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Four silver mounted photo frames, of various sizes. Easel back missing from largest example.

A small modern silver mounted easel back photo frame

A Waterford crystal easel back photograph frame, boxed

Regency rosewood writing table, rectangular drop-leaf top with rounded corners, hinged easel centre with inset leather writing surface, fitted with single cock-beaded drawer, foliage carved corner brackets, on waisted end supports with scroll carved out-splayed feet, central turned stretcher carved with acanthus leaves and flowerheads Dimensions: Height: 73cm  Length/Width: 75cm  Depth/Diameter: 48cmCondition Report:Warp to the central hinged writing surface. The rear adjustable stand is damaged and will need reassembling.

Early 20th century Hunting Scene, painted ivorine clock, in a gilt metal case, Swiss 8days, the easel back with clovers, 10 x 10cm

Large artist easel

A modern silver easel photograph frame,London 1987, 8 x 6cm; together with two other similar

A modern repousse decorated silver easel photograph frame, in the Victorian taste, Sheffield, 14 x 9cm; together with three further similar photograph framesAll hallmarked.

A 1920s silver rectangular photograph frame with chased scrolling acanthus leaf design and early plastic mount and mahogany back and easel stand aperture H x 17.5cm W x 12.5cm total H x 21cm W x 16cm 

A 1920s large silver rectangular photograph frame with engine turned decoration and scrolling leaf engraved corners early plastic mount and mahogany back and easel stand aperture H x 23.5cm X W x 17.5cm Total H x 27cm W x 21cm 

A collection of treen, brass and plated items to include, a pewter quart tankard, four brass blotter corners, a Edwardian treen clothes brush L x 35cm , Victorian Rococo cast brass photography frame with easel stand H x 31cm , pair of black brass wall candle appliques H x 23cm , set of six stamped Edwardian door finger plates H x26.5 W x 8cm, set of five Avery brass weights 1lb - 1oz and extra 2oz and 1oz, two ceramic lids, a  German Wurttemberg walnut cased circular alarm clock with bell to top H x 17cm, a eastern teak cigarette box and an Epns engraved card tray (A lot)

A 1920s large silver rectangular photograph frame with engine turned decoration and hardwood back and easel stand aperture H x 23.5cm W x 17.5cm total 28cm W x 22cm 

Property of the Late Countess Haig. An Edwardian walnut framed easel mirror, the frame carved with trailing foliate, and having a brass plaque verso inscribed "Used by Douglas Haig his mothers furniture" H42cm. 

A Vintage blackboard standing on a folding beech 'A' frame easel, together with a 1950's Valor Esso blue parafin / petrol can (2) 

Victorian ambrotype photograph of young man, and an enamelled Edwardian frame with easel back

Three cast brass, easel plate stands and one similar. [W]Condition Report: Pieces appear in good condition, no significant issues.

TWO PRE WWII EASEL BACKED LEATHER CASED OVER PAINTED PHOTOGRAPHIC MINIATURES OF A LADY, ONE FEATURING HER SON AND THE OTHER HER DOG, THE CASES. 23 x 18cms.

Attributed to Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)"Virgin of Carmen and the souls in purgatory".Oil on canvas glued to board. On the back handwritten label indicating the property of Fray Juan de Lora (1722 - 1790) Spanish Bishop of Merida (Region of the Andes) and Maracaibo, will grant forty days of indulgence to the one who prayed a salve in front of this and evil. Signed in Velacruz on January 15, 1785.28.5 x 23.5 cm.Miguel Cabrera was one of the most renowned painters in the field of Novo-Hispanic painting of the eighteenth century, with a production that the Dallas Museum of Art defines as "legendary: more than 309 works from his great studio have been documented". Of all the painters of that time, Cabrera was the one with the greatest personality; the conventional treatment in his figures was undoubtedly the basis of his way of painting, since he placed in his paintings models that were not ideal, but corresponded to people that the artist knew and treated, as when he incorporated in some paintings portraits of donors or of the so-called "prelates" because he had the need to observe directly and copy from nature.In addition to easel painting, his production includes the design of altarpieces, large format works, as well as small copper works and nun's shields. Cabrera's religious painting produces figures of remarkable beauty, a beauty understood under the ideological assumptions of the devotion of the time. It is a refined art that possesses a well-arranged chromatic richness, is sustained by a great work of composition and, no less important, a subtle and expressive drawing.Little is known of his youth; in fact, according to the Andres Blaisten Museum, it is not until the painter's will in 1768 that we know he was a native of Oaxaca.His first news are from 1739, the year of his marriage to Mrs. Ana María Solano, as well as we know of his time in the workshop of Juan Correa in the capital of the Viceroyalty.Archbishop Rubio Salinas was Cabrera's protector, whom he named his chamber painter. He was also painter of the Society of Jesus, for whose churches he made numerous works.In 1753 he was named president for life of the Academy of San Carlos.In 1756 Cabrera published "Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura", an account of the image of the Virgin Guadalupe in the printing press of the Jesuit college of San Ildefonso.His work is preserved in many churches and convents in Mexico.Two of his images of the Virgin of Guadalupe are in the Vatican Museum.Another, made in 1756, for the temple of San Francisco Javier, is conserved in the National Museum of the Viceroyalty. Reference Bibliography:- Andres Blaisten Museum. (n.d.). https://museoblaisten.com/Artista/79/Miguel-Cabrera

Modern Britannia standard silver mounted photograph frame, of rectangular form with arched top, heavily embossed with figural, palmette, scroll and foliate decoration, with wooden easel style support verso, hallmarked Paul Vernon Fitchie, London 2006, H23.5cm, W15cmCondition Report:General wear commensurate with age and use, in the form of surface scratches, nicks and small knocks. Rubbing to the higher points of embossed decoration. Hallmarks with wear but generally clear.

Victorian silver miniature easel, hallmarked London 1887, maker's mark WM, H17cmCondition Report: Approximate weight 4.45 ozt (138.2 grams)General wear commensurate with age and use, in the form of surface scratches, nicks and small knocks. Hallmarks with small amount of wear but clear and legible.

Three modern Britannia silver mounted photograph frames, to include a shaped example, with husk border and ribbon decoration and a smaller example embossed with flowers, all with wooden easel style supports verso, all hallmarked Paul Vernon Fitchie, London 2005 & 2006, tallest H13.5cm, W11.5cmCondition Report:General wear commensurate with age and use, in the form of surface scratches, nicks and small knocks. Rubbing to the higher points of embossed decoration on all examples. Hallmarks with wear but generally clear.

*KATHLEEN MURIEL SCALE (MURIEL HARDING-NEWMAN) (1913-2006) Ursula McCannell signed "M Scale" upper right, pencil on paper, with additional portrait sketch and other drafts verso, the sheet 45.8cm x 29.2cm (unframed)Note: This work would have been executed whilst K.M. Scale was studying at Farnham School of Art in the 1930s.Ursula McCannell (1923-2015) was the only child to the painter Otway McCannell, the former head of Farnham School of Art where K.M. Scale studied. At the age of 13 she showed at the Wertheim Gallery and had her first major exhibition at the Redfern Gallery in London when she was sixteen, which led to her being elected the youngest member of the Woman's International Art Society and the youngest exhibitor at both the New English Art Club and the Royal Academy (1940).Ursula McCannell studied at the Farnnham Art School, benefiting from her father's enthusiasm and discipline. She attended the Royal College of Art where she met Peter Rees Roberts whom she later married. In the succeeding years she had numerous one man shows at prestigious, leading galleries and important group shows including: Royal Academy, Leicester Galleries (London) €“ 'Artists of Fame and Promise', Leger Gallery (London) the London Group and the New English Art Club.Her work is held in many private and public collections including the Contemporary Arts Society and Manchester City Art Gallery.The picture showing Ursula at the easel at aged 14 shows the influence of K.M. Scale, who as a fellow young female artist, was no doubt an inspiration to Ursula's burgeoning talents. 

*JOHN NORTHCOTE NASH (1893-1977) 'Britannia in Winter Quarters' signed and dated 1938 lower left, watercolour, 38cm x 55cmExhibited: Contemporary Exhibition, 1939, Thomas Agnew & Sons Ltd., Old Bond Street, LondonProvenance: Purchased from the above by Michael B. Harman Esq. and thence by direct descentJohn Nash first visited Bristol in the 1920s after a recommendation from Edward Wadsworth, who had been sent there during World War I to supervise the painting of ships with 'dazzle camouflage'. Nash then returned in November of 1938, bringing with him friend and fellow artist Eric Ravilious (1903-1942). The pair sat side by side at Bristol Docks painting the paddle steamers laid up in winter berths. On one occasion where Ravilious had ventured out alone drawing outside after dark, and was working intently on his picture of a paddle steamer, he had suddenly heard a grinding noise and a voice calling out, 'lucky for you I saw you, old cock, or you'd have been a box of cold meat.' Eric had set up his easel, without noticing it was on the tracks of one of those light railways that are used in the docks (Helen Binyon). Both Nash and Ravilious produced views of P & A Campbell's steamer Britannia, seen from the same spot on Mardyke Wharf, giving fascinating insight into the methods of each artist, both the similarities in understated colour and  tonal range, and the differences in composition and choice of detail.The paddle steamer Britannia depicted in the present work was stationed at Bristol Quay, and was requisitioned by the Royal Navy at the outbreak of the war and renamed HMS Skiddaw. She was a fast ship and she still holds the Bristol Channel speed record for a trip to Ilfracombe to Weston with a time of one hour and fifty six minutes. She was sold for scrapping in 1956 after sixty years as a favourite steamer.Framed dimensions: 68cm x 83cm

An Elgin 14ct full hunter crown wind fob pocket watch, within a gilt tooled leather travel case. The signed 26mm dial with Roman numerals and subsidiary dial, signed 15 jewel movement no. 14443318, within foliate scroll and engine turned 14ct Keystone case, 14ct cuvette, case diameter 33mm, weight 29.1g; the gilt tooled leather travel case with arched top, fitted velvet interior, easel back, height 7cm.

Unsigned - A Swiss silver Goliath open faced pocket watch with a silver travelling case, circa 1900, white dial with black Roman numerals and blued hands, crown wind mechanical covered movement with exhibition mainspring and hand setting button at 1H, case, 70mm diameter, interior with Swiss marks for 935/1000 standard silver, additionally marked 0,935, 257.6g gross, presented in a wooden easel backed travelling case, hinged cover capped in silver, mark of Synyer & Beddoes (Harry Synyer & Charles Joseph Beddoes), Birmingham 1904, with hammered finish, upper with circular cartouche, 110 x 100mm

A mid 20th century Chilean metalwares silver photograph frame, maker's mark untraced (J.S. within a circle), stamped 0900 Chile, no further apparent marks, of rectangular form and 'portrait' orientation, plain with bevelled inner, top crested within a border engraved PRESIDENTE DE LA REPUBLICA DE CHILE, verso in blue velvet with a silver easel stand similarly stamped, containing a photograph of Chilean President Carlos Ibáñez del Campo, with handwritten dedication and signature, frame dimensions, 40 x 30cm, aperture dimension, 35 x 25cmThe dedication would suggest this lot was a leaving gift from the President to Sir Charles Norman Stirling in 1954. Stirling was the British Ambassador to Chile from 1951-1954.

Model boat and easel

Hallmarked silver easel-back thermometer and pocket watch holder, 11.5cm tall, Birmingham 1892.

CONSTANTINOS MALEAS (1879-1928)Vue de l'Acropole signé en grec en bas à gauchehuile sur carton 59,5 x 83 cm. (23 7/16 x 32 11/16in.)Peint c. 1918-1919.signed in Greek lower leftoil on cardFootnotes:ExpositionsAthens, Exhibition Hall of the Anatoli company, Exhibition of Paintings by C. Maleas, January 1919 (possibly).Paris, Galerie de la Boetiè, Group Techni (Ouevres d'un Groupe d'Artistes Héllènes), September 1-30, 1919 (possibly).Uniting a timeless world of ideal rhythms with the exuberance and zest of Attica's nature, Maleas captures the grandeur of the classical monument not as a lifeless relic of ancient glory but as a form of eternity constantly reborn in the present. While setting his easel and standing defiantly before the Acropolis, he is in search of new expressive forms and a deeper pictorial truth. This was also the quest of the revolutionary 'Omas Techni' art group, which was founded around the same time and had already infused the forces of renewal in Greek painting with a fresh and vital impetus.Maleas's return to Athens in 1917 afforded him the opportunity to concentrate on the sacred rock, something he couldn't do during his brief visits in the past when he lived in Thessaloniki. As noted by Dr. S. Lydakis, 'his permanent residence in Athens signalled a new period in his work. Experimentation subsided and the admirable maturity of his paintings showed that the artist was at the height of his creative powers.'¹ Here, he chose a western vantage point because it offered him one of the best views of the citadel as a harmonious ensemble of illustrious monuments—the majestic Propylaea and the Parthenon, this classical masterpiece and timeless symbol of ordered thought and everlasting value. Painting outdoors among pine trees, aloes, and cypresses, Maleas was able to retain the freshness of execution and fidelity to nature's effects, aiming not to produce a romanticised view of ancient splendour or a picturesque scene of evocative detail, but to investigate and solve pictorial issues beyond the mere recording of a specific location. 'Since his early output, the one element that defined Maleas's art above anything else was his effort to organise the pictorial space as a system of forms, where nothing was random and everything followed a compositional plan that constituted a new reality.'² Although Maleas painted what was in front of him with complete directness, he did so with a deep understanding of the landscape as a complex entity. While entrusting his subject to the truth of vision, he also ventured beyond atmospheric effects to penetrate the inner world of the landscape and become part of its reality.³ He sought an underlying structure for his studies on colour, paint and light, a kind of sturdy pictorial scaffolding that would allow him to convey a sense of endurance and permanence akin to the atmosphere emanating from the awesome site. His architectural studies helped him fully comprehend the teachings of Cezanne, who had exhorted painters to look for solidity beneath the surface patterns and treat their subjects in terms of primary geometric forms to discover their enduring character and essential content. Moreover, this captivating view of the Acropolis showcases the artist's predilection for curvilinear motifs and rhythmic patterns that invest the picture with fluid art-nouveau touches. Its wonderful colours—including a set of eye-smacking mauves and lavenders that instantly recall Parthenis's Alentours de l'Acropole⁴—move it towards the poetic atmosphere of symbolism. It can be argued that, judging from the predominance of elaborate natural motifs, the painter intended to submit the man-made environment to a natural order. As noted by Professor A. Kotidis in his monograph on the artist, 'this is an eloquent allusion, typical of Maleas's symbolism: human creations are finite and transient, while nature is infinite and eternal.'⁵ Another reading, equally symbolist, may suggest that the painter aspired to a creative fusion of nature and culture on equal terms: as much awesome as nature may be, the Parthenon's timeless beauty is nothing short of miraculous.¹. S. Lydakis, 'Constantinos Maleas' [in Greek] in The Greek Painters - 20th Century, vol. II, Melissa editions, Athens 1975, p. 61.². A. Kotidis, Constantinos Maleas [in Greek], Adam editions, Athens 2000, p. 188.³. See H. Kambouridis - G. Levounis, Modern Greek Art - the 20th Century, Ministry of the Aegean edition, Athens 1999, p.30.⁴. Sold by Bonhams - Cornette de Saint Cyr, Greek Sale, November 22, 2023, lot 9. ⁵. A. Kotidis, Constantinos Maleas, p. 155.For further information on this lot please visit Bonhams.com

A late Victorian silver 'Mr Punch' rectangular card tray, embossed with Mr Punch at an artist's easel, by Cornelius D. Saunders & James F. H. Shepherd, Birmingham 1893, 10cm high, an Edwardian silver ink pen in the form of an oar, with reversible pencil, Birmingham 1902, 16.5cm long, two silver propelling pencils, a silver sovereign holder/keyring, a silver thimble, a silver mounted ridged glass match striker, and a silver mounted faceted glass scent bottle and stopper. (8)

An American silver plate, with gadrooned border, stamped sterling, 26cm wide, and assorted American silver small items comprising a set of ten miniature dishes, an easel photo frame, a rectangular pen tray, a pair of peppers, five lobster picks and a small dish, 24oz overall. (qty)

A George V silver photograph frame, of shaped rectangular outline with oak easel back, by Walker & Hall, Birmingham 1929, 24cm high, and a silver rectangular cigarette box, Birmingham 1924, 16.5cm wide. (2)

A Jaeger-LeCoultre gold plated circular travel timepiece, with circular silvered dial, and textured bezel, the reverse with hinged easel strut and impressed no. 961879, 5cm diameter, in black leather caseAppears to be in good condition overall.

A silver rectangular photograph frame by Tiffany & Co, of plain design with easel back, 23cm high, with felt bag and boxed, together with a silver letter opener by Tiffany & Co, 18cm long. (2)In good condition overall, with a few light surface scratches.

ATTRIBUTED TO FRANCESCO ANTONIO CERONI (ACTIVE CIRCA 1794) A PORTRAIT OF AN ARTIST AT HIS EASEL Oil on canvas 48 x 35cm (18¾ x 13¾ in.) Provenance: Sale, Christie's South Kensington, where purchased by Count Manfredi della Gherardesca, 13 April 2011, lot 221  Condition Report: The canvas has not been lined but it does appear to have been strengthened. The extreme folding edges of the canvas are starting to wear away. Craquelure throughout with some areas just starting to lift. Stretcher marks visible. Considerable infilling throughout and most of this can be seen in natural light. Inspection under UV light reveals retouching and infilling throughout.Condition Report Disclaimer

ENGLISH SCHOOL, 19TH CENTURY Portrait of a young noble woman wearing blue ribbon to her hair, painted on ivory, the oval brass frame with ribbon cresting and easel support, handwritten label verso inscribed 'Anne Carre, Countess of Bedford', oval 7.5cm x 6cmIvory Submission Reference: ZYEPS5WZ

A Chinese chinoiserie black lacquer easel dressing table mirror, early 20th century, the serpentine frame applied with pagoda landscape detail, punctuated by red flower heads, 57cm H x 48cm W (at fault)

An Edwardian silver photograph frame, possibly George Houston, Birmingham 1905, the shaped frame with embossed depiction of farmers sowing the earth, with RD number 421460, and easel back, 11cm high

A large Victorian silver mounted easel mirror, Goldsmiths and Silversmiths, London 1899, the rectangular mirror with scrolling foliate detail and engraved cartouche ‘1875-1900’ with bevelled mirror plate with easel back, 52cm high (at fault)

A collection of cast brass and metal candlesticks, a lamp and a pair of bookends, together with an easel frame Condition Report:Available upon request

19th century European School, bust length portrait miniature of a highly decorated Nobleman. The cut brass easel support frame named H Rodrigues, Piccadilly, 15 x 12cm ( framed)

MODERN EASEL

A SMALL WOODEN ARTISTS EASEL/DISPLAY FRAME

Bohuslav Barlow (b.1947) Study for Brooding, rocking horses and easel before a lakeside landscape, signed and dated '99 lower right, watercolour and ink, 34 x 51 cm, frame 43 x 61 cm Provenance: private Cheshire collection, artist label to verso

Winsor & Newton faux oak painted pine ' Improved studio easel ' sold by All Artists Colourmen & Co., bearing label (currently not fully working), 188cm high x 67cm wide x 74cm deep

Vintage collection of assorted artist materials. Including a folding travel easel, brushes, tin tubes, architectual blue prints, etc.

A large contemporary mahogany easel. Scroll feet to a adjustable picture shelf,carved flower motif to a scroll top. H218cm x W79cm

A circa 1910 Danish photo easel frame. With slight bowed glass front and brass frame, overall 20.3cm x 15.4cm

A collection of silver and other items including photograph frame. Hallmarks for Birmingham 1919, approx. 17cm high overall; two oval dressing table brush mounts and a photograph frame mount, 150g; a Mexican sterling pepper pot in the form of a figure huddled under a poncho; two semi-precious stone set boxes and covers; a small easel-back frame with turquoise cabochons at the cardinal points; various other items; three costume jewellery rings; a wrist watch and other items

A wooden A-frame artist's easel stand. L66cm x D39cm x H73cm

An early 20th century nickel cased open face large pocket watch in a silver mounted easel back travel case. The 65mm diameter keyless open face pocket watch, with a bar lever movement; the case with a floral embossed silver mount, Birmingham, 1901, 12cm high

An Anglo-Indian engraved ivory dressing box, Vizagapatam, late 18th Century, the rectangular lifting top opening to reveal an interior with twelve lidded boxes surrounding a larger box on bracket feet, decorated overall with extensive architectural wooded river landscapes with figures in punts within scrolling flowerhead borders (damages), 46cm wide, 36cm deep, 18cm highIvory registration reference: GKLN1XNE For a similar lot see Christie’s ‘The English Collector’, 3rd November 2011, Lot 157 Lot contains an element of pre-1947 ivory or other organic material which may be subject to export restrictions There are several small losses to the ivory veneers, including to the top, corners, sides and feet. There are also cracks to many of the ivory veneers ranging from faint hairlines to deeper more significant ones. The drawer to the lower front does not run that smoothly but it does have its original key, a rare survival.  The boxes within are in fair condition, three ends of the covers have come loose but the pieces for two of them are present with the lot.  There are some loose pieces of ivory in the central box, these may relate to the losses to the exterior of the main box.  The small boxes fit very snugly, the ivory does have some cracking but the main scenes of buildings are mainly unaffected, there are perhaps four where the cracks cross the decoration.  The easel back mirror has a very silvered glass but is otherwise in good condition.  

A Modern Novelty Easel Back Photo Frame in the Form of a Ladies Handbag, together with a Boxed Little Gem Enamelled Metal Red Deer Box

A Reproduction Art Nouveau Style Pewter Photo Frame Decorated with Fairies and Flowers, Easel Back 22.5cms High by 15cms Wide

A miniature mahogany revolving book case with metal label, Goodyears, Regent & Bond Street, London, 34cm square and a hardwood easel, (2).

A Victorian style silver shaped rectangular easel photograph frame, embossed with flowers, 14cm x 17cm, Sheffield 1993; another rectangular, 10cm x 12.5cm, Sheffield 1992 (2)

A silver rectangular easel photograph frame, 19.5cm high, Sheffield 1998

A pair of Belleek oval easel photograph frames, in relief with oak leaves, 16cm high;  Wedgwood Wild Strawberry dish;  Wedgwood blue jasper trinket pot and cover;  Royal Albert Harvest Rose pattern vases and scent bottle;  etc

Metal Ware - a brass samovar;   a brass easel mirror;  plated ware;  etc

A Goliath pocket watch early 20th century, with a 59mm enamelled dial, with a subsidiary seconds dial, within a silver plated case, complete with a repousse decorated silver easel-back case, Birmingham 1900,case 12 x 10.5cmCondition ReportThe watch has been working but we cannot guarantee this will continue to be the case due to the nature of the item. Case worn and with excess polish remnants. Some pierced holes to the case and the easel is loose.