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A 1920's/1930's spring driven tinplate car, lithographed printed detail with a seated driver figure and passenger figures to the rear interior, removable sliding base piece stamped with instructions and 'STAND PAT EASEL CO, DETROIT, MICH', 29.5cm long, unboxed

Advertising - a Carr & Co Ltd rounded rectangular shaped cardboard easel backed showcard, embossed and printed gilt lettering on a blue ground, 'CARR'S ENGLISH BISCUITS, CREATORS OF QUALITY BISCUITS SINCE 1831', 16cm high, 25.5cm wide, Walsall Litho Co Ltd label to reverse; a rounded rectangular shaped tin easel backed or hanging point of sale 'showcard', 'PETER BROWN & CO'S, SUPER CABIN BISCUITS, NORTH SHIELDS.', 13.5cm high, 21cm wide; a C.W.S. mechanical ABC spelling chart; a reproduction catalogue relating to Peek, Frean & Co; other advertising material and ephemera including a collection of late 19th century insert cards or trade cards including Huntley & Palmers etc (quantity)

HALLMARKED SILVER PHOTOGRAPH FRAMES, A PAIR plus one other silver plated example, Sheffield 1993, Maker Carrs of Sheffield, the pair, classically styled scroll and shell border detail with blue velvet covered easel backs, 20 x 14.5cms, the other marked 'M A S J 1985', Made in Wales sticker with swan and floral front detail, 7.5 x 7cms

EARLY TO LATE 20th CENTURY HALLMARKED SILVER (3) - to include a large pedestal chalice, Birmingham 1923, maker W Smith (Birmingham) Ltd, 34cms H, 14cms diameter the top, small two handled trophy cup, London 1918, maker Goldsmiths & Silversmiths Company Ltd, 7.5cms H overall, 7.5cms across and a Carr's of Sheffield silver fronted Quartz clock with easel back, date marked 1998, shaped waisted form with beadwork edge decoration, 12 x 9cms, boxed, 12.8ozt weighable, none of the items have inscriptions

Oval silver picture frame, hallmarked Sheffield 1991, 29.5cm high and a rectangular silver picture frame, stamped 925 and indistinctly hallmarked, 15cm x 21cm, each with easel back (2)  

Silver photograph frame, hallmarked London 2002, maker's marks for Arthur Price, with easel back, 21.5cm x 16.3cm 

Late Victorian silver photograph frame, with pierced rocaille and floral frame centred by a scroll cartouche, with bevel glass and easel back, 18.2cm x 24cm overall 

Edwardian art nouveau silver easel photograph frame, decorated on a textured ground with stylised Iris, hallmarked Birmingham 1902 by A J Zimmerman Ltd, 20cm high

A pine Crawford & Black table top easel. With extendable legs with brass butterfly screws, L87cm.

A silver-plated Goliath pocket watch, contained within an Art Nouveau silver fronted leather travel case, with picture easel back, 12cms high overall.

A 19th Century onyx and gilt metal heart-shaped mantel clock, with picture easel back, 15cms high.

All 60 x 50 or 50 x 60 cm and mounted on wood, ca. 1970. The portrait of Theo Kley signed, dated 1973, titled "Requiem for a bicycle" and priced fl. 150 on verso of mount. Depicting a.o.: Fake operation by the members of the Insektensekte in a TV studio, a painted portrait of Cor Jaring on an easel and several of the Deskundologisch Laboratorium w. portraits of Theo Kley and other "Deskundologen". Some photogr. w. marginal damage. The Insektensekte, founded in 1969 after an oil disaster in the Waddenzee, was one of the 1st Dutch environmental movements, and its members were all active in the alternative Amst. artistic circuit. The most important members were dentist and artist Max Reneman, musician Hub Mathijsen, artist Theo Kley, and 'house-photographer' Cor Jaring. In the 1970s Reneman and Kley collaborated w. ex-provo member Robert Jasper Grootveld, which resulted in Deskundologie: "dat wat iedereen met zijn klompen aan kan voelen, en dat niemand boven de pet gaat.” (total 9)

An artists travelling paint box and easel

An Edward VII silver double easel photograph frame, maker William Davenport, Birmingham, 1902, with embossed foliate and scroll decoration, 20.5 x 29cm.

A DOXA Goliath Pocket Watch, 66mm case, in easel back leather case

A George V silver and tortoiseshell photograph frame, of arched rectangular form with material covered easel back, marks for London 1918, maker Charles & Richard Comyns 22.5cm x 15cm Tortoiseshell element with some scratching but no cracks or depletions.

A large George V Silver photograph frame, of plain rectangular form with engraved presentation inscription to base 'George H Teale Esq J.P Chairman of the Warfedale Board of Guardians' 31st March 1930' 41cm x 29cm overall, easel stand verso.

A car twin-dial clock barometer by E.N.V. Motors Ltd Engineers London, with mounted mercury scale (with break to top of scale), on lacquered brass plate, further mounted to a mahogany easel backing, 15.5 x 26.5cm

Painter's easel with handleSchildersezel met zwengel199 x 65 x 63 cm

Harrods Ltd. brown leather rectangular easel photo frame, with gilt border, H26cm W21cm

Large Victorian style hallmarked silver easel mirror, relief decorated with scrolls and foliage and with vacant cartouche, by Ari D Norman, Sheffield 1996, H42cm W27cm

Antique cased miniature portrait of a gentleman with sideburns, in leather easel-back case, lined with velvet, frame 10cm tall.

Laurence Stephen Lowry RBA, RA (1887-1976)"Tug"Signed and dated 1959, oil on panel, 19cm by 17.5cmProvenance: Picadilly Gallery, LondonClarendon Gallery, Manchester, where purchased by the vendor's father in 1976Thence by descent"Tug" is a fine example of a work inspired by Lowry’s love of the North Sea and was probably painted on one of his extended holiday stays at the Seaburn Hotel, Sunderland. Here from his hotel room (always the same room) with his easel set up by the window, Lowry could look straight out to the North Sea which obligingly offered up its wide empty skies, with ships and boats bobbing about on the near or far horizons, all feeding Lowry’s imagination and inspiring him to paint. The tug itself feels tiny on the vast grey sea, however Lowry has given it strength and determination as it battles its way across the composition from right to left leaving an impressive trail of black smoke in its wake as it powers against the tides. Lowry puts the little tug front and centre in the composition and it stands out against the distant more anonymous shipping in the background seemingly giving it the strength to perform all its seaborne tasks in spite of its lack of size.We are grateful to Jonathan Horwich for his assistance with this catalogue entry.Some light surface dirt. A small fine arc shaped area of craquelure to the right of the top edge, approximately 2.5cm in length. Slight rubbing to the outer edges of the board. An area of pitting? within the front of the black boat lower right approximately 1cm in size. Time staining to the mount. Some light surface dirt and debris trapped under the glass. The painting is glazed and has not been examined out of the frame.

A VICTORIAN SILVER-MOUNTED DOUBLE PHOTOGRAPH FRAME by William Comyns & Sons, London 1891, rectangular, pierced and chased with Classical figures amidst dense scrolling foliage and flowers, easel back. 19cm high, 26cm wideThe original back is a little tired but the easel is ok. In generally good condition commensurate with age.

An Edwardian white metal cased ' Goliath' pocket watch, crown wind, with 5.5cm Roman and subsidiary seconds dial. In a red Morocco hide and silver mounted travel case with easel support, Mappin and Webb, Birmingham 1901  

A near pair of Edwardian brass photograph frames, each with easel support and ring suspension loop. 18 x 13cm (the largest)

An Art Nouveau pewter photograph frame, with blue /green enamel stone and trailing fruiting vine decoration on oak easel support, 16 x 12cm (external)

A 19th century elm refectory bench, single piece top on pegged easel supports, 48 x 178 x 22cm

Large 20th Century artists easel with adjustable height setting, 174cm high

EDWARD VII SILVER EASEL MIRROR, of rectangular Art Nouveau design, Chester 1903Provenance: private collection Pembrokeshire

A portable foldaway ARTIST'S EASEL

Burr elm easel mirror, 46 x 41cm. Provenance: From the Estate of David Tron, Kings Road Antiques dealer

A vintage child's wooden blackboard set on a pine easel

An easel back desktop brass Negretti and Zambra barometer indicator. Diameter 12 cm.

A silver and enamel cased easel back desk timepiece, Birmingham 1912, together with three wristwatches.

John MILLER (1931 – 2002) ‘Autumn’ GouacheSigned and inscribed Framed and glazed in table easel frame Size (excluding frame) 11cms x 7.3cms Size (including frame) 18.4cms x 13.4cmsFrom the personal collection of Robin Hanbury-Tenison.

Pair of French brass easel frames, in the rococo style, approx 19 x 28 cms

A LATE 19TH /EARLY 20TH CENTURY FRENCH BRASS EASEL BACK MANTEL CLOCK WITH PIERCED DECORATION, the circular dial set with Arabic numerals, the movement stamped R & Co. Paris, H 24 cm, together with a similar smaller English example (2)

A LATE 19TH CENTURY SWISS AUTOMATON CLOCK, in the form of a painting on an easel, the image depicting an alpine village scene with a tower clock and Cupid below making his arrows, stamped to the reverse 'Didisheim Goldschmidt Fils & Co. Swiss Metal Dore, Fabr. Suisse' and 'Idylle au village, fab. Suisse', serial number 57571, H 11 cmCondition Report:Glass loose but present

A HALLMARKED SILVER EASEL BACK PHOTO FRAME - BIRMINGHAM 1932, H 16.5 cm

NATHAN & HAYES; an Edwardian hallmarked silver mounted easel backed dressing table mirror, Chester 1902, height 33cm (A/F).Condition Report: Numerous holes to the raised parts, dents throughout, damage around the edge of the frames where it meets the mirrored plate. Old woodworm to the easel back and the velvet backing has almost worn away

A pair of George V hallmarked silver photograph frames, easel back, 14cm x 17cm, Birmingham 1918, Sanders & Mackenzie.

An Edward VII hallmarked silver photograph frame with embossed scene of a boy sat on a gate playing a pipe with sheep in the distance and trees above, easel back, 21cm x 14.5cm, London 1904, maker unknown, restored.

An Edward VII hallmarked silver photograph frame with embossed roses and foliage with vacant cartouche to the top, easel back, 20cm x 15cm, Birmingham 1905, Henry Matthews, restored.

A George V hallmarked silver photograph frame, 12.5cm x 17.5cm, easel back, London 1913, Stokes & Ireland Ltd, restored.

A George V hallmarked silver photograph frame in the Art Nouveau style with sinuous linear decoration, easel back, 19.5cm x 15cm, Birmingham 1905, unknown maker.

A George V hallmarked silver photograph frame with engine turned decoration and a reeded border, easel back, 24cm x 18cm, London 1914, William Cummings, restored

An Edward VII hallmarked silver photograph frame in the Art Nouveau style with kingfisher and water lilies amidst sinuous foliage, easel back, 23cm x 17.5cm, Chester 1903, William Neale, restored.

An Edward VII hallmarked silver photograph frame in the Art Nouveau style with two stylised flower heads with sinuous foliage, easel back, 21.5cm x 18cm, Birmingham 1903, A & J Zimmerman, restored.

A Edward VII hallmarked silver photograph frame, the plain rectangular frame with applied scroll mount and feet, easel back, London 1904, Mappin and Webb, restored.

An unusual circular 18-carat yellow gold miniature photograph frame: pierced border with three love hearts and the legend 'Je pense à toi'; the reverse of the frame marked '18' below the lower heart; the back mounted with an 1824 gold sovereign; the easel-style stand very finely engraved on both sides. (Total weight including small convex glass approx. 15.41 g.) Provenance - by descent through the Benson family. The significance of the 1824 gold sovereign is that it was the year in which Eleanor Sarah Moorsom was born (8 May 1824 at Upnor Castle, Frindsbury). She was the daughter of the abolitionist Vice-Admiral Constantine Moorsom and granddaughter of Admiral Sir  Robert Moorsom. She married in 1847 the America and East India merchant Robert Benson (1814-1875) and died in 1883.

A hallmarked silver photograph frame: glass front and easel style back, Birmingham assay marks, early 20th century (29cm x 24cm)

A large 19th century porcelain framed easel-style dressing table mirror (now minus rear stand). Two-winged cherubic figures surmounting a Rococo-style cartouche with central quatrefoil vignette in enamels of two birds perched above water; the shaped frame elaborately decorated with various handmade flowerheads in high relief and flanked by two borders of turquoise glaze coloured balls; conforming Rococo-style vignettes: centre bottom decorated with floral spray and flanked by bunches of grapes; the lower section with downturned finials. (65.5 cm  excluding finials x 47.5 cm widest)(Damages, pieces away and extremities commensurate with age) 

EDWARDIAN SILVER MOUNTED PHOTOGRAPH FRAME CHESTER 1906 with Art Nouveau design in relief, oak easel back31cm x 32cm Some damage present to the bottom left corner. Some splitting also present to the silverware. Glass and wood back in good condition.

An antique painter's easel, sculptured wood. Dimensions:(W:100 x H:177 cm)

A COLLECTION OF DESK ACCESSORIEScomprising:- a bone handled letter opener, the handle carved in the form of a duck head- a bond handled magnifying glass- a brass stand in the form of a miniature easel

A modern silver framed easel back mirror in the Victorian manner with embossed floral decoration (by Carrs of Sheffield Ltd, Sheffield 1993), 37.5 cm x 24 cm

A pair of Victorian gilt metal picture frames decorated with floral scrolls and having easel backsLocation:

A silver framed shaped dressing table easel mirror with fluted design and heart-shaped bevelled plate

Early 20th century gilt metal easel stand of Art Nouveau form for paintings. Gilt metal rococo scroll work with an adjustable easel back. Pierced rococo scroll handle atop. Measures 54cm high