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Badge. Irish. Royal Ulster Rifles Officer’s pouch belt plate circa 1953-68. An extremely fine example. Die-stamped silvered shamrock wreath bearing battle honours and surmounted by a crown resting on a scroll inscribed “Quis Separabit”. Within the wreath, a Maid of Erin Harp over the Sphinx on a tablet inscribed “Egypt” with a scroll inscribed “South Africa 1899-1902” below. At the base of the wreath a strung bugle with a scroll resting on the strings inscribed “Royal Ulster Rifles”. Four screw posts to reverse and complete with mirrored backing plate. VGC 1st July 1968, The Royal Inniskilling Fusiliers, The Royal Ulster Rifles and The Royal Irish Fusiliers amalgamated to form The Royal Irish Rangers who in turn amalgamated with The Ulster Defence Regiment on 1st July 1992 to from The Royal Irish Regiment.

Badge. 18th (The Royal Irish) Regiment of Foot Victorian Officer’s “Quilted” pattern shako plate circa 1861-69 A very fine and rare die-stamped gilt example. Crowned star mounted with strap “Virtutis Namurcencis Praemium”; silver crowned Harp with shamrock sprays to voided centre. Two loops to reverse. VGC

Irish. North of Ireland Imperial Yeomanry Edwardian head-dress badge. A fine scarce die-stamped silvered example. Crowned circlet inscribed “North of Ireland Imperial Yeomanry” and ornamented at the base with shamrocks. Mounted to the centre, a Maid of Erin Harp on a burnished domed ground. Two loops to reverse. VGC (KK 1393) Raised on 7th March 1900 as North Irish Horse for the Boer War, 7th January 1902 redesignated North of Ireland Imperial Yeomanry, 1908 reverted to North Irish Horse.

Royal Irish Rifles, Victorian OR’s glengarry badge circa 1881-96. Die-stamped blackened brass crowned scroll “Quis Separabit” surmounting Maid of Erin Harp which rests on tri-part scroll “Royal Irish Rifles”. Two loops to reverse. VGC (KK 689)

Badge. Irish. 88th Connaught Rangers Victorian Officer’s helmet plate circa 1878-81. A good scarce gilt example. Crowned star mounted with wreathed Garter, the black velvet centre bearing silver Harp over floreated “88”. Mounted on the base of the wreath, a silver scroll, “Quis Separabit”. Three screw posts to reverse. A little service wear to scroll and extra holes to reverse otherwise VGC.

Royal Irish Fusiliers Officer’s bullion forage cap badge. A good example. Flaming grenade surmounted by coronet with crimson velvet cap; the ball mounted with silver Prince of Wales’s plumes over Maid of Erin Harp. Some service wear. VGC

Royal Irish Regiment Boer War Officer’s 1902 hallmarked silver cap badge. A fine die-cast example by J & Co (Joseph Jennens & Co). Crowned Harp resting on tri-part scroll ‘Royal Irish Regiment’. Loop and blade to reverse. VGC (as KK 614)

Irish. 1st Bn Royal Ulster Rifles WW2 silver ‘Airborne’ Officer’s & WO’s beret badge. Fine die-cast crowned Maid of Erin Harp with “Royal Ulster Rifles” scroll across the centre, reverse impressed “Sterling Silver”. Two loops to reverse. VGC Part of 1st Airlanding Brigade 1941-1943 then 6th 1943-1945 under 6th Airborne Div. Fought at Arnhem.

Badge. Irish. Connaught Rangers Officer’s helmet plate circa 1901-14. A good scarce gilt example. Crowned star mounted with wreathed Garter, the dark green velvet centre bearing silver Harp over “Quis Separabit” scroll. Mounted on the base of the wreath, a silver scroll, “The Connaught Rangers”. Three loops to reverse. VGC

Irish. Kilkenny Militia Victorian OR’s open-back pewter coatee button. A fine scarce example by Hugh Foley, Dublin. Raised design of crowned Maid of Erin Harp between shamrock sprays on “Kilkenny” scroll. Complete with shank. GC Approx. diameter 22mm. Raised at Kilkenny 1793, saw active service during the 1798 Irish Rebellion. It fought at the Battles of New Ross and Vinegar Hill. The whole Regiment fought the French at Castlebar. Redesignated Kilkenny Fusilier Militia by 1855, Became 5th Battalion Royal Irish Regiment on Friday 1st July, 1881. See “Buttons of the Irish Militia 1793-1881” by J.McDonell, 26.3.

Group of assorted bronze and other metal medallions to include the answers medal medallion presented by the proprietors of answers, bronze medallion depicting prisoner of war with French inscription to reverse, bronze medallion of female playing harp and the Mond Nickel Company medallions etc.

HARP STYLE CHAIR, as originally designed by Jorgen Hovelskov. 85x100x134

A Victorian green hardstone scent bottle with white metal mounts depicting various Irish symbols to include clover, harp, horseshoe, the mount inscribed with birds and flowers and the screw on top set with a cabochon cut hard stone, 5.5 cm high

8th King's Royal Irish Hussars King's Crown Officer's Bridle Boss. Silver Maid of Erin harp surmounted by a Kings crown surrounded by a shamrock wreath mounted on a heavy brass base surrounded by a garter carrying the regimental motto Pristinae Virtutis Memores on a leather harness mount

Selection of six Senior NCO's Silver Sleeve Badges - 5th Royal Irish Lancers or 8th Kings Royal Irish Hussars. Three die stamped white metal and three cast (Indian or Middle East made) white metal, Maid of Erin harp surmounted by a King's crown, good condition, all fixings present (6)

Victorian 5th Royal Irish Lancers Senior NCO's Hallmarked Silver Sleeve Badge. Hallmarked silver sleeve badge, Maid of Erin harp surmounted by a Victoria crown fully hallmarked silver

5th Royal Irish Lancers Officer's Stirrup Slips. A pair of brass stirrup slips with silver Maid of Erin harp surmounted by a Victoria crown

5th Royal Irish Lancers Senior NCO's Hallmarked silver Sleeve Badge. Hallmarked silver sleeve badge, Maid of Erin harp surmounted by a King's crown

SILVER, comprising tapering glass caster with pierced star silver top, Birmingham 1915, approximately 12.5cm high, together with silver topped rectangular glass dressing table pot with embossed angel with harp, Birmingham 1901, approximately 10.5cm x 5.5cm x 4.5cm high, together with silver handle button hook, silver sugar bowl, plated pierced tray, spiral pepperettes

Film Poster: The Grass Harp (1995 US, poster prepared for UK release in June 1998, 40" x 30" quad). Some creasing from folding. Starring Mary Steenbergen, Sissy Spacek, Roddy McDowall, Walter Matthau, Jack Lemmon, Piper Laurie, Edward Furlong, Charles Durning, Nel Carter and Joe Don Baker (Brad Whitaker in The Living Daylights and the CIA Agent in Goldeneye). Directed and produced by Charles Matthau.

Charles Hazelwood Shannon (1863-1937), Woman playing the harp, red chalk, highlighted in white, 45cm x 28cm, framed

An Edwardian silver dressing table box, by Joseph Cook and Son, Birmingham 1901, heart form, crimped border, the hinged cover inlaid with green hard stone decoration of a harp and shamrock, within engraved foliate decoration, the interior with a velvet lined base, with traces of gilding, length 10cm, approx. weight 3.5oz.

A Belleek first period milk jug moulded with a harp shaped handle, 14 cm

A Barovier & Toso brass and clear glass harp-shaped ceiling light,95cm high

An Irish stained Oak Barometer, silvered dial by Yeates & Son Dublin, black stained finish with Shamrock, Celtic cross , harp and carved decoration ( glass cracked)AF

Gary Southwell small bodied eleven string harp guitar, no. 166, made in Nottingham, 1997, with nineteen fret ebony fingerboard, birds eye maple back and sides and fine grain table with string banding to the edges and sound hole, electrics in working order, Kingham fitted hard case

An Egyptian Highly Detailed Hand Coloured Pen & Ink Drawing on Papyrus Depicting a Musical Trio of Ladies Playing Flute, Mandolin & Harp - Framed.

A Meakins Coffee Set, Carltonware Draught Guiness ashtray and a Wade Harp ashtray.

A Pendelfin circular stand with eight musical rabbit figures - Megan the harp, Bongo, Maud, Clanger, Ingle, two Rollys and Squeezy

A Capodimonte figurine of a crinoline lady with harp

A boxed vintage Hohner The Echo Harp harmonica

LATE VICTORIAN OAK SPINNING WHEEL the treadle shaped in the form of a harp, 95cm high, 78cm wide

SCOTTISH - JUNIOR CUP Programme Aberdeen Sunnybank v Lochee Harp Scottish Junior Cup Final at Hampden Park 22 May 1954. Lacking staples with small split at lower spine, a little worn. Fair

August Moreau (after) - a three piece bronzed white metal clock set comprising clock and pair of lidded urns, the clock with female seated on an ornate case with white enamel dial with Arabic numerals and floral swags her arm resting on a harp with winged cherub beside, inscribed Duo D'Amour, green serpentine marble base on cast reeded clasped toupie feet; a pair of lidded urns with floral cast bodies on pierced scrolling leaf cast legs terminating in hoof feet on similar serpentine spreading circular bases, clock 44cm high, 52cm wide, lidded urns 33cm high, late 19th Century

German Late 19thC Handpainted Porcelain Group Figure of a Male and Female in 18thC Dress playing a harp on a floral base. Marked to underside of figure. Stands 9.5 inches tall. Excellent condition.

Beer labels, UK, mostly pre 1963, various Breweries including Groves, Younger, St Austell, Harp, Swales etc, mixed shapes and sizes, (gen vg) (approx 160)

After Campbell Payton. Lady playing harp, artist signed coloured print, published 1937 by Frost and Reed Limited.

ART NOUVEAU BROOCH PENDANT IN THE SUFFRAGETTE COLOURSof sinuous openwork form, with central harp string section set with round purple gem stones, possibly garnets, with a single peridot drop and set with split pearls, 50mm long excluding bale, unmarked, on a nine carat gold chain, 6g gross

MANTEL TIMEPIECE, 19th century, French, the ormolu case with harp and figure playing a lyre, silk suspension, 20.5cm H overall.

PROKOFIEV SERGEI: (1891-1953) Russian Composer. A.L.S., Serge Prokofieff, one page, to the verso of a postcard, Warsaw, 28th January 1936, to Désiré Defauw, in French. Prokofiev explains to his correspondent in full detail the musicians required for his orchestration, stating `The orchestra for the "Egyptian Nights" requires: pic, 2fe, 2 Ob, Corne Ingl, 2 Cl, Cl.bus, Saxophon Tenore (or Sax. Alto if no tenor available), 2 Fg., C.F, 2 T-be, 4 cor, 3 T-ni, Tuba, timp., 3 men for drums, bells, harp, piano, Quart,´ further referring to his travel days `I am on my way to Strasbourg, after that I play on the 31st at Anvers. I will make my best to reach Brussels after the concert, the 31st, or the day after early in the morning. Leave a written note to me at the palace hotel regarding the rehearsals.´ A good musical content letter. Small overall minor age wear and central fold to the centre. The postcard bears to the right border two binder holes, one affecting only the last letter of Prokofieff´s name. G £300-400 Egyptian Nights (1936-38) is a suite for orchestra by Prokofiev.

D. Milne (20th Century), Welsh lady playing the harp, signed and dated '48, oil on canvas, 55 x 45cm.

Vintage gilt wooden harp wall decoration 62cm high approx.

Collection of African items to include a sheild, two masks, bag, two figures, two elongated figures, a single string harp and a model of a crocodile Condition report: see terms and conditions

An early 20th/ late 19th century Zither- Royal Piano harp, with mother of pearl inlay

A Doulton Lambeth cylindrical vase; a Sylvac vase; a pair of Kaiser porcelain vases; others, an Irish porcelain model harp, decorative, qty

A Royal Crown Derby Mikado pattern teacup and saucer; a crested china harp; a cube teapot; a Spode dish; a set of Crown Staffordshire Chinoiserie plates; qty

A FINE VICTORIAN KILLARNEY WORK DAVENPORT DESK OF EXHIBITION SIZE AND QUALITY, the slope front decorated in typical style and featuring ferns and oval vignette of the Swiss Cottage, the panelled sides, with ovals of monastic towers, harps and hounds and an eagle on the obverse all within bands of trailing shamrocks, the twin door cupboard front featuring Ross Castle, Jerpoint enclosing four fitted drawers and having carved bog oak column supports, with continuous trailing shamrocks carved in low relief. 85cm wide x 70cm deep x 108cm tall The Killarney Woodwork IndustryBy the middle of the 18th Century Killarney and its hinterland was emerging as a 'tourist centre'. Early visitors related their experiences of awesome lakes, mountains and wildlife in guidebooks and by 1853 Killarney was accessible by rail, allowing even greater numbers to reach the area. Roughly 30 years before the arrival of the railroad, enterprising men such as Jeremiah O'Connor established factories for the production of handcrafted souvenirs such as chessboards, snuffboxes, card cases - even jewellery. The items were made from a variety of beautiful local timbers - arbutus, elm, ash, holly, yew, bog oak and bog yew which grew in abundance on the mountainsides surrounding the Lakes of Killarney. Arbutus and bog oak were used prolifically and became particular to the Killarney wares. As mementos of the area, the items mentioned were inlaid with marquetry images of the most popular local sites: Muckross Abbey, Ross Castle, Glena Cottage, Old Weir Bridge, Innisfallen, Aghadoe, Dunloe Castle and Killarney House, several of which can be identified on the Davenport desk illustrated. The images were largely taken from a book of engravings 'Ireland: Its Scenery, Character &c' (1841) by Mr and Mrs S. C. Hall. In addition the wares were decorated with symbolic motifs of shamrock, harp, ivy, ferns, mountain eagles and deer. The depiction of wreaths, shamrock, rose and thistle together symbolised the union of Ireland with England, Scotland and Wales. It is possible that producers obtained the notion for such souvenir articles from other tourist resorts such as Tunbridge Wells in Kent as there are records of similar items being manufactured earlier than those at Killarney. The sale of these small, portable, often exquisitely carved items was seasonal and by the mid-nineteenth century manufacturers had turned their hand at creating fine quality pieces of furniture such as writing desks, sofas and cabinets aimed at the gentry, both locally and nationally/internationally. Good producers such as James Egan displayed wares at exhibitions as far away as Paris and New York. Around 1860 Egan was commissioned by Lord Castlerosse to manufacture a fine arbutus cabinet and desk as a gift for Queen Victoria and many of the manufacturers both gifted and sold pieces to members of the royal family giving further status to the wares. The decline in production of Killarney woodwork came in the late 1800s. The lack of innovation in design and competitive pricing from outside manufacturers assisted in the demise of the industry. The production of items in bog oak lasted longer than that of arbutus but by the early 1900s Killarney was better known for its lace than its woodwork. Now only woodwork museums in Kerry and the items themselves remain.

A VICTORIAN KILLARNEY WORK SHAPED CIRCULAR SNAP-TOP TEA TABLE, the inlaid arbutus wood decorated with boxwood plaques depicting Killarney views and with sprays of ferns raised on centre triple pillar supports and a triangular platform base, on similarly decorated carved paw feet. 71cm diameterThe Killarney Woodwork IndustryBy the middle of the 18th Century Killarney and its hinterland was emerging as a 'tourist centre'. Early visitors related their experiences of awesome lakes, mountains and wildlife in guidebooks and by 1853 Killarney was accessible by rail, allowing even greater numbers to reach the area. Roughly 30 years before the arrival of the railroad, enterprising men such as Jeremiah O'Connor established factories for the production of handcrafted souvenirs such as chessboards, snuff boxes, card cases - even jewellery.The items were made from a variety of beautiful local timbers - arbutus, elm, ash, holly, yew, bog oak and bog yew which grew in abundance on the mountainside surrounding the Lakes of Killarney. Arabutus and bog oak were used prolifically and became particular to the Killarney wares. As momentos of the area, the items mentioned were inlaid with marquetry images of the most popular local sites: Muckross Abbey, Ross Castle, Glena Cottage, Old Weir Bridge, Innisfallen, Aghadoe, Dunloe Castle and Killarney House, several of which can be identified on the Davenport desk illustrated.The images were largely taken from a book of engravings 'Ireland: Its Scenery, Character and History' (1841) by Mr and Mrs S.C. Hall. In addition the wares were decorated with symbolic motifs of shamrock, harp, ivy, ferns, mountain eagles and deer.The depiction of wreaths, shamrock, rose and thistle together symbolised the union of Ireland with England, Scotland and Wales. It is possible that producers obtained the notion for such souvenir articles from other tourist resorts such as Tunbridge Wells in Kent as there are records of similar items being manufactured earlier than those at Killarney. The sale of these small, portable, often exquisitely carved items was seasonal and by the mid-nineteenth century manufacturers had turned their hand at creating fine quality pieces of furniture such as writing desks, sofas and cabinets aimed at the gentry, both locally and nationally/internationally.Good producers such as James Egan displayed wares at exhibitions as far away as Paris and New York. Around 1860 Egan was commissioned by Lord Castlerosse to manufacture a fine arbutus cabinet and desk as a gift for Queen Victoria and many of the manufacturers both gifted and sold pieces to members of the royal family giving further status to the wares. The decline in production of Killarney woodwork came in the late 1800s. The lack of innovation in design and competitive pricing from outside manufacturers assisted in the demise of the industry. The production of items in bog oak lasted longer than that of arbutus but by the early 1900s Killarney was better known for its lace than its woodwork. Now only woodwork museums in Kerry and the items themselves remain.

A MIXED LOT:- Two small trophy cups with upswept, harp-shaped handles, both inscribed, and a small mug & matching sugar bowl with faceted circular bodies and ring handles, by Adie Brothers, Birmingham 1926; the mug 2.25" (5.7 cms) high; 14.9 oz (4)

A mixed group of hallmarked silver items to include two cut glass and hallmarked silver topped dressing table jars, napkin rings, a cased set of six hallmarked silver spoons a Echoharp boxed harp and a hallmarked silver topped inkwell.

An Irish infantry officer’s sword, c 1935, straight fullered blade 33”, of British style, etched on both sides with Gaelic “FF” (Fianna Fail) monogram in motto strap on a star and sunburst, all within Irish strapwork panels incorporating a harp at the base, pierced brass half basket guard incorporating star FF device as on blade, incised dome pommel and plain backstrap, wirebound (loose) fishskin grip, in its leather scabbard. Good Condition . Plate 24

An interesting pre Crimea War officer’s full dress embroidered sabretache of the 8th The King’s Royal Irish Hussars, scarlet cloth, with gilt lace border, bearing Guelphic crown over VR cypher with superimposed Royal Crest, below this the Roman numeral VIII and Irish harp with shamrocks and scrolls “The King’s Royal” on one side and “Irish Hussars” on the other, scarlet leather backing and pouch, 3 suspension dees, 15” x 12½” overall; together with a letter dated 11th May 1998, signed by Boris Mollo, and referring to “the large Pre-Crimean sabretache of the 8th Hussars which was formerly in my collection. I purchased this in 1956 ....At the time there was a note with it to the effect that it originally belonged to the Hon. Somerset John Gough Calthorpe who served with the Regiment from 1849 to 1856 and who was present at the Battle of Balaclava as ADC to Lord Lucan, Commander of the Cavalry Division. I am afraid that I no longer have the original piece of paper but Calthorpe’s career fits with the pattern of sabretache”. Good Condition. Plate 13 Note: “Honour the Light Brigade” by Lummis & Wynn notes the following: “Calthorpe served in the Crimea as aide-de-camp to Lord Raglan. In 1863 Lord Cardigan brought an action against Calthorpe over statements made in the latters’s book “Letters from Headquarters”. In it Calthorpe stated that Cardigan had been riding back up the Valley whilst parts of the Light Brigade were still moving towards the Russian guns. There were many affidavits, both confirming and denying this statement from survivors of the Charge. Cardigan won his case”.

AN IRISH GILT WOOD AND GESSO MOULDED MIRROR with later shield shaped bevelled mirror plate, the mirror decorated with clover and harp decoration, with an indistinctly written label to the reverse 'This mirror was designed from drawings from The Book of Kells, in museum of Trinity College, made by William Pym of Dublin for Lord Dunnaven, Adare Manor, County Limerick, October 14th 1785', 72cm wide x 88cm high Provenance: Purchased from Christie's sale 8th January 1992

Auto harp

Of Irish interest: A collection of Irish jewelleryTo include; a 9ct gold and enamel flag brooch, initialled, a matching stick pin, a 15ct gold, enamel and diamond set harp pendant, a silver shamrock brooch and a base metal harp brooch (5) weight of weighable gold 13g

A Mahogany concert harp (for restoration)

BOXED AUTO HARP

[Lady Emma Hamilton, 1765-1815]. Six Italian Duettinos for Two Voices with an accompaniment for the Piano Forte or Harp. Composed by Nicolo Isouard, published by M. Kelly at his Musical Saloon, No. 9, Pall Mall, [1802], engraved title (with faint publisher's inkstamp to lower right), 14 (of 16) pages of engraved music, each numbered 57 at foot, lacking one leaf (pages 7-8), inscribed in brown ink to head of title 'Lady Hamilton Merton', disbound without covers, slim folio Provenance: Christies, 8 March 1978, lot 164 (part), where purchased by Desmond Burgess for £121. A copy of the Maltese composer Isouard's Six Songs for Voice and Harp, owned by Lady Emma Hamilton, at a time when she was living at Merton Place, near Wimbledon in South London, and living with both Lord Nelson and her husband Sir William Hamilton. The property had been purchased by Lady Hamilton in 1801 acting on behalf of Lord Nelson, and became famous for the grand dinner parties and lavish lifestyle enjoyed by its occupants until Nelson's death at Trafalgar in 1805. (1)

A Berlin KPM porcelain rectangular plaque, late 19th Century, painted by R. Dittrich, signed, with a scene of a gypsy girl standing barefoot against a wall, holding a tambourine, beside a harp, impressed factory marks and titled 'Heimathlos Nach Kray' to reverse, approx 24.4cm x 16.4cm, framed.

BYRON. - Howard GORDON PAGE. The Shattered Harp, A Romance on the Life of Lord Byron. London: Alston Rivers, Ltd., 1928. First edition, 8vo (184 x 124mm.) (Light browning, occasional minor spotting.) Original cloth (head and foot of spine lightly bumped, spine slightly faded), dust-jacket (some soiling and browning, chipped and torn with minor loss). Provenance: Alex Bridge (bookplate and inscription dated '29/1/1935' to front pastedown). - And sixty-three other volumes relating to Byron and his circle (including, Leslie A. MARCHAND. 'Byron a Biography'. London: John Murray, 1957. 3 vols.) (64).