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Attributed to Miguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768)‘Our Lady of Sorrows'Oil on copper. 57 x 42.5 cm.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.

Miguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768)‘Virgin of Guadalupe with apparitions’.Oil on copper. Signed "Michl Cabrera pinxit"42,5 x 42 cm. Important representation of the Virgin of Guadalupe, which includes the apparitions and the Indian Juan Diego.It has handwritten legend in Latin: "Non fecit taliter omni nationi" (He did nothing the same with any other nation) in reference to the words pronounced by Benedict XIV when he was presented with the image of the Virgin of Guadalupe and admiring its beauty, he approved the works of the Guadalupe patronage in Mexico.Cabrera is considered the greatest exponent of 18th century Viceroyalty painting, with a production that the Dallas Museum of Art defines as "legendary: more than 309 works from his great studio have been documented".Miguel Mateo Maldonado y Cabrera was born on February 27, 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will in 1768.He was the son of unknown parents and godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training, passing through the workshop of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, 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 he also participated in the attempt to found an academy of Arts in 1753 and in 1756 he was consecrated as an intellectual, not only as an artist, since he published a narration about 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", a narration about the image of the Virgin Guadalupe in the printing press of the Jesuit college of San Ildefonso.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.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, because 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 the so-called "prelates" because he had the need to observe directly and copy from nature. He was appointed chamber painter of Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, reproducing the ayate. The image was sent to Pope Benedict XIV, from whom he obtained the highest recognition as a painter of Guadalupe. Among the portraits he painted, the one of Sor Juana Inés de la Cruz, kept in the National Museum of History, and the one 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, for whose churches he produced numerous works.In 1753 he was named president for life of the Academy of San Carlos.His work is preserved in many churches and convents in Mexico.It is also present in numerous public and private collections.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 preserved in the National Museum of the Viceroyalty.The Museum of Art of Dallas, conserves a Santa Gertrudis La Magna by Miguel Cabrera and another representation of the Saint, also by Cabrera and dated in 1768, is part of the collection of the Museum José Luis Bello y Zetina of Puebla, Mexico.Likewise, we highlight an important series of the Caste paintings of 1763 that is conserved in the collection of the Museum of America in Madrid. They depict families, father, mother and child of the various castes and social strata, in everyday life situations. Finally, mention should also be made of the Pinacoteca de La Profesa or the Andrés Blaisten Collection in Mexico, as depositories of Cabrera's work.The Museum of America in Madrid is currently exhibiting a very important retrospective of the painter. Procedencia:- Antigua colección Pedro Vindel.Pedro Vindel fue un librero anticuario conquense, como informa la Real Academia de la Historia, “el que llegó a ser el primer librero anticuario español de su época”, con una de las colecciones más importantes de libros de horas. Tal como sigue la RAH, “Pedro Vindel, al estilo de los grandes libreros europeos, publicó sus catálogos desde 1895, y organizó varias subastas de libros, en locales por él alquilados, como la de 1913, cuyo catálogo hizo imprimir. También fue quien inició en España lo que él denominó la “bibliografía gráfica”, al incluir en sus catálogos […] reproducciones fotolitográficas de las portadas u otros elementos de los libros”.Para más información, recomendamos la lectura de “Pedro Vindel: Historia de una librería (1865-1921)”, de Pavl Cid Noé. Reference Bibliography:- Andres Blaisten Museum. (n.d.). https://museoblaisten.com/Artista/79/Miguel-Cabrera- Sánchez Mariana, Manuel. (s.f.). "Pedro Vindel Álvarez". https://dbe.rah.es/biografias/67005/pedro-vindel-alvarez

A box containing a collection of Chinese carved hard and soapstone chop seals with figural terminals together with another silken covered box containing chop seals, and a Japanese style white metal easel mirror.

A French wood easel, 20th century, with a pierced and carved surmount, 56cm wide 202cm highCondition ReportWith damage and loss to the surmount. Used. Loose piece in bag.

An Arts & Crafts copper framed easel back table mirror, the arched top with Ruskin cabochon, the mirror plate with bevelled edges28 x 18cmThe whole fits together somewhat loosely, copper frame has folded metal tabs top and sides to hold the mirror in place. Back is made from iron. Wire easel support is copper and supported with an additional piece of wire.Hammered copper frame is fixed with hand made pins, and the horizontal sections top and bottom have a micro scalloped edge.  Dent on left hand side approx 2cm diameter, lower section slightly out of alignment. Some small areas of oxidisation and surface dirt.

Box of walking sticks, carpet beater, artist's easel etc

A Victorian walnut easel folio stand with hinged top and glazed fall with brass rod supports, the stretcher with shaped and pierced corner brackets, casters, 92cm wide x 114cm high Prov. Formerly from an Oxford College

A late 19th century ebonised easel by Howard & Sons, in the Aesthetic movement style with fluted and etched decoration, with four adjustable support pegs, stamped 'Howard & Sons, Berners St, 12805, 5056', 182cm highThere is a scuff to the back of the back strut, and further minor knocks and scratches throughout.

A CONTINENTAL HARD PASTE PORCELAIN PORTRAIT PLAQUE19th century, painted with shoulder length portrait of a young lady wearing star hair band, oval 6.5cm x 5cm, contained in Florentine gilt wood easel backed frame, 16cm high overall

Georges Croegaert (1848-1923)A Sleeping Cardinalat an easel, with a cat at his feetsigned Georges Croegaert PARIS lower rightoil on panel44cm x 36cm Framed. Generally good condition. Picture surface is stable, with craquelure throughout. Sold with a second frame.

Edwardian chinoiserie decorated easel mirror, oval black lacquered and raised gilt work frame depicting figures within natural landscapes and wildlife, bevelled mirror plate, brass hinge on fabric lined back and shaped support Dimensions: Height: 83cm  Length/Width: 55cm Condition Report:In good condition overall. Slight shrinkage in the frame opening joints. See images.

Early 20th century inlaid hardwood Damascus easel mirror, shaped and pierced pediment, inlaid with mother of pearl and carved with trailing foliage, on cabriole feet Dimensions: Length/Width: 69cm  Depth/Diameter: 148cm

Three Norman Underhill (Newlyn, Cornwall) pottery figures, each with painted signature to base: an artist seated at his easel painting a coastal landscape, 18.3 cm high; a lady and gentleman in conversation seated on a wall, 15.8 cm high;  a gentleman seated on a log, 15 cm high.

An Indian silver photo frame - early 20th century, stamped 'Silver' verso, in the form of an ornate doorway with pierced peacock and foliate cresting, spiral fluted columns to the sides and twin elephant supports, on foliate feet, with easel back (lacks glass), 27.75 cm high.

A WMF Art Nouveau silver-plated easel dressing-table mirror - cast no. '11508' to reverse, the plate within an arched moulded frame with fluted pilaster supports, decorated with a flower maiden, a crossed quivers and floral and foliate swags, on foliate feet, 38 cm high, the maiden's arm missing, re-plated.

A GILTWOOD AND COMPOSITION DRESSING TABLE MIRROR LATE 19TH CENTURY AND LATER Previously a wall mirror and now fitted with an easel support to the rear 80cm high, 57cm wide Condition Report: As catalogued this has been adapted from a wall mirror and later fitted for use as an easel mirror atop a dressing table or similar, the plate is later as are the easel back and associated backboards - if wished it could be re-hung with new hooks (none are now present) and the easel removed Some marks, knocks, scratches, abrasions, chips, losses, splits and cracks, joints openingGilt refreshed in part, with rubbing and wear through to bole in some places Condition Report Disclaimer

A pair of Victorian cast iron easel photo frames, 36cm overall.

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

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

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 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 

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 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.

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

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 

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

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

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.

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