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Lot 10
ANCIENT ROME. Philip II, 244-247. Bronze sestertius, 244-247 AD. Rome. M IVL PHILIPVS CAES, bear headed, draped bust facing right. / PRINCIPI IVVENT S-C, Philip II in military attire, holding spear and globe.Very fine. Estimate: £150Reference: RIC 255a.Diameter: 28.9 mm.Weight: 16.91 g.Composition: Bronze.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
Lot 99
Black Forest carved wood model of a bear inkwell, the hinged head disclosing a ceramic liner, H.11.5cm; another carved wood bear standing with a staff, on a circular base, (a/f), H.15cm overall; mother of pearl pen, (a/f), horn flask, H.10cm; silver plated bread fork with horn handle, Rigi-Kulm hoof handled paper knife, L.28cm, and a hoof handled dagger. (a lot)
Lot 4
1976 Ford Thunderbird Coupe, Registration PHH 589P. This outrageous classic American grand tourer has cream and gold coachwork with cream buttoned leather seats and 'teddy bear' fur carpets. The luxury speciation includes automatic transmission, power steering, air conditioning and electric windows. Sold with V5 document. We are selling this car on behalf of the executors of the late Mr Paul Westcott, an American classic car enthusiast who enjoyed regularly driving his collection. (Subject to 12% buyers premium inclusive of VAT).
Lot 3065
Charlie Bears - limited edition Minimo Collection 'Cappuccino' No.184/1000 and 'Espresso' No.21/1000; each with labels and complete with purpose made ceramic cups and saucers; Bearhouse emu; and Alpaca Collection teddy bear No.5800S (4)Condition Report:All in very good condition with no adverse odours.
Lot 3078
Two modern Steiff limited edition teddy bears - Prince William's 21st Birthday Bear with growler mechanism No.58/1500 H35cm; and Cherished Teddies Collection Daisy No.4269/5000 H33cm; both boxed with certificates (2)Condition Report:Both teddies and Prince William box in very good condition.Daisy box with some storage crush damage and slight staining.
Lot 3094
Large post-war Chad Valley plush covered teddy bear with revolving head, applied eyes, vertically stitched nose and mouth, jointed limbs and growler mechanism; stitched label to right foot and Hygenic Toys label to right side H73cmCondition Report:Generally in reasonably good condition consistent with age and use.Lacking half of mouth stitching.Minor wear and small tears to pads.
Lot 3095
Lakeland Bears teddy bear, titled 'Walkright', dressed as a hiker in green corduroy duffle coat over fair isle jumper, trousers and knit socks, complete with leather clogs with wood soles, walkers thumb stick, knitted scarf, flat cap and rucksack housing original tag and map, H50cmCondition Report:Good condition consistent with age and use.
Lot 3097
Chad Valley Sooty bear with applied eyes, stitched nose and mouth and jointed limbs; label under left footpad H24cm; and Wendy Boston Basil Brush soft toy (2)Condition Report:Sooty - lacking left eye. Some loss to plush covering including ears. Tear to left wrist. Label faded and grubby but readable.Basil Brush - reasonably good clean condition.
Lot 3258
Scooter 2000 plastic battery operated remote control waiter robot with tray and remote control unit; together with a large 'Me To You' floor standing teddy bear (2)Condition Report:Robot looks to be a little playworn but in reasonably good condition - plastic possibly discoloured with age. Tray cracked.Teddy well loved and a little grubby.
Lot 3357
Three battery operated figures of E.T.; battery operated figure of Star Wars Yoda; Tonto action figure; Sunny Jim soft toy; another action figure, possibly 006; all unboxed; and six carded TY Bear figures (13)Condition Report:All look to be in reasonably good condition consistent with age.Battery operated items not tested for working condition.
Lot 440
A quantity of vintage unopened packs of tights to include coloured pairs such as Heather, Indigo, by Pretty Polly and Charnos, together with a selection of boxed Bear Brand Beanstalk and Norman Hartnell tights in various shades such as; Melodie, Toffee Apple, Flamenco and one pair of American Tan.
Lot 205
§ Prunella Clough (British 1919-1999) Figure with Fish inscribed in red pen Prunella Clough on label (to reverse), glazed earthenware plateDimensions:25cm diameter (9 3/4in diameter)Provenance:ProvenanceGift from the Artist to David Carr and thence by descent;Christie's, London, 5 September 2002, lot 594;Private Collection, UK.Note: Prunella Clough’s emergence within the post-war British art world followed training at Chelsea School of Art and Camberwell School of Art, either side of a role in the Office of War Information (USA) during World War Two. As the following group of works demonstrates, ‘once she had hit form, Prunella Clough went her own tough sweet way, and there is an underlying consistency, a continuous coherence of vision, from…her first decade through to the most fanciful and mysterious of her beautiful late paintings.’ (1)As Ben Tufnell has explained, Clough followed her own distinctive artistic path, paying no heed to fashion and making work infused with an unconventional sense of beauty. (2) She described her starting point as ‘anything that the eye or the mind’s eye sees with intensity and excitement will do…it is the nature and structure of an object – that, and seeing it as if it were strange and unfamiliar, which is my chief concern.’ (3)Three years before her death, Clough looked back over her long, dedicated career and declared: ‘My paintings are really quite traditionally made objects, in practice. If I take a thing from the real world, detach it and put it into a painting, something takes over that goes further than anything that I can logically describe or assess. I’m trying to reach beyond the mere manufacture of a painting, the getting-it-all-together, and this entails time. Paintings are made slowly because I work slowly on many things at once. Time is part of the factor of change…Nothing that I do is ‘abstract’. I can locate all the ingredients of a painting in the richness of the outside world, the world of perception.’ (4)Clough led by example, as a successful artist who maintained her own practice alongside that of a teaching career that spanned over forty years, firstly at Chelsea School of Art and latterly at Wimbledon School of Art. She thus had a direct and indirect influence on several younger generations of artists.Discreet in her private life and at times reticent to exhibit her work, Clough won the Jerwood prize for painting in 1999, at the age of seventy-nine. Her work of that decade – her final - ‘has the feel of a triumphant maturity, a celebration of the joy of sight, of ways of seeing, in which a half-century of experience is brought to bear again and again on a simple question: what to paint and how to paint it.’ (5) Tufnell has characterised her work as containing ‘visual curiosity and delight’ and an ‘exhilarating new perception of our surroundings’, whilst the significance of her contribution to art history is yet to be fully understood. (6)1/ Mel Gooding, ‘Prunella Clough: The Poetry of Painting’, Prunella Clough: 50 Years of Making Art, Annely Jude Fine Art, London, 2009, unpaginated.2/ See Ben Tufnell, ‘Displacements: The Art of Prunella Clough’, Prunella Clough, Tate Publishing, London, 2007, p.9.3/ Prunella Clough as quoted by Mel Gooding, op.cit.4/ From an interview with interview Bryan Robertson, ‘Happiness is the Light’, Modern Painters, Summer 1996.5 / Ben Tufnell, op.cit., p. 18.6 / Ben Tufnell, ibid., p. 19.
Lot 207
§ Prunella Clough (British 1919-1999) Untitled, 1950s incsribed (to verso), oil on boardDimensions:20.5cm x 15cm (8in x 6in)Provenance:ProvenanceAnnely Juda Fine Art, London.Note: Prunella Clough’s emergence within the post-war British art world followed training at Chelsea School of Art and Camberwell School of Art, either side of a role in the Office of War Information (USA) during World War Two. As the following group of works demonstrates, ‘once she had hit form, Prunella Clough went her own tough sweet way, and there is an underlying consistency, a continuous coherence of vision, from…her first decade through to the most fanciful and mysterious of her beautiful late paintings.’ (1)As Ben Tufnell has explained, Clough followed her own distinctive artistic path, paying no heed to fashion and making work infused with an unconventional sense of beauty. (2) She described her starting point as ‘anything that the eye or the mind’s eye sees with intensity and excitement will do…it is the nature and structure of an object – that, and seeing it as if it were strange and unfamiliar, which is my chief concern.’ (3)Three years before her death, Clough looked back over her long, dedicated career and declared: ‘My paintings are really quite traditionally made objects, in practice. If I take a thing from the real world, detach it and put it into a painting, something takes over that goes further than anything that I can logically describe or assess. I’m trying to reach beyond the mere manufacture of a painting, the getting-it-all-together, and this entails time. Paintings are made slowly because I work slowly on many things at once. Time is part of the factor of change…Nothing that I do is ‘abstract’. I can locate all the ingredients of a painting in the richness of the outside world, the world of perception.’ (4)Clough led by example, as a successful artist who maintained her own practice alongside that of a teaching career that spanned over forty years, firstly at Chelsea School of Art and latterly at Wimbledon School of Art. She thus had a direct and indirect influence on several younger generations of artists.Discreet in her private life and at times reticent to exhibit her work, Clough won the Jerwood prize for painting in 1999, at the age of seventy-nine. Her work of that decade – her final - ‘has the feel of a triumphant maturity, a celebration of the joy of sight, of ways of seeing, in which a half-century of experience is brought to bear again and again on a simple question: what to paint and how to paint it.’ (5) Tufnell has characterised her work as containing ‘visual curiosity and delight’ and an ‘exhilarating new perception of our surroundings’, whilst the significance of her contribution to art history is yet to be fully understood. (6)1/ Mel Gooding, ‘Prunella Clough: The Poetry of Painting’, Prunella Clough: 50 Years of Making Art, Annely Jude Fine Art, London, 2009, unpaginated.2/ See Ben Tufnell, ‘Displacements: The Art of Prunella Clough’, Prunella Clough, Tate Publishing, London, 2007, p.9.3/ Prunella Clough as quoted by Mel Gooding, op.cit.4/ From an interview with interview Bryan Robertson, ‘Happiness is the Light’, Modern Painters, Summer 1996.5 / Ben Tufnell, op.cit., p. 18.6 / Ben Tufnell, ibid., p. 19.
Lot 50
Music Collection of 16 Signed Items Such As Photos, Promo Cards, Signature Cuttings and more. Signatures include The Magics, Drafi Deutscher, Casey Jones, Karl Denver, Lys Assia, Vic Damone, Rachel Hunter, Pat Boone, Peter Kraus, Jaques Dutronic, Mary Hopkin, Erik Silvester, Vic Dana, Peter Alexander, Count The Stars, Stutz Bear Cats, Camillo Felgen, Wolfgang Sauer, The Dutch Swing College Band and many other Signatures. Good Collection. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
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93468 item(s)/page