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Artist: Tano Festa Size: 48.5 x 68.5 cm Media: Mixed media on canvas Date: 1980 Artist Info: Tano Festa was an Italian visual artist who was born in 1938. Tano Festa has had several gallery and museum exhibitions, including at the Palazzo delle Esposizioni and at the MACRO - Museo d`Arte Contemporanea Roma. In 1980 he participates in the XL Biennial of Venice. Notes: Numerous works by the artist have been sold at auction, including 'Odalisca' sold at Christie's Milan 'Contemporary And Modern Art' in 2009 for $230,443. Date: 1980

Artist: Paul Kostabi Artwork Title: Untitled Size: 61 x 76 cm Media:Mixed media on board Artist Info: Paul Kostabi was born 1962 in Whittier, California. American artist, musician, music producer and audio engineer, Kostabi has exhibited steadily since 1983 throughout the U.S. and aboard including the UK, France and Germany. He is the brother of Mark Kostabi. Selected Public Collections: Solomon R. Guggenheim Museum of Art, New York; Paterson Museum, Paterson, New Jersey; New England for Contemporary Art, Brooklyn, Connecticut; Whitney Museum of American Art, video, Paper Tiger Sessions; Nassau County Museum of Art, New York; Museion - Museum of modern and contemporary art, Bolzano Italy.

Abstract art print in modern gold wood frame 1220mm x 910mm

Abstract art print in modern silver frame 700mm x 890mm

2 x abstract framed art prints in gold modern frame 550mm x 650mm

Bernt (Walther). The Netherlandish Painters of the Seventeenth Century, volumes 1-3, 1st edition, 1970, numerous black and white illustrations, all original blue cloth, spines slightly faded, 4to, together with Cornforth (John), English Interiors 1790-1848, The Quest for Comfort, 1st edition, 1978, numerous colour and black and white illustrations, original orange cloth in dust jacket, covers slightly rubbed to head and foot, large 8vo, plus Neverov (Oleg Yakovlevich & Alexinsky, Dmitry Pavlovich), The Hermitage, Treasures of World Art, 2 volumes, 2010, numerous colour illustrations, original brown cloth in dust jackets in slipcase, folio, plus other modern art reference, all original cloth, mostly in dust jackets, G/VG, 8vo/folio (3 shelves)

S‚e (R.R.M.). English Pastels 1750-1830, 1st edition, 1911, numerous black and white plates with tissue guards, bookplate to front pastedown, some light spotting, original gilt-decorated vellum boards, slightly marked and rubbed, large 8vo, together with Chastel (Andr‚), Nicolas Poussin, volumes 1 & 2, 1960, numerous black and white illustrations including tipped-in portrait frontispiece to volume 1, uniform original pink cloth, covers slightly faded to head, 4to, plus Dilke (Emilia), French Painters of the XVIIIth Century, 1899, 77 black and white plates, some light spotting, original gilt-decorated white cloth, boards slightly toned and marked, large 8vo, (limited edition 144/200), plus other modern pre 19th-century European and British art reference, mostly original cloth, many in dust jackets, G/VG (3 shelves)

Bellows (George W.). His Lithographs, USA, 1927, 195 black and white plates, some minor marks, original cloth, boards slightly toned and marked, large 8vo, together with Stealingworth (Slim), Tom Wesselmann, 1st edition, New York, 1980, numerous colour and black and white illustrations, original white cloth with inlaid illustration, boards slightly marked, large 4to, plus Canemaker (John), Winsor McCay, His Life and Art, 1st edition, New York, 1987, numerous colour and black and white illustrations, bookplate to front endpaper, original red cloth in dust jacket, large 4to, plus other modern American art, film and media reference and related, including a broken run of Art History, volume 1 number 1 to volume 16 number 1 (1978-93), mostly original cloth, many in dust jackets, G/VG, 8vo/4to (3 shelves & a carton)

Gem„lde (S„mtliche). Vincent Van Gogh, volumes 1 & 2, Germany, 1989, numerous colour and black and white illustrations, original blue cloth in slipcase, large 8vo, together with Arwas (Victor), Art Deco, New York, 1980, numerous colour and black and white illustrations, original black cloth in dust jacket, 4to, plus Barnes (Albert C.), Great French Paintings from the Barnes Foundation, Impressionist, Post-Impressionist, and Early Modern, 1993, numerous colour and black and white illustrations, original green cloth in dust jacket, 4to, plus other modern art reference, mostly original cloth, many in dust jackets, G/VG, 8vo/4to (3 shelves)

Sharrock (Robert). The History of the Propagation & Improvement of Vegetables, by the Concurrence of Art and Nature, 2nd edition, much enlarged, Oxford, 1672, engraved plate (trimmed with loss at foot), publisher's catalogue at end, lacking errata leaf, a little light soiling, previous owner inscription, contemporary sheep, rebacked, a little rubbed, 8vo, together with The Shepherd's Kalender: or, the Citizens & Country Man's Daily Companion, 2nd edition, with additions, [by J.S.], printed by C.A. Milbourn for Thomas Norris, circa 1715, woodcut frontispiece (reguarded, fore margin chipped), woodcut illustrations, 3 pp. publisher's catalogue at end, some browning and occasional water stains, small red ink stamp to frontispiece verso, modern calf, 12mo (ESTC N22645) Henrey 341; Wing S3011 for first work. (2)

Carter (Susannah). The Frugal Housewife, or Complete Woman Cook. Wherein the art of Dressing all sorts of Viands, with Cleanliness, Decency and Elegance, is explained in Five Hundred approved Receipts... And making of English Wines... With various Bills of Fare, printed for E. Newbery, circa 1800, 180 pp., two engraved plates, 12 woodcut illustrations of table settings, some light spotting, previous owner signatures, contemporary calf-backed boards, rubbed, 12mo, together with Cleland (Elizabeth), A New and Easy Method of Cookery... To which are added by way of Appendix, fifty-three new and useful Receipts and Directions for Carving, 2nd edition, Edinburgh, 1759, occasional light spotting and soiling, contemporary calf, rubbed, 8vo, plus The Queen's Closet Opened. Being Incomparable Secrets in Physick, Surgery, Preserving, Candying and Cookery, 11th edition, 1720, title supplied in facsimile, final two leaves misbound, bound with The Compleat Cook: Prescribing the most ready ways for dressing flesh, and fish, ordering sauces, pickles, jellies and making pastry after the newest manner, 1710, advertisement at end, some toning and water stains, modern cloth, 12mo, with two others: Cookery and Pastry. As taught and Practised by Mrs Maciver, Teacher of those Arts in Edinburgh, new edition, 1789 and The Honours of the Table, or, Rules for Behaviour During Meals... [by John Trusler], 2nd edition, 1791 (5)

Art Reference. A collection of modern art and artist reference and biography, mostly original cloth, many in dust jackets, G/VG, 8vo/4to (3 shelves)

Dodgson (Campbell). The Etchings of James McNeill Whistler, 1st edition, The Studio, 1922, 96 black and white plates with tissue guards, original gilt-decorated quarter vellum, boards and spine slightly rubbed, 4to, together with Monkhouse (Cosmo), The Manchester Whitworth Institute Historical Catalogue of the collection of Water-colour Drawings by Deceased Artists, Manchester, 1894, numerous black and white plates, original gilt-decorated green cloth, 4to, plus Pennell (Joseph), Lithography and Lithographers, 1915, Etchers and Etching, 1st edition, 1920, both with numerous illustrations, some minor toning, both original brown cloth, boards and spines slightly rubbed, large 8vo, plus other late 19th-century and modern British art reference, including Oil Paintings in Public Ownership, 14 volumes, mostly original cloth, many in dust jackets, G/VG, 8vo/folio (6 shelves)

Wright (Peter Poyntz). The Parish Church Towers of Somerset, The Construction, Craftsmanship and Chronology 1350-1550, 1st edition, 1981, numerous monochrome illustrations, original black cloth in dust jacket, covers slightly faded, 8vo, together with Mowl (Timothy), Elizabethan Jacobean Style, 1st edition, 1993, numerous colour and monochrome illustrations, original black cloth in dust jacket, 4to, and Danconan (P.L., Aeschlimann, E.), The Art of Illumination, an anthology of manuscripts from the sixth to the sixteenth century, 1st edition, 1969, numerous colour and monochrome illustrations, original blue cloth in dust jacket, covers slightly rubbed and marked, 8vo, plus other modern architectural and art reference and related, including Penguin History of Art, 10 volumes, mostly original cloth in dust jackets, G/VG. 8vo/4to (6 shelves)

Lemery (Louis). A Treatise of Foods, in General, 1st English edition, 1704, advertisement leaf at end, a few leaves trimmed at top margin shaving headlines, some spotting and toning, contemporary panelled calf, spine rubbed, 8vo, together with [King, William], The Art of Cookery, in Imitation of Horace's Art of Poetry. With some Letters to Dr. Lister, and Others: Occasion'd principally by the Title of a Book publish'd by the Doctor, being the Works of Apicius Coelius, Concerning the Soups and Sauces of the Ancients... Humbly inscrib'd to the Honourable Beef Steak Club, 2nd edition, [1712], engraved additional title (with early ownership signature at foot), engraved circular portrait, publisher's catalogue at end, light spotting, modern calf-backed boards, 8vo, with two others: Bryan Robinson's A Dissertation on the Food and Discharges of Human Bodies, 1748, and Poison Detected: Or Frightful Truths; And Alarming to the British Metropolis in a Treatise on Bread and the Abuses Practised in making that Food, 1757Bitting p.281; Cagle 821; Oxford 1704 for first work. (4)

Z”llner (Frank, et al). Michelangelo, 1475-1564, Complete Works, 2007, numerous colour and black and white illustrations, original white cloth in dust jacket, folio, together with Schtze (Sebastian), Caravaggio, The Complete Works, 2009, numerous colour illustrations, original black cloth in dust jacket, plus Spinelli (Luigi, et al), Domus, arte e stile nella casa, arte e stile nell'industria (industrial design), volumes 1-12, 1928-1999, 2008-9, numerous illustrations, all original boards in dust jackets, as new in original wrappers, large 8vo, plus other modern large-format art reference and art auction catalogues from Sotheby's and Bonhams, VG (4 cartons)

Conjuring & Magic. The personal scrap album of Major Lionel Hugh Branson, circa 1900s/1930s, comprising hundreds of ephemeral items pasted in, tipped in and loosely inserted into an album of over 50 leaves, including letters (and copy letters of his own), posters, programmes, advertising leaflets, menus, news cuttings and reviews, etc., all relating to his career as a conjuror under various stage names including 'The Major' and 'Lionel Cardac', specific items include autograph letters signed from Charles Bertram, Cunard White Star entertainment programme, ephemera relating to his run at the Palace Theatre in 1913, 6 black and white photo film stills from a film about Branson filmed by Hepworth Manufacturing Company, an Inner Magic Circle membership acceptance letter, a three of hearts playing card (loose) signed by Edward, Prince of Wales, 'Edward P', with a related typed letter signed from Maharaja Kishan Singh of Bharatpur thanking Branson for the conjuring entertainment at the state banquet in honour of the Prince of Wales that took place there in December 1921, a publisher's agreement from Routledge for Branson's book 'Indian Conjuring', a typed letter signed from Houdini on his own letterhead, New York, 13 October 1923, complimenting him on his book 'I consider it a most important item in the art of magic', and with a p.s. concerning Louis de Rougement, one page, somewhat toned, 4to, a photograph and related ephemera relating to the Cabinet of Conjuring Tricks which Branson suggested and was accepted for The Queen's Dolls' House in 1924, a typed letter signed from Harry Price, honorary director of the National Laboratory of Psychical Research, an autograph letter signed from Violet Astor, etc., contemporary half morocco with Branson's business card to upper cover (damaged), upper cover and spine detached, lower cover deficient, worn, 4to Major Lionel Hugh Branson (1879-1946) was an English officer who served with the Indian army from 1899 until 1923. He had learned magic from reading Hoffmann's 'Modern Magic' and had studied under Charles Bertram. He wrote two books under the pen name Elbiquet, and in his book 'Indian Conjuring' (1922) he devoted a whole chapter to debunking the Indian rope trick. He was also a debunker of spiritualism and wrote that it was all the result of conjuring tricks and fraudulent phenomena. (1)

Izzard (Sebastian, editor). One Hundred Masterpieces from The Collection of Dr. Walter A. Compton, Japanese Swords, Sword-Fittings and Accoutrements, 1992, numerous colour illustrations, original black cloth in dust jacket and slipcase, folio, together with Davey (Neil K. & Tripp, Susan G.), The Garrett Collection, Japanese Art, Lacquer, Inr¢, Netsuke, 1993, numerous colour illustrations, original black cloth in dust jacket, large 4to, plus Bushell (Raymond), Netsuke Familiar & Unfamiliar, New Principles for Collecting, 2nd edition, 1989, numerous colour illustrations, original black cloth in dust jacket, 4to, with other modern Japanese art reference, including Netsuke Kenyukai, Study Journal volume 2 number 1 to volume 16 number 3 (bound in 5 folders), 1982-86, Collectors' Netsuke, by Raymond Bushell, 1986, Netsuke Fantasy and Reality..., by Joe Earle, 2001, with auction catalogues from Christie's and Sotheby's, some original cloth in dust jackets, G/VG, 8vo/folio (approx. 150)

Eaton (Mary). The Cook and Housekeeper's Complete and Universal Dictionary; including a system of modern cookery in all its various branches, adapted to the use of private families, Bungay, 1822, later plain half calf, 8vo, together with Soyer (Alexis), The Modern Housewife or Menagere..., 1858, wood engraved illustrations, original green cloth gilt, recased with original spine laid down, plus Francatelli (Charles Elm‚), The Modern Cook; a practical guide to the culinary art in all its branches, 23rd edition, 1874, original cloth, rubbed and some soiling, and others on cookery, all 19th century, various (25)

Ellis (William). The Modern Husbandman: or the Practice of Farming: as it is now carried on by the most Accurate Farmers in several Counties of England, 4 volumes, 1742-44, contemporary calf gilt, contrasting morocco title labels, joints and spines slightly cracked, 8vo, together with Trowell (Samuel & Ellis, William), The Farmer's Instructor; or, the Husbandman and Gardener's useful and Necessary Companion..., 2nd edition, 1750, engraved frontispiece and one other plate, occasional spotting, modern blind panelled calf, 8vo, with Vallemont, abb‚ de (Pierre Le Lorrain), Curiosities of Nature and Art in Husbandry and Gardening..., 1707, engraved frontispiece and plates, some spotting and browning, lower hinge crudely repaired, early 19th century red half morocco, lower joint cracked and upper board detached, 8vo, and Sylvan (Agricola), The Farmer's Magazine, and Useful Family Companion..., 5 volumes, 1776-1780, numerous engraved plates, some spotting, contemporary calf, rebacked, 8vo, plus other 18th & 19th century related (22)

Armstrong (E.A.). Axel Herman Haig and his Work..., The Fine Art Society, 1905, 46 colour and black and white illustrations with tissue guards, some light offsetting and minor spotting, original gilt-decorated blue half morocco to green cloth, boards and spine slightly rubbed, large 4to, together with Brhl (Georg), Herwarth Walden und "Der Sturm", Germany, 1983, numerous colour and black and white illustrations, original illustrated cloth in slipcase, folio, plus Guerman (Mikhail), The Art of the October Revolution, Russia, 1979, numerous colour and black and white illustrations, original gilt-decorated red cloth in dust jacket, spine slightly rubbed to head and foot, 4to, plus other modern 19th and 20th-century European art reference, mostly original cloth, many in dust jackets, G/VG, 8vo/folio (3 shelves)

Appert (Nicolaus). The Art of Preserving all kinds of Animal and Vegetable Substances for Several Years, Translated from the French, 1st English edition, 1811, folding engraved plate, a few leaves loosening, scattered light spotting, lacking front blank?, original boards, some soiling and edge wear, 8vo, together with The Practice of Cookery, Pastry and Confectionary; in three parts, by Mrs . Frazer, 4th edition, Edinburgh, 1804, two engraved plates, some toning and water stains, previous owner inscription to title, contemporary sheep, rebacked, some edge wear, 8vo, plus A New System of Vegetable Cookery: With an Introduction recommending Abstinence from Animal Food and Intoxicating Liquors, 2nd edition, Salford, 1821, a few spots, contemporary half calf, joints cracking, 8vo, with others related including A New System of Domestic Cookery; formed upon Principles of Economy, by A Lady, new edition, 1809, M. Radcliffe's A Modern System of Domestic Cookery, or the Housekeeper's Guide, Manchester, 1823, The Cook's Oracle; Containing Receipts for Plain Cookery, by William Kitchiner, new edition, 1827, Elizabeth Hammond's Modern Domestic Cookery and Useful Receipt Book, 4th edition, circa 1825, and a manuscript receipt book, circa 1792-1824, written from both ends in various hands, with approximately 50 pages of recipes for jellies, marmalades, wines, creams, soups, cakes, puddings, biscuits etc, the other half containing poems and verses, a few loose, original half morocco (rubbed) (20)

Floyer (John). Medicina Gerocomia: Or, the Galenic Art of Preserving Old Men's Healths, Explain'd in Twenty Chapters... 1st edition, 1724, head of title repaired, a few small damp stains, modern calf-backed boards, 8vo, together with Stephens (William), Dolaeus, Upon the Cure of the Gout by Milk-Diet. To which is prefixed, an Essay upon Diet, 1st edition, Dublin, J.Smith and W. Bruce, 1732, advertisement and errata leaves at end, bookplate of the Earl of Roden, contemporary sprinkled calf, 8vo, plus Hoffman (Frederick), A Treatise of the Extraordinary Virtues and Effects of Asses Milk, in the cure of various diseases, Particularly the Gout, Scurvy and Nervous Disorders... Translated from the Latin, 1st English edition, 1754, 50 pp., a few spots, Wellcome Institute Library ink stamps to title verso, modern half morocco, 8vo, with 8 others including John Leake's A Dissertation on the Properties and Efficacy of the Lisbon Diet-Drink, 2nd edition, 1760 (disbound), John Theobald's Every Man his own Physician, 4th edition, 1764, William Cadogan's A Dissertation on the Gout, and all Chronic Diseases, 3rd edition, 1771, John Hill's The Old Man's Guide to Health and Longer Life, 6th edition, 1771 and Benjamin Moseley's A Treatise on Sugar, 2nd edition, 1800 (11)

A modern Art Deco style composition stone figure of a semi-clad female dancer, the naturalistic rocky base bearing signature 'G. Basse', raised on a stepped hexagonal plinth, height approx 45cm.

PAUL FEILER OIL SPRING LANDSCAPE. Paul Feiler modern art pallette knife oil on board painting titled Spring Landscape signed Feiler 57 exhibited at Washington DC Obelisk Gallery 1957 45 x 52 cm

Modern Moorcroft Art Pottery tube lined, globular vase, overall decorated with birds amongst fruit on a graduated cream to green ground. Printed and painted marks to base.

Tray of assorted items to include: black ground pottery vase; Art Deco design single handled, foliate decorated ewer; modern Oriental vases; floral biscuit barrel etc. CONDITION REPORT: Oriental famille rose porcelain vase is modern made by Brooks & Bentley in Oriental style.

ART REFERENCE. Miró in Montreal. [N.p.:] The Montreal Museum of Fine Arts, 1986. Folio (310 x 238mm.) Numerous illustrations. Original cloth, dust-jacket (slightly bumped). - And a quantity of other volumes mostly relating to modern art (a quantity).

A group of three modern floral themed art works, including a pastel of flowers in a pot, signed, a watercolour by Salliann Putman titled, Flowers In Rosies Mug, and an acrylic on board of flowers in a vase, signed, all framed (3)

* John Piper [1903-1992]- North Moreton Church, Berkshire:- signed bottom right, further signed, inscribed and dated 1941 on the backboard, oil on canvas laid on panel, 49 x 65cm. * Provenance. The Redfern Gallery Ltd., Cork Street, London * Biography. John Piper was a painter, notably of architecture and landscape, a designer of stained glass, theatre designer, author and writer. He was born in Epsom and in his early years studied law, [1921-1926], working in his father's law firm. From 1926 he went on to study Art at Richmond and Kingston, latterly at the Royal College, and it was here that he met and married his first wife Eileen Holding. He visited Paris and was absorbed by the abstract painters he met there, influencing his style from the early 1930s. But by the late 1930s he had reverted to representational work. In 1937 he worked, along with John Betjamin, on the famous Shell series of guide books. His first solo show, of collages and drawings, was at the London Gallery in 1938. At this time he was also a prolific writer, working for the New Statesman and the Athenaeum. John Piper went on to exhibit with the Leicester Galleries from 1940-1960. In 1942 he published the best-selling monograph, English Romantic Artists. His ballet designs included The Quest in 1943 and commissions for Benjamin Britten .He was an official War Artist from 1939-1945. In 1940 Piper persuaded the War Artists Commission that he should be painting the sights of bombed churches. As a recent convert to the Anglican Church and with the subject of ruined buildings being close to his heart, this agreed commission produced a number of his finest mixed media drawings. His stained glass window designs include Coventry Cathedral and Christchurch College Chapel, Oxford. He also created tapestries for Chichester Cathedral, Hereford and Llandaff. In the 1960s and 1970s Piper spent time painting extensively in Pembrokeshire. Retrospectives were held at The Museum of Modern Art, Oxford in 1979 and The Tate Gallery in 1983. Centenary shows were at Pallant House and Goldmark Gallery. John Piper lived in a derelict farmhouse at Fawley Bottom, Oxfordshire with his second wife Myfanwy Evans. In later life he suffered from dementia and died at his home in 1992.

***Adrian Paul Allinson (1890-1959) - Pastel - Portrait of Bianca McGilvray Loughnane in evening dress and wearing orange feather trimmed hat, seated at a dining table with two glasses of wine to foreground, 15.75ins x 11.75ins, signed "Allinson" and dated '23, in modern gilt moulded frame Provenance: Bianca McGilvray Loughnane was the wife of a surgeon McGilvray Loughnane, and they were friends with the artist from their medical student days, and with black and white photograph shown wearing the same hat as in the portrait Note: See David Boyd Haycock - "A Crisis of Brilliance - Five Young British Artists and The Great War" - published 2009 - the book talks a great deal about Adrian Allinson, as all five artists were at The Slade School of Art before The First World War

Mortimer Menpes (1855-1938) - Dry point etching - "Dual faces with cane" - Portrait of James Abbott McNeill Whistler, 7.5ins x 5.5ins, signed in full in pencil to lower right corner, in modern walnut frame and glazed Provenance: Exhibited Leicester Galleries, London, December 1903 - The Fine Art Society, London 1908, and Chris Beetles Limited 8 & 10 Ryder Street, St James' London, SW1Y 6QB, March-April 2014 - "The Long Nineteenth Century - Treasures and Pleasures", No. 129

Thomas Hennell (1903-1945) - Watercolour - Ships figurehead outside cottage on the seafront at Sandgate, Folkestone, Kent, 14.5ins x 10.75ins, signed in pencil and dated 1931, in modern oak moulded frame and glazed Provenance: Exhibited - Folkestone Art Trust at The University Centre Folkestone - Thomas Hennell (1903-1945) - A Kent Artist and Painter of Rural Life - April 2012 - No. 9

A pair of modern silver front photograph frames, with embossed Art Nouveau 'Classic Nouveau', and a silver front mantel clock with embossed Art Nouveau decoration

A collection of assorted boxed modern collectors' dolls to include Regency Fine Art Leonardo Collection, Danbury Mint etc

A modern table cabinet with applied Art Nouveau style copper mounts

A green Stock Book. World interest particularly France: modern French art, USA blocks and Palestine. Contains French Somalia 5F with inverted centre.

A pair of modern 9ct diamond and pearl earrings with push and post fittings, a modern silver and pearl spray brooch, stamped and a pair of Art Nouveau style silver mounted amber clip earrings (5)

Constantine XI Palaeologus AR Stavraton. Constantinople, Siege of Constantinople, AD 1453. Bust of Christ facing, wearing nimbus cruciger and holding book of Gospels, IC and B to left and right / KWNCTANTINOC ΔΕCΠΟΤΗC Ο ΠΑΛΕΟΛΟΓ in the outer circle, ΘV ΧΑΡΙΤΗ ΒΑCΙΛΕΩC ΡΟΜΕΟΝ in the inner circle, crowned bust of Constantine facing, wearing maniakon. Bendall, Revue Numismatique 1991, ‘The Coinage of Constantine XI’, pp. 135-142, pl. XV, 93 (this coin). 6.78g, 23mm, 12h. Extremely Fine for this issue. Extremely Rare and of great historical importance. Purchased from Harlan J. Berk Ltd., 16 July 1990; From the Constantine XI Hoard. The reign of Constantine XI is primarily remembered for marking the end of the so-called ‘Byzantine’ Empire, the remainder of the Eastern Roman Empire that had stood for a thousand years after the fall of Rome and the West. Constantine XI succeeded his brother John VIII Palaiologos on 6 January 1449, and had reigned for only two years when the Ottoman Sultan Murad II died, being followed by his zealous nineteen year old son Mehmed II, who was obsessed with the conquest of Constantinople. A diplomatic miscalculation on the part of Constantine was seized upon by Mehmed as a convenient casus belli, and preparations for war commenced. In the winter of 1451/2 Mehmed cut off Constantinople from the Black sea by establishing a fortification on the European side of the Bosporus which together with the existing fort on the Asian side, gave the Turks complete control of the strait. Specifically, it prevented help from Genoese colonies on the Black Sea coast from reaching Constantinople. Realising that a siege was imminent, Constantine prepared his defence of the city. Despite appealing to the Pope and Western princes for aid in the defence of the city, little help came. France and England were weakened by the Hundred Years War, Spain was in the final stages of the Reconquista, the German states were wracked by infighting and Hungary and Poland had suffered a crushing defeat at Varna which they had not recovered from. In the end only a few soldiers from the northern Italian city states arrived, together with some adventurers and independent companies. Any hope of help from Constantine’s brothers in Morea was dashed by an Ottoman invasion of the peninsula intended to pin down their troops. In the winter of 1452 Mehmed arrived with his army at Constantinople, and the siege of the city began. Greatly depopulated over the years, Constantinople was now a city of just 50,000 inhabitants, with an army of only 7,000 to defend them. Arrayed against Constantine was a force at least ten times larger than his, with state of the art artillery provided by the gunsmith Orban. After a siege of fifty-three days and determined fighting, the city fell. When all hope had faded, according to Michael Critobulus (writing later in Mehmed's service) Constantine tore off his imperial regalia so as to let nothing distinguish him from any other soldier and led his remaining men in a last charge, perishing in the fighting. Struck during the siege of Constantinople, the present coin is illustrative of how far the empire had fallen. Its fabric is crude, struck on recycled silver from church altar vessels in order to pay mercenaries, and the quality of the artistry no better than the worst barbaric imitative issues of the migration period, yet the historical importance of these extremely rare coins cannot be overstated. 29 May 1453 is often cited as end of the late Middle Ages of the post-classical era, and the start of the early-modern period. The siege coinage of Constantine XI can thus rightly considered to be the last ‘ancient’ coins.

Pair of Art Nouveau Circular Prints depicting classical maidens. Gilt gesso frames, Some damage. Diameter 20 inches. Together with an Art Nouveau oak framed picture and a modern print.

Postcards Silks a collection of 20 WW1 silk postcards in modern album, some envelope type together with approx 50 silk cigarette inserts, including Regimental Colours, Regimental badges, Ceramic Art, City/Town arms and Heraldic Series, from B.D.V. cigarettes G V/G

Album of mainly National Gallery Art cards Mint (approx 160).few other modern postcards, GB FDCs, 1998 Sainsburys England Squad medal collection in folder, etc.

T.C.D.: Bennett (Douglas) The Silver Collection, 4to D. 1988; Crookshank (Anne) Paintings and Sculpture, D. 1990; and The Modern Art Collection, 4to D. 1989. All First Edns., illus. etc. (3)

Studio- Commercial Art Annual - Modern Publicity 1931, folio L. 1931, cold. plts.; Commercial Art, Vol. I, Nos. 1 - No. 8, folio L. 1922 - 23, cold. illus.; also an oblong folio volume, a Salesman's Stockbook of Shirt Materials by George Tingey & Co., Mosely St., Manchester, boards. As a lot, w.a.f. (3)

A SIGNED MODERN ART MIXED MEDIA FAITH GASK PICTURE

Frank McKelvey RHA RUA (1895-1974) MINDING GRANNY'S HENS watercolour signed lower left 14½ x 20½in. (36.83 x 52.07cm) Collection of George and Maura McClelland 'Collectors' Choice, A selection of works by Maura and George McClelland from their personal collection and from the McCelland Collection at the Irish Museum of Modern Art', Strule Arts Centre, Omagh, 1-29 September 2007 and Highlanes Gallery, Drogheda, 5 October to 2 December 2007 (illustrated p.16 of exhibition catalogue) The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.131 (illustrated) L

Jerome Connor (1874-1943) SEAN bronze on green marble base signed at base; titled on label beneath base 7½ x 4in. (19.05 x 10.16cm) Collection of George and Maura McClelland The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.139 (illustrated) Dimensions of base: 5 by 3.5 by 3.5ins. Height inclusive of base: 12.5in."One of the most powerful sculptures [in the McClelland Collection] is a small bronze portrait by the Kerry born artist Jerome Connor. The piece, Sean, is a portrait of one of the sculptor's favourite models when he worked in America, and has all the hallmarks of Connor's practice: an alert pose and the deliberate asymmetry that makes the likeness convincing. Connor's work [had] an added appeal for the McClellands as his homeplace, Annascaul, on the Dingle peninsula in Co. Kerry, is close to Maura McClelland's family home." (2) (2) Ibid., p.124 P

Tony O'Malley HRHA (1913-2003) COMPOSITION, 1966 gouache signed and dated [July] upper left; titled lower left; signed with initials and dated again lower right 26 x 20¾in. (66.04 x 52.71cm) 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 RyanAugust 20161. The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 P

Tony O'Malley HRHA (1913-2003) THE STILL, ENNISCORTHY, COUNTY WEXFORD, 1977 gouache and pastel on paper inscribed [The Still, Enniscorthy, a memory], dated [9/1977] and initialled centre right; titled, dated and initialled along lower edge 20½ x 10¼in. (52.07 x 26.04cm) 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 RyanAugust 20161. The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 P

Markey Robinson (1918-1999) COUPLE bronze; (no. 3 from an edition of 4) signed and numbered at base 9 x 6 x 3in. (22.86 x 15.24 x 7. Collection of George and Maura McClelland The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.139 (illustrated) This work - also known as 'Man and Woman' - was also created in terracotta. P

Tony O'Malley HRHA (1913-2003) NASSAU RED, 1980 gouache, pastel and watercolour on card initialled lower right; dated [3/80] lower left; signed, dated and titled upper right 20¼ x 30½in. (51.44 x 77.47cm) 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 RyanAugust 20161. The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 L

Tony O'Malley HRHA (1913-2003) SAMHAIN 1977 gouache with collage on card signed with initials and dated [31/10/1977] upper right; titled upper left; signed with initials and dated lower centre 20½ x 10¼in. (52.07 x 26.04cm) 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 RyanAugust 20161. The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 P

Harry Kernoff RHA (1900-1974) THE METRO, PARIS, 1931 oil on board signed lower right; signed, titled, dated and with artist's address [13 Stamer Street Dublin] on reverse; also with Apollo Gallery label on reverse 24 x 29½in. (60.96 x 74.93cm) Adam's, 28 May 2003, lot 52;Private collection Filled with bright vibrant colour, The Metro, Paris, evokes a leisurely sunny day spent in the French capital. In the foreground, two figures sip green and red liqueurs, while the face of a man in straw boater is concealed. Overhead, the fringe of the café's awning hangs down, with the word 'cognac' clearly legible. Beyond the café, tram tracks and overhead wires criss-cross the composition: in the distance a man alights from the Line 5, and a larger, red metro moves across the metal aerial track. To the right of the composition, an Art Nouveau-style entrance can be seen, with the name Jean Jaurès visible in red lettering. Elsewhere, the composition is populated with characters typical of Kernoff's urban scenes, such as the woman walking purposefully with a fresh baguette under her arm, or the poodle, complete with an elaborate red bow. Kernoff had first visited Paris in 1923, using part of his £50 scholarship from the Taylor Bequest Awards to fund a trip abroad. However, it seems likely that he visited the city again in 1931: a pencil sketch in the National Gallery of Ireland is signed and dated July 1931, and in 1932, he exhibited six Parisian watercolours at The Gallery, 7 Stephen's Green. This collection included Canal, Jean-Jaurès, Paris, 1931 (Whyte's, 28 November 2011). (1) 1931 was an auspicious year for the artist: a large painting, Jupiter and the Muses, was accepted to the Royal Academy, London, and received press coverage in Ireland and Paris. (2) In March of the same year, the artist's first solo exhibition in London had taken place at the Gieves Gallery, Old Bond Street. At the 1932 Dublin exhibition, and at a further London show in 1938, Kernoff exhibited a work titled The Metro, Jean Jaurès, however the low catalogue prices suggest that these were smaller watercolour paintings. (3) A work titled Metro, Paris 1931 was also exhibited at the Harry Kernoff Memorial Exhibition at Municipal Gallery (now the Dublin City Gallery the Hugh Lane) in 1976-77, listed as a watercolour measuring 11.4 by 16 inches. (4) It was not unusual for the artist to complete multiple versions of the same composition, in different media, and so it is possible that a watercolour version of this painting is extant. In 1957, Kernoff exhibited a work of the same title priced at £65, suggesting a larger painting in oils - such as the present work. The style and execution of The Metro, Paris is redolent of other works from the 1930s - particularly the economical use of paint - and is a characteristic example of his work. Dr Kathryn MilliganESB Fellow ESB Centre for the Study of Irish ArtNational Gallery of IrelandAugust 20161. Harry Kernoff, Exhibition of Pictures, The Gallery, 7 Stephen's Green, 2 - 14 May, 1932. 2. Articles were published in several French art magazines, see Harry Kernoff Papers, National Library of Ireland, Ms. 20, 928. 3. See footnote 1 above, and Harry Kernoff, RHA, The White Gallery, London, 28 April - 12 May 1938. 4. The Harry Kernoff Memorial Exhibition, the Hugh Lane Municipal Gallery of Modern Art, 14 December 1976 - 30 January 1977. L

Tony O'Malley HRHA (1913-2003) ABSTRACT, 1980 gouache over watercolour and pencil signed with initials and dated [7/80] lower left 9¾ x 13¾in. (24.77 x 34.93cm) 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 RyanAugust 20161. The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 L

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

Colin Middleton MBE RHA (1910-1983) CROSS BOA ISLAND, COUNTY FERMANAGH oil on balsam wood signed with monogram lower right; inscribed with title, artist's name and date on Irish Museum of Modern Art exhibition label on reverse 3 x 3in. (7.62 x 7.62cm) Collection of George and Maura McClelland 'Selected works from the McClelland collection', Irish Museum of Modern Art, 20 September 2000 to January 2001 Boa Island is located near the north shore of Lower Lough Erne in County Fermanagh. L

Frederick Edward McWilliam RA HRUA (1909-1992) STUDIES FOR WOMEN OF BELFAST SERIES (SET OF FIVE) 1973 ink and watercolour; (5); (two of three framed uniformly) each signed and dated lower right 11 x 15½in. (27.94 x 39.37cm) Collection of George and Maura McClelland The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.114 (similiar studies from this series) Dimensions of framed examples given.Sizes of other works: 11.75 by 16.5in, 8.25 by 11in. and 7.75 by 11in. L

Tony O'Malley HRHA (1913-2003) PINK NASSAU, 1977 oil on canvas signed with initials lower right; signed again, titled and dated [11/1977] on reverse 14¼ x 18¼in. (36.20 x 46.36cm) 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 RyanAugust 20161. The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 P

Frank McKelvey RHA RUA (1895-1974) GYPSIES ON THE MOVE oil on canvas signed lower left; titled on reverse 19½ x 26½in. (49.53 x 67.31cm) Collection of George and Maura McClelland The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.130 as Tinkers Moving (full page illustration) L

Dame Lucie Rie (1902-1995) PORCELAIN BOTTLE, c.1960 porcelain coated with manganese impressed with artist's initials at base 10 x 5in. (25.40 x 12.70cm) Collection of George and Maura McClelland In the The Hunter Gatherer publication Henry Pim, lecturer in ceramics at Dublin's NCAD, wrote on the McClelland Ceramics and Glass collection and describes the present work thus:"One of my favourites in the collection is a beautiful ceramic bowl by Lucie Rie. Thrown on the potters' wheel, it is decorated with a pale yellow glaze and has a glossy bronze-coloured rim. Rie was something of a glaze wizard and developed wonderful surface treatments for her ceramics at a time when many potters took the view that pots should be brown. Arriving in London as a refugee from Austria at the start of the Second World War, Rie set up her studio there. She brought with her, a feeling for Modernism which made her work stand out in contrast to that of her English counterparts." (1) Rie studied pottery from 1922 under Michael Powolny at the Vienna Kunstgewerbeschule school of arts and crafts. Three years later she set up her first studio in Vienna in 1925 and exhibited the same year at the Paris International Exhibition. She won a silver medal at the Paris International Exhibition (the exhibition for which Pablo Picasso painted Guernica) in 1937. In 1938, she fled Austria and emigrated to England separated from her husband Hans Rie around this time. During the war and in subsequent years, she eked out a living making ceramic buttons and jewellery some of which are displayed at London's Victoria and Albert Museum along with the reconstruction of her entire 18 Albion Mews studio where she was based for 50 years. Rie taught at Camberwell College of Arts from 1960 until 1972. She ceased making pottery in 1990 after suffering a series of strokes and died in London aged 93. Her pottery is exhibited globally including the Museum of Modern Art in New York, the York Art Gallery in the UK, and Paisley Museum in Scotland. (1) Henry Pim in The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.144 P