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Lot 230
Kleiner Bär, Radierung auf Papier, 22 cm x 17 cm Plattenmaß, 25,5 cm x 19,5 cm Passepartoutinnenmaß, signiert, montiert, leicht nachgedunkelt und stockfleckigRenée Sintenis (1888 Glatz/Silesia - 1965 Berlin) (F)Small bear, etching on paper, 22 cm x 17 cm plate size, 25,5 cm x 19,5 cm mount inside, signed, mounted, slightly darkened and foxed
Lot 43
William Powell Frith, RA (British, 1819-1909)Portrait of a young girl; Portrait of a young boy said to be two of the artist's childrentwo, both bear inscriptions (on labels attached to the reverse)one oil on canvas, the other oil on canvas, painted oval, laid onto boardthe larger 36.5 x 30.5cm (14 3/8 x 12in)(2)Footnotes:ProvenanceAlice Hastings (neé Frith), the artist's daughter.By family descent to the present owner.We are grateful to Mark Bills for confirming the attribution to William Powell Frith on the basis of photographs.For further information on this lot please visit Bonhams.com
Lot 37
John Anster Fitzgerald (British, 1819-1906)The birth of a fairy signed with monogram (lower left)watercolour and bodycolour40 x 29.6cm (15 3/4 x 11 5/8in).Footnotes:ProvenancePrivate collection, UK.John Anster Fitzgerald, or 'Fairy Fitzgerald' as he became known, is one of the most celebrated exponents of Fairy Painting which captured the imagination of the Victorian public and continues to delight collectors today. Born in London in 1823, there were few signs in Fitzgerald's youth to indicate that he would go onto to become a prolific exhibitor at the Royal Academy and at the British Institution. Having had little or no formal training he first exhibited at the Royal Academy in 1845 at the age of twenty-two, and would continue to do so regularly until 1881, his final exhibit coming in 1902 after a long hiatus. Fitzgerald lived his whole life in a London where the public imagination was becoming increasingly gripped by ideas of the supernatural and the occult. The interest pervaded all parts of the arts, literature, opera, ballet and of course painting. The uniquely British tradition of fairy painting had begun in the late eighteenth century with artists such as William Blake and Henry Fuseli who imaginatively illustrated the work of Shakespeare, particularly his more fanciful plays, A Midsummer Night's Dream and The Tempest. This peculiarly Victorian contribution to the Romantic movement reached its height in the 1850s and 60s but while artists such as Sir Joseph Noel Paton continued to use literature as their source of inspiration, Fitzgerald did not limit himself in this way. Many of his works are the products of a fertile imagination in which he created his own fairy kingdom. Whether these scenes were induced by drug fuelled dreams is a matter of debate, opium was the recreational drug of the artistic and poetic and many great Victorian works of literature were produced under its influence. It is also likely that Fitzgerald was aware of and influenced by the works of Hieronymous Bosch whose prints were widely available in the mid nineteenth century and collected by artists. Fitzgerald was also a devotee of the stage, and from all these influences a colourful character is built up and the vibrancy of his art can come as no surprise. Indeed Harry Furniss, in his memoir My Bohemian Days (1919), writes of Fitzgerald: 'his life was one long Midsummer Night's Dream.'In the present lot the excitement and chaos so often seen in Fitzgerald's larger fairy paintings is centred around a new-born fairy emerging from a flower of pure white. She comes into the fairy domain shimmering and lighting the scene from the centre. The introduction of limelight into London's theatres in the mid-nineteenth century was well known to Fitzgerald, and we see its influence here. Gathered around to bear witness are all the denizens of the fairy world, rendered in Fitzgerald's exquisite and vibrant colours. The close relationship between the fairies and the natural world is clear as birds of all type perch and hover to catch a glimpse. In the foreground two larger birds carry sprites away to spread the news, one blowing a small wind instrument fashioned out of a pink petal. To the left of centre, a pair of large diaphanous wings are opened seemingly to shade our human eyes from the pure iridescent light of the new-born fairy, lest we be dazzled. All the characters are however apparently unaware of our intrusion, their focus is on the momentous event alone, and we are left with the impression of having been fortunate to have been a witness.For further information on this lot please visit Bonhams.com
Lot 70
18th century English facet stem wine glass, circa 1770, engraved T. Bycot, 14.5cm tall The Cycle Club which descended from the Vaughan family of Nannau in North Wales (see P.Lole, 'Limpid Reflections', Glass Circle News, no.118, March 2009, pp.7-8). With its members' close political support of the Stuart cause, the Cycle Club is strongly associated with Jacobite glass. It is known that wine glasses bear the name of a member of the Cycle, including that of the arch-Jacobite Sir Watkin Williams Wynn, recorded in the twenty-six meetings held by a separate host from 2 July 1770 until 8 July 1772 of which 26 people were present. Twelve of the names on the set of thirteen glasses are featured on a contemporary card rota with the owner of the glasses, Robert H. Vaughan acting as host on 24 June 1771. The thirteenth inscribed glass for Philip Egerton of Oulton (1694-1776), does not feature on the rota, but as by far the oldest member - he would have been 76 at the commencement of this Cycle - he was presumably excused from hosting a meeting.Four of the glasses are now in the National Museum of Wales, Cardiff. The set included glasses for Sir Watkin Williams Wynn (1748-89; President of the Cycle); Hon. R. Barry (1719-87); Hon. I.S. Barry (1725-84); T. Bycot (d.1798); P. Davies; R.P. Price (1736-82); B. Read; R.P. Thelwall (1720-75); W. Williams (d.1808); Dr. Wynn (?1745-96?); O. Wynne (1742-82); P. Egerton of Oulton (1694-1776). Hartshorne (1897) records that at Oulton there survived a set of ten Jacobite glasses of circa 1750, which were used at Cycle meetings together with a tabernacle portrait of Prince Charles by Giles Hussey. Unfortunately, Oulton Park was burned down in a disastrous fire in the 1920s, and the glasses may not have been saved. It has been suggested that some Clubs, and the Cycle in particular, had duplicate sets of glasses at different venues, and this discovery of a set of Cycle glasses at the Vaughans of Nannau seems to confirm this belief.Further evidence to support this proposition may perhaps be observed in the two group portraits painted by Sir Joshua Reynolds of The Society of Dilettanti, dating from 1778-79, now hanging in Brooks' Club in London. Sir Watkin Williams Wynn, Bart, can be seen on the extreme left-hand side of one of the paintings (illustrated) whom along with fellow members of the Dilettanti, including Sir William Hamilton, are clearly holding facet-stem wine glasses of the type used by the Cycle. Unfortunately, the Dilettanti glasses do not appear to be inscribed This glass presumably one from a set
Lot 69
18th century English facet stem wine glass, circa 1770, engraved P. Davies, 14.5cm tall The Cycle Club which descended from the Vaughan family of Nannau in North Wales (see P.Lole, 'Limpid Reflections', Glass Circle News, no.118, March 2009, pp.7-8). With its members' close political support of the Stuart cause, the Cycle Club is strongly associated with Jacobite glass. It is known that wine glasses bear the name of a member of the Cycle, including that of the arch-Jacobite Sir Watkin Williams Wynn, recorded in the twenty-six meetings held by a separate host from 2 July 1770 until 8 July 1772 of which 26 people were present. Twelve of the names on the set of thirteen glasses are featured on a contemporary card rota with the owner of the glasses, Robert H. Vaughan acting as host on 24 June 1771. The thirteenth inscribed glass for Philip Egerton of Oulton (1694-1776), does not feature on the rota, but as by far the oldest member - he would have been 76 at the commencement of this Cycle - he was presumably excused from hosting a meeting.Four of the glasses are now in the National Museum of Wales, Cardiff. The set included glasses for Sir Watkin Williams Wynn (1748-89; President of the Cycle); Hon. R. Barry (1719-87); Hon. I.S. Barry (1725-84); T. Bycot (d.1798); P. Davies; R.P. Price (1736-82); B. Read; R.P. Thelwall (1720-75); W. Williams (d.1808); Dr. Wynn (?1745-96?); O. Wynne (1742-82); P. Egerton of Oulton (1694-1776). Hartshorne (1897) records that at Oulton there survived a set of ten Jacobite glasses of circa 1750, which were used at Cycle meetings together with a tabernacle portrait of Prince Charles by Giles Hussey. Unfortunately, Oulton Park was burned down in a disastrous fire in the 1920s, and the glasses may not have been saved. It has been suggested that some Clubs, and the Cycle in particular, had duplicate sets of glasses at different venues, and this discovery of a set of Cycle glasses at the Vaughans of Nannau seems to confirm this belief.Further evidence to support this proposition may perhaps be observed in the two group portraits painted by Sir Joshua Reynolds of The Society of Dilettanti, dating from 1778-79, now hanging in Brooks' Club in London. Sir Watkin Williams Wynn, Bart, can be seen on the extreme left-hand side of one of the paintings (illustrated) whom along with fellow members of the Dilettanti, including Sir William Hamilton, are clearly holding facet-stem wine glasses of the type used by the Cycle. Unfortunately, the Dilettanti glasses do not appear to be inscribed This glass presumably one from a set
Lot 186
A collection of silver, gemstone and costume jewellery,comprising a clarified amber bead lariat necklace, beads 16.47mm to 30.00mm in size, 1160mm long, a labradorite bead lariat necklace, beads 7.51mm to 8.53mm in size, 900mm long, a cultured freshwater pearl necklace, rice shaped pearls 7.80mm to 9.99mm in size, 800mm long, a foliate carved jasper bead necklace, beads 17.00mm to 19.00mm in size, 1120mm long, a silver turquoise, coral and bear claw buckle, to base metal fittings, 59mm x 74mm, a silver double row curb link bracelet, 195mm long, both tested as silver, and with a small group of costume necklaces, buckles, brooches etc., silver 110.18g totalCondition ReportSilver buckle fittings are composed of base metal.Marks and scratches.Tarnish.As found.
Lot 95
Graham Thomas Oakley (British, 1929-2022), A donkey cart and figure, being chased by a bear and two leopards, watercolour, unsigned, 9 x 29 cm (unframed) Provenance: From the estate of the late Graham Thomas Oakley deceased Graham Oakley is best known for the Church Mice series of picture books (1970-2000), next to the Foxbury Force series (1994-1998)From Graham Oakley’s personal box file reading Henry’s Quest Please note this has not been referenced or checked against the books Please note these are sold without copyright
Lot 81
Graham Thomas Oakley (British, 1929-2022), A figure looking at a tomb, about to be attacked by a bear, watercolour, unsigned, 17 x 14 cm (unframed) Provenance: From the estate of the late Graham Thomas Oakley deceased Graham Oakley is best known for the Church Mice series of picture books (1970-2000), next to the Foxbury Force series (1994-1998)
Lot 646
Graham Thomas Oakley (British, 1929-2022), The Foxbury Force being startled by rats, watercolour, unsigned, 6 x 20 cm, (unframed), The Foxbury Force being startled by a stuffed bear, watercolour, unsigned, 6 x 20 cm, (unframed), The Foxbury Force being startled by furniture covered in sheets, watercolour, unsigned, 6 x 20 cm (unframed), The Foxbury Force being startled by a broom cupboard, watercolour, unsigned, 6 x 20 cm, (unframed), and The Foxbury Force heading towards a stairway, watercolour, unsigned, 6 x 20 cm (unframed), on the same sheet Provenance: From the estate of the late Graham Thomas Oakley deceased Graham Oakley is best known for the Church Mice series of picture books (1970-2000), next to the Foxbury Force series (1994-1998) From Graham Oakley’s personal box file reading: The Foxbury Force And The Ghost Please note this has not been referenced or checked against the books Please note these are sold without copyright
Lot 218
Collectables, including an Edward Heath glug jug, a wall plaque with Margaret Thatcher's face, two Bear Stone Manor collectables, one of Alex Hammond and one of David Cameron, and a golly with a Golly Gazette, Margaret Thatcher The End of an Era, along with a Lipton Tea advertising mat bearing Margaret Thatcher's face.
Lot 30
A clear crystal figure of a bear sitting on his bottom with their four paws facing forward with black crystal used for the eyes and nose. Swarovski backstamp. This item has its original box. Certificate of Authenticity included. Dimensions of the original box: 4"H x 3.25" dia. Artist: Max SchreckIssued: 1982-1995Dimensions: 1.25"L x 1.25"W x 2"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Lot 20
Nelly the Elephant - Sponsor: Newell Properties Developments Ltd Artist: Sue White Mankind has a habit of personalising animals, like dressing dogs up. Thankfully, bear baiting and dancing bears are banned nowadays. The design is a nod to the days of circus animals being made to perform and the abuse they underwent at the hands of mankind. For children it is a colourful, fun bright design of a clown elephant.
Lot 544
John Skeaping for Wedgwood, a pottery sculpture of a Polar Bear, circa 1930, moonstone glaze, incised signature and factory backstamps, 19.5cm high, 25.5cm long.Condition report:In very good condition, no chips, hairlines, or restoration. Not particularly crazed either and other than some surface dust/ dirt, the Moonstone colour appears fairly even.
Lot 53
▲ Mark CorethTeenage Running Bear Bronze 2011 Signed M Coreth 90cm high by 140cm wide by 30cm deep Lots 52-109 are from a private UK collection formed between 2010-2014Mark Coreth He has produced notable works throughout a distinguished career and his pieces can be seen worldwide. Examples can be seen at the Natural History Museum Shakespeares Globe Theatre and perhaps best known his model of Frankel at Ascot, Newmarket and York racecourses. Animal Sculpture
Lot 409
Black Forest carved bear hallstand, modelled with a bear cub in the top branches, bear to the base with oval stick stand, inset metal drip tray, width 38cm, depth 38cm, height 193cm.Condition report:Probably early 20th Century. Additional images have been uploaded to the lot page on our website for you to view.
Lot 55
Meissen porcelain model of a polar bear, blue crossed swords mark and incised numbers - possibly 1082, 22cm. Condition report:Good condition, no damage or restoration, length is 22cm, height to top of head is 10cm.Additional images have been uploaded to the kit page on our website for you to view.
Lot 1
A «Mwana Pwo» Mask, wood, fibers and metal, it has copper rings in both ears, with a religious medal on the left one, a mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies, Angolan - Tshokwe, minor defects, 20th C. (3rd quarter). Sculpted by Samuentacuta Utende, Lóvua post, Chitato municipality, Lunda-Norte province, in 1963. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Fig. 6 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work entitled "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of the Huambo Town Hall (former Nova Lisboa) - Angola, p. 13. Original work available at https://memoria-africa.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, accessed March 16, 2023 at 11:16. Item number 2, mentioned in the collector's notebook «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara Muana Puo (Jovem)»:"Tattoos: - on the forehead: «Txíngelengele» or «Samanana», a cruciform sign that must be or was a symbol of the Tshokwe people, who still bear it in all manifestations of art; - on the nose: «Cangongo» (small bush mouse, with thin fur, considered a delicacy) - this tattoo serves, in part, to differentiate the Tshokwe from the other peoples of Lunda; - on the chin, cheeks and corners of the eyes: «Mipila» which means traces [...]. Copper rings on the ears («Txijingu»), with a religious aluminum medal on the left one. [...] The masked man's suit is made of mesh and has fake breasts, usually made from gourds. Over the costume they wear a kind of skirt in fabrics of feminine taste and a thick dance belt (muia) applied over the hips, decorated with beads and bells, a belt that is exclusive to women, with the purpose of highlighting the lively movement. from the hips. The choreography of the masked man, who is a professional dancer, is characterized by mime, gestures and woman's steps, in which the voluptuous movement of the hips predominates. In addition to representing Woman, the feminine genius of dance, grace and beauty, it can also represent a spell (Wanga) «Kaponya Ka Pwó» [...] of terrible effects. When a «Mukixi Wa Pwó» dancer dies, the mask should normally disappear with him. Therefore, the heir by matrilineal descent, the nephew, the eldest son of the eldest sister residing in the village (here the avunculocal rule is observed), must take the mask and the garment, wrap them in cloth and leaves, take them to a secluded spot in the forest, usually close to a river bank, dig a deep hole and bury them carefully. When he deposits the mask at the bottom of the hole and starts to pour earth over it to cover it, he utters the following words: “Go and stay with my uncle, whose companion you are. He was a great dancer thanks to you and that's why you should accompany him. I'm going to make another mask to continue my uncle's work, which will certainly help me to be as good as he was»). [...] Mask sculpted by Samuentacuta Utende, relative of Soba Tchissessengue, Posto de Lóvua, municipality of Chitato, Lunda, in 1963. Purchased on the advice of its sculptor, an artist of great fame, who also worked for commissions for the Museum of Dundo, in June 1965, when I visited this Museum [...]." Cf. bibliography referred to by the collector: LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, p. 150; and LIMA, Mesquitela de - "Tatuagens da Lunda". S/L: Museu de Angola, 1956, (possibly) pp. 40 and 42-43, figs. 42 and 45. A «muia» is essentially an exterior belt - cf. SANTOS, Eduardo dos - "Sobre a «Medicina» e a Magia dos Quiocos". In "Estudos, Ensaios e Documentos nº 80". Lisboa: Junta de Investigações do Ultramar, 1960, p. 68. For the same type of mask vd. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 91 (as "Muana-Mpuo"); JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". New York: Museum for African Art, Snoeck-Ducaju, 2000, pp. 100-102, cat. 73-75; BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 100-103, figs. 40-45 (as "Masque Pwo"/"Pwo"); The catalog "Escultura Angolana - Memorial de Culturas". Lisboa: Museu Nacional de Etnologia - Sociedade Lisboa 94, 1994, pp. 143-144, nº 162-164; LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 151 and 153, nºs 11-15 (as "Mukixi wa Pwó"); FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 183, fig. 15; the auction catalogue held on February 1, 2023 at Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 42; and https://www.metmuseum.org/art/ collection/search/319264?ft=Pwo&offset=0& ;rpp=40&pos=1, consulted on March 14, 2023 at 15:37, Dim. - 22 cm
![MANUSCRITO.- PONTE DE LIMA.- [Traslado do foral manuelino de Terra de S. Martinho e Burral do Lima].- Século XVII (1624).- [2](https://cdn.globalauctionplatform.com/8a9b7158-1cd2-41c5-bdd2-b07d00446f0e/173df7ff-62cc-4e28-a761-b07d01073d9d/468x382.jpg)
Lot 318
MANUSCRITO.- PONTE DE LIMA.- [Traslado do foral manuelino de Terra de S. Martinho e Burral do Lima].- Século XVII (1624).- [26] f.; 28 cm., Authentic copy of the Manueline charter of Terra de S. Martinho and Burral de Lima (today Beiral do Lima), originally granted on May 1, 1515. The two settlements, located on the left bank of the river Lima, are today part, respectively, of the municipalities of Viana do Castelo and Ponte de Lima. On the front of the first folio, the first three lines bear the following title: «Treslado do foral da Villa de ponte de Lima e seu termo E primeiramente se segue a tauoada delle Tauoada da terra de são martinho e Regemguos dela». This title was added by the notary responsible for the copy and does not appear in the original manuscript of the charter, which is today in the Municipal Archive of Ponte de Lima. At the end of the transfer (fol. 27v), it includes a registration certificate with an autograph signature by the notary Francisco Rebelo de Sá and the signature of a second notary who verified the fidelity of the copy with the original. Paper section, sewn to the thread, with 34 sheets (eight blank); some moisture (tidal) stains and deep wormholes confined to outer margin. Transcription (of the charter) apparently in one hand, in linked cursive Gothic handwriting, fully legible. Certificate dated June 30, 1624., Dim. - 28 cm
Lot 1007
FRANK HYAMS LTD; a good large Edwardian hallmarked silver and malachite ink standish, the raised central section set with urn capped hinged lidded central compartment flanked by twin inkwells containing original glass liners with twin dished sections for pens and raised on winged paw feet, London 1905, length 40cm, approx. 81.7ozt/2541.8g.Purchased from Garrards in 1976 for £1200. Condition Report: Both the main frame and each of the three stepped raised compartments bear correct hallmarks. There are light surface scratches and toning throughout. The piece is free from any engraving or presentation inscriptions. The malachite is in good condition. Overall a fine example.
Lot 103
Steiff - A limited edition boxed Steiff mohair 'British Collector's 2003 Teddy Bear'- The #660955 yellow bear has white buttoned Steiff label on its left ear. Limited edition number 820 of 4000. Bear has metal joints, stitched nose, mouth and paws, and glass eyes. Comes with certificate of authenticity. Bear is 36 cm in height and appears in good condition. Bear is odorless. Box appears in good condition. (This does not constitute a guarantee) (M)
Lot 263
Steiff - An unboxed Steiff mohair 1906 replica bear - Bear is numbered #000256 and has yellow Steiff buttoned tag to its left ear. Bear has metal joints, stitched nose, mouth and paws, glass eyes and suede paws. Bear is 50 cm in height and has growler. Appears in good condition and is odorless. (This does not constitute a guarantee) (M)
Lot 27
Steiff - A limited edition boxed Steiff mohair 'British Collector's 1907 Replica Teddy Bear' - The #0174/61 bear has white buttoned Steiff label on its left ear. Limited edition number 1067 of 2000. Bear has metal joints, stitched nose, mouth and paws, and plastic eyes. Comes with certificate of authenticity. Bear is 60 cm in height and appears in good condition, but is loose in box. Bear is odorless. Bear has growler. Box appears in good condition, as well as cellophane window. (This does not constitute a guarantee) (M)
Lot 88
Steiff - A limited edition boxed mohair British Collector's 2005 Steiff Teddy Bear - The #661969 'Golden-Apricot' bear has white buttoned Steiff label on its left ear. Limited edition number 3215 of 4,000. Bear has metal joints, stitched nose, mouth and paws, and plastic eyes. Original box is presented within a postage box. Bear has growler. Comes with certificate of authenticity. Bear is 40 cm in height and appears in good condition. Bear is odorless. Box appears in good condition. (This does not constitute a guarantee) (M)
Lot 41
Steiff - A limited edition boxed mohair Steiff 'British Collector's Teddy Bear 2002' - The #660726 honey-golden bear has white buttoned Steiff label on its left ear. Limited edition number 859 of 4000. Bear has metal joints, stitched nose, mouth and paws, straw filled body, and plastic eyes. Bear has growler. Comes with certificate of authenticity. Bear is 35 cm in height and appears in good condition. Bear is odorless. Box appears in good condition. (This does not constitute a guarantee) (M)
Lot 39
Steiff - A limited edition boxed 2002 Steiff 'Centenary Teddy Bear' - The #670985 blonde bear has white buttoned Steiff label on its left ear. Limited edition number 2546. Bear has metal joints, stitched nose, mouth and paws, and glass eyes. Original box is presented within a postage box. Comes with certificate of authenticity. Bear has growler. Bear is 44 cm in height and appears in good condition. Bear is odorless. Box appears in good condition. (This does not constitute a guarantee) (M)
Lot 86
Steiff - A limited edition boxed Steiff 'Pierrot' teddy bear - The #037511 black and white bear has white buttoned Steiff label on its left ear. Limited edition number 133 of 2,006. Bear has metal joints, stitched nose, mouth and paws, and plastic eyes. Original box is presented within a postage box. Comes with certificate of authenticity. Bear is odorless. Bear is 26 cm in height and appears in good condition. Box appears in good condition. (This does not constitute a guarantee) (M)
Lot 94
Steiff - A limited edition boxed dark brown Steiff teddy bear - The #662423 'Moon Ted' bear has white buttoned Steiff label on its left ear. Limited edition number 240 of 2000. Bear has metal joints, stitched nose, mouth and paws, and plastic eyes. Original box is presented within a postage box. Bear has growler. Comes with certificate of authenticity. Bear is odorless. Bear is 40 cm in height and appears in good condition. Box appears in good condition. (This does not constitute a guarantee) (M)
Lot 104
Steiff - A limited edition boxed mohair 'British Collector's 1995' Steiff bear - The #654404 brown tipped bear has white buttoned Steiff label on its left ear. Limited edition number 2687 of 3000. Bear has metal joints, stitched nose, mouth and paws, and plastic eyes. Comes with certificate of authenticity. Bear is 35 cm in height and appears in good condition. Bear is odorless. Lift off lid box appears in good condition. (This does not constitute a guarantee) (M)
Lot 87
Steiff - A limited edition boxed Steiff Baby Bear set 1994-1998 - The #654497 set includes 5 x Steiff bears, all in which have white Steiff buttoned labels on their left ears. Set is limited edition number 183 of 1,847. Bears have metal joints, stitched nose, mouth and paws, and plastic eyes. Original wooden box is presented within a postage box. Comes with certificate of authenticity. Bear is odorless. Bears are 16 cm in height and appears in good condition. Wooden box appears in good condition. (This does not constitute a guarantee) (M)
Lot 95
Steiff - A limited edition boxed mohair 2007 British Collector's Steiff teddy bear - The #662508 'Old Black Bear' has white buttoned Steiff label on its left ear. Limited edition number 1015 of 3000. Bear has metal joints, stitched nose, mouth and paws, and plastic eyes. Original box is presented within a postage box. Bear has growler. Comes with certificate of authenticity. Bear is 40 cm in height and appears in good condition. Box appears in good condition. (This does not constitute a guarantee) (M)
Lot 264
Steiff - An unboxed limited edition Steiff mohair 1910 replica Phantom bear - Bear has white buttoned Steiff label to its left ear and is numbered #406614. Bear has plastic eyes, suede paws, stitched nose and mouth. Bear is limited edition number 1042 of 4,000. Bear has puppet strings attached to its back and has 1910 replica tag to its chest Bear is 56 cm in height. Strings appear in poor condition. Appears in good condition and is odorless. (This does not constitute a guarantee) (M)
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93468 item(s)/page