We found 9712 price guide item(s) matching your search

Irish. Royal Irish Rifles Officer pre 1921 green cord boss bearing silver badge. Badge being crowned Maid of Erin Harp with central title scroll. GC PAYMENT BY BANK TRANSFER ONLY

Irish. Royal Ulster Rifles Officer green cord boss bearing silver badge circa 1921-52. Badge being crowned Maid of Erin Harp with central title scroll. Screw post A little service wear. GC PAYMENT BY BANK TRANSFER ONLY

Irish. Royal Ulster Rifles Officer green cord boss bearing silvered badge circa 1953-68. Badge being crowned Maid of Erin Harp with central title scroll. Screw post VGC PAYMENT BY BANK TRANSFER ONLY

London Irish Rifles post 1901 Officer dark green cord boss bearing silvered badge. Badge being crowned Harp. Wires Faded otherwise GC PAYMENT BY BANK TRANSFER ONLY

Royal Irish Regiment Edwardian pagri badge. Good scarce post 1901 die-stamped brass title circlet; crowned Harp to voided centre. Long slider. VGC PAYMENT BY BANK TRANSFER ONLY

Royal Irish Rifles Victorian glengarry badge circa 1881-96. Good scarce die-stamped blackened brass crowned QUIS SEPARABIT over Maid of Erin Harp on tri-part title scroll. Loops. VGC PAYMENT BY BANK TRANSFER ONLY

Royal Irish Regiment Victorian post 1881 pagri badge. Good scarce die-stamped white metal crowned Harp resting within shamrock sprays. Pagri pin . Generally VGC PAYMENT BY BANK TRANSFER ONLY

London Irish Rifles Officer post 1953 caubeen badge. Good scarce large die-cast silver plated crowned harp, J.R. Gaunt London Long slider. VGC PAYMENT BY BANK TRANSFER ONLY

A COLLECTION OF FIVE HALLMARKED SILVER FOBS,  together with one stamped 'SILVER' and 'IRISH MADE' with a harp emblem on the front (6)

(XIX). A moonlit rocky shore scene with nymphs dancing to harp music, unsigned, oil on canvas, unframed, re-lined, 46 x 57 cm

FABRIZIO CLERICI (1913-1993)Le grand théâtre signed 'Fabrizio Clerici' (lower left and lower right)gouache on paper, diptych41 x 33.5cm (16 1/8 x 13 3/16in). eachExecuted in 1947Footnotes:The authenticity of this work has been confirmed by the Archivio Fabrizio Clerici.ProvenanceM. Lesage Collection, Paris; their sale, Finarte, Rome, 24 April 2008, lots 144 & 145.Private collection, Paris.Private collection, Rome (acquired from the above).ExhibitedSan Francisco, California Palace of the Legion of Honour Museum, Fabrizio Clerici, February 1956.Santa Barbara, The Santa Barbara Museum of Art, Paintings and Watercolors by Fabrizio Clerici, 17 April – 6 May 1956.LiteratureArchivio Fabrizio Clerici (eds.), Fabrizio Clerici, nel centenario della nascita 1913-1993, Milan, 2013 (illustrated p. 169).'Isn't Fabrizio Clerici perhaps one of the champions of the surreal realism that is a distinctive sign of the twentieth century? Akin to nature itself, Clerici achieves simplicity by means of countless details. Not a single pin is missing from this legion of angels and archangels that guard over his home. No object is admitted therein that isn't sublime, and whose presence does not burst with secrets.' - Jean Cocteau Bonhams is delighted to present four exceptional works by the Italian artist Fabrizio Clerici encompassing his most iconic surrealist motifs and tropes recurring throughout his œuvre and providing an overview to his work. A tall and strikingly handsome man, with a collection of the finest Borsalino hats, Clerici was born in Milan in 1913 but lived in Rome for most of his life, graduating with a degree in architecture in 1937. His trained architectural eye for spatiality and perspective influenced his work as an artist, further finessed by witnessing the Eternal City's layered history and ancient ruins reminiscent of a grand romanticised past. The vestiges of Roman Renaissance and Baroque splendour somewhat imbued his works with an aura of timelessness. His unique visual language developed in art not only through his book illustrations, first begun in 1941, but also through the creation of set and costume designs, collaborating amongst others on George Bernard Shaw's 1947 adaptation of Mrs. Warren's Profession and Stravinsky's Orpheus in 1948 to huge acclaim, and forming a strong friendship with influential Hungarian choreographer Aurel Milloss. London's Daily Telegraph noted Clerici's eccentric sets as 'in fact, spaceless and timeless in their fantastic and exotic splendour' when referring to his work on Benjamin Britten's A Midsummer Night's Dream in 1961 at Milan's La Scala theatre (quoted in Fabrizio Clerici, Nel centenario della nascita 1913-1993, 2013, p. 92).Clerici's art nods to both Surrealist and Metaphysical theories, marked by his close friendships with Salvador Dalí, Leonor Fini and Alberto Savinio amongst others. Befriending Jean Cocteau and Tristan Zara in Rome and Milan, he was an assiduous reader of the Surrealist publication Le Minotaure, Andrè Breton's brainchild. 'Surrealism', for Clerici 'must be seen as a continuation of metaphysical painting, which, by the way, is one of the most extraordinary expressions of painting in the XX century, an expression which is mostly Italian, that of De Chirico, Savinio, Carrà, and a certain Morandi. I adhered to that school' (ibid., p. 73). Desolate landscapes and solitary figures coexist in Clerici's universe. Desolated and almost dystopian, elongate, landscapes on the brink of destruction are evoked in Le grand théâtre dated 1947 and L'isola from 1974 (lots 44 and 47). Figures from the 1944 series Too seen, too much felt and La grande fame, (lots 45 and 46) appear in a state of despair, reflecting the horrors of war. The present works are emblematic of Clerici's skill as a fine draughtsman and painter marking him as one of the most iconic artists carrying the legacy of Surrealism in Italy.The two exquisite drawings dated 1944 were included in Julien Levy's exhibition held at his gallery in New York the following year. The drawings were brought to New York by Peter Lindamood, a Peace Corps volunteer enlisted in the US Army and recruited in the 'Psychological Warfare Branch', a branch reserved for journalists, photographers and literary men, who sought out the Italian artists tied to Surrealism, both Giorgio de Chirico and Leonor Fini, and it was the latter with whom Clerici had a decade-long friendship and considered the leader in the Italian Surrealist movement who introduced him to Lindamood. These drawings, recalls Lindamood, are the 'few that I was able to nurse through the crushing intimacy of my barracks bag' which would be 'shown for the first time anywhere' at Levy's Gallery (op. cit., p. 44).The roman art critic Mario Praz discusses the drawing Too seen, too much felt in his book dedicated to Clerici and his chapter on these Capricci series, to be 'the most potent expression of a mass state of mind that I have found in recent years. The assuredness of the line, akin to those of the greatest masters, makes this work a memorable document of the post-war phase of life and art in Italy' (quoted in Bellezza e Bizzarria, Milan, 1960, p. 167). Both drawings can be interpreted as touching reminders of the frailty of human life.With characters appearing to reflect on the state of mankind, the drawings act today as a strong reminder that on 4 June 1944 the American troops entered Rome, finally liberating the city. Empty sardine cans and a ripped intense portrait by Sicilian Renaissance master Antonello da Messina, Condottiero, (Louvre, Paris) permeate the scenes. The series represents Clerici's skills as a draughtsman, so much so that a work in the series, Duet for Harp and 'Cello, was acquired by the Museum of Modern Art in New York. The Le grand théâtre diptych, executed in 1947 in tempera, showcases another of Clerici's recurring motifs, the empty theatre, dominated by uneasy hovering scaffoldings eerily threatening to topple at any moment. Painted in Milan, it is part of a series of works called Processi, which had been admired by Dalí at Clerici's Roman studio. L'isola from 1974 acts as an homage to Swiss Symbolist artist Arnold Bocklin's series of masterpieces The Isle of the Dead, painted between 1880 and 1901. Of Bocklin, Clerici would expand 'resuming Bocklin, after De Chirico, was a way for me to prolong the cult of metaphysical art, beyond the recognised names. I always thought that metaphysics is a characteristic of Italian painting [...] my formation as an architect fatally brings my painting to the metaphysics of space' (op. cit., 2013, p. 56). This ensemble of works provides a fascinating overview of some of the most iconic periods of Clerici's work, one of the most interesting intellectuals and artists of the 20th Century in Italy.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

FABRIZIO CLERICI (1913-1993)L'isola signed 'F Clerici' (lower centre)oil on canvas79.7 x 79.7cm (31 3/8 x 31 3/8in).Painted in 1974Footnotes:The authenticity of this work has been confirmed by the Archivio Fabrizio Clerici.ProvenanceGalleria Il Gabbiano, Rome.Anon. sale, Finarte, Milan, 15 April 2021, lot 62.Acquired at the above sale by the present owner.ExhibitedReggio Emilia, Ridotto del Teatro Comunale, Fabrizio Clerici, October – November 1974.Ivrea, Centro Congressi La Serra, Fabrizio Clerici, April 1984.Isn't Fabrizio Clerici perhaps one of the champions of the surreal realism that is a distinctive sign of the twentieth century? Akin to nature itself, Clerici achieves simplicity by means of countless details. Not a single pin is missing from this legion of angels and archangels that guard over his home. No object is admitted therein that isn't sublime, and whose presence does not burst with secrets. - Jean Cocteau Bonhams is delighted to present four exceptional works by Italian artist Fabrizio Clerici encompassing his most iconic surrealist motifs and tropes recurring throughout his oeuvre and providing an overview to his work. A tall and strikingly handsome man, with a collection of the finest Borsalino hats, Clerici was born in Milan in 1913 but lived in Rome for most of his life, graduating with a degree in architecture in 1937. His trained architectural eye for spatiality and perspective influenced his work as an artist, further finessed by witnessing the Eternal City's layered history and ancient ruins reminiscent of a grand romanticised past. The vestiges of Roman Renaissance and Baroque splendour somewhat imbued his works with an aura of timelessness. His unique visual language developed in art not only through his book illustrations, first begun in 1941, but also through the creation of set and costume designs, collaborating amongst others on G. B. Shaw's 1947 adaptation of Mrs. Warren's Profession and Stravinskij's Orpheus in 1948 to huge acclaim, and forming a strong friendship with influential Hungarian choreographer Aurel Milloss. London's Daily Telegraph noted Clerici's eccentric sets as 'in fact, spaceless and timeless in their fantastic and exotic splendour' when referring to his work on Benjamin Britten's A Midsummer Night's Dream in 1961 at Milan's La Scala theatre (quoted in Fabrizio Clerici, Nel centenario della nascita 1913-1993, 2013, translated from Italian, pg. 92).Clerici's art nods to both Surrealist and Metaphysical theories, marked by his close friendships with Salvador Dalí, Leonor Fini and Alberto Savinio, amongst others. Further befriending Jean Cocteau and Tristan Zara in Rome and Milan he was an assiduous reader of the Surrealist publication 'Le Minotaure', Andrè Breton's brainchild. 'Surrealism', for Clerici 'must be seen as a continuation of metaphysical painting, which, by the way, is one of the most extraordinary expressions of painting in the XX century, an expression which is mostly Italian, that of De Chirico, Savinio, Carrà, and a certain Morandi. I adhered to that school' (quoted in Fabrizio Clerici, Nel centenario della nascita 1913-1993, 2013, translated from Italian, pg. 73). Desolate landscapes and solitary figures coexist in Clerici's universe. Desolated and almost dystopian, elongated, landscapes on the brink of destruction are evoked in Le Grand Theatre dated c. 1947 and L'Isola from 1974 (lots XX). Figures from the 1944 series Too seen, too much felt and The Great Hunger, (lots XX) appear in a state of despair reflecting the horrors of war. The present works are emblematic of Clerici's skill as a fine draughtsman and painter marking him as one of the most iconic artists carrying the legacy of Surrealism in Italy.The two exquisite drawings dated 1944 were included in Julien Levy's exhibition held at his gallery in New York the following year. The drawings were brough to New York by Peter Lindamood, a Peace Corps volunteer enlisted in the US Army and recruited in the 'Psychological Warfare Branch', a branch reserved to journalists, photographers and literary men, who sought out the Italian artists tied to Surrealism, both Giorgio de Chirico and Leonor Fini, and it was the latter with whom Clerici had a decade-long friendship and, considered the leader in the Italian Surrealist movement who introduced him to Lindamood. These drawings, recalls Lindamood, are the 'few that I was able to nurse through the crushing intimacy of my barracks bag' which would be 'shown for the first time anywhere' at Levy's Gallery (Fabrizio Clerici, Nel centenario della nascita 1913-1993, 2013, translated from Italian, pg. 44).The roman art critic Mario Praz discusses the drawing Too seen too much felt in his book dedicated to Clerici and his chapter on these Capricci series, to be 'the most potent expression of a mass state of mind that I have found in recent years. The assuredness of the line, akin to those of the greatest masters, makes this work a memorable document of the post-war phase of life and art in Italy' (quoted in Bellezza e Bizzarria, Il Saggiatore, Milano 1960, p. 167, translated from Italian). Both drawings can be interpreted as touching reminders of the frailty of human life.With characters appearing to reflect on the state of mankind the drawings act today as a strong reminder that on 4th June 1944 the American troops would enter Rome finally liberating the city. Empty sardine cans and a ripped intense portrait by Sicilian Renaissance master Antonello da Messina, Condottiero, permeate the scenes. The series represents Clerici's skills as a draughtsman, so much so that a work in the series, Duet for Harp and 'Cello, was acquired by the Museum of Modern Art in New York (Caption 1).Le Grand Theatre diptych (lot XX), executed c. 1947 in tempera, showcases another of Clerici's recurring motifs, the empty theatre, dominated by uneasy scaffoldings eerily seeming to hover and topple at any moment. Painted in Milan, it is part of a series of works called 'Processi' which had been admired by Dalí at Clerici's Roman studio. L'Isola from 1974 acts as an homage to Swiss Symbolist artist Arnold Bocklin's series of masterpieces The Isle of the Dead, painted between 1880 and 1901. Of Bocklin, Clerici would expand 'resuming Bocklin, after de Chirico, was a way for me to prolong the cult of metaphysical art, beyond the recognised names. I always thought that metaphysics is a characteristic of Italian painting [...] my formation as an architect fatally brings my painting to the metaphysics of space' (quoted in Fabrizio Clerici, Nel centenario della nascita 1913-1993, 2013, translated from Italian, pg. 56).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

An impressive Victorian Royal Irish Constabulary heavy cast iron wall plaque, 15" x 9", embossed "Royal Irish Constabulary" around a harp, surmounted by a Victorian crown, it was probably above a gate of a Police barracks. GC £100-120

James I, First coinage, Shilling, mm. lis, second bust, 5.50g/10h, Second coinage, Sixpence, 1606, mm. rose, fourth bust, 2.72g/8h, Third coinage, Sixpence, 1623, mm. small thistle, sixth bust, 2.43g/6h (N 2073, 2103, 2126; S 2646, 2658, 2670); Charles I, Tower mint, Shilling, Gp G, type 4c, mm. (R), 6.08g/2h, Sixpence, Gp D, small bust, mm. tun, 2.78g/9h, Halfgroat, Gp D, inner circles both sides, mm. harp, 1.00g/12h (N 2231, 2241, 2255; S 2800, 2813, 2829); together with other hammered silver coins (2) [8]. Fair to good fine £80-£100

William III, Shillings (2), both 1696, first bust, Sixpence, 1696n, large crowns, early harp (S 3497, 3524); George II, Shilling, 1758 (S 3704) [4]. Fine or better £80-£100

19th Century Tokens, Co DUBLIN, Dublin, Clark, West & Co, Shilling, 1804, female seated left, indicating a ship at sea, rev. legend around value, edge plain, countermarked with a crowned harp on both sides, 4.01g/6h (D 1). Obverse somewhat rubbed and flan slightly irregular, otherwise about very fine and toned, very rare £150-£200

Elizabeth I (1558-1603), First issue, IRELAND, Edward VI, Shilling, mdlii, mm. harp, obv. countermarked with greyhound behind bust [to revalue it at Twopence-Farthing], 3.74g/3h (N 1990; S 2547). Good very fine, clear detailed countermark and full flan, extremely rare and probably the finest known £20,000-£24,000 --- This new metal detector discovery is in outstanding condition both for the type and for the countermark

George III (1760-1820), Pre-1816 issues, ‘Northumberland’ Shilling, 1763, 8 harp strings (ESC 2124; S 3742). Sometime lightly cleaned, otherwise nearly extremely fine £700-£900

Collection of badges and medals relating to Harry Keys the Staffordshire F.A. and Football League administrator dating between 1902 and 1926,comprising The Football League long service 15ct gold medal awarded to Harry Key’s committee vice president 1905 to 1926, obverse with football in relief surrounded by rose heads and THE FOOTBALL LEAGUE LONG SERVICE 1905 – 1926, reverse engraved H. KEYS COMMITTEE VICE PRESIDENT 1905-1926, lobed diamond shape with suspension ring, 15ct Birmingham 1925 by Vaughton & Sons, 41 by 26mm.; Staffordshire Football Association long & valued service 15ct gold medal awarded to Harry Key’s President 1902 to 1919, obverse with county crest in relief and STAFFORDSHIRE FOOTBALL ASSOCIATION, reverse engraved 1902-1919, PRESENTED TO H. KEYS PRESIDENT LONG & VALUED SERVICE, circular with suspension ring, 15ct Birmingham 1918 by Vaughton & Sons, diameter 30mm.; The Football League Committee 9ct gold enamelled badge 1911-12, obverse with three lion, red dragon and harp emblems and THE FOOTBALL LAGUE COMMITTEE, INTER-LEAGUE MATCHES 1911-12, reverse engraved H. KEYS VICE-PRESIDENT with pin clasp, 9ct Birmingham 1911 by Vaughton & Sons, diameter 31mm.; The Football League 9ct gold badge 1912-13, obverse with leaf and crest decoration and THE FOOTBALL LEAGUE 1912-13, reverse engraved H. KEYS, VICE PRESIDENT, 9ct Birmingham 1912 by Vaughton & Sons, 35 by 29mm., missing pin clasp on reverse; The Football League Vice-President 9ct gold enamelled badge 1914-15, obverse with FL enamelled lettering and FOOTBALL LEAGUE VICE PRESIDENT 1914-1915, reverse engraved H. KEYS, pin clasp, 9ct Birmingham 1914 by Vaughton & Sons, diameter 23mm.; The Football League Vice-President 9ct gold badge 1919-20, obverse with flags in relief and THE FOOTBALL LEAHUE 1919-20, reverse engraved H. KEYS VICE PRESIDENT, pin clasp, 9ct Birmingham 1919 by Vaughton & Sons, 27 by 25mm.; The Football League Season 1920-21 9ct gold badge, obverse with central football in relief and THE FOOTBALL LEAGUE SEASON 1920-21, reverse engraved H. KEYS VICE PRESIDENT with pin clasp, 9ct Birmingham 1920 by Vaughton & sons, diameter 25mm.; The Football League 1921-22 9ct gold badge, obverse with entwined FL letters and THE FOOTBALL LEAGUE 1921-22, reverse engraved H. KEYS VICE PRESIDENT with pin clasp, 9ct Birmingham 1921 by Vaughton & Sons, 29 by 23mm.; Football League International Selection Committee 9ct gold badge, obverse with enamelled lettering, reverse engraved H. KEYS, with pin clasp, 9ct London 1924 by S J Rose & Son, 30 by 22mm.; The Football League 1926-27 9ct gold badge, obverse with rose head emblem and THE FOOTBALL LEAGUE 1926-1927, reverse engraved H. KEYS VICE PRESIDENT with pin clasp, 9ct Birmingham 1926 by Vaughton & Sons, 31 by 26mm.; Council of The Staffordshire Football Association Jubilee 1926-27, silver enamelled badge, reverse engraved H. KEYS PRESIDENT with pin clasp, Birmingham 1926 by Vaughton & Sons, 18 by 38mm.; The Football League 1928-29 9ct gold badge, obverse with football in relief and THE FOOTBALL LEAGUE 1928-29, reverse engraved MR H. KEYS VICE PRESIDENT with pin clasp, 9ct Birmingham 1928 by Vaughton & Sons, 30 by 22mm.; Staffordshire Football Association Council silver gilt enamelled badge, reverse with pin clasp, Birmingham 1919 by Vaughton & Sons. 34 by 25mm.; 15ct weight 42gms., 9ct weight 80gms.; silver weight 12gms., (13)Harry Key's was also West Bromwich Albion's director and chairman during the early 1900s.

A Welsh gold and silver gem set ring and harp necklet, both marked Clogau, maker's box and booklet, 7.9g, ring size P½ Good condition

2 side tables with ball and claw feet, Side table, corner table and a Harp backed chair

A 9ct hallmarked rose gold and green enamel shield fob with Irish harp decoration, Birmingham 1915, weight 4.6g.

BM Classico Spanish Acoustic Guitar, Lap Harp related booklets.

Henry VIII (1509-1547), First Harp issue, Groat, mm. crown, ha [Anne Boleyn], 1.67g/7h (S 6472; DF 201). Clipped, otherwise good fine £60-£80

Henry VIII (1509-1547), First Harp issue, Groat, mm. crown, hi (Jane Seymour), 2.37g/8h (S 6473; DF 202); Elizabeth I, Penny, 1602, mm. martlet, 1.70g/9h (S 6510A; DF 256); James I, Second coinage, Sixpence, mm. martlet, 2.03g/11h (S 6517; DF 262) [3]. First pierced for suspension, last creased and cracked, fair £40-£50

Henry VIII (1509-1547), Posthumous coinage, Threepence, type IV, Dublin, mm. harp on rev. only, late Tower bust, 0.92g/8h (S 6491; DF 221). Fine for issue, rare £120-£150

Henry VIII (1509-1547), Posthumous coinage, Threepence, type IV, Dublin, mm. harp on rev. only, small three-quarter bust of late Tower style, 1.04g/5h (S 6491; DF 221). Part weak, otherwise about fine £90-£120

Charles I (1625-1649), Confederate Catholics, Kilkenny, Halfpenny, mm. harp, 2.82g/2h (S 6555; DF 263). Fair £80-£100

17th Century Tokens, Co TIPPERARY, Clonmel, Martin Dix, lead Penny on a square flan, harp, rev. waterwheel, 1.61g (N –; Macalister –; cf. D 177A). About fine, some detail clear, very rare £90-£120 --- Provenance: Bt 2017

19th Century Tokens, Co DUBLIN, Dublin, Edward Stephens, Penny, 1816, bust of Duke of Wellington left, rev. crowned harp with 9 strings, edge centre-grained, 16.28g/6h (W 1890). Surface marks, otherwise very fine, very rare £90-£120 --- Provenance: Sotheby Auction, 1-2 October 1987, lot 118 (part)

Henry VIII (1509-1547), First Harp issue, Groat, mm. crown, ha [Anne Boleyn], 2.30g/12h (S 6472; DF 201). Weak on third quarter of shield (and corresponding on reverse), otherwise very fine and toned £150-£200 --- Provenance: Bt Spink September 1971

Henry VIII (1509-1547), First Harp issue, Groat, mm. crown, ha [Anne Boleyn], 2.56g/9h (S 6472; DF 201). Good fine, toned £80-£100 --- Provenance: Bt Spink September 1972

Henry VIII (1509-1547), First Harp issue, Groat, mm. crown, hi [Jane Seymour], 2.47g/8h (S 6473; DF 202). About very fine, obverse dark-toned £150-£200 --- Provenance: Bt Spink September 1971

Henry VIII (1509-1547), First Harp issue, Groat, mm. leaf, hr [Henricus Rex], 2.39g/6h (S 6475; DF 202). Good fine, toned £100-£150 --- Provenance: Bt Spink March 1971

Henry VIII (1509-1547), Posthumous coinage, Sixpenny Groat, type III, Dublin, mm. harp on obv., boar’s head on rev., narrow bust of local style, 1.97g/7h (S 6487; DF 215). Fair £60-£80 --- Provenance: W.T. Ready Collection, Sotheby Auction, 15-19 November 1920, lot 849 (part); SNC November 1970 (12812); bt Spink September 1971

Henry VIII (1509-1547), Posthumous coinage, Sixpenny Groat, type III, Dublin, mm. harp, narrow bust of local style, 2.71g/10h (S 6487; DF 215). About fine, reverse better £100-£150 --- Provenance: Bt Spink June 1971

Henry VIII (1509-1547), Posthumous coinage, Threepence, type I, Dublin, mm. harp on rev. only, bust of early Tower style, 0.92g/9h (S 6491; DF 221). Obverse about fine, reverse good fine £120-£150 --- Provenance: Bt Spink September 1972

Irish Surplus Revenue Dispute, 1755, a gilt pinchbeck medal, unsigned [by J. Roche?], crowned Irish harp, rev. Earl of Kildare standing left with sword drawn, preventing a hand from snatching money off a table, 36mm (MI II, 676/391; E 650). Some light staining, otherwise good fine, rare £60-£80 --- Provenance: W.J. McKivor Collection

Henry VIII (1509-1547), Posthumous coinage, Threepence, type IV, Dublin, mm. harp on rev. only, small three-quarter bust of late Tower style, 1.23g/5h (S 6491; DF 221). Weak in centre, but fine and full, toned £300-£360 --- Provenance: G.E. Chapman Collection, Glendining Auction, 9 November 1978, lot 233 [from Baldwin April 1964]

International Exhibition of Arts & Manufacturers, Dublin, 1865, a copper award medal by A. Geefs, winged female figure flying left with bountiful cornucopia, products of Arts and Industry in foreground set against a Greek-style temple, rev. wreath with crowned Irish harp, named (P.C. Owen, For Services), 75mm (E 1577). Extremely fine £120-£150 --- Provenance: Baldwin Auction 81, 10 May 2013, lot 3560; D. Kenefick Collection, DNW Auction 172, 11 March 2020, lot 522; W.J. McKivor Collection

Mary (1553-1554), Shilling, mdliii[–], mm. lis, legend ends regina, 5.75g/10h (S 6495; DF 224). Legends flat in places and some scratches in field to left of harp, otherwise about very fine for issue, reverse better, toned, rare £2,400-£3,000 --- Provenance: G.E. Chapman Collection, Glendining Auction, 9 November 1978, lot 236

Elizabeth I (1558-1603), Second issue, Shilling, 1561, mm. harp, bust 3C, reads elizabeth d g a f et hibernie regi, 4.62g/8h (BCW HP-1B: HP-a; S 6505; DF 247). About very fine, toned £800-£1,000 --- Provenance: SNC May 1970 (5825); bt Spink March 1971

Free State (1921-1937), Pattern Penny, 1927, by P. Morbiducci, in bronze, harp, stamped prova, rev. hen and chickens left, edge plain, 8.51g/12h (Brady, SNC June 1976, p.238; S –; KM. Pr. 3 variant; cf. Spink 188, 338). Lightly lacquered (as most extant specimens of this series are), extremely fine and extremely rare; perhaps only 3 known in bronze £4,000-£5,000 --- Provenance: Bt Spink June 1978. The patterns entered by the Roman sculptor Publio Morbiducci (1889-1963) for the competition to design Ireland’s new money in 1928, in which he was ultimately unsuccessful, have, as Gerard Brady stated, ‘an ageless character and beauty.’ Struck by the Milanese medallists Lorioli Castelli (now Lorioli Fratelli), the precise numbers of pieces which exist are uncertain, although the best previously published estimates were by Brady in 1976, who thought that three pieces existed in bronze (his numbers 41-3)

Three gold gem-set brooches, to include a split pearl harp brooch, an amethyst two-stone bar brooch and a further brooch, one with hallmarks for 9ct gold, lengths 3.1 to 6.2cm, total weight 10.3g

A ROYAL DOULTON FIGURINE, HARP HN2482, MODELLED BY PEGGY DAVIES AS PART OF THE LADY MUSICIANS SERIES, IN BOX WITH CERTIFICATE

Collection of vintage brooches, various, to include cameo style, floral, animals, harp, etc.(B.P. 21% + VAT)

A Beswick Souvenir of Ireland jar and cover, with applied harp and clover detailing, stamped Beswick, No 1968, 10cm high.

A collection of exotic shells, including numerous and varied cowries, articulate harp shells, marlin spike and many others, mainly named and categorised.

A Clarsach ( Celtic harp ) 29 strings 101cm high with tuning key and Seiko auto tuner.

Ashbury Auto Harp in an  Oscar Schmidt case, various accessories  55cm long, in case   

Drei Porzellankopfpuppen: a. Porzellankopf, gemarkt KH wohl Karl Stockheim, num. unleserlich wohl 500, Stoffgliederkörper, Masseunterarme, H. ca. 42 cm, b. Armand Marseille 370, um 1900, Schlafaugen, offener Mund und 4 Zähnchen oben, Ledergliederkörper mit Masseunterarmen und Unterschenkeln, H. ca. 38 cm, c. Armand Marseille Mabel 810, blaue Schlafaugen, offner Mund mit vier Zähnchen oben, Echtharperücke später, Stoffkörper mit Porzellanunterarmen, H. ca. 36 cmThree porcelain head dolls: a. Porcelain head,marked KH probably Karl Stockheim, illegible number probably 500, jointed body, mass forearms, H. approx. 42 cm, b. Armand Marseille 370, c. 1900, sleepy eyes, open mouth and 4 little teeth on top, leather jointed body with massed forearms and lower legs, h. ca. 38 cm, c. Armand Marseille Mabel 810, blue sleepy eyes, open mouth with four teeth above, real harp back later, fabric bodywith porcelain forearms, H. approx. 36 cm

An 18ct. yellow gold harp ring, weight 7.1g, as found. 

After Marc Chagall (1887-1985) Russian/French"David and His Harp"Lithograph from "Illustrations pour la Bible", Mourlot 134, 35cm by 26cmSold together with a certificate from St James Art Books, LondonArtist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Tenor Harp, Paramount, William L. Lange / Rettberg/New York, Seriennummer 171, Holzkorpus, direkte Stimmwirbel, USA 20er Jahre, spielbereit mit Koffer, L. 83cm, Mensur 58cm, Ø Kessel 28,5cm, Alters- und Gebrauchsspuren, alte Bohrlöcher an Wirbelkopfrückseite, revisionsbedürftig, Videolink: https://youtu.be/2oJndlC7Nuk?list=PLU6NqUlcFJ_lyro7XsatCw-JlaiO_ni1y

9ct gold St George medallion ring, silver harp ring, silver mounted 1953 Farthing pendant and one other pendant

Collection of Dolls House Furniture including 6 items of Russ painted furniture, approximately 70 further items of furniture, approximately 9 accessories including harp, mannequin, clocks, etc, quantity of rugs and bed covers, quantity of metal doll's house doors and windows, quantity of china, plastic and metal bathrooms items, various tea sets, 7 ceramics items of furniture, fire surrounds 2 radios plus various light fittings and accessories plus a fat packed wooden dolls house - generally in good playworn condition

An Irish Arts & Crafts Celtic revival beechwood and elm harp, by James McFall, Belfast, having twenty eight strings, carved and gilded with Celtic knot and strapwork decoration, 125cm high Provenance: From the Estate of Patrick Dockar-Drysdale Condition report: Three of the first/top strings are wire the rest seem to be nylon

An early 20th century Auto Harp.

Royal Irish Constabulary Constable’s Helmet Plate c.1880-1902. A Shamrock wreath with title scrolls, Erin Harp to the centre with Imperial Crown above; together with a pair of cloak chains, ornate Shamrock design with chain, good condition (2) £160-£200

SIX 9CT GOLD PENDANTS AND CHARMS (6)Comprising; a motorcycle, a harp, a bell, a dog, a three colour gold and diamond pendant and a wheelbarrow, combined gross weight 8.3gms