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A late 19th French cold painted spelter model of an Arab playing a string instrument - 57.5cm tall

W.G. Coker & Son four string banjo, with satinwood and ebony banded inlaid concave resonator, with mother of pearl dot and geometric inlay to the fretboard, the shaped head with raised brass star boss, inscribed on the perch rod W.G. Coker & Son, Banjo Makers, 41 Melville..., 10.5" skin and 26.25" scale, case; also a metal suitcase containing various instrument workshop tools and accessories, a folding chrome music stand and a book entitled Anthologie des Grilles de Jazz, 1500 Morceaux, volume I...

*A LARGE ABORIGINAL BULL-ROARER, AUSTRALIA, 20TH CENTURY OR EARLIER wood with abstract painted decoration, string made of human hair 75cm long Bull roarers are known in numerous traditional cultures around the world. In Australia they were used in initiation ceremonies and to deter evil spirits. The instrument is held by the string and swung in circles at speed, producing a vibrating roaring sound. ++Slight wear, mostly good

Sulawesi, three bamboo flutes and a Toraja two string instrument. Herewith a Borneo, Iban, bamboo music instrument and a bamboo flute, possibly Batak. Provenance: The private collection of Musical instruments of Piet van Boxel, The Hague, The Netherlands [5] L. 44,3 - 80,5 cm.

Northern European School of the 18th century."Saint Cecilia".Etching on vellum illuminated by hand.Measurements: 19 x 15.5 cm; 23 x 18 cm.A beautiful and subtle border of flowers in the purest Baroque style holds the engraved image, and later illuminated by hand, of Saint Cecilia, the most popular of the Roman martyrs together with Saint Agnes. A young patrician from the Caecilian family, she was forced by her parents to marry, although in the bridal chamber she converted her husband to the ideal of Christian chastity. The young husband had himself and his brother baptised, and both were condemned to death. Because Cecilia refused to offer sacrifices to the gods, she was condemned to die by drowning in the steam of an overheated cauldron, but a heavenly dew cooled her. She was then ordered to be beheaded, but her executioner struck three blows without managing to separate her head from her body. As Roman law forbade further beating of the condemned after these three attempts, Cecilia survived for three days. She died in the presence of Pope Urban and was buried in the cemetery of Callixtus. Since the 15th century, Saint Cecilia has been the patron saint of musicians, singers and organists, as well as organ and string instrument makers. Originally, Saint Cecilia, like most martyrs, did not wear any identifying attribute. It was only at the end of the 15th century, when she became the patron saint of musicians, that she received a musical instrument, a portable or fixed organ, as an attribute.

A large collection of approx. 70 string instrument bows.

A Tang Dynasty style pottery statuette of a horse mounted with a bearded musician playing a string instrument , in brown, turquoise and cream glazes, 34cm wide x 35cm high

Musical Instrument, 4 String Banjo in case (fair/gd)

A mid 20th century Gusle - a south eastern European single string instrument made from wood and skin with carved animal head 

The Madame Sidney Pratten collection of guitars and related ephemera, including seven antique guitars, a Gigelira, personal sheet music with hand annotations, an original watercolour picture of a young Madame Sidney Pratten (Katharina Josefa Pelzer) and a further collection of pictures relating to Mrs Pratten and the Pelzer family After Mrs Pratten died in 1895, her sister, Guilia Pelzer, inherited many of her instruments and archive, which were sold at auction by Sotheby's in 1938. Many of these papers and one instrument were resold at Christie's on 21st July 1978 and purchased by the vendor. Aside from the two ?selected by? annotated guitars, the Gigelira, and the cloth covered music folders with their contents, the rest of this collection was bought by the vendor in another London auction following the Christie's event in 1978 It is rare to find such an archive of a prominent 19th century guitar teacher and player The collection includes: 19th century guitar labelled 'Mme Sidney Praten, Instructness to H.R.H. The Princess Louise, 1857/This guitar belonged to my father Ferdinand Pelzer, 1831'  (italics in ink in Mrs Pratten's hand, the rest printed); Back and sides: Brazilian rosewood, fine hairline to centre back, further mild wear; Top: fine grained spruce with multi-string banding to the edges and sound hole, repaired cracks between the sound hole and bridge and bridge and lower body; Neck: ebonised, evidence of previous neck reset; Fretboard: ebony; Frets: good; Hardware: engraved brass tuners with shaped buttons; Case: original ebonised case with velvet interior bearing brass plaques to the outside inscribed 'Madame Sidney Pratten', and 'Mme Sidney Pratten/(No 2) 22A Dorset Street/Portman Sqe London'; Overall condition: good/restored. *Previously sold at a Sotheby's auction in 1938, lot 192, where attributed to Derazey, Paris 19th century guitar labelled 'Alfred Hays, Royal Exchange Buildings, E.C.', also bearing a label inscribed in hand 'Catherina Josepha Pratten, 22/.7.59', stamped with number 138 to the back of the head; Back and sides: one piece figured maple back, figured maple sides; Top: fine grained spruce with mild wear in places, multi-string banding to edges and sound hole; Neck: ebonised; Fretboard: ebony, bearing a plaque to the seventeenth fret inscribed 'Boosey & Son's/24 Holles Str/London'; Hardware: engraved brass tuning strips inscribed 'Boosey and Sons London'; Case: ebonised case with green felt interior 19th century guitar labelled 'Madame R. Sidney Pratten/1863 38, Welbeck Street/Cavendish Sqre.W. London' (italics in ink in Mrs Pratten's hand, the rest printed), numbered 3538 to the tip of the head; Back and sides: birds eye maple; Top: fine grained spruce with multi-string banding to the edges with floral mother of pearl, mastic and string banding to the sound hole; Neck: ebonised; Fretboard: ebony; Frets: good; Hardware: engraved brass tuning strips stamped 'V (crown) R' and with shaped buttons; Case: ebonised case with red felt interior; Overall condition: good 19th century guitar labelled 'Selected by/Mme Sidney Pratten/London 1873' (all in ink in Mrs Pratten's hand); Back and sides: Brazilian rosewood, repaired cleated cracks to centre back; Top: fine grained natural spruce with floral mother of pearl and mastic decoration to the edges and sound hole; Neck: ebonised and previously reset; Fretboard: ebony; Frets: good; Hardware: engraved brass tuners with round buttons; Case: ebonised case with red felt interior bearing a label to the underside of the compartment lid advertising her teaching 'Under royal patronage'; Overall condition: good/restored Mid 19th century guitar labelled 'Addison and Hodson/Musical Instrument Seller/and/Manufacturer/to Her Majesty, and the Prince Albert/210 Regent Street and King Street/London'; Back and sides: rosewood, repairs; Top: natural spruce with pearl shield inlay, repaired crack between the bridge and shield inlay, alternate pearl inlay and boxwood string banding to the edges and sound hole; Neck: mahogany, dowelled repair; Fretboard: rosewood; Frets: good; Hardware: engraved brass tuning strips with crown stamp and shaped buttons; Case: ebonised case with red felt interior bearing an external label inscribed 'Madam Guilia Pelzer/Guild Hall School', the rest illegible; Overall condition: good/restored. *Sold with a black and white photograph on card showing Madame Sidney Pratten with a similar guitar, taken by W & A.H. Fry Photographers, 68, East Street Brighton and numbered in pencil 83024 'Pose 2' 19th century guitar labelled 'Selected by/Mme Sidney Pratten/London 22A Dorset Street Portman Sq.', inscribed in Mrs Pratten's hand; Back and sides: birds eye maple, repaired crack to back; Top: fine grained spruce; Neck: ebonised; Fretboard: ebony; Frets: good; Hardware: engraved brass tuning strips with oval buttons; Case: ebonised case with green felt interior; Overall condition: good/restored *The label inscription is typical of guitars resold by Mrs Pratten to her pupils Early 19th century French guitar, unlabelled; Back and sides: satinwood, two small repaired cracks to the upper bout, further repaired cracks to the treble waist; Top: fine grained spruce with multi string banding to the edges and sound hole, many repaired cracks; Neck: ebonised; Fretboard: ebony; Frets: good; Hardware: brass tuning strips inscribed 'Domet' and with shaped buttons; Case: ebonised case with red felt interior in deteriorating condition; Overall condition: fair/restored *Sold with old papers relating to Napoleon Bonaparte with an envelope hand inscribed 'Napoleon's General No. 10 Captaine Bacheville gave my father (Ferdinand Pelzer) this guitar, as a relic, he being a pupil of my father, & had a real love for him, as he played the guitar so splendidly - it was over my fathers bed for many year, Guilia Pelzer'; also including an old black and white photograph of the guitar and a black and white engraving of Ferdinand Pelzer holding a similar guitar **Sold in a Sotheby's auction in 1938, lot 211, claiming it to be 'Napoleon Bonaparte's guitar'. Later sold at a Christie's sale in 1978 as part of lot 18 Gigelira wood and straw instrument, signed 'tuned by Mrs Sidney Pratten/ 22 Dorset Street Portman Sq W/London' to one of the wooden blocks, in original case, with a 14 page sheet music (Pianoforte and Guitar Accompaniments to various pieces for the Gigelira...) Two needlework cloth covered folders enclosing sheet music with various blue crayon and other annotations. The blue folder titled with embroidered letters 'Whisper soft music to attending ears' with signature inside the front cover 'Catherina Josepha Pratten/Bow Wow/ - I-Chee-Pops-' , also containing 'Third edition in large' of 'Learning the Guitar/simplified by Mme Sydney Pratten'. The brown folder titled with embroidered letters 'I will enchant thine ear' with many pieces annotated in blue crayon. George Brown - watercolour of Katharina Josefa Pelzer, stood holding a guitar, later inscribed 'Katharina Josefa Pelzer/(Madame Sidney Pratten)/ at the age of nine years', framed within a worn velvet cushioned frame, inscribed to the back of the frame in ink (probably by Guilia Pelzer) 'Mrs Sidney Pratten bequeathed this to me' Archive of ephemera relating to Madame Sidney Pratten, including a small antique Ambrotype of a woman playing a guitar, probably Mrs Pratten; a lithograph of Guilio Regondi, a lithograph of 'Katharina Josefa Pelzer at nine years holding a guitar/Geo Brown delt/c. e. Wagstaff Sc'; a card 'from Madame Julia Pelzer' with her photo, holding a guitar to front' and four photos of Mrs Pratten holding a guitar, the largest by Byrne Richmond, 29cm x 23cm

An old four string banjo; together with another stringed instrument.

DECORATIVE CERAMIC EGG,on silver plated stand stamped 'HW & Co', 23cm high, along with a carved Central American two-string instrument (2)

AN ELECTRIC GUITAR, GUITAR STAND, AMPLIFIER AND A PSALTERY comprising an unbranded Strat type guitar with three single claw pick ups and tremolo, no arm, metallic red finish (sd to finish), with stand and a BB 10 ten watt amplifier, a Psaltery string instrument with bow and instructions by Lucy and Woolgrove (Condition report: as stated, guitar has chip to body, otherwise items appear in good condition) (4)

VIOLIN & BOW, 60cms overall L, naive single string instrument and a pair of wooden maracas

A Chinese string instrument. 80 cm long.

20th Century patinated bronze sculpture in the form of a stylised string instrument, on a rectangular plinth base, 38.5ins high

Original antique Les Maitres de l'Affiche advertising poster for Concert des Ambassadeurs featuring a great illustration by a French painter, lithographer and poster artist Jules Cheret (1836-1932) depicting ballet dancer, an acrobat with clown paint, opera singer, a dancing lady in a red dress with cymbals in her hands and a cupid with flowers at her feet, a tray of drinks with champagne and wine, cigars, and a string instrument, with stylised lettering providing information for the show - Every evening at 7.30 Free Entry. Chants - Operettas - Ballet - Acrobats - Prestidigitation, at Champs-Elysees with daytime shows on Sundays and holidays. Printed signature on the image. Printed by Chaix, Paris. Good condition, tears, browning, creasing, paper loss in top right corner, blind embossing in bottom right corner. Country of issue: France, designer: Jules Cheret, size (cm): 40x29, year of printing: 1884

A small string banjo style instrument (56cm) and a ukuele with tortoiseshell effect exterior below strings, bears stamp verso Standard Quality BB. both with travelling cases (2)

Tang Dynasty, Circa 618-906 AD. A beautiful hollow-moulded terracotta horse, modelled in a standing pose. An elegantly arched neck with lubtuous long flowing mane in cream pigment, the head painted in white with black detailing, closed mouth, flaring nostrils, bulging eyes under heavy eyebrows, muscular body, dark brown painted body, the tail tied short and secured with a string; standing on a rectangular base, hollow to the underside. The saddle is decorated in red pigment and highly decorated sheet in blue with yellow boarder. Seated by an official wearing a long and voluminous robe enriched in red and green pigment, secured by a loose belt over wide trousers. He has round face with well-articulated features out in black and red pigments, the hair gathered in a double bun topknot secured with a black kerchief. The rider seems to be holding what appears to be a musical instrument in two hands decorated in yellow pigment. Horses were an important status symbol during the Tang golden age. They were the rewards of victorious military campaigns which lead to imperial stability and wealth. The Tang emperors often described their prized horses in detail commenting on their colouration, conformation, and temperament. The Tang emperors often described their favourite horses in detail commenting on their colouration, conformation, and temperament. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Oxford Authentication. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate will accompany this lot. Size: L:430mm / W:375mm ; 3.65kg. Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.

A vintage cased Italian mandolin bearing label for Domenico Banoni, instrument maker of Napoli. Bowl back with rosewood and tortoiseshell panel and mother of pearl detailing. H: 59.5cm. Missing one string, but comes with a replacement.

A children's Spongebob Squarepants Viacom International six-string acoustic guitar, in vibrant yellow with images of Spongebob Squarepants and one smaller ten-stringed instrument (2).

A North Indian Sarangi, 20th century, with animal skin resonator, carved bone zoomorphic bridge, with bone nut and stringing, the neck lightly carved, 70cm, and another carved wood and bone inlaid Sarangi, with animal skin resonator and carved bone bridge, 63cmCondition report: Northern Sarangi: Replaced strings, mixed quality. Evidence of repair on some tuning pegs and string holder. Some blemishes to underneath body, wear consistant with use/age to body, neck, pegbox and bone inlays.Other Sarangi: No strings plus one missing tuning peg on the fingerboard. Small sections missing from bone inlays. Repairs done including metal brace on corner of body/sound box by string holder. Wear on wood all over and particularly on animal skin resonator.Hole to the stretched skin some damage to one of the pegs.The instrument with the strings skin fitted is tight.

An early 20th century Chinese oriental reverse painting / painting on glass picture depicting and young oriental female paint a string musical instrument set in a wooden frame. Measures 52cm x 36cm. 

Persian Illuminated Manuscript Assortment (3) items on paper including a crowded cavalry battle scene having Farsi text outlined in gold ink; a carpet decorated Quran page having text; a study of a peacock and a musician seated on rocks holding a bowed string instrument; all matted behind glass in similar gold lacquered wood frames Property from: a Chicago, Illinois (Streeterville) estate Height: 14 inches, Width: 9 1/2 inches (cavalry battle)Frame Size: 18 1/2 inches by 14 inches Condition: Very Good, minor warpage to paper at edges of cavalry scene; flattened creases and spots of discoloration to Quran page; small losses to paper at center right edge and lower left corner of musician study Disclaimers: not examined out of frames Category: Fine Art > Asian Paintings & Prints Estimated Sale Time: 1:27 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6Photograph #7

An Indian cast brass figure of a female deity, seated on a lotus leaf playing a string instrument with bird below, height 18cm

Pitt writes to Wilberforce on religion, war, and the slave trade PITT to WILBERFORCE: An exceptional and historically important series of twenty three A.Ls.S., `W. Pitt´, by William Pitt the Younger to William Wilberforce, 78 pages in total, 4to (19 letters), and 8vo (5 letters), twelve of them from Downing Street, also from Pembroke Hall, the House of Commons, etc.., 31st July 1782 to 14th August 1800. Few of the letters are docketed by Wilberforce. Plus one copy of a letter also docketed. WILLIAM PITT THE YOUNGER (1759-1806) British Statesman, one of the most prominent politicians of the late 18th and early 19th centuries. He held the post of Prime Minister for close to twenty years, 1783-1801 & 1804-1806. The youngest Prime Minister of Great Britain in 1783 at the age of 24, and the first Prime Minister of the United Kingdom.To the 2nd October 1785 letter, Downing Street, at the time of Wilberforce´s angelical conversion, an extremely important and exceptional content letter, referred to by William Hague in his biography William Pitt the Younger (2005), Pitt states in part `..I am indeed too deeply interested in whatever concerns you, not to be very sensibly affected by what has the appearance of a new Era in your Life, and so important in its consequences... I will not disguise to you that few things could go nearer my heart than to find myself differing from you essentially on any great principle. I trust and believe that it is a circumstance which can hardly occur.. They are sentiments engraved in my heart, and will never be effaced or weakened…´ further writing `..You will not suspect me of thinking lightly of any moral or religious motives which guide you.. But forgive me if I cannot help expressing my fears that you are nevertheless deluding yourself into principles which have but too much tendency to counteract your own object, and to render your Virtues and your Talents useless both to yourself and Mankind… But why then this preparation of solitude, which can hardly avoid tincturing the mind either with melancholy or superstition? If a Christian may act in the several relations of life, must he seclude himself from them all to become so..´, further again writing `..You do not explain either the degree or the duration of the retirement which you have prescribed to yourself… And if you will open to me fairly the whole state of your mind on these subjects, tho´I shall venture to state to you fairly the points where I fear we may differ, and to desire you to re-examine your own ideas, where I think you mistaken..´ To the 19th December 1785, Pitt states in part `.. as much as I wish you to bask on, under an Italian sun, I am perhaps likely to be the instrument of snatching you from your present paradise, and hurrying you back to "The Rank Vapours of this Sin-Worn World".´ To the 8th April and 28th June 1788 letters, and referring to the Slave Trade cause motions, Pitt states in part `..As to the Slave Trade, I wish on every account it should come forward in your hands rather than any other. But that in the present year is impracticable; and I only hope you will resolve to dismiss it as much as possible from your mind. It is both the rightest and wisest thing you can do. If it will contribute to setting you at ease, that I should personally bring it forward (supposing circumstances will admit of it being brought forward this session) your wish will decide… In one word however be assured, that I will continue to give the business constant attention, and do every thing to forward it..´, further in June saying `..The business respecting the Slave Trade meets just now with some rub in the House of Lords.. I wonder how any Human being can resist... There seems not a shadow of doubt as to the conduct of the House of Commons next year, and I think with good management the difficulties in the other House may be got over..´ Further again in Spring 1789, `..to have the day for the Slave Trade postponed.. Grenville and I have formed a project, of reducing the case.. into a string of resolutions.. The more we consider the Case, the more irresistible it is in all its parts.´ To the 8th August 1792, referring to King George III, `..I must be at Windsor on Sunday.. Immediately on Lord Guildford´s death the King has written to me in the most gracious terms to say that he cannot let the Wardenship of the cinque Ports go to any one but myself.. in the manner in which the offer came, I have had no hesitation in accepting, and I believe you will think I have done right.´ To the 7th September 1796, referring to continental Europe and war, Pitt states in part `..The message of the Directory confessing in such strong terms their distress, and the Archduke´s recent Victory on the 22nd give some chance that our overtures may be successful. In the meantime it will be indispensable to take very strong measures indeed both of Finance and Military Defence; and if the spirit of the Country is equal to the exigency, I am confident all will yet end well. An immediate Spanish War is I think nearly certain. The only motive to it is the fear of France preponderating over their fear of us; and the pretexts as futile as could be wished.´   Small overall minor age wear, otherwise G, 24   William Wilberforce (1759-1833) British Politician, member of Parliament for 45 years, from 1780 to 1825. Philanthropist and leader of the movement to abolish the slave trade. One of the leading English abolitionists who headed the parliamentary campaign against the British slave trade for twenty years until the passage of the Slave Trade Act of 1807.His first campaign proved to be the world's first grassroots human rights campaign. On 2 April 1792, Wilberforce brought again a bill calling for abolition. The memorable debate that followed drew well-remembered contributions from the greatest orators in the house, William Pitt the Younger and Charles James Fox, as well as from Wilberforce himself. Lord Melville as Home Secretary, proposed a compromise solution of so-called "gradual abolition" over a number of years. The bill was passed.In 1785 Wilberforce underwent an evangelical conversion, resolving to commit his future life and work to the service of God. At that time, religious enthusiasm was generally regarded as a social transgression and was stigmatised in polite society. Wilberforce's conversion led him to question whether he should remain in public life. Both John Newton, a leading evangelical Anglican and Pitt counselled him to remain in politics, and he resolved to do so with "increased diligence and conscientiousness".Wilberforce also championed causes such as the Society for the Prevention of Cruelty to Animals. His campaigns led to the Slavery Abolition Act 1833 which abolished slavery in most of the British Empire. Wilberforce died just three days after hearing that the passage of the Act through Parliament was assured. The leading members of both Houses of Parliament urged that he be honoured with a burial in Westminster Abbey, and while tributes were paid, both Houses of Parliament suspended their business as a mark of respect. He was buried in Westminster Abbey, close to his friend William Pitt the Younger.. William Wilberforce said of William Pitt, "For personal purity, disinterestedness and love of this country, I have never known his equal." 

A vintage cased Italian mandolin bearing label for Domenico Banoni, instrument maker of Napoli. Bowl back with rosewood and tortoiseshell panel and mother of pearl detailing. H: 59.5cm. Missing one string, but comes with a replacement.

An Oak Aneroid Barometer, Russian three string instrument. The Everley Bothers 45 single, Bird Dog Devoted to You, other 45s:- One Box.

Clifford Essex paragon tenor banjo, with engraved pearl and ebony fingerboard, marquetry and pearl inlaid resonator, tailpiece etched with makers name and the headstock branded 'Paragon' with padded hard case.57cm scale length 84cm overall length.Condition report: The Clifford Essex banjo is generally good with some wear from use and age. There are several small areas where the brass is showing through the plating. All the joints in the instrument can be felt as the varnish has crazed over time along each of the glue lines. There are areas where the veneers are lifting on the resonator. The neck has a very slight forward curve but on that you would expect for a good playing action which the banjo appears to have. The friction tuners look all original but they require some attention as they do not hold the string tension correctly and are prone to slipping when a string is tightened. Inside the instrument, there are two ebony wedges which are loose. The case has significant wear and some joint separation.

A sitar, painted and lacquered; an oriental doll.INDIAN STRING MUSICAL INSTRUMENTSARANGI ALONG WITH INDIAN STRING PUPPET ( KATHPUTLI)Sarangi is a Bowing Indian string instrument and has a very rich and old tradition in India. It is the only instrument which comes in closest proximity to the human voice.

Original vintage advertising poster for International Music Week 1957 Lucerne August 17 - September 7 / Semaines Internationales de Musique 1957 Lucerne 17 aout - 7 septembre. The poster features a great colourful Midcentury Modern artwork depicting a stylised string instrument - a violin or cello with green, red, orange, yellow, pink, purple and blue shapes over it, set over white and black background. Printed by C.-J. Bucher S.A., Lucerne. Acceptable condition, tape and tape stains, tears, repaired tears, creasing. Country of issue: Switzerland, designer: Piatti, size (cm): 102x63, year of printing: 1957.

A collection of decorative china including one Royal Albert plate and a Baltic string instrument **PLEASE NOTE THIS LOT IS NOT ELIGIBLE FOR POSTING AND PACKING**

STEHENDER BUDDHA MIT SITARThailand 19.Jh. Buddha Ratanakosin. Bronze, vergoldet. Auf Holzsockel montiert. H.47/56cm A STANDING BUDDHA WITH SITAR Thailand, 19th century Rattanakosin Buddha. Bronze, gilt.Mounted on wooden base. 47 / 56 cm high. Keywords: religion, Buddhism, gods, Asian, Thai, string instrument, Ratanakosin

明治 宗康、宗款 象牙雕人物置物（兩件） one depicting a seated courtesan playing a string musical instrument with composed facial expression, her hair and robe finely incised with details, the base of the chair with a 'Soko' mark; the other of a dancing male figure, his left long sleeve flips to his back and swings around the back of his head, right hand holding a fan before his chest, standing on left leg whist right leg raised, the inner lining of his left trousers with a one-character 'So' markheights: 14cm and 11.5cm

Eight string instrument in case & a Clarke trumpet in case

"Horatia Feilding's Harp" A fine Regency gilt and gesso Concert Harp, with ornate brass mounts and fluted column figural capital, and forty-five string points (unstrung and distressed) decorated in the Neo-classical taste; together with another Musical Instrument. (2) * A well known early photograph taken by Horatia's half-brother, Henry Fox Talbot depicts a woman, said to be Horatia, who subsequently married Thomas Gaisford, playing what looks like this instrument.  Patent No.2311

Wooden String Instrument, With Key Winder with a Facsimile Photo of the Player of the Instrument, Taken In 1893, The Cheadle Musical Group Staffs, Choir and Musician Director - Elijah Sat on Right, My Aunt Annie Maria Winning Age 14 Years Old, Stood at the Back, Playing the Fairy Bells, The Lady Front Left Is Holding the Other Set of Fairy Bells etc. Boxed, Overall Size 25 x 6 Inches.

A cased Carnival four-string banjo/ukelele and one other early 20th century eight-string banjo/mandolin, lacking one string, with various indistinct signatures to the instrument (2).

An American painted metal 'Tammany Bank' seated figure money box plus an eight string musical instrument

Ein Saiteninstrument spielender MalabarKPM Berlin, 20. Jh.Entwurf von Friedrich Elias Meyer, um 1777, aus der Serie "Fremde Völker". Weißporzellan.Im Sockel unterglasurblaue Zeptermarke. H. 23,5 cm. - Mandolinenhals restauriert.deutsches Porzellan, Porzellanfigur Malabar playing a string instrumentKPM Berlin, 20th centuryDesign by Friedrich Elias Meyer, about 1777, from the series ''Fremde Völker''. Whiteporcelain. Underglazed blue sceptre mark at the base. H. 23,5 cm. - Restored mandolinneck.

Block Instrument with twin dials (Up and Down) and three way selector switch, in mahogany case with examination label inside dated 19-12-66, otherwise no railway markings; together with an album of photographs of railway engineering works in the North East, annotated and mostly dated 1929/30, an NER string container with 'Enquiry Office' scratched into side and a small unmarked cosh; together with assorted railway related books

*MUSIC SHOP STOCK - a mixed quantity of boxed and loose music speaker and microphone stands with a quantity of wall mounted string instrument hangers.

*MUSIC SHOP STOCK - large mixed quantity of instrument strings and accessories including flute and clarinet stands, violin tuner, pitch pipe sets, clarinet reeds, earphones, hundreds of plectrums and plectrum holders, guitar and ukulele straps, Stagg string winders, guitar polish, valve oil, ETC, ETC along with a modern clarinet case N.B. This lot is subject to VAT on the hammer price

K GUITAR TURTLE SHELL LEATHER STRING INSTRUMENT

Beautiful bronze statue a woman playing string instrument. The statue is signed - "Michelanglo 1/20", meaning this is the first one from limited edition of 20. Made from bronze-tin-copper. Size: 56cm (22") high. Condition: Very good.

A pair of Chinese bronze musicians, both stamped, late 19th century (one a.f.) (tallest 26cm) (2). Stringed instrument figure; the instrument is broken at the neck, the base with impressed signature (see image), some mild surface scratches. Figure two; string instrument lacking entire neck with some mild pitting and light abrasions

A seven string ethnic instrument

An early 20th Century 5 string Banjo, impressed mark W E TEMLETT, LONDON, Apollo Model number three, fretboard length 18in approx 46cm, with vintage reinforced case Information on maker from vintagebanjomaker.com ; In 1864 William Temlett Snr established a workshop for making banjos at 95 Union Street, London, S.E. William Ernest Telmett had started work in his father's factory in early boyhood but left at the age of thirty to form his own business. Born in 1865, W. E. Temlett left school at the age of 14 and entered his father's factory and it was not long before he was appointed manager. But as he grew older, disagreements with his father became more frequent and in 1895 he left to form his own business. He set up a workshop at 29 Charlotte Street, Blackfriars, London, S.E., and for some years keen rivalry waged between father and son. W.E. Temlett prospered and within a year he was advertising that the instruments he made could only be bought through retailers not direct from him. His 'Apollo' zither- banjos and the 'Hercules' and 'Mozart' banjos enjoyed healthy sales all over the country; the latter being said to be good copies of S. S. Stewart's instruments. In October 1898 he launched his own monthly fretted instrument magazine - 'The Banjo, Mandolin & Guitar News' - which enjoyed an existence for some years and this, coupled with the many concerts he organised in and around London, did much to popularise his instruments. He was an enlightened employer and every year took his entire staff, male and female, to the seaside for the day and gave an annual dinner and dance for their benefit at which the leading fretted instrument soloists would perform.

An Unusual 3 String Dulcimer  Instrument

Cow hide string instrument, a pottery teapot, ceramic bowls, collectables, etc. (2 boxes)

Gamelan A two string instrument played with a bow from Bali. Finely turned from Jempinis wood. The face of the sound box is covered with skin, the reverse covered with a cotton textile. 100 x 40cm. Mid 20th c.

Good 19th century German double bass, length of back 44", stop length 25", vibrating string length 41.5" *This double bass has been in the same family for over seventy years and you can read a short amusing history about the instrument written by Hugh Gordon, who played it for fifty-five years

Very interesting 18th century Italian or English double bass, unlabelled, the two piece back of faint medium curl with similar wood to the sides, the later head of plainish wood, the table of a medium width grain and the varnish of a reddish-brown colour on a golden ground, length of back 42 1/2", stop length 22.75" and vibrating string length 40" *This instrument is sold with a valuation and appraisal from A. Pryce (Stringed Instruments of Wadhurst), East Sussex) dated 10th October 1989. The double bass was valued by this dealer at £6000 and described as Milanese dating from 1750

Fine 18th century Italian double bass by Pietro Pallotta circa 1790, unlabelled, the back of faint medium curl with similar wood to the sides, the head of plainish wood, the table of a medium width grain and the varnish of a dark reddish-brown colour on a golden ground, length of back 41", stop length 22", vibrating string length approximately 40.5" (condition report available) *Although this instrument is not labelled we are confident that the idiosyncratic workmanship is characteristic of Pietro Pallotta.

A twelve string bowl back mandolin, together with an eight string banjo and another eight stringed instrument and two photographs

Theofilos Hadjimichael (Greek, 1871-1934)Le héros intrépide Katsantonis titré en grec (en haut à droite) pigments naturels sur panneau 74.5 x 30cm (29 5/16 x 11 13/16in).titled in Greek (upper right) natural pigments on woodFootnotes:ExposéAthens, Hellenic-American Union, Exhibition of Works by the Painter Theofilos, February 7-26, 1964, no. 26 (listed in the exhibition catalogue).Athens, Ethousa Technis Athinon, Theofilos, May 12-31, 1975, no. 21 (listed in the exhibition catalogue).LittératureElefthera Grammata magazine, no. 63, March 25, 1947, p. 88 (illustrated).Epitheorisi Technis magazine, no. 16, April 1956 (illustrated on the front cover).Theofilos file, T. Spiteris Archive, Tellogleion Art Institute, c. 1960s, no. 177 (illustrated). Y. Tsarouchis, ed., Theofilos, Commercial Bank of Greece editions, Athens 1966, no. 56 (illustrated).C. Michiotis, Our Greece, Kastalia editions, Athens 1966, p. 441 (illustrated).E. Petropoulos, Rembetika Songs, Athens 1968, p. 415/20 (illustrated).Istoria magazine, no. 72, June 1974, p. 4, detail (illustrated).G. Petris, The Painter Theofilos, Exandas editions, Athens 1978, p. 47 (discussed), no. 21 (illustrated).Lexi magazine, no. 172, November-December 2002, p. 922 (discussed).D. Stamelos, Katsantonis, Estia editions, Athens 2004 [1980], p. 297, f.n. 4 (mentioned), p. 303 (illustrated).S. Sorogas, Aesthetic Geography, Stigmi editions, Athens 2006, p. 77 (discussed).A. Hadjiyannaki, Theofilos, K. Adam editions, Athens 2007, p. 106 (illustrated).E. Diamantopoulou, Theofilos in Mt. Pelion, Alexandria editions, Athens 2007, p. 229, no. 9 (listed).Magnisia magazine, no. 11, November 2008, p. 19, no. 10 (listed). E. Plessa, ed., The Work and Wonderful Days of Philippos Koutsinas, Athens 2013, pp. 101, 163 (illustrated).*Veuillez noter qu'en raison de la réglementation grecque, ce lot ne peut pas être exporté de Grèce et sera disponible pour consultation et inspection à Athènes sur rendez-vous ou lors de l'Athens Preview, du 5 au 9 mai 2021. Cette œuvre restera à Athènes pendant la vente aux enchères*Please note that due to Greek regulation, this lot cannot be exported from Greece and will be available for viewing and inspection in Athens either by appointment or during the Athens Preview, 5-9 May 2021. This work will be located in Athens during the auctionDisplaying Theofilos's fascination with the history and legend of the 1821 uprising, this captivating work, which pays homage to one of the great figures of pre-revolutionary Greece, featured as a cover illustration in the April 1956 issue of the influential Epitheorisi Technis art review. The artist Sotiris Sorogas recalls: 'I first saw a painting by Theofilos on the cover of an Epitheorisi Technis journal, during the first years of my studies, that is before 1960. It was hero Katsantonis with a musket on his fustanella kilt, holding a small pandouris, a string instrument almost identical to a modern day baglamas.'1The legendary klepht Katsantonis (1873/5-1807/8), who was a constant source of inspiration throughout the artist's career, is portrayed at a moment of leisure, possibly after a victorious battle, playing his beloved pandouris in an unspoiled natural environment, possibly the ravine on Mt. Tzoumerka where according to local lore he defeated the troops of Velingekas, Ali Pasha's henchman.The intrepid hero, whose depiction is a synthesis of diverse sources, is identified as such not only by the inscription on the upper right but also by pictorial means: he is handsome, sporting a large moustache, a flintlock musket (kariofili) resting on his lap. For Theofilos, a true Katsantonis is unthinkable without his ubiquitous kariofili and his signature fustanella kilt, the same highland garb as the painter himself wore when he left Smyrna for Athens to voluntarily enlist to fight in the 1897 war against Turkey.1 S. Sorogas, 'On Theofilos', Lexi magazine, no. 172, November-December 2002, p. 922.Témoignant de la fascination de Theofilos pour l'histoire et la légende de la révolte de 1821, cette œuvre captivante, qui rend hommage à l'une des grandes figures de la Grèce prérévolutionnaire, a illustré la couverture du numéro d'avril 1956 de la revue artistique Epitheorisi Technis. L'artiste Sotiris Sorogas rappelle : « J'ai vu pour la première fois une œuvre de Theofilos sur la couverture de la revue Epitheorisi Technis, au début de mes études, c'est-à-dire avant 1960. Elle représentait le héros Katsantonis portant un mousquet sur sa fustanelle et tenant un petit pandouris, qui est un instrument à cordes pratiquement identique au baglamas de l'époque moderne ».1Le héros intrépide Katsantonis (1873/5-1807/8), qui a été une source constante d'inspiration pendant toute la carrière de l'artiste, est représenté ici pendant un moment de détente, probablement après une bataille victorieuse, jouant de son cher pandouris dans une nature intacte, probablement le ravin du Mont Tzoumerka où, selon la tradition locale, il a défait les troupes de Velingekas, homme de main d'Ali Pasha.Le héros intrépide, dont le portrait est la synthèse de sources diverses, est identifié comme tel non seulement par l'inscription qui figure en haut et à droite, mais également par des moyens picturaux : il est beau, arbore une grande moustache, et tient un mousquet à silex (kariofili) sur son genou. Pour Theofilos, il est impensable de représenter le vrai Katsantonis sans son éternel kariofili et sa fustanelle, le même type de kilt que celui que le peintre portait lui-même lorsqu'il a quitté Smyrne pour Athènes afin de s'enrôler volontairement pour combattre dans la guerre de 1897 contre la Turquie.For further information on this lot please visit Bonhams.com

An antique 19th Century Japanese Meiji period oriental carved ivory and boxwood netsuke okimono figurine depicting an actor / performer with carved ivory head featuring an articulated tongue and detailed features holding a mandolin / string musical instrument set with ivory hands. Unsigned. Measures approx; 7cm tall. Head and hands are loose but present. 

A German three-quarter violin with scarfed scroll and two-piece figured back. Bearing a "Caspar Da Salo in Brescia" label. Together with a mother of pearl inlaid bow with ebony frog and nickel fittings, housed in a shaped oilcloth, fitted case. 55 cm long overall. 34.5 length of the back. Bow length, 68.5, weight 53.8 gram. Together with an early 20th century, five-string Banjo with mother of pearl inlay and silver-plated fittings. 95 cm long overallQty: 2Condition report: The violin is in good order with a rich red-brown varnish. The scroll has been scarfed onto the neck very well and was done a long time agoThe bow has some tape around the shaft near the frog.The banjo is in need of restoration as the neck is loose at the joint with the body.Both instrument cases need some repair.

THREE BOXES AND LOOSE SUNDRY ITEMS, to include boxed Christmas tree stand, novelty clock, pics, a carved Indian single stringed musical instrument with bow, length 72cm (missing original string and in need of repair), various Indian ornaments, plaque, cameras (Movinette 8B, Olympus Camedia, Sony Handyman, Lumix etc), cased Super Tecnar binoculars 6x-12x32, cased Nikon 7x20 CFIII binoculars, a C & D 'The Field' portable microscope, a wooden lazy Susan, four Royal Mail pewter locomotives etc

A Scandinavian carved back string instrument/lute, animal hide resonator cover, long neck, horse head tip, 91.5cm long