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Mixed lot including collection of thirteen vintage coloured plastic beads, 3.5cm long together with a easel back gilt metal photograph frame, enamel Festival of Britain badge, oriental style doll's house chest of drawers and other items 

Seven silver photograph frames including a Victorian embossed pierced foliate scrolling frame, Birmingham 1900, 23cm x 17cm and small Victorian heart shaped easel back frame, London 1895, 6.5cm high

VICTORIA SILVERWARE LTD; an Elizabeth II hallmarked silver mounted easel back photograph frame, surmounted with decoration of a cherub, Birmingham 2004, 14 x 9cm.

A Victorian Japan ware black lacquered circular snuff box, diameter 10.5cm, a further Indian style red lacquered lidded snuff box, diameter 8.5cm, a Japanese red lacquered rectangular gilt decorated trinket box, 18 x 15.5cm, an early 20th century malachite glass lidded pot, diameter 8.5cm, and two early 20th century gilt metal mounted easel back photograph frames (6).

S. BLANCKENSEE & SON LTD; a Edward VII hallmarked silver mounted easel back desk top calendar, Chester 1908, 11.5 x 8.5cm, a pair of George V hallmarked silver mounted dressing table brushes, Birmingham 1913, a late Victorian Mappin & Webb hallmarked silver mounted leather booklet, London 1896, 21 x 12cm, a further Birmingham hallmarked silver filled vase, height 8cm, a modern Birmingham hallmarked silver topped miniature ship's decanter, height 15.5cm, and a silver plated wine funnel top (6).

MAUCHLINE WARE; seven pieces comprising a painted easel, 'Village Green, Heacham', height 21cm, an inkwell on Mauchline base, 'Burns Monument', 'Burns Cottage', 9 x 12cm, a star shaped silk winder, 'Palace Hotel, Buxton', 'Hall Bank, Buxton', diameter 4.5cm, a three footed shallow dish, 'HGO & Co, St David's Cathedral', diameter 8.5cm, a cylindrical hat pin holder, 'Church of the Holy Trinity, Stratford-on-Avon', height 9.5cm, a ribbed beaker, 'Pier and Central Beach, Lytham', 7 x 6cm, and a Pearl Edition of 'The Poetical Works of Robert Burns', 'Ardrishaig', 8.5 x 6.5cm (7).

PIERRE CARDIN; a gold plated necklace, length approx 45cm, with matching bracelet, length approx 18cm, a simulated pearl necklace, a Carrs of Sheffield modern hallmarked silver easel back photograph frame, 12 x 9cm, boxed, and nine pairs of assorted gentleman's cufflinks.

Venetian style easel mirror, 30cm wide, 52cm high

Large adjustable easel

Late Victorian silver cream jug of half fluted form, with a reeded handle (Sheffield 1900) William Hutton & Sons Ltd., together with a contemporary silver photograph frame of oval form, with easel back (Sheffield 1995) Carrs of Sheffield Ltd. Cream jug all at approximately 4ozs. (2).

Hunting interest - an Elizabeth II silver photograph frame - Carrs of Sheffield, 2003, rectangular with a shaped top and beaded border, the top centred with the engraved crest of the Braes of Derwent Hunt, easel back, 35.8 x 26.5cm.

Robert 'Mouseman' Thompson (1876-1955): a mid-oak shield shaped prize plaque - with bevelled edge and fixed easel back, the front carved with his signature mouse in profile, with an attached plated metal dominos prize medal, 10.2 x 7.6cm. * Robert Thompson was born in 1876, the son of a local joiner and wheelwright in Kilburn, North Yorkshire. He trained as an engineer and completed his apprenticeship, but his passion was for traditional craftsmanship and he decided to follow in his father's footsteps, becoming an extremely skilled craftsman and furniture maker, working in English oak with tools such as the chisel and adze. He expanded his father's family business significantly and by the time he first registered the famous mouse as his signature in the 1930s, his work had become very popular across the country and he was already employing a large team of thirty craftsmen and apprentices. The firm remains a successful business that produces furniture and other smaller hand made wooden objects today, employing the same traditional skills and materials.

A George VI silver cigarette box - Roberts & Dore Ltd, Birmingham 1940, rectangular with clipped corners to the lid and engine turned decoration, presentation inscription to 'Commander H.P. Darcy Benson RN' to front, 13.6 x 8.5 x 4.5cm, gross weight 369.5g; together with two silver mounted photo frames, Birmingham 1917, one with an oak easel back (a/f), the other larger example missing the central part of the back. (3)

A small group of boxes and other collectables - including a tulipwood banded burr veneered jewellery box with bevelled glass lid, 13 x 13 x 4.4cm; a nested set of three burr wood drum-shaped boxes, 5.5cm high; a burr yew box with six-division interior, 13 x 9.5cm; two enamel boxes and a paperweight by Halcyon Days; a carved rosewood cigarette case; a pair of gilt metal oval miniature frames with easel backs, 8.2cm high; etc.

An Italian School miniature on ivory, second half 19th century - watercolour, depicting a girl with a pair of doves, a birdcage and a basket of eggs, 11.5 x 8.7cm, in an ebonised frame with easel back. Ivory registration: SF6XH3AJ

A group of vintage collectables - including a late-Victorian cranberry glass and silver scent bottle, 8.2cm high (lacks stopper, dent to lid); two carved wooden hens; a nickel plated goliath pocket watch, 65mm case, the Roman enamel dial signed 'Weir & Sons Dublin', fob wind (not running); a steel-bladed butter curler by John Watts of Sheffield / Haworth's; a printer's roller; a Smiths chrome pocket watch; a portable artist's frame with easel and hinged board stand; a folding leather double photo frame; etc.

A MAHOGANY AND BRASS FOLIO STAND possibly Bunyard of London (no stamps to mounts), the folding easel stand articulated with extendable supports, with brass mounts to a large folder with central clasp, (requiring restoration throughout), 91cm high x 81cm long x 41cm deep

A Queen Anne walnut Bachelor's chest of small proportions, circa 1700, crossbanded projecting top opening to an inset leather writing surface with easel action, two short over two long graduated drawers to the upper section, the lower section with a single long drawer, brass escutcheons, petal and ring handles, arcaded frieze, raised on baluster turned legs and bun feet, 76cm high, 56cm wide, 34cm deep. Provenance: Lot 112 Christie's, English Furniture, 21st April 1994

Waterford Marquis easel photograph frame and Waterford mantel clock, 18cm (2).

Liberty & Co English pewter small rectangular tray, '01641', 23.5 x 8cm, three pairs of sugar loaf cutters, a 1926 to 2000 brass calendar with easel back, 17cm diameter, an Orivit pewter napkin ring, a Siemens Lamps Cables Telephones perpetual calendar, another perpetual calendar and other items (1 box)

Three XIX Century Horn Beakers with Silver Rims, two pairs of spectacles cased, early XX Century photographs, oxidised copper easel, photograph frame.

Attributed to Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)"The Holy Trinity"Oil on canvas. Relined.96 x 70 cm. Without hesitation we can affirm that this painting is by Miguel Cabrera, being very similar, with slight variations in position of persons and color of clothing, to the oval painting of the Trinity in the Soumaya Museum, Carlos Slim Foundation, Mexico City; it also resembles the painting in the parish of Tlaxcala in San Luis de Potosí, Mexico, (today Museo del Virreinato), which is of rectangular format and by the same artist.  These are two similar examples among others. The Holy Trinity is difficult to explain theologically. But Cabrera knew how to express the complexity of the dogma very well in his art, as he demonstrates deep theological knowledge in his religious painting.In 1715, Pope Benedict XIV prohibited images of the Holy Trinity, because such portrayals denied the immaterial essence of the Holy Spirit. Miguel Cabrera got around this by using the same facial anatomy but making a distinction between the colors and the symbolic references on their chests.On the right is God the Father, in a white tunic, a symbol of revelation, with the sun on his chest, the manifest light of God, and a golden scepter as a symbol of power. Jesus Christ, on the left, is dressed in blue, a color that reveals his divine identity: his sacrifice as savior is recalled by the stigmata on his hands and feet, as well as the Mystical Lamb.  The red and pink of the vestments in the center, for the Holy Spirit, represent the Pentecost and the flame of living love.The three figures are on plinths decorated with cherubs and their radiance indicates their divine nature at the same time.The painter captured the Father, the Son, and the Holy Spirit with skill and mastery in this composition.  The luminosity of the colors, the movement within the painting and the sweetness of their faces are remarkable. Cabrera is considered to be the greatest exponent of 18th-century Viceroyalty painting in New Spain, with an output that the Dallas Museum of Art defines as ‘legendary: more than 309 works from his large studio have been documented’.Miguel Mateo Maldonado y Cabrera was born on 27 February 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will from 1768.He was the son of unknown parents and the godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training in the studio of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, in the State of Mexico, in the church of Santa Prisca in Taxco, Guerrero, and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but was also involved in the attempt to found an academy of arts in 1753, and in 1756 he established himself as an intellectual, not only as an artist, as he published an account of the image of the Virgin of Guadalupe in 1756 entitled ‘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 published by the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his output includes altarpiece designs, large-format paintings, as well as small ones on copper and nun's shields. Cabrera produced figures of remarkable beauty in his religious painting, a beauty understood through the ideological assumptions of the worship of the period. It is refined art with well-arranged chromatic richness, sustained by great compositional work and, no less important, subtle and expressive drawing.Of all the painters of that period, Cabrera was the one with the greatest personality; the conventional treatment of his figures undoubtedly formed the basis of his style of painting, as he placed in his paintings models that were not ideal, but who were people he knew and dealt with, such as when he incorporated portraits of donors or the so-called ‘prelates’ in some paintings.  He had the need to observe directly and copy from nature. He was appointed chamber painter to Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, an image made from "ayate" - a material made from local plants. Cabrera's version was sent to Pope Benedict XIV, from whom he received the highest recognition as a painter of Guadalupe. Outstanding portraits he painted include the one of Sor JuanaInés de la Cruz, kept in the National Museum of History, and the portrait of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán, Mexico.He was also a painter for the Society of Jesus, producing numerous artworks for their churches.In 1753 he was appointed president for life of the Academy of San Carlos.His work is kept in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are in the Vatican Museum. Another, painted in 1756 for the church of San Francisco Javier, is in the Museo Nacional del Virreinato.The Museum of Art in Dallas has a Saint Gertrude the Great by Miguel Cabrera and another painting of Saint Gertrude, also by Cabrera and dated 1768, is part of the collection of the José Luis Bello y Zetina Museum in Puebla, Mexico.Also of note is an important series of Caste paintings from 1763 in the collection of the Museo de América in Madrid. These depict families, father, mother and child of the various castes and social strata, in everyday situations.

A Hallmarked Silver Mounted Presentation Shield, "Sally Hulls Memorial Shield" (scroll banner hallmarked Birmingham 1965), "Dudley Road Hospital", with applied central circular plaque depicting nurse and child, within applied shields, two engraved "Lorraine Stanley 1966" and "Marilyn Hall 1967", on easel back (overall height 35cm).

Carrs; A Hallmarked Silver Mounted Photograph Frame, Sheffield 1997, of plain circular form, on plush easel back, approximately 16cm high; An Edwardian Hallmarked Silver Mounted Photograph Frame, Chester 1901, of shaped square form with decorative gadrooned design and beaded border, vacant cartouche to top, (damages), on blue plush ease back (worn), approximately 15cm high. (2)

A Hallmarked Silver Mounted Date Day Desk Calender, C&S, Chester 1923, of shaped design, with full set of inserts, on a wooden easel back, together with an assortment of platedware, including service bell, compact, boxed set of fish knives and forks, lidded turreen, etc :- One Tray

Carrs; A Hallmarked Silver Mounted Photograph Frame, Sheffield 1998, of plain circular form, on blue plush easel back, approximately 9cm high; A Smaller Carrs Hallmarked Silver Mounted Photograph Frame, of the same design, approximately 6.5cm high, a further hallmarked mounted silver circular photograph frame. (3)

Modern hardwood artists' easel. (B.P. 21% + VAT)

A Winsor & Newton's number 116 'Perfect' folding artists easel in original cardboard packaging

A 19th century mahogany easel with adjustable frame, 75cm wide

Three easels, to include a plein air fold-up easel with box compartment, double-sided A-frame easel, height: 140 cm, and one other collapsable easel (3)

A silver photograph frame opening 15cm x 11cm, easel (af)

A Tunbridge ware chamberstick, with scroll handle, raised on three turned feet, 7cm wide, together with a Tunbridge ware paper knife, 17cm long, and an Irish marquetry inlaid carving of a painting on easel, titled Glenda Leugh, 15cm high, 14cm wide. (3)

A collection of hallmarked silver photograph frames, all with lined easel backs. To include an example by Robert Carr, Sheffield and Kitney & Co (Gordon & Christopher Kitney), London. Also, a further small roundel photograph frame, hallmarked for Birmingham. Gross weight 465gFrames measure15.5 x 11.5cm & 16cm x 12cm (3)

Hand-painted Limoges France porcelain treasure box in the form of a miniature easel, featuring a finely detailed painting of a girl reading, inspired by 18th-century Rococo portraiture. Crafted by BS Limoges and marked “Peint Main” (hand-painted), this limited edition piece is numbered 0123 of 2500 and dated 2002. The hinged box opens to reveal a custom compartment that holds a separate porcelain paint tube labeled “Jaune” (yellow). Finely accented with gilded metalwork and clasp. Measures 3.25"H.Issued: 2002Dimensions: See DescriptionCondition: Age related wear.

Wooden artist easel and a craft stand

Wooden artist easel bench

An easel and two folio cases.

Assorted paintings, prints and an easel

A studio easel

A studio easel and a quantity of artists paints

RENÉ LALIQUE (1860-1945) VIERGE MARIE FRAMED MEDALLION, G designed circa 1937clear and frosted, foil-backed in presentation standstamped MADE IN FRANCE 9.5cm (3 ¾in) high, 10.8cm (4 ¼in) wide There is a note in the catalogue raisonné which states that this piece was a special issue and not for sale.  It came in either an easel frame as this one does, or a circular frame. p.517

A late 19th / early 20th Century novelty travel / boudoir clock by Edwards & Sons of 161 Regent Street, London, having a horseshoe-shaped tortoiseshell case with ring strut back, in a conforming red Morocco leather covered and blue fabric lined easel-backed case, timepiece 8 cm, (running when catalogued, accuracy and reliability not tested)

A Belle Epoque gilt metal easel-backed photograph frame, oval with ribbon-tied-bow surmount, enclosing a velvet mount with green enamelled offset circular bezel and conforming garland, 21 cm x 15.5 cm

An early 20th Century electroplate-mounted easel-backed ring display stand, 25 cm x 23 cm

Two wicker baskets, max. L79cm, metal basket with pinecones, a leather hat box, and a Windsor and Newton table easel, H109cm (5)Shipping POA https://www.bradleys.ltd/quotation-request-form

Contemporary, a polished aluminium artist's easel, of recent manufacture, with adjustable hand crank,67cm wide79cm deep209cm high without crank fully extended269cm high with crank fully extended

A silver circular easel photograph frame; a Victorian silver knife, a silver hafted cake slice; a silver napkin ring; a French corpus Christi (5)

An Art Deco Bakelite perpetual easel calendar, the dial centred with a canted fretwork panel depicting a gondola with basilica behind, sunburst border, apertures for day, date and month, 12.5cm x 12.5cm, c. 1930

An Edwardian style silver mounted photograph frame, Keyford Frames Ltd, London 1992, of shaped rectangular form with garland and bow decoration, easel back to reverse, 31cm high, with a further smaller example, Keyford Frames Ltd, London 1990, 27.5cm high (2) (at fault)

A late 20th century silver mounted photograph frame, Kitney & Co, London 1996, of rectangular form with reeded border, easel back, 30cm high, with a further similar silver mounted example (2) (at fault)

An oval silk work full length portrait of a young lady carrying flowers in a landscape, 23.5cm x 18cm, in oval glazed easel frame with ribboned surmount and convex glass; with an oval silk work bust length portrait of a lady, 7cm x 6cm, and small five silk work landscapes, all in glazed easel frames (7)

A Victorian walnut music stand, with twin lyre shaped easel rests, upon a tapering fluted column and three leaf carved cabriole supports culminating in scrolled feet, 117cm high (un extended), extends to 154cmCondition reportNo visible faults or damage, general light rubbing wear only, all joints firm.

A George V silver mounted pocket watch stand, possibly S Blanckensee & Son Ltd, Chester 1912, of plain polished form with easel to reverse, encompassing an associated silver 'H. Samuel' open faced pocket watch, 10cm high, with a further planished example containing an 8 day pocket watch, 11cm high (2) (at fault)Your attention is drawn to our important notice regarding the Trevanion sale of watches found in our Terms & Conditions, please read this prior to bidding.

An Art Nouveau silver easel back table mirror, by Henry Matthews, Birmingham 1907, with shaped bevelled plate, height 36cm. Condition note: some minor indentations, no holes, further image added.

A pair of Christofle silver plated easel back rectangular photograph frames, 19.5cm x 15.5cm, together with another Christofle silver plated easel back rectangular photograph frame, 22.3cm x 17.3cm, all impressed Christofle to side. (3)

An artist's combined easel & box, a painting box and contents.

A MAHOGANY FRAMED ARTIST'S EASEL 192cm high

A Chinese silver circular easel Photo Frame, the frame pierced with dragons and flaming pearl by Luen Wo, 12cm diameter. Please see PROVENANCE detailed in Lot 1.

A needlework screen, depicting a shield surrounded by fruiting trees and garden produce, fowl and fish, a castle, lake and ship in the background, the shield for St Leonards School, St Andrews, Fife, founded 1877, with an easel back, 80cm high, 67cm wide

20th Century beechwood folding artist's easel by Winsor & NewtonFolds down as shown in photo 2. 4ft x 2ft