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A Pair of Chrome and Plastic Art Deco Style Table Lamps, modern, with narrow cream shades enclosing two Eddison screw fittings above a tubular support and square platform base, 89cm high

A 9ct gold box link chain looped with both ends fixed to a spring clip marked 9ct, 73cm, 24.4g, a modern silver choker necklace, with hallmarked pendant ingot, 38cm, a silver oval and circular link choker necklace, 42cm, silver weight 2.07toz, 64.5g combined, a white metal woven link loop chain, 70cm, a pair of white metal floral design ear clips, a pair of marcasite set pendant earrings, an Art Deco style base metal clip, a white metal filigree bracelet, and a brass thimble. (11)

Bruce Davidson (b.1933) Untitled, from the series ''East 100th Street'', 1967-68Gelatin silver print, printed no later than 1970, annotated in black ink in unknown hand in the margin, annotated in pencil in unknown hand with ''The Museum of Modern Art'' exhibition label affixed verso, 19 x 19cm (7 1/2 x 7 1/2in)Provenance: The Photographers' Gallery, London

Walter Frederick Osborne RHA ROI (1859-1903)Counting the Flock (c.1885/86)Oil on board, 33 x 40cm (13 x 15¾'')SignedProvenance: Given by the artist to Sarah Purser; by descent; Irish Sale, Christie’s, 19th May 2000, Lot 212 (mis-titled); Irish Sale, Christie’s, London, 15th May 2003, Lot 37 (mis-titled) where purchased by the current owner.Exhibited: Probably exhibited Dublin, Royal Hibernian Academy, 1886, No.161, £20; Walker Art Gallery, Liverpool, Autumn Exhibition 1886, No.219, £15.Literature: Thomas Bodkin, ‘Four Irish Landscape Painters’, Dublin and London 1920, Appendix XI, p.119; Jeanne Sheehy, ‘Walter Osborne’, Ballycotton, 1974 , Catalogue No.138, page 120.A shepherd stands watching over his flock of sheep, at the edge of a flat landscape which stretches into the distance, beneath a magnificent sky of rolling clouds. The man wears a tall felt hat and a white coat. His hand rests a stick on the ground, and there is another staff crooked under his left arm. A faithful black dog with a collar sits upright at his heels, watching over the flock of black-faced sheep and waiting for his master’s orders. The sheep are calm, some facing the shepherd or resting on the grass, while the majority of them are grazing. Being the son of animal painter William Osborne, the younger Osborne had a real understanding of animals and he observes the dog and sheep skilfully. The shepherd’s coat being the same off-white as the sheep, he is nearly one with his flock, creating a tranquil mood to the picture.He is standing in the left foreground, viewed from behind, inviting the viewer to look into the landscape. To the left, a shepherd’s or farm workers’ hut with wheels can be seen in the middle distance. A flight of seagulls rises into the air, suggesting some agricultural activity behind. The grassy plain stretches back to the horizon, where to the left there may be low buildings and to the right low hills. Yet, in contrast to the calm of the pastoral scene, much of the composition is dominated by the lively sky above. Like his fellow Irish landscapist, Nathaniel Hone, Osborne was fascinated by cloudscapes and changing skies. Here, clouds appear beyond the horizon and roll towards us, their upper parts white, their lower edges a pale pinkish-grey, with areas of a cheerful duck-egg blue sky above them, creating a summery mood.In the foreground, Osborne employs more subdued tones: light moss greens and browns, duns and off-whites, but a sprinkling of red flowers, perhaps poppies, provide joyous points of colour.‘Counting the Flock’ may be set in Hampshire or Berkshire, where Osborne was working c.1886. After he had studied in Dublin and Antwerp, and painted in Brittany, Osborne felt the need to live abroad further, and he spent much of the period 1884 to c.1891 in England, enjoying staying in small towns and villages with fellow painters, valuing an independence from his family and painting rural subjects and landscapes in the open air. He produced some of his finest works during this period.Osborne was fascinated by the flatness of the landscape and the rolling downs and attracted to landscapes with domestic or farm animals. He painted a number of scenes of shepherds with sheep, men ploughing with horses, a boy guarding pigs, girls feeding chickens and so on. Here, during the mid-eighties, he made several small studies on panels and larger pictures of sheep, for example the sunny ‘Sheepfold Shepherd and his Sheep’, 1887 and ‘The Return of the Flock’, 1885.The subject of shepherds with sheep was frequently depicted by 19th century artists. ‘Counting the Flock’ belongs to the noble tradition of rustic naturalism, in which artists such as Jean-Francois Millet, Charles Jacque, Julien Dupré, Anton Mauve and George Clausen painted scenes of peasant figures with their flocks of sheep, goats or herds of cattle. In some French pictures, the guardian of the sheep is a shepherdess, but in Osborne’s he is a man. As in several works by the artist’s friend Joseph M. Kavanagh, he is viewed from behind. He is standing still, watching over, or counting, his flock, looking into the landscape, or lost in thought. He is treated in an unsentimental, naturalistic manner. Indeed, with his hat and white coat, he is quite a modern figure, like a traveller about to embark upon a journey, a character in a play by Beckett - a kind of everyman.‘Counting the Flock’3 is probably the painting of the same name which Osborne exhibited twice in 1886: at the Royal Hibernian Academy in Dublin and at the Walker Art Gallery, Liverpool’s Autumn Exhibition.Julian Campbell, April 2018(I am grateful to Niamh MacNally, National Gallery of Ireland, for assistance in my research).1) Jeanne Sheehy, ‘Walter Osborne’, Ballycotton, 1974, p.28.2) ‘The Sheepfold’, c.1885, exhibited ‘Walter Osborne’, NGI 1983, No.22, catalogue by Jeanne Sheehy, illustrated p.74; and ‘A Shepherd and His Flock’, 1887, Sheehy, 1974, Catalogue No.152.3) ‘Counting the Flock’ has often been mis-titled as ‘The Return of the Flock’. However, the latter picture (Sheehy, 1974, cat.no.128), shows a boy driving sheep through a village street.

Norah McGuinness HRHA (1901-1980)Figure walking a PathOil on canvas, 36 x 51cm (14¼ x 20)Signed. Studio stamp versoDerry born artist Norah McGuinness won a three year scholarship to study at the Metropolitan School of Art in Dublin at the age of 18, where she was taught by Harry Clarke, Patrick Tuohy and Oswald Reeves before moving to London to study at the Chelsea School of Art. In 1923 she won an RDS medal and the following year exhibited for the first time at the RHA. During these years McGuinness supported herself by designing set and costumes for the Abbey and Peacock theatres and illustrated books. Under the advice of Mainie Jellett she travelled to Paris to study for a period under Andre Lhote.In 1957 she was elected an Honorary member of the RHA but resigned in 1969. A founding member of the Irish Exhibition of Living Art, she served as president from 1944 to 1971. McGuinness exhibited regularly at the Victor Waddington, Dawson and Taylor Galleries in Dublin as well as in Leicster and Mercury Galleries in London, Paris and New York. She also represented Ireland at the 1950 Venice Biennale with Nano Reid. A retrospective of her work was held at Trinity College Dublin in 1968 where she was awarded an honorary doctorate in 1973. Her work can be found in the National Gallery of Ireland, Irish Museum of Modern Art, Hugh Lane Gallery, Ulster Museum and the Crawford Gallery.

Mainie Jellett (1897-1944)Abstract CompositionOil on canvas, 91 x 71cm (35¾ x 28'')Signed and dated 1925Abstract Composition belongs to the early pioneering years of Jellett’s engagement with abstraction. In 1923 she exhibited her newly devised abstract paintings at the Society of Dublin Painters where they were greeted by much controversy. They were the first abstract paintings shown in Ireland. The interlocking forms, as in Abstract Composition, are indebted to cubism which Jellett learned of in Paris in 1920-21 with André Lhote, a distinguished painter and teacher. In 1921 she and Evie Hone worked in the studio of Albert Gleizes, whose ideas were very influential on her subsequent work. While there Gleizes was perfecting his technique of translation-rotation, a method of making abstract art using the dynamic forms of cubism. As described in Gleizes’s 1923 book, La Peinture et ses Lois the artist begins with the basic outline of the canvas and paints its surface in one colour, proceeding to select colours and shapes which echo this form. This is the static element of translation. In rotation, the cubist element, the artist rotates these basic forms to create a dynamic composition which introduces the idea of time and movement. One of the main purposes behind the aesthetic was to create an art which was enduring in its use of pictorial rules.A complex interaction between geometric and organic forms is built up in Abstract Composition. At its centre an interlocking motif made of black, gold and orange contrasts with the cold blue and purple tones that dominate the rest of the painting. This form has a torch like quality and at its apex a halo of flame-like forms. The overlapping and interlocking forms of the painting create the notion of movement that was so central to Gleizes’s ideas on abstract art. Small rhythmic elements like the black patterning in the right-hand background and the purple stripes in the centre enrich the larger elements of the painting and introduce different levels of dynamism across its surface. Unlike Jellett’s later post 1927 cubist compositions Abstract Composition does not compromise with representational form. Remaining non-objective, it is an unequivocal statement in the new language of modern art. Jellett’s intention in creating such experimental works was to make art that could be universally accessible and spiritual in its evocation of pure form and colour.Dr Róisín KennedyMay 2018

Basil Blackshaw HRHA RUA (1932-2016)HeadOil on board, 40 x 33cm (15½ x 13)Signed. Inscribed with title and dated 2003 on gallery label versoProvenance: The Peppercanister Gallery, 3 Herbert Street, Dublin 2, where purchased by present ownerBasil Blackshaw was born in Co. Antrim but brought up in Co. Down, and studied at Belfast College of Art, where he received a scholarship that enabled him to travel to Paris for further study in 1951. His upbringing brought him close one of his favoured subjects - loose yet evocative equine scenes are prominent in his oeuvre. A major retrospective of Blackshaws work was held in 1974 at the Arts Council Gallery in Belfast, and another in 1995 was organised by the Arts Council of Northern Ireland. The latter was exhibited at the Ormeau Baths, Royal Hibernian Academy, Crawford Municipal Gallery, and a selection of the works travelled to the United States for a further tour. More recently a retrospective was held at The Fenton Gallery in Cork (2005). He is a member of Aosdána, RUA and Associate Member of the RHA. His works can be found in the collections of the Irish Museum of Modern Art, Ulster Museum, University College Cork, Trinity College Dublin, University of Ulster, AIB, and Bank of Ireland.

Geraldine O’Neill ARHA (b.1971)Holy Mary and the Chewing Gum Machine (2003)Oil on canvas, 229 x 116cm (90¼ x 45¾)Signed and dated 2003Provenance: With Kevin Kavanagh Gallery, DublinGeraldine O’Neill was born in Dublin in 1971, studied at the National College of Art and Design from 1989 to 1993 and in 2008 completed her MFA. She has lectured widely - at Dublin Institute of Technology, St. Patrick’s College of Education and was an external tutor at Massachusetts Institute of Technology in 2011. Her first solo show, Cake Sale was held in 1998 at the Jo Rain Gallery in Dublin and created quite a stir, not least for the exquisite quality of her painting. Her technical brilliance and her use of lustrous colours have identified O’Neill’s work ever since. She has exhibited extensively in Ireland and abroad including the Irish Museum of Modern Art, the National Portrait Gallery London as well as in Frankfurt and at the Florence Biennale. She has won numerous awards, scholarships and bursaries and is represented in many collections both private and public including the Irish Museum of Modern Art, the European Central Bank, the Office of Public Works and the Glucksman UCC collection. She is represented in Ireland by Kevin Kavanagh Gallery.In his 2010 Dictionary of Living Irish Artists, Robert O’Byrne writes “O’Neill is clearly familiar with the canon of western art and her work makes reference most obviously to the 17th century Dutch and Flemish schools where still life flourished as an opportunity for virtuosity and the display of promiscuous abundance.”

MODERN 'ART DE FRANCE' STUDIO GLASS MUSHROOM SHAPED TABLE LAMP, satin finish in mottled yellow/orange fading to mottled green and having conical form shade on baluster base with circular foot and polished signature 'Art De France' 17 1/2" (44.5cm) high overall

Two modern silver bottle coasters, in the Art Nouveau style, casedProvenance: From North Mymms Park Estate* This lot will be sold with VAT on the hammer price

A quantity of various porcelain figures to include a Worcester tramp menu holder, two Worcester blush ivory figures, one of John Bull the other a beggar girl, a Coalport ware figure 'Beauty and the Beast', late 19th century, together with a modern reproduction of the same figure, a Derby white glazed figure of a potter, a Capodimonte figure of an art collector and a 19th century figure of a sibling by a fire, etc

A coloured exhibition poster from the Metropolitan Museum of Art exhibition impressionist to early modern painting from the USSR, 1986 - Gold Fish after Matisse, 100 x 57cm in silver coloured aluminium frame, together with a watercolour and bodycolour study of hounds, signed J Robertson, dated 92, 19 x 28cm in gilt frame and three others (5)

Large modern Art Pottery marble design pedestal bowl, indistinctly signed.(B.P. 24% incl. VAT)

TWO UNATTRIBUTED LATE TWENTIETH CENTURY UNFRAMED MODERN ART WORKS DEPICTING WOMAN'S TORSO'S AND WEARING LACE UP GARMENTS/CORSETS A FREE STANDING MOULDED PLASTIC FRONT HALF OF A FEMALE TORSO WITH RANDOM STREAKED RED PAINTED DECORATION 26" HIGH, AND A COLLECTION OF 14 UNFRAMED, UNATTRIBUTED ABSTRACT ART WORKS OF VARIOUS SIZES 17 PIECES IN TOTAL (17)

A modern full length frameless wall mirror in the Art Deco style

A selection of vintage and modern glass wares including Mdina art house and prisma

A Collection of Four Folios Containing Photographs and Prints Depicting Modern Drawing, 20th Century Sculpture, African Tribal Art and Font Types

William Percy French (1854-1920) BOG LANDSCAPE WITH TURF STACKS watercolour signed lower left 10.25 by 17.25in. (26 by 43.8cm) Presented in the original pokerwork frame with Celtic interlaced knot design. A number of French's watercolours were effectively framed by the Arts and Crafts workshop known first as the Belfast School of Poker-Work and then as the Irish Decorative Art Association, run by Eta Lowry and Mina Robinson and their team of women in Belfast. By 1900 specialising in Celtic interlaced pokerwork patterns, their frequently exhibited work showed their application of "the ancient Celtic ornament to all the articles of use and beauty which furnish the modern home". Larmour records that in 1904 almost all Percy French's paintings were exhibited with pokerwork frames decorated by the Association at its annual summer show in Portrush, Co. Antrim. (1) Some of these were intricately delineated on the timber frame with competently rhythmic, inventive knotwork, ably balanced on all four sides with modulating triple spirals to denote a change of design in the middle of each side. These small circular devices recall the triskel, one of the main emblems of Celtic triadic paganism, perhaps symbolising, appropriately, the three realms of land, sea and sky. They may be seen in somewhat fish-like forms, along with small interlaced crosses in the fine frame which French chose to set off the 1902 watercolour he painted to illustrate his immortal words, "Where Ever I go my heart turns back to the County Mayo" (sold by Whyte's in September 2005, lot 66) from the collection of Rupert Guinness, 2nd Earl of Iveagh.(2) Born at home in Cloonyquin House, near Tulsk in County Roscommon, Percy French was from early childhood introduced to the literary world through an extensive family library maintained by his father and through private home tutorage. Theirs was a close knit family and the children's literary aspirations were encouraged in the form of their own family magazine called The Tulsk Morning Howl in which Percy's contributions of poetry, stories and drawing dominated. After entering prep school in England in 1864 and subsequently the Foyle College Belfast, French entered Trinity College, Dublin, 1872 to commence, what was to take eight years to complete, a Degree in Civil Engineering. Unable to detach himself from his instinctive artistic nature, and an inherent disinterest in politics and 'men's matters', French's experiences at Trinity were recapitulated by the artist as follows: "…I think taking the banjo, lawn tennis and watercolour painting instead of chemistry, geology and the theory of strains must have retarded my progress a great deal. But I was eventually allowed to take out my C.E. They were obviously afraid that if I stayed at Trinity any longer I might apply for a pension…" Although ceaseless in his artistic pursuits, French persevered with engineering and in 1883 was appointed Chief Engineer by the Board Works, Cavan, a position he referred to as "Inspector of Drains". Several of his finest Irish landscapes were painted during this period spent in County Cavan. 1888-90 were very significant years for French: his Engineering post had come to an unexpected end and he was to return to the realm of the arts. Appointed editor of The Jarvey comic magazine French was introduced to one of its illustrators whom he quickly fell in love with and later married. His relationship with Ms Ettie Armitage Moore, also a gifted artist, had a profound impact on the artist who suffered greatly upon her untimely death just one year later. In terms of his artistic movements at this time French was listed as a 'working member' of the Dublin Sketching Club, and between 1891 and 1901 he exhibited twenty-four works at the Royal Hibernian Academy. In 1894 he married Helen May Sheldon, a school friend from Warkwickshire, and relocated to 35 Mespil Road, Dublin and later to London. These years saw the artist concentrate on his career as an entertainer, touring widely across Ireland and Britain with his performances garnering him immense success and recognition. In the early years of the 1900s French was exhibiting with the Watercolour Society of Ireland (1905) and the following year in London at the New Dudley Gallery, Piccadilly and the Modern Gallery, Bond Street. On the back of these highly celebrated shows he attracted the attention of the Royal Family who later became his loyal patrons. The Royal Library of Windsor displays a drawing of Queen Victoria's procession entering Phoenix Park. Having played sell-out shows across Ireland and Britain the career of Percy French as an entertainer reached its peak in 1910 when he toured Western Europe, Canada, U.S.A. and the West Indies. His paintings from this period were never brought back to Ireland but were sold while abroad or donated to charities. In contrast, his expeditions to Switzerland in 1913 produced numerous sketches of the Alps and surrounding countryside many of which returned to Ireland and were later exhibited. During 1914-1918 French supported the war effort through staged charity concerts and performances for the troops both in England and France. He continued these theatrical pursuits up until 1920 until his ailing health restricted his movements. Connemara at this point served as a place of convalescence both physical and emotional. Here the artist's poetic and painterly interpretations of life and landscapes fused: "Down by the Lough I shall wander once more, Where the wavelets lap lap round the stones on the shore; And the mountainy goats will be wagging their chins As they pull at the bracken among the twelve pins." The Islands of Aran, Sweet Lavender... In the Studio - "Once more I paint from memory The hills of Donegal, And as they raise - ma Gramachree! In fancy I recall...." ....And when I paint the sparkling tide That flows by Slievenaree, I would the boat again might glide Across the summer sea" Although he died at the premature age of sixty-six, his work as both an artist and popular entertainer are commemorated variously. The Percy French Society, formed in the 1980s, houses a collection of some eighty watercolours by French on permanent display in the North Down Heritage Centre. His Roscommon home, which he called, "a haunt of ancient peace" (3) , commemorates the artist with a monument where the house once was. Footnotes: 1 Paul Larmour, 'The Irish Decorative Art Association', The Arts and Crafts Movement in Ireland (Belfast 1992). 2 Extract from a note by the late Nicola Gordon Bowe for Whyte's 28 September 2009 lot 71. 3 Nulty, Oliver, Lead Kindly Light, 35 Years of Percy French at the Oriel Gallery - A Millennium Retrospective, The Oriel Gallery, Dublin, 2002, p. 45.

Nevill Johnson (1911-1999) BREAKFAST AT WILBY, 1977 acrylic on board signed and dated lower left; signed, titled and dated on reverse 17.75 by 22in. (45.1 by 55.9cm) Collection of Professor Eoin O'Brien 'Nevill Johnson (1911-1999), Fiftieth Anniversary of the Photography of Dublin', Lemon Street Gallery, Dublin, 6 October 1999; 'The Moderns,' Irish Museum of Modern Art, Dublin, 19 October 2010 to 25 March 2011 D. Hall and E. O'Brien, Nevill Johnson, Paint the Smell of Grass, Ava Gallery, 2008, p. 86 (illustrated); Eoin O'Brien, Nevill Johnson, Artist, Writer, Photographer, Liliput Press, Dublin, 2014 (cover illustration) Nevill Johnson's legacy to Ireland is a collection of paintings and photographs that examine, criticise, explore and celebrate its landscape and its cities, its culture, industries and society, in a manner that no other artist of the time achieved… On a bright morning in 1949 "a lone and rather bewildered man of thirty-eight munched his sandwich and sipped his pint in Doheny & Nesbitt's pub in Lower Baggot Street before walking to the Grand Canal where he paused at the bridge to enjoy the washed grass and fresh watered elms". Thus refreshed, Nevill Johnson set about making Dublin his home and he quickly established himself as one of the most significant artistic figures ever to grace the city. During the next five years, he bequeathed a rich legacy of painting and photography to his new city-home, as well as an autobiographical chronicle of the period in The Other Side of Six. Johnson had first arrived in Belfast in 1934 and became part of a group of young artists living and working there, such as John Luke, Colin Middleton, Daniel O'Neill, Gerard Dillon and George Campbell, all of whom began to exhibit work at the Victor Waddington Galleries in Dublin in the second part of the 1940s. In 1946 he moved to Dublin, where he continued to exhibit successfully with Waddington and at the Irish Exhibition of Living Art, but as well as his painting, Johnson photographed the people and places of the 'real' Dublin of the nineteen-fifties, revealing the privations and enduring strength of the inhabitants of the grand terraces which had become slums, alongside the beauty and liveliness of the city. Johnson's stature as a major figure in Irish art has been acknowledged by the recent acquisition of Byrne's Pub by the National Gallery of Ireland. Eoin O'Brien's friendship with Nevill Johnson began in the early 1980s and was important to both men. Their many shared interests included Samuel Beckett, who was also a friend of Professor Eoin O'Brien's, and he was able to connect the work of these two very similar men when he used some of Johnson's photographs to illustrate The Beckett Country: Samuel Beckett's Ireland. Since Johnson's death in 1999, Eoin O'Brien has been a driving force behind the production of several books devoted to the many aspects of his work (Johnson was the only artist in IMMA's exhibition The Moderns represented in four disciplines: painting, photography, film and textile design). He has placed his correspondence, papers, writings, catalogues and various ephemera in the Nevill Johnson Archive in the James Joyce Library in UCD and in addition he negotiated the donation of the Catharsis series of paintings to University College Dublin, which have facilitated the award of the Nevill Johnson Scholarship annually. Professor O'Brien's collection was built on his close friendship with Johnson and his deep understanding of his art and reflects many aspects of his work. A copy of Nevill Johnson, Paint the Smell of Grass accompanies this lot.

Tony O'Malley HRHA (1913-2003) STUDIO AND PAPMAN HEAD, 1979 gouache and pastel on card signed lower right; dated [11/79] right centre; titled lower left 20.25 by 30.50in. (51.4 by 77.5cm) Collection of George and Maura McClelland Tony 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 Ryan August 2016 1 The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 [ABSTRACTS]

JACKY TSAI (CHINESE b 1984),FLORAL SKULL(Probably the rarest of the Floral Skull series)screenprint, signed and numbered 3/5 in pencil 70cm x 70cmMounted, framed and under glass.Note: Born in China in 1984, Tsai grew up in Shanghai and after completing his BA at the China Academy of Art, moved to London to study MA Illustration at Central St Martin's, graduating in 2008.Tsai's first solo exhibition was held in London in 2010. At the age of 24 Jacky Tsai designed the floral skull for Alexander McQueen which became an icon in the fashion world and brought him fame. Following his collaboration with British designers he worked with the internationally acclaimed Chinese luxury brand Shanghai Tang and European department stores such as Harvey Nichols and Lane Crawford. In 2011 he launched his own brand fusing art and fashion.Tsai has had solo shows in The Moscow Museum of Modern Art (2018), in London with The Fine Art Society, in Hong Kong, Singapore, Los Angeles and New York.

* GWEN HARDIE, BODY oil on paper laid down on board 117cm x 88cm Framed and under glass. Note: Hardie is the youngest artist ever to be awarded a solo show at The Scottish National Gallery of Modern Art in Edinburgh, Scotland (1990).Gwen Hardie is represented in many private and public art collections in Britain, Europe and America including two major works in The Scottish National Gallery Of Modern Art. Since moving to New York in 2000, she has shown with The Lennon Weinberg Gallery, Dinter Fine Art and has been awarded Residencies at Yaddo in 2004, 2005 and 2006 in a Bogliasco Fellowship at The Liguria Study Center in Italy. She lived in London between 1990 and 2000 and had 6 solo shows with galleries such as Annely Juda Fine Art, Beaux Arts and Fischer fine Art. In 1997 her painting was awarded a prize at the John Moores biennial, Liverpool and was included in the New British Painting'' which toured America in 1986. Hardie left her native Scotland in 1984 when she was awarded a DAAD Scholarship to study with Georg Baselitz in Berlin. A documentary was broadcast on Scottish Television about her in Berlin in 1987. At Edinburgh College of art she was awarded the Richard Ford Award to study the paintings of Velasquez at the Prado Museum and received a first class honours degree in 1983 Public collections that have bought her work include The Metropolitan Museum of Art, New York, The British Council, London, The Scottish National Gallery of Modern Art, Edinburgh, and the Gulbenkian Collection, Lisbon.

A large quantity of modern art sketches in ink with painted areas, predominantly signed by the artist Y R Smith. - This lot MUST be paid for and collected, or delivery arranged, no later than close of business on Tuesday. Please do not bid if you are unable to comply

A Myott Son & Co Art Deco pottery vase, painted with primrose type flowers; a pair of Burleigh Balmoral pattern Art Deco Tureens and covers; and other decorative ceramics; and a modern metal toilet mirror (qty)

A contemporary mahogany cased Vienna style wall clock; an oak cased Smiths Art Deco style mantel clock; a modern wall clock (3)

A contempory sulpture of a reclining nude, patinated resin indistictly signed, 35cm long, together with a modern plaster Art Nouveau.

1st millennium AD and later. A restrung necklace of cornerless cube shaped lapis lazuli beads with modern clasp. 63 grams, 41cm (16"). UK art market, acquired prior to 1980. [No Reserve] Fine condition.

2nd millennium BC. A gold tubular finial with hatched bands to the body, hands placed flat on the chest, facial features and hair modelled in the round with recesses in the eye-sockets to accept bone(?) inserts, applied filigree band to the upper face, applied hatched collar to the neck; mounted on a modern copper tube. 15 grams, 86mm (3 1/2"). Property of a European gentleman; formerly acquired on the German art market before 1980. [No Reserve] Fair condition.

19th-17th century BC. A carved chrome chalcedony cylinder seal depicting Lamma goddesses with inscription in three columns, accompanied by a museum quality impression and a typed, signed scholarly note by W.G. Lambert, Professor of Assyriology at the University of Birmingham 1970-1993, which states: Design: three line cuneiform, Summerian inscription between two standing Lamma goddesses. It reads Enki, life......, who grants the seed of the land. Old Babylonian, c. 1800-1600 BC. Condition good. 8.37 grams, 24mm (1"). Property of a Mayfair, London, UK, ancient art collector; acquired in the 1970s-1980s; inventory number 89. Dr Bonewitz notes: Chrome chalcedony in the ancient world came from a small deposit in modern Turkey, then Anatolia. It disappeared from the archaeological record in the second century AD. Items made from it are mostly found in the Roman world, but important pieces of raw material made their way into Mesopotamia much earlier. This is only the second cylinder seal I have seen made from it. The other was a royal seal, so it is likely that this seal belonged to someone of significance. Fine condition. Material extremely rare.

2nd millennium BC. A restrung necklace of mainly globular and irregular bronze beads, modern clasp. 57 grams, 46cm (18"). Property of a gentleman; formerly in a private collection; acquired on the UK art market. [No Reserve] Fine condition.

10th-15th century AD. A restrung necklace comprising beads made from banded agate, crystal, blue glass with white and blue eyes and green glass with yellow roundels; beads of mixed dates, modern clasp. 75 grams, 26 cm (10"). Property of a Hampshire lady; formerly acquired on the London art market in the 1960s. [No Reserve] Fine condition.

1st century BC-2nd century AD. A restrung necklace of graduated gold-in-glass globular and tabular beads with globular spacers and tabular dangle; modern clasp. 53 grams, 56cm (22"). Property of a London gentleman; previously acquired on the UK art market in the 1990s. Very fine condition.

1st-2nd century AD. A restrung necklace and bracelet of polyhedral blue glass beads with interstitial blue glass spacer beads, modern clasp to each. 73 grams total, 20-62cm (8 - 24 1/2"). Property of a London gentleman; previously acquired on the UK art market in the 1990s. [2] Very fine condition.

1st-2nd century AD. A restrung necklace of glass beads including trailed eye designs, floral, six 'ribbon glass' spiral fusiforms, two chequerboard millefiori beads and others; modern clasp. 42 grams, 43cm (17"). Property of a London gentleman; previously acquired on the UK art market in the 1990s. Fine condition.

1st century BC-2nd century AD. A restrung necklace of mainly green and blue glass melon beads with oblate glass spacers; modern clasp. 115 grams, 54.5cm (22 1/2"). Property of a London gentleman; previously acquired on the UK art market in the 1990s. Fine condition.

A miscellaneous group of antique silver smalls, to include a Art Deco toast rack, Mappin & Webb, Sheffield, 1926; cedar lined cigarette box, stamped Harrods London & hallmarked Harrods Stores Ltd (Richard Burbridge), London, 1915; three modern wine labels; caddy shovel with M.O.P handle, two pairs of scallop shell open salts; three thimbles; two bud vases; two pairs of sugar tongs; pepper pot & napkin ring, gross weight 23.4 tr.oz. (19)

A scarce and early printing of Lieut. Colonel Robert D. Osborn's account of “Lawn Tennis and its Players” August 1881,contained in an 1881 volume of The Contemporary Review (Volume XL. July - December, 1881); sold together with a selection of lawn tennis and racquet sports related books including: Sport and the Artist (M.A. Wingfield 1988); The Art of Tennis (G.H. Schwartz - 1990); Wimbledon 100 Years of Men's Singles (M. Rowley 1986); Big Bill Tilden (F. Deford - 1976); Tennis, Squash and Badminton Bygones (G.N. Gurney 1984); Guinness Book of Badminton (P. Davis); War Games (T. McCarthy - 1989) etc., supplied with a pair of modern lawn tennis-themed brass and white metal book-ends; and a collection of various 24 mint copies of “Tennis Collector” magazines dating from No. 62 in 2008 until edition no. 89 in 2017 (34)

12 various boxed 1/43 scale modern release diecast vehicles to include Ixo, Auto Art and Ebbro, examples to include an Ixo Ford GT 40 Winner Le Mans 1969, an Auto Art Mitsubishi Pajero, Evo and various others (NM-M,BNM)

Ten various boxed modern release 1/43 scale diecast vehicles to include Auto Art, Triple 9 Kess, white box and various others, examples to include Auto Art Mad Max 2 box set, Triple 9 Jaguar F-type V8, a Highspeed model of a Shelby AC Cobra 1965, and various others

Large red art glass vase, glass bottles & modern ceramic sculpture

An Art Deco Diamond Set Cocktail Wristwatch, the Tonneau shape dial with Arabic numerals, within diamond set case, inscribed "All Platinum" on a strap; together with a heart bar brooch, claw set to the centre, with pearl highlights, a further broach, a modern hunter cased pocketwatch, etc.

QTY OF VINTAGE FISHING BOOKS including Bowlkers Art of Angling (1829), Wye Salmon and Other Fish (1949), Trout Fishing in Brooks by Garrow Green, Letters to Young Fly Fishers (1926), Modern Trout Fishing (1942), The Angler and the Thread Line (Wanless), Flying Salmon (1937), and various other books.

Two Art Deco marble bookends, a pair of Continental figures, a modern vase, a pair of cast iron doorstops, marked to back "A Galleon in the time of Elizabeth 1558-1606 RD No. 702167 England", a modern Chinese figure of a rooster, a Franz teacup and saucer, a Sunderland lustre pearlware mug "The Sailor's Farewell", two teacups and saucers and tray marked "Porcelaine Tharaud Limoges", a small quantity of miscellaneous plates and a pair of electro-plated candlesticks

Jacob Kramer (1892-1962) Mother and Child, 1922 signed, dated and inscribed in crayon 'To Sir Michael Sadler from Jacob Kramer' watercolour 40cm x 28.5cm. Sir Michael Sadler was Vice-Chancellor of the University of Leeds between 1911-1923 and he became one of the leading figures promoting modern art in Britain between the two world wars. During his tenure at Leeds, Sadler became President of the avant-garde Leeds Arts Club, which was an important meeting group for radical artists, writers and thinkers. Sadler promoted a number of young avant-garde artists, in particular Kramer, whom he gave helpful advice encouragement and financial help. Kramer stated 'I had become a student at the Slade School, a step which I might not have taken but for Sir Michael Sadler's interest in me'. Sadler was collecting Kramer from around 1912 when the artist was only 20, and Kramer was also making gifts to him as here. Of their relationship, it was said 'If Kramer was to be Leed's Giotto, was Sadler its Medici?'

WHITE LEATHER MODERN ART DECO STYLE SOFA WITH CHROME INSERTS

JIANG ZHAOHE (1904-1986)PORTRAIT OF IVAN TITKOV, 1956 ink on paper, signed 'Zhao He' with one seal of the artist 'Zhao He', dated 1956, with dedication to 'Comrade Ivan Titkov visiting Beijing', framed and glazed50x40cm (sight)Provenance:Gifted by Jiang Zhaohe to the Russian artist Ivan Titkov (1905-1993), thence by direct family descent.Note:The painting is accompanied by a note written by Ivan Titkov: 'Jiang Zhaohe - a world renowned artist and the author of many paintings about the struggle for peace, the struggle against the militarists. In 1956, while I was on a business trip with comrade M. Mochalov, I. Sevastyanov and M. Menshikov, Jiang Zhaohe painted my portrait and presented it to me in memory of our friendship. Here it is in front of you.' Token of Friendship - Jiang Zhaohe's Portrait of Ivan TitkovWith the enormous volume of economic and cultural transfers between China and the West today, it has almost become forgotten that only decades ago, China was all but completely shut to the Western world. Between the founding of the Communist Republic in 1949 and the economic reforms in the late 1970s, China's only contact with the 'West' was with countries of the Eastern Block, in particular the Soviet Union. For Chinese artists, encounter with Russian and Eastern European artists was their only window to the art of the outside world. Many friendships were forged in the 1950s, when state-organised mutual visits between Chinese and Soviet artists were especially frequent. The friendship between Ivan Titkov (1905-1993), 'People's Artist of Siberia' and Jiang Zhaohe (1904-1986), the 'Chinese Rembrandt', is a good example. When Titkov visited Beijing in 1956, heading a delegation of Novosibirsk artists, and met with Jiang, then a member of the Chinese Artists' Association, they immediately recognised how much they had in common: both came from humble circumstances and turned as young men to art as their calling; both endured the hardships of war which informed their art; both shared in their paintings a deep sympathy for the human condition. Jiang's portrait of Titkov was completed during this visit. From Jiang's favourite three-quarter angle, it shows an artist at the height of his accomplishment looking determinedly into the distance. Confident, full of entrepreneurial energy, whilst exuding a deep humanity and compassion, the subtleties of this painting show how well Jiang understood his sitter and friend. Almost fifty years later, on Titkov's 100th birthday in 2005, this portrait would occupy a central place in his retrospective in Novosibirsk, reminding people of the great socialist-humanist artist as seen through the eyes of a Chinese painter. Jiang Zhaohe is called the father of modern Chinese figure painting for introducing Western pictorial realism, notably three-dimensionality and modelled form, into traditional Chinese brushwork. His paintings, which at a distance look like pencil drawings, are actually carried out in fine washes of ink on Chinese xuan paper, a highly unforgiving medium. Apart from reforming the traditional technique, Jiang is most celebrated for his commitment to recording the suffering of the deprived and oppressed. His masterpiece 'Refugees', portraying men, women and children displaced by the Sino-Japanese war, upset the Japanese occupiers so much that it was confiscated from exhibition twice.Ivan Titkov's paintings, similar to Jiang Zhaohe's, are characterised by the love for his people and ancestral land, in his case Siberia. In a career that spanned nearly seven decades, he devoted himself to depicting the diverse ethnicities, cultures and landscapes of this vast territory. His works, suffused with poeticism and romanticism, are painted hymns to the land of Siberia. Titkov was also a committed art teacher and initiator of the creation of regional art galleries in Siberia, the reason why he was called 'the patriarch of Siberian culture' by one art critic. Interestingly, after meeting Jiang Zhaohe in Beijing, Titkov would sometimes turn to Chinese subjects, painting actors of Peking Opera and immortals from Chinese legends.The portrait of Ivan Titkov by Jiang Zhaohe is a token of their friendship. Kept in Titkov's family until now, it will be offered for sale at the present auction.

A Mdina vase; a Caithness amethyst vase; modern Art Glass; a Murano paperweight

A Denby jug; an Art Deco jug; decorative china and glass; a large modern pair of smoky glass candlesticks; treen

Sieveking (Albert Forbes). The Praise of Gardens, an epitome of the literature of the garden-art, 1899, black and white illustrations, some minor spotting, original gilt decorated green cloth, spine lightly rubbed to head and foot, 8vo, together with Ticehurst (N.F.), The Mute Swan in England, Its History and The Ancient Custom of Swan Keeping, 1st edition, Cleaver-Hume Press, 1957, black and white illustrations, some light spotting, original cloth in price clipped dust jacket, designed by Alan Breese, covers slightly rubbed to head and foot, 4to, and Smith (Kenneth G.V., editor), Insects and Other Arthropods of Medical Importance, 1st edition, 1973, 12 colour and black and white plates, approximately 200 black and white illustrations, original red cloth in dust jacket, 8vo, plus other modern natural history, archaeology and architecture reference and related, mostly original cloth in dust jackets, G/VG, 8vo/4to (5 shelves)

Lewis (John). John Nash, The Painter as Illustrator, The Pendomer Press, Surrey, 1978, numerous black and white illustrations, original brown cloth in dust jacket, covers lightly marked, large 8vo, together with Needham (Joseph), Clerks and Craftsmen in China and the West..., 1st edition, C.U.P., 1970, black and white illustrations, original red cloth in price clipped dust jacket, spine slightly faded and rubbed to head, 4to, and Martin (J.L., et al, editors), Circle, International Survey of Constructive Art, 1st edition, 1937, numerous black and white illustrations, previous owner's inscription to front endpaper, original cloth in price clipped dust jacket, covers lightly marked, 8vo, plus other modern art and photography reference and related, including Tetsuya Noda, The Works 1964-1978, many original cloth in dust jackets, some paperbacks, G/VG, 8vo/4to (3 shelves)

THREE MODERN ART DECO STYLE FIGURES

Various modern cased Royal Hampshire fine art sculpture, pewter soldier figures, 14cm high (a quantity)

A modern polished burr wood finish jewellery casket, in the Art Deco style, with shaped top, ebonised outline, three central drawers and open sides, sectional interiors (when closed 24cm high, 43cm wide, 24cm deep)

Group of assorted Moorcroft art pottery items to include: peacock feather design rectangular dish, circular bowl with white floral decoration, earlier baluster shaped vase with overall floral decoration on a graduated blue ground and a small modern yellow ground baluster vase. (4)(B.P. 24% incl. VAT) CONDITION REPORT: The earlier vase is badly cracked, other more modern pieces appear good.

A GEM-SET BLACKAMOOR BROOCH, CIRCA 1955The carved ebony head of a man, the tunic accented by round brilliant-cut diamonds and seed pearls, the turban embellished with engraved scrolling decorations and a diamond crescent motif with a pearl highlight, the reverse with further engraved decorations, mounted in silver and gold, diamond approximately 0.80ct total, French import mark, length 4.5cmThe “blackamoor” is a decorative motif depicting exoticized figures of African men typically dressed in turbans and adorned with rich jewels and gold leaf. The motif is a Venetian tradition, dating back to the Early Modern period when it emerged as an artistic response to the European encounter with the Moors - the dark-skinned Muslims from North Africa and the Middle East who came to occupy various parts of Europe. In recent history the blackamoor has been a source of controversy, however, it is considered to be a collectible within the art world. Notable collectors and wearers of blackamoor jewellery are the late Vogue editor Diana Vreeland and the former director of the Museum of African Diaspora in San Francisco, Denise Bradley Tyson. “Every time I wear one,” Tyson says, “they always provoke a response and provide me with an opportunity to educate about the history of the Moors.”

A PAIR OF LAPIS LAZULI AND GOLD EARCLIPS, BY LALAOUNIS, CIRCA 1970Each oval-shaped lapis lazuli plaque, within a gold textured and reeded frame, mounted in 22K & 18K gold, signed Lalaounis, with maker's marks, length 3.2cmGreek jeweller Ilias Lalalounis was born in Athens in 1920, the fourth generation of a family of goldsmiths and watchmakers from Delphi. After studying economics and law at the University of Athens, he joined his uncle’s jewellery firm, where, apprenticed as a goldsmith, he learned the skills that were to determine his future as a master craftsman.Prompted by a passion for history, he began studying the art of his ancestors. In the 1950’s he was inspired by Greek museum artefacts and transformed them into jewellery by reviving age-old techniques while also introducing the use of modern technology. His creative aim was to convey the spiritual and symbolic link of an object to its historical past, the art of neglected techniques, such as granulation, filigree, hand-weaving and hand-hammering. Lalaounis founded the Greek Jeweller’s Association and exhibited his first collection in 1957, the archeological collection, inspired by Classical, Hellenistic and Minoan-Mycenaean art, with modern jewels steeped in antiquity. In the 1960’s, after his uncle passed away, Ilias Lalaounis started his own company. His collections, consisting of 18 and 22 karat gold pieces, were inspired by the art of many different cultures and periods. His interest spanned from prehistoric to Minoan art, from Persian to Byzantine, from Chinese art to the art of the Tudors. In the 70’s, Lalaounis provoked a sensation with his collection ‘BLOW UP,’ draping the human body in gold jewellery. He followed this by redefining new means of expression, inspired by spheres such as nature and science, flowers and biosymbols, the random movements of animal and plant cells, orbits and constellationsIn 1986 Lalaounis became the first jeweller to be honoured with the prestigious induction to the Academie des Beaux Arts et des Lettres of Paris.

TWO BOXES OF ART RELATED BOOKS, including a set of Benezit and a box of modern ceramics etc (three boxes)

MIXED, complete (16), inc. Cope The Game Of Poker, Pattreiouex Sights Of London, Philips Sportsmen (inverted); Wills, Flower Culture In Pots, The Kings' Art Treasures (large), Safety First; Mills Propelled Weapons; Players, Films Stars, Cries of London etc., in modern album, VG to EX, 690

MIXED, complete (3), part sets & odds, inc. Players, Salmon & Gluckstein, Beatall, Churchmans, Brooke Bond, Cavanders, Ardath, Carreras, Gallaher, Phillips (silks), Lyons, Doncella, Grandee, Kellogg, Horniman, Wills Radio Celebrities series 1 & 2, Maxilin etc; inc. poultry, scenery, birds, military, flowers, wild animals, art, buildings, personalities, transport, arms, first aid, buildings, aviation, trains, cars etc., duplication, in modern album, FR to EX, 550*

John Armstrong/Clarice Cliff Bizarre ware tea plate/Chaldean or Chevaux pattern, the centre painted a prancing horse and stars within a taupe and blue lined border, 20cm diameter/together with two Foley China tea plates each painted female rider and border of animals and a cup and saucer similar, all designed by John Armstrong for the 1934 Harrods exhibition 'Modern Art for the Table' Condition Report: ARR Artist's Resale Right may apply to the sale of this lot. For further information please ask Chorley's or visit www.dacs.org.ukClarice Cliff: good overall condition, light surface scratchingFoley: one plate darker yellow than the other. darker plate has two very shallow chips to side of rim, lighter plate has two deep scratches to back, cup and saucer condition good