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Lot 446
A LARGE SWISS 'BLACK FOREST' CARVED LINDEN WOOD BEAR HALL/UMBRELLA STAND, 19th Century, the standing bear holding a woven basket of conical shape, raised on a naturalistically carved log platform. 130cm high x 63cm wide The Art of the 'Black Forest' was exhibited and celebrated on the greatest world stages of the 19th Century - the Great Exhibition of 1851, Chicago 1893 and the Paris Exposition Universelle of 1900, however, the origin of 'Black Forest' carving was a far cry from the glitz and the glamour of the Crystal Palace. The wood carving industry in Switzerland originated in the scenic town of Brienz at a time when the area was facing much adversity. The early 1800s brought famine and suffering to the local people forcing those that had not fled the area to seek out alternative means of income in order to support their families. With few other options available to them, some turned their hand to wood carving. Despite, the hardship the people of Brienz were faced with, this did not deter wealthy aristocratic British families from travelling to the picturesque town to enjoy the beautiful scenery it had to offer. These carvings produced by the people of Brienz proved extremely popular amongst tourists, and so a thriving wood carving industry began to flourish. Swiss poet Heinrich Federer noted in his memoirs the role of wood carving in the transformation of the area Woodcarving brought riches to the village [of Brienz]. It became all the fashion and no Englishman left the Bernese highlands without having seen the Giessbach [waterfall], having eaten a fat roasted eel and having bought a Brienz woodcarving. Federer's reference to 'Brienz woodcarving' highlights the misattribution of Swiss carving to that of the Bavarian Black Forest, in Germany. Historians have traced this misnomer back to the latter part of the 19th Century when Swiss clock movements were exported to Germany and fitted in Bavarian cuckoo clocks. When Swiss carvers began to produce their own clocks, they were mistaken for those made in Germany as the carving closely resembled the design of the Bavarian examples and so became widely known as 'Black Forest'. The variety of carvings produced by the 'Black Forest' Swiss carvers is vast ranging from small curiosities to life-size bears. Carvers were inspired by outdoor pursuits and wildlife associated with Switzerland. Each hand-carved piece is unique however they are steeped in tradition and carry the styles and techniques developed through generations of families. Adherence to family tradition and methods were not taken lightly as shown by one particular carver, Adolf Mӓder who refused to comply with the brief for a piece commissioned by Eduard Jobin, one of the largest retailers at the time. Jobin had commissioned a true pair of bears, one with its face turned to the right and the other to the left. Mӓder refused, and insisted on carving both bears turned to the left, just has his father had done before him. Although animals of all shapes and sizes were subjects of the carvers work, bears were particularly popular as the bear is the symbol of the city of Berne - represented on the city's Coat of Arms. Alongside this it is likely that carvers thought it prudent to appeal to their best main consumers and to strive to meet their desires. They were designing pieces for wealthy Victorian visitors to decorate their Swiss hunting lodges with and created smaller pieces that were easy to transport so tourists could bring them back home as impressive souvenirs. Carvers strove to produce the most life-like creations, those who achieved this were seen as masters of their craft. Large bears like the example in this sale, were generally made from linden wood. These trees grow to immense sizes, they were plentiful throughout Switzerland and the wood is not too hard making it easy to carve. Life-size carvings of quality bears are rare given the time involved in carving and the cost of large pieces of timber.
Lot 237
BESWICK RUPERT BEAR. A Beswick 'Happy Birthday Rupert' figure group, No. 465/500, boxed & with original numbered certificate. WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.
Lot 238
RUPERT BEAR ETC. Six Royal Doulton, Rupert Bear figures including Edward Trunk RB33, Algy Pug RB32, Pong-ping RB34, Podgy Pig RB35, Banging on his Drum RB17 & Captain Rupert RB25, No. 517/2500. All in original boxes, original packing & apparently unopened Certificates & Swing labels etc. Also two Coalport ceramic Characters, Building the Snowman & the Wrong Nose, also in original packing etc. (Several boxes have suffered from damp).WE CANNOT SHIP THIS LOT due to fragility, size or weight. Our recommended carrier is MBE Plymouth on +44 (0) 1752 257224 or info@mbeplymouth.co.uk. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.
Lot 3
INKWELL. A Swiss Black Forest carved bear inkwell with glass liner. Height 8cm. WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.
Lot 186
Postcards, P3, relating to Mrs Adlington of The Bell pub, Homerton - World War One - RP - Cobbold's Ales & Spirits pub (1), two Hackney flag girls (1), studio portraits - small girls with doll and teddy bear (2), family portraits (33), Britannia Rowing and Athletic Club 1909 (1), McGill (2), comic, sentimental and patriotic (apx. 300) (a lot)
Lot 255
Seeburg shoot the bear game from 1949Very rare and now here to be found fun fair and arcade game “Shoot the Bear” by the American company Seeburg, manufactured in 1949. A masterpiece of mechanical and electrical invention. An entire generation played this game, trying to get the bear standing that with a roar reverted his running. Unrestored but good working condition. Dimensions: 95 x 108 x 50cm.
Lot 155
DEBORAH JONES. Framed, signed to base left, oil on canvas, teddy bear wearing yellow coat and green bow, 24cm x 19cm. (ARR) IMPORTANT: Online viewing and bidding only. No in person collections, an additional charge of £30 (inc. VAT) applies to this lot to cover postage to registered address.
Lot 3175
Mid-20th century English teddy bear, the plush covered body with inoperative growler mechanism, applied eyes, stitched nose and mouth and jointed limbs with rexine patches, traces of Made in England label to foot, H65cm together with another similar smaller teddy bear H37cm (2) - Condition Report
Lot 613
* Lambert (George Washington, 1873-1930). Portrait of a young woman, 1902, pencil on paper laid on card, head and shoulders portrait half-profile to left, of an Edwardian lady gazing into the distance, wearing a high-necked blouse and with her hair swept up, signed and dated lower right and with placename of London, toned and some light spotting, a little worn at edges, sheet size 23.7 x 18.9cm (9.5 x 7.5ins)Qty: (1)NOTESProvenance: Believed to have been given to the owner's grandmother's family by the artist, and thence by descent. The owner's grandmother worked at the Royal Academy of Music and subsequently the Admiralty; her father, Sven Didericksen, was head chef at The Rembrandt Hotel in Knightsbridge, London, and her uncle was the proprietor of an antiquarian book and print shop in London. The family moved in artistic circles, and Australian painter George Lambert, who lived for a time in London, is known to have been a friend. It has been suggested that the subject is the artist Thea Proctor (1879-1966), an Australian painter, known as a prominent arbiter of taste, who was also a printmaker, designer and teacher. Although Proctor didn't travel to London until 1903, she and Lambert met at art school in Sydney, and this portrait does appear to bear a strong resemblance to her. Beautiful and elegant, she was tutored privately by Lambert, sat regularly for him and was a frequent visitor to his London home. On her part she found Lambert intellectually stimulating and was apparently devoted to him. Their exact relationship is unknown but he became her mentor and their friendship was lifelong.
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