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Swarovski - A boxed figurine from the Rare Encounters series, Mother Bear, with certificate.

A large Beswick polar bear figurine, impressed 417 to the base with printed factory marks, approximately 17 cm (h).

A large quantity of Teddy Bear ornaments.

Two Royal Crown Derby paperweights, Starlight hare and Debonaire bear in boxesPROVENANCE; A collection of Royal Crown Derby paperweights from a local deceased estate

Two Royal Crown Derby paperweights, Nanny goat and honey bear in original boxesPROVENANCE; A collection of Royal Crown Derby paperweights from a local deceased estate

Four Royal Crown Derby paperweights, Russian bear, Catnip kitten, Admiral Lord Nelson mini pub) and Derby RamPROVENANCE; A collection of Royal Crown Derby paperweights from a local deceased estate

Three Royal Crown Derby paperweights, cheetah cub, woodland squirrel, and drummer bear in boxesPROVENANCE; A collection of Royal Crown Derby paperweights from a local deceased estate

Late 19th century Black Forest carved tobacco jar music box formed as a seated bear, with hinged head and holding a honey pot, the base enclosing a Swiss musical mechanism 32cm highPROVENANCE; A collection of Black Forest carvings from a local deceased estateCondition Report: General wear and tear consistent with age and use.Split over one eyebrow.Repaired split down one side.One replacement tooth.

Late 19th century Black Forest bear nutcrackers

Late 19th/early20th century Black Forest group of a bear on his hind legs with two barrels, 25 cms widePROVENANCE; A collection of Black Forest carvings from a local deceased estate

Nine late 19th/early 20th century small Black Forest bear carvings various,PROVENANCE; A collection of Black Forest carvings from a local deceased estate

Late 19th/early 20th century carved bear, 20cms and two other carvings with bears PROVENANCE; A collection of Black Forest carvings from a local deceased estate

Late 19th/early 20th century Black Forest Bear stick stand, the standing on his back legs with a front paw extended, H90cm W33cm D42cm Approx.PROVENANCE; A collection of Black Forest carvings from a local deceased estateCondition Report: Stand in bears paws is roughly screwed in and has been repaired.Splits around base.Old worm damage.Metal dish in base is slightly out of shape.General wear and tear consistent with age and use.There is a hole in the top of the bears head, about 2.5cm wide and 1.5cm deep. We do not know what it is for.

Circa 1930s Jeanne Lanvin Brown Wool Hat, with shaped edges, attached hand written number '10359' to the label; Another Mounted with Feathers and Black Net, incorporating coloured feathers, and attached handwritten number '1200' to the label, both bear the mother and child label in black and gold; Circa 1940s Black Wool Hat with smocked detail to the front and bow to the crown (3)

Wedgwood - A collection of 12 glass paperweights / ornaments modelled as animals to include an Elephant, Frog, Duck, Hedgehog, Polar Bear, Dog, Birds, Rhino etc. Varying glass designs to each with each bearing Wedgwood marks to the bases. 

A small Steiff teddy bear.

GERHARD RICHTER (B. 1932)Ophelia 1998 signed and numbered 8/35 on a label affixed to the reverseCibachrome between Plexiglass and Alucobond plates 102 by 116.3 cm.40 3/16 by 45 13/16 in.This work was executed in 1998 and is number 8 from an edition of 35, plus 3 artist's proofs.Footnotes:ProvenanceAnthony d'Offay Gallery, London (A017916)Private Collection, ItalySale: Sotheby's, London, Bear Witness, 10 March 2015, Lot 103Acquired directly from the above by the present ownerExhibitedLondon, Anthony d'Offay Gallery, Gerhard Richter 1998, 1998, p. 21, illustrated in colour, another example exhibitedDallas, Dallas Museum of Art, Gerhard Richter in Dallas Collections, 2000, another example exhibitedStuttgart, Institut für Auslandsbeziehungen; Hanoi, National Art Museum; Moscow, National Centre of Contemporary Art; San Luis Potosí, Centro de las Artes; et al, Gerhard Richter: Survey, 2000-2013, p. 58, illustrated in colour, another example exhibitedFriedrichshafen, Kunstverein Friedrichshafen, Gerhard Richter: Editionen 1969-1998, 2001, another example exhibitedHouston, Museum of Fine Arts Houston, Contemporary Art and Photography: Spotlight on the Collection of the Museum of Fine Arts, Houston, 2001-2002, another example exhibitedCleveland, The Cleveland Museum of Art, Photography Transformed, 2002, p. 248, illustrated in colour, another example exhibitedBonn, Kunstmuseum Bonn; Lucerne, Kunstmuseum Luzern; Emden, Kunsthalle Emden; Tübingen, Kunsthalle; Salzburg, Museum der Moderne Salzburg, Gerhard Richter: Editions 1965-2004, 2004-2005, p. 245, no. 96, illustrated in colour, another example exhibited Düsseldorf, Galerie Schönewald und Beuse, Gerhard Richter: Selected Editions, 2008, another example exhibitedMunich, Galerie Leu, Gerhard Richter: Paintings and Editions, 2008, another example exhibitedDallas, Dallas Museum of Art, Two x Two x Ten: Celebrating Ten Years of Two by Two for Aids and Art, 2008-2009, another example exhibitedBerlin, Billirubin Gallery, Raw Material, 2009, another example exhibitedLeicester, New Walk Museum & Art Gallery, Gerhard Richter: Epoch (Artist Rooms), 2010-2011, another example exhibitedWeserburg, Museum für moderne Kunst, Bremen, Color in Flux: 20th Anniversary of the Weserburg, 2011-2012, another example exhibitedBerlin, me Collectors Room, Gerhard Richter: Editions 1965–2011, 2012, another example exhibitedTurin, Fondazione Sandretto Re Rebaudengo, Gerhard Richter: Editions from the Olbricht Collection 1965–2012, 2013, another example exhibitedAlbertinum, Galerie Neue Meister; Winterthur, Kunstmuseum Winterthur; Dresden, Staatliche Kunstsammlungen Dresden, Streifen und Glas, 2013-2014, p. 31, illustrated in colour, another example exhibitedMunich, Kunstbau München, Gerhard Richter: Atlas – Mikromega, 2013-2014, another example exhibitedLondon, Marian Goodman Gallery, Gerhard Richter, 2014, p. 7, illustrated in colour, another example exhibitedDüsseldorf, Setareh Gallery, Gerhard Richter: Selected Editions, 2016, another example exhibitedEssen, Folkwang Museum, Gerhard Richter: Die Editionen, 2017, another example exhibitedLiteratureHelmut Friedel and Robert Storr, Gerhard Richter; Rot, Gelb, Blau, Munich 2011, p. 116, another example illustrated in colourHubertus Butin, Stefan Gronert and Thomas Olbricht, Gerhard Richter: Editions 1965-2013, Ostfildern 2014, p. 267, another example illustrated in colourThis 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

NO RESERVE Binding.- Bible, English.- The Holy Bible, Vol.1 only, engraved frontispiece, occasional spotting, lightly browned, contemporary calf, gilt, richly gilt spine in compartments, spine ends and corners worn, rubbed and scuffed, 8vo, Edinburgh, Printed by Colin Macfarquhar, 1770. sold not subject to return. ⁂ The spine compartments bear a distinctive central tool, to which various identities have been proffered, including a bell, a bee-hive, and a mushroom or toadstool.

Cuvier (Georges).- Comte (J. Achille) Regne Animal... Disposé en Tableaux Methodiques, 1 vol., lacking title, 23 engraved plates, double page mounted on tabs, a few with small marginal tears, not affecting figures), some spotting and damp-staining, nineteenth century half calf, worn, [Nissen 938], folio, [J.] Halinbourg Foreign Bookseller, [c.1832]⁂ Plates present are those which, of the 90 in total, were printed in London, the vast majority being produced in Paris; they all bear the imprint of J. Hanilbourg at 32 Southampton Street, Strand. The categories represented are; 1 introduction, 7 mammal, 7 birds, 3 reptile, 5 fish. It is likely that as it was possible to purchase all the plates individually, these were bought in London and later bound together into this collection; under imprint price listed as 'Each plate Separate 2 S[hillings]'.

CRICKET YEARBOOKS - WARWICKSHIRE, a collection of Yearbook / Annual Reports, 1950 - 2009, (41) several missing years, two books, A Who's Who of Warwickshire CCC and The History of Warwickshire CCC, a season Annual 2017, three editions of John Edward Shilton's book and two VHS video's 'Year of the Bear and 'The Final Say'

A composite teething ring with silver heart shaped rattle marked 'Baby' - sold with another silver plated bear pattern similar

A TEDDY BEAR.

A Victorian cast iron money box, cast as a bear at a beehive, within a Gothic niche, 14cm high, Rd. No.502036, c.1890

A composite but matching four-piece silver tea/ coffee set Sheffield 1892 by James & William Deakin, the coffee biggin by another later hand. The half reeded oval section bodies bear a monogram. 46.8 ozt gross weight. 21 cm high the biggin

Medieval Pilgrims Badge. Circa, 15th century AD. Copper-alloy, 29.25 mm. An openwork pilgrims badge that depicts the Annunciation (the Angel Gabriel announcing to Mary she is to bear God's son). Mary is depicted to the left dressed in a long robe with her left arm raised to her chest, her right hand on a book that sits on a column to her front. Surrounding her head is a halo that is surmounted by a dove. To the right is the angle Gabriel facing left with furled wings projecting to the rear, he is shown holding a branch (messengers staff) in his left hand and resting his right hand on top of a column. The Annunciation scene itself is common on a variety of religious items. Lewis (2016: 28) describes the branch in the centre of the scene as a "lily pot". He reports a 15th century stone mould for these badges being found at Little Walsingham. Spencer(1998) suggests the Virgin is reading from Isaiah 7:14.

Fritz Eichenberg. – Poe, Edgar Allan: Schatten. Bayreuth: Bear Press 1987. 22,5 x 14,5 cm. Mit 3 OrHolzstichen von F. Eichenberg. Dunkelblaues OrKalbHldr. mit blindgepr. R.- und Deckeltitel in OrPp.-Schuber.Nr. 76 von 115 Ex. (GA 150). Handeinband von Werner G. Kießig. - 9. Druck der Bear Press Wolfram Benda. - Spindler 73,9.

Uwe Bremer. - Artmann, Hans Carl: Allerleirausch. Neue schöne Kinderreime. Bayreuth: Bear Press 2013. 28,6 x 18,9 cm. Mit 20 OrRadierungen von U. Bremer. 3 w. Bll., 65 SS., 1 nn. S., 4 w. Bll. Rotes OrLdr. mit Kupferplatte auf Vorderdeckel u. verg. Rt., Kopffarbschnitt. In OrSchuber.Nr. 8 von 20 Ex. der VA. mit zusätzlicher OrFarbradierung Bremers und Signatur des Künstlers im Impressum (GA 120). - 44. Druck der Bear Press Wolfram Benda. - Im Vorsatz OrBleistiftzeichnung und eigenhändige Widmung m. U. von Uwe Bremer an Werner Floss, dat. 1. Nov. 2015.

Karl-Georg Hirsch. - Ehrenstein, Albert: Tubutsch. Bayreuth: Bear Press 2003. 26 x 16,5 cm. Mit 9 zweifarbigen OrAcrylstichen und einem gesondert abgezogenen und handkol. num. und sign. OrAcrylstich von K.-G. Hirsch. 55 SS., 1 nn. S. Gelbes OrOasenziegenleder mit schwarzgepr. Rt. und Deckelvign. in OrPp.-Schuber.Nr. 22 von 25 Ex. der VA mit zusätzlichem kol. Acrylstich (GA 150), im Druckvermerk vom Künstler signiert. - 27. Druck der Bear Press Wolfram Benda. - Kästner A 141 b. Beiliegt Schreiben v. W. Benda an Werner Floss.

Hubert Sommerauer. - Stevenson, Robert Louis: Markheim. Bayreuth: Bear Press 1993. 19 x 12,3 cm. Mit 15 OrRadierungen von H. Sommerauer. Schwarzes blindgepr. OrKalbsldr. mit goldgepr. R.- und Deckeltitel, in Pappschuber.Nr. 63 von 113 Ex. (GA 150), im Druckvermerk vom Künstler signiert. Handeinband von Werner Kießig. - 16. Druck der Bear Press Wolfram Benda.

Karl-Georg Hirsch. - Keller, Gottfried: Der Schmied seines Glücks. Bayreuth: Bear Press 2009. 25 x 15 cm. Mit 17 OrHolzstichen und einem gesondert abgezogenen und handkol. sign. OrHolzstich von K.-G. Hirsch. 59 SS., 1 nn. S. Eisgraues OrOasenziegenldr. mit goldgepr. Rt. und Deckelschild in OrSchuber.Nr. 13 v. 25 Ex. der VA mit zusätzlichem kol. OrHolzstich (GA 150), im Druckvermerk von Künstler signiert. - 36. Druck der Bear Press Wolfram Benda.

Rolf Münzner. - Jean Paul: Die wunderbare Gesellschaft in der Neujahrsnacht. Bayreuth: Bear Press 2008. 24,7 x 14,5 cm. Mit 6 OrSchablithogr. von R. Münzner. 3 w. Bll., 44 SS., 1 Bl., 2 w. Bll. OrHPgt. mit schwarzgepr. Rt. und 2 Deckelvign., in OrSchuber.Nr. 74 von 113 Ex. (GA 150), im Druckvermerk vom Künstler signiert. - 39. Druck der Bear Press Wolfram Benda.

Uwe Bremer. - Artmann, Hans Carl: Gesänge der Hämmer. Bayreuth: Bear Press 1992. 27,7 x 18,5 cm. Mit doppelblattgroßer OrFarbradierung als Titel sowie 14 OrHolzschnitten und 14 Initialen von U. Bremer. 4 w. Bll., 52 SS., 1 Bl. (Impressum), 3 w. Bll. Braunes OrLdr. m. gepr. Deckelillustr. u. blindgepr. Rt., gesprenkeltem Kopfgoldschnitt; gebunden von Werner G. Kießig, Berlin. In grauem OrSchuber. Nr. 98 v. 150 Ex., von Autor und Illustrator signiert. - 15. Druck der Bear Press Wolfram Benda.

Hans Fronius. – Schwob, Marcel: Lebensbilder. Bayreuth: Bear Press 1984. 25 x 16,5 cm. Mit 7 OrKaltnadelradierungen von Hans Fronius. 97 SS., 3 nn. SS. OrHLdr. mit goldgepr. Rt., Rv. und blindgepr. Deckelbezug in Pappschuber.Nr. 63 v. 75 Ex., im Druckvermerk vom Künstler signiert. - 5. Druck der Bear Press. - Gedruckt von Poeschel & Schulz-Schomburgk in der Garamond-Antiqua auf Torinoko Kozu-Japanpapier. - Handeinband von Ernst Ammering. - Exlibris im Innendeckel.

A Steiff 'Teddys Elephant', blonde, boxed with Steiff gold button to the ear. H.25cm (bear)

TIGHE (MARY)Manuscript notebook titled 'Sonnets', on the first leaf, containing some 140 poems, written in ink in a fine closely written hand, including poems from 'Verses Transcribed for H.T.' and later works, beginning with 'Composed on the White Sands near Arklow', 'Written at Scarborough 1799', 'Written in Autumn 1795', 'Written in the Church yard at Malvern', 'Addressed to the Ladies of Llangollen Vale', 'Written for Angela 1802', 'The Vartree', 'A Faithfull Friend is the Medicine of Life', 'To the Memory of Margaret Tighe', 'Verses written in Solitude', her long ballads 'Cluen – An Elegy' and 'Bryan Byrne of Glenmalure' and ending with translations from Horace, Catullus and Petrarch, etc., with numerous amendments and additions, index, inscribed in pencil on flyleaf in another hand 'from The Library/ Rosanagh/ Co. Wicklow' with light pencil markings throughout, 396 numbered pages, one extra half leaf tipped in, bookplate of Henry Tighe, marbled endpapers, contemporary red straight-grained morocco gilt, rubbed, small nick in spine, upper cover soiled at corner, g.e., 16mo (118 x 94mm.), [n.p.], c.1806Footnotes:'OH THOU! WHOM NE'ER MY CONSTANT HEART/ ONE MOMENT HATH FORGOT/ THO' FATE SEVERE HAS BID US PART/ YET STILL FORGET ME NOT': A rediscovered notebook from the poet who inspired Keats.Irish poet Mary Tighe (1772-1810) '...was a crucial force in shaping British Romanticism. With remarkable vitality and virtuosity, her poetry engaged the central issues of the period, often in advance of writers now considered canonical, and commanded the attention and respect of her contemporaries....These poems demonstrate the technical virtuosity with which Tighe movingly wrote about the tensions between love and loss, duty and desire, the spiritual and the sensuous, loyalty and betrayal, nation and family, the Irish and the British, and much more, while struggling with debilitating illness...' (Paula R. Feldman & Brian C. Cooney, The Collected Poetry of Mary Tighe, 2016, p.1). The majority of the poems in our volume are included in 'Verses Transcribed for H.T.', an illustrated manuscript in two volumes dedicated and presented to her husband (and cousin) Henry Tighe, now held in the National Library of Ireland as part of the Hamilton of Hamworth Papers (MS 49, 155/2). These volumes were copied out by the poet sometime between 1803 and June 1808 and incorporate fair copies of her poems written at Brompton, London, where she spent the winter of 1804 to the summer of 1805 with beautifully drawn calligraphic headings and pen and ink vignettes. This manuscript is seen, until now, as the most authoritative text for most of Tighe's shorter poems: 'She carefully chose their arrangement; for example, she grouped all of her sonnets together, and she did not use strict chronology. Some of her extant poems were absent, but these omissions may have been a result of her not having them immediately at hand... Poems composed very late in her life are also not included...' (Feldman & Cooney, p.17). It may be that she used our volume as a source for the 'Verses' and, rather than the poems being not available to her, she made the editorial decision to leave them out.Much of the content tallies with that of the 'Verses' but with notable differences in the order. The first thirty or so poems follow the same order as the 'Sonnets' section of Volume I but 'Written on the acquittal of Hardy' is included before 'Addressed to the Ladies of Llangollen Vale', thus causing a change to the numbering. In the final version of 'Verses' she moves the Hardy poem to Volume II. Whilst the 'Verses' include 113 poems, our manuscript has around 140, and includes additional material from what bibliographers Feldman and Cooney call her 'Late Poems & Fugitive Verse', such as 'Eclipse', 'In Memory of Margaret Tighe taken from us June 7th 1804' and 'Verses written in Solitude'. She ends our manuscript by showing off her extensive classical education encouraged by her mother Theodosia Tighe (Methodist leader, friend of John Wesley, and co-founder of the Dublin House of Refuge) with translations from Horace, Catullus and Petrarch. The Tighes were living in times of great upheaval in Ireland and much of her work is highly political – included here her long ballad 'Bryan Byrne' which was based on real people and events.Our manuscript appears to be a working document with many amendments and neat crossings out – a half leaf with three additional verses has been bound into the poem 'Bryan Byrne' for example. In several places the poet has made corrections to our manuscript which made their way into the finished NLI manuscript (in 'Adorea' she replaces 'soothed and enraptured' with 'soothed or enraptured' for example – and in 'Pleasure', her note on the Senegal River has been much amended). In addition, some poems are lacking the titles that would be included in the final version. There would thus seem to be new material here which would bear much further research.Tighe published only one work in her lifetime, Psyche; or, the Legend of Love, which was put out in a private edition of fifty copies for the benefit of family and friends in 1805. However, whilst having many admirers amongst her literary circle (including Thomas Moore, Joseph Cooper Walker and the Ladies of Llangollen) it was the posthumous publication of Psyche, with Other Poems, in 1811 and in several later editions, that made her name widely known and established her literary reputation. Whilst she became to be seen as '...an exemplar of patiently (and picturesquely) long-suffering femininity...' (Pam Perkins, ODNB), Tighe's work was an influence on several better-known writers such as John Keats, Lord Byron, Charlotte Brontë and Felicia Hemans. After a hiatus in the twentieth century, her poems are once again enjoying recognition and it was only recently, in 2012, that her novel Selena was finally published for the first time. Tighe is now 'recognised as a great romantic-era woman poet of the sublime, who offered a complex, sophisticated, and aesthetically rich portrait of female sense and sensibility in her work' (Harriet Kramer Linkin, DIB). There is no volume matching the description of ours listed in the definitive Bibliography of Manuscript Sources in the latest Collected Poetry, so it could therefore be supposed that ours is a hitherto unknown, or at least rediscovered manuscript. The National Library of Ireland, Dublin holds the greater proportion of her extant manuscript works in the form of notebooks and fair copies of her poems, including 'Verses Transcribed for H.T.'. The family destroyed her journals after her death, but other manuscript material can be found in various commonplace books held elsewhere. Provenance: Henry Tighe (1771-1836) of Rosanna, Co. Wicklow (bookplate); thence by descent to the present owner.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

AUSTEN (JANE)Autograph letter signed ('Yours affec.ey/ J. Austen') to 'My Dear Anna [Lefroy]', informing her niece that 'Your Grandmama is very much obliged to you for the turkey, but cannot help grieving that you should not keep it for yourselves. Such High-mindedness is almost more than she can bear. She will be very glad of better weather that she may see you again, & so we shall all', one page, written in brown ink on a bifolium watermarked [Ga]ter [18]15, small stain in top right corner, folded and addressed on reverse to 'Mrs B. Lefroy/ Wyards' (panel above cut away), contained in envelope inscribed 'Autograph of Jane Austen' and with blue Lefroy family crest incorporating motto 'Mutare sperno' stamped on flap, 24mo (111 x 94mm.) [Chawton], Thursday [December? 1816]Footnotes:'YOUR GRANDMAMA IS VERY MUCH OBLIGED TO YOU FOR THE TURKEY': A REDISCOVERED JANE AUSTEN LETTER WRITTEN AT THE TIME OF HER LAST CHRISTMAS.Anna Austen Lefroy (Jane Anna Elizabeth Austen, 1793-1872), the author's niece, was the daughter of Jane's brother James, and his first wife Anne Mathew. As a child she was very close to her aunt, and after her mother's death she stayed with Jane for two years at Steventon, before her father remarried. Anna married Benjamin Lefroy in 1814 and the following August the couple moved to Wyards, a farmhouse a mile from Chawton. Anna and Jane were frequent correspondents throughout the author's life and the letters they exchanged are often very revealing. Anna also became an important contributor to the Austen life story through the so-called Lefroy MS.Despite the support and encouragement of her aunt, Anna's own literary ambitions remained largely frustrated. But she did contribute to a continuation of an early Austen story called Evelyn, as well as the author's unfinished Sanditon, the manuscript of which she inherited. Although she never managed to complete the novel she was writing, the progress of which she shared with her aunt, Anna did publish two children's books, The Winter's Tale: To Which is Added Little Bertram's Dream (1841) and Springtide (1842). An anonymous story called Mary Hamilton, written by 'A Niece of the late Miss Austen' and published in a periodical in 1834, has also been attributed to her (see https://jasna.org/persuasions/printed/number19/sabor-james-cavan.pdf).'Grandmama', the grateful recipient of the turkey, is Jane's mother and Anna's grandmother, Cassandra Austen (1739-1827), who was living at Chawton with her daughters and was to survive Jane by some ten years despite her own ill health. The year before Jane had spent Christmas sending out presentation copies of Emma, but by the autumn of 1816 she was visibly unwell with what is now thought to have been Addison's Disease. Although she made little of her illness to her friends, and sacrificed her own needs for comfort to those of her mother, she did talk to her sister Cassandra of her backaches, nausea and tiredness. Few letters from that period are known (or were perhaps written), but on December 16, her birthday, she wrote at length to her brother Edward, barely mentioning her own situation. Apart from the present letter, only a New Year note survives from that Christmas of 1816, which was to be Jane's last. In January 1817 she recovered sufficiently to start work on Sanditon, but by the end of March she had stopped writing, was moved to Winchester in May, and on 18 July she died.Our letter is on paper watermarked [Ga]ter [18]15, from the Hampshire firm of John and William Gater, Up Mills, West End, South Stoneham. The Morgan Library has several Jane Austen letters on Gater's paper, one to Cassandra from the same period, 8 January 1817, the remainder from 1808-1809. This, along with the fact that Anna Lefroy moved to Wyards in 1815 and that Jane was in London rather than Chawton that December, helps to confirm that our letter was written the following Christmas.The text of the letter was first published by R.W. Chapman in Jane Austen's Letters to her Cassandra and Others, OUP, 1932 & 1952 (no. 185), and was taken from a copy in the possession of Miss Mary Isabella Lefroy, Anna's grand-daughter, who donated the manuscript of Sanditon to King's College, Cambridge. Chapman describes the version he saw thus: 'Copy by Anna Lefroy (on paper with watermark dated 1854), who adds: 'This note was written the winter of 1816 & the original is in the possession of W. Chambers Lefroy the Grandson of the Receiver''.Dierdre Le Faye (Jane Austen's Letters, OUP, 2011, no. 147(C) and note on p.461) still found the 'original MS untraced', and records the copy and the comment as being by Anna's daughter Fanny-Caroline Lefroy, made in her mother's volume of family history notes, the Lefroy MS. It was also transcribed in Fanny-Caroline Lefroy's own family history manuscript. The original autograph letter offered here was rediscovered last year in a box containing papers of a descendant of the Lefroy family.Provenance: Anna Lefroy; and thence by decent to the present owner.For further information on this lot please visit Bonhams.com

CARLE (ERIC)Original collage of a large standing bear, coloured hand-painted papers, heightened with black pen, pencil and some watercolour, on pasteboard ('Bainbridge Board... Charles T. Bainbridge's Sons Inc., Edison, N.J.'), signed 'Eric Carle' lower right in black ink, and inscribed 'Grrr...[upper right] for Bill with best wishes' [lower right], window-mounted, framed and glazed, 335 x 245mm., [undated]Footnotes:Fine large illustration of a bear executed in collage of coloured papers, and inks by Eric Carle (1929-2021), best known for his Very Hungary Caterpillar and other children's books.Provenance: William Noce ('Bill', 1956-2020), gift from the artist; by whom given to the vendor.For further information on this lot please visit Bonhams.com

Masonic Interest - Antique Mid 19th Century Sunderland Lustre Jug, Masonic Design 'Sailors Farewell' Large Hand Painted Jug decorated with Masonic symbols, and the legend 'Christ is my pilot - wise, my compass is his word, each storm my soul defies, while I have such a Lord. And when the trying time is o'er, and thou my comforts dost restore, I'll to the praise of God declare, what grace enables man to bear. Finished with decoration of lustre pink. Measures 8" tall x 10" wide. Couple of chips to top and spout and chip to base.

Royal Crown Derby Models including; playful otter, savannah leopard, and grizzly bear (3)Condition report: All in good condition

A collection of pewter silver scenes ornaments, brooches and pairs of ear pendants to include a Rupert Bear Bill Badger box, and a silver plated Rupert Bear spoon, a frog and lily pad letter opener, and other items, along with wall hanging spoon racksLocation: 2.5

Royal Humane Society, small bronze medal (successful) (Robert J. Adcock, 15th January, 1887.) lacking brooch buckle, extremely fine £100-£140 --- R.H.S. Case No. 23,394: ‘Robert J. Adcock, Clerk, 25, and Rev. J. C. Longe, 27, rescued Henry Gates, farmers son, 13, from Wroxham Broad, Norfolk, on 15 January 1887. Gates broke through a thin part of the ice into 10 feet of water 50 yards from shore. The two gentlemen seized a ladder and rope and skated to the boy’s rescue but found that the ice would not bear the ladder. Mr Adcock plunged into the water and supported the boy while Mr Longe tried to get the ladder near enough. Finding he could not manage this he kept hold of the ladder and followed the others into the water, by means of the rope they were then hauled to where the ice was thick, when they were all pulled out.’

Memorial Plaque (Guy Richard Worstenholme Dickinson) good very fine £80-£100 --- Guy Richard Worstenholme Dickinson was born in Harrogate, Yorkshire, on 31 August 1878 and having emigrated to Canada attested for the Canadian Overseas Expeditionary Force at Vernon, British Columbia, on 15 July 1915. He served with the 27th Battalion, Canadian Infantry (Manitobia Regiment) during the Great War on the Western Front from 9 April 1916, and was killed in action at Passchendaele on 6 November 1917. He has no known grave and is commemorated on the Ypres (Menin Gate) Memorial, Belgium. For his gallantry on the same date, Private J. P. Robertson, also of the 27th Canadian Infantry, was awarded the Victoria Cross (London Gazette 8 January 1918): ‘For most conspicuous bravery and outstanding devotion to duty in attack. When his platoon was held up by uncut wire and a machine gun causing many casualties, Private Robertson dashed to an opening on the flank, rushed the machine gun and, after a desperate struggle with the crew, killed four and then turned the gun on the remainder, who, overcome by the fierceness of his onslaught, were running towards their own lines. His gallant work enabled the platoon to advance. He inflicted many more casualties among the enemy, and then carrying the captured machine gun, he led his platoon to the final objective. He there selected an excellent position and got the gun into action, firing on the retreating enemy who by this time were quite demoralised by the fire brought to bear on them. During the consolidation Private Robertson’s most determined use of the machine gun kept down the fire of the enemy snipers; his courage and his coolness cheered his comrades and inspired them to the finest efforts. Later, when two of our snipers were badly wounded in front of our trench, he went out and carried one of them in under very severe fire. He was killed just as he returned with the second man.’ Sold with copied research.

An ‘Edwardian’ M.V.O. group of three awarded to Engineer Captain A. J. Nye, Royal Navy, who served in the Royal Yacht Victoria and Albert from 1903-09, and who recorded his service in the Royal Yacht in a remarkable photograph album The Royal Victorian Order, M.V.O., Member’s 4th Class breast badge, silver-gilt and enamel, the reverse officially numbered ‘285’, in Collingwood, London, case of issue, the case similarly officially numbered ‘4 285’; Russia, Empire, Order of St. Stanislas, Civil Division, Second Class neck badge, 48mm, gold (56 zolotniki) and enamel, maker’s mark and gold marks to reverse and suspension ring, with short section of neck riband, in embossed case of issue; Norway, Kingdom, Coronation Medal 1906, silver, minor white enamel chipping and restoration work to MVO, otherwise good very fine; the foreign awards about extremely fine (3) £1,400-£1,800 --- M.V.O. London Gazette 30 December 1904: Engineer Commander Alfred John Nye, R.N., of His Majesty’s yacht “Victoria and Albert”. Alfred John Nye was born on 3 September 1855 and was appointed Assistant Engineer in H.M.S. Asia on 1 July 1877. He was advanced Engineer on 1 March 1883, and joined the Royal Yacht Osborne on 12 January 1884. Returning to ships of the line on 12 January 1889, he was advanced Chief Engineer on 7 June 1890; Staff Engineer on 7 June 1894; and Fleet Engineer on 7 June 1898. He was promoted Engineer Commander on 1 April 1903, and served in the Royal Yacht Victoria and Albert from 13 May 1903. Transferring to the retired list with the rank of Engineer Captain on 17 June 1908, he was permitted to remain in Victoria and Albert in this rank until the end of the year in order to complete the yachting season. He finally retired on 7 December 1908, and died on 11 August 1932. For his services in the Royal Yacht, Nye was appointed a Member Fourth Class of the Royal Victorian Order in the 1905 New Year’s Honours’ list, and also received the Russian Order of St. Stanislas Second Class, and the Norwegian Coronation Medal. Sold together with the following archive: i) A remarkable Edwardian photograph album compiled by the recipient whilst serving aboard the Royal Yacht, quarter bound in leather board covers, the spine gilt blocked ‘Engineer Captain A. J. Nye, M.V.O., R.N.’ Photographs include: Group photographs of the Gun Room Officers, H.M.S. Aboukir, dated 1902; Officers Smoking Circle, H.M.S. Aboukir; Several photographs of the officers on deck, H.M. Royal Yacht Victoria and Albert; the Officers, H.M.S. Aboukir, 1902; Internal photographs of the Royal Yacht Victoria and Albert including the King’s bedroom; photograph of the ‘King’s Coffee Maker’ in middle eastern garb; the wheel and compasses and silver bell of the Royal Yacht Victoria and Albert; the pet Bear of H.M.S. Aboukir, together with several photographs of places visited by H.M.S. Aboukir circa 1902, including Gibraltar and Cyprus; holiday photographs of a similar era taken in Pembrokeshire, of Tenby, Carew Castle, Picton Castle, Freshwater, Broadhaven, St. Govan’s Chapel, Manorbier Castle, and others; photographs of Brecon and district; several photographs of the Royal Yacht Victoria and Albert, including in Norway and passing through the Kiel Canal; the officers and crew, including the Emperor of Germany, H.M. King Edward VII and Queen Alexandra; several photographs of Captain Nye, in uniform on board the Royal Yacht; several panoramic photographs stated by marginal notes to have been taken by H.M. The Queen Alexandra and Princess Victoria, in Norway; several photographs of H.M. King Edward VII, and Queen Alexandra visiting Algiers; other photographs of personalities visiting the Royal Yacht, including Miss Charlotte Knollys, Lord Salisbury, Admiral Milne, General Brocklehurst, H.M. the King and Queen of Norway, Princess Victoria, Lord Farquhar. In all over 160 photographs all pasted into a luxury bound album, some yellowing to pages, annotated by hand throughout, with some later additions, photographs very good, the album with tight binding, and a remarkable photographic record. ii) The recipient’s Bestowal Document for the Royal Victorian Order, together with Privy Purse Office enclosure iii) Bestowal Document for the Russian Order of St. Stanislas, together with Admiralty enclosure, dated 20 March 1909, and Buckingham Palace Private Permission to Wear Document, dated November 1910 iv) Buckingham Palace Private Permission to Wear Document for the Norwegian Coronation Medal, dated January 1911 v) Various invitations and musical programmes to Banquets, both aboard the Royal Yacht Victoria and Albert and on shore vi) Various postcards and photographs; and copied research.

A Rosenthal figure of a seated elephant; a Goebels elephant; a figure of a polar bear; two Lladro figures and pottery clown by Elizabeth Haslam

In the manner of John Frederick Herring Junior (1815-1907), a stable with a saddled chestnut pony and another, with two chickens and a cockerel in the foreground and a byre scene with two cows, a ewe, a ram and ducks, both bear a signature lower right, oil on canvas, 41cm x 41cm, each framed as tondo, a pair, frames 54cm x 54cm and with minor/superficial chips (2)Condition report: Not re-lined. No obvious signs of restoration.Frames - minor chips and gilding rubbed.

A Black Forest carved wood figure of a bear, late 19th centuryModelled standing four square with mouth agape, 25cm long.

Soft toys and games, to include Rupert The Bear friction drive scooter, tin plate clockwork bus, shove halfpenny board, Basil Brush soft toy, etc. (1 box)

An early 20thC growler Teddy Bear, with beaded eyes and stitched snout, 61cm high. (AF)

A Merrythought Teddy Bear made Exclusively for Harrods, mohair, with wool felt feet.

Soft toys, comprising a Merrythought Harrods Millennium bear, a Hermann monkey and a Chiltern Teddy Bear on tricycle. (3)

Lledo The Rupert Collection die cast vehicles, including 1920's Model T Ford van, Rupert Bear, 1937 Scammel six wheeler, etc. (33)

A Gund 1996 collector's bear and a Merrythought bear. (2)

ATTRIBUTED TO CHRISTIAN HEUSER (1860-1942) The Pipe-Smoker and Contentment, both bear signatures, mixed media on panel, 6 1/2 x 4 1/2in; two (2)

Charlie Bears CB614862 Hubble teddy bear, from the 2011 Charlie Bears Plush Collection, designed by Isabelle Lee, 43cm high with tags and protective bag, Limited Edition No.2,138 of 3,000

Steiff (Germany) EAN 671135 German Tourist teddy bear, trademark Steiff button to ear with red and white tag, 22cm high, unboxed, No.00270

Juvenalia and Memories of Childhood, Paddington Bear ? a 1970?s Hestair Product Paddington?s writing set, code SS 544, in the form of a faux foldout suitcase containing various accessories; a 1990?s Eden Gift miniature Paddington Bear, wearing his trademark red hat, blue duffel coat and red wellington boots, cm high with tags, displayed in a miniature gift bag

A Black Forest novelty tobacco jar and smoking companion, carved as a bear supporting a brass dish, 15cm wide, early 20th century

Boxes and Objects - a carved Black Forest bear; a pair of Lieberman & Gortz binoculars; a Bortner's Railway Time pocket watch; a combination vesta and stamp case, Isle of Man; a Boosey & Hawkes wooden recorder; tobacco pipes; Kodak Brownie camera, etc, qty

A Black Forest novelty carving, of a bear holding a brass bowl, 10.5cm high, early 20th century

A COLLECTION OF ASSORTED FRAMED AND GLAZED PRINTS TO INCLUDE TWO SIGNED LIMITED EDITION DEBORAH JONES TEDDY BEAR PRINTS, SIGNED DOROTHEA HYDE PRINT ETC. (6)