We found 93468 price guide item(s) matching your search

Two Lladro figurines of birds, H. 28cm, a Lladro polar bear and a Lladro figure of a girl with a parasol ~(A/F but clean break).

Rifle Brigade 19th century Officer's pouch belt plate circa 1823-55. Good scarce die-stamped unmarked silver example as worn in the Crimea. Laurel sprays surmounted by a Guelphic crown on Waterloo tablet; centrally a Maltese cross, lions between the arms which bear honours, within a title circlet, a strung bugle. Four shortened screw posts and complete with backing plate which bears a stout brooch pin. Slight service wear, GC.

17th Lancers Victorian Officer's lance cap plate circa 1856-60. An extremely fine and scarce example. Triangular, rayed, rich fire gilt plate mounted with the Royal Arms in silver, skull and crossed bones on OR GLORY motto with SEVENTEENTH LANCERS scroll below. Laurel sprays either side bear ALMA INKERMAN BALACLAVA SEVASTOPOL honours. Principal ray points with small holes for sewing to the cap. Silver tarnished to black otherwise VGC Crimean honours granted 16.10.1855. Central India added in 1860. 25.10.1854 took part in the famous Charge of the light Brigade. Gordon Dine Collection.

+ LÊ PHỔ (VIETNAM & FRANCE, 1907-2001)  ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 1ST CLASS (1925-1930) Bouquet de lys ou Nature morte au vase meiping fleuri d’hibiscus et au bol bleu blanc (Bouquet of Lily of Still life with a meiping vase with lily flowers and a bleu and white bowl) Gouache on paper Signed to the lower right  Framed with a glass  44,3 x 36,3 cm (the full leaf out of the frame)  Provenance: René et Raymonde Altobianchi, antique dealers active in the 1960s-1980s in l’Escarène, near Nice, French Riviera, where Lê Phổ settled after the French army, in which he enrolled in Carcassonne, was defeated by German. Their shop was named ‘César de Peluet’ after the first name of the father of Raymonde. Probably acquired in the 1970s from a local Estate. René Altobianchi was also an ornamental sculptor and was awarded the Medal of the French National Order of Merit for his volunteer role as a technical director of judo, which he practiced along with Yves Klein, a world-renowned artist of the School of Nice prized, notably, for his famous ‘Leap into the void’ and his ‘IKB blue’.  + NOTICE TO BIDDERS: This lot has been authenticated by the Wally Findlay Institute, USA. According to them, it will be included in the forthcoming catalogue raisonne of the artist. The buyer will bear the cost of this certificate. Please e-mail the department for further details: yuchen@adams.ie. This lot is stored at CADOGAN TATE PARIS. Please contact CADOGAN TATE at Parc des Docks, Batiment 553B, 50 rue Ardouin, St Ouen, 93400 Paris, France, +33 1 48 20 85 60.  Notes: 1. One of the leading figures of modern Vietnamese art, Lê Phổ was born in 1907 in Hà Tây province into a respected Mandarin family, his father being the last viceroy of Tonkin. Showing a predisposition for painting and drawing, he entered the first class of the Indochina School of Fine Arts in 1925. He was soon noticed by the director and founder of the school, Victor Tardieu, for whom he retained a strong attachment throughout his life. In 1931, he came to France to present his works on the occasion of the International Colonial Exhibition. He chose to stay in Paris for a year to attend classes at the École des Beaux-Arts, then undertook several trips to Europe. He returned to Vietnam in 1933 and taught at the Indochina School of Fine Arts in Hanoi. He decided to settle permanently in France in 1937 and quickly became very well known. 2. Lily symbolizes purity and fertility. The sweet and innocent beauty of the lily flower has given it the association of fresh life and rebirth. In this painting, Lê Phổ pays tribute to the classic genre of still life, whilst bringing his fresh vision on it, thereby creating an image at the confluence of the Western and the East Asian pictorial traditions. The discreet and quickly painted low-tone grey background, possibly a reference to the Spanish Bodegones, contrasts with the vivid red of the round table. On the latter are depicted two antique Chinese porcelains: a Ming style blue and white bowl resting on a wooden legged-stand and a Yuan stype Meiping vase flowered with white lillies.  3. Bouquet of flowers was one of the main subjects depicted by Lê Phổ along with young women. In some paintings, he even combined both subjects, as one can see in a work entitled ‘Nostalgie’ sold at CHRISTIE’S Hong Kong, China, 2018-11-24, under lot number 44. The artist mastered at painting all varieties of flowers with bright colors and a rare freshness. The record price at auction for a bouquet of flowers was achieved at SOTHEBY’S Hong Kong, China, 2020-07-09, lot 268 at €273,153.  

+ LÊ PHỔ (VIETNAM & FRANCE, 1907-2001) ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 1ST CLASS (1925-1930) La colombe (The Dove) Ink and colors on silk Signed to the lower right Framed with a glass 17,8 x 22,7 cm (as seen in the frame) *****DIMENSIONS SHOULD READ 17,8 x 22,7 CM***** Provenance: - René et Raymonde Altobianchi, antique dealers active in the 1960s-1980s in l’Escarène, near Nice, French Riviera, where Lê Phổ settled after the French army, in which he enrolled in Carcassonne, was defeated by German. Their shop was named ‘César de Peluet’ after the first name of the father of Raymonde. Probably acquired in the 1970s from a local Estate. René Altobianchi was also an ornamental sculptor and was awarded the Medal of the French National Order of Merit for his volunteer role as a technical director of judo, which he practiced along with Yves Klein, a world-renowned artist of the School of Nice prized, notably, for his famous ‘Leap into the void’ and his ‘IKB blue’. + NOTICE TO BIDDERS: This lot has been authenticated by the Wally Findlay Institute, USA. According to them, it will be included in the forthcoming catalogue raisonne of the artist. The buyer will bear the cost of this certificate. Please e-mail the department for further details: yuchen@adams.ie. This lot is stored at CADOGAN TATE PARIS. Please contact CADOGAN TATE at Parc des Docks, Batiment 553B, 50 rue Ardouin, St Ouen, 93400 Paris, France, +33 1 48 20 85 60. Notes: One of the leading figures of modern Vietnamese art, Lê Phổ was born in 1907 in Hà Tây province into a respected Mandarin family, his father being the last viceroy of Tonkin. Showing a predisposition for painting and drawing, he entered the first class of the Indochina School of Fine Arts in 1925. He was soon noticed by the director and founder of the school, Victor Tardieu, for whom he retained a strong attachment throughout his life. In 1931, he came to France to present his works on the occasion of the International Colonial Exhibition. He chose to stay in Paris for a year to attend classes at the École des Beaux-Arts, then undertook several trips to Europe. He returned to Vietnam in 1933 and taught at the Indochina School of Fine Arts in Hanoi. He decided to settle permanently in France in 1937 and quickly became very well known. Why would Lê Phổ have depicted a dove The dove represents purity, gentleness, devotion, beauty and faith but also hope and peace, and that has resonated well across the vast majority of religions and cultures. It may be possible to draw a link between the dove and the Vietnam war, during which the term ‘Dove’ was describing a person who opposed the war, as opposed to ‘Hawk’. In East Asia, the dove is associated with long life and fidelity as doves pair for life. It is also noted that Lê Phổ has depicted young women with birds such as in a painting sold in DROUOT Paris, France, by Fraysse & Associés, 2007-03-21 under lot number 56. Additionally, following the East Asian pictorial tradition, he has depicted birds and flowers, as seen in a painting sold by SOTHEBY’S Singapore, 2011-04-01, under lot number 70. Compare with a related ink and colors on silk by Lê Phổ entitled ‘Three doves’ from the collection of Madame Dorothy Fera Tajasque, wife of Georges Tajasque who served as Chef du Cabinet to Marie Antoine Pasquier, Governor General of French Indochina from 1928 to 1934. This work has been sold at public auction at BONHAM’S Hong Kong, China, 2017-11-27, under lot number 250. LÊ PHỔ (VIỆT NAM VÀ PHÁP, 1907-2001) ECOLE DES BEAUX-ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG, KHÓA 1 (1925-1930) La colombe (Chim bồ câu) Tranh lụa vẽ bằng mực và màu Được ký ở phía dưới bên phải Đóng khung kính 28 x 33 cm (như thấy trong khung) Xuất xứ: - René và Raymonde Altobianchi, những nhà buôn đồ cổ hoạt động trong những năm 1960-1980 tại l'Escarène, gần Nice, French Riviera, nơi Lê Phổ định cư sau khi quân đội Pháp, mà ông đã nhập ngũ tại Carcassonne, bị quân Đức đánh bại. Cửa hàng của họ được đặt tên là “César de Peluet” theo tên cha đẻ của Raymonde. Có lẽ được mua vào những năm 1970 từ một Nhà bất động sản địa phương. René Altobianchi cũng là một nhà điêu khắc trang trí và đã được trao tặng Huân chương Công trạng Quốc gia Pháp cho vai trò tình nguyện viên với tư cách là giám đốc kỹ thuật võ judo, mà ông đã luyện tập cùng với Yves Klein, một họa sĩ nổi tiếng thế giới của Trường Nice được đánh giá cao, nổi bật, với tác phẩm nổi tiếng “Leap into the void” và “IKB blue” của ông. Lưu ý quan trọng đối với các nhà đấu giá tiềm năng: Nhà đấu giá thành công sẽ được cung cấp một giấy chứng nhận tác phẩm thật do Viện Findlay, Hoa Kỳ cấp. Tác phẩm này sẽ được đưa vào danh mục quan trọng của nghệ sĩ hiện đang được chuẩn bị. Người mua sẽ chịu chi phí cho giấy chứng nhận này. Vui lòng gửi e-mail cho bộ phận để biết thêm thông tin chi tiết: yuchen@adams.ie. Ghi chú: Là một trong những gương mặt hàng đầu của nền mỹ thuật Việt Nam hiện đại, Lê Phổ sinh năm 1907 tại tỉnh Hà Tây trong một gia đình quan lại danh giá, cha ông là tổng trấn cuối cùng của Bắc Kỳ. Có thiên hướng về hội họa và vẽ tranh, ông đã vào học khóa đầu tiên của Trường Mỹ thuật Đông Dương vào năm 1925. Ông đã nhanh chóng thu hút sự chú ý của giám đốc đồng thời là người sáng lập trường, Victor Tardieu, người mà ông đã gắn bó suốt cuộc đời. Năm 1931, ông đã đến Pháp để trình bày các tác phẩm của mình nhân Hội triển lãm Thuộc địa Quốc tế. Ông đã chọn ở lại Paris một năm để tham gia các lớp học tại École des Beaux-Arts, rồi thực hiện một số chuyến đi đến châu Âu. Ông đã trở về Việt Nam năm 1933 và giảng dạy tại Trường Mỹ thuật Đông Dương ở Hà Nội. Ông đã quyết định định cư lâu dài tại Pháp vào năm 1937 và nhanh chóng trở nên rất nổi tiếng. Vì sao Lê Phổ lại vẽ một con chim bồ câu Chim bồ câu đại diện cho sự thuần khiết, dịu dàng, tận tâm, vẻ đẹp và sự chung thủy nhưng cũng đại diện cho hy vọng và hòa bình, điều đó đã gây được tiếng vang lớn trong đại đa số các tôn giáo và nền văn hóa. Có thể rút ra mối liên hệ giữa chim bồ câu và chiến tranh Việt Nam, trong đó thuật ngữ “Chim bồ câu” mô tả một người phản đối chiến tranh, trái ngược với “Chim ưng”. Ở Đông Á, chim bồ câu gắn liền với cuộc sống lâu dài và chung thủy bởi vì chim bồ câu khi bắt cặp với nhau thì sống bên nhau trọn đời. Cũng cần lưu ý là Lê Phổ đã vẽ các thiếu nữ với các loài chim như trong một bức tranh bán ở DROUOT Paris, Pháp, bởi Fraysse & Associés, 21-03-2007 theo lô số 56. Ngoài ra, theo truyền thống tranh ảnh Đông Á, ông đã mô tả chim và hoa, như được thấy trong một bức tranh được bán bởi SOTHEBY'S Singapore, 01-04-2011, theo lô số 70. So sánh với một tác phẩm vẽ bằng mực và màu trên lụa có liên quan của Lê Phổ mang tên “Ba con chim bồ câu” trong bộ sưu tập của Quý bà Dorothy Fera Tajasque, vợ của Georges Tajasque, người từng là Trưởng Nội các của Marie Antoine Pasquier, Toàn quyền Đông Dương thuộc Pháp từ năm 1928 đến 1934. Tác phẩm này đã được bán đấu giá công khai tại BONHAM'S Hồng Kông, Trung Quốc, 27-11-2017, lô số 250. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

+ LÊ PHỔ (VIETNAM & FRANCE, 1907-2001)   ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 1ST CLASS (1925-1930)  Les blanchisseuses ou les lavandières au bord de l’eau, Vietnam (Washerwomen - Laundresses or Laundry Women - along the River, Vietnam)  Ink on paper / two paper leaves   Signed to the lower right  Framed with a glass  25,7 x 35,7 cm     *****DIMENSIONS SHOULD READ 25,7 x 35,7 CM*****    Provenance:  - René et Raymonde Altobianchi, antique dealers active in the 1960s-1980s in l’Escarène, near Nice, French Riviera, where Lê Phổ settled after the French army, in which he enrolled in Carcassonne, was defeated by German. Their shop was named ‘César de Peluet’ after the first name of the father of Raymonde. Probably acquired in the 1970s from a local Estate. René Altobianchi was also an ornamental sculptor and was awarded the Medal of the French National Order of Merit for his volunteer role as a technical director of judo, which he practiced along with Yves Klein, a world-renowned artist of the School of Nice prized, notably, for his famous ‘Leap into the void’ and his ‘IKB blue’.  + NOTICE TO BIDDERS: This lot has been authenticated by the Wally Findlay Institute, USA. According to them, it will be included in the forthcoming catalogue raisonne of the artist. The buyer will bear the cost of this certificate. Please e-mail the department for further details: yuchen@adams.ie. This lot is stored at CADOGAN TATE PARIS. Please contact CADOGAN TATE at Parc des Docks, Batiment 553B, 50 rue Ardouin, St Ouen, 93400 Paris, France, +33 1 48 20 85 60.   The buyer will bear the cost of this certificate. Please e-mail the department for further details: yuchen@adams.ie.  Notes: One of the leading figures of modern Vietnamese art, Lê Phổ was born in 1907 in Hà Tây province into a respected Mandarin family, his father being the last viceroy of Tonkin. Showing a predisposition for painting and drawing, he entered the first class of the Indochina School of Fine Arts in 1925. He was soon noticed by the director and founder of the school, Victor Tardieu, for whom he retained a strong attachment throughout his life. In 1931, he came to France to present his works on the occasion of the International Colonial Exhibition. He chose to stay in Paris for a year to attend classes at the École des Beaux-Arts, then undertook several trips to Europe. He returned to Vietnam in 1933 and taught at the Indochina School of Fine Arts in Hanoi. He decided to settle permanently in France in 1937 and quickly became very well known. The washerwomen installed around the laundries have marked the previous centuries. Washerwomen is a generic term that includes laundresses and laundry women who differ in the nature of the laundry they wash: the formers take care of the fine linen (e.g. costume) whilst the latter clean the less delicate, coarser linen (e.g. rags). This theme inspired many French artists of the 19th century, such as Pierre-Auguste Renoir and Honoré Daumier, with different perspectives: some glorified the hard work of these women whilst others showed their complicity at work. In Blanchisseuse, Lê Phổ, deals with a very Francophile pictorial subject with his Vietnamese soul. Two women are seated on a pier above quiet water: the first one, fronting the spectator, is soaking clothes in her hands, a laundry basin next to her; the second one, at rest and seen from the back, is melancholically staring at the horizon. The slender Vietnamese women wear traditional clothes known as áo dài. The one seen from the back also wears a traditional headdress. Lê Phổ used sweet, soft, curvy, and round lines to magnify the beauty and the femininity of those women (as would have done Jean-Auguste-Dominique Ingres), whom do not seem affected by their work. In doing so, he created an ideal depiction, an iconic vision of washerwomen. Compare with a related oil on canvas by Lê Phổ entitled ‘The Laundry Ladies’ sold at CHRISTIE’S Hong Kong, China, 2006-05-28, lot 72, for €70,910. 

A BLEU DE HUE PORCELAIN BOWL ‘CRAB AND LOTUS POND’ BOWL INSCRIBED WITH THE MARK NGOẠN NGỌC 玩玉 VIETNAM, NGUYEN DYNASTY, 19TH CENTURY Lightly potted with thin rounded sides rising from a straight foot, with a metal rim. Finely painted in delicate underglaze cobalt blue shades with two crabs amidst a lotus pond. The base is inscribed in cobalt blue with the mark ‘ngoạn ngọc’, lit. ‘Jade trinket’. Sold together with a collector wooden stand. H: 7,2 cm - D: 18,7 cm BÁT HỌA TIẾT “CUA VÀ AO SEN” BÁT SỨ MEN LAM BLEU DE HUE ĐƯỢC KHẮC DẤU NGOẠN NGỌC 玩玉 VIỆT NAM, TRIỀU NHÀ NGUYỄN, THẾ KỶ 19 Notes: 1. A lotus shown with two crabs and reeds has a particular meaning: it is associated with a wish to come top in the Civil Service examinations. 2. Usually, such bleu de hue porcelains with crabs would bear the mark ‘內府侍南’, ie. ‘Nội phủ thị nam’, lit. ‘Made for the Southern Palace’. For a bleu de hue combining that design (crabs) and this mark, please refers to ASIUM, Paris, France, 2020-11-03, lot 57 , sold for €26,000. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A GROUP OF THREE (3) BIÊN HÒA 边和 STONEWARE HORSE RIDERS / WARRIORS BIÊN HÒA 边和 SCHOOL OF APPLIED ARTS VIETNAM, 20TH CENTURY One bears an impressed Marks ‘边和’. The two other ones bear an impressed mark of circular shape: ‘BIEN HOA VIETNAM COOPERATIVE [...]’. One also bears an handwritten inscription: ‘Bien Hoa [...] Saigon’). L (the biggest): 35,5 x 28,3 cm MỘT NHÓM GỒM BA (3) KỴ SĨ/ CHIẾN BINH ĐỒ GỐM ĐÁ BIÊN HÒA 边和 TRƯỜNG MỸ THUẬT ỨNG DỤNG BIÊN HÒA 边和 VIỆT NAM, THẾ KỶ 20 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

ĐỖ ANH (VIETNAM, ACTIVE 20TH CENTURY) A GRADUATE FROM HO CHI MINH CITY (HCMC) UNIVERSITY OF FINE ARTS Jeune beauté vêtue d’un áo dài à l’enfant endormi (lit. ‘A young beauty wearing an áo dài with a boy asleep’) Ink and colors on silk Signed on the lower right Also bear an artist seal on the lower right Framed with a glass 77,3 x 58,2 cm ĐỖ ANH (VIỆT NAM, HOẠT ĐỘNG VÀO THẾ KỶ 20) TỐT NGHIỆP ĐẠI HỌC MỸ THUẬT THÀNH PHỐ HỒ CHÍ MINH (TP.HCM) Jeune beauté vêtue d’un áo dài à l’enfant endormi Thiếu nữ xinh đẹp mặc áo dài cho con ngủ NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

ĐỖ ANH (VIETNAM, ACTIVE 20TH CENTURY) A GRADUATE FROM HO CHI MINH CITY (HCMC) UNIVERSITY OF FINE ARTS Jeune beauté vêtue d’un áo dài et au vase fleuri (lit. ‘A young beauty wearing an áo dài with a flowered vase) 1994 Ink and colors on silk Signed on the lower right Also bear an artist seal on the lower right Also dated on the lower right Framed with a glass 57 x 76 cm ĐỖ ANH (VIỆT NAM, HOẠT ĐỘNG VÀO THẾ KỶ 20) SINH VIÊN ĐẠI HỌC MỸ THUẬT THÀNH PHỐ HỒ CHÍ MINH (TP.HCM) Jeune beauté vêtue d’un áo dài et au vase fleuri Thiếu nữ xinh đẹp mặc áo dài cắm bình hoa NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

Twelve resin and wood netsukes, to include seated Buddha, figures, owl, bear, dogs, monkey etc. (12)

A Lladro model of a hound, a Lladro bear, a Lladro Inuit child and baby polar bear group, a Coalport Puppy Love model, an elephant, another bear (6)

Children's Books- Rupert Bear, Daily Express Annuals, 1960, 1961, 1962, 1963, 1964, 1965, 1966, 1967, 1968, 1969, 1970, 1971, 1972, 1973, 1974, 1975, 1976, 1977, 1978 and 1979, each with hard covers (20)

Charlie Bears CB124998 Carter teddy bear, from the 2012 Show Specials Collection, designed by Isabelle Lee, 42cm high with tags

Charlie Bears CB194571 Kenny teddy bear, from the 2009 Charlie Bears Plush Collection, designed by Isabelle Lee, 50cm high with tags

Steiff (Germany) EAN 035739 Monty teddy bear, trademark Steiff button to ear with red and white tag, 28cm high, boxed with certificate in envelope, Limited Edition No.00112 of 1,500

Steiff (Germany) EAN 690419 Harrods Arthur teddy bear, the foot pad signed in black ink, trademark Steiff button to ear with red and white tag, 30cm high, boxed with certificate, Limited Edition No.00094 of 1,500

Steiff (Germany) EAN650901 Vedes 1994 blonde teddy bear, trademark Steiff button to ear with red and white tag, 42cm high, boxed, Limited Edition No.05206

Steiff (Germany) EAN 654756 The 2001 teddy bear, exclusively for Danbury Mint, trademark Steiff button to ear with yellow and red tag, 30cm high, unboxed with certificate and literature

The Cotswold Bear Co. Buckingham teddy bear, from the British Collection, unboxed with tag, Limited Edition No.50 of 100 and a Dean's Ragbook Company Owain Owen factory visit teddy bear 2001, with tag, unboxed (2)

A pair of Royal Crown Derby paperweights, Scottish Teddy Fraser and Shona Bear, gold stoppers, boxed (2)

A SILVER-INLAID BRONZE 'PHOENIX' BELT HOOK, ATTRIBUTED TO SHISOU, LATE MING DYNASTYChina, 17th century. Finely cast with a phoenix head terminal and inlaid in silver with ruyi, taotie, and other archaistic designs within shaped and dotted borders, the button to the underside with wire-inlaid scroll.Provenance: From the private collection of a former French colonel based in China before World War II.Condition: Very good condition with minor wear and casting flaws, minuscule nicks, small dents.Weight: 63.0 gDimensions: Length 10.8 cmLittle is known about the historical figure Shisou. The earliest reference in the Zhongguo meishujia renming cidian ('Dictionary of Chinese Artists') comes from the Luochuang xiaodu and is presumably from the same source as published in Zhongguo yishujia zhenglue ('Brief Introduction of Chinese Artists'). Shisou is listed there only as a late Ming dynasty monk without any further biographical information. A number of vessels and sculptures from the seventeenth to the nineteenth century bear his name, sometimes in combination with a hall name, Jinyu tang ('Hall of Prosperity'). Although the present piece is unsigned, the high quality of the casting and fine silver inlays make an attribution to Shisou or a related workshop seem reasonable.石叟風格明末銅錯銀鳳凰紋帶鈎中國，十七世紀。鳳頭帶鈎，錯銀如意、饕餮等仿古紋飾，鈕扣下方有嵌線捲軸。扣鈕上錯銀卷紋。 來源：二戰前駐華法國前上校的私人收藏。 品相：狀況極好，有輕微磨損和鑄造瑕疵，微小的刻痕和小凹痕。 重量：63.0 克 尺寸：長10.8 厘米

A GREEN-GLAZED POTTERY 'HILL' JAR AND COVER, HAN DYNASTYChina, 206 BC to 220 AD. The cylindrical jar is raised on three bear supports and molded around the exterior with a hunting scene of figures and various animals between a pair of mask and ring handles. The cover is modeled with mountain peaks interspersed by further animals surrounding a central peak. The exterior is covered in a rich green glaze, transmuting to amber toward the base, and splashed with ochre to the interior of the jar, the unglazed interior of the cover with green splashes.Provenance: By repute from an old German private collection, assembled prior to 1990, and thence by descent.Condition: Commensurate with age. Some wear and firing flaws. Small chips and glaze losses here and there, some with minor touchups. The interior rim of the cover with a bruise and an associated hairline reaching the central peak, with old minor fills and touchups.Weight: 3,080 gDimensions: Height 24.7 cmLiterature comparison: Compare a closely related green-glazed jar and cover with bear-form feet and similar molded decoration, dated Eastern Han dynasty, in the Los Angeles County Museum of Art, accession number M.2000.190.4a-b. For another similar covered vessel, dated to the Han dynasty, see B. Laufer, Chinese Pottery of the Han Dynasty, London, 1970, p. 200, pl. 57. Further related examples are illustrated in Treasures from a Swallow Garden: Inaugural Exhibit of the Arthur M. Sackler Museum of Art and Archaeology at Peking University, Beijing, 1992, no. 116; J. Rawson, Ancient China: Art and Archaeology, London, 1980, fig. 173; and N. Palmgren, Selected Chinese Antiquities from the collection of Gustaf Adolf Crown Prince of Sweden, Stockholm, 1948, pl.64.3.Auction result comparison: Compare a closely jar and cover, 15.6 cm high, also dated to the Han dynasty, at Sotheby's New York in Asian Art on 15 September 2018, lot 1388, sold for USD 6,875. 漢代綠釉山型三足蓋罐中國，公元前206至公元 220年。圓柱形三足罐，外壁雙環，浮雕人物狩獵場景。蓋子成山峰形狀，山峰間穿插著動物。罐外覆以濃綠色釉，往下轉為琥珀色，罐內露胎成赭石色，并有飛灑的綠色釉滴。 來源：德國私人老收藏，購於1990年前，保存至今。 品相：與年齡相稱。一些磨損和燒製瑕疵。到處都有小缺損和釉料缺失，有些輕微的修飾。蓋子內部邊緣有傷和相關的裂紋，輕微填充和修飾。重量：3,080 克 尺寸：高24.7 厘米 拍賣結果比較: 比較一件相似的漢代蓋罐，高 15.6 厘米，見紐約蘇富比Asian Art 2018年9月15日 lot 1388, 售價USD 6,875。

A MASSIVE SILVER-INLAID BRONZE CENSER, SHISOU MARKChina, 17th-18th century. The heavily cast bombe body supported on a spreading foot and rising to a slightly everted rim, the shoulder set with two loop handles, the exterior finely inlaid in silver wire with sinuously coiled dragons dividing capitals in the form of lotus flowers reminiscent of the Old Summer Palace (yuanmingyuan). The base with a silver-inlaid two-character Shisou mark.Provenance: The Mee-Din and Robert W. Moore Collection. Robert W. Moore is a famed California collector of Chinese and Korean art, whose passion began in the 1950s when he served in the US Army and was stationed in Korea. After his return to the United States, he began collecting Korean and later also Chinese works of art, and over the following decades became a very knowledgeable, discerning, and influential collector.Condition: Very good condition with only minor wear and casting irregularities, minuscule nicks, light scratches, the interior with extensive traces of use. Magnificent, natural patina overall.Weight: 2,903 g Dimensions: Width 26.7 cm (across handles)Little is known about the historic figure Shisou. The earliest reference in the Zhongguo meishujia renming cidian ('Dictionary of Chinese Artists') comes from the Luochuang xiaodu and is presumably from the same source as published in Zhongguo yishujia zhenglue ('Brief Introduction of Chinese Artists). Shisou is listed there only as a late Ming dynasty monk without any further biographical information. A number of vessels and sculptures from the seventeenth to the nineteenth century bear his name, sometimes in combination with a hall name, Jinyu tang ('Hall of Prosperity').Auction result comparison: Compare a related silver-inlaid bronze censer, 11.5 cm high, also with a Shisou mark, at Christie's Hong Kong in The Pavilion Sale on 6 October 2015, lot 171, sold for HKD 62,500. Compare a related silver-inlaid bronze censer, 7.6 cm across, also with a Shisou mark, at Christie's Hong Kong in Chinese Art on 12 April 2018, lot 36, sold for HKD 62,500. 石叟款錯銀銅爐中國，十七至十八世紀。造型莊重典雅，厚口平直微敞，垂腹豐腴，兩側置圓耳，耳環上端有一角上翹，圈足。爐身錯銀以卷葉蓮紋的形式描繪了蜿蜒盤繞的龍紋。底座上可見錯銀“石叟“款。 來源: Mee-Din 與Robert W. Moore 中國漆器收藏。Robert W. Moore是加州著名的中國和韓國藝術收藏家，他的收藏熱情始於 1950 年代。當時他在美國軍隊服役並駐紮在韓國。回到美國後，他開始收藏韓國和中國的藝術品，尤其是漆器，在之後幾十年裡，他成為了一位知識淵博、眼光敏銳、影響深遠的收藏家。 品相: 狀況極好，輕微磨損和鑄造瑕疵，微小的刻痕和輕微的劃痕，內部有大量使用痕跡。整體包漿自然。 重量: 2,903 克 尺寸: 寬26.7 厘米 (兩耳之間) 拍賣結果比較: 比較一件相近的石叟款錯銀銅爐，高11.5 厘米，見香港佳士得The Pavilion Sale 2015年10月6日 lot 171, 售價HKD 62,500；另一件相近的石叟款錯銀銅爐，兩耳之間7.6 厘米，見香港佳士得Chinese Art 2018年4月12日 lot 36, 售價HKD 62,500。

LLADRO POLAR BEAR CUB

COALPORT PADDINGTON BEAR MONEY BOX, 8CM SQUARE; WEDGWOOD OF ETRURIA RUPERT BEAR MONEY BOX

PAIR OF WADE PANDA BEAR MONEY BOXES

BLOND PLUSH TEDDY BEAR WITH VELVET PADS, 35CM; THREE FURTHER TEDDY BEARS AND A FELT DOLL

LARGE MODERN TEDDY BEAR, 65CM, AND HIS STICKBACK CHAIR

A boxed Hornby model train set 'Passenger set No. 31', along with an early 20th century plush teddy bear (worn), 37cm high, and a collection of die cast models to include; a Matchbox JCB 808, a Dinky recovery tractor, a Dinky Toys Massey-Harris tractor, and others (play worn)

CHARLIE BEAR - CABBAGE ROSE

CHARLIE BEAR - DUCHESS

STEIFF BEAR

HERMAN BEAR - GROWLER

GUND BEAR

STEIFF BEAR

Boxed Steiff gilt metal teddy bear pendant suspended on a gold plated necklace in a Steiff cardboard box

Quantity to include silver plated photograph frames, plated christening set of cutlery with teddy bear finials, costume jewellery to include necklaces, brooches, etc together with ladies wrist watches (qty)

A Vintage Merrythought Plush Teddy Bear, 40cm high

Twelve 50 pence coins fron the Beatrix Potter series (some duplicates), together with nine further 50 pece coins icluding Paddington Bear, Girl Guiding, Sherlock Holmes, Public Libraries, The People Act & The Plural of Penny, as well as five commemorative Crown, a 2002 Falkland Islands Golden Jubilee 50 pence coin, a 2000 Anno Domino £5 coin, a Charles Darwin £2 coin, a 2012 Charles Dickens £2 coin and finally a 2010 London £1 coin. (31)

David Belilios : Bear walk, pencil sketch, signed, 20 cm x 15 cm. CONDITION REPORT: David Belilios was born in 1943. He studied Fine Art at Kingston University London. He was head of the art department at George Stephenson High School where he taught for 30 years before retiring. The last 30 years have been spent at his art studio in Northumberland working on photography, prints, paintings, etchings, pottery and sculpture. He had three exhibitions at the Moot Hall Newcastle and regular on Northumberland open studios and exhibitions.

A pair of mid 20th century Russian Konakovo bear figures together with a further Sylvac figure of a bear

A Modern Fret Cut Dumb Waiter in the Form of a Teddy Bear with Tray, 90cm high

STERLING 925 SILVER ORNAMENTS x 2, including a 5cms height model of an owl on a branch, stamped 925, and a Carrs Sheffield hallmarked christening keepsake of a gilded bear seated upon a sphere, having a screw-off base, dated 2002, 4cms H

An oak standing bookcase with a fluted frieze & base, & with three adjustable shelves enclosed by a pair of glass sliding doors, 42” wide x 42” high; & a ditto smaller bookcase, 36” wide x 34” high, both bear labels “E. L. Ward Ltd., The Modern Store Cheltenham”.

4 Japanese hardwood signed netsuke: - tiger, cockerel, dog and bear, all with signed mother of pearl circular panels 

Reborn baby doll ' Macey' by artist Josynn with moses basket and teddy bear has fine hair, open eyes and dummy 

Merrythought 'Cheeky Billy' limited edition 43/50 teddy bear exclusive to  teddy bears of Witney, Sunny Bears by Anne-Marie Gelder with growler and a small Bunbury bear

3 Teddy bears of Witney - 'Teddy' a replica of their original bear - 'Master Boots' replica of the original master boots exclusive to Teddy bears of Witney and Cotchford

A Sharon July Pine Forest bear - Frost Jo No12 and Big Softies 'Bertie' made by hand in Yorkshire with antique gold mohair 

Charlie Bears Lord of the Arctic plush collection limited edition 1072/2000, Wojtek teddy designed by Isabelle Lee and soft smaller Charlie bear teddy

2 Steiff teddy bears  - 1926 replica limited edition 893/1000 and Grand old Bear with growler limited edition 66/1000

2 Mister Bear teddies 

A collection of Barnetby Bears, White and Mohair tipped bear approx. 21" 

An antique gold curly mohair Cotswold Bear and a Bears that are special by Pam Howells bear 

Barron Bears 'Logan' limited edition 3/6 for teddy bears of Witney approx. 35.5" and Barron Bear 'Anthony' limited edition 3/6 for teddy bears of Witney approx. 35"

2 Steiff teddy bears - Ginger bear limited edition 2559/6000 and Boxed 'Henderson' with growler limited edition 01304/2000

Gund grey smiling bear, signed on foot limited edition 297/350 and Sharon Queen of Bears limited edition 3/4 studded collar teddy bear

FORMERLY THE PROPERTY OF OTTO GURGEN: A PROMINENT GERMAN ARGENTINIAN INDUSTRIALIST (BY REPUTE) A PAIR OF RETICULATED TURQUOISE GLAZED PORCELAIN ‘THREE FRIENDS OF WINTER’ BRUSHPOTS, BITONG CHINA, QING DYNASTY, POSSIBLY KANGXI PERIOD Of circular shape, with a flat foot, the body is reticulated with the theme of the ‘Three Friends of Winter’. The outer and the inner parts are all covered with a desirable turquoise glaze. The foot is left unglazed with a paste of orange color. The bases bear identical handwritten collector labels, three (3) on each: ‘XVIIe K’ang - Hsi 1662 -1723’ and #53. H: 9,5 cm Provenance: - a private collection; - formerly the property of Otto Gürgen, a German prominent industrialist in Buenos Aires, Argentina, in the 1930s (by repute). Note: Because they all can flourish during the winter, the pine, plum tree and bamboo are known as the Three Friends in Winter. Compare with a related pair of reticulated brushpot, though of slightly bigger size, sold at AGUTTES Paris, France, 2022-05-31, lot 82, for €5,200. 一对绿松石釉岁寒三友笔筒 中国，清代 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

FORMERLY THE PROPERTY OF OTTO GURGEN: A PROMINENT GERMAN ARGENTINIAN INDUSTRIALIST (BY REPUTE) A PAIR OF APPLE-GREEN GLAZED SHALLOW CUPS CHINA, QING DYNASTY Of circular shape, they rest on a short ring foot and have round bodies with slightly everted rims. They are all covered with a desirable apple-green glaze. The bases are engraved with an identical gift or wish mark: ‘录’ (Lù - record). They also bear several identical old collector labels: ‘#1 - par platos verdes Kang-Hsi’ and ‘XVII Din.’. D: 14,9 cm Provenance: - a private collection; - formerly the property of Otto Gürgen, a German prominent industrialist in Buenos Aires, Argentina, in the 1930s (by repute). 一对苹果绿釉浅杯 中国，清代 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.