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A Chinese silver oval easel photograph frame, engraved with leafy bamboo, ball feet, 17.5cm high, character mark

A silver pocket watch case, engine turned, Birmingham 1913; a large open faced pocket, morocco leather easel watch case; others Provenance: From the Estate of Lady Elizabeth Georgiana Alice Cavendish CVO (24 April 1926 -15 September 2018), daughter of Edward Cavendish, 10th Duke of Devonshire, Chatsworth House, Derbyshire

Step ladders, metal filing cabinet and an artists easel

An engine-turned silver-faced easel photograph frame engraved with crowned 'G' Royal cipher set with an autographed portrait of Prince George, Duke of Kent, dated 1935, by Bertram Park, 43 Dover Street, Piccadilly, London W1, the frame (with green leather back) by Henry Hodson Plante, London 1934, 25 x 20 cm

A fine quality ormolu mounted marquetry yew -wood work table, 19th century, in the manner of the cabinet maker/retailer E H Buldock, the top of serpentine form over a slide with adjustable easel, a drawer to one end over a (later) storage well, raised on slender cabriole legs terminated by sabot toes, 55 cm w x 39 cm x 71.5 cm h o/a

An Edwardian over-painted photographic portrait miniature of a lady in elegant clothing, in gilt frame and morocco-bound easel pocket-case

A 19th century Swiss fine silver open-faced pocket watch with keywind movement, in Morocco easel pocket case, to/w an Art Deco strut clock, dated 1932, 15 cm square

A COLLECTION OF WEDGWOOD JASPERWARE ETC. TO INCLUDE A BLACK BASALT EASEL BACKED PICTURE FRAME

A VINTAGE WINSOR & NEWTON OF LONDON ARTISTS EASEL

ARTISTS EASEL PAINTBRUSHES ETC

A VINTAGE ROWNEY ARTISTS EASEL

A Continental carved giltwood artist's easel

20TH CENTURY SILVER PHOTOGRAPH FRAME, London 1987, 23.5 x 18cms (easel back missing)

HALLMARKED SILVER PHOTOGRAPH FRAME with wooden easel stand, inscribed to the front 'Charlotte Elizabeth Robinson, Died November 19th, 1905, Aged 73', containing an interesting photograph, possibly the aforementioned, Birmingham hallmark, indistinct date letter, 20 x 14cms

Art Deco style easel back table top mirror with green and gilded geometric frame with a central bevelled glass, 38 x 27cm

By Cartier, Paris, a metal mounted enamel travelling clock, square form, with a band of light blue enamel decoration, with white enamel borders, in a fitted red Cartier case, with an easel back support, height of clock 7.2cm.

A late-Victorian silver photograph frame, by H. Matthews, Birmingham 1894, upright rectangular form, pierced and embossed foliate scroll decoration, with a central raised vacant cartouche, red leather easel back, height 36.4cm.

A Chinese silver photograph frame, marked with Chinese characters, oval form, embossed with flowers and foliate decoration on a spot-hammered background, simulated bamboo border and easel back, height 24cm, approx. weight 11.2oz.

An Edwardian Art Nouveau silver mirror, by William Neale, Chester 1903, upright rectangular form, with stylised sinuous decoration, on two bracket feet, with an easel back, height 34cm.

An 18th century George III mahogany adjustable reading stand lectern. Raised on a splayed leg tripod base having central column rising to rectangular table top with adjustable rise and fall paper stand with easel back. Finished with pull out candle stands complete with a pair of brass candlesticks. Measures 76cm high x cm wide  x 41cm depth

A 19th century Victorian mahogany and brass folder / folio ledger easel stand. The folding mahogany frame with beautiful polished brass mountings having a good large folder of black canvas form with central brass clasp. Measures 102cm x 82cm

An early 19th century George III believed Gillows of Lancaster mahogany inlaid dressing / vanity chest of drawers. Raised on bracket feet with a serpentine apron having a bank of drawers above. The top drawer being fully appointed with a pull out slide with central rise and fall writing slope on easel support. The slide pushed back to reveal a stunning multi section vanity with slides and various sized lift top cubbies. The chest with satinwood cross banded inlaid detailing, flared top above. Measures: 96cm x 108cm x 57cm

TRAY CONTAINING MIXED SILVER PLATED WARES, CANDELABRA, SMALL PEWTER EASEL BACKED PICTURE FRAMES ETC

CAST METAL FRAMED EASEL BACK OVAL MIRROR TOGETHER WITH A 1920S OVAL WALL HANGING MIRROR

An artists easel

An artists easel

Vintage oak Artists easel

A traditional artists easel

Robert Herzberg (Michigan, 1886 - 1960) Watercolor of a Sailing Vessel with figures. Signed lower right. Herzberg studied at New York's Art Students League under Robert Henri, Ernest Blumenschein, Thomas Fogarty and Graham Cootes. Moving to the Detroit area in 1913, he organized and ran the Detroit School of Fine and Applied Arts in 1922, a common meeting space for Detroit area artists. During the 1930's Herzberg was a WPA (Federal Art Project) easel artist, painting well-known Detroit industry scenes and cityscapes. He entered many national mural competitions and painted a mural for the Detroit USO. He exhibited paintings in many museums in this country and abroad and received many awards. He also had several one-man shows at the Arthur Newton Gallery in New York City.Size: 19 x 26 in. Unframed.

SET OF SIXTEEN PRINTS, 'Animal Kingdom' hand coloured in easel frames, 34cm x 26cm. (16)

Large Vintage Artist Easel with Name

Large pine adjustable artist easel

Large pine adjustable artist easel

Artist's table-top easel in excellent condition

Eight assorted early 20th Century hallmarked silver easel photograph frames of plain form, height of largest 19cm, various styles, damages. (8).

An early 20th Century gilt edge easel photograph frame with bow mount, a similar velvet cartouche shaped edge frame and a small continental gilt trinket box, the cover inset with a painted porcelain box of a child, width 6cm. (3)

A pair of late 19th to early 20th Century French easel gilt metal plaques one of Napoleon and his mount St Bernard, the other of a Roman emperor, each of circular form mounted with a laurel leaf and bow, height 17cm x width 13cm. (2)

A Russian white metal cross with a figure of Christ, to each side mounted and inset with coloured cabochon stones on a turned ebonised base, marked 6/1990, 950, height 42cm and a 20th Century ebonised walnut mother of pearl easel frame depicting a woven image of a Greek Orthodox priest, 42cm x 27cm. (2)

Novelty reproduction automaton bird in a cage clock, with two other birds, within a four glass case, 10.5" high; also a novelty lamp post clock timepiece, 8" high and an easel timepiece, the 6" gilded dial within an octagonal yew wood frame, 8" high (3)

A Hallmarked Silver Mounted Rectangular Photograph Frame, on wooden easel back (easel detached), overall height 33cm.

A Modern Hallmarked Silver Mounted Rectangular Photograph Frame, of shaped design, on plush blue easel back, overall height 27cm.

A 1930's 9ct gold open faced top wind pocket watch, 4cm champagne dial with Arabic numerals and subsidiary seconds dial, inscribed to inner case, P.J.M 31-12-34, approximately 50 grams all in, in an easel display boxCondition: generally good, not ticking  

French gilt metal and shagreen easel mantel timepiece with platform escapement, the 2" white dial within a paste set bezel and shagreen surround and foliate cast frame, 9.25" high

Brass easel stand and a pair of brass wall gas lights

Twelve silver or silver coloured rectangular or shaped rectangular photograph frames, mainly Italian, various dates 20th century, .800 standard; one English pierced and embossed by Deakin & Francis, Birmingham 1896, red velvet easel back, 18cm (7in) high; and one Mexican by AVA, chased with roses, 27cm (10 1/2in) high

A silver mounted desk set by Tiffany & Co., to include: a double pen stand, stamped 925, the rectangular base with two pen holders, with two silver coloured ball point pens, 15.5cm (6in) long; a desk calendar, stamped 925, with a leather easel back, 11.5cm (4 1/2in) long; and a silver coloured card holder, stamped 925, 9cm (3 1/2in) long, 76g (2.45oz) gross weighable, in a Tiffany box and each piece with a Tiffany & Co. pouch

A contemporary glass topped desk on acrylic cylindrical legs, together with a plexiglass swivel chair and a table easel

A "JAX" BEECH WOOD ARTIST'S EASEL

A WOODEN ARTISTS EASEL WITH CASE, A PRESSURE WASHER BRUSH SET IN A CASE AND A DELUXE GOLF PRACTICE NET

Newlyn style copper frame hand hammered depiction of a sea creature, easel support, unmarked, 30 x 23cm . Good condition with some signs of use, lacking glass

Mary Swanzy HRHA (1882-1978)The Three Ages of Woman (c.1970)Oil on canvas, 75 x 62cm (29½ x 24¼)Exhibited: Taylor Galleries, Dublin, solo exhibition, 1986, from where purchased.This was the last painting on the artist's easel before her death.Mary Swanzy’s facility for drawing with her brush and extensive understanding of colour sings of the three ages of woman in this work; it is likely to refer to her own life given she was in her late eighties when it was completed. Titled by the current owner with Miss Swanzy’s knowledge, as she disliked naming her work preferring to see what others would make of the paintings.The central Pierrot figure, a clown or everyman character whose main characteristic is of naïveté is dressed in white, a reference to death perhaps in this case as Swanzy contemplates her own end of life. It echoes a number of earlier works that feature Chinese or Japanese figures. Swanzy revered Chinese painting and her interest in world religions is in evidence from as early as the 1920s. As she became more limited in her ability to travel so her immediate surroundings feature more heavily in her later paintings. The shed was in the garden of the Blackheath home and the little green cat, a porcelain figure from her collection. Her use of the fox may be a reference to her regular use of the term “as cute as a fox” to describe characters in her knowledge. She remained astute and observant all through her life. The use of animal imagery is a common feature in her paintings from the 1940s; she uses them to build metaphors in the narrative. Her father is recorded as having used animal metaphors in his speech so perhaps a lifelong habit of indirect speech continued in Swanzy’s painting.The lively handling of the paint and directional strokes of pure pigment has a freshness and immediacy akin to watercolour in the hands of a master. Swanzy died in 1978 in her nineties painting right up to her death despite arthritis requiring her to tape her brushes to her fingers. Liz Cullinane, September 2019

A LATE VICTORIAN ARTIST'S OAK STUDIO EASEL, the height adjustable rest operating by a turned and ebonised screw and with crank handle, 74cm wide x 206cm high

AN OAK EASEL of typical form with folding legs adjusting by an iron wing nut, approximately 186cm high

AN EDWARDIAN EASEL FRAME, the border painted with scrolling foliage in William Morris style on a cream ground, with label verso inscribed 'Beatrice Cameron, 70 Mortimer Street, Regent St.', rebate size 24 x 19cm

A sterling silver easel photograph, 20.4cm x 13cm

A Continental silver shaped rectangular easel photograph frame, marked 925

An Elizabeth II silver rectangular easel photograph frame, Birmingham 2000

An Elizabeth II silver easel photograph frame, Sheffield 1998

A large Elizabeth II silver easel photograph frame, 25.5cm x 20cm, Sheffield 1995

GLASGOW SCHOOL REPOUSSÉ COPPER ‘PEACOCK’ PHOTOGRAPH FRAME, CIRCA 1900 chased with a pair of opposing peacocks on a hand-beaten textured ground, within a beaded border and mahogany easel frame backing (Dimensions: 29cm x 24cm )(29cm x 24cm )