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Lot 586
Imperial German Cavalry Sword, large guard with voided centre section, leather covered grip retaining the original wire. Slightly curved single edged blade which measures 86cm in length. Stamped to the forte with Imperial Crown and II underneath (Kaiser Wilhelm II) and K B either side. Other side of the blade has Weyersburg makers mark. Staining to the blade and wear.
Lot 282
Kilkenny interest: Nolan (Wm.) & Whelan (K.)eds. Kilkenny History and Society, D. 1990. First; Bradley (John) The Kilkenny City Charter of 1609, Naas 1909; Moylan (S.) The Language of Kilkenny, D. 1996; Farrelly (P.V.) 600 Years of Theatre in Kilkenny 1366 - 1966, Kilkenny 1966. Signed Copy; Kirwin (J.)ed. Kilkenny Studies in honour of Margaret M. Phelan, Folio Kilkenny 1997, Signed by Margaret Phelan & Editor to John Bradley, with an orig. letter from Mrs. Phelan; Birch (Rev. P.) Saint Kieran's College Kilkenny, D. 1951. First, d.w.; Bradley (J.) Treasures of Kilkenny, lg. 4to Kilkenny 2003; & 3 others, 1 signed. A lot. (10)
Lot 179
Co. Wexford: Kavanagh (A.) & Murphy (R.) The Wexford Gentry, 2 vols. Enniscorthy 1994. First Edn, Signed Pres. Copy; Whelan (K.)ed. Wexford History & Society, D. 1987. First, Signed Pres. Copy; Grattan-Flood (W.H.) History of the Diocese of Ferns, 4to Waterford 1916. First Edn., map frontis, cloth; & 1 other. (5)
Lot 587
Irish Printing: Crookshank (Anne) & Knight of Glin, Irelands Painters 1600 - 1940, lg. 4to L. 2002, Signed by both Authors; also the Painters of Ireland, L. 1978, First; Laffan (Wm.)ed. Painting Ireland - Topographical Views from Glin Castle, lg. 4to Tralee 2006. Signed by The Knight; Mc Conkey (K.) A Free Spirit - Irish Art 1860 - 1960, 4to L. 1990; Butler (Patricia) 300 Years of Irish Watercolours and Drawings, lg. 4to L. 1990. All v. good. (5)
Lot 664
Heaney (Seamus) Manuscript - Celtic Art: An Introduction, Ian Finaly, Faber 7.50 Single foolscap page, a hand written critique by Heaney of the above volume. Also part of a typed critique by Heaney of another book, 2pp; and 2 postcards from Seamus Heaney to Kieran Sheeedy, one from America re documentary on John Field, Composer, and another concerning documentary about the troubled first production of O'Casey's play 'the Plough and the Stars' in 1926. Also included is a Proof Copy of Patrick Piggott's book The Life and Music of John Field, 1782 - 1837, As a lot, w.a.f.Provenance: Mr. Kieran Sheedy. In the early 1970's Seamus Heaney presented an R.T.E. radio book programme 'Imprint' which was produced by K. Sheedy. They also broadcast a few radio documentaries, together, including one on composer John Field. To the Present Vendor. Unusual lot. (1)
Lot 436
Co. Wexford interest: Whelan (K.) & Nolan (W.) Wexford History and Society, D. 1987, Signed; Toibin (Colm) Enniscorthy A History, 2010, Signed; Parle (Jim) The Mummers of Wexford, D. 2001, Signed; Dunne (Tom)ed. New Ross - Rosporte Ros Mhic Treoin, D. 2007; Oylegate Glenbrien - A Look Back in Time, Enniscorthy 2008; Reck (Padge) iWexford - A Municipal History, Wexford 1987, Signed; & 15 others, Wexford & County interest. A box. V. good lot. (1)
Lot 517
St. Patrick & The See of Armagh: R.I.A.: Devine (K.) Clavis Patricii, 2 vols. D. 1989 & 1993, d.w.; Chart (D.A.) The Register of John Swayne, Archbishop of Armagh, Belfast 1935; H.M.S.O. - Registrum Johannis May, The Register of John May, Archbishop of Armagh, Belfast 1972; Sughi (Mario Alberto)ed. The Register of Octavian de Palatio, Archbishop of Armagh, 2 vols.; Smith (B.)ed. The Register of Nicholas Fleming, Archbishop of Armagh, D. 2003; & 1 other sim. Milo Sweetman, also Book of Armagh, 4to D. (I.M.C.) 1937. Good clean lot. (9)
Lot 316
MEN IN BLACK (1997) - Agent Kay's (Tommy Lee Jones) Stunt Plasma Rifle Agent K's (Tommy Lee Jones) stunt plasma rifle from Barry Sonnenfeld's sci-fi comedy Men in Black. This rifle was made for the film’s climax as J (Will Smith) and K faced off against Edgar (Vincent D'Onofrio) at the New York State Pavilion. Made of urethane, this static pump-action rifle reflects futuristic technology and features a long barrel, three-knuckled grip, extended plasma cartridge, and is decorated with various cast dials and switches. The rifle shows minor wear due to stunt use and age, but remains in very good condition. Dimensions:102 cm x 28 cm x 13 cm (40" x 11" x 5") VAT Status - OMEGA
Lot 321
MEN IN BLACK 3 (2012) - Wushu Assassin Mask and Neck Appliance A Wushu assassin mask from Barry Sonnenfeld's sci-fi comedy sequel Men in Black 3. Agents J (Will Smith) and K (Tommy Lee Jones) encountered alien assassins when they were attacked in Mr. Wu's (Keone Young) Chinese restaurant. Created by Rick Baker’s Cinovation Studios, the mask is made of slip latex, while the neck appliance is made of silicone over spandex material. The mask resembles a vicious alien with an elongated skull, green eyes, pointed ears, and a slit running from the forehead to the nasal cavities. The interior of the mask is fitted with foam for comfort. Paired with the mask is a neck appliance, which extends down to the breast and over the shoulders. The appliance resembles loose, wrinkly blue skin, and resides on aplastic bust. Written on the interior flap of the skin is 'Rick Baker'. The set shows minor wear due to production use, but remains in very good condition. Mask dimensions: 48cm x 33 cm x 48 cm (19" x 13" x 19") VAT Status - OMEGA
Lot 322
MEN IN BLACK 3 (2012) - Spiky Bulba Alien Maquette A Spiky Bulba alien maquette from Barry Sonnenfeld's sci-fi comedy sequel Men in Black 3. Agents J (Will Smith) and K (Tommy Lee Jones) encountered the Spiky Bulba alien in Mr. Wu's (Keone Young) Chinese restaurant when investigating his kitchen. Created by Rick Baker’s Cinovation Studios, this maquette is made of resin and clay, and resembles an alien fish. The Spiky Bulba is painted in shades of orange, yellow, and blue, and includes spiky talons on its lower fins and head. The piece shows cavities on the torso and head where additional fins and antennae would attach. It is currently supported on a metal support beam attached to its original production base. The piece shows some wear due to production use, but remains in fine condition. Dimensions: 28 cm x 23cm x 48 cm (11" x 9" x 19") VAT Status - OMEGA
Lot 514
TERMINATOR - THE SARAH CONNOR CHRONICLES (TV 2008-2009) - Sarah Connor's (Lena Headey) Serrano Point Photo ID Sarah Connor’s (Lena Headey) photo ID from the Emmy®-nominated sci-fi television series Terminator: The Sarah Connor Chronicles. Connor wore her ID during the second season whilst working at the Serrano Point nuclear power plant, as she and Cameron Phillips (Summer Glau) attempted to prevent the reactivation of the plant and protect the future of the Resistance. The laminated ID features the Serrano Point logo, a barcode and a photograph of Connor. The ID displays the Connor family pseudonym "K Baum", a reference to The Wonderful Wizard of Oz author L. Frank Baum, a novel which is mentioned throughout the series. Dimensions: 9.5 cm x 5.5 cm (3 ¾" x 2 ¼"). VAT Status - Margin
Lot 7
ATLASES:1. Lewis, Samuel: Topographical Dictionary of England (Atlas volume only). With Map of England, plan of London. Plus: 43 county maps, all hand-coloured in outline and some folding. 4to., original cloth; VG;2. Johnston, A K: The Royal Atlas of Modern Geography. William Blackwood, 1874, new edn. 48 fine double-page maps coloured in outline (including 8 of The Americas.) Folio, half leather; binding loose;3. Butler, S: An Atlas of Modern Geography. Longman, Rees, nd, c.1850’s. With 23 double-page maps, hand-coloured in outline. Half leather; front cover detached; a number of maps with tears to folds (and repairs) (3)
Lot 93
CHILDREN:Including,1. J K Rowling: Harry Potter And The Prisoner Of Azkaban. Bloomsbury, 1999, deluxe edn., 2nd printing (10 9 8 7 6 5 4 3 2), published without dw. VG; 2. Richmal Crompton: seven first edns., no dws; o/w G+; 3. James Hilton: Good-bye Mr Chips, 1934, 1st edn.; 4. Roald Dahl: Wonderful Story of Henry Sugar, 1st dw. 5. Plus: Boy’s Country Book, 1st dw (11)
Lot 53
MODERN FIRSTS:1. Amis, K: The James Bond Dossier. Cape, 1965, 1st edn. dw(16s.); VG+;2. Clarke, Arthur C: The Exploration Of The Moon. Muller, 1954, 1st edn. dw(18/-). Torn with small loss;3. King, S: Different Seasons. 1982, 1st. dw(£8.95); VG;4. Simenon, George: Black Rain; The Fate of the Malous; and The Train. All 1st. edns. With dws and VG+;5. Brickhill, P: The Great Escape. Faber, 1951, 1st dw (torn with small loss);6. Isherwood, C: A Single Man. 1st dw; VG;7. Nabokov, V: Lolita. 1st (no dw); VG;8. Bradbury Ray: The Illustrated Man. 1st (no dw); VG;9. Guthrie, A B: The Big Sky. 1st dw(12/6) torn with small loss;10. Sharpe, T: Wilt. 1st dw(3.50); G+;11. Maclean, A: The Guns of Navarone. 1st dw(14s.); stain to inner margin of endpapers; o/w VG (13)
Lot 362
Andrew Grima - unusual dress ring set with two stag's teeth, in a crossover design with textured gold setting, stamped - Grima. Provenance: The vendor's father shot the stag in the early 1970s and commissioned Andrew Grima to mount the teeth into a piece of jewellery CONDITION REPORT Ring size approx K leading edge. Very good condition. Not hallmarked, stamped GRIMA. Total gross weight 16.4gms
Lot 309
Victorian diamond brooch in the form of a lyre, applied with initial K, set with old cut and rose cut diamonds, in silver and gold setting, 23mm CONDITION REPORT Very good condition. Diamonds clear and bright. No damage or repairs. Total gross weight 2.6 grams. The largest diamond estimated to weigh approx. 0.12 cts
Lot 250
A DIAMOND RING, the brilliant cut diamond four claw set within a surround of twelve brilliant cut claw set diamond highlights, all set in a raised pierced detail mount set to the bottom with eight brilliant cut diamond highlights, between pierced tapering shoulders each set with seven slightly graduating brilliant cut diamond highlights, on a plain band. Stamped 18K. Ring size K. Weight 4.6gms.
Lot 1079
ANCIENT COINS, THE COLLECTION OF A CLASSICIST (PART III), Revolt of the Heraclii (AD 608-610), Æ ½-Follis, mint of Alexandretta, [dMN ERAC]LIO CONSULII, facing busts of Heraclius and his father, both bearded and bare-headed facing, each wearing consular robes, rev large K between ANNO and XIIII, A below, 6.35g, 12h (DO 16, note; MIB 17 (Alexandria); S 724). Very fine, very rare.
Lot 991
ANCIENT COINS, BYZANTINE COINS, Heraclius and Heraclius Constantine (AD 613-641), Silver Hexagram, indistinct legend, emperor and son seated on a double throne, each wearing a chlamys and crown, and holding a globus cruciger, rev dEUS ADIUTA ROMANIS, cross potent on globus on steps, K in right field, 6.65g (MIB 140; S 798); with Silver ½-Siliqua, mints of Carthage, bust of Heraclius, rev busts of Heraclius Constantine and Martina (MIB 149; S 871). Surface discolouration, chipped, otherwise very fine. (2)
Lot 3428
WORLD COINS, India, Mediæval, Western Ganga-Hoysala Coinage (10th to 14th Century AD), Gold Pagoda, elephant, uncertain symbols or Kannada letter above, rev scroll, 3.86g (Mitch K-A 192); Indonesia, Sumatra, Acheh, Ala-al-din Ahmad Shah (1727-1735 AD), Gold Mas (Kupang), 0.59g (Leyten A26a). First with flan crack to reverse, good very fine, second extremely fine. (2)
Lot 3172
BRITISH COINS, Henry VIII, Silver Groat, second coinage (1526-1544), Laker type D, crowned bust right, square face and Roman nose, rev shield on cross (S 2337E), Halfgroat, Canterbury, Archbishop Warham, mm cross patonce (S 2343); Ireland, Henry VIII (1509-1547), Harp coinage, Silver Groat, second issue, London mint, 1540-1542, crowned harp dividing H – K, rev crowned royal shield over long cross fourchée (S 6480). First with some verdigris on reverse, fine, second very fine, last good fine. (3)
Lot 4076
BANKNOTES, Ireland, Currency Commission Irish Free State, 10-Shillings (4), 17 August 1939, serial no.54E 019214, 11 September 1940, serial no.48F 041440, war code letter “H”, 8 January 1941, serial no.69F 057257, war code letter “K”, 4 June 1941, serial no.94F 047684, war code letter “J”, Lady Lavery at left, “10/-” in each corner, rev River Blackwater mask, signed by Brennan and McElligott (B&C LTN13, LTN17). First good fine with a little graffiti on the back, the others about very fine, minor staining to the edges. (4)
Lot 3957
ORDERS, DECORATIONS AND MILITARY MEDALS, Campaign Groups and Pairs, A World War Two ‘MID’ Campaign Group of 4 awarded to Lieutenant-Colonel J K Middleton, Royal Engineers, late 63rd (6th London) Field Brigade, Royal Artillery (TA), comprising: 1939-45 Star, Italy Star, Defence and War Medals, 1939-1945; medals unnamed as issued, in original OHMS box of issue. Practically as struck. (4) MID London Gazette 23.05.1946 ‘gallant and meritorious service in the Mediterranean theatre’. Following this name through the London Gazette, it appears that J K Middleton originally was commissioned as a 2nd Lieutenant in the 63rd Field Brigade RA as of the 1st of September 1929. He was recalled from the General Reserve of officers 1 June 1937, and promoted to Captain 28 June 1939. He was transferred into the Royal Engineers as a Captain 19 October 1940, and at the close of WW2, he was mentioned in despatches, presumably for his service in Italy. Sold with original set of miniatures as above, and various copy London Gazette mentions. OHMS Box marked ‘Lt. Col. J. K. Middleton, Ryber, Dyke Rd, Hove, 4, Sussex.
Lot 3975
ORDERS, DECORATIONS AND MILITARY MEDALS, Miscellaneous, A Collection of 5 Original Austrian Medal award documents to include the award of the Ritterkreuz Allerhochstihres Franz Joseph-Ordens awarded to Dimmitri K. Fopstos, 6 December 1905; and further paperwork, invoices, passports, stamps, letters and documents. Good condition. (5)
Lot 59
Tony O'Malley HRHA (1913-2003) RED CELTIC, 1983 Gobelin style woven tapestry with artist's initials in the weave lower left 36 x 25in. (91.44 x 63½cm) Collection of George and Maura McClelland Around 1983 George McClelland approached Wexford weaver Terry Dunne to create five unique tapestries based on original artworks by Tony O'Malley from his collection. According to Dunne, these tapestries were originally intended for inclusion in the artist's Arts Council Retrospective in 1984 however this idea was never realised. Instead the artworks remained in the McClelland private collection unseen by the public until now. We are grateful to Terry Dunne for his kind assistance in cataloguing these works. Dunne continues his successful practice in County Wexford and has since produced commissioned pieces for O'Malley's wife Jane, Michael Smurfit & The K Club, Co. Kildare, Monaghan Cathedral, Dublin City University, Irish Life Beresford Place, Dublin and Green Isle Foods among others.For further reading see: www.terrytheweaver.ieTony O'Malley's work came to the attention of art lovers in Ireland comparatively late in the artist's life. He spent the 1960s painting in Cornwall, absorbing the prevailing aesthetic of abstraction to his own ends. He did exhibit, but much work remained unsold. His creative harvest from the 1970s was magnificent. Marriage to Jane Harris in 1973 led to winters in the Bahamas, where he began painting outdoors on canvas. Sales however remained sporadic. O'Malley's life changed when Northern artists, F. E. Mc William and William Scott, introduced him to Belfast dealer, gallerist and collector, George McClelland in 1979 or 80. In the few but effective years during which he promoted O'Malley's work, George himself acquired a number of fine works. Some were loaned to the Irish Museum of Modern Art and later donated. (1) Others stayed in the family until now. In Cottage, St Martins, 1972 (lot 66) a figurative work, O'Malley explores the possibilities of French modernism. In Jerpoint, 1977 (lot 68) O'Malley's palette is strong and dark and his shapes highly stylised. This dynamic works well as a response to the Abbey's carved figures eroded over time. The energy of the contours suggests the vital imaginative presence to the artist of these figures from the past.The McClelland collection included some experimental works by O'Malley. The tactile quality of the wool in the tapestries communicates a different but interesting atmosphere to the paintings. October and Black, 1983 (lot 60), woven by Terry Dunne in Wexford, is in fact a very blue work, the intensity of the royal blue recalling stained glass. It attests to O'Malley's abiding interest in the medieval.The superb Night Painter, 1981 (lot 57) is in the tradition of the tall, rectangular works on board in which the artist explores the interior/exterior. Strong, irregular shapes provide the framework for the textured treatment of the surface. Verdigris greens billow around the predominant slate grey rectangle which signifies night. Incised marks reflect the resistance of the board and allow the paint to achieve a variety of effects. Abstracted in form, a small white curtain is tentatively anchored by a red spot. Perhaps there is a suggestion of a tiny self-portrait in one of the richly patterned, rhythmic panels below.Travelling to the Bahamas by plane made canvas the easiest support to manage. A sense of lightness and loveliness characterises Morning Light II, Paradise Island, Bahamas, 1982 (the present lot, 53) a painting at once abstract and based in the real world. In this serene and luminous work, the artist risks using the softest of colours; baby blue and pinks and lemony yellows. He characteristically divides the painting with a central linear spine, creating an open book or butterfly on the wing format. Space on the left is more recessive and still than on the right, where brushstrokes on the blue suggest a flurry of bird life. A feeling of reverence and joy is expressed. Intimate and reflective, many of these works by O'Malley from the Mc Clelland collection are of museum quality.Vera RyanAugust 20161 The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 P
Lot 58
Tony O'Malley HRHA (1913-2003) THE GROVE STUDIO, 1983 Gobelin style woven tapestry with artist's initials in the weave lower left; titled on reverse 68 x 44½in. (172.72 x 113.03cm) Collection of George and Maura McClelland Around 1983 George McClelland approached Wexford weaver Terry Dunne to create five unique tapestries based on original artworks by Tony O'Malley from his collection. According to Dunne, these tapestries were originally intended for inclusion in the artist's Arts Council Retrospective in 1984 however this idea was never realised. Instead the artworks remained in the McClelland private collection unseen by the public until now. We are grateful to Terry Dunne for his kind assistance in cataloguing these works. Dunne continues his successful practice in County Wexford and has since produced commissioned pieces for O'Malley's wife Jane, Michael Smurfit & The K Club, Co. Kildare, Monaghan Cathedral, Dublin City University, Irish Life Beresford Place, Dublin and Green Isle Foods among others.For further reading see: www.terrytheweaver.ieTony O'Malley's work came to the attention of art lovers in Ireland comparatively late in the artist's life. He spent the 1960s painting in Cornwall, absorbing the prevailing aesthetic of abstraction to his own ends. He did exhibit, but much work remained unsold. His creative harvest from the 1970s was magnificent. Marriage to Jane Harris in 1973 led to winters in the Bahamas, where he began painting outdoors on canvas. Sales however remained sporadic. O'Malley's life changed when Northern artists, F. E. Mc William and William Scott, introduced him to Belfast dealer, gallerist and collector, George McClelland in 1979 or 80. In the few but effective years during which he promoted O'Malley's work, George himself acquired a number of fine works. Some were loaned to the Irish Museum of Modern Art and later donated. (1) Others stayed in the family until now. In Cottage, St Martins, 1972 (lot 66) a figurative work, O'Malley explores the possibilities of French modernism. In Jerpoint, 1977 (lot 68) O'Malley's palette is strong and dark and his shapes highly stylised. This dynamic works well as a response to the Abbey's carved figures eroded over time. The energy of the contours suggests the vital imaginative presence to the artist of these figures from the past.The McClelland collection included some experimental works by O'Malley. The tactile quality of the wool in the tapestries communicates a different but interesting atmosphere to the paintings. October and Black, 1983 (lot 60), woven by Terry Dunne in Wexford, is in fact a very blue work, the intensity of the royal blue recalling stained glass. It attests to O'Malley's abiding interest in the medieval.The superb Night Painter, 1981 (lot 57) is in the tradition of the tall, rectangular works on board in which the artist explores the interior/exterior. Strong, irregular shapes provide the framework for the textured treatment of the surface. Verdigris greens billow around the predominant slate grey rectangle which signifies night. Incised marks reflect the resistance of the board and allow the paint to achieve a variety of effects. Abstracted in form, a small white curtain is tentatively anchored by a red spot. Perhaps there is a suggestion of a tiny self-portrait in one of the richly patterned, rhythmic panels below.Travelling to the Bahamas by plane made canvas the easiest support to manage. A sense of lightness and loveliness characterises Morning Light II, Paradise Island, Bahamas, 1982 (the present lot, 53) a painting at once abstract and based in the real world. In this serene and luminous work, the artist risks using the softest of colours; baby blue and pinks and lemony yellows. He characteristically divides the painting with a central linear spine, creating an open book or butterfly on the wing format. Space on the left is more recessive and still than on the right, where brushstrokes on the blue suggest a flurry of bird life. A feeling of reverence and joy is expressed. Intimate and reflective, many of these works by O'Malley from the Mc Clelland collection are of museum quality.Vera RyanAugust 20161 The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 P
Lot 60
Tony O'Malley HRHA (1913-2003) OCTOBER AND BLACK, 1983 Gobelin style woven tapestry with artist's initials in the weave lower left; titled on reverse 57 x 35in. (144.78 x 88.90cm) Collection of George and Maura McClelland Around 1983 George McClelland approached Wexford weaver Terry Dunne to create five unique tapestries based on original artworks by Tony O'Malley from his collection. According to Dunne, these tapestries were originally intended for inclusion in the artist's Arts Council Retrospective in 1984 however this idea was never realised. Instead the artworks remained in the McClelland private collection unseen by the public until now. We are grateful to Terry Dunne for his kind assistance in cataloguing these works. Dunne continues his successful practice in County Wexford and has since produced commissioned pieces for O'Malley's wife Jane, Michael Smurfit & The K Club, Co. Kildare, Monaghan Cathedral, Dublin City University, Irish Life Beresford Place, Dublin and Green Isle Foods among others.For further reading see: www.terrytheweaver.ieTony O'Malley's work came to the attention of art lovers in Ireland comparatively late in the artist's life. He spent the 1960s painting in Cornwall, absorbing the prevailing aesthetic of abstraction to his own ends. He did exhibit, but much work remained unsold. His creative harvest from the 1970s was magnificent. Marriage to Jane Harris in 1973 led to winters in the Bahamas, where he began painting outdoors on canvas. Sales however remained sporadic. O'Malley's life changed when Northern artists, F. E. Mc William and William Scott, introduced him to Belfast dealer, gallerist and collector, George McClelland in 1979 or 80. In the few but effective years during which he promoted O'Malley's work, George himself acquired a number of fine works. Some were loaned to the Irish Museum of Modern Art and later donated. (1) Others stayed in the family until now. In Cottage, St Martins, 1972 (lot 66) a figurative work, O'Malley explores the possibilities of French modernism. In Jerpoint, 1977 (lot 68) O'Malley's palette is strong and dark and his shapes highly stylised. This dynamic works well as a response to the Abbey's carved figures eroded over time. The energy of the contours suggests the vital imaginative presence to the artist of these figures from the past.The McClelland collection included some experimental works by O'Malley. The tactile quality of the wool in the tapestries communicates a different but interesting atmosphere to the paintings. October and Black, 1983 (lot 60), woven by Terry Dunne in Wexford, is in fact a very blue work, the intensity of the royal blue recalling stained glass. It attests to O'Malley's abiding interest in the medieval.The superb Night Painter, 1981 (lot 57) is in the tradition of the tall, rectangular works on board in which the artist explores the interior/exterior. Strong, irregular shapes provide the framework for the textured treatment of the surface. Verdigris greens billow around the predominant slate grey rectangle which signifies night. Incised marks reflect the resistance of the board and allow the paint to achieve a variety of effects. Abstracted in form, a small white curtain is tentatively anchored by a red spot. Perhaps there is a suggestion of a tiny self-portrait in one of the richly patterned, rhythmic panels below.Travelling to the Bahamas by plane made canvas the easiest support to manage. A sense of lightness and loveliness characterises Morning Light II, Paradise Island, Bahamas, 1982 (the present lot, 53) a painting at once abstract and based in the real world. In this serene and luminous work, the artist risks using the softest of colours; baby blue and pinks and lemony yellows. He characteristically divides the painting with a central linear spine, creating an open book or butterfly on the wing format. Space on the left is more recessive and still than on the right, where brushstrokes on the blue suggest a flurry of bird life. A feeling of reverence and joy is expressed. Intimate and reflective, many of these works by O'Malley from the Mc Clelland collection are of museum quality.Vera RyanAugust 20161 The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 P
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