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A silver and agate harp brooch

PR. BELT BUCKLES WITH PIERCED HUNTING DOG DECORATION POSSIBLY ROBERT CHANDLER BIRMINGHAM, VICTORIAN WHITE METAL POSY HOLDER, IRISH FOB WITH YELLOW METAL HARP DECORATION AND AN IRISH SILVER MOTORING PENDANT

Edward Steel Harper (1878-1951) British. "Spring's Gay Call", Signed with Harp Motif and Dated 1933, and Inscribed on a label on the reverse, 11.5" x 15.5".

Royal Irish Regiment Victorian OR’s brass cap badge circa 1896-1901. Die-stamped crowned Harp on title scroll. (KK 613)LoopsVGC

Tyneside Irish scarce first pattern brass shoulder badge by Reid.Die-stamped crowned harp on title scroll (KK 1138)Reid & Sons, Newcastle on TyneLoopsVGC

South African Irish Rifles cap badge.Die-stamped crowned harp resting on scroll inscribed “Faugh a Ballagh”.SliderVGC

Queen’s Royal Irish Hussars Officer’s cap badge circa 1958.Die-cast 1st pattern in gilt with silvered Maid of Erin Harp and scroll. (as KK 1898)J.R. Gaunt LondonLoops VGCFormed from the amalgamation of the 4th Queen's Own Hussars and the 8th King's Royal Irish Hussars in Hohne, West Germany in 1958.

Princess Victoria’s (Royal Irish Fusiliers) scarce large Officer’s / senior NCO’s cap badge circa 1902-05.Die-cast rich gilt flaming grenade, the ball bearing silvered Maid of Erin Harp surmounted by Prince of Wales plumes. (as KK 693)Two of four bladesVGCAs stated in KK, not worn with coronet.

Irish. Royal Limerick County Militia Victorian Officer’s silver plated tunic button.Crowned title strap, Maid of Erin Harp to centre.Jennens & Co. London (POW plumes)ShankVGC

Irish. North Tipperary Militia Victorian Officer’s silvered tunic button.Crowned Maid of Erin Harp on “North Tipperary” bi-part scrollJennens & Co. LondonShankVGC

Irish. Kilkenny Militia Victorian Officer’s silver plated tunic button circa 1856-81.Crowned Maid of Erin Harp between shamrock sprays on “Kilkenny” scroll. Jennens & Co. London (POW plumes)ShankVGCRaised at Kilkenny 1793, Became 5th Battalion Royal Irish Regiment on Friday 1st July, 1881.

Irish. Cavan Militia Victorian Officer’s silver plated tunic button.Star bearing title circlet with Maid of Erin Harp to centreJennens & Co. London (POW plumes)ShankVGCRaised in 1793, became 4th Bn. Royal Irish Fusiliers 1st July 1881.

North Irish Horse EIIR NCO’s silver anodised arm badge.Die-cast crowned circlet “North Irish Horse” with shamrock spray to base; Maid of Erin Harp to centre.LoopsMinor service wearIntroduced 16th September, 1960.

Royal Irish Reserve Regiment Boer War OR’s blackened brass cap badge.Scarce die-stamped Imperial crowned Harp. (KK 1132) Loops removed, pin soldered to top years ago.GCAlso worn blackened by the Royal Irish Constabulary

1905 G.A.A. Challenge MatchMedal: G.A.A., 1905 An attractive and unusual cross shaped and pierced silver Medal, the obverse with Provincial Arms or Crest with heavy central harp overlay, surmounted by a football, the reverse inscribed "G.A.A. - Wexford V. Cork, June 1905, won by Lees", hallmarked Egan of Cork. Extremely Rare. (1)

The Paddy O'Brien G.A.A. Collection (Cork)Medals: G.A.A., Co. Cork; Nils Desperandum G.P.O. F.C. & G.A.A., [Paddy O'Brien] a collection of five silver Medals & Cap to include:1. G.A.A. "Wm. O'Brien F.C. Championship Tournament," 1901, the star shaped medal inscribed "won by Nils - P. O'Brien," hallmarked - Egan, Cork;2. G.A.G. "Cork National Monument Tournament 1902 - 03," the pierced design with engraved national monument, hallmarked - Egan, Cork;3. G.A.A. "Coachford Tournament 1903 - won by Nils F.C.," the engraved and pierced designs hallmarked - Egan, cork;4. G.A.A. "Nils - Blackrock Tournament 1904 - won by Nils, the pierced design with typical Celtic motifs harp, high cross, round tower, etc., hallmarked O'C & Co. (O'Callaghan & Co.);5. G.A.A. "Cork, Junior cup - won by G.P.O., F.C., 1903 - 04, the pierced design with Celtic motifs, hallmarked - Egan, Cork; together with the associated red velvet, and gold thread embroidered Cap.As a collection, w.a.f. (1)* Nils Desperandum F.C. was a sporting club in Cork, Ireland. When it was founded it was mainly a rugby club. In 1888, after "some years" of playing rugby "Nils," as they were known, played their first Gaelic football game.Within a few years Nils was one of the strongest Gaelic Athletic Association clubs in Cork. It had a headquarters on Marlboro Street and was largely represented by West Cork men who had come to the city to work. After winning the Cork Senior Football Championship in 1894, Nils went on to represent Cork in the controversial All-Ireland Senior Football Championship of 1894.

Medals: General, a 9ct gold circular medal, the obverse with pierced design and harp overlay, the reverse inscribed "Senior C'ships 1932, won by P. Berry," hallmarked; a 9ct gold pierced Medal with shamrock design, inscribed "Meath Drama Festival 1957 - Producers Award," hallmarked; a silver shield shaped Medal with engraved design and football overlay, inscribed "A.U.L. Subsidiary Cup, 1948/49 won by Baldoyle," as a lot, w.a.f. (3)

Laois First All-Ireland Title1915 All-Ireland Hurling MedalMedal: G.A.A. Hurling 1915 An attractive 9ct gold medal of Celtic Cross design, the obverse with pierced centre and harp overlay, inscribed around "Cumann na gCleas - Luith Gaedhealach" and "Eire," across, the reverse inscribed "All-Ireland C'Ship won by Leix, 1915", hallmarked H. & H. (Hopkins & Hopkins). Scarce. (1)* The 1915 championship was the 29th year of the competition. Having been beaten by Clare the previous year on a scoreline of 5-1 to 1.0, the Laois men gathered their thoughts and regrouped to reach another final. Under the Captaincy of Jack Finlay, they beat the Lee-siders on October 24th, 1915 claiming their first and only Title, winning 6.2 to 4.1.

The "Ned" (Edward) Ryan G.A.A. Medal Collection1.The All-Ireland Medal Group: (Two In a Row)(a)A 1950 All-Ireland Medal, the obverse depicting a Celtic Cross and Harp overlay, and "Eire" across the centre, the reverse inscribed "Craobh Iomana na hEireann 1950 -T'Arann," hallmarked 9ct J.M. (John Miller);(b)A 1951 All-Ireland Medal, the obverse depicting a Celtic Cross and Harp overlay and "Eire" across the centre, the reverse inscribed "Craobh Iomana na hEireann 1951 T'Arann,", hallmarked 9ct, J.M. (John Miller); (scored a goal against Wexford).2.Two in a Row Munster Titles(a)A 1950 Munster Senior Title, the obverse with Celtic design, pierced centre crossed hurls, and shield shaped enamel Coat of Arms, the reverse inscribed "Iomana Sinnsear 1950 - T'Arann," hallmarked 9ct gold, J.M. (John Miller);(b)A 1951 Munster Senior Title, the obverse with Celtic design, pierced centre crossed hurls, and shield shaped enamel Coat of Arms, the reverse inscribed "Iomana Sinnsear 1951, T'Arann," hallmarked J.M. (John Miller).3.National Hurling League(a)A 1949 / 50 League Title, the obverse with pierced Celtic Cross centre design, engraved circular centre with wolfhound, high cross and round tower, surrounded by colourful enamel decorated Provincial Coats of Arms, the reverse inscribed "An Connradh Naisiumta Iomana 1949 / 50," hallmarked J.M. (John Miller).(b)A 1951 / 52 League Title, similar design as above.4.Club Medals(1)Two County Tipperary Senior Championship Winner Medals 1949 & 1950 for Borrisoleigh, both silver gilt design medals in the shape of the Bishopric Arms, inscribed on reverse.(2)Five North County Tipperary Senior Hurling Championship Medals for 1949, 1950, 1951, 1952, 1953, all silver, various shapes and design, all inscribed.(3)An "Inter-factory" League Winners Medal, and three other uninscribed Medals.As a collection, w.a.f. (1)

A carved bog oak box with clover and harp to lid and a carved part Celtic cross

Boxed Swarovski crystal Harp in original box with certificate

A MINIATURE SILVER HARP AND GRAMOPHONE (2).

Antique Piano Harp/Zither Late 19th Century piano harp 'Edison No 5 Special' American model. Of wooden construct painted green with gilt decoration and American eagle decoration. In good overall condition.

Juliet Lawson (British, 20th Century) An Armorial with the Royal Coat of Arms, designed for a production of Nell Gwynn, signed lower left "Juliet Lawson 2017", oil on board These are the Royal Arms of Great Britain as used by the Stuart Kings & Queen Anne from 1603-1707. There were 2 gaps for the Commonwealth period 1649-1660 and for the reign of William 111 1688-1702 who placed his own arms of Nassau on a small shield on top of these arms. The quarterings on the arms are 1 and 4 France quartering the three lions of England, 2 the lion of Scotland, 3 the harp of Ireland. all encircled by the Garter. The motto "God and my right" is still used by our Queen. James 1 and Queen Anne often used other mottoes so this armorial was created for a play set in the reign of Charles I or Charles II (the play is Nell Gwynn) Condition is fine

Bible, Peshitta.- [Psalms of David], printed in red and black, wood engraved frontispiece portrait of King David playing at his harp, ink bibliographical and ownership inscriptions to endpapers, contemporary calf, rebacked in later morocco, corners worn, rubbed, 8vo, Constantinople, Ya'Qub Jrijury [Jacob Gregorius], 1846. ⁂ Rare first edition. From the preface we learn that the press was founded by an immigrant Syrian, who had settled in Constantinople in 1843. The type had been cast in 1844 and the first book was produced in 1845.

A silver charm bracelet set with a large number of silver charms including a church, bell, harp, shell, hedgehog, keys, heart, lamp, elephant, etc, together with other silver and white metal jewellery including bangles, locket, necklaces etc

A small turned and carved Irish bog oak spill and vase, decorated with wolf hound, harp and shamrock designs, 15.5cm tall

2nd century AD. A carnelian cabochon, intaglio image of a winged putto (Eros) with a harp in a pelletted border, set into a later D-section ring with flared profile and broad scaphoid shoulders. Cf. Henkel, F. Die Römischen Fingerringe der Rheinlande und der Benachbarten Gebiete, Berlin, 1913 item 86 for type. 12 grams, 27mm overall, 21.33mm internal diameter (approximate size British X 1/2 USA 11 3/4 Europe 27.01 Japan 26) (1"). Very fine condition. A large wearable size.Property of North West London gentleman; acquired from a London collector in the late 1990s; previously in a private collection formed in the late 1980s-early 1990s. 

Dated 1686 and 1741 AD. James II. Obv: profile bust with IACOBVS II DEI GRATIA legend. Rev: crowned harp dividing date with MAG BR FRA ET HIB REX legend. George II. Obv: profile bust with GEORGIUS II REX legend. Rev: crowned harp dividing date with HIBERNIA legend. S. 6576; D&F 363/S. 6606; D&F 543. 8.37 8.78 grams. [2 No Reserve] Very fine; first with green patination.

Late 7th-early 9th century AD. A gilt-bronze openwork bracket or fitting comprising: a D-shaped plaque with incised running zigzag to the upper face, waisted openwork plate formed as three cells flanked by S-coiled beasts; the upper beasts with one raised three-toed forelimb, D-shaped facing mask with pellet eyes, hatched detailing to the body, tribract to the shoulder, clubbed tail; the lower beasts similar with piscine details; the upper and lower cells D-shaped, the central one a lozenge, with a column of a hatched fish between; pierced at the upper corners and lower cell, two lateral pierced attachment lugs; ferrous remains, lug and part of a separate riveted bronze plate to the reverse. See Webster, L. & Backhouse, J. The Making of England. Anglo-Saxon Art and Culture AD 600-900 London, 1991; Wilson, D.M. Catalogue of Antiquities of the Later Saxon Period, Volume I: Anglo-Saxon Metalwork 700-1100 in the British Museum, London, 1964. Recorded with the Portable Antiquities Scheme with reference number DENO-4207C5; accompanied by a print out of the PAS report. 84 grams, 87mm (3 1/2"). Fine condition. Found Nottinghamshire, UK; 2013. The mount is unusual although its decoration and manufacturing technique point to an origin in Britain in the 7th-9th centuries. Its D-shaped upper face or ledge indicates that it is not the standard flat form of scabbard or harp fitting. The cells were probably intended to accept a glass inset gem or millefiori panel, although the inner panel of the central cell shows signs of having been gilded. The upper beasts show strong Irish influence in their design, which is found elsewhere in Northumbrian art in the 8th-9th century as for example on the brow fittings of the Coppergate helmet (Webster & Backhouse, item 47"). Similar heads in profile appear on the scabbard chapes from the St. Ninian's Isle Treasure (Wilson, plate IV"). The overall design of the piece is tentatively identified with the 'fish flanked by birds' motif seen for example in the Staffordshire Hoard, probably of later 7th century date. 

Ireland. Henry VIII Silver Sixpence. Posthumous issue. (1547 - c.1550) Dublin Mint. Type IV. MM. Harp. Obverse: small bust facing half right. Spink 6488. Unusually good for this late issue, good metal, good bust. NVF.

Sixpence 1697 Third Bust, Later Harp, Large Crowns ESC 1566 Unc and lustrous, slabbed and graded CGS 82

A quantity of Welsh Miners related Souvenir items including Bryn Melyn Studio model house, display plate, model harp, davey lamp, etc.

A steel Chopper with turned wood handle, bottle openers, Jews harp, shoe horn, etc.

Raymond Poulet (French b 1934), Oil and netting on canvas, Still life of flowers, a harp and piano, 'Vue Sur Les Samhuimaires', Signed lower left and inscribed verso, with receipt from Monaco dated 15/09/2003, 79cm x 79cm, Framed

A Sevres square dish painted with a harp playing cherub within a bleu celeste border, crossed LL marks, dated 1798, painted by Mme Parpette - 22cm square - chip to back, some gilt loss, generally good

A 19th century oil on canvas representing allegorical scene - two young women listen to maid playing harp - signed lower right "A. Aylward" in its original elaborated heavy gold leaf gilded exhibition frame, artist name on frame's plaque, canvas relined - size 55cm x 68.5cm - frame 86cm x 99.5cm Condition report: Some minor flaking to painting with overall crazing, has been relined

Belleek "Shamrock" harp figurine and a vase H21.5cm approx (tallest)

OF IRISH INTEREST  A 19TH CENTURY CARVED BOG OAK PIN CUSHION the turned body carved with clovers, harp, castle and a seated hound; standing on three brass turned feet 7cm high

FRANZ BERGMAN  A LATE 19TH CENTURY COLD PAINTED BRONZE SCULPTURE of an Eastern kneeling young lady plucking a harp; on a vienned black marble double pen and ink stand base with bowed back 40cm wide 34cm high with foundry stamp

Fine early 19th century Irish presentation sword with gilt bronze hilt with helmet pommel and gilt and silvered stirrup guard with crowned GR cipher, twin langets with silver crowned Irish harp to one side and 9th (Norfolk Regiment) of Foot Hibernia badge to the other, original red and gold bullion dress knot - the gilt copper scabbard with scarlet leather inserts, engraved on locket 'A Tribute of affectionate respect from the Corporation of Drogheda to their Gallant Townsman John Ackland Esq. Captn of the 9th Foot for his meritorious services in the Peninsula, Oct. 10th 1817. Peter Van Hoorick Recorder' and 'J. Read & Sons Makers, 8 College Green, Dublin' - the curved fullered blade retaining much original blued, gilt and polished finish and engraved to the tip of the blade with crowned 1801 - 1816 Royal Arms, crowned GR, military trophies, Justice, Britannia and Soldiers, Angels, Order of St. Patrick and crowned Irish harps. Captain John Ackland 9th (Norfolk) Regiment of Foot, described in his own words his service on his 1829 Statement of Service for retired officers:- 'I was appointed and Ensign to the 9th Regiment of Foot in 1806 and served under Sir Arthur Wellesley Campaign of 1808 in Portugal and in that severe and trying campaign under Sir John Moore in Spain, that shortly after I served in the Expedition to Walcheren when my health was much impaired by the disastrous sickness which prevailed. That prior to my perfect recovery from this severe illness I again returned to the Peninsular under Lord Wellington where I remained actively engaged until severely wounded on the retreat from Burgos although I had been previously so at Salamanca. I was ordered to England for the recovery of my health from the wounds and on its being established I accompanied the 1st Battalion of the Regiment to America although not effective therein, on my return to Europe with the Regiment I was placed on half pay!' He received a pension of £100 per annum commencing 25th October 1813 (for loss of the use of a hand at Burgos, Villa Muriel 25th October 1812) and retired to Drogheda, Ireland, where he assumed the life of a country squire Provenance: Purchased by Philip Southgate in 1984 from Peter Dale Ltd. Pall Mall, London, who purchased it at Phillips Arms & Armour Auction 23rd February 1984 - lot 159. Sold with catalogue and letters of provenance

A RARE IRISH PROVINCIAL SILVER SOUP LADLE, Limerick c.1785, mark of Maurice Fitzgerald, the pointed taper handle engraved with initials, (c.217.7g). 38cm longMaurice Fitzgerald, Mary Street Limerick, working 1760-1817. He is possibly the Maurice Fitzgerald, son of James Fitzgerald (no address given), who was apprenticed to Vere Forster, a Dublin goldsmith in 1752. He obtained his freedom of Limerick in October 1774. He served as bailsman in the Tholsel Court in 1787 and 1789. His advertisement in the Limerick Herald, 7 December 1789, announced his moving 'to Bridge St (formerly Quay Lane) where Geo. Moore had his shop, and has received from London and Dublin a fashionable assortment of silver and plate work'. He leased part of his Rutland Street dwelling in 1815. He died in Rutland Street in May 1817 and was buried in St. John's; his wife predeceased him in November 1815. (Bowen and O'Brien, 2007 p203)Hallmarking was introduced to Ireland in 1637 in order to control the practices of goldsmiths which had become increasingly dubious due to a lack of an established body to monitor the craft as a whole in Ireland. King Charles I established the ‘Wardens and Company of Goldsmiths of our said City of Dublin’ with a charter that would match their counterpart in London in relation to powers of law. The standards of production in place in England were replicated in the assay office set up in Dublin in April 1638 where every piece of silver produced in the country was stamped with ‘The King’s Majesty Stamp called the Harp Crowned.’ A second mandatory mark identified the maker of the item, usually the goldsmith’s initials. Or at least that was the idea, but as with any rule there is always the exception. Limerick silversmiths managed to defy these sanctions which mostly applied to those practicing the craft within a three mile radius of Dublin rather than farther afield. It was expected that those working in provincial centres would follow suit, however the specifics were somewhat vague. Equally the physical distance and difficulty of travel in the 17th century largely discouraged Limerick silversmiths to send their wares, of which many were highly valuable goods, to the assay office in Dublin. As a city, Limerick had their own trade guilds with their own set of rules, whose privileged position created a monopoly over the commercial economy of the city. The practice continued well into the 18th century despite the fact that the situation became more delicate for Irish provincial silversmiths with the introduction of a duty tax of 6d. per ounce on all gold and silverwares wrought in Ireland. This manifest evasion was tolerated by the State who turned a blind eye to the various unsanctioned marks. When a Limerick silversmith struck his mark upon a piece it acted as their guarantee to the customer. These marks vary with a castle gateway and six or eight pointed star stamped on late 17th century items, while from 1710 onwards ‘STERLING’ appeared along with the silversmiths initials. As ‘STERLING’ is not technically a hallmark the accompanying maker’s initials took on the equivalent weight of an official stamp. By staking their reputation through putting forward their own name rather than using the relative safety of a standard mark assured by the assay office, this suggests that Limerick silversmiths took particular pride and confidence in the high quality of their work.

AN IRISH PROVINCIAL GEORGE II LOVING CUP, Cork c.1745, mark of George Hodder, the plain ovoid body with central girdle and applied cast twin harp handles, raised on circular spreading foot, (c.435.4g). 14cm high, 11cm diameterGeorge Hodder, Silversmith mentioned 1738; freeman 1746. ‘whose grandfather was the first Protestant mayor of this city’; mayor himself 1754-5; his wife died during his mayoralty, 17th February 1755; he died 1771. (Bowen and O’Brien, 2005 pp180-186)

A late Victorian silver 'Irish' potato ring of waisted form, ornately embossed and chased with birds, figures and harp, Carrington & Co., London 1891, 18 oz, c/w original blue glass liner, 20.5 cm diameter Condition Report Good condition, no damage to silver or glass liner

A 19TH CENTURY PAINTED HARP by I & I Erat Manufacturers, 23 Berners Street, London, numbered 2071, the blue painted frame with gilt line decoration and with decorative exotic birds and scrolling foliage motifs to the sound board, the base with various pedals, 171cm high

Early 20th Century Art Nouveau Silver Dress Studs, embossed with a figure with a harp, Birmingham 1908, R & W; Another Similar Set, embossed with the head of a maiden, Birmingham *** L&S (2), both in fitted cases

Framed, unsigned, watercolour on paper, possibly a book illustration, Regency gentleman playing the harp, 14cm x 10cm.

LARGE CASED FISH - COMMON CARP a large fibreglass model of a Common Harp, mounted in a naturalistic background and in a glazed and wooden case. Case 98cms across

CHARLES 1 & 11 COINAGE. 1. A Tower Mint Charles 1 Sixpence group D with Tun mint mark 1636-38. 3 grams. 2. A Charles 1 Tower Mint Half Groat with Harp mint mark, 1.1 grams C1632-33. 3. A Charles 11 Groat 1660 with Crown mint mark. 1.9 grams.

*A Dursley Pedersen Bicycle Frame and forks, size 4, with handlebars, seat harp, springs and stays. Numbered 7354. It appears to be sound and restorable (1)

United Kingdom. Sixpence William III. 1700 3rd bust, later harp. large crown. Near Very Fine.

United Kingdom. Crown. William III. 1695 SEPTIMO. First harp. Good.

A set of Irish police metal badges and insignia with pierced harp and shamrock decoration

A group of modern Italian silver toys, mostly stamped ".925", the sewing machine stamped ".800", comprising:- a flat iron and stand, a baby in pram, a golfer in full swing beside his golf bag, a grandfather clock, a pair of bellows, a rocking chair, a small chair, a violin and bow, a harp, a sewing machine on wood stand, a euphonium and a saxophone (14).All in overall good condition.

A Pair of Large Cast Metal Irish Cannons with Harp Motif, 44cm Long

4 R Irish Fusiliers cap badges: 2 part coronet and eagle on ball, pair matching collars with coronet attached, 2 part coronet with POW’s feathers/harp on ball (2, one on green cloth triangle) and another without coronet. GC (6) Part II of a Private Collection

GOOD QUANTITY OF COSTUME JEWELLERY (NECKLACES), £5 COIN, A BLACK AND RED CHINESE LACQUERED OCTAGONAL BOX INLAID WITH MOTHER-OF-PEARL AND ABALONE IN THE FORM OF FOUR BIRDS, WITH FIVE COMPARTMENTS (H: 6.5 cm, W: 24 cm) AND AN ECHO HARP, CASED, TOGETHER WITH A BLUES HARP, CASED BY M. HOHNER, GERMANY

1796 & 1840 Two editions of Bunting, Edward. A Collection of the Ancient Music of Ireland Two editions, small folio, the 1796 edition together with his dissertation on the Egyptian, British and Irish harps; the 1840 edition together with his dissertation on The Irish Harp and Harpers. The 1796 edition rebound, but lot includes the original marbled boards. (3)

Irish Coachman's livery The short, hussar-style tunic of acid-green wool. Bullion corded front with forty-eight gilt-brass buttons, each with a relief harp. Crimson collar and cuffs with bullion trim. Black lining.

1960S Aer Lingus poster by Guus Melai. Aer Lingus advertisement poster showing a harp in a blue sky. Designed by Guus Melai and printed by The Ormond Printing Co. 40 by 25in. (101.6 by 63.5cm)