Two Commemorative Silver Medals, both struck by Pinches & comprising: (1) 'Investiture of Charles, Prince of Wales', Caernarfon, 1st July 1969; obv. INVESTITURE OF CHARLES, PRINCE OF WALES K.G. around bust of Charles facing right, rev. Welsh legend around Caernarfon Castle, Welsh dragon below, all in high relief; diameter 57mm (2¼'') , 108g (3.47 troy oz.) Britannia silver (.958 silver), edge hallmarked, limited issue of 1500 (this medal edge-stamped No. 582,), with certificate of authenticity, in case of issue, matte finish as struck, together with (2) Duke of Windsor sterling silver proof commemorative medal by C.A. Holman, obv. 'Edward Duke of Windsor' around bust facing left, 1894-1972 below, rev. large crown in centre of a Tudor rose; diameter 38mm, 27g, no certificate, in case of issue, some very light peripheral toning o/wise BU
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A bronzed composition bust of Edward Johnson, inscribed 'Roly Harkness Hamilton?', on a stained wood plinth, 55cm high overall Provenance: From the Private Collection of Sir David and Lady Scholey Edward Patrick Johnson, CBE (22 August 1878 - 20 April 1959) was a Canadian operatic tenor. After studying singing in Italy, where he performed professionally for eight years under the stage name Edoardo Di Giovanni, he joined the Chicago Opera Company and the Metropolitan Opera, becoming one of its most highly acclaimed singers. He then served as the Metropolitan's general manager (1935-50), expanding the company's repertoire and introducing many of opera's most spectacular personalities. Johnson was recognised as one of the world's top operatic tenors.
Hugh Douglas Hamilton (Irish c.1740-1808) Portrait of William Tighe MP (1738-1782), of Rosanna and Woodstock, bust length, wearing a brown coat Pastel, oval 23.7 x 18.9cm; 9¼ x 7½in Provenance: Possibly Charles R. Hamilton, Hamwood, Dunboyne Literature: Possibly W.G. Strickland, 'Hugh Douglas Hamilton, portrait-painter', in Walpole Society, vol. II, 1912-13, p. 108; Neil Jeffares, "Hugh Douglas Hamilton", Dictionary of pastellists before 1800, online edition, no. J.375.19241 William Tighe was a cousin of the Anglo-Irish poet Mary Tighe (1772-1810) as well as the famous Ladies of Llangollen.
English School Late 17th Century Portrait of a gentleman, bust-length, wearing a wig and red cloak; Portrait of a lady, wearing a pink dress and red shawl A pair, both pastel Each 26.3 x 19cm; 10¼ x 7½in (2) Provenance: From the collection of Edward Croft-Murray (1907-1980) Literature: Neil Jeffares, "English, Irish and Scottish Schools", Dictionary of pastellists before 1800, online edition, nos. J.85.230232 & J.85.2302323 These works are comparable to a pair traditionally attributed to Edward Gibson at Syon House, possibly depicting the Duke and Duchess of Somerset (op. cit. nos. J.347.108 and J.347.109).
William Faithorne (1616-1691) Portrait of a young man, bust-length, in a painted oval Pastel 23.9 x 19.8cm; 9½ x 7¾in Provenance: J. F. Keane; Sotheby's, 3 June 1947, lot 15; From the collection of Edward Croft-Murray (1907-1980) Literature: John Woodward, Tudor and Stuart Drawings (Faber and Faber, 1951), p.48, pl.25; Neil Jeffares, "William Faithorne", Dictionary of pastellists before 1800, online edition, accessed 24/06/2021, no.J.306.121 Exhibited: London, Royal Academy, British Portraits, 1956, no.570
George Vertue (1684-1756) Portrait of Jeremiah Clarke (c.1674-1707), bust-length, wearing a wig and cloak Inscribed Jeremy Clark Musick Master (lower centre) Pencil 14.2 x 10.2cm; 5½ x 4in Provenance: From the collection of Edward Croft-Murray (1907-1980) Literature: Thomas F. Taylor, Thematic Catalog of the works of Jeremiah Clarke (Detroit, Studies in Music Bibliography, 1977) (illustrated) Jeremiah Clarke was an English baroque composer and organist of the generation after Henry Purcell (1659-1695). He is best known for the 'Prince of Denmark's March' . He was the organist at St Paul's Cathedral in the churchyard of which he shot himself due to ''a violent and hopeless passion for a lady of a rank superior to his own''. Very few portraits of him are known and according to the National Portrait Gallery in 1982 this was then the only known portrait .
Follower of Jean-Étienne Liotard Study of a gentleman, bust-length, in profile Indistinctly inscribed (upper right) Red and white chalk on blue paper 18.2 x 15.2cm; 7¼ x 59¾in Provenance: From the collection of Edward Croft-Murray (1907-1980) According to a label written by Edward Croft-Murray, the inscription reads 'flauti agé de 29/danseur comique/au theatre de/Leur M.im./desi a Vienna/faite à Veidleingue (?)/sur la Coline'.
Circle of Frans Floris the Elder Portrait of a gentleman, bust-length, aged 53 Dated and inscribed ÆTATIS/SVA 53/1554 (centre right) Oil on panel 26.8 x 18.7cm; 10½ x 7¼in Provenance: Rudolf Peltzer, Cologne; Frederik Muller, Amsterdam, 26-27 May 1914, lot 25 (as Frans Floris the Elder); Where purchased by Oscar Nottebohm (1865-1935); And by descent; Paleis voor Schone Kunsten, Brussels, La Succession de feu M. Oscar Nottebohm, 17 December 1957, lot 44 (as Willem Key); Christie's, London, 1 February 1985, lot 107 (as Circle of Willem Key), where purchased by the present English private collector Exhibited: Antwerp, Antwerpsche Propagandaweken, August - September 1935
Circle of Pieter Codde Portrait of a gentleman, aged 44, bust-length, in a pleated ruff; Portrait of a lady, aged 43, bust-length, in a mill-stone ruff and lace cap A pair, the former inscribed and dated ÆTATIS 44./A 1631. (centre right); the latter inscribed and dated ÆTATIS 43./A* 1631. (upper right) Both oil on panel, oval Each 21.9 x 18.2cm; 8½ x 7¼in (2) Provenance: Samuel Cartwright (1815-1891), 32 Old Burlington Street, London; His posthumous sale, Christie, Manson and Woods, London, 26 February 1892, lot 105; Where purchased by Thos. Agnew & Sons, no. 6263; Where purchased by Sir William Agnew, 1st Bt. (1825-1910), 31 May 1893; By descent to Charles Morland Agnew (1855-1931), Durrants, Herts, where hung by the fireplace in the hall (his hand-written label to verso of 'Portrait of a lady', with attribution to Thomas de Keyser); By decent and gifted by his children to the previous owner, 21 July 1932; And by descent
Circle of Otto van Veen Portrait of a cleric, bust-length Oil on copper, oval, the reverse with the stamp of the coppersmith Peeter Staas, dated 1608, and with the hand of Antwerp 45.6 x 34.7cm; 18 x 13¾in Provenance: Christie's, London, Old Master Pictures, 7 July 1995, lot 221, where purchased by the present private collector
Follower of Thomas Gainsborough Portrait of a lady, bust-length, wearing a blue gown in a feigned oval, possibly a family member of the Earl of Egremont Oil on canvas 74.9 x 63.5cm; 29½ x 25in Provenance: By repute in the collection of George Wyndham, 4th Earl of Egremont (1786-1845); Agnew's, London; Mr Glover, The Horns, Gutter Lane, Cheapside, by 1888; George Harris, 192 East Surrey Grove, Peckham; By whom sold, Messers Foster's, London, 10 July 1907, by Mr Kosmann, London (51gns); From whom acquired by Seymour Bathurst, 7th Earl Bathurst (1864-1943), 11 July 1907; By descent in the collection of the Earls of Bathurst until purchased by the present owner Literature: S. Bathurst, 7th Earl Bathurst, Catalogue of the Bathurst Collection of Pictures (London, 1908), pp. 236-237, illustrated (as 'J. Hoppner')
Attributed to Sir Thomas Lawrence PRA, FRS (1769-1830) Portrait of Prince Hoare (1755-1834), bust-length, in a black coat and white stock Oil on canvas 53.5 x 43.6cm; 21 x 17in Provenance: Kelvingrove House, Glasgow; Scottish Private Collection; English Private Collection Prince Hoare was a celebrated artist and playwright and son of the artist William Hoare of Bath (c.1707-1792). Prince Hoare had been a friend of Lawrence's for around forty years and Sir Thomas is known to have referred to him affectionately as 'My old Bath friend'. Another, less finished version of this sketch is recorded (see Kenneth Garlick, Sir Thomas Lawrence: A Complete Catalogue of the Oil Paintings, Oxford, 1989, no. 411), and was sold at Sotheby's, 4th December 2014, lot 218 (£23,750).
Seán Keating (Irish 1889-1977) after Sir William Orpen KBE, RA, RHA (Irish 1878-1931) Portrait of James Hugh Smith-Barry (1816-1856), bust-length, wearing a black coat and blue waistcoat. Oil on canvas 61.1 x 46cm; 24 x 18in Together with a collection of letters from Sir William Orpen to Lord Barrymore relating to the work. Provenance: Commissioned in 1916 from Seán Keating via Sir William Orpen, by Arthur Hugh Smith-Barry, 1st Baron Barrymore (1843-1925); And by descent According to the enclosed letters, in 1904 Lord Barrymore commissioned Sir William Orpen to paint a posthumous portrait of his father, based on an 1854 pastel sketch by James Rannie Swinton, which was hung at Fota House. Orpen discusses the difficulty of painting from a drawing, as well as advising Lord Barrymore how best to light the work. In 1916, Lord Barrymore evidently wanted a second version to hang in his Cheshire home, Marbury Hall. Apparently Orpen was not able to accept the commission but he arranged for his former pupil Seán Keating to undertake the work.
Collection of carved hardwood busts, to include a large hardwood bust of a lady with elaborate headdress, 31cm high, African hardwood busts, African ironwood busts, bust of a Chinese Communist official, wall plaques in the form of busts, and others, together with pottery wall plaque of a lady (qty)
A pair of yellow, white and rose 9ct. gold earrings, 3.2grms gross; a gold-cased Rotary cocktail watch; another gold-cased cocktail watch; a 9ct. yellow gold bracelet with coral beads, 2.9grms gross; a carved shell cameo of a female bust, in 9ct. yellow gold brooch mount; and a tortoiseshell pique pendant.
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