A Dresden porcelain wall mirror, in the form of a stylized harp with central mirror flanked by flower encrusted border with flying cherub upon scrolled base, height 20 cm, together with a Dresden porcelain wall mirror, with colourful floral encrusted surround and two cherubs, height 35 cm, a pair of Continental figures, modelled as a male and female in 18th century dress standing upon circular vitruvian decoration bases, height 15 cm, a Dresden `Yardley` porcelain figural group, a porcelain spill vase, modelled as a tree trunk with playful children entwining the trunk, height 12 cm, impressed mark EBS 60, a musician figurine, modelled beside a floral jardiniere and stand, height 14 cm, a figurine of a man opening a beer bottle in blue and white, height 21 cm and a further figurine, (9).
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Henry Thomas Ryall after Sir Frederick William Burton R.H.A., R.W.S. 1816-1900 and 1811-1867 "A BLIND GIRL AT A HOLY WELL": A SCENE IN THE WEST OF IRELAND mixed method engraving 59 x 44cms; 23 1/4 x 17 1/2in. In elaborately carved and gilded frame surmounted by a Celtic harp motif and Bardic harpists, and title in cartouche below.
Two Scottish silver mounted moss agate drops, Edinburgh 1981, a pair of turquoise drops, a coral drop, ten clasps and swivel fittings, together with a black glass bead necklace, a carved bog oak model of an Irish harp detailed `Killarney`, two dog brooches, two Sarah Coventry costume brooches, two further brooches, an unmounted oval sardonyx and a charm.
A 19th century French gilt figural mantel clock with eight day striking movement, the cast case with decorative frieze, barrel movement surmounted by a figure of Bonny Prince Charlie holding a harp, the movement stamped "T H Wood, Woolfield in Paris", complete with pendulum, height 43cm (Illustrated)
An Art Nouveau silvered metal visiting card tray by WMF, stamped marks, cast no. 252A, cast with a female in relief, a harp and foliage, 22.5cm long. See `Art Nouveau Domestic Metalwork from Wurttembergishe Metallwarenfabrik` Woodbridge 1995, p. 168, no. 252a. Visit www.dnfa.com for condition reports
A late 19th/early 20th century court sword, by Buckmaster, New Burlington, London, with acid etched decoration of a crown and harp, length of blade 78cm, the gilt metal guard decorated with crown and garlands, copper grip and pommel in the form of a crown, complete with a gilt metal and leather scabbard (af).
A George III silver three piece tea service by Solomon Hougham, London 1810-12, oblong baluster with everted reeded and scrolled rims, half lobing and ball feet, the sugar basin and cream jug with later covers, London 1812, gilt rims and interiors, the tea pot with with a lobed oblong finial and a plain harp handle, 30.5cm (12in) long, 1517g (48.75 oz) gross Visit www.dnfa.com for condition reports
A George III Irish silver twin handled cup and cover by William Townsend, Dublin circa 1760 (Hibernia, harp crowned and maker`s mark only), the double domed cover with a turned finial, the double scroll handles leaf-capped, on a circular foot, 26.5cm (10.5in) high, 1135g (36.5 oz) (the cover unmarked) Wm Townsend recorded in Jackson (3rd edition) p 637 for 1753-54 punch. A different punch outline was noted for circa 1767, see Jackson`s p 638 Visit www.dnfa.com for condition reports
A hammered silver sugar basin and cover by Central School of Arts and Crafts, London 1960, the domed cover with an ivory bun finial, twin harp handles and on a collet foot, 16.5cm (6.5in) wide; a cream jug and a matched sugar bowl by Central School of Arts and Crafts, London 1952 and 1958, each hammered and on reeded foot, the jug 9.5cm (3.75in) high; and a plated circular tea pot, in Danish style, 23.5cm (9.25in) long, 859g (27.5 oz) gross weighable Visit www.dnfa.com for condition reports
Co DUBLIN, Dublin, Theatre Royal, copper, crowned WM monogram, THEATRE ROYALL around, THE UPPER GALLERY in centre, rev. shield containing harp, 29mm, 9.16g/12h (D & W 3/24). Good fine and patinated, very rare Provenance: G.W. Panter Collection, Sotheby Auction, 16-17 July 1929, lot 104 (part); F.S. Cokayne Collection [“from Baldwin Collection” November 1936]
Co DUBLIN, Dublin, Theatre Royal, copper, crowned GR monogram, THEATRE ROYALL around, GALLERY in centre, rev. shield containing harp, 31mm, 11.46g/12h (D & W 3/26; MG 374). About fine, extremely rare Provenance: G.W. Panter Collection, Sotheby Auction, 16-17 July 1929, lot 104 (part); F.S. Cokayne Collection
A George III giltwood and gesso concert harp, Sebastian & Pierre Erard`s patent 5954, 18 Great Marlborough Street, London, fluted column with Gothic capital moulded with tracery, herald angels and saints, shaped base, scroll feet, 175cm high, c.1800 (distressed) Sebastian Erard was born in Strasbourg on 5th April 1752, and his name was originally spelled Erhard. He moved to Paris in 1768 and worked for an unknown harpsichord maker. Erard wanted to explore the fundamentals of instrument making, and it soon became apparent that he was a genius at finding ways around mechanical problems, a skill which came to the attention of the Abbe Roussier. His success as an instrument maker caused envy among his rivals who accused him of working outside the corporation without a licence. Louis XVI protected him and granted him a licence on his own authority. In 1777 Erard made his first square piano; it was probably a copy of an English Zumpe piano. A portrait of Erard was shown at the International Inventions Exhibition of 1885. Once his reputation was established, Erard persuaded his brother-in-law to join him in Paris. Their first pianos were squares with bichords throughout, and a five-octave compass. Erard made a combination of piano and organ with two keyboards for Marie Antoinette. The revolution of 1789 destroyed his business in Paris and in 1792 he opened a factory in Great Marlborough Street, London. Apparently he left his brother Jean-Baptiste to carry on the French branch. According to the London Post Office Directory, he opened an English branch as early as 1786, at 18 Great Marlborough Street, London. However, this may have been just for selling instruments at first. In 1902 they moved to 189 Regent Street, and then in 1904 to 158a New Bond Street, London. According to popular belief, Sebastian returned to Paris in 1796, leaving his nephew Pierre to carry on the London firm. This cannot be correct, however, as Pierre was not born until 1796. He died in 1855. Sebastian appears to have come back to London in 1801, as he took out a patent in England (number 2502) on 16th May 1801, for an improvement on the piano action. However, the bulk of this patent submission is taken up mainly with the harp. This represented some of the groundwork for his double-action harp. The harp seemed to be more important to him than the piano. If you look at most of the patent registrations from Sebastian, the harp comes first and the piano is just added on in the patent submission. There are exceptions to this in the cases when he took out patents for musical instruments only. On the covers of the submissions it says pianoforte and harp. Yet, when one reads the contents of any of these the harp is given preference over the piano. Perhaps this should not be so suprising, since Sebastian sold £25,000.00 worth of harps in the first year of the release of the new double-action harp. Finally, in June 1810, after eight years of working on it, Sebastian Erard patented the double-action harp with seven pedals (number 3332). This is regarded by most people as the date of the invention of the concert harp. The instrument had one pedal for each note. Each pedal had three positions or two notches, which raised the pitch of the note by a semitone for one notch, or a tone for both notches, by moving the top bridges to shorten the speaking length of the strings. This harp could be considered more versatile than the piano, since with the use of the pedals a player could get 21 pitches to the octave, while with the piano 12 was the limit. It is reported that Erard did not undress for three months before his harp was finished, snatching meals with pencil in hand and sleeping for an hour now and again. The concert harp of today basically maintains his design, as does the roller action for grands. He also had an eighth pedal for opening the back of the sound box, to work as a swell. At this time the harp was almost as popular in the home as the piano, and Erard made large numbers of both. He was also regarded as a master organ repairer.
A George III silver oval mustard pot, maker`s mark worn, London 1805, the domed cover with a ball finial, a harp handle and a gadrooned rim, 9cm (3.5in) high; with a blue glass liner and a silver salt spoon, London 1834, engraved with a crest, 155g (5 oz) gross weighable (repaired thumbpiece to pot) Visit www.dnfa.com for condition reports
A quantity of costume and other jewellery to include a polished stone brooch, a mother of pearl finish eye glass, a gold Mentmor style brooch (un-hallmarked) set with hair, two pearl style earrings, copper bracelet, bangle, cuff-links, badges, miniature seal in the form of a harp, part link chain, amber style club shaped earrings etc.
A German porcelain rectangular plaque, late 19th Century, finely painted with a half length portrait of a maiden with flowers in her hair, wearing a pink and white dress, playing a harp, indistinctly signed, titled `Festgesang` with pseudo Vienna Hapsburg shield mark and applied paper label verso, approx 15cm x 10cm, within a gilt frame.
Scottish Junior Cup, 1953/1954. The Final, Aberdeen Sunnybank v Lochee Harp At Hampden, And Both Semi-Finals, Clydebank v Lochee Harp, At Celtic, And Aberdeen Sunnybank v Ballieston At Pittodrie. In Addition To This Are The Programmes From The FA Of Ireland Cup Semi-Final, 1955/1956 Shamrock Rovers v Workmans Clubs, And Cup Semi-Final Replay, 1955/1956 Cork v Waterford.
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9712 item(s)/page