Dear Robert, Yes, in fact my book, The Egan Irish Harps, begins with an ancient Gaelic harp unearthed in a bog in the early 1800s which was sent to Egan in Dublin, who re-strung the instrument. There were other old harps in his workshop from time to time, however this was different from 'collecting'; it was more a case of if an antique harp came to light, it was sent to the harp maker to repair or study. Egan was certainly inspired by one of these ancient harps in the crafting of his first wire-strung harp presented to the Dublin Harp Society (Armstrong). My book's epilogue discusses musical instrument collecting, particularly Egan harps in major museum collections, and how these assemblages began as 'cabinets of curiosities' in the late nineteenth century. I think the idea of collecting really developed at this time, and there is perhaps a distinction between a harp 'collection' and a harp maker acquiring instruments for different reasons during his working life. All best, Nancy

Dear Robert, American harp maker Melville Clark in Syracuse, NY had a harp collection in the early 1900s. Among the instruments were: French single-action, Rams-head pedal harp, McFall Irish harps and Egan Portable Irish Harps. Clark harps manufactured pedal harps but is known for the Clark Irish Harp based on one of the Egan harps he purchased in Ireland in 1905. J.G. Morley also owned and exhibited his antique Egan Irish harp, and based his Morley Irish harp on Egan's model. Modern examples might include David Williams in Texas who is a harp maker, but known more as a technician. In recent years he donated his historical harp collection to the University of North Texas. [See: https://harp.music.unt.edu/williams-collection ] Harp maker Carl Swanson in Boston has an Erard and a Pleyel, perhaps not a 'collection' as such, but certainly an interest in historical harps. Kind regards, Nancy