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STAR WARS: RETURN OF THE JEDIArgentinian One-Sheet (27" x 40.5"); Studio Style BVery Fine- Flat Folded; Artist Kazuhiko Sano 20th Century Fox, 1983This poster has pinholes and some staining on the top border. There is some fold and edge wear. Generally very presentable looking.The concluding installment of the beloved original Star Wars trilogy, directed by Richard Marquand. After opening with a bravura rescue sequence at the palace of Jabba The Hutt, it lives up to the saga's title with an ambitious three-tier climactic battle, combining fierce starship dogfights, a forest conflict involving the teddy-bear-like Ewoks, and the ultimate lightsaber duel between Luke Skywalker (Mark Hamill) and his father Darth Vader (David Prowse).This lot will be auctioned on Friday, December 8th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 7th.

STAR WARS: RETURN OF THE JEDIBelgian Poster & Half Sheet & Insert (21.5" x 14" & 22" x 28" & 14" x 36"); From the Collection of Steven BengeVery Fine+ Rolled; Artist Tom Jung (Half Sheet & Insert) 20th Century Fox, 1983 & R-1985The Belgian has little to no wear. The Insert has only a crease in the upper right and a faint pen mark in the lower right going into the background and title. The half sheet has some minor edge wear, a corner fold in the upper left, light sporadic crimping, and faint wear to the upper black background on the right.The concluding installment of the beloved original Star Wars trilogy, directed by Richard Marquand. After opening with a bravura rescue sequence at the palace of Jabba The Hutt, it lives up to the saga's title with an ambitious three-tier climactic battle, combining fierce starship dogfights, a forest conflict involving the teddy-bear-like Ewoks, and the ultimate lightsaber duel between Luke Skywalker (Mark Hamill) and his father Darth Vader (David Prowse).This lot will be auctioned on Friday, December 8th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 7th.

STAR WARS: RETURN OF THE JEDIFrench Grande (47" x 63")Very Fine Folded; Artist Michel Jouin 20th Century Fox, 1983Artist Michel Jouin captivatingly employs the use of three different production color schemes for this French Grande, including the lush greens of Endor, the yellow deserts of Tatooine, and the dark icy colors of space.A folded poster in very good condition with slight creasing on the cross folds, minor separation on the upper left one, and some upper credit bleed over into the lower white areas from being folded.The concluding installment of the beloved original Star Wars trilogy, directed by Richard Marquand. After opening with a bravura rescue sequence at the palace of Jabba The Hutt, it lives up to the saga's title with an ambitious three-tier climactic battle, combining fierce starship dogfights, a forest conflict involving the teddy-bear-like Ewoks, and the ultimate lightsaber duel between Luke Skywalker (Mark Hamill) and his father Darth Vader (David Prowse).This lot will be auctioned on Friday, December 8th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 7th.

RAYMOND HAINS (1926-2005)Palissade 1959 signé et daté 1959 au reversaffiches lacérées sur latte de palissade signed and dated 1959 on the reverse torn posters on wood 112 x 11.5 x 2 cm. 44 1/8 x 4 1/2 x 13/16 in.Footnotes:Un certificat de Monsieur Thomas Hains pourra être obtenu, à la charge de l'acquéreur.Provenance Vente : Binoche, Espace Cardin, Paris, Tableaux Modernes et Contemporains, 31 mai 1978, lot 29 bis Acquis lors de cette vente par le propriétaire actuel« Mes œuvres existaient avant moi, mais on ne les voyait pas parce qu'elles crevaient les yeux ».Figure majeure de la scène artistique d'après-guerre, c'est dans les années 1950, alors qu'il arpente les rues de Saint-Germain-des-Prés en compagnie de Jacques Villeglé, que Raymond Hains prélève sa première affiche. Plus que des affiches, Raymond Hains s'approprie des morceaux choisis, mémoire de l'histoire urbaine, fruit de manipulations d'une foule d'anonyme et de l'érosion du temps. C'est à l'occasion d'une première exposition collective en mai 1960, à la galerie Apollinaire de Milan, que Pierre Restany définit le Nouveau Réalisme comme un « recyclage poétique du réel urbain, industriel, publicitaire ». Ces trois morceaux choisis par l'artiste, tantôt décollés, lacérés, arrachés ou bruts, témoignent de cette démarche du flâneur-cueilleur, illustration littérale de la vie urbaine de l'époque. La palissade que nous présentons, datée de 1959, est un des premiers prélèvements de l'artiste encore entre des mains privées. Celle-ci fait écho à celles présentées lors de l'exposition La peinture après l'abstraction 1955-1975 au Musée d'Art Moderne de la ville Paris en 1999.'My works existed before I did, but they weren't seen because they stuck out'.A major figure on the post-war art scene, it was in the 1950s, while roaming the streets of Saint-Germain-des-Prés with Jacques Villeglé that Raymond Hains removed his first poster. Not just posters, since Raymond Hains gathered selected pieces, a record of urban history, with the added input from a host of anonymous people, and the erosion of time. It was at his first group exhibition in May 1960, at the Apollinaire gallery in Milan that Pierre Restany defined Nouveau Réalisme as a 'poetic recycling of urban, industrial and advertising reality'. The three pieces chosen by the artist, sometimes peeled off, torn or in the rough, bear witness to his nomadic-gatherer approach, and are quite a literal illustration of urban life at the time. The palisade we are presenting, dated 1959, is one of the first of the artist's works still in private hands. It echoes those presented at the exhibition La peinture après l'abstraction 1955-1975 at the Musée d'Art Moderne de la Ville Paris in 1999.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

◆ SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) STILL LIFE WITH TULIPS Signed, oil on canvas Dimensions:51cm x 51cm (20in x 20in) Provenance:Provenance: Mr & Mrs John B. RankinPrivate Collection ScotlandExhibited: Scottish National Gallery of Modern Art, Edinburgh, S. J. Peploe 1871-1935, 26 June - 8 September 1985, no.78 Note: Still Life with Tulips is a remarkable painting by Samuel John Peploe, in which he brought to bear the Edwardian sophistication of the work with which he made his professional name in turn-of-the-century Edinburgh, the lessons he learnt at the heart of the Parisian art world before World War One and the progress he made during the conflict from which he emerged as a Scottish master of modern art.In an image of striking design, which remains as arresting now as when it was painted, Peploe set up his still-life arrangement in front of a sheer black background. This shows the silhouettes and bright colours of the cloth-covered table, glass vase and tulips to the greatest possible effect. He had used this approach in a celebrated series of still lifes painted in the early 1900s, such as Coffee and Liqueur (Kelvingrove Museum and Art Gallery, acc.no.35.586), Peonies (National Galleries of Scotland, acc.no. GMA 1946) and Still Life (Edinburgh Museums and Galleries, acc.no.CAC4/1964), in which Peploe paid his respects to Dutch Old Masters such as Frans Hals and to Eduoard Manet. Paintings such as these proved extremely popular when included in solo and group exhibitions in Edinburgh and London of the period, establishing Peploe as an artist of note and accomplishment.Encouraged by his friend and fellow Scottish Colourist, John Duncan Fergusson, Peploe spent two key years in Paris from 1910 until 1912. He was welcomed into Fergusson’s avant-garde Anglo-American circle of friends, the Rhythmists, and immersed himself in the very latest developments in French painting, experienced at first hand. Such was the pace of his development that he was elected a sociétaire of the cutting-edge Salon d’Automne in recognition of his contribution to the modern movement. His paintings became bolder in technique, colour and design, their progressive nature quite unlike anything that had been created, or seen, in the Edinburgh art world to which he returned two years later.Declared medically unfit for service during World War One, Peploe used the period for continuing experimentation, when canvas and paints could be sourced. Rich colour, spatial compression and a strong structure became the foundation of his still lifes, with furrowed brushstrokes and pronounced outlines coming to the fore. In 1917, he moved studio to 54 Shandwick Place in Edinburgh, where he was to remain until 1934. The following year, his election as an Associate member of the Royal Scottish Academy secured his place within the Scottish art establishment.As Alice Strang has written ‘The still lifes which Peploe painted during the period between approximately 1918 and 1923 are the works for which he is best known…Peploe changed his technique, adopting an absorbent gesso ground and reducing the amount of medium in his paint. He pushed his use of colour to the extreme and obsessively arranged objects – such as blue-and-white Chinese porcelain vases, filled initially with tulips and then usually with roses; fans; books; fruit in a variety of dishes…to create finely balanced compositions.’ (Alice Strang et al, S. J. Peploe, National Galleries of Scotland, Edinburgh, 2012, p.23)Still Life with Tulips dates from this exceptional immediate post-war period, before Peploe settled into the rose still lifes which he painted, exhibited and sold in great numbers during the 1920s. During this period he worked particularly closely with his other fellow Scottish Colourist, F. C. B. Cadell and the two shared an interest in a style which was to become known as ‘Art Deco’ following the Exposition international des arts décoratifs et industriels modernes held in Paris in 1925.At this point, tulips were Peploe’s preferred flower, often bought from stalls on nearby Princes Street. His enjoyment of their strongly-coloured stems, leaves and heads comes to the fore in their balletic presentation here. Their reaching, curving and swooning qualities, in all directions, is played out in the very frontal plane of the image to the right and in an effusion of movement from the vase. The simplified forms of the boldly-coloured petals play against the black and white planes in front of which they are positioned.Throughout, Peploe plays with notions of the space beyond the canvas, with just the angled corner of the table included, whilst the cropped fan, red tulip above it and emerging tulips to the right allude to a continuation of the narrative beyond the viewer’s gaze. The realisation not only of the translucency of the water in the vase and the stems within it, but also its reflection of the space within which the artist was working, is a tour de force passage.Given the brilliance of his tulip still lifes, it is little surprise that his painting, Tulips, of 1923, was acquired for the British national collection in 1927 (Tate, acc.no. NO4224), the year in which Peploe attained the rank of full Member of the Royal Scottish Academy. His appointment was announced in the Glasgow Herald, which described him as ‘an artist of the new movement, Mr Peploe is outstanding in Scotland, and his work has received recognition in London and abroad as well as at home.’ (10 February 1927) Indeed, Peploe’s legacy is primarily based on his mastery of the still life genre, of which Still Life with Tulips is an exceptional example.

After Josef Müllner, Austrian, 1879-1968, a bronze model of a boy on the shoulders of a bear, mid-20th century, the base with cast signature, J. MÜLLNER, MADE IN AUSTRIA, 55.5cm high (ARR)

A rare personal collection of items relating to Florence Nightingale, originally belonging to Eliza Francis “Fanny” Pettit, her companion in later life, comprising: two small original sepia photographs taken by Fanny Pettit of Miss Nightingale seated on an armchair, c.1910, 5.9 x 5.9cm; three prescriptions written for Miss Nightingale, addressed to Miss Nightingale's Maid, comprising a medical prescription from Squire and Sons chemist of 413 Oxford Street, London in an envelope, inscribed One tablespoonful in a little water, three times a day immediately after meals, dated 16th November 1907; an optician's prescription from 13 Upper Berkeley Street, Portman Square, London, inscribed Glasses (For all near work), dated 13th November 1907; and another optician's prescription, inscribed To be applied to the margins of the eyelids as directed once a day, dated 22nd November 1907; five handwritten letters addressed to Fanny Pettit from Miss Nightingale's cousins and one from her housekeeper Elizabeth Bosanquet recounting the last hours of Miss Nightingale's life; a hat pin that belonged to Miss Nightingale, late 19th century; a small rectangular silver plated tea caddy, by Leopold Oudry, late 19th century, marked L. Oudry dp Editeur, 7.5cm high, 9cm wide, 7.5cm deep; a Chinese export famille rose travelling teapot, early 20th century, in wicker carrying case, 14cm high; two sepia photographs of Lea Hurst, Derbyshire, the childhood home of Miss Nightingale; postcards to Fanny Pettit from the family and housekeeper of Miss Nightingale; an entry ticket and order of service for Miss Nightingale’s memorial service at St Paul’s Cathedral in 1910; a fundraising pamphlet for the Hospital for Invalid Gentlewomen; a framed photograph of Miss Nightingale in bed originally by Lizzie Caswall Smith in 1910; a collection of contemporary newspaper cuttings collected by Fanny Pettit relating to the life of Miss Nightingale; and a studio portrait photograph of Fanny Pettit taken c.1909 (lot)  Provenance: From Eliza Francis "Fanny" Pettit and then by descent. Footnotes: Note: Florence Nightingale, 1820-1910, known as the “The Lady of the Lamp”, was a British nurse, social reformer and statistician who is best remembered as the founder of modern nursing.  Her experiences as a nurse during the Crimean War were foundational in her views about sanitation.  She established St. Thomas’s Hospital and the Nightingale Training School for Nurses in 1860.  She is recognised as one the greatest Victorians and a female icon in her own lifetime. This highly personal collection has been passed down through four generations of the vendor's family from Eliza Francis “Fanny” Pettit (later Gibbs), who was Florence Nightingale's lady companion for two years in 1906 and 1907 and lived with Miss Nightingale at 10 South Street, Park Lane, London.When Fanny left Miss Nightingale’s employ, she was gifted two personal items by the great lady as a personal thank you for her service, a travelling teapot and a silver plated tea caddy.By all accounts, Fanny was highly regarded by both Miss Nightingale and her family and after leaving Miss Nightingale's employment at the end of 1907 to get married, she was subsequently invited with her new husband to spend their honeymoon at the family’s country estate, Lea Hurst, in Derbyshire, where Miss Nightingale grew up.Fanny's daughter, Eileen, was christened with the middle name Florence, in honour of Miss Nightingale, on the day that Fanny was informed by letter that Florence Nightingale had passed away.  In perhaps the most poignant item in the collection, this letter recounts Miss Nightingale’s final moments and how she was invited, by Elizabeth Bosanquet the housekeeper at South Street, to see Miss Nightingale at rest.  The letter, as transcribed below, is a moving reflection of the high regard Fanny was held in. Dear Fanny,This is sad news for you to have heard on the day of your little baby's christening.I know how deeply you will feel it but I hope you will bear up for the baby's sake.If you return in time and can manage to come round, I think you would like to look on Miss Nightingale's peaceful face. She passed away quietly at 2pm yesterday resting on her pillows just as she had been placed the night before.A change came during the night and we had to send for the doctor and knew it was grave and sent to the relations.It was very peaceful and merciful and one is so thankful she slept away with no suffering. We shall all be the better for her wonderful influence.Yours faithfullyElizabeth Bosanquet. Fanny was subsequently invited to Miss Nightingale's memorial service in St. Paul's Cathedral which was held one week after her death on 20th August 1910.The two photographs are informal snapshots of Miss Nightingale. They are thought to be the last images of the nurse taken in her old age at her house at 10 South Street, Park Lane by Fanny using her Brownie camera and have never been published. They were exhibited in “Nightingale In 200 Objects, People & Places”, at the Florence Nightingale Museum in London, 8 March 2020 - 7 March 2021, celebrating the bicentenary of Florence Nightingale’s birth.The three prescriptions were also on loan in the same exhibition at the Florence Nightingale Museum and were displayed as “Item 130”.  During the Crimean War Miss Nightingale contracted brucellosis, a bacterial infection which causes fever, joint pain, extreme fatigue, and depression. The infection became chronic and as a result Miss Nightingale experienced recurring episodes of illness for the rest of her life.  She spent most of her later years at her home in South Street.  Towards the end of her life Miss Nightingale was supported by Fanny Pettit, who helped Nightingale with daily tasks such as taking her medications.  Fanny kept these prescriptions as a keepsake when Miss Nightingale passed away.

A collection of nine Royal Mint 50p coin collectors packs to include Beatrix Potter, Wallace & Grommit, Paddington Bear and Innovation in Science examples, all in sealed uncirculated condition.

Two United Kingdom Royal Mint silver proof paddington bear 50p coins to include At The Palace & At The Station, both complete with boxes and COA's.

A PADDINGTON BEAR AND A TEDDY BEAR.

A CHAD VALLEY TEDDY BEAR AND ONE OTHER.

A HARRODS PANDA AND A POLAR BEAR.

A WHITE ROBED TEDDY BEAR

THREE PADDINGTON BEAR SOFT TOYS

THREE PADDINGTON BEAR SOFT TOYS

SIX ENAMELLED PADDINGTON BEAR FIGURES, A POTTERY MUSICAL EXAMPLE, AND A COALPORT HOUSE.

A LARGE COLLECTION OF VINTAGE AND LATER PADDINGTON BEAR TOYS.

AN EXTENSIVE COLLECTION OF PADDINGTON BEAR RELATED CERAMICS AND ORNAMENTS.

A COLLECTION OF VINTAGE BEER MATS, A PEGGY NISBET JOINTED BEAR AND ONE OTHER FROM BOOTS, AND A 100 PERCENT SILK TURQUOISE AND EMBROIDERED ORIENTAL TUNIC, A KAFEINI FUR GILLET/ WAISTCOAT, AND A VINTAGE LEATHER AND FUR GILLET UNSIGNED.

PADDINGTON BEAR, EXTENSIVE COLLECTABLES TO INCLUDE BOOKS, RUG, TABLECOVERS, CLOCK, TEXTILES, FRAMED PICTURES AS NEWS ETC.

Two boxes of ornaments, steins, decorative plates, Christmas teddy bear etc

Steiff teddy bear, 24 cm high, Steiff Charly bear, 13 cm high and a Steiff club necklace and badge

Two boxes of soft toys and teddy bears including Manchester United bear and a Teletubbie

A GABRIELLE DESIGNS PADDINGTON BEAR with a blue felt hat, red felt duffle coat, and blue rubber wellington boots, 50cm high; a pale gold plush musical teddy bear, circa 1950s, 35cm high; and two other soft toys, (4).

[MODERN FIRST EDITIONS] O'Connor, Flannery. The Violent Bear it Away, first edition as such, Longmans Green & Co., London, 1960, original boards, dustjacket (non price-clipped), octavo; together with Didion, Joan. The White Album, first British edition, Weidenfeld & Nicolson, London, 1979, boards, dustjacket (non price-clipped), octavo; and Pynchon, Thomas. Slow Learner, first British edition, Cape, London, 1985, boards, dustjacket (non price-clipped), octavo, (3).

A Black Forest carved sculpture of a standing bear, 26cm high

A Large Sterling Silver Teddy Bear Brooch With Marcasite Bow Tie

Three Modern Steiff Teddy Bears #012259 Petsy (Blond) approximately 22cm tall, #012419 Petsy (Brown) approximately 26cm tall, #006418 Classic 1926 Mohair Teddy Bear, 22cm, all with tags attached.

Three Collectable Teddy Bears by The Cotswold Bear Co. to include Cub Collection Bramble Limited Edition Number 63 of 100, Dixie Limited Edition Number 50 of 100, Shop Exclusive Little Sparrow Limited Edition Number 1 of 1, all with tags attached and presented within navy blue drawstring bags.

A boxed Steiff, I Belong To Mark Teddy Bear, No. 664403, 26cm, sealed bag.

A boxed Steiff, The Royal Wedding Teddy Bear, celebrating the wedding of Prince William & Catherine Middleton, 2011, No. 662713, 25cm, certified no. 0998.

A boxed Steiff, Limited Edition Teddy Bear to celebrate the birth of Prince George, No. 290831, 26cm, accompanied by literature, sealed bag containing bear and certificate.

A boxed Steiff, 1952-2012 Limited Edition Diamond Jubilee Teddy Bear, No. 663659, 27cm, accompanied by literature, sealed bag containing bear and certificate. Damage to box.

A Mid XX Century Plush Teddy Bear, probably Chad Valley, fully jointed, high, well loved.

Corgi 801 Noddy's Car - finished in yellow, red wheel arches and base, cast hubs, chrome trim with Noddy, Big Ears & Tubby Bear figures. Box window loose, small split.

A COLLECTION OF ELEVEN VINTAGE / ANTIQUE BEARS, to include examples by Chad Valley, plus a Japanese 'Lenny the lion' type bear and two modern miniature bears, tallest H 46 cm (3)

THREE ITEMS OF TIFFANY & Co. 925 SILVER JEWELLERY, comprising a gemset silver ring - size N, a pair of earrings and a Wall St. Bull and Bear keyring (3)

A VINTAGE BLACK FOREST BEAR A/F, H 13 cm, L 18 cm

A collection of silver and white metal items. The lot to include a 925 silver money clip marked 925, 5cm. A hallmarked silver cheroot case, 5cm. A hallmarked 925 silver swizzle stick hallmarked Birmingham. A 935 silver pocket watch having twin bear mark 4.5cm. A Chinese white metal needle case embellished with a Qilin, having Chinese marks to lid and base 7cm . Total weight 137g. 

Vintage Teddy Bear with moveable head, arms, legs etc

Steiner: A large Steiner teddy bear, 'Julius', Limited Edition 16 of 20. Measuring approx. 41.5". Generally in very good condition. Certificate attached to ear. Please assess photographs.

Bear: An unmarked, early to mid 20th century plush teddy bear, no manufacturers label, height approx. 25". Together with a large bisque head doll, Armand Marseille, marked to head 'A.M Germany 351/10.K', open and close eyes, open mouth, appears generally good, height approx. 25". Please assess photographs. (2)

Steiff: A boxed Steiff Teddy Bear 1912 Replica, black 40cm, Limited Edition 2678 of 7000, Reference 406805. Bear very good, box and bag showing signs of wear. Please assess photographs.

Francesco Zanin, 1824 – 1884, zug.BLICK AUF DEN RIO DEI MENDICANTI UND DER SCUOLA DI SAN MARCOÖl auf Leinwand.39 x 54 cm.Gerahmt.Das Gemälde verewigt eine Tagesansicht des Rio dei Mendicanti in Venedig, eines wichtigen Kanals, der die Stadtteile Castello und Cannaregio voneinander trennt und eine Art Grenzlinie bildet, in diesem Fall von der Ponte Rosso ausgesehen.Der Rio dei Mendicanti mündet in der Nähe der Fondamenta Nuove in die Lagune, verläuft vor der Basilika Santi Giovanni e Paolo, entlang der Scuola Grande di San Marco, vor der Kirche San Lazzaro dei Mendicanti und vor dem Squero Vecio: Da er breit genug ist, um auf der Seite der Fondamenta, die an ihm vorbeiführt, anlegen zu können, wurde der Kanal häufig als Motiv für Gemälde des 18. und 19. Jahrhunderts verwendet.Tatsächlich hatte Canaletto bereits 1723 ein Ölgemälde mit dem Rio dei Mendicanti von der gleichnamigen Brücke aus gemalt, gefolgt von seinem Neffen Bernardo Bellotto (1722 - 1780), der 1740 eine Ansicht von der Spiegelbrücke, der Ponte Rosso, malte, was den hohen künstlerischen Wert der Ansicht beweist, die für die Anhänger des Vedutismus zurm obligatorischen Ziel wurde.Der Blick auf diese Art von Aussicht zeigt, dass die venezianische Kultur an der Wende vom 18. zum 19. Jahrhunderts im Wesentlichen eine Kultur war, die sich auf die Geschichte und den Wert bestimmter Denkmäler konzentrierte: In dieser Zeit führten die venezianischen Maler eine echte „Ausarbeitung der Erinnerung“ und sogar der „Trauer“ im Zusammenhang mit dem traumatischen Untergang des venezianischen Staates im Jahr 1797 durch, indem sie wiederholt bedeutende Orte der Stadt darstellten, um die Erinnerung zu bewahren.In stilistischer Hinsicht offenbart das Werk die genaue Beobachtung und den Detailreichtum in der Wiedergabe der Architektur durch den Künstler sowie eine dynamische Behandlung des Himmels und des Wassers, Merkmale, die den starken Einfluss der großen niederländischen Landschaftsmaler des 17. Jahrhunderts erkennen lassen. Das Gemälde tendiert zu einer Art deskriptivem Verismus, bei dem die Realität mit fotografischer Genauigkeit wiedergegeben wird.Anmerkung:Zanin malte Kopien von Canaletto, einige davon ohne Unterschrift, damit sie im Handel als Originalwerke des berühmtesten venezianischen Künstlers des 17. Jahrhunderts durchgehen konnten. So kam es, dass er vor die Signatur vieler seiner Werke die Nummer der Replik setzte.So wurde beispielsweise das Gemälde Rio dei Marcanti e la scuola di san Marco, dass sich in der Sammlung der Fondazione Palazzo Coronini Cromberg in Görz befindet, für ein Werk von Canaletto gehalten, während in Wirklichkeit die Signatur „N° 33. Zanin Fran.co 1869“ bedeutet, dass es sich um eine weitere Kopie des gleichnamigen Gemäldes von Bernardo Bellotto aus den Accademia-Galerien handelt, von denen einige unsigniert auf dem Antiquitätenmarkt landeten.Mit dem sich ändernden Geschmack gingen Zanin jedoch schließlich die Kunden aus und der Maler starb in Armut und Einsamkeit am Weihnachtstag 1884 in Venedig. (1381632) (2) (18)Francesco Zanin,1824 – 1884, attributedVIEW OF THE RIO DEI MENDICANTI AND THE SCUOLA DI SAN MARCOOil on canvas.39 x 54 cm. Framed.The painting immortalises a daytime view of the Rio dei Mendicanti in Venice, an important canal that separates the Castello and Cannaregio districts, creating a kind of borderline, seen in this case from the Ponte Rosso.The Rio flows into the Lagoon near the Fondamenta Nuove, runs in front of the Basilica of Santi Giovanni e Paolo, along the Scuola Grande di San Marco, passing in front of the Church of San Lazzaro dei Mendicanti in front of the Squero Vecio: being wide enough to allow mooring on the side of the fondamenta that ran alongside it, the canal was often taken as a subject in eighteenth- and nineteenth-century paintings, maintaining constant over the centuries.In fact, Canaletto had already painted an oil on canvas in 1723 with the Rio dei Mendicanti seen from the bridge of the same name, followed later by his nephew, Bernardo Bellotto (Venice, 1722 - Warsaw, 1780), who painted a view of it in 1740 from the mirror bridge, the Ponte Rosso, demonstrating the high artistic value of the view, which became an obligatory stop for all followers of his Vedutism.Admiring this kind of view shows how in fact, Venetian culture at the turn of the 18th and 19th centuries was fundamentally a culture focused on history and the intrinsic value of certain monuments: in this period, in fact, Venetian painters (in particular Zanin) implemented a real ‘elaboration of memory’ and, even, of the ‘mourning’ linked to the traumatic fall of the Venetian state in 1797, depicting on several repeatedly depicting significant places in the city, with the aim of perpetuating the memory.From a stylistic point of view, the work reveals the exact observation and richness of detail in the artist’s rendering of the architecture, as well as a dynamic treatment of the sky and water, characteristics that bear the strong influence of the great 17th-century Dutch landscape painters. The painting tends to veer towards a kind of descriptive verism, in which reality is portrayed with photographic fidelity.Notes: Zanin painted copies of Canaletto, some without signing them, so that they could pass in the the retail market as original works by the most famous Venetian artist or 17th century. It happened that before the signature of many of his works he placed the number of the replica.Thus,for example, Rio dei Marcanti e la scuola di san Marco, a painting held in the collection of the Fondazione Palazzo Coronini Cromberg in Gorizia, was considered to be by Canaletto, in reality the signature ‘N° 33. Zanin Fran.co 1869’ means that it was yet another copy of Bernardo Bellotto’s painting of the same name from the Accademia Galleries, some unsigned ended up on the antiques market.However, with changing tastes, Zanin eventually ran out of customers and the painter died in poverty and loneliness in Venice on Christmas Day 1884.

A white glazed porcelain vintage polar bear, Imperial Lomonosov porcelain factory, 1960s, h 24.5 x l 41.5 x w 10 cm.

A Dutch Delftware tobacco jar and brass cover, De Drie Klokken (The Three Bells) factory, second half 18th centuryOf ovoid form, painted in blue with a framed rectangular scene of a tobacco plantation depicting the preparation and packing in barrels of tobacco leaves, titled above 'DE TABAKSPLANTAGIE' and with an oval frame flanked by leaves below inscribed 'No 5', the slightly domed brass cover with a ball finial, 31cm high, 'three bells' mark in blue (glaze losses to edge of rim)Footnotes:Provenance:Acquired in 1987Literature:D. Gage/M. Marsh, Tobacco Containers & Accessories (1988), no. 1;D. Gage, A Quintessential Art Rediscovered, in The Antique Collector Magazine, June 1988, pp. 71-75, fig. 3;S. Fellner, Die lasterhafte Panazee (1992), no. I/71Exhibited:London, The International Ceramics Fair and Seminar, The Dorchester Hotel, Special Loan Exhibition, The British-American Tobacco Company Collection of Tobacco Containers & Accessories, 10-13 June 1988;Vienna, Österreichisches Tabakmuseum, Die lasterhafte Panazee 500 Jahre Tabakkultur in Europa, 11 June-4 October 1992The potters at Delft were among the earliest to produce large tobacco jars with a large capacity that were intended for shops and tobacco producers rather than for personal use. Many such jars are inscribed with numbers or the names of different tobacco and some also bear the V.O.C, monogram of the Dutch East India Company.For further information on this lot please visit Bonhams.com

A large Meissen porcelain ewer emblematic of 'Earth', circa 1880After the model by Johann Joachim Kändler, of flattened baluster form with a scroll handle modelled as a sheaf of corn entwined with pink ribbon and surmounted by a putto holding a basket of fruit, the body with a high relief hunting scene depicting hounds attacking wild boar, deer and bear flanked by figures of Diana holding a gilt bow and a satyr playing pipes, the obverse painted with a mountainous lakeside scene, all raised on circular foot applied with putto digging with a spade, 68cm high, crossed swords in underglaze-blue with a single cancellation mark, incised 309., impressed 66 or 99 (chips and losses, firing crack along the neck)For further information on this lot please visit Bonhams.com

A Collection of 43 fifty pence pieces, to include London 2012 Olympics, Beatrix potter, Paddington Bear etc, housed in a coin album (43)

A Robert Raikes Bear with basket.

A 'Grandad's Are Antique Little Boys' Teddy bear in a chair.

A Frazer Teddy bear and one other.

Box of Beneagles Beswick ceramic miniatures, including Standing Bear, Red Squirrel, Seal, Otter, Badger, Godlen Eagle, Nessie, and Haggis, other Rutherford ceramic whisky miniatures, Mini Bottles UK Royal commemorative whisky miniatures, and other miniature spirits including Courvoisier cognac, Drambuie, etc.

Two Abor Basket Weave Helmets, Naga, Assam, each of conical form, trimmed with black animal fur (possibly bear) and set with a pair of boar's tusks.

A pair of vintage bears formed as Paddington Bear and Aunt Lucy. Both with tags, 'Darkest Peru to London, England via Paddington stn' and 'St Luke's First XV v Peruvian Reserves' respectively.Height approximately: 45cm

A pair of vintage stuffed toys, to include: - Swan mounted to a wheeled frame - A small teddy bear

A boxed limited edition Winnie the Pooh and Piglet soft toy, with certificate and tag from The Bear Shop (Elm Hill, Norwich)Number 229/2000

A small early 20th century teddy bear, possibly a carnival bear.

A circa 1950s jointed fairground/carnival bear.

A well-loved vintage teddy bear with growling mechanism.

A large vintage teddy bear, straw stuffed, leather paw pads, stitched detail and growling mechanism.Height approximately: 60cm