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The retired pair of polar bear babies are made from crystal moonlight color crystal with jet black eyes and noses. Original box measures 7.75"L x 7.75"W x 3.75"H. Artist: Anton HirzingerIssued: 2011Dimensions: 2.75"L x 1.75"W x 2"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.

This Swarovski crystal bear is made from clear, faceted crystal, with black eyes and nose, He was part of the Woodland Friends collection #012262. Swarovski etched backstamp. This item has its original box which measured 2.5"H x 3.25"dia. Artist: Max SchreckIssued: 1985-2006Dimensions: 1"L x 1"W x 1.75"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.

Boxed Steiff "1920's classic Teddy bear 25" Reasonable used condition

Boxed Steiff "1920's classic Teddy bear 25" Reasonable used condition, box tarnished

Boxed Steiff "Classic 1927 Teddy bear Petsy 28" Reasonable used condition, box tarnished

A Collection of porcelain figures including Beatrix Potter, Royal Doulton Disney Showcase The Bear Necessities figure. Beatrix Potter figures include Cousin Ribby, Timmy Willie Fetching Milk, The Kitten and the Butterfly, Tabitha Twitchit. No obvious damage. Postage category D

A Black Forest carved bear box. Approximately 13cm deep 13cm high and 11cm deep. Postage B

A boxed Baby Alfonzo Steiff bear.

A boxed Steiff grizzly teddy bear.

A boxed limited edition 110th anniversary steiff bear.

A boxed 100 years of Steiff teddy bears book and bear.

A small limited edition steiff panda bear.

A boxed Steiff club event 2007 bear.

2006 limited edition bear with bag and certificate.

Four boxed Steiff bears, including a 2008 bear, a 2011 bear, a millennium 654701 bear and a unmarked bear.

Four boxed Steiff bears, including British collectors teddy bear 2002 honey golden, 35cm, the sherwood bear bond, 32cm, the British collectors teddy bear 2001 brass, 45cm and an Irish teddy bear reddish brown, 35cm.

Four boxed Steiff bears, including a 2007 669521 bear, a 2005 661914 bear, the gardening bear blond 21cm and a 2012 663437 bear.

A collection of boxed Teddy bears including Steiff Queen Elizabeth The Second 80th Birthday Bear an unboxed Hermann Royal Diamond Wedding Anniversary bear and two merrythought bears. Postage category C

Four boxed Steiff bears, including British collectors 1997 teddy bear rose 38, British collectors 1999 teddy bear grey 36, British collectors 1998 teddy bear burgundy and replica 1997 teddy bear 1905 red brown 50.

Four boxed Steiff bears, including the rice hard Schulte centenary bear, a 100 years of Steiff bear, a 1908 teddy bear, and a

Four boxed steiff bears, including a British collectors teddy bear 2005 yellow 36cm, a tomato bear Holland 2000 red 36cm, British collectors teddy bear 2005 golden apricot 40cm.

Four boxed steiff bears, including grizzly Ted caramel tipped 40cm, a centenary they bear blonde 44cm, a teddy bear 1953 black 35cm and a British collectors teddy bear 2004 caramel 38cm.

Four boxed steiff bears, including a British collectors 1911 replica teddy bear, a Betsy Ross teddy bear, a black Jack teddy bear black 24cm.

Four boxed Steiff bears, including a British collectors 2006 old brown teddy bear caramel tipped 40cm, a British collectors champagne teddy bear 40cm, a British collectors 2005 teddy bear and a limited edition strawberry blonde teddy bear.

Five boxed Steiff bears, including a British collectors teddy bear blonde 43cm, a first American Steiff teddy bear North American exclusive, a British collectors teddy bear 2007 old black bear grey tipped 40cm, a British collectors replica teddy bear 1908 blond 40cm and a teddy bear 1912 replica 1992.

Four boxed Steiff bears, including a British collectors 1912 replica teddy bear, a British collectors 1906 replica teddy bear, teddy boy 1905 hellblond 50cm replica and a British collectors teddy bear burgundy 40cm.

A box of ten unboxed Steiff bears, including a koala Ted Steiff bear, a collared steiff bear a 2013 Steiff bear and more.

A collectable Merrythought teddy bear muff. Shipping category B.

WALPOLE (HORACE)Autograph draft letter unsigned, to John Stuart, third Earl of Bute ('My Lord'), beginning '...Having heard that his Majesty was curious about his pictures...', in which he asks Bute to present the King with some catalogues of the Royal collections on his behalf which '...May contribute to his Majesty's information or amusement...', and in typically depreciating tones, offering his services ('...The mere love of the arts and the joy of seeing on the throne a Prince of Taste, are my only inducements for offering my slender services... I know myself too well to think I can ever be of any use by as a virtuoso and antiquarian...'), with several amendments and additions, one page on a bifolium, dust-staining, creased at folds, 4to (230 x 185mm.), [n.p.], 19 December 1760; with autograph letter signed ('Bute') to Horace Walpole ('Sir'), '...I have presented the book sent me to his Majesty, and mentioned the very polite and respectful manner you expressed yourself in with regard to him... His Majesty's great fondness for the arts will I hope soon have a striking effect in this country...', assuring him that '...quick parts and superior talents...' such as his will '...become useful in any occupation they are applied to...', 2 pages on a bifolium, dust-staining and marks, creased at folds, 4to (235 x 184mm.), [n.p.], 17 December 1760; with a note in the third person presenting his compliments and thanking him for his '...very agreeable present... a thing much wanted, and that has never yet been executed... such a general work would be not only very agreeable, but instructive...', one page on a bifolium, dust-staining, creased at folds, 4to (238 x 188mm.), [n.p.], 'Saturday' [13 February 1762] (3)Footnotes:'THE JOY OF SEEING ON THE THRONE A PRINCE OF TASTE': WALPOLE WELCOMES THE NEW MONARCH AS A PATRON OF THE ARTS.During the reign of George II, John Stuart, third Earl of Bute (1744-1814) held the position of tutor and principal advisor to the Prince of Wales and became, in the words of the future King George III 'his dearest friend' (Karl Schweizer, ODNB). On the accession of George III on 25 October 1760, Bute was sworn into the Privy Council and was subsequently instrumental in choosing Charlotte of Mecklenburg-Strelitz as a suitable royal bride. He served as Prime Minster from 1762 to 1763 and, at this time, was thus a person of influence whom Walpole was eager to cultivate; the 'very agreeable present' referred to here no doubt being an advance copy of Anecdotes of Painting which was published two days after our letter on 15 February 1762. He had high hopes for the promotion of the arts under the new monarch; with the accession of the new King, Walpole wrote in his introduction to Anecdotes, 'The Throne itself is now the altar of the graces; and whoever sacrifices to them becomingly, it sure that his offerings will be smiled upon by a prince, who is at once the example and patron of accomplishments' (Works, iii, 8).According to Bute, this was a timely presentation. George III, who had acceded to the throne just two months before Walpole's letter, had recently given orders to the Duke of Devonshire to 'make out exact lists of all the pictures in the royal palaces'. The catalogues in question were those of the pictures of Charles I compiled by Abraham Van der Doort (1757), and that of the pictures of James II and the late Queen Caroline and the Palace of Kensington compiled by W. Chiffinch (1758). Bound with them was A Catalogue of the Curious Collection of Pictures of George Villiers, Duke of Buckingham of 1758, all three including introductions by Horace Walpole. The volume, finely bound with the royal monogram and with the bookplate of George III is held in the British Museum, (Yale online, footnote 1, p.189). All three letters are published in the Yale online edition of Horace Walpole's Correspondence (pp.189 & 210), but the whereabouts of the originals, until now, has remained unknown. They were first printed in The Works of Horatio Walpole, Earl of Orford, 1798, Vol.2, pp.376-378, edited by Mary Berry, the text taken from the originals in her possession, although, according to the editor of the Correspondence, Walpole's draft letter was printed from a photostat of the original in the possession of Lord Bute at Mount Stuart. The letters bear the consecutive numbers in ink, 5, 6 and 7 and pencilled page references to the Works, where they are included in the chapter 'Letters to and from Ministers'. They formed part of the Walpole correspondence retained by Mary Berry and bequeathed to Lady Lewis in 1852.Provenance: Horace Walpole (1717-1797); Mary Berry (1763-1852); Lady Maria Theresa Lewis (née Villiers) (1803-1865); her son Sir Thomas Villiers Lister (1832-1902); thence by descent.Lady Lewis' collection was initially formed through the amalgamation of two significant collections of letters: royal and political correspondence from that of her mother the Hon Theresa Villiers (1775-1856), and that of her close friend, the writer Mary Berry (1763–1852). Mary Berry's bequest included correspondence from Horace Walpole, most notably his correspondence with Thomas Chatterton and David Hume, hitherto thought lost, and three poems dedicated to her. To this inheritance Lady Lewis subsequently added her own correspondence and collection of autographs gathered through her wide circle of social, political and literary connections entertained at her home, Kent House, St James's. Not seen outside the family until now, the collection is a remarkable survival and tells the story of a family at the heart of English society. An intricate web of connections and alliances is revealed, bringing together the worlds of royalty and politics, the arts and literature. It is also a story of influential women both as collectors and as correspondents: Theresa Villiers as keeper of royal secrets, Mary Berry and her circle of intellectuals, and, importantly, Lady Lewis as collector and salonnière bringing them all together in one extraordinary collection.For further information on this lot please visit Bonhams.com

DARWIN (CHARLES)On the Origin of Species by Means of Natural Selection, or the Preservation of Favoured Races in the Struggle for Life, FIRST EDITION, with misprint 'speceies' on p.20, line 11, and with the whale-bear story in full on p.184, folding lithographed diagram by W. West, without half-title and publisher's catalogue at end [Freeman 373; Garrison-Morton 220; Norman 593; PMM 344], John Murray, 1859; Journal of Researches into the Geology and Natural History of the Various Countries visited by H. M. S. Beagle, 2 charts (folding), occasional foxing, some offsetting [Freeman 11], Henry Colburn, 1839; On the Various Contrivances by Which British and Foreign Orchids Are Fertilised by Insects, one folding plate and 33 woodcuts in the text, faint spotting to title [Freeman 800], John Murray, 1862; The Variation of Animals and Plants under Domestication, 2 vol., FIRST ISSUE, 43 illustrations, with errata, light foxing [Freeman 877], John Murray, 1868; The Descent of Man and Selection in Relation to Sex, 2 vol., wood-engraved illustrations, damp-staining to lower margin of title and first few leaves of volume 1, light foxing [Freeman 938], John Murray, 1871; The Expression of the Emotions in Man and Animals, 7 heliotype plates (3 folding), illustrations in the text, upper margin a little shaved, occasional light spotting [Freeman 1142], John Murray, 1872; The Effects of Cross and Self Fertilisation in the Vegetable Kingdom, light spotting to title, lacks errata slip [Freeman 1249], John Murray, 1876; The Different Forms of Flowers on Plants of the Same Species, illustrations and tables in the text, light spotting and toning mostly to title [Freeman 1277], John Murray, 1877; The Power of Movement in Plants, illustrations in the text, light toning [Freeman 1325], John Murray, 1880, FIRST EDITIONS, without half-titles and advertisements, uniformly bound in half calf over marbled boards, gilt lettering and tooling within raised bands to spine, 8vo (11)Footnotes:A FINELY BOUND SET OF DARWIN FIRST EDITIONS, INCLUDING THE ORIGIN OF SPECIES, 'THE MOST IMPORTANT SINGLE WORK IN SCIENCE' (Dibner, Heralds of Science).This set of first editions was previously owned by Stephen George Holland, founder of cloth merchants Holland and Sherry and heir to Holland and Sons, the renowned cabinet-makers of Victorian England. Holland not only owned an extensive art collection - including numerous artworks by Turner, Gainsborough, Landseer and Constable – but was also an avid bibliophile and his bookplate is found on many books on the market today including works by Dickens, Shelley and Carroll. Provenance: Stephen George Holland (1817-1908), cloth merchant and art collector, bookplate; Quentin Keynes (1921-2003); acquired from him by the family of the present owner.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

WALPOLE (HORACE)Autograph draft letter signed ('HorWalpole') to William Pitt, later Lord Chatham ('Sr'), a letter of approbation responding to his note (see below), congratulating him on '...the lustre you have thrown on this country...', thanking him '...for the security you have fixed to me of enjoying the happiness I do enjoy. You have placed England in a situation in which it never saw itself...', referring to his own work Royal and Noble Authors, and reassuring him he does not want anything from him ('...I am unambitious, I am disinterested – but I am vain. You have by your notice, uncanvassed, unexpected... flattered me in the most agreeable manner...'), addressed at head 'To Mr Pitt', several corrections and additions, 2 pages on a bifolium, dust-staining, ink blots and marks, creased at folds, 4to (229 x 186mm.), [n.p.], 19 November 1759; with accompanying autograph note in the third person from William Pitt to Horace Walpole, apologising for being out twice when he called and making arrangements to meet, integral address panel 'To/ the Honourable/ Mr Horatio Walpole/ W Pitt', one page on a bifolium, dust-staining, creased and with some small tears at folds, loss to lower right corner not affecting text, 4to (240 x 188mm.), St James's Square, 17 November 1759 (2)Footnotes:'I AM UNAMBITIOUS, I AM DISINTERESTED – BUT I AM VAIN': WALPOLE'S REVEALING LETTER TO WILLIAM PITT.Both letters are published in the Yale online edition of Horace Walpole's Correspondence (pp.170-171), but the whereabouts of the originals, until now, has remained unknown. They were first printed in The Works of Horatio Walpole, Earl of Orford, 1798, Vol.2, pp.374-376, edited by Mary Berry, the text taken from the originals in her possession. The letters bear the consecutive numbers in ink, 3 and 4, and pencilled page references to the Works where they were included in the chapter 'Letters to and from Ministers'. They formed part of the Walpole correspondence retained by Mary Berry and bequeathed to Lady Lewis in 1852.Provenance: Horace Walpole (1717-1797); Mary Berry (1763-1852); Lady Maria Theresa Lewis (née Villiers) (1803-1865); her son Sir Thomas Villiers Lister (1832-1902); thence by descent.Lady Lewis' collection was initially formed through the amalgamation of two significant collections of letters: royal and political correspondence from that of her mother the Hon. Theresa Villiers (1775-1856), and that of her close friend, the writer Mary Berry (1763–1852). Mary Berry's bequest included correspondence from Horace Walpole, most notably his correspondence with Thomas Chatterton and David Hume, hitherto thought lost, and three poems dedicated to her. To this inheritance Lady Lewis subsequently added her own correspondence and collection of autographs gathered through her wide circle of social, political and literary connections entertained at her home, Kent House, St James's. Not seen outside the family until now, the collection is a remarkable survival and tells the story of a family at the heart of English society. An intricate web of connections and alliances is revealed, bringing together the worlds of royalty and politics, the arts and literature. It is also a story of influential women both as collectors and as correspondents: Theresa Villiers as keeper of royal secrets, Mary Berry and her circle of intellectuals, and, importantly, Lady Lewis as collector and salonnière bringing them all together in one extraordinary collection.For further information on this lot please visit Bonhams.com

PADDINGTON BEAR CROWN AND OTHER COINS

BELGIAN REVOLUTION -- SLUIJS DE QUACK, Pieter v. (1801-1883). "Herinneringen uit mijn militaire leven als vrijwilliger bij de 5e Afdeeling Infanterie tijdens de Belgischen Opstand, 1830-1833, in Staats-Vlaanderen/in Noord-Brabant". (c. 1839, but w. ms. additions from later dates by the same hand). Ms. on laid paper consisting of 2 vols., paginated by hand: 339, (16); 261, (14) pp. and some blanks. Interspersed w. 6 drawings (partly in colour) by the author, 6 ms. plans (5 in colour), 1 fold. map of Flanders printed on silk, 11 lithogr. plates, 31 cold. costume plates, 1 portrait, and 6 o. plates. 4°. Cont. hcf. w. marbled paper brds., spines gilt dec. and lettered and raised in compartments, t.e.g. NOTE: Meticulously arranged and lovingly illustrated diary of the military campaign against the Belgians in the form of 32 letters written by the 'volunteer' Pieter van Sluijs de Quack who previously served as lieutenant in the army from 1822 to 1828. The diary - which is written in a legible hand - is certainly not only about military matters, but also contains many details about daily life, and historical events during the 3 years that S. de Q. served as a volunteer. Not much is known about S. de Q., but in 1837 Pieter de Quack acquired the addition “van Sluijs” to his surname. He served as a civil servant at the Ministry of the Interior and married in The Hague on 30 May 1838 with Elisabeth Geertruida Johanna Meerburg. From his letters we learn that he was a true patriot and that he could not bear the revolt of the Belgian people against his king. Added is a copy of a similar 'diary' edited by M.G. de Boer & J.C. Costerus 'Brieven en dagboek v.d. Utrechtschen vrijwilligen jager Pieter Jacobus Costerus, 1830 en 1831' published in 1917. Owrps. - From the library of F.C. Koch (see on his library: www.dbnl.org) who owned a large collection of military books and w. his bookplate.

THUCYDIDES. Von dem Peloponnenser krieg. In acht bücher gethailt darinnen von wunderlichen selttzamen hendlen un[d] kriegen, so die Griechen vnder jnen gehabt, begriffen. Nit minder notwendig dan[n] nutzlich zu lesen. Durch (…) Hieron. Boner (…) inn Teütsche Sprach verwendet. (Augsb., H. v. Steiner), June 16th 1533. (3 (of 4)), 169 lvs. W. large woodcut on ti.-p., 1 full-p. woodcut of two soldiers (on v° last leaf), and 47 (of 48) large woodcuts in text by/after Schäufelein (3 prints bear his monogram), Breu, Burgkmair, etc. Fol. Mod. antique style h. vellum w. speckled paper boards. (Lacking leaf 4 (woodcut) of the prelims, browned in places, some staining in places (e.g. lvs. G3-4 and X2-3), but altog. a sound copy). NOTE: Scarce first edition in German. With fine woodcuts (including repeats) of sea and cavalry battles, sieges, negotiation scenes, etc. - VD 16, T 1128; Adams II, 683; Goedeke II, 319.6.

AN IMPORTANT GILDED COPPER GEM-INSET FIGURE OF MAHASRI TARAC.12TH CENTURY BIHAR, EASTERN INDIAThe finely cast and gilded-copper figure wears a diaphanous floral-patterned lower garment, sumptuous jewellery including a necklace, broad bangles, armbands, a belt clasp and anklets all inset with semiprecious stones, a jewelled diadem, a topknot and large hoop earrings. Her hair is worn in a large bun at the right shoulder, with her hands in the teaching gesture (dharmacakra-mudra), the left holding the end of a scarf draped over her forearm and falling to the lotus seat by her left knee. She has two gem-set lotus stems at her side and is seated in the posture of royal ease (rājalīlāsana) on a lotus emerging from scrolling vine and gem-set lotus buds, all supported on a tiered platform with large pearl border. The pedestal is held by serpent kings (nāgarāja) at either side, and an attendant cradling Tara’s pendent right foot with her outstretched hands, with an elephant, lion, and a human figure among scrolling vine at the rear, and a tenon projecting from her back to affix a backplate, (now lost), into two slots cast in the back of the pedestal. The statue is cast in five parts, the figure of Tara together with the upper tier of the lotus pedestal, the lower tier of the lotus pedestal together with the plinth, the attendant figure supporting Tara’s foot, and the two nāgarāja, 1.3kg, 16.5 cm.Provenance: from the collection of Norman Blount (1875-1930). Norman Blount was a jute broker, as well as the joint secretary (with the artist Abanindranath Tagore) of the Indian Society of Oriental Art, which was founded in 1907 in Calcutta, with Lord Kitchener the Society’s President.十二世紀 鎏金度母坐像來源：諾曼·布朗特（1875-1930）收藏。諾曼布朗特曾是一個黃麻經銷商，與藝術家泰戈爾一起擔任了印度東方藝術協會的聯合秘書（1907年於加爾各答成立），而霍雷肖•赫伯特•基奇納元帥(1850-1916)為協會主席。Mahāśrī TārāThe immensely popular goddess of compassion (karuṇā) and transcendental wisdom (prajñā), Tārā is known to intercede in the lives of her faithful and protect them from all manner of harm.Since her first appearance in India around the 7th century, she has assumed many iconographic forms. In this c.12th century sculpture from eastern India, she appears as the exalted (Mahāśrī) Tārā. Both teacher (her right hand assumes the teaching gesture, dharmacakra mudrā) and divine mother, she turns her compassionate gaze downwards to meet that of her devotees. She extends forward her gently cradled right foot, as if preparing to rise from her regal seat (rājalīlāsana) and enter the world. The goddess is closely aligned with nature. Her lotus seat, supported by two serpent kings (nāgarāja), arises within a natural setting. Two verdant lotuses enclose her, their flowers turning inward towards Tārā as if to acknowledge her luminosity. Indeed, the c. 7th century Sanskrit text Mañjuśrīmūlakalpa includes poetic tributes of her in just such terms, “trees, studded with flowers on every branch, abounding with open flowers…their bending boughs…turned towards the goddess Tārā.”Beneath the throne, tendrils arise from the stem of her lotus seat and fill the space with gem-encrusted foliate roundels, enclosing animals (lion and elephant), and human alike. Her seat rises above a stepped platform, finished by a row of large pearl beads. The sculpture was once completed by a (now missing) backplate, secured on a tenon at the back and further secured into two slots below it. Richly gilded and crowned and bejewelled, her lavish adornments include a substantial necklace, upper armlets, bracelets, belt, and anklets, all skilfully inset with multi-coluored gems. Large hoop earrings and a silk skirt with incised hem and floral ornaments also reflect her elevated status and enhance her beauty.This elegant sculpture is remarkable for its refinement, its balanced composition and Tārā’s beautiful countenance, which may be compared with that of the celebrated and contemporaneous Avalokiteśvara from Kurkihār. Gilded sculptures from eastern India are rare. Other outstanding examples include the c.12th century Avalokiteśvara from Kurkihār (25.5 cm.); a c.12th century Tārā in the collection of the Potala, Lhasa (41.5 cm.); and a c.9th century seated bodhisattva in a private collection (20 cm.). The circular tendrils enclosing figures along the base is a motif seen in other eastern Indian medieval sculptures including two 10th-11th century bronze sculptures from Faridpur, Gaya district. The large pearls along the base are also found in a copper alloy sculpture of a c.12th century seated Maitreya in the Ford Collection. Similar seated posture and inset gems can be found in a c.11th-12th century copper alloy sculpture of Padmapāṇi in the Bertie Aschmann Foundation of Tibetan Art at the Rietberg Museum. Tārā’s hair, drawn into a bun just behind her right shoulder, can be seen in other eastern Indian medieval sculptures, including a Tārā in the Potala Collection in Lhasa.The eastern Indian medieval school of art flourished between the eighth and the end of the twelfth centuries. A significant number of eastern Indian medieval sculptures bear inscriptions that include regnal dates of the local Pāla and Sena kings, making it possible to construct a fairly accurate chronology for this regional school. Encompassing the modern Indian states of Bihar, West Bengal and the country of Bangladesh, eastern India was the Buddhist homeland, the region where Śākyamuni Buddha (c.480 – c.400 BCE) became enlightened, expounded his spiritual teachings, and died. Countless devotees from within India and across Asia travelled here to seek authentic Buddhist teachings for over a millennium, until the final Muslim invasions of north India around the turn of the 13th century. Pilgrims studied at the great monastic universities (mahāvihāra) of Nālandā, Odantapurī, and Vikramaśīla, and offered homage at the region’s many temples and shrines. Indeed, works of art were a crucial element in the Buddhist pilgrim’s education in eastern India. A consecrated image was thought to embody the timeless presence of powerful gods. Particular statues were sometimes the destination of pilgrimage. Famous icons were said to speak, walk, give their jewellery to the poor, and above all, to answer the prayers of their devotees. Tibetan pilgrim Dharmasvamin described the main image in the Mahābodhi temple at Bodhgayā as insatiable to behold, such that when “even people with little faith [saw the image, they] felt it impossible not to shed tears.”Jane CaseyAugust 2023Dr Jane Casey is an art historian specializing in Himalayan art. She curated exhibitions at the Metropolitan Museum of Art in New York and at Casa Asia in Barcelona. Her publications include books and articles on Himalayan painting and sculpture. She is a Research Fellow in Tibetan Art at the Palace Museum, Beijing.

AUSTRALIA. Victoria, 1837-1901. Gold sovereign, 1872/1 M. Melbourne. Shield; 2 over 1. In 1871 it was decided to open a second mint in Australia, this time in Melbourne, to service the increasing demand for gold coins. From now coins would bear the same design as the British sovereigns, identified by a mint mark in the lower section of the reverse of the coin. Dies of the new designs and bearing the date 1871 were prepared in London and left Southampton via boat on 30 September 1871. However, after transferring the package to the steamer Rangoon on 1 November, the boat hit a rock on the Southwest coast of Ceylon. Despite this terrible fate all passengers and a small number of packages were saved. The 1872/1 overdate is testament to the survival of at least one of the 1871 dies as local engraver Julius Hogarth was commissioned by the Melbourne mint to create the overdate die. An extremely rare variety with a captivating story and truly historical significance.Young head left, WW on truncation; date below, with 2 struck over 1; VICTORIA DEI GRATIA. / Crowned shield within wreath; mintmark M and national emblems below; BRITANNIARUM REGINA FID: DEF:. Edge milled.In secure plastic holder, graded NGC AU 58, certification number 6768994-007. NGC Census in this grade: 3.NGC Census in higher grade: 3Total NGC Census: 15Reference: S-3854; Marsh-59A; McD-120cDiameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 100 pounds, 2023. The Royal Mint. The fourth issue in the Myths & Legend series and the start of the second set within the series, the others being Merlin and Morgan le Fay. The coin continued to bear the image of The Queen in support of His Majesty the King's ambition for a sustainable transition. This ensured minimal environmental impact as the designs, tools and packaging for these products had already been produced.Fifth crowned portrait of Elizabeth II, inscription: ELIZABETH II. D. G. REG. F. D. 100 POUNDS', designed by Jody Clark / Image of King Arthur holding a sword with a castle in the background, legend around. 'KING ARTHUR .1 OZ. FINE GOLD·999·9·2023DL'. Designed by David Lawrence. Edge milled.In secure plastic holder, graded PCGS MS70 , certification number 46320481. PCGS population in this grade: 20, equal-finest graded.Diameter: 32.69 mm.Weight: 31.21 g. (AGW=1 oz.)Composition: 999.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 50 pence, 2019. Royal Mint. Proof. Due to the popularity of the coins issued in 2018 in conjunction with the 60th anniversary of the children's book A Bear Called Paddington by Michael Bond, the Royal Mint issued a further two coins in 2019 on this topic: Paddington Bear at St Paul's and Paddington Bear at the Tower.Fifth crowned head of HM Elizabeth II facing right; JC below; ELIZABETH II · D · G · REG · F · D · 50 PENCE · 2019 ·. Design by Jody Clark. / Paddington Bear holding maralade sandwich in front of the Tower of London. Design by David Knapton. Edge plain.In secure plastic holder, graded NGC PF 70 ULTRA CAMEO, certification number 5781264-008. NGC Census in this grade: 17, equal-finest graded.Total NGC Census: 19Diameter: 27.3 mm.Thickness: 1.78 mm.Weight: 15.5 g. (AGW=0.4570 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 50 pence, 2019. Royal Mint. Proof. Due to the popularity of the coins issued in 2018 in conjunction with the 60th anniversary of the children's book A Bear Called Paddington by Michael Bond, the Royal Mint issued a further two coins in 2019 on this topic: Paddington Bear at St Paul's and Paddington Bear at the Tower.Fifth crowned head of HM Elizabeth II facing right; JC below; ELIZABETH II · D · G · REG · F · D · 50 PENCE · 2019 ·. Design by Jody Clark. / Paddington Bear lifting his hat in front of St Paul's Cathedral. Design by David Knapton. Edge plain.In secure plastic holder, graded NGC PF 70 ULTRA CAMEO, certification number 5781264-009. NGC Census in this grade: 15, equal-finest graded.Total NGC Census: 16Diameter: 27.3 mm.Thickness: 1.78 mm.Weight: 15.5 g. (AGW=0.4570 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

A menu holder in the form of a bear seated; a bottle of decanter labels, white metal and ceramic; a pair of grape scissors and two sewing scissors.

A Black Forrest carved bell in the form of a dancing bear, a carved wooden ink well and a similar barrel

A Mamluk silver-inlaid bronze candlestick base Egypt or Syria, 14th Centuryof flaring truncated conical form with raised rib above the foot and below the upper edge, with everted rim, engraved and decorated with cartouches containing inscriptions on a ground of vegetal interlace, interspersed by roundels containing further inscriptions, all on a ground of geometric interlace 13.1 cm. tallFootnotes:Inscriptions: to the long cartouches around the body, al-maqarr al-'ali al-mawlawi al-maliki al-ma (?)/ al-'alimi al-'amili al-maliki al-nasiri, 'The High authority, the Lord, the Possessor ... the Learned, the Diligent, (an official of) al-Malik al-Nasir'; to the roundels, repeat of al-maqarr al-'ali al-mawlawi al-maliki al-maliki al-nasir[i], 'The High authority, the Lord, the Possessor, (an official of) al-Malik al-Nasir.'The terms al-malik al-nasir could refer to Muhammad ibn Qalaun whose copper coins bear a six-petalled rosette. He reigned three times between AH 693-4 (AD 1293-4), AH 698-708 (AD 1299-1309) and in AH 709 (AD 1310-11).Important Notice to BuyersSome countries, e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of works of particular origins. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) and Syrian origin. It is each buyer's responsibility to ensure that they do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

A unboxed Volkswagen & Porsche group to include manufacturers such as Tamiya, Matchbox, Siku, Tomte, Corgi and others. Also in this lot are fridge magnets a Glass & Soft Toy Bear. See pictures. Conditions generally appear Fair to Excellent. (QTY)

Minibrix 1960's Vintage British Teddy bear, golden mohair with amber and black plastic eyes, tilt growl with bit discolouring to paws and muzzle, artificial silk pads. (90cm by 50cm by 30cm) (See Photo) Conditions generally appear Good

A PAIR OF FINE AND RARE CHINESE IMPERIAL WHITE JADE BOWLS FOUR-CHARACTER JIAQING MARKS AND OF THE PERIOD 1796-1820 Each with an elegant U-shaped body gently flaring at the rim, raised on short spread feet, with the reign marks incised to the bases in clerical script, lishu, the stone of an even white tone and with a good polish, 12.4cm dia. (2) Provenance: formerly the Cottreau Collection, sold at Galerie Georges Petit, Paris, on 29th April 1910, lot 119; and then the Lawrence Collection of jades and hardstone carvings, purchased from Roger Keverne Ltd on 25th October 2009. A copy of the invoice is available. Published: R Keverne, Winter Exhibition 2009, pp.122-123, no.105. Both their perfect form and the quality of the stone from which they are carved make these bowls exceedingly rare. The few known comparable examples occasionally bear Qianlong reign marks, but they are more often unmarked. In Chinese Jade from the Neolithic to the Qing, Jessica Rawson illustrates a pair of similar unmarked bowls, p.400, no.29:13. Here, it is noted that "Undecorated jade vessels in porcelain shapes, as here, probably represented the highest quality of eating and drinking vessels. Both the sumptuary laws, which restricted the use of jade vessels, and passages in novels that mention the use of jade cups and bowls for eating and drinking, make it evident that jade was highly valued and used for these purposes." Cf. F Dunand, The Baur Collection Geneva, p.43, B38 for one of a pair of similar Qianlong mark and period bowls; see also J Rawson & J Ayers, Chinese Jade Throughout the Ages, no.436 and B Yang, A Romance with Jade: From the De An Tang Collection, p.178, no.115 for further Qianlong mark and period examples; for other comparable bowls without reign marks, see also J C Y Watt, Chinese Jades from Han to Ch'ing, p.178, no.152 and B Yang, A Romance with Jade: From the De An Tang Collection, p.176, no.113 and p.179, no.116.清嘉慶 御製白玉雕素身碗 一對《嘉慶年製》款來源：Cottreau舊藏，購於巴黎Galerie Georges Petit1910年4月29日·編號119，勞倫斯珍藏玉石，2009年10月25日購於Roger Keverne古董商（附發票複印件）。出版：R Keverne, Winter Exhibition 2009, 頁122-123, 編號105.

STEIFF AND SWAROVSKI; 'Poinsettia, the Swarovski Teddy Bear', limited edition 2007, boxed with certificate.

STEIFF AND SWAROVSKI; 'Crystal, the 2005 Teddy Bear', limited edition, boxed with certificate.

STEIFF; 'Steiff Club Annual Edition 2010 Teddy Bear', limited edition, boxed with certificate.

CHARLIE BEARS; a green plush stuffed bear, titled 'Huey', product number CB614847B, a smaller brown plush stuffed bear, titled 'Bruno', product number CB614859, and a plush stuffed bear titled 'Kitty', product code CB114789, contained in original Charlie Bears bag (3).

CHARLIE BEARS; a large pink plush stuffed bear, titled 'Dixie', product number CB151586A, and a smaller pink plush stuffed bear, titled 'Edith', product number CB151543, contained in an original Charlie Bears bag (2).

CHARLIE BEARS; a blue plush stuffed bear, with key around its neck, titled 'Muffin', product number CB191943B, and a pink plush stuffed bear, titled 'Bakewell', product number CB191943A, contained in original Charlie Bears bag (2).

CHARLIE BEARS; a blue stuffed bear, titled 'Nancy', product code CB614837B, together with a pink plush stuffed bear, titled 'Mandy', product code CB614837A (2).

CHARLIE BEARS; a large plush stuffed bear, titled 'Mary', product number CB621314, a smaller plush stuffed bear, titled 'Nutmeg', product number CB621329, and a plush stuffed bear, titled 'Acorn', product number CB124930, contained in original Charlie Bears bag (3).

CHARLIE BEARS; a small grey plush stuffed bear, titled 'Blair', product number CB194535, and a small plush stuffed bear, titled 'Button', product number CB194513, each contained in its original Charlie Bears bag (2).

CHARLIE BEARS; a plush stuffed bear, titled 'Imogen', product number CB094323 and a small plush stuffed bear, titled 'Joy', product number CB094081A, each contained its original Charlie Bears bag (2).

CHARLIE BEARS; a plush stuffed bear, titled 'Todd', product number CB194518, and a smaller plush stuffed bear, titled 'Libby', product number CB194535A, each contained in its original Charlie Bears bag (2).

CHARLIE BEARS; a small blue and pink plush stuffed bear, titled 'Lena', product number CB191976, and a grey plush stuffed bear, titled 'Macy', product number CB183932, contained in original Charlie Bears bag (2).

CHARLIE BEARS; a small blue plush stuffed bear, titled 'Teddy', product number CB181721A, with magnetic paws, together with an untitled Charlie Bears hand puppet with adjustable ears, contained in original Charlie Bears bag (2).

CHARLIE BEARS; a large plush stuffed bear, titled 'Asia', product code CB131364, contained in original Charlie Bears bag.

Four Royal Copenhagen and Bing and Grondahl vases, further ashtray and pin dish, pottery polar bear figure, Danish pig money bank etc