We found 9183 price guide item(s) matching your search

A diamond brooch, early 20th century, designed as a crescent moon and harp, set with circular-cut diamonds, mounted in silver and gold, length 4.8cm

A Killarney ware writing slope 19th century, possibly depicting Muckross Abbey, Killarney, the interior with an inlaid harp and clovers, two ink wells, and a burgundy velvet slope,33cm wide25cm deep10cm highCondition ReportUsed, with wear.

A Camac Melusine 38 string harp, in maple finish and fully levered, complete with dust cover and soft carry bag136cm highCondition ReportLight surface scratches and knocks, some of the levers have lost there ferrules and out of position. No apparent cracks.

A Irish Dresden porcelain figure group 'The Champagne Party', depicting a group of five figures sat at a table, drinking champagne, painted marks,53cm wide31cm hightogether with another Irish Dresden porcelain figure,'Sinead', of a lady in a green dress, playing the harp, painted marks,19cm highCondition ReportNo apparent chips or crack. Only minor losses to the lace dresses, but no large patches missing.

λ &nbspSIR EDUARDO PAOLOZZI (BRITISH 1924-2005) HARP (COLLECTION OF G.A. REISNER) Collage Signed (lower right) Image: 15.2 x 12.7cm (5 x 5 in.)Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 57 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54)      Condition Report: Glue residue causing some staining scattered across the sheet. Otherwise in original condition. Condition Report Disclaimer

'Winner Harp lager Handicap York 10th July 1976' - Harp on a marble base H23cm, Royal Selangor trophy in the form of a jockey, pair of Royal Selangor horses head stirrup cups pair of York Races plated salvers, 'Art in the City' model of a racehorse, pair of Italian silvered metal horses and other similar items

Contemporary - 16 string lyre harp with a beech and ash frame, steel strings and plated tuning pins, with decorative fretwork to the soundboard.Dimensions: Length/Width: 62cm 

Compact - 12 string mahogany lyre harp with a raised bridge, steel strings and plated tuning pins. Dimensions: Length/Width: 40cm 

A 9CT GOLD CHARM BRACELET Of infinity knot linking, suspending six charms, including an enamelled Torah scroll, a bi-coloured stirrup, stamped 18K, a shisha pipe, indistinct mark, a 9ct gold harp, UK hallmark, a fiasco, unmarked, and a dolphin, signed Unoaerre, stamped 750, bracelet with UK hallmark 1990 Size/dimensions: 18.5cm long Gross weight: 26.2 grams

A LATE GEORGE III IRISH GREEN BLACK AND GILT JAPANNED 'ROYAL PORTABLE HARP' BY JOHN EGAN DATED 1819 Decorated overall with trailing shamrocks with an open soundbox, the brass plates blank but with inscribed paper label to interior "John Egan 30 Dawson Street, June 1819 Dublin" 93cm high Provenance: Mrs J W Mackail (nee Margaret Burne-Jones) (1866-1953); By descent to her daughter Clare Mackail (1896-1975); Thence by family descent. Harps of this form, of varying degrees of sophistication, were made by John Egan of 31 Dawson St, Dublin from 1801-1841. Generally decorated in black, blue, and green and with distinctive shamrock gilding, some of the best examples bear Egan's name inscribed on a brass plaque that proclaims 'Maker-by Special Appointment to his Most Gracious Majesty George IVth'. A comparable harp with similar paper label is held in The National Trust Collection at Snowshill Manor and Garden, Gloucestershire with label dated for April 1819 (NT 1335364). Other examples are in the collections of the Victoria and Albert Museum, London; The Fitzwilliam Museum, Cambridge; the Smithsonian, Washington D.C; and the National Museum of Ireland, Dublin. Condition Report: With dents marks and scratches and shrinkage cracks due to age and frequent use. Chips, rubbing, small scratches and wear to the decoration throughout and accretion of surface dirt. Some strings broken. Has a later triangular plate set to upper corner of one side- presumably to stabilise previous shrinkage faults which are visible to the other side. Some loss to one upper corner around final pins. Replacement pins with colour and style variances to tops, some internal taping- which may be later for greater stability. Bottom edge worn and some loose veneer and moulding Provenance: Mrs J W Mackail (nee Margaret Burne-Jones) (1866-1953); By descent to her daughter Clare Mackail (1896-1975); Thence by family descent. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. Condition Report Disclaimer

A set of four silver Art Nouveau buttons, each cast as Muse playing her Harp, 1.7cm diameter, Joseph Gloster Ltd, Birmingham 1902 (4)

R. Cook & Co. ' Fairy Bells ' box harp, in original box with labelsAll strings are present. No split in wood. No obvious reason why it couldn't be played immediately.

A VICTORIAN OVAL BOG-OAK MOURNING LOCKET,with carved lyre and floral swag appliqué, with engraved dove motif to interior and containing a lock of blonde hair and a photograph of a young Victorian gentleman; together with a profusely carved brooch encompassing the heraldic emblems of Shamrock, Rose and Thistle; together with a throat ornament mount featuring the same carved emblems with recumbent Irish wolfhound to centre; together with two carved Latin crucifix pendants (one damaged); together with 57 spherical beads ; and with a Victorian photograph of the owner Mrs Giffney wearing the items above.Presented with typed correspondence on the subject dating to 1951 from Mr Anthony T. Lucas (1911-1986), former President of The Royal Irish Society of Antiquaries and Director of the National Museum of Ireland.Since Classical Antiquity, humans have endeavoured to impress the inevitability of death and therefore the importance of living. The Latin trope ‘Memento Mori’ (Remember That You Must Die) is expressed through the world’s art, funerary architecture, and jewellery. Motifs such as the skull, the skeleton, the rat, the coffin and the earthworm have been employed throughout Classical history and later to impart a universal understanding of the term. Mourning Jewellery deviates from the former in that it commemorates the death of a specific person, usually by marking their death dates or even utilising their hair, skin or teeth in the fabrication of the piece. The execution of King Charles I in 1649 was arguably the first example of popular ‘Mourning Jewellery.’ Despite the grievances aired during his reign, culminating in the Second English Civil War and the dissolution of the Monarchy, Charles I had many sympathisers to the Royalist cause. After his execution, many of his supporters commissioned jewellery bearing his image and dates secretly engraved on the inside of the ring band or behind a concealed locket. This implied that these nobles had remained faithful to the Royals even during the period of the Commonwealth (1649-1653) and later the Protectorate (1653-1659) up until the Monarchy’s restoration in 1660, whereupon the wearer would hope to be rewarded for their loyalty to the Crown. Later in the 19th century, the untimely death of Prince Albert (1819–1861) provoked the reigning monarch, Queen Victoria into a lifelong state of mourning. The remaining forty years of her reign saw the macabre motifs associated with mourning jewellery evolve into decidedly more romantic imagery of roses, doves, angels, willows and urns. Typically, the piece was set with enamels and other complementary precious stones and ornamentation such as pearls, to symbolise tears, and jet for grief. The blackened wood of the bog oak became an excellent Irish alternative to the more widely recognised Jet used in Victorian jewellery. As a result, the bog oak ornaments, became the ideal transfer for the nationalistic motifs of a country on the precipice of independence. Imagery was favoured which further promoted the national identity of Ireland as an established state with its own identifiable customs and symbols. The most common motifs include round towers, shamrocks, abbeys, Irish wolfhounds and harps, all which serve to perpetuate a national identity for Ireland’s fledgling tourist industry. The use of Bog Oak for decorative purposes was not a novel concept as it had been chosen as the primary material for the Downhill Harp, crafted by Cormac O’Kelly in 1702. However, Mr Patrick McGuirk is generally credited with escalating the demand from what had previously been considered a cottage industry craft. Supposedly, in 1821 McGuirk presented King George IV and The Duchess of Richmond with a carved cane on their visit to Dublin. The Duchess commented that it would be preferable to carve in the native wood of the country. Taking this to heart, McGuirk attempted to carve on bog oak he acquired and finding it quite suitable, he commenced what would become a robust trade nationwide for the next 100 years or so. Joseph Johnson of 22. Suffolk Street, Dublin is credited with patenting a high-pressure moulding mechanism for high relief detail using heat and steel dies. This enabled the production of ornaments to increase, and it became a highly profitable business on a larger industrial scale. Other important names in the trade include John Neate (1796-1838) of Kerry, Cornelius McGoggin (fl.1850-1914) of Kerry and Dublin and William Gibson of Belfast and many more otherwise.Stephanie Brennan August 2024

WOODEN HARP

A collection of modern doll’s house furniture, to include: beds, drop lead tables, armchairs, side tables, bathroom furniture, balustrades; together with nine pianos and a harp.

Lovely mustard yellow lamp with slender neck and wide body base. Harp included with matching finial. Base has felt bottom. Issued: 20th centuryDimensions: 18"H x 6" dia. Condition: Age related wear. Lampshade not available.

Hand Carved String Instrument Assortment (5) items including (2) Hummingbird carved dulcimers signed on the inside 'Warren May', a heart carved dulcimer having 'Red Bird Mission' tag as well as a lap harp / zither and a bowed Psaltary, both stamped 'Jerry E. Farnsworth' Property from: a Private Collector, Muncie, Indiana Height: 2 1/2 inches, Width: 35 inches, Depth: 5 3/4 inches (largest) Condition: overall light wear consistent with normal use, minor nicks scuffs and finish wear Category: Cameras & Instruments > Instruments Estimated Sale Time: 1:25 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2

19th Century J Reed of Brampton longcase clock having a hand painted classical scene depicting a harp player with a painted round face with roman numeral dial, broken swan neck pediment, oak case with domed top door.

Fanny Harlfinger Zakucka (Austrian, 1873 - 1954), portrait of a lady playing a harp, circa 1908, woodcut, 16 x 15cm, framed and glazed

FINE SALVI CONCERT HARP, model 47EX 'Daphne', the 47 string, 7-pedal harp in walnut finish, 185 (h) x 99cms (w), 38kg (wt.), together with tuning key and spare, set padded travel covers, 2-wheel trolleyProvenance: bought from new, in owner's collection since.Comments: excellent, some strings missing only. Further details: Salvi Daphne 47EX (theharpstudio.co.uk)

A mahogany toiletry table with lyre harp shaped base and marble top, 19th C.H 152 - L 83 - D 50 cm

Glazed, hand painted ceramic two-faced jug. One side is Cleopatra, the other side is Antony. The handle is an asp and harp, dagger and shield, and eagle's head. Royal Doulton backstamp and artist signature. Artist: Michael AbberleyIssued: 1985Dimensions: 7.25"HEdition Number: 3259 of 9500Manufacturer: Royal DoultonCountry of Origin: EnglandCondition: Good

A mahogany harp with carved and engraved Celtic decoration, 35" high

L Lothar Gartner lyre harp, serial number 5816, 1973, in original fitted case

Belleek china - large mantle clock 25cm high and a Harp decorated with shamrock 21.5cm high together with 7 other Belleek items

Volkstedt Rudolstadt, Large group in lace porcelain, harp playing lady in a richly decorated interior. Marked. | Width: 47 cm.Height: 31 cm.Depth: 30 cm.

Modern 21 string knee harp 76cm high (with carrying case)

An Irish George III silver sugar basket, on fluted pedestal, engraved border, swing handle, 22.5cm h, by Richard Sawyer, Dublin 1800, 8oz 8dwt Very light wear, polish residue, not split or repaired, marks well spaced and struck and to the other side of the handle two marks (maker's mark and harp)

A silver gilt harp brooch, 47mm h, maker WL, Birmingham 1972, an enamelled gilt George IV shilling, a silver necklace and a silver brooch Good condition

Irish Roman Catholic Interest. A 19th Century Italian illumination presented by Pope Pius IX to Ireland's first Cardinal, Paul Cullen, Archbishop of Dublin, to commemorate the definition of the dogma of the Immaculate Conception of the Blessed Virgin Mary, inscribed "Pius IX Pont Mar / Conceptionem Immaculatum / Beatissimae Virginis Maria / Definivit die 8th Dec 1854 / Atque / Hiberniam Sanctorum Insulam / Marimo Illustravit Honore / Paulo Cullen Archiepiscopo / Dublinensi Cum Principibus Sacri / Colleaii Cadinalum collocato / die 25 Junii 1866", with central depiction of the Annunciation, bordered by ornate scrollwork and cartouches decorated with armorials and named saints, parchment overall 70 x 49cm, housed within an ornate Florentine carved giltwood frame, overall 80cm wide, 116cm high, Paul Cardinal Cullen (29 April 1803 – 24 October 1878) was Roman Catholic Archbishop of Dublin and previously of Armagh, and the first Irish cardinal. His Ultramontanism spearheaded the Romanisation of the Catholic Church in Ireland and ushered in the devotional revolution experienced in Ireland through the second half of the 19th century and much of the 20th century. A trained biblical theologian and scholar of ancient languages, Cullen crafted the formula for papal infallibility at the First Vatican Council.Cullen paid frequent visits to Rome. He took part in the definition of the dogma of the Immaculate Conception of the Blessed Virgin Mary in 1854 and with the 18th centenary of the martyrdom of Saints Peter and Paul in 1867, when he stayed at the Irish College.He attended all the sessions of Vatican I, taking an active part in its deliberations. Towards the close of the council, at the express wish of the Central Commission, he proposed a formula for the definition of papal infallibility. It was a matter of great delicacy, as promoters of the definition were split in various factions, some anxious to assign a wide range to the pope's decisions, and others would set forth in a somewhat indefinite way the papal prerogative.He was the most important Irish political figure in the 30 years between Daniel O'Connell and Charles Stuart Parnell. In political matters, Cullen made it a rule to support every measure, whatever its provenance, conducive to the interests of his vision for the Roman Catholic Church in Ireland. Desmond Bowen considers Cardinal Cullen "a cautious, suspicious, and usually shrewd product of the Roman school of diplomacy".Cullen also started the practice of Irish priests wearing Roman collars and being called "Father" (instead of "Mister") by their parishioners. Parchment showing undulation throughout but otherwise looks to be in good fresh order, some tiny white light mould marks showing most notable on the dark blue behind the Virgin but probably also elsewhere, these look to be light white mould on the surface of the work which is under glass, main Florentine frame has suffered much rubbing over the years with losses of the original gilding, the top Irish harp motif is held on with blu-tac, presumably there were other motifs at the lower corners which are now missing, arms at the bottom of the frame are inscribed with his motto Ponit Animam Pro Amicis.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A pair of Victorian slate plinth bases, with marble tops, height 33.5cm, a leather case of South African Masonic regalia and papers, and a cased Müller's Auto Harp (4).

LONDON, High Holborn, Spence’s mule Halfpence (2), bust of John Thelwall right, rev. Sessions House, Old Bailey, 10.35g/6h (DH 868); bust right, united token, rev. crowned harp and thistles, 10.96g/12h (DH 899) [2]. First about extremely fine and patinated, second good very fine £150-£200 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: *DH 868 bt J.A. Bobbe July 2001; DH 899 bt P. Bosco September 1998

Guinness - A late 20th century pub advertising point of sale sign / mirror. With the iconic harp and branded to central mirror glass panel within frame. Made in England, G. M. Fisher advertising.37cm x 47cm approx.

⊕ (i) DOVES; (ii) EMBRACING COUPLE; (iii) HARP WITH BRANCHESall lithographs(i) 20.5 x 25.5cm; 8 x 10in47 x 51.5cm; 18 1/2 x 20 1/4in (framed)(ii) 17 x 26.5cm; 6 3/4 x 10 1/2in 43 x 51.5cm; 17 x 20 1/4in (framed)(iii) 23.5 x 27cm; 9 1/4 x 10 1/2in 47 x 51.5cm; 18 1/2 x 20 1/4in (framed)(3)Property of a LadyMatisse completed 128 lithographs to illustrate Florilege des Amours de Ronsard, published in Paris by Albert Skira in 1948 in a numbered edition of 300, plus 20 Hors Commerce, the present three prints are from HC IX / XXProvenanceCaroline Wiseman, Londonoffered for sale without reserve Qty: 3

HANS NIKOLAJ HANSEN (1853-1923), 'Figural Mythological Scene', Harpens Kraft, the Strength of the Harp', oil on canvas, 207cm x 262cm, framed (Provenance bought).

Artist: Horst P. Horst (German/American, 1906 - 1999). Title: "Lisa with Harp, Paris [Lisa Fonssagrives-Penn]". Medium: Original photogravure. Date: Composed 1939. Printed later. Dimensions: Overall size: 11 3/4 x 8 11/16 in. (298 x 221 mm).Pricing:   Starting Price: $600  Reserve Price: N.A.  Auction Sale Price Estimate: $800/1,000Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition. Comment(s): One of Horst's most famous images. According to “Gordon’s Photography Prices” the auction record for a platinum print of this image is $168,000 realized at Christie's, New York, 4/23/2007, lot #28. Image copyright © The Estate of Horst P. Horst. [29620-2-600-NA]

A Victorian silver and applied gold harp brooch, Birmingham 1890, three name brooches and a swallow brooch, 18gm

Sundry small collectors' items including pince-nez, a jew's harp, a miniature Hohner mouth organ, a 1938 Empire Exhibition Scotland giant pencil, a Kynoch ammunition promotional Ivorine paper knife and a Victorian Bully Beef can opener

A 19th century Regency mahogany and ebony inlaid ladies’ writing table with adjustable top and three drawers on harp shaped supports. Width 77cm, height 77cm, depth 46cm.

8th The King’s Royal Irish Hussars Officers full dress Sabretache, the red cloth face with embroidered mounts including the Royal Crest, VR cypher, the Maid and Harp, and Battle Honours to central India, the train lace with shamrock pattern. The lace dull overall, but in sound condition. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.

A 9ct rose gold curb link charm bracelet, with various 9ct gold and yellow metal charms including a harp, vespa, teapot and others, combined weight 19 gramsIf there is no condition report shown, please request

After Jean Jacques Pradier, French, 1790-1852, a French bronze model of ‘La Poésie Légère’ (Nimble Poetry), late 19th century, the nude maiden holding a harp with a floral garland in her hair and flowing veil, on a stepped circular base, with cast signature J. Pradier. and foundry stamp A.D. DELAFONTAINE, 52cm highProvenance: The George Farrow Collection.  Condition Report:  In overall good condition, loss to gilt lacquered surface throughout with streaks visible, particularly to base. Some minor surface scratching. Strings of harp with some bending. Rusting of screws to underside. 

An Irish circular bog-oak carved BOX with harp motif, a 19th century turned mahogany SNUFF BOX, an Olivewood WATCH HOLDER, a ditto STAMP BOX & three pieces of Mauchline WARE (7)

A 9ct yellow gold Cupid pendant charm, modelled playing the harp, 26mm high, 7.1g gross; and a 9ct yellow gold chain necklace, 4.1g gross. (2)

A comtoise with harp pendulum, France, address; Cèca Guy a Autun, 19th century. Convex white and black enamel dial with black Roman numerals. Brass frame with relief of vase and flora. The dial indicates the hours and minutes.

Vintage Full Packs Of Smoking Tobacco. The following Packs are 1oz: Rum & Maple, Imperial Franklyn's Mild, John Sinclair Rubicon, Player's Digger Shag, Digger Honeydew, Smoking Mixture, Faulkner's Golden Returns, Godfrey Phillips Empire Tobacco, Faulkner's Nosegay Special x 2, Nosegay Virginia Mild, Ogden' Juggler, Wills Westward Ho, Faulkner's Tom Long, John Sinclair's Cresta, Ringer's Town Tavern, Ogden's St Julian, Lambert & Butlers Waverley Mixture, W. O. Biggs Exmoor Hunt, Magpie Shag, Player's Navy Cut Medium, Wills Bulwark, Player's Country Life, Churchmans A1, Player's Medium Navy Cut, Faulkner,s Special Nosegay, John Sinclair's Rubicon Spun Cut, Ogden's St Julian, Lloyd Old Holborn, Faulkner Crown Gold, W Clarke Atlantic Shag, Lambert & butlers Warlock, Anstie's Brown Beauty, Lambert & Butler British Oak, Player's Hearts Of Oak, Fryer's Original Fine cut Tobacco, Levi Garrett Plug Chewing Tobacco, Meyer Ivan Hoe Chewing Tobacco, , Paper Tubes Pritchard & Burton's x 3, Anstie's Black Beauty Shag, John Sinclair Highland Slice, Wills Golden Virginia, Linen Sacks John Weisert Harp Plug Cut, B Morris African Mixture. Tins Barneys Ready Fills, Ogden's Aintree, Lloyds Bondman, Wills Cut Golden Bar, Godfrey Phillips Sweet Cut. All 52 Items Have original contents.

▲ Fernandez Arman (French-American, 1928-2005) 'Harpe de Couleurs' (Harp of Colours), 1975screenprint in colours on three sheets of Plexiglas, printed signature l.l., inscribed 'Artcurial' and numbered '469/2500' to base, published by Artcurial, Paris31cm wide14.5cm deep68cm highProvenance: The Property of a European Collector.Condition ReportA little surface dust and dirt. Light surface scuffs and scratches to the base. For a full report please contact the department.

18ct Gold Mounted Oval Cameo Brooch  The Cameo Brooch has a scene with five figures including a lady playing what looks like a harp/lyre?, a man playing playing a musical instrument and three putti figures.  The Oval Cameo Brooch measures approx. 4.3cm max height and approx. 5.7cm max length. The Brooch is hallmarked "750" for 18ct Gold.  Total Gross Weight of the Brooch is approx. 19.4 grams.  Condition: The Brooch is in good condition commensurate with the age of the Brooch. 

A harp, carved wood and gilt plaster en relief, spiral column topped by medieval capital with figures, burr-walnut, Scot pine and Brazilian rosewood veneered wooden resonance case, French, 19th C. (2nd half), missing some strings, minor defects, signs of use, mechanism requiring maintenance, Scot pine base, marked PIERRE ERARD - 13 RUE DU MAILE PARIS, numbered 2818, Dim. - 177,5 x 89,5 x 48 cm

A William III 1700 crown, S 3474, obv. 3rd bust variety, rev. eight strings to 3rd type harp, edge filed/worn with no lettering visible. Further image added. 

Modern floor standing harp together with music stand. (2)

COCKX JAN (1891 - 1976)20th Cent. Belgian oil on canvas - signed Jan CockxCOCKX JAN (1891 - 1976) olieverfschilderij op doek : "Stilleven met harp" - 60 x 61 getekend

The Mandolin Harp, made in Saxony

A set of twelve Royal Doulton porcelain limited edition "Lady Musicians" figures modelled by Peggy Davies comprising of Hurdy-Gurdy, Virginals, Lute, Harp, Viola D'Amore, Dulcimer, French Horn, Violin, Cello, Chitarrone and Cymbals (A/F) - all with original certificates, wooden plinths and boxes.

dating: 1904 provenance: Kingdom of Italy, Lot of gilded bronze medals donated to the tenor Francesco Tamagno by the Umberto 1° kindergarten. On the obverse, they both feature an anthropomorphic figure playing the harp, one with a representation in relief. On the reverse, the dedications: 'A FRANCESCO TAMAGNO LA SOCIETA' PER GLI ASILI (NOTTURNI) IN TORINO (ASILO NOTTURNO UMBERTO 1°) RICONOSCENTE / 31 MAGGIO 1904'; l'altra 'A FRANCESCO TAMAGNO L'ASILO INFANTILE UMBERTO 1�(PIAZZA D'ARMI )RICONOSCENTE / 31 MAGGIO 1904''. Francesco Innocenzo Tamagno was born on December 28th, 1850, in Turin, Italy. He developed an interest in music and vocal practice through his involvement with an amateur association and later the oratory of Don Giovanni Bosco (1815-1888) in the nearby village of Valdocco. With a powerful tenor voice, he distinguished himself during these early experiences so much that he was invited to sing at the inauguration of the Basilica of Mary Help of Christians on June 9th, 1868. From 1870 to 1873, he studied at the Turin Musical Lyceum while gaining his first professional experiences: debuting at the Teatro Regio as a chorister in 1870 in a production of 'Les Huguenots' by Eug�ne Scribe, �mile Deschamps (1791-1871), and Giacomo Meyerbeer.After a hiatus to complete his military service in 1871, he made his debut in a minor role as Gaspero in 'La colpa del cuore' by Raffaello Berninzone (1828-1924) and Francesco Cortesi (1826-1904) on February 27th, 1872. From 1873, he was managed by theatrical agent Antonio Rosani, who secured him leading roles at the Teatro Bellini in Palermo, where he received valuable vocal technique advice from tenor Antonio Platania.On December 26th, 1877, Tamagno participated in the season opening at La Scala in Milan with 'L'africana' by Scribe and Meyerbeer, earning critical acclaim alongside suggestions to further refine his vocal technique. In May 1878, he embarked on an extensive series of tours in Latin America, significantly contributing to his eventual acclaim. At the end of that year, Tamagno began a clandestine romantic relationship, which led to the birth of his beloved daughter Margherita (1879-1942) the following year.In the early months of 1881, Francesco Tamagno secured an engagement with La Scala for the second version of Giuseppe Verdi's 'Simon Boccanegra,' which featured a revised libretto by Arrigo Boito, based on Francesco Maria Piave's original work. This engagement marked Tamagno's first direct collaboration with Verdi. After another significant collaboration for the debut of the four-act version of 'Don Carlo' in the title role at La Scala in 1884, Tamagno was cast to play the lead in Verdi's new opera, 'Otello,' with a libretto by Boito, thanks to the recommendation of publisher Giulio Ricordi (1840-1912) in 1886.Following extensive and meticulous preparation under Verdi's guidance, Tamagno became a dominant presence in La Scala's season. He performed as Radam�s in the opening of 'Aida' on December 26th, 1886, and most notably starred in the world premiere of 'Otello' on February 5th, 1887. The triumphant success of this performance indelibly linked him to the role of Otello, which he would continue to perform frequently throughout the rest of his career.In the following years, Tamagno was highly sought after and received substantial fees for his performances. His final concert took place on March 27th, 1905, at the Circolo degli Artisti in Turin. Plagued by increasingly poor health, he died in Varese on August 31st, 1905. diameter 4 - 4 cm.

A fancy harp charm 9ct 1,7 gms

A Vienna cup and saucer, the cup painted with a figure and a cherub within a shaped panel, with dark red ground and gilded decoration, marked underneath to the cup (Baukunst, saucer 12cms diameter). Also with a Berlin porcelain cup with an unusual shaped handle, painted with a figure playing a harp and motto 'Nieverlasse sie uns', and a cabinet cup painted with various masted ships and figures, signed and with initials to the base. (4). *CR Vienna, cup ok, saucer with some marks to the rim and on the back. Berlin, seems fine Signed cup, seems fine.

Charles I (1625-1649) silver Crown, Tower under the king, group II, harp mintmark (S 2755, North 2192). Obverse: armoured rider, moving left, second horseman, type 2a, smaller horse, plume on head, cross on flanks, harp mintmark above and '· CAROLVS · D: G: MAG: BRIT: FRA ET · HIB' REX ·' around. Reverse: garnished oval shield of royal arms over a cross fourchee with 'CR' above and a harp mintmark in the legend above that, '· CHRISTO ·:· AVSPICE ·:· REGNO ·:·' around. Weight: 29.62g. Diameter: 43mm. Grade: nVF - good round flan with strong legends and details, both backgrounds fields tooled, otherwise near Very Fine.

1696 or 1695 William III gold Half Guinea, elephant and castle below bust (S 3467, Bull EGC 430/431). Obverse: laureate bust, facing right with elephant and castle below and 'GVLIELMVS · III · DEI · GRA' around. Reverse: crowned cruciform shield of royal arms with early smaller harp, Lion of Nassau in centre and sceptres in the angles, 'MAG · BR · FRA · ET · HIB · REX · 16??' Around. Weight: 4.08g. Diameter: 20.8mm. Grade: aF - the latter two digits of date are worn, likely read 1696, otherwise almost Fine and rare. Comes with old catalogue clipping.

Ireland, 'Evasion' Halfpenny copper token (c1782-c1799), Oliver Cromwell (Aitkins 414). Obverse: left-facing helmeted bust with 'OLIVER CROMWELL' around. Reverse: Irish harp with 'SOUTH WALES' around. Weight: 7.33g. Diameter: 27mm. Grade: VG - Very Good.