleware dummy board, floral decorated wooden blotter, table-top picture easel and a plastic swan moneybox Property of Dunkirk Manor, Theescombe, Stroud

Mid century barbola style easel back circular mirror with bevelled edge, 25cm high, barbola style oval hanging wall mirror with bevelled edge, 49cm high and a circular mirror with gilt plaster frame decorated with foliate scrolls, 45cm diameter

A wooden easel and a watercolour painting depicting a canal scene.

19th Century Sorrento ware rectanglar two tier occasional table inlaid with two oval panels, together with an oval black floral painted toleware tray, a black lacquered wall bracket and a small wooden easel

A Small Reproduction Silver and Enamel Art Nouveau Double Easel Back Photo Frame, 11x8cm high

A Reproduction Silver and Enamel Art Nouveau Easel Back Photo Frame, 15x19cm high

White painted easel

A contemporary Daler Rowney beech artist's studio easel with a ratchet and crank height and tilt adjusting mechanism. H.207 W.55cm

Luigi Pesaresi, a silver on wood religious easel plaque depicting Mary. Height 9cm, Width 5.5cm.

A hardwood framed easel backed dressing table mirror together with a further wall mirror in octagonal frame

Large very good quality oriental easel approx. 5ft

Two boxes of various artists materials, easel etc.

Two wicker baskets, a maple framed rectangular mirror and a Studio Tayler wooden folding easel 

Mixed lot of collectables including a two-branch wheatsheaf wall light, an oval easel-back table mirror, a pair of metal Scottie dog bookends, a beaded clutch bag and three boxes, etc 

A modern table easel. 80 cm high.

A small quantity of miscellaneous brass including a 19th century snuff box and a Horlicks malted milk easel sign. The latter 6.5 cm long.

An early 20th century Chinoiserie lacquered easel-back mantel clock, the arched case with decoration against a black ground enclosing a gilt chapter ring with Roman numerals centred by a vignette of a figure on a bridge by a pavilion, lever movement with French escapement (with key). 20cm by 19cm.

A vintage floor standing artists Easel, with an adjustable canvas support, W 52 cm x H 160 cm x D 48 cm.

René Lalique, a ‘Les Inseperables’ clear and blue opalescent frosted glass easel clock, model 765, circa 1926, the dial painted with birds upon branches, moulded R. Lalique mark and etched ‘France’ to the under edge, 11cm x 11cm, clock not working.

Folding Easel / artists box

Assortment of small ornate frames and pictures to include oval gilt stand frame, brass easel stand frame holder together with small floral framed picture paintings, Notre Dame miniature painting and Frost and Fern embroidery by Gillian Wall etc

A large Windsor & Newton artist's easel.

An L.S. Lowry print on an artists easel

A vintage artist easel, Pallet board, oil painting harbour scene together with Erotic character scene picture

Italian Sorrento Wares - A group lot comprising a pierced olive wood and inlaid wall bracket decorated with a dancing couple, a further smaller example and a miniature easel decorated with a swallow, largest piece 38cm high (3)

A large wooden folding artists easel 

A Winsor and Newton wooden folding artist easel 

An old oak artist's easel, bearing brass plaque inscribed 'Lechertier Barbe & Co, 60 Regent St, W.', 184.5cm high.

Asprey, a rectangular silver easel photograph frame, London 1912, maker and retailer marks, 20 x 14cm, replacement back

An Edward VII Silver Photograph-Frame, by Israel Sigmund Greenberg, Birmingham, 1907, Design Registration Number 453054, shaped oblong, the sides stamped with a bird among foliage, with wood easel back, 20cm wide by 24cm high

Miscellaneous Items, including: a bone chess set, two Hanukah lamps, a grey marble dish with gilt metal rim, a gilt easel mirror, an embossed spirit flask, other plated items, ice pail, child’s teaset, gambling chips, barometer, etc (one shelf)

A Collection of Assorted Elizabeth II Silver, comprising three silver-mounted photograph-frames, each with velvet easel-back, 23.5cm high and smaller and a pair of candlesticks, filled (5)

An Edward VII Silver Photograph-Frame, by Henry Charles Freeman, Birmingham, 1905, Design Registration Number 453054, shaped oblong, the sides stamped with a bird among foliage, with wood easel back, 20cm wide by 24cm high

An Edward VII Silver Photograph-Frame, by William Hutton and Sons Ltd., Birmingham, 1901, shaped oblong and with openwork borders, the lower border stamped with squirrels, the top borders with pheasants, with leather covered easel back, 16.5cm wide by 24.5cm high

Three Various Edward VII or George V Silver Photograph-Frames, one oval and with leather easel-back, by William Henry Stokes and Arthur George Ireland, Chester, 1908, 20.3cm high; an oblong example with arched top, by Lawrence Emanuel, Birmingham, 1916, 19.5cm high and an oblong example with foliage border and applied ribbon-tied ornament, by Henry Matthews, Birmingham, 1907, 17.5cm high (3)Provenance: The estate of the late Lady Buchan Hepburn.

Three Various Elizabeth II Silver Photograph Frames, one by Keyford Frames Ltd., London, 1985, shaped oblong, stamped with foliage, with velvet covered easel back, 22cm wide by 28.5cm high; one by Keyford Frames Ltd., London, 1984, oblong and stamped with scrolls, with velvet covered easel back, 18cm wide by 23.5cm high and one by P. J. Panton, Birmingham, 1985, oblong and stamped with foliage, with velvet covered easel back, 17.5cm wide by 22.5cm high (3)

Four Various George V or Elizabeth II Silver Photograph-Frames, two shaped oblong and two circular, each with easel back (4)

An Edward VII Silver Photograph-Frame, by William Neale, Chester, 1905, in the Art Nouveau-style, oblong, the sides chased with foliage scrolls populated by birds and flowers, with wood easel-back, 17.5cm wide by 22.6cm high Fully marked on base and further stamped with design registration number 412167. There is some minor wear to the marks. There is some overall surface scratching and wear, consistent with age and use as well as some minor bruising. The bottom hook which holds the back in place is lacking so the easel back is loose. The back is slightly ill fitting and there are some chips to the edges of the glass.

A Regency Rosewood Writing Table, with leather inset easel backed writing surface, 116cm by 48cm by 73cm

Standing with hands clasped in her red and white polka dot enameled dress with matching bow and yellow enameled shoes. Figurine is adorned with Swarovski crystal rhinestones and gilded accents and tail. Her plaque with easel (2"L x 1.25"W x 3.5"H) accompanies her announcing the Limited Edition. Arribas Bros. and Disney impressed mark. This item has its original boxes: 3"L x 4"W x 1.75"H and 3"L x 5.75"W x 1.5"H. This item has a base included 2.25"L x 2.25"W x 0.75"H. Issued: 2023Dimensions: 1"L x 1"W x 2.5"HEdition Number: 3080 of 10000Manufacturer: Arribas Brothers CollectionCountry of Origin: United StatesCondition: Age related wear.

Adorable, as always, this limited edition enameled and gilded figurine is adorned with hand-set Swarovski crystal rhinestones. Figurine comes with round base and his limited-edition plaque with easel. Arribas Bros. and Disney marks. This item has its original boxes: 3.5"L x 3.25"W x 2"H, 3"L x 5.5"W x 1.25"H and 3"L x 3"W x 1.25"H. Issued: 21st centuryDimensions: 1.25"L x 1.5"W x 1.75"HEdition Number: 955 of 5000Manufacturer: Arribas Brothers CollectionCountry of Origin: United StatesCondition: Age related wear.

FRANK AUERBACH (B. 1931)Catherine Lampert Seated oil on canvas 51 x 41cm (20 1/16 x 16 1/8in).Painted between 1991-1992 Footnotes:ProvenanceMarlborough Fine Art Ltd., London, no. 40603.6.Acquired from the above by the present owner. LiteratureW. Feaver, Frank Auerbach, New York, 2009, no. 688 (illustrated p. 316).W. Feaver, Frank Auerbach, New York, 2022, no. 688 (illustrated p. 358).Frank Auerbach is one of Britain's most distinctive and celebrated painters. An artist for whom the creation of a raw, living image made in response to the presence of a seated model has for over fifty years been a fundamental, ongoing preoccupation throughout his remarkable oeuvre. Renowned especially for his heavy application of paint that masterfully fills his compositions, Auerbach is credited with making some of the most impressive, vibrant, and intuitive portraits of the post-war years. His first exhibition was held at London's Beaux Arts Gallery in 1956 and since then his paintings have become some of the most internationally collected of living artists. Painted between 1991 and 1992, Catherine Lampert Seated is a vibrant portrait of Auerbach's close friend, biographer, and muse, Catherine Lampert. He first met Lampert in 1978 when she was working on his retrospective at the Hayward Gallery in London, and had conducted an extensive interview with him for the catalogue. Lampert would later become Director of the Whitechapel Gallery in 1988 before later curating Auerbach's major retrospective exhibition at the Royal Academy in 2001. Over the ensuing years, she visited his studio up to twice a week, becoming the subject of more than seventy portraits that continued the explorations initiated by his earlier muses Stella West (E.O.W.), Juliet Yardley Mills (J.Y.M.), and his wife Julia. He was profoundly influenced by artists that spanned history, from Rembrandt to Soutine, through to Giacometti and de Kooning. Therefore, it is unsurprising that art historians also became fundamental to his oeuvre, including also William Feaver, the author of the most comprehensive monograph on Auerbach to date.The present work is a compelling display of expressive brushwork and impasto technique featuring a vibrant amalgamation of colours and texture, with thick, layered paint that adds a sculptural quality to the composition. Seated only meters away from his easel, Lampert acknowledged how 'Auerbach moves noisily around the room, looks at the painting in the mirror, turns the canvas, stands back, and then rushes up, and like darts or writing on the blackboard fairly brutally tries the next throw or cancels the previous one. He is continuously active, drawing in the air, talking to himself, hardly pausing.' (Catherine Lampert, Frank Auerbach Paintings and Drawings 1954-2001, exh. cat. Royal Academy of Arts, London, 2001, p. 62).  His vigorous and sweeping brushstrokes create a dynamic sense of movement and energy. The application of rich impasto is particularly built up in the lower and central passages, where opulent reds, earthy browns, and vibrant yellows converge, giving the work a tactile, almost three-dimensional illusion. The head and body of Lampert are rendered in a swirling sweep of brushstrokes and accumulation of pigment, projecting dynamically from the thinner areas of paint that render the background. Lampert's facial features have been executed with almost singular strokes or daubs of the brush with every gesture, shape, and colour imbued with the essence of life. As Lampert herself asserted, the moments spent with Auerbach felt as though time was suspended; 'that odd limbo, not an unpleasant state, of drifting from practical self-reminders into daydreams and unquantifiable desires.' (quoted in William Feaver, Frank Auerbach, New York, 2009, p. 21).   Auerbach's method of execution was methodical and perpetual, he scrapes back his paintings in progress, continuously recreating the evolving image. This process is shaped by continual, intensive observation and the gradual accumulation of empirical information. Thus, the resulting portraits are steadily infused with an inexplicable vitality. Although a largely figurative painter, Auerbach's intensive and unique style renders his portraits fundamentally abstract, and they appear to reflect the artist's emotional and psychological state as much as they do of the sitter. His technique conveys not just the physical presence of the sitter, but also a profound emotional connection, evident in the intense and intimate depiction of the subject. As William Feaver once stated, 'Auerbach's heads are conceived not as busts or cameos but as presences' (William Feaver, ibid., p. 20). Frank Auerbach is widely recognised as one of the most inventive and influential painters of the post-war era. Along with his 1978 retrospective at London's Hayward Gallery, the artist was also honoured in 2015 by London's Tate Britain, in partnership with Kunstmuseum Bonn, with another major retrospective of his work. Today, his paintings reside in the prestigious permanent collections of the Tate Gallery in London, the National Portrait Gallery in London; The Metropolitan Museum of Art in New York; and the Museo Nacional Thyssen-Bornemisza in Madrid, among many others. Through brilliant colour and a faultless execution of Auerbach's charismatic and established painterly gesture, Catherine Lampert Seated carries a powerful and emotional charge. The result encapsulates a seminal exposition of the artist's thoroughly inimitable and compelling portraiture which is excitingly fresh to the market. Refer to department for Lot Estimates.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

An Edwardian walnut rectangular easel photograph frame, carved ribbon cresting, floral insert with oval aperture, bevelled glass, beaded border, 23.5cm x 15.5cm overall

A 19th century bronze roundel, of Ludwig van Beethoven (1770-1827) in relief, ebonised easel frame, 17cm x 13cm overall

A Sheraton Revival satinwood and painted easel double photograph frame, the arched field with two circular apertures and decorated with ribbon-tied flowering basket pendants, 52cm wide, c.1910

A Victorian Daguerreotype, of a lady, Katherine Whitehead (m. Henry Benson March 1856), Moroccan leather hard case, Beard's Photographic Institute, the image 9cm x 7cm; another, similar, of a gentleman, Italian leather easel hard case (2)

An Art Deco tortoise shell and silver mounted easel picture frame, the aperture containing a graduation photograph for Manchester (Victoria) University, signed Dorothy Alexander in pencil, within a tortoiseshell frame, crested with a silver cartouche hallmarked London 1931, 49cm x 33cm overall

An early 20th century mahogany Watt's patent travelling easel reading stand, adjustable book rest, stamped, label to verso, 35cm high

TWO VICTORIAN MAHOGANY AND METAL ADJUSTABLE READING TABLES SECOND HALF 19TH CENTURY The larger with label for J. Carter North's Patent to rear of the easel stand and with table base, 111cm high the other with E. P. North label to the underside of the easel, 91cm high  Provenance: The Leonard Fuller Collection

Late Victorian silver mounted dressing table mirror, of rectangular form, embossed throughout with C scrolls and foliage, with vacant cartouche to the centre top and bevelled mirror plate, hallmarked Goldsmiths & Silversmiths Co Ltd, London 1899, H57cmCondition Report:Large brown spot to centre of the mirror. Missing easel stand and split to wood on the reverse, mirror plate quite loose in setting. Silver mount appears intact with some rubbing to the higher points of the embossed detail.

A silver and guilloche enamel mounted easel clock, by A Buckley Ltd, Birmingham 1925, 7.5cm high; together with another small silver mounted clock. (2)

A silver mounted easel photograph frame, by A Haviland-Nye, London, 18.5cm high.

A silver mounted double photograph frame, by Ray Hall, Birmingham 1991, 12 cm wide; together with three other silver mounted photograph frames; and a silver mounted easel clock. (5)

A silver mounted quartz easel clock, by Keyford Frames Ltd, London 1990, 11.5cm high; together with a silver mounted desk calendar. (2)

A vintage German white metal and guilloche enamel easel clock, stamped '800', 7cm high.

A Swiss nickel plated Goliath watch, the dial signed D.A & Co, 'The Giant Lever', 56mm, stem wind, in a silver mounted easel case, Birmingham 1916.

A silver mounted easel clock, by Kitney & Co, London 1991, 15.5cm high.

BEATON (Cecil) Portrait photograph of HRH Princess Margaret, signed by her and Beaton to the mount below, dated 1956, in a blue leather frame with 'M' royal cipher in gilt above, with easel support, 32cm highdamp stain to lower margin of mount, signatures a little faded, easel strut bent. See images.

Antique oak (adjustable) easel. Circa 1900. Art Nouveau. Dimensions: H 125 cm. In good condition.

Interior design and furnishings - Mirrors - an early 20th century walnut framed Vauxhall type wall mirror, 84.5cm high x 45cm wide; Louis XV revival easel table mirror; etc, (9).