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Lot 1125
'Arctic Adventure', model No. L146, limited edition 27/850, with certificate, 'Polar Bear Cubs', model No. RW64, and two other models; together with 'Seal Pups', model No. RW63 and 'Ocean Explorers', model No. L153, limited edition 262/500, with certificate, all by Richard Roberts, on wooden bases (6)
Lot 112
LAUFFIGUREN/ RAMP WALKER TOYS, Konvolut von 4, Disney, Herst. tlw. Marx Toys/ New York, 1960er Jahre, Kunststoff, polychromiert, darunter Goofy, Mickey Mouse und Jiminy Grille, bewegliche Elemente, 1 Weitere, jedoch Yogi-Bear, Hanna-Barbera Productions, von ca. 8,5 x 8 bis 8 x 9,5 cm, tlw. gemarkt, bespielt, berieben
Lot 351
A miscellany of British coins consisting of: 49 pennies dating from George III - George VI. 2x Victoria farthings, 2x Victoria 1/2 farthings, 23x threepences dating from George VI - Elizabeth II, 7x George VI - Elizabeth I halfcrowns, George VI florin and shilling, 4x Elizabeth II sixpences, 2018 Paddington Bear 50 pence, 1953 crown, also included are 19x tokens, medals, evasions and contemporary forgeries of George III coins. Also included are made up 1887, 1900, 1910 and 1915 currency sets in Tudor branded cases.
Lot 104
Deans Bears - A limited edition Deans Artist Showcase bear by Jill Baxter. Its name is Barnaby and he is number 47 of only 200 made. He is approximately 78 cm tall but prefers to sit, he has a stitched nose and felt pads and a Deans Limited Edition medallion around his neck. Barnaby appears in Excellent condition. (This does not constitute a guarantee)
Lot 105
Judy Taylor - Harley Davidson - A large hand made bear by Judy Taylor, his name is Spike and he is wearing a genuine Harley Davidson jacket and he has a chain with a medallion with his name on it. Spike is fully jointed and stands approximately 78 cm tall. He appears in excellent condition. (This does not constitute a guarantee)
Lot 114
Bears By Nicki - A large yellow bear called Sunny made by Bears By Nicki. Sunny is made of mohair and fully jointed with glass eyes and suedette pads and is filled with fibre, pellet wood and wool and has an information tag with the date March 2001. Sunny is approx 46 cm tall and appears in Excellent condition. (This does not constitute a guarantee)
Lot 174
My Little Pony, Hasbro - A boxed G1 My Little Pony 'Baby Buggy'. The set contains a Baby Buggy, with Baby Pony 'Cuddles' (Year 3, 1984, Green); together with accessories which include Rosebud blanket, pillow, a lavender Bear Brush, nappy and ribbon. Set and accessories appear to be in Excellent condition with some slight age related fading to buggy. Box appears Fair - Fair Plus with some taping, creasing and storage wear. (This does not constitute a guarantee)
Lot 175
My Little Pony, Hasbro - A boxed vintage G1 My Little Pony 'Lullabye Nursey' playset. The set appears to be in Excellent condition overall and contains 'Baby Tiddly Winks' (Year 3, 1985, Pink), and a quantity of accessories including white cradle, pink swing, nappies, pink necklace, teddy bear brush, instruction sheet and similar. Accessories appear to be in Excellent condition. Playset is unchecked for completeness, housed in a Fair Plus - Good overall box with taping and storage related imperfections. Set is accompanied with a My Little Pony playmat. (This does not constitute a guarantee)
Lot 208
Bear Factory, Keel Toys, Classic TY, Teddy Bean Bag Pals - a collection of twelve different-branded teddy bears - lot includes a Paddington bear, a limited edition team GB Athens 2004 bear factory teddy bear, a Queen's Royal Guard teddy bear, and other various teddy bears. Items appear to be in good condition.
Lot 211
The Great British Teddy Bear Company, Embrace, Ralph Lauren - A collection of nine teddy bears and clown dolls. Lot includes a Ralph Lauren Fragrances teddy bear, a Florence Nightingale charity teddy bear, two clown dolls, an Embrace-branded teddy bear, and other various teddy bears. All items appear to be in good condition and vary in different sizes.
Lot 212
Boyds, Harrods, Cuddles Time, Bright Inspirations - a collection of sixteen teddy bears - lot includes a "Born to shop" Boyds teddy bear, a Harrods teddy bear that is wearing a dark red jumper, a Bright Inspirations teddy bear named "Carmel", and other various teddy bears. All items appear to be in good condition.
Lot 37
Bears By Angela - A large plush fully jointed bear called Shami made by Bears By Angela. This long limb bear is approx 78cm tall but he prefers to sit. He has a smart leather look collar with a gold coloured padlock and key charms on it. The nose is stitched and the pads are a suede type material. Shami appears in Excellent condition. (This does not constitute a guarantee)
Lot 39
Circus Bear - A large Brown Bear with a circus hat and collar. This is a very well made fully jointed bear with long limbs, glass eyes and long plush hair but no makers label. It stands approximately 78 cm tall not including the hat. It appears in Excellent condition with just a few tiny white rub marks on his nose. (This does not constitute a guarantee)
Lot 42
LuLu Bears - A mohair character bear by Lulu Tatum of Lulu Bears. He is approximately 42 cm tall and has jointed limbs, his face, ears, pads and tag appear to be made of chamois leather. The left pad has Lulu 1999 written on in black ink. This bear appears in Excellent condition. (This does not constitute a guarantee)
Lot 1
Signed Book Mark James After the Bear Pit Hardback Book 2002 First Edition Signed by Mark James on the Second page published by Virgin Books Ltd some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 96A
STEIFF 'WINNIPEG' BEAR ,in original black velvet bag, along with nine other Steiff bears comprising Diana (663840), Catherine (664175), Breast Cancer (664472), Diamond Jubilee (663659), Chelsea Flower (664281), Teddy Bear (654756), Anniversary Of USA (660337), Teddy Bear (664403) and Charlie The Chimpanzee (644502), all with tags and buttons
Lot 11
LÉONARD TSUGUHARU FOUJITA (1886-1968)Maternité signed and inscribed 'Foujita Paris' (lower right)gouache, watercolour, brush, pen and India ink and gold leaf on paper23 x 17.5cm (9 1/16 x 6 7/8in).Executed circa 1957Footnotes:The authenticity of this work has been confirmed by Sylvie Buisson.ProvenanceGalerie Claude Bernard (1957).Private collection.Anon. sale, Christie's, New York, 15 November 1990, lot 147.Sayegh Collection, France.Acquired by the present owner (2020).ExhibitedParis, Musée de Montmartre, Léonard Tsuguharu Foujita et l'École de Paris, 10 April - 23 June 1991, no. 47 (later travelled to Tokyo; titled 'Mère et Enfant').LiteratureS. Buisson, Léonard Tsuguharu Foujita, Vol. II, Paris, 2001, no. 57.92 (illustrated p. 458).Léonard Tsuguharu Foujita may not have converted to Catholicism until 1959, but he took an early interest in painting ecclesiastical subjects from 1917. Maternité was executed circa 1957 and shows the artist's understanding of this traditional religious subject as an intimist and tender depiction of a mother and a child. Born in Japan into a high-ranking Samurai family, Foujita was attracted to Western culture and France in particular at a very early age. As Sylvie Buisson explains, Foujita's love affair with France began very early in Tokyo whilst stood in front of a painting by Claude Monet. As a child, he would also be fascinated by the church that was located on his school path. At school, he studied French with the Marianist brothers, a Catholic branch that looked to the Madonna as a model of faith and spirituality and emphasised the importance of Jesus not only as the Son of God, but as the Son of Mary. A monumental sculpture of the Virgin Mary was placed in the courtyard that he passed daily. Foujita arrived in Paris in 1913 and quickly became a key figure of the bohemian art scene, meeting painters, sculptors and writers of the Montmartre and the Montparnasse districts. Along with his peers Picasso, Soutine, Kisling, Zadkine, van Dongen and Modigliani, he was one of the main figures of the first École de Paris. This term, coined by the art critic André Warnod in 1925, refers to the group of avant-garde artists who came to exercise their talents in the capital between 1905 and 1930. Although all the artists in this movement had their own particular style, they came together around the idea of developing artistic modernity. Foujita's success was almost immediate and his originality soon charmed the public at the Galerie Chéron and Galerie Paul Pétrides. Through meetings in Parisian bars and cabarets he was introduced to the Tout-Paris, the fashionable and affluent elite of the city, and became a well-known figure of this bustling and fascinating milieu of the interwar years. Foujita later returned to Japan to act as an official painter of the Imperial Army during the Second World War. His work was criticised by some of his peers for being war propaganda, but he remained appreciated and protected by wealthy patrons who enabled him to return easily to Paris in the 1950s, accompanied by Kimiyo, his new wife. This was the start of a new era for Foujita, who settled once again in Montparnasse, but to lead a rather quieter life. It was during this more mature and settled period that the present work was executed. Maternité is a gentle and delicate image, reflecting Foujita's unwavering optimism. The present work, with its soft and elegant figures set in a timeless scene, proves that his art remained untouched by the horror of war and man's cruelty. The depiction of the mother and child has always been an important subject in Western art, whose origins are rooted in the religious presentation of the Virgin and Child. The French word 'maternité' emphasises the secular relationship between the woman and her offspring, and indeed in the present work there is no aureole or halo to denote the holiness of the figures. However, the religious connotations remain obvious: the child's outstretched hand, whose two fingers make the distinctive Christian sign of blessing, is an undeniable reference to the religious origins of this subject. For Foujita though, the Madonna, the mother and the woman came together as one entity, hence perhaps the title Maternité, a more secular and universal choice than 'Virgin and Child'. Similarly, the child has a very lively charm, unlike the usual figures of the Christ Child.Delivering an original vision of this traditional subject, Foujita also took inspiration from the past and used artistic codes historically attached to this motif. In the gothic tradition for example, the figures stood out on a golden background, which recalled the supernatural and miraculous character of the subject. This was also used to metaphorically suggest to the viewer that it was from this majestic image that Christian faith radiated. Thus the present work is reminiscent of the static elegance seen in the figures of Giotto and of the Northern Italian schools, which are known to have inspired Foujita. The expressive treatment of the mother's hands in the present work echoes that of artists such as Carlo Crivelli (1435-1495), whose Madonnas cradled their child with exaggeratedly long hands, creating a cocoon for the child and emphasising the figure's protective role. Foujita was similarly inspired by the Italian Renaissance, during which the Virgin was typically painted in a more realistic manner to emphasise the idea that she was first and foremost a mother. The gracefulness of her body was emphasised, giving an impression of serenity and maternal softness to this image of devotion, as in Raphael's Madonna del Granduca. The forms are pure and simple, but the arabesques formed by the figure are strongly accentuated and the neck elongated.Yet Maternité is not devoid of modernity. Of mutual influence, the artists of the Montparnasse circle left a lasting impression upon each other. In the present work, one recalls the long and slender figures of Amedeo Modigliani, whose slim faces and almond eyes bear a strong resemblance to the mother in Maternité. One could also think of Constantin Brâncuși's style, his experimentation in modelling human form and his investigation into purity and cleanliness of line. Although it is more subtle, the influence of the Cubist revolution is also visible in Foujita's use of local colour, which focuses on the subject seen under a flat light with no adjustments for form with shadows or colours. Moreover, the present work is characteristic of Foujita's style from the 1920s onwards. It combines the fine black line reminiscent of the distinctive ink line of traditional Eastern paintings, with an absence of perspective and the sinuous line of traditional Japanese pictorial art. Foujita himself described this dialogue of influence and inspiration in the 1950s - 'My body grew up in Japan, but my painting grew up in France' - as he became a Japanese painter who joined the world of Western painters. His adoption of the name 'Léonard' when he was baptised, as a tribute to Leonardo Da Vinci, confirmed his debt to Italian primitive painting and to the Florentine and Sienese Madonnas of the 15th and 16th centuries. But Foujita remained true to this double culture and strove to blend them both in a style that would remain his. Indeed, regardless of the Western origin of the present subject, the Japanese calligraphic tradition is still evident in the precision and finesse of the l... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 75
EMILIO GRAU SALA (Barcelona, 1911 - 1977)."Pensive young woman", Paris, January 1937.Oil on canvas.Signed, dated and located in the lower right area and on the back.The frame is damaged.Size: 55 x 46 cm; 77 x 68 cm (frame).The feminine universe fascinated Grau Sala, and this fascination is translated into intimate scenes which, in spite of their familiarity, are located halfway between reality and reverie. Scenes such as the present one bear witness to this: the subdued colour dilutes lines and forms in a balanced, harmonious composition featuring a young woman waiting pensively at a bar counter. In this way an atmosphere of light and independent colour is constructed, nuanced by Grau Sala's highly personal textures, which play at confusing the space, awakening the viewer's imagination.Son of the draughtsman Juan Grau Miró, Grau Sala combined his attendance at the Barcelona School of Fine Arts with an essentially self-taught training. In 1930 he held his first exhibition at the Badriñas gallery in Barcelona. At the outbreak of the Civil War, in 1936, he moved to Paris, where he settled in the Montparnasse colony of Spanish artists. That same year he was awarded the first Carnegie Prize. During the twenty-five years he spent there he became closely acquainted with the avant-garde, although he always favoured a colourist figuration derived from Impressionism and Fauvism. It was a path already taken by the commercial circuit, surpassed in terms of novelty by Cubism and Surrealism, but which was kept alive at a high level thanks to masters such as Bonnard, Chagall and Dufy. In fact, he soon became known in Paris as the successor to the Impressionist spirit and values, directly related to Bonnard and Vuillard. Grau Sala's stylistic choice conditioned that of his wife, Ángeles Santos, who abandoned her singular surrealism for a more conventional landscape, a decision that critics did not hesitate to regret. The success of his style led Grau Sala to devote himself also to graphic work (engravings, lithographs, illustrations for novels, posters...), as well as theatre sets. The grace and finesse of his characters, the vivacity of the colours and the elegant atmosphere of the environments he depicted brought him great success and recognition all over the world. He held several solo exhibitions, mainly in Barcelona and Paris, but also in cities such as New York, Toulouse, London and Los Angeles. In 1963 he returned to Barcelona, when the stagnant figuration of Franco's Spain was beginning to be challenged by Oteiza, Chillida, Tàpies and the "El Paso" collective. However, he remained faithful to his style, and until his death in 1975 he worked in his own personal style, centred on his favourite themes, female figures, interiors and landscapes, in a vaguely classical, nostalgic 19th-century setting. After his death, and for more than a decade, Grau Sala was overshadowed by the many novelties that were emerging in democratic Spain, but from the 1990s onwards, the new boom in mid-level collecting revived Grau Sala, as he was seen as an interpreter of Impressionism in a Spanish key. Works by Emilio Grau Sala are kept in the Museo Nacional de Arte de Cataluña, the Museo de Arte Contemporáneo Esteban Vicente and the Instituto Óscar Domínguez de Arte y Cultura Contemporánea.
Lot 588
mark of Mappin & Webb, London 1972, of traditional form, the bowl engraved with the arms and motto of the London Stock Exchange, together with TO COMMEMORATE THE OPENING BY HM QUEEN ELIZABETH II OF THE NEW STOCK EXCHANGE 1972, gilded interior, conical stem decorated with applied alternate yellow metal bull and bear masks, simple pedestal foot, 15cm in height, 6.9ozt, presented in the original gilt tooled and crested fitted case, lined in cream satin and dark blued velvet together with the retailer's document certifying the piece as silver and 9ct gold, designed by Colin Hillier and limited edition number 311Condition report: Overall in good condition with no obvious sign of damage or repair. Some light surface scratches as to be expected. Hallmarks and engraving clear and crisp. Case in good condition.
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