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Click here to subscribeCharlie Bears - a good quality Charlie Bear entitled Paul product No. CB104697 with original tags, approximate height 37 cm and a further Charlie Bear entitled Little D exclusively designed by Isabelle Lee product no. CB094050 with original tags, bells and ribbons, approximate height 28 cm (2) This lot MUST be paid for and collected, or delivery arranged, no later than close of business on Tuesday. Please do not bid if you are unable to comply
Charlie Bears - a Charlie Bear entitled Matilda, product No. CB094057 with original tags, bells and ribbon, approximate height 34 cm and a further Charlie Bear issued in a limited edition entitled Stevie product No. CB193905D No. 681 of 2500 with original tags and ribbon, approximate height 33 cm (2) This lot MUST be paid for and collected, or delivery arranged, no later than close of business on Tuesday. Please do not bid if you are unable to comply
Charlie Bears - a Charlie Bear entitled Ewan product No. CB183959 with original tags and button necklace, approximate height 32 cm and a further Charlie Bear entitled Tiff Toff product No. CB094322 with ribbon, original tags and bell necklace, approximate height 43 cm (2) This lot MUST be paid for and collected, or delivery arranged, no later than close of business on Tuesday. Please do not bid if you are unable to comply
Hermann Bears - a Hermann Bear issued in a limited edition entitled Bluebell No. 252, made from mohair with original tags, approximate height including hat 42 cm and a further Hermann Bear issued in a limited edition 818 of 2000 entitled American Artist Bear from the Joyce Ann Haughey Collection with original tags and limited edition certificate, approximate height including hat 50 cm (2). Estimate £50 - £80 This lot MUST be paid for and collected, or delivery arranged, no later than close of business on Tuesday. Please do not bid if you are unable to comply
Charlie Bear - A very large Charlie Bear entitled Gertrude, product number CB124913 exclusively designed by Isabelle Lee, with original tags, ribbon and bells on his necklace, approximately 78 cm (h) Est £60 - £80 This lot MUST be paid for and collected, or delivery arranged, no later than close of business on Tuesday. Please do not bid if you are unable to comply
Artist Bear - A large heavy limited edition sloth 1/1, entitled Big Nic, made in Germany by the artist Maranda Rix from The Teddy Bear Orphanage Collection with tags, 89 cm (h) Est £60 - £80 This lot MUST be paid for and collected, or delivery arranged, no later than close of business on Tuesday. Please do not bid if you are unable to comply
POSTCARDS - ASSORTED Approximately 560 cards, including real photographic views of City Square, Nottingham; Old Houses, Holborn, London; Market Place, Cirencester; Moreton Old Hall; St. Anne's Gate, Salisbury; Lower Swell, near Stow-on-the-Wold; and the Clock Tower, Leicester; with views of the Post Office, Nottingham; New Technical School, Liverpool; Raven Hotel, Driotwich Spa; Science & Art School, Stroud; Bear and Billet Inn, Chester; Boscobel House; Feathers Hotel, Ledbury; and others, (album).
TWO STEIFF COLLECTOR'S TEDDY BEARS comprising 'Scottish Teddy Bear', white, limited edition 2476/3000, with certificate of authenticity, 32cm high, boxed; and 'Teddy Bear 1950' (Steiff Club Edition 2001/2002), dark brown, limited edition no.3057, with certificate of authenticity, 35cm high, boxed.
Nineteen Waterford cut crystal glasses, together with two miscellaneous cut glasses CONDITION REPORTS There are 5 wine glasses x 18 cm high, 2 wine glasses x 19 cm high, 4 wine glasses x 13.5 cm high, 4 smaller glasses x 13 cm high and 4 smaller glasses x 11 cm high. 17 of the glasses have the acid etched Waterford mark, 2 of them do not. The other 2 miscellaneous glasses do not bear any marks either. All glasses have light surface scratches, a build up of dirt in some areas, general wear and tear commensurate with age and use. See photos for more details.
GRIEG EDVARD: (1843-1907) Norwegian Composer. A good A.L.S., Edvard Grieg, two pages, on two different leaves, 8vo, Copenhagen, 25th March 1900, to Mr. Louis Diemer, in French. Grieg states in part `I take this occasion to introduce you to my compatriot and bearer of the present letter, Mr. Thor Hals, one of the owners of Hals Brothers Company, piano manufacturers at Christiania (Norway), whose musical instruments are among the best in the north..´ Grieg further strongly recommends Hals´ pianos, refers to a Paris exhibition of these pianos, and expects his correspondent´s approval. Accompanied by the original envelope, hand addressed by Grieg. Also including a printed small 12mo visiting card of Thor Hals, a Norwegian piano manufacturer. The letter, envelope and visiting card bear a collection ink stamp to the upper left corners. The document bears several tape repairs to the borders, only affecting a few letters and the paraph signature, and a small tear to the centre fold edge. F to G £600-900Louis Diemer (1843-1919) French Pianist.
MAMONTOV SAVVA: (1841-1918) Russian Industrialist and Patron of the Arts. A good set of three A.L.S., `Sawa Manontoff´, two of four pages each and one of two pages, 8vo, October to December 1907, to Albert Carré, in French. The letters bear to the upper left corner an ink stamp saying “Sawa Mamontoff - Moscou´. Mamontoff responds to his correspondent´s questions, as per Rimsky-Korsakov´s recommendation, related to the mise en scene and costumes of Snegourochka (`The Snowmaiden´), 1882, and states in part `You want to make the Russian opera known in France, and you have chosen Snegourotschka of Rimsky Korsakoff. Also the Great opera Sadko. I have been honoured to take in charge the premiere of the two works at the private Opera theatre in Moscow. Considering the poetry and charm I prefer Snegourotschka because the text and topic is by our great poet Ostrowsky…´ Mamontov refers on multiple occasions to Rimsky-Korsakov, his operas and mises en scene on these lengthy and of very interesting content letters. Together with an A.L., in the hand of Rimsky-Korsakov´s secretary, two pages, 8vo, St. Petersburg, 17th October 1907, to Albert Carré, in French. Rimsky-Korsakov forwards Mamontoff´s address and recommends his correspondent to contact him regarding the mise en scene and costumes of his opera Snegourochka. Also including a set of four A.Ls.S., `Halperine´, three pages each, one 8vo and three 4to, St. Petersburg, November 1907, to Albert Carré, in French. The three letters report on Rimsky-Korsakov´s opera, and refer also to the Opera Comique of Paris, to Diaguileff who is in charge of the mise en scene proposal, etc… A full set of eight letters of very interesting musical content. VG £80-100Nikolai Rimsky-Korsakov (1844-1908) Russian Composer, a member of the Five Group. Albert Carré (1852-1938) French Theatre and opera Director. For over 50 years Albert Carré was the most prominent figure in the theatrical and musical life of Paris.
BARBERA JOSEPH: (1911-2006) American Artist. Co-founder of Hanna Barbera studios, best-known for producing Tom and Jerry, The Flintstones, Yogi Bear and many more worldwide iconic cartoon films. Academy Award winner. Signed colour 8 x 10 photograph by Joe Barbera, the image depicting various characters from Barbera´s cartoons, including Yogi Bear, Fred Flintstone, Scooby Doo, Top Cat, etc.. Signed in bold black ink with is name alone at the base of the image. VG £80-100
BEAUHARNAIS JOSEPHINE DE: (1763-1814) Empress of the French 1804-14, the first wife of Napoleon I. L.S., Lapagerie Bonaparte, two pages, 8vo, n.p. (Chateau de Malmaison?), 30th May 1800, to an unidentified recipient, in French. Josephine thanks her correspondent for the plants which she had been promised and informs her correspondent that her gardener (Alexander Howatson?) will receive and take care of the plants, which she provides a list of, and which includes a rose, as well as various species of Eucalyptus, Magnolia, Laurel and Hibiscus etc. She further invites her correspondent to visit her garden and provide her with some advice. The text of the letter is in the hand of Mme. De Remusat. Some very light, minor age wear, otherwise VG £2000-3000In 1799, while Napoleon was in Egypt, Josephine purchased the Chateau de Malmaison. She had it landscaped in an English style, hiring landscapers and horticulturalists from the United Kingdom including Thomas Blaikie, a Scottish horticultural expert, and Alexander Howatson, a Scottish gardener. The rose garden was begun soon after purchase and Josephine took a personal interest in the gardens and the roses, as illustrated by the present letter, and learned a great deal about botany and horticulture from her staff. Josephine wanted to collect all known roses so Napoleon ordered his warship commanders to search all seized vessels for plants to be forwarded to Malmaison. The English nurseryman Kennedy was a major supplier and, despite England and France being at war, his shipments were allowed to cross blockades. Sir Joseph Banks, Director of the Royal Botanical Gardens at Kew, also sent her roses. The general assumption is that she had about 250 roses in her garden when she died in 1814. Unfortunately, the roses were not catalogued during her tenure, however Josephine produced the first written history of the cultivation of roses, and is believed to have hosted the first rose exhibition, in 1810. The present letter was written just nine days before the Battle of Montebello on 9th June 1800, part of the lead-up to the Battle of Marengo on 14th June 1800, when the vanguard of the French Army in Italy engaged and defeated an Austrian force in a glorious victory. In 1795 Josephine Beauharnais met Napoleon Bonaparte, six years her junior, for the first time. She became his mistress and in January 1796 Napoleon proposed to her. The marriage was not well accepted by Napoleon's family, who were shocked that he had married an older woman with two children. As the wife of Napoleon, Josephine became the first Empress Consort of the French and was crowned by Pope Pius VII at Notre Dame de Paris on 2nd December 1804. She did not bear Napoleon any children and, as a result, he divorced her in 1810 to marry Marie Louise of Austria.
Foreign coins, Switzerland, Berne, 4 ducats, 1680BF, bear and lion supporting arms, rev. BENE-DICTVS SIT IEHOVA DEVS within cartouche, date and denomination below, wt. 13.83gms. (KM.53; Fr.131; DT.1109A; HMZ.184), certified and graded by PCGS as Mint State 62, rare No other examples graded by PCGS or NGC
Michael Bond Paddington Bear creator signed Greetings Benham official FDC BLCS91b. 1/2/94 London W2 postmark. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.99, Overseas from £7.95
* SOUTINE, CHAÏM(1893-1943)*La liseuse endormie, Madeleine Castaing.Oil on canvas, 57 by 41.5 cm.Executed c. 1937. Provenance: Acquired directly from the artist by Marcellin and Madeleine Castaing. Collection of Madeleine Castaing. Impressionist and Modern Art Day, Sotheby’s London, 20 June 2006, lot 340. Important private collection, Europe. Exhibited: L’Or des années folles, 1918–1930, Grand Palais, Paris, 8 February–5 March 1979. Chaim Soutine, 1893–1943, Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster; Kunsthalle, Tübingen; Hayward Gallery, London; Kunstmuseum, Lucerne, 1981–1982. Soutine, 1893–1943, Galleri Bellman, New York, 6 December 1983–28 January 1984. C. Soutine, XXXIe Salon de Montrouge. Art contemporain, peinture, sculpture, dessin, Centre Culturel et Artistique, Montrouge, 1986. Chaim Soutine, 1893–1943. I dipinti della collezione Castaing, Galleria Bergamini, Milan, March–April 1987. Soutine, Musée de Chartres, Chartres, 29 June–30 October 1989, No. 69. Chaim Soutine, Galerie Thomas, Munich, 1 April–30 May 2009. Literature: M. Ochse, “Retour de Soutine”, Jardin des Arts, Paris, No. 218, May–June 1973, p. 9, illustrated. Exhibition catalogue, J. Monneret (ed.), L’Or des années folles, 1918–1930, Paris, Société des artistes indépendants, 1979, p. 28, No. 19, illustrated. Exhibition catalogue, Chaim Soutine, 1893–1943, London, Arts Council of Great Britain, 1982, No. 90, illustrated with incorrect orientation. Exhibition catalogue, Soutine, 1893–1943, New York, Galleri Bellman, 1983, No. 19, illustrated with incorrect orientation and size. Exhibition catalogue, C. Soutine, XXXIe Salon de Montrouge. Art contemporain, peinture, sculpture, dessin, Montrouge, Centre Culturel et Artistique, 1986, No. 27. Exhibition catalogue, F. Porzio, Chaim Soutine, 1893–1943. I dipinti della collezione Castaing, Milan, Galleria Bergamini, 1987, No. 15, illustrated and listed. Exhibition catalogue, Soutine, Chartres, 1989, p. 303, illustrated; p. 302, No. 69, listed with the date 1940. M. Tuchman, E. Dunow, K. Perls (eds), Chaim Soutine. Catalogue Raisonné, Cologne, Benedikt Taschen, 1993, p. 760, listed; p. 763, illustrated. Chaim Soutine. The Passion of Painting, Munich, Galerie Thomas, 2009, p. 134, illustrated and listed. M. German, Khaim Sutin. 1893–1943, Moscow, Iskusstvo–XXI vek, 2009, p. 309, illustrated and mentioned in the text; p. 357, listed. K. Carl, Chaim Soutine, London, Parkstone International, 2015, illustrated. Chaïm Soutine’s La liseuse endormie, Madeleine Castaing, now offered for auction, the portrait of a close friend, the collector and the artist’s patron, Madame Madeleine Castaing (1894–1992), is one of the artist’s most expressive portraits. It was painted in the second half of the 1930s, when the relationship between Soutine and his model — who was to become a wellknown bohemian antique dealer, interior designer and was, according to Picasso, “the most alluring” woman in Paris — was already so friendly and enduring that it did not presuppose the traditional official distance between the artist and his patron. They first met in the 1920s, when a wealthy couple Madeleine and Marcellin Castaing — lovers of painting and passionate collectors, who had already a collection, which included works by Modigliani, Rouault, Picasso, Gris and Léger — saw some of Soutine’s works and began to track them down. The Castaings’ support, which remained with Soutine until his dying day, gradually brought them closer together, and after the death of Léopold Zborowski, the artist’s long-time dealer, Madeleine Castaing personally looked after Soutine’s affairs. From 1930 to 1935, the artist spent his summers at the Castaings’ home on their Lèves estate near Chartres. It was here that he painted his masterpieces Woman Entering the Water (1931; after Rembrandt’s Woman Bathing), Siesta (1934), Child in Blue and Chartres Cathedral (1934). Madeleine Castaing posed repeatedly for Soutine both in his workshop near the Parc Montsouris and on her estate. Soutine trusted her implicitly, and she alone was allowed to observe his work in progress. As she once put it, “I am the only person he could bear when he was painting and even when he was pondering the idea for a picture. I was the only person whom he asked for advice about a model or subject.” It comes as no surprise that it is one of the portraits of Madeleine Castaing, dating from 1928 (The Metropolitan Museum of Art), that marked the pinnacle of the artist’s portrait painting. She was later to recall: “I would often sit for him. I could not let slip a single unnecessary word or say anything that disturbed his thinking. A simple phrase might infuriate him. I remember his reaction when, without having the slightest wish to belittle his talent, my husband was trying to find some spiritual connection between one of his latest works and Renoir. Was Soutine aggrieved, or did he sense some affinity himself? But in his anger, he tore up his work anyway.” The main feature of the artist’s interpretation of the image of Madeleine Castaing in this portrait is her almost grotesque appearance. Having dozed off while reading a book, she has let her head fall onto the cushioned edge of the couch, possibly in the blue sitting room at her Lèves estate, which was commandeered by the Nazis in 1940, and has pressed the book to her face on an unconscious impulse. We can see neither the female figure nor the couch as a whole, but only this strange viewing angle in a very narrow vertical section. The upward motion of the disproportionate arms and the pointed nose make the face of the sleeping woman resemble a frightened bird. A large nose, eyebrows raised in surprise, wide, red, half-parted lips and huge eyes covered by bulging eyelids stand out on her thin, highly expressive and temperamental face, seen in profile with taut, smooth cheekbones. Hidden drama and nervous tension are also encapsulated in the canvas’s colour scheme: they cry out from the striking juxtaposition of the intense dark-blue, white, pink and yellow colours. The fair, straw-coloured turmoil of Madeleine’s hair, tossed back beyond the couch, is echoed by the yellowness of her left arm with its dark-blue ropelike veins. The deliberately distorted proportions of the vaguely delineated real-life features, the bright blotches on the face, the grimace of a troubled sleep and the actual angular nature of the composition give rise to a feeling of overabundant expressiveness. One can sense a poignancy and insecurity in the model. The spontaneity of execution, the outward passionate improvisation and the chromatic colouristic movement of the background, all augmented by the vividly expressed individuality of the lady’s appearance, make the portrait so memorable and significant. La liseuse endormie, Madeleine Castaing provides a clear illustration of why the art-loving Madeleine Castaing, who had an extravagant taste, her own inimitable style and artistic flair, particularly cherished the portraits of her that were painted by Soutine. It is precisely when looking at this canvas that one can appreciate the accuracy of Élie Faure’s judgment of the artist, when he spoke of his “supernatural expressiveness of visible life”.
A Gebruder Hermann golden mohair Teddy bear, 1930s, straw stuffed bear with orange glass eyes, inserted clipped mohair muzzle with horizontally stitched nose and inverted Y-shaped mouth, swivel head and jointed at shoulders and hips, felt pads and stitched claws, overall excellent condition, couple small holes to right felt pad, 24” (61cm) tall.
An early rare Steiff centre seam cinnamon mohair Teddy Bear, circa 1908, straw stuffed with black boot button eyes, stitched nose, mouth and claws, swivel head and jointed elongated limbs, felt pads, hump to back and wearing a blue bow, overall excellent bright condition, some very minor wear, lacks button, 15 ¾” (40cm) tall.
A small Steiff blonde mohair teddy bear, 1920s, straw stuffed with black and brown glass eyes, stitched nose, mouth and claws, swivel head and jointed elongated limbs, squeaker (inoperative), wearing a white and red cotton dress, generally good condition some small areas of wear, lacks button, 7” (18cm) tall.
A Steiff blonde mohair Teddy Bear, circa 1909, straw stuffed with black boot button eyes, brown stitched nose, mouth and claws, swivel head and jointed elongated limbs, felt pads, small hump to back, wearing a blue cotton dress, overall fair condition some sparse areas, feet felt pads replaced, one hand felt pad repaired and other with small hole, lacks button, 10 ¼” (26cm) tall.
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