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Lot 3121
GEORGE GRANT MACDONALD AN ELIZABETH II SILVER ROSE BOWL, London 1984, the circular bowl with gilt overlapping ribbon style band. 17.3 troy ounces, 19.5cm diameter Note: George Grant Macdonald studied silversmithing at the Central School of Arts and Crafts and Sir John Cass School of Art. In 1976 he acquired Bear Lane workshop in Southwark from Gerald Benney. The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Date letter slightly rubbed but legible. Lid fits well. Some minor surface scratches but generally in good condition.
Lot 460
Steiff - A boxed limited edition Steiff Rupert The Bear ornament # 653537, white tag, approximately 12 cm.The box has slightly worn edges and some small creases from being opened. The bear appears to look like new, one small slight mark to the right shoe which looks to be made during manufacture
Lot 475
Steiff, Other - An unboxed Steiff 'Blue Whale' #047350. The baby whale measures approximately 15cms in length, has Steiff button on yellow label 04730 on fin, with swing tags, and appears in Excellent condition. The lot is accompanied by a small jointed bear, machine stitched, with one eye and horizontal stitched nose, measuring approximately 15cms in height, and appears to be in Fair Plus condition with signs of play.
Lot 492
JK Farnell - An unmarked vintage mohair teddy bear believed to be by JK Farnell circa 1950. The jointed bear measures approximately 35 cms in height, has a square black vertically stitched nose on shaven muzzle, a hump to the back, with glass eyes. The straw filled bear has worn leather pads, and wears a navy style dress. The bear appears to be in Good overall condition with balding
Lot 530
Alberon - Two boxed porcelain collectors dolls by Alberon. Lot consists of 'Haxel' in teddy bear dress with teddy bear on stand 48cms (H); and 'Lady Helena' on dusty stand 51cms (H). Dolls appear to be in Excellent - Mint condition in Very Good boxes with some minor imperfections. Measurements are approximations (2) (Location: Upper Stock Room)
Lot 1
A VERY LARGE CLOISONNE HU, MING DYNASTYChina, 16th-17th century. The pear-shaped vase is finely enameled around the globular body, shoulder and neck with registers of large lotus blooms borne on leafy meandering scrolls, all supported on a tall, splayed foot similarly decorated. The shoulders are applied with a pair of enameled Taotie mask handles suspending flattened, loose rings that bear enameled decorations as well. Provenance: From the collection of a New York Connoisseur, and thence by descent within the same family. By repute acquired ca. 1960. Condition: The bronze lip, ring, edges and foot rim show old wear, some dents and warpings. The base plate inside the foot may have been re-attached some time ago. The enamels show firing flaws such as crazing and pitting, common to this type of ware. Some minor nicks, cracks and small chipping here and there, commensurate with age. ATTENTION: Some of the color variations to the blue background that may look like old fillings are in fact part of the original enameling. The general condition of the enamels is fully original, with no restoration or repairs whatsoever, checked thoroughly under a strong blue light. In general, the condition is good, especially when considering the high age of this massive vessel.Weight: 8.9 kg Dimensions: 53 cm Auction result comparison: Compare with a closely related Hu of 59 cm, dating from the 16th-17th century, at Sotheby’s New York in Important Chinese Art, 12 September 2018, lot 308, bought in at an estimate of USD 50,000-70,000.明代銅胎掐絲琺琅纏枝蓮紋獸耳壺 中國，十六至十七世紀。梨形壺，球形壺身精美的琺瑯，纏枝蓮花，高圈足。 壺肩上饕餮耳雙環。 來源：紐約一位藝術鑒賞傢的收藏，保存在同一家族。據説購於1960年代。 品相：青銅的唇沿、邊緣和圈足可見舊時磨損，有一些凹痕和翹曲。 底足底板可能之前重新安裝過。琺琅顯示出這類產品常見的燒制缺陷，例如開裂和凹痕。隨年齡的增長，一些小刻痕、裂縫和小磕損隨處可見。注意：藍色琺琅地的某些顏色變化看起來像是舊填充物，實際上是原始琺琅的一部分。 瓷釉的狀況完全是原始的，在強烈的藍光下進行了徹底檢查，沒有任何修復或修理。 狀況良好，尤其是考慮到這類大型器皿的年代。 重量：8.9 公斤 尺寸：53 厘米 拍賣結果比較：一件相近的59厘米高的壺，斷代為十六至十七世紀，可見于紐約蘇富比Important Chinese Art拍場，2018年9月12日，lot 308，估價為 USD 50,000-70,000.
Lot 137
A LARGE PAINTED POTTERY BACTRIAN CAMEL WITH RIDER, TANG DYNASTYChina, 618-907. The two-hump camel standing foursquare on a rectangular base, neck raised and mouth slightly open to reveal tongue and teeth above the hairy beard, the bearded Turk or Sogdian rider wearing a distinctive pointed hat and seated in a relaxed posture with his right arm raised to goad the camel, the other hand originally holding the reins.Provenance: German private collection. Galerie Zacke, Vienna, 3 December 2002. Dr. Mons Fischer, acquired from the above. A copy of the original invoice from Galerie Zacke, Vienna, dated to 3 December 2002, accompanies this lot. A seasoned private collector of modern and contemporary art, Dr. Mons Fischer has also acquired fine Chinese works of art since the 1980s, eventually building one of the most important collections of its kind in Austria.Condition: Some repair and touchups as generally expected from Tang dynasty excavations. Losses, fissures, and encrustations. Extensive wear to pigments. Drilled holes from sample-taking. Overall, very good condition.Scientific analysis report: A thermoluminescence report issued by Oxford Authentication on 11 February 2020, based on sample no. C120a58, sets the firing date of all three samples taken at 1000 – 1600 years ago. A copy of the report, issued by Oxford Authentication, accompanies this lot.Weight: 5.0 kgDimensions: Height 59.5 cmThe Tang dynasty is undoubtedly one of the most artistically exciting periods in China's long history. The arts are characterized by their diversity, cosmopolitan nature of their design, and by the high technical skill employed in their manufacture as the present pottery example amply demonstrates. In the first half of this dynasty, up to the An Lushan rebellion of 756, the level of luxury enjoyed by the court and the Tang elite ensured the production of a wide range of goods of the highest quality. China prospered as a result of trade with the west along the famous Silk Road, and camels became increasingly important for the transport of wares, since these impressive animals could carry heavy loads over long distances, surviving several days without water. As their large and broad feet did not sink easily into the sand, they became known as ‘the ships of the desert’. Many camels were imported from the states of the Tarim basin, Eastern Turkmenistan, and Mongolia, and are known as Bactrian camels. The Tang civil servants created a special office to supervise their breeding and services. It seems that no pottery examples showing Chinese riders have yet been excavated. Perhaps only these Central Asian foreigners were able to tame and guide the camels.Handsome, imposing and exotic camels such as the present lot are of great scholarly importance as well as being highly decorative. Much of the evidence of Tang dynasty life comes from archaeological pieces from tomb excavations which bear witness to fear of death as well as a desire to recreate the lifestyle and comforts experienced in this life. Impressive beasts such as this camel, as well as horses and other figures including attendants, officials and servants, were therefore required to accompany the deceased on his journey in the afterlife. Examples of Tang dynasty camels, both unglazed and with sancai glaze, are in important museum collections including the British Museum, Musee Guimet, and the Metropolitan Museum of Art.Literature comparison: For a comparable figure of a camel with Central Asian rider see Hao Qian, et al., Out of China's Earth: Archaeological Discoveries in the People's Republic of China, Beijing 1981, fig.241. For another related group of gray pottery camels excavated from the tomb of Dugu Sijing, dated AD 709, see Tang Chang'an chengjiao Sui Tang mu (Excavation of the Sui and Tang Tombs at Xi'an), Bejing, 1980, pls.65, 70-71.Auction result comparison: A closely related but slightly larger (68 cm high) camel and rider were sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 25 April 2020, lot 255, sold for EUR 24,940. Compare also with a related but slightly larger (66 cm high) camel and rider at Christie’s New York in The Art of China on 20-27 September 2017, lot 38, sold for USD 25,000.唐代大型彩繪胡人騎駝陶俑中國, 618-907年。雙峰四足前後錯落站立在菱形托板上，昂首引頸，作嘶鳴狀。駝背上坐一胡人，深目高鼻，絡腮鬍。頭戴尖帽，身著翻領、窄袖、開胯、過膝的胡服。手扶駱駝前肉峰。 來源：德國私人收藏。維也納 Zacke藝廊, 2002年12月3日。 Mons Fischer博士購於上述藝廊。隨附發票副本。Mons Fischer博士是一位經驗豐富的現代和當代藝術私人收藏家，從1980年代開始收藏中國藝術品，最終成爲奧地利中國藝術品重要收藏之一。 圖片：Dr. Mons Fischer 和他的妻子 品相：唐朝出土物品預期的一些維修。缺損、裂縫和結殼。顏料大量磨損。 因檢測樣品採集鑽孔。 總體而言，狀況良好。 科學檢測報告: 隨附一份2020年2月11日出具的牛津熱釋光檢測報告副本， 采樣編號C120a58。檢測結果表明拍品為1000-1600年前所制。 重量：5.0 公斤 尺寸：高59.5 厘米 唐朝無疑是中國歷史長河上最令人激動的藝術時期之一。如本拍品實例充分表現的那樣，藝術的特徵在於多樣性、設計的國際化以及其製造中採用的高技術。從唐初到756年的安祿山叛亂，宮廷和唐朝精英階層享有的富裕水平確保了各種最高品質商品的生產。絲綢之路更是擴大了與西方的貿易，中國繁榮了，駱駝在商品運輸中變得越來越重要，因為這動物可以長途搬運重物，無水生存數天。由於它們大而寬的腳不易沉入沙灘，因此被稱為“沙漠之船”。許多駱駝是從塔里木盆地、土庫曼斯坦東部和蒙古進口的，被稱為雙峰駝。唐代甚至建立了一個專門官署，監督其繁殖和運作。目前似乎還沒有發掘出顯示中國駝俑的實例。也許只有這些中亞人才能馴服和引導駱駝。 像現在這樣雄壯的、充滿異國情調的例如此拍品中的駱駝不但在學術上舉足輕重，裝飾性也很高。 重現唐朝生活需要很多來自出土的物品，這些出土物見證了古時人們對死亡的恐懼以及渴望重塑這一生所經歷的舒適的生活的願望。 因此，像這樣令人印象深刻的野獸比如駱駝，以及包括侍者以及官員、馬等都陶器都會用來陪葬。 重要的博物館收藏了很多上釉、位上釉和三彩的唐朝駱駝，比如大英博物館、吉梅博物館和大都會博物館。 文獻比較：一件胡人駱駝陶俑見 Hao Qian, et al., Out of China's Earth: Archaeological Discoveries in the People's Republic of China, Beijing 1981, fig.241.；另一組灰陶駱駝見獨孤思敬墓（公元709年），《唐長安城郊隋唐墓》，北京1980年，圖65, 70-71。 拍賣結果比較：一件非常相似但更大 (高68 厘米)的胡人駱駝見本拍賣行Fine Chinese Art, Buddhism and Hinduism 拍場2020年4月25日 lot 255, 售價EUR 24,940. ；一件相近但更大 (高66 厘米)的胡人駱駝見紐約佳士得The Art of China 拍場2017年9月20-27日 lot 38, 售價USD 25,000.
Lot 244
A TEADUST-GLAZED BOTTLE VASE, QIANLONG MARK AND PERIODChina, 1735-1796. The compressed globular body rising from a slightly waisted foot with a molded edge to a superbly potted cylindrical neck. Covered overall with a finely mottled, elegant silky matte glaze of deep olive-green color that also covers the base. The foot is covered by a dark brown wash. Neatly incised six-character da Qing Qianlong nianzhi seal mark and of the period, the mark itself highlighted by a russet-brown glaze.Provenance: Christie's Paris, 14 June 2006, lot 364. Austrian private collection.Condition: Absolutely perfect condition with only very minor wear and firing irregularities.Weight: 906.0 g Dimensions: Height 21.5 cmFine tea-dust glazed porcelains are particularly associated with the Qing dynasty reigns of the Yongzheng and Qianlong Emperors, and it is of interest to note that, like those vessels with a robin’s-egg glaze, tea-dust porcelains usually bear seal-script marks in both the Yongzheng and Qianlong reigns.The fine tea-dust glazes of the 18th century are linked to the most famous and revered of all the supervisors of the imperial kilns, Tang Ying (1682-1756). Tang Ying’s document ‘Commemorative Stele on Ceramic Production’ from 1735 provides information on 57 types of porcelain ware, including 40 monochrome glazes. Amongst these, there is reference to ‘copy workshop glaze’ fang changguan, i.e. tea-dust, and a listing of three variants: eel-skin yellow, snake-skin green, and speckled yellow. It is interesting that these are called fang or copies, since it suggests that the kilns were specifically copying an ancient glaze, most probably a Tang or Song dynasty original tea-dust glaze from northern China.Expert’s note: Although Qianlong-marked teadust-glazed vases of this general form are well known, smaller examples are very rare, and the current vase further distinguishes itself with its unusually fine and even glaze as well as its magnificent quality of pottery.Literature comparison: A teadust-glazed vase of similar small size and proportions is illustrated by J Ayers in Chinese Ceramics and the Baur Collection, Geneva, 1999, no. 297. Another is illustrated by R. Krahl in Chinese Ceramics from the Meiyintang Collection, London, 1994, vol. 2, no. 917. A related Qianlong-marked vase of this form, but of the more common larger size, from the T.Y. Chao Collection, was sold at Sotheby's Hong Kong, 19 May 1987, lot 294; and another in the Victoria and Albert Museum, London, illustrated by R. Kerr in Chinese Ceramics, Porcelain of the Qing Dynasty, 1644-1911, London, 1986, no. 25.Auction result comparison: Compare with a closely related vase, of exactly the same rare small size, but with a flaring neck as opposed to the rare straight neck on the present vase, at Christie’s Hong Kong in Imperial Chinese Treasures from a Distinguished American Collection on 28 May 2014, lot 2906, sold for HKD 1,480,000.乾隆款與年代茶葉末釉荸薺瓶 中國，1735-1796年。直頸長頎、溜肩、扁鼓腹，底承圈足，底部正中落“大清乾隆年制”六字篆書款。器形飽滿端正，重心下移，愈顯豐腴大方。整器通體施茶葉末釉，釉質潤澤，釉色勻凈而深沉。 來源：巴黎佳士得，2006年6月14日，lot 364。奧地利私人收藏 品相：對完美的狀態，只有極少的磨損和燒傷不規則現象。 重量：906.0 克 尺寸：高21.5厘米器瓶為清宮瓷器燒造的傳統形制之一，始於康熙朝，而尤盛於乾隆。因器形似荸薺而得名。此瓶造型端莊規整，釉質釉色靜穆，盡顯大氣雅緻。清代茶葉末釉製品多為景德鎮官窯所燒，傳世品中，以雍正和乾隆時期最多見，並以乾隆時的燒製最為成功。 拍賣結果比較：一件相近的茶葉末釉瓶，幾乎一樣的小尺寸，但頸部不同，售于香港佳士得Imperial Chinese Treasures from a Distinguished American Collection拍場，2014年5月28 日，售價HKD 1,480,000。
Lot 254
A FAMILLE ROSE PORCELAIN ‘CHICKEN’ CUP, QING DYNASTYChina, 1776-1880. Inscribed with an imperial poem by the Qianlong Emperor and dated to the bingshen year of the Qianlong reign, corresponding to 1776. The base inscribed with a six-character Da Qing Qianlong fanggu seal mark in underglaze blue, and possibly of the period.Provenance: From the estate of the Loh family, Los Angeles, USA. Collected in Singapore from 1945 to 1955, and in the same family for over 65 years. Thence by descent to the present owner.Condition: Excellent condition with minor wear and light surface scratches, one small pit to the rim.Weight: 131.5 gDimensions: Height 7.3 cm, Diameter 8.2 cmFinely potted with steep rounded sides rising from a recessed base to a slightly everted rim. Finely painted to the exterior with a boy approaching a rooster, a hen tending four small chicks, the scene further decorated with craggy rocks, blooming peonies and roses.Cups of this type are based on earlier Chenghua doucai prototypes, such as the pair of similar shape, but decorated with chickens only, included in the Illustrated Catalogue of Chinese Government Exhibits for International Exhibition of Chinese Art in London, vol. II, Porcelain, 1948, p. 130, no. 171. The poem inscribed on the present cup acknowledges that the design is an adaptation of the earlier chicken cups. For a translation of the poem and a description of the subject, see the exhibition catalog, For the Imperial Court: Qing Porcelain from the Percival David Foundation of Chinese Art, Kimbell Art Museum, Fort Worth Tex., 1997, p. 98.The mark on the base of all these cups reads Da Qing Qianlong fanggu, which translates as 'made in imitation of antiquity in the Qianlong reign of the Great Qing dynasty'. The imitation of antiquity, or archaism, was a theme close to the Qianlong emperor's heart and a considerable number of imperial art objects in a range of different media bear this mark.The poem inscribed on the cups mentions a man by the name of Zang Ping, who lived during the Muzong reign (reigned AD 926-33) of the Tang dynasty. Zang was famous for the large cockerels he reared to take part in the cockfights that took place during the Qing Ming festival. However, the youth depicted on the cups may instead represent Jia Chang (born AD 713), who was a child prodigy. At the age of thirteen he was such a talented trainer of fighting cocks that the Tang dynasty emperor Xuanzong (reigned AD 713-56) employed him to train the imperial fighting cocks. The design on these cups is therefore often known as 'the precocious boy'.Expert’s note: There are two differences between the present lot and the more common series of mark and period chicken cups: The boy is painted with an attention to detail arguably more elaborate and the rooster resembles one from a group of cups that show only chickens but no boy. While these findings may not represent much of an argument against firmly dating the present cup to 1776, we still decided to extend the dating into the later Qing period until further research dedicated to these differences can be conducted.Literature comparison: A related example was included in the exhibition Joined Colors, Arthur M. Sackler Gallery, Smithsonian Institution, Washington D.C., 1993, cat. no. 64; another, in the Sir Percival David foundation in the British Museum, London, was included in the exhibition For the Imperial Court: Qing Porcelain from the Percival David Foundation of Chinese Art, Kimbell Art Museum, Fort Worth Tex., 1997, cat. no. 33; and a pair of cups in the National Palace Museum, Taiwan, was included in the Special Exhibition of K'ang-hsi, Yung-cheng and Ch'ien-lung Porcelain Ware from the Ch'ing Dynasty in the National Palace Museum, National Palace Museum, Taipei, 1986, cat. no. 144.Auction result comparison: Compare with a related chicken cup at Sotheby’s New York in Important Chinese Art on 20 March 2018, lot 525, sold for USD 237,500, and another at Sotheby’s Hong Kong in Fine ChineseCeramics & Works of Art on 8 October 2010, lot 2705, sold for HKD 5,060,000.清代粉彩童子戯鷄杯 中國, 1776-1880年。杯上可見乾隆帝題詩可見“丙申“年，即1776。杯底可見乾隆青花六字款。 來源：來自美國洛杉磯Loh氏家族。 1945年至1955年在新加坡收集，並在同一個家族保存65年以上，直至進入現任藏家手中。 品相：狀況極佳，磨損小，表面輕微划痕，邊沿上有一個小凹坑。 重量：131.5 克 尺寸：高 7.3 厘米，直徑8.2 厘米 拍賣結果比較：一件相似童子戲雞杯，售于紐約蘇富比 Important Chinese Art 拍場，2018年3月20日， lot 525, 售價USD 237,500；另一件售于香港蘇富比 Fine Chinese Ceramics & Works of Art拍場，2010年10月8日，lot 2705, 售價HKD 5,060,000。
Lot 424
A RARE AND HEAVY SHISOU SILVER WIRE-INLAID BRONZE BRUSHPOT, BITONG, EARLY QINGChina, 17th-18th century. Of square form with indented corners and supported on four short feet, the sides finely inlaid with silver wire depicting Buddhist lions with brocade balls framed by scrolling vines below the rim and above the feet. The silver wire-inlaid Shisou mark to base.Provenance: British private collection. Condition: Very good condition with minor wear, light scratches, and minuscule nicks.Weight: 952.5 gDimensions: Height 9.9 cmLittle 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’). Brush pots with his signature appear to be extremely rare.Expert’s note: The brush pot is heavily cast, clearly indicating that it is a piece dating to the 18th century, if not earlier.Literature comparison: Four scholar’s objects attributed to Shisou are in the Victoria & Albert Museum, London, illustrated by Rose Kerr, Later Chinese Bronzes, London, 1990, p. 64. A closely related vessel of Shisou type in the Clague collection is illustrated by Robert Mowry, where he also discusses the problem of Shisou in China's Renaissance in Bronze, Phoenix Art Museum, 1993, pp.191-193.Auction result comparison: Compare with a related bronze hu vase with a Shisou mark at Sotheby’s New York in Chinese Art on 21 March 2015, lot 752, sold for USD 32,500, and another at Sotheby’s Hong Kong, in Later Chinese Bronzes from the Collection of Ulrich Hausmann, on 8 October 2014, lot 3361, sold for HKD 106,250 (also compare the marks, see fig. 1).清初罕見石叟四方葵口錯銀銅筆筒 中國，十七至十八世紀。正方形葵口，短足，側面精細地鑲嵌銀線，描繪了佛獅戯珠。底座上鑲有銀絲石叟款。 來源：英國私人收藏 品相：狀況極佳，輕微磨損，輕微划痕和微小刻痕。 重量：952.5 克 尺寸：高 9.9 厘米 拍賣結果比較：一個相似石叟青銅壺，售于紐約蘇富比 Chinese Art 拍場2015年3月21日, lot 752, 售價USD 32,500。另一件售于香港蘇富比Later Chinese Bronzes from the Collection of Ulrich Hausmann拍場2014年10月 8日，lot 3361, 售價HKD 106,250 。
Lot 747
AN INDIAN BRONZE FIGURE OF GANESHA, 17TH-18TH CENTURYSouth India, Maharashtra. The four-armed deity seated in lalitasana on a circular lotus throne raised on a flat square base, holding in his hands an axe, trident, broken tusk, and a bowl of sweets which he samples with his trunk, wearing a short striated dhoti, sacred thread around his portly waist, adorned with ornaments, and wearing a conical tiered head dress.Provenance: Art of the Past, New York. Collection Mr. and Mrs. J. L. Sharpe, Strasbourg, France, acquired from the above in 2001. A copy of an original letter, stating the land of origin as South India and dating the piece to the 18th century, with a description containing the story about Ganesha’s broken tusk, accompanies this lot.Condition: Excellent condition with minor wear, minuscule nicks, occasional light scratches, the base with dents.Weight: 1,701 gDimensions: Height 16 cmIn Puranic literature, there is an amusing story about Ganesha’s broken tusk: After feasting on sweets one day, Ganesha was returning home on his mount, a mouse. The poor mouse, unable to bear Ganesha’s weight, dropped the deity and as a result, Ganesha’s stomach burst open spilling sweets. The moon witnessed this scene from the sky and burst into laughter. Ganesha reacted by breaking off one of his tusks and angrily thrusting it at the moon, which is why we see dark spots on the surface of the moon.Auction result comparison: Compare with a bronze of a standing Ganesha from the 16th century, 24 cm, at Christie’s New York, in Indian Southeast Asian Art on 30 March 2006, lot 72, sold for USD 84,000.
Lot 2647
DALLIN, Cyrus Edwin(1861 Springville - 1944 Arlington) Bronze Indianerkopf Bronze patiniert, roter Marmor-Sockel. Bezeichnet mit Zusatz "A mon ami Gorodichze" und Nr. 90 sowie Gießermarke "Barbedienne Fondeur". H 10/19 cm. Entschlossen blickender Ureinwohner Nordamerikas (Sioux Phillip, Sohn von "Kicking Bear"?) Minimale Abplatzer am Sockel. Amerikanischer Bildhauer in Boston, Schüler von Truman Bartlett, ab 1888 in Paris Schüler der Ecole des Beaux-Arts und der Academie Julian. Bekannt wurde er v.a. für seine Indianerfiguren. Literatur: Thieme/Becker.
Lot 36
A 1920s Wedgwood cream glazed ceramic polar bear designed by John Skeaping, raised on a rectangular base, with marks to underside, 19 cm high x 28 cm wide Condition report: crazing throughout, no breaks or signs of restoration, very thin cracks to some of the creases, a small black mark that does not rub off, overall good
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