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A Commemorative Coin: A 1916 - 2016 “Centenary €100 Gold Coin,” (1,000 only issued); approx.. 28mm wide; 15.5g weight. (1) · The coin is designed by Michael Guilfoyle that says “Behind the figure of Hibernia, standing proudly holding her spear and harp, is an arrangement of key words and phrases from the Proclamation of the Irish Republic.”

All-Ireland Football Medal 1905 Medal: G.A.A., Kildare 1905, an attractive Celtic Cross design 9ct gold Medal, the obverse with pierced and decorated typical design, inscribed "Eire" acorns the centre with a harp, also inscribed around the sides "Cumann na Luith gcleas Gaedhael,", the reverse inscribed "Craobh Peile na hEireann Sinsear 1905 - Cill Dara A Bhuaidh," hallmarked. (1) * Kildare represented by Roseberry beat Kerry (Tralee Mitchells) who were defending champions on a scoreline of 1.7 to 0.5 to claim their First Title.

All-Ireland Hurling Medal, 1911 The Substitute Final Medal: G.A.A., Kilkenny 1911, An attractive Celtic Cross design 9ct gold Medal, the obverse with pierced and decorated typical design, inscribed "Eire" across the centre with a harp, also inscribed around the sides "Cumann na Luith gCleas Gaedhael," the reverse inscribed "All-Ireland Hurling C(hampion)ship, won by Kilkenny 1911, M.D." inscribed also around the edge "A Golden Memory of ordination to Rev. J.J. Murphy 16.6.29", hallmarked H. & H. (Hopkins & Hopkins), together with a 9ct gold decorative cross, and a gold? link chain, as a collection, w.a.f. (3) * The All-Ireland Senior Hurling Championship 1911 was the 25th series of the All-Ireland Senior Hurling Championship, Ireland's premier hurling knock-out competition. Kilkenny won the championship, beating Tipperary 3-3 to 2-1 in a substitute final. The All-Ireland final between Kilkenny and Limerick was never played. The original fixture was cancelled due to the state of the pitch at the Cork Athletic Grounds. The final was postponed until the 12 May, however, Limerick refused to play in that game. A substitute contest took place at Fraher Field on 28 July. The Munster Council nominated Tipperary to play Kilkenny, with the latter winning the game by 3-3 to 2-1.

Leinster Final Medal [1939] Medal: G.A.A. [1939] An attractive circular and pierced Celtic design 9ct gold Medal, the obverse inscribed "Comhairle Laighean" with a central harp pierced design, the reverse inscribed "Iomana Sinnsir [1939] - Cill Cionnigh do bhuadh," hallmarked J.M. (John Miller), converted to brooch. (1) * Kilkenny beat Dublin 2.12 to 4.3 to claim their 27th Leinster Title, the Cats went onto play Cork in the Final and win in what is know as the "Thunder & Lighting Final."

2 limited edition Danbury Mint figures 'Rose Princess' and 'Harp Princess' with certificates

Thomas Spence (mule), Halfpenny token, United token / crowned harp, edge SPENCE DEALER etc, 10.6gm, Dalton & Hamer Middlesex 899, lustrous Extremely Fine

9ct Gold Enamelled Fob Dumbartonshire (sic) Junr. F.A. Reverse Finalists Kirkintilloch Harp Jas. Black 1911-12

AN OLD MAN WITH A HARP;TWO GIRLS WITH A DOGTwo, oil on metal24 x 20cm

WORN AT QUEEN VICTORIA'S FUNERAL, ROYAL IRISH CONSTABULAY. A R.I.C. Dress Sword and Scabbard, by Sexton of Dawson St., Dublin, the engraved 32 1/2'' blade with a steel basket hilt inset with engraved crowned harp. Provenance: This sword was worn at the funeral of Queen Victoria, and then passed down by family descent until it was offered for sale in these rooms, Independence auction, 17th April 2007, lot 542, where it was purchased by the current vendor.

AN IRISH EARLY 20TH CENTURY ARMY TUNIC, in green cloth applied with a string of gilt metal button embelished with the National harp, applied with associated 4-colour badge, green,orange,black and tan , with further shoulder badges:together with a World War II RAAF Battle dress tunic, dated 1943, in blue cloth , together with associated cream fabric jodhpurs (2)

A PAIR OF SILVER AND GREENSTONE COMMEMORATIVE LAPEL BADGES, Birmingham 1916, each formed as 1798 type pikes, and applied with a shamrock to the shaft, lacking back pins, 9cm long, together with a silvered metal harp (3)

ALL IRELAND GAA FOOTBALL MEDAL - KERRY 1937 (VS. CAVAN)A rare 9ct gold medal of traditional Celtic cross design, the front engraved 'Eire' and centred with an overlaid harp, the reverse inscribed and struck with hallmarks and maker's mark J.M., surmounted with gold suspension ring

A WAR OF INDEPENDENCE MEDAL, with black and tan ribbon and clasp bar, together with an Emergency Services medal, with ribbon, clasp bar and two service bars; and a crowned harp badge. As a collection. (3)

THE MEN OF '98, Who Fears to Speak of '98, Death of Father Michael Murphy at Arklow, 9th June, 1798A colour poster depicting a harp and flags above seven portrait vignettes of the following: Father Michael Murphy; Lord E. Fitzgerald; A. Hamilton Rowan; Thomas A. Emmet; William Orr; Michael Dwyer; Wolfe Tone. Printed by James Walker & Co., Dublin

A collection of silver flatware, to include; a pair of modern silver pickle forks, Sheffield, 1968, makers mark FH, 17.5cm long, and a pair of London silver jam spoons, 1977, makers mark of JBC&S LD., decorated with panels of putti and harp, 15cm long, 5.2 troy ozs, (4).

An Edwardian silver teapot by Mappin & Webb, Sheffield 1906, presentation engraved, with gadrooned border, and ebonised finial and harp handle, 29cm long, 21ozt.

A 1920s matched silver oblong baluster three piece tea service, the teapot with ebonised finial and harp handle, together with a shaped square footed tray, 47ozt. gross

Ireland, Philip and Mary, groat, 155[7], mm. rose, date lacks last digit, facing busts, crown above, date below, rev. crowned harp (S.6501B), obverse fine, reverse very fine

† - Ireland, George III, proof halfpenny, 1781, authenticated and graded by NGC as Proof 66 Brown, laur. bust r., with long hair, rev. HIBERNIA, crowned harp, date below (S.6614),

An Irish carved bog oak walking cane, decorated with shamrock, a harp and a serpent, with three silver mounts, one inscribed 'E.E.LL From J De V, 1895' the others later, probably extended, (at fault) 86.5cm long

VICTORIAN YEW AND MARQUETRY BOX, of shallow sarcophagus form, inlaid with a ruined church, scrolling oak leaves and acorns and foliage, the interior with an Irish harp amongst shamrocks, width 34.5cm

EMMANUEL VILLANIS (1858-1914) "SAPHO: A CAST, PATINATED COLOURED BRONZE of a young woman playing a harp, with cast signature and foundry mark, on marble base, 10.5" high. See illustration

A 19TH CENTURY FRENCH GILT METAL AND CERAMIC MANTEL CLOCK, the dial of "Sevres" style porcelain painted with a lady playing a harp and a child in a landscape, the dial with gilt and jewelled border, the sides similarly decorated, with an eight day two train movement striking on a bell, 15" high. See illustration

A carved Irish bog oak model of a harp decorated with shamrock motifs, height 14.5cm, a similar cylindrical box and cover, diameter 3.5cm, and a souvenir cauldron with decalcomania inscription "From Ireland", also a wooden decorated box and a coconut bowl with incised decoration raised on ebony base, with three elephants, height 20cm (5).

A Rudolstadt Volkstedt (Richard Eckert and Co) porcelain figural group, circa 1900, modelled as two winged putto, the first holding a flaming torch before a harp, the second seated playing a flute, on elaborately raised salmon and yellow ground feet, factory mark in blue, overall height 18cm Provenance: Bowdon Old Hall, Cheshire

An Edwardian satinwood and painted bow-front wardrobe of Neo-classical design with matched veneer panels and painted with a basket of fruit, musical trophies, putti and maiden with harp seated on a cloud, ribbon and floral swags, the upper part with shaped and moulded cornice, fitted central cupboard and three drawers flanked by hanging compartments enclosed by single doors on splayed bracket feet, 82ins wide x 28ins deep x 94ins high

A SHALLOW CIRCULAR TROPHY CUP with two harp-shaped handles, a moulded girdle & a small presentation inscription, turned ebonised wooden plinth, by Skinner & Co., London 1910; 9.35" (23.2 cms) diameter; 39.3 oz

AN EDWARDIAN TROPHY CUP & COVER with two harp-shaped handles, cut-card decoration & a bud finial, engraved on one side with a presentation inscription & the title "ARMISTILE CUP", with mounted, ebonised wooden plinth by J.B. Carrington for Carrington & Co., London 1904; 14.25" (36 cms) high; 93.6 oz

Victorian Copeland Parian figure of Sappho - modelled by W. Theed as a scantily clad Grecian beauty posed with a turtle-back lyre - impressed marks, 83cm high CONDITION REPORT Harp terminals both broken and missing, hairline crack through drapery and chip around buttock, crack through underside of base, hairline to one lock of hair, minor chips to laurel leaves

A clear glass vase, with etched decoration of a female playing a harp, indistinctly signed and numbered to base, 15.5cm high

A curb-link bracelet suspending an assortment of twelve charms - To include a harp, an articulated fish and a compass - Bracelet and most charms with marks indicating 9ct gold - Length 19cms - Weight approx 58.4gms Condition Report: Good

Ireland. Elizabeth I (1558-1603) BI Groat. Dublin, c.1558. ELIZA[B]ETA D’·G’·ANG’·FRA’·Z·HI, crowned and mantled bust left / POSVI:DEVM:ADIVTOREM:MEVM ·, crowned harp; crowned E R to left and right. S 6504. 3.04g, 25mm, 3h. Very Fine. From the Dr. Murray Gell-Mann Collection.

A pair of pierced bronze metal picture frames, each with angelic child with harp to the top and with scrolling feet and with impressed registration numbers and 'Beatrice' impressed to the reverse, height of both 35cm.

A Cast Plaque as Used by the Irish Government. A cast metal plaque with the harp emblem of the state. As used on exteriors of government offices, post offices, military buildings, etc.

A Cast Plaque as Used by the Irish Government. A cast metal plaque with the harp emblem of the state. As used on exteriors of government offices, post offices, military buildings, etc.

An officer’s green cloth sidecap of The Connaught Rangers, gilt piping, embroidered crowned harp badge, flat buttons bearing “CR”, contemporary note pinned inside “My pre war Connaught Rangers cap which I wore in both France and Mesopotamia. 1914/16” (with initials, unclear, possibly “ASDA”); and a companion silk cummerbund, tasselled ends, with similar label “My (88th) Connaught Rangers hot weather mess kit cummerbund bought from Hawkes & Co, 14 Piccadilly in 1910 before my departure for India”. GC, cap Plate 1

Three netsuke figures including Lady with Harp

Three hallmarked silver menu holders; a Staffordshire knot, a harp and a cherub, together with three further unmarked menu holders one example as a Chinese character. (6).

A late 18th to early 19th Century gilt harp, the plaque inscribed 'Sebastian Erard, Patent Harp No. 1484', in the Classical style, with Classical gilt decoration throughout, 173cm high, (in need of restoration)

A William IV Scottish silver coffee or hot water jug by James McKay Edinburgh 1832, with a chased finial to the domed cover, a tongue-capped harp handle and embossed flower, foliate and scroll decoration, on a circular spreading foot, 23.5cm high, 34.9 troy ozs (lacking hinge pin)

A 19th century mahogany lyre or harp, serpentine cresting applied with draught turned roundels, turned column, steel tuning pegs, 39.5cm high

A fine German gilt brass quarter striking table clock with annual calendar... A fine German gilt brass quarter striking table clock with annual calendar dial Engraved with initials P K F R , dated 155(4?) The posted iron triple fusee movement of 'cruciform' layout centred with longitudinal going train with verge escapement regulated by steel two-arm balance set above the top plate flanked by transverse quarter train opposing conforming strike train, the quarter train with cannon warning arbor applied over the locking detent arbor released via capstan wheel driven by the underdial motionwork operating a sliding shunt and sounding on a bell mounted within the superstructure above, the hour strike train now fitted with countwheel for Italian double six-hour striking and released in-turn by the quarter train via detent engaging with pins to the quarter countwheel and arbor passing across the front of the movement, the exterior with annual calendar dial now with vacant centre within concentric Zodiacal scale engraved for the Julian calendar divided onto five day intervals to inner track within reserve engraved with pictorial representations and respective symbols with divisions for every day to the outer track, the applied ring aligned with the Zodiacal scale and divided in a similar manner with each month labelled in Latin along with its length, the spandrel areas engraved with symmetrical hatched foliate scroll infill over conforming band to apron incorporating pivoted shutter for the vacant alarm winding hole engraved with the initials P K, F R , the opposing side now applied with twelve-hour chapter disc with hatched foliate scroll engraved centre within concentric Arabic numerals 13-24 and outer Roman numerals, the upper spandrel areas with conforming foliate infill, the lower margins engraved to match and now applied with three vestigial subsidiary dials for day-of-the-week, quarter-hours and date-of-the-month, the quarter train side with panel engraved with a Classical female playing a harp within an architectural archway fitted with shuttered winding hole for the quarters and another vacant hole probably originally for remote winding of the going train over hatched foliate scroll engraved panel to lower margin, the opposing strike train side with subsidiary countwheel position dial annotated in Arabic numerals 1-12 over vestigial alarm setting dial within further hatched leafy trail infill, the top with fine ogee-outline cupola with complex rectangular section spire finial over stylised flower buds applied to shoulders and six pierced circular portrait panels each depicting an allegorical profile within hatched leafy scroll decorated panel infill, the slender moulded cornice applied with squat urn finials and engraved with text DIE . STUND . UND . TAG . 155(4?) over the calendar dial opposing WACHET . DAN . IR . WIST . NIT over the hour dial, the angles incorporating square section three-quarter pilasters and plinths decorated with scribed-line panels, on shallow inverted breakfronted cavetto moulded base engraved with stylised interlaced foliate motifs, (losses/replacements to dials and motionwork), 22cm (9.75ins) high. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. Comparative literature: Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, GERMAN CLOCKS AND AUTOMATA 1550-1650 pages 182-85 and 189-90. The current lot employs the archetypical 'cruciform' layout to the movement (where the going train is positioned longitudinally in the centre flanked by transverse quarter and hour strike trains) favoured by the south German makers of the finest 'Masterpiece' table clocks from the mid 16th century until the end of the 17th century. From a practical point of view this layout adds a degree of complexity with regards to resolving the lifting of the strike and quarter trains but has the significant benefit of allowing each face of the case to be fitted with dials/features directly relating to the function of mechanism behind. This benefit is particularly relevant when considering the statutory requirement (specifications) of a 'Masterpiece' as dictated by the Augsburg clockmakers' guild in 1558 as transcribed in Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, GERMAN CLOCKS AND AUTOMATA 1550-1650 on page 67: " Mastepieces of 1558 Small-clock makers: A clock a span high, without weights, to strike each quarter-hour. The astrolabe runs as part of the clock. A small flat clock or spherical clock with the phases of the moon; the latter to move forward in time with the hand ." In order for the current lot to fulfil the above requirements it would have need to have been fitted with an astrolabic dial and one showing the phases of the moon. When considering the layout of the clock it is conceivable that an astrolabe was originally fitted to the centre of the side now applied with the twelve-hour chapter disc, however the inscription to the cornice above - DIE . STUND . UND . TAG would perhaps suggest otherwise as this simply translates as THE HOUR AND DAY. From this it is more likely that that the original dial configuration to this side was limited to time, day-of-week and date-of-month functions alone. The other side retains its original year calendar complete with Zodiacal divisions however the central feature is now missing. A clue to what was originally fitted in this space may again be suggested by the inscription to the cornice above - WACHET . DAN . WIST . NIT. Unfortunately there appears to be no direct translation for this phrase, however when considering the inscription in broadly linguistic terms it may be appropriate to speculate that it relates to day and night indication. If this is the case then the centre of the dial may well have originally been fitted with a dial indicating the variance in the relative length of the day and night throughout the year. Alternatively, as more commonly seen, the centre may have featured a disc pierced for the phases of the moon. In addition to either of these two functions the annual calendar dial would have most likely had hands to indicate the date of the year and the zodialogical aspect of the sun. One slight complicating factor regarding the reconstruction of the moving elements to the centre is the presence of the going train winding square. However examination of the going train fusee and other evidence within the movement and quarter-strike side of the case suggests that the going train may have originally been fitted with indirect winding from the side. This would have left the dial centre (and indeed the motionwork behind) free of obstruction. The distinctly two-dimensional external decoration of the current lot is unusual and differs from the fashion for intense sculpted relief made popular by makers such as Jeremias Metzger during the mid 1550's. However the decorative effect of the pierced and engraved profile portraits to the dome is particularly pleasing. The applied stylised flower heads to the angles of the cupola are also unusual being reminiscent of similar decoration seen on Gothic iron chamber clocks of the period. The movement is particularly well executed with fine delicate wheelwork which is remarkable when considering that each wheel was hand forged, cut and filed. The provision of a fairly complex system of warned striking is also testament to the clockmakers technical ability.

Victorian Style Oak adjustable music stand of harp design with turned column and tripod base, Height 98cm Condition - Good Overall

An African tribal 9-stringed Kora harp guitar with round back depicting a map of Africa, made of hide with shell decoration and chrome studs on the bowl and neck, 87 cm (l) X 33 cm (w) excellent condition - Estimate £50 - £80

FOUR HARDSTONE BROOCHES comprising of a clover design brooch, an octagonal green stone brooch with harp decoration, an oblong shaped grey and black stone brooch, and a lozenge shaped green stone brooch

Swarovski Crystal glass Musical instruments. Harp, Grand piano and stool, Lute, Saxophone, with stands (5).

Ireland, George III (1760-1820), Penny, 1805, laureate and draped bust right, rev. crowned harp (DF 590; S.6620), good extremely fine, with some lustre Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.

William III (1694-1702), Crown, 1700, decimo. tertio, third laureate and draped bust right, rev. four crowned shields cruciform, third harp with nine strings (EMC 373; ESC 98; S.3474), richly toned, slightly weak in the centres, otherwise extremely fine, rare in this grade provenanceAlan Barr Collection, Rasmussen, April 2004, lot 90E.R. Jackson-Kent, Glendining, 26 May 1965, lot 31E.E. Yates, collection puched by Baldwin in 1938Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.

Ireland, Charles II (1645-85), St Patrick Halfpenny, 1660-61, floreat * rex, King David playing harp, crown above, rev. ecce grex, St Patrick (DF 340; S.6568), good fine, very rare Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.

William III (1694-1702), Guinea, 1701, second laureate bust right, rev. four crowned shields cruciform, with human-headed harp (MCE 186; S.3463), about very fine provenanceSpink auction 207, 23 March 2011, lot 545Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.

Ireland, George III (1760-1820), Halfpenny, 1766, type I, laureate bust with short hair, rev. crowned harp (DF 580; S.6612), good extremely fine, with some lustre Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.

Ireland, Charles II (1645-85), St Patrick Farthing, 1660-61, floreat rex, Kind David playing harp, crown above, rev. qviescat plebs, St Patrick (DF 342; S.6569), good fine Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.

William and Mary (1688-94), Guinea, 1689, conjoined busts right, rev. crowned shield, early harp (MCE 148; S.3426), brilliant, lightly toned, almost extremely fine provenanceSpink auction 211, 13 December 2011, lot 204Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.

William III (1694-1702), Guinea, 1700, second laureate bust right, rev. four crowned shields cruciform, with human-headed harp (MCE 184; S.3460), about extremely fine, with lustre provenancePurchased from Spink, March 2009Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.

Miscellaneous hammered coins (12), including Edward III, Penny, Durham, Henry VIII, Groat, York, Elizabeth I, Sixpence, 1675, James I, Twopence, m.m. thistle, Charles I, Twopence, m.m. harp, Anglo Gallic (2), Edward III, Denier au Léopard, and Henry V, Niquet of Rouen, a Gros of Philip III and French provincial coins (4), and a George III, Halfpenny, very mixed, fine and better, with old (and not necessarily accurate) collection tickets Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.

William III (1694-1702), Crown, 1696, octavo, first laureate and draped bust right, rev. four crowned shields cruciform, first harp with six strings (ESC 89; S.3470), die crack at top on obverse and signs of die rust on reverse, nearly extremely fine Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.

Ireland, George III (1760-1820), Halfpenny, 1775, Type III, laureate bust with long hair, rev. crowned harp (DF 584; S.6614), good extremely fine, with traces of lustre Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.

Ireland, William III (1694-1702), Halfpennies (2), 1696, type I and II, laureate and draped bust right, crowned harp (DF 498, 502; S.6598, 6599), first about extremely fine, other fine and scarce (2) provenanceBoth Frederick Brooks Collection, SNC, November 1971, nos. 10701 and 10708 (illustrated)Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.

Ireland, George III (1760-1820), Halfpenny, 1769, Type II, laureate bust with taller head, rev. crowned harp (DF 582; S.6613), good extremely fine, some lustre on reverse provenanceFrederick Brooks Collection, SNC, 1971, £35Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.

William III (1694-1702), Guinea, 1700, second laureate bust right, rev. four crowned shields cruciform, with human-headed harp (MCE 184; S.3460), cleaned, otherwise a bold very fine provenanceSpink auction 201, 26 November 2009, lot 258Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.