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Frederick Edward McWilliam RA HRUA (1909-1992) THE JUDO PLAYERS bronze; (no. 1 from an edition of 5) signed with initials and numbered at base 22 x 16 x 9in. (55.88 x 40.64 x Bonham's, 16 July 1992, lot 180;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.116 (full page illustration) P

Louis le Brocquy HRHA (1916-2012) SEASIDE FAIRGROUND, BRAY HEAD, 1949 watercolour on card signed and dated lower left; with note in the artist's hand on Gimpel Fils paper on reverse 6½ x 6in. (16.51 x 15.24cm) Gimpel Fils Gallery, London;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. 90 as Gypsy Children at Play, 1949 Note verso reads: 'Seaside Fairground' [16.8 x 15.2cm] This is a sketch of a fair at Bray Head made in 1949 from which I painted an oil (about 70 x 50cm) of the same subject now owned by my wife Anne Madden.Louis le Brocquy, London25 / 4 / 1983 P

Tony O'Malley HRHA (1913-2003) JERPOINT [ABBEY] COUNTY KILKENNY, 1977 gouache and pastel on paper initialled lower left, titled lower centre and dated [7/77] lower right 10¼ x 20½in. (26.04 x 52.07cm) 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) MORNING LIGHT, PARADISE ISLAND, BAHAMAS, 1980 acrylic on canvas signed with initials lower left and dated lower right; signed in English and Irish, titled, dated [1/1980] and numbered [246 & R267] on reverse 48 x 36in. (121.92 x 91.44cm) 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

Louis le Brocquy HRHA (1916-2012) TRAVELLERS, 1948 Aubusson tapestry, Atelier Tabard Frères et Soeurs, France; (from an edition of 9) signed in the weave lower right 70¼ x 39¼in. (178.44 x 99.70cm) 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.88 (full page illustration) In the years 1945-50, Louis le Brocquy was particularly drawn to the subject of Travellers, producing a substantial range of artworks - paintings, sketches and tapestries - exploring various aspects of the theme. As an artist, le Brocquy felt an affinity with the 'outsider' status of travellers, empathising with their exclusion from settled society, and admiring what he saw as their closeness to nature and lack of inhibition as well as their peripatetic, independent lifestyle. He was fascinated too by their rituals, and the symbolism like a secret language, conveyed through marks and arrangements of sticks. Le Brocquy had a special regard for strong female figures, and often spoke of how his mother Sybil set an important example for him, not least by bringing him as a child to witness the poverty of parts of the city. (1) Le Brocquy's admiration for maternal figures extended also to the women of the Traveller community, addressed in a number of his artworks, including the iconic painting Travelling Woman with Newspaper (1947-8), and the present tapestry Travellers (1948), which is understood to be the first of the tapestry series. (2) The artist explained that when he was based at Tullamore to carry out a private commission, he took the opportunity to observe and to sketch the travellers encamped nearby and noted in particular the role of women within the community. (3) In his tapestry designs of the 1940s and 50s, carried out by Atelier Tabard Frères et Souers at Aubusson, le Brocquy drew on his knowledge of classical mythology, and several examples involve the symbolism of the sun and the moon. Invoked in the writings of various philosophers who influenced Modernist thinking, the sun or Apollo, was associated with reason and logic, while the moon, typically personified by the huntress goddess Diana, could signify earthy nature and human emotion. As with many Modernist artists of the time, le Brocquy was interested in oppositions. In the Travellers tapestry, the crescent moon appears in the upper left of the image, and is reflected in the curls of the woman's hair and also in the patterning on her chemise. The woman is flanked on one side by the faun-like figure of a male, who clasps her arm, and on the other by a naked child clutched to her hip. This composition indicates something of the woman's prescribed role in the family at that time. She is presented as confined but also pivotal, providing the focal point of the image. Le Brocquy was aware of contemporary developments in art, and while the influence of Picasso and of Lurçat have been detected in the Travellers tapestry in terms of both aesthetic and design, this work is arguably as significant for demonstrating le Brocquy's interest in contemporary allegory, here relating Modernist philosophy and classical mythological symbolism to the rituals and way of life he observed as a local phenomenon in Ireland at the time.Dr. Yvonne ScottAugust 20161. Author in conversation with Louis le Brocquy, various dates.2. Dorothy Walker, 'Le Brocquy's Tapestries' in Louis le Brocquy, Aubusson Tapestries, London (2001), unpaginated.3. Yvonne Scott, 'Louis le Brocquy, Allegory and Legend' in Louis le Brocquy Allegory and Legend, Limerick (2006), pp.11-25. P

William John Leech RHA ROI (1881-1968) BOWL OF FRUIT c.1944 oil on canvas signed lower left; titled on Dawson Gallery label on reverse; also with ROSC [1980] exhibition label on reverse 20 x 22in. (50.80 x 55.88cm) Dawson Gallery, Dublin;Collection of George and Maura McClelland The Smith Gallery (aka the Dawson Gallery), Dublin, June, 1945;'Irish Art, 1943 - 1973' in association with Rosc Teoranta, Crawford Municipal Art Gallery, Cork, 24 August to 7 November, 1980, later to the Ulster Museum, Belfast, January to February, 1981, catalogue no. 69 The Hunter Gatherer - the Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p. 38 (illustrated) Leech's Steele's Street studio was bombed twice during the Blitz of London in WWII but 20, Abbey Road, which May Botterell, Leech's subsequent second wife, had rented since 1938, had escaped with little damage. This fifth floor flat became Leech's home and studio until his Steele's Studio was repaired and until the couple moved to West Clandon, Surrey in 1958. Unable to paint in Regent's Park or down at the fish markets in Billingsgate, which reminded Leech of the earlier subject matter he enjoyed painting in the fishing village of Concarneau, Brittany. Indeed travel to France was now impossible so Leech's subject matter focused more on still-lifes, with views out of the window, flowers on a windowsill or a 'Bowl of Fruit'. The sunlight streams in the open window, highlighting the yellow of the bananas and some of the sides of the peaches, echoing the circular shape of the bowl. Leech's dramatic, characteristic, diagonal composition is evident in the framework of the Crittal windows and the edge of the windowsill. Areas of light contrast with the dark greens of the shadows of the trees in the garden below.This work was exhibited in Leech's first solo exhibition at the Dawson Gallery, Dublin, in June 1945. Surprisingly, Leo Smith reduced the price from Leech's £38 to £25 for the exhibition, perhaps indicating that Leech thought more highly of this work than Smith, as in most cases Smith invariably increased the prices submitted by Leech. The six works exhibited by Leech in the RHA in 1945, were mostly borrowed and were submitted from The Smith Gallery. 'Bowl of Fruit' was not exhibited at the RHA, possibly because Leech preferred to exhibit the work in his first exhibition with Leo Smith, a relationship which lasted until Leech's death in 1968, when all of Leech's finished works in his house and studio were bequeathed to Leo Smith of the Dawson Gallery for future exhibitions of his work after his death. This work, was purchased directly from the Dawson Gallery, by George and Maura McClelland, possibly during the period after Leech's death, when George McClelland had opened his art gallery in Belfast. George had an unerringly good eye and his love and appreciation of Leech's paintings remained unwavering throughout his life, with this work hanging constantly in the McClelland home.Dr Denise FerranAugust 2016 L

Tony O'Malley HRHA (1913-2003) COTTAGES, ST MARTINS, 1972 oil on board signed with initials lower left; dated lower right 15½ x 19in. (39.37 x 48.26cm) 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) OCTOBER AND BLACK, 1983 Gobelin style woven tapestry with artist's initials in the weave lower left; titled on reverse 57 x 35in. (144.78 x 88.90cm) Collection of George and Maura McClelland Around 1983 George McClelland approached Wexford weaver Terry Dunne to create five unique tapestries based on original artworks by Tony O'Malley from his collection. According to Dunne, these tapestries were originally intended for inclusion in the artist's Arts Council Retrospective in 1984 however this idea was never realised. Instead the artworks remained in the McClelland private collection unseen by the public until now. We are grateful to Terry Dunne for his kind assistance in cataloguing these works. Dunne continues his successful practice in County Wexford and has since produced commissioned pieces for O'Malley's wife Jane, Michael Smurfit & The K Club, Co. Kildare, Monaghan Cathedral, Dublin City University, Irish Life Beresford Place, Dublin and Green Isle Foods among others.For further reading see: www.terrytheweaver.ieTony O'Malley's work came to the attention of art lovers in Ireland comparatively late in the artist's life. He spent the 1960s painting in Cornwall, absorbing the prevailing aesthetic of abstraction to his own ends. He did exhibit, but much work remained unsold. His creative harvest from the 1970s was magnificent. Marriage to Jane Harris in 1973 led to winters in the Bahamas, where he began painting outdoors on canvas. Sales however remained sporadic. O'Malley's life changed when Northern artists, F. E. Mc William and William Scott, introduced him to Belfast dealer, gallerist and collector, George McClelland in 1979 or 80. In the few but effective years during which he promoted O'Malley's work, George himself acquired a number of fine works. Some were loaned to the Irish Museum of Modern Art and later donated. (1) Others stayed in the family until now. In Cottage, St Martins, 1972 (lot 66) a figurative work, O'Malley explores the possibilities of French modernism. In Jerpoint, 1977 (lot 68) O'Malley's palette is strong and dark and his shapes highly stylised. This dynamic works well as a response to the Abbey's carved figures eroded over time. The energy of the contours suggests the vital imaginative presence to the artist of these figures from the past.The McClelland collection included some experimental works by O'Malley. The tactile quality of the wool in the tapestries communicates a different but interesting atmosphere to the paintings. October and Black, 1983 (lot 60), woven by Terry Dunne in Wexford, is in fact a very blue work, the intensity of the royal blue recalling stained glass. It attests to O'Malley's abiding interest in the medieval.The superb Night Painter, 1981 (lot 57) is in the tradition of the tall, rectangular works on board in which the artist explores the interior/exterior. Strong, irregular shapes provide the framework for the textured treatment of the surface. Verdigris greens billow around the predominant slate grey rectangle which signifies night. Incised marks reflect the resistance of the board and allow the paint to achieve a variety of effects. Abstracted in form, a small white curtain is tentatively anchored by a red spot. Perhaps there is a suggestion of a tiny self-portrait in one of the richly patterned, rhythmic panels below.Travelling to the Bahamas by plane made canvas the easiest support to manage. A sense of lightness and loveliness characterises Morning Light II, Paradise Island, Bahamas, 1982 (the present lot, 53) a painting at once abstract and based in the real world. In this serene and luminous work, the artist risks using the softest of colours; baby blue and pinks and lemony yellows. He characteristically divides the painting with a central linear spine, creating an open book or butterfly on the wing format. Space on the left is more recessive and still than on the right, where brushstrokes on the blue suggest a flurry of bird life. A feeling of reverence and joy is expressed. Intimate and reflective, many of these works by O'Malley from the Mc Clelland collection are of museum quality.Vera RyanAugust 20161 The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 P

Tony O'Malley HRHA (1913-2003) MORNING LIGHT II, PARADISE ISLAND, BAHAMAS, 1982 acrylic on canvas signed with initials and dated [1/82] lower left; signed in English and Irish, titled, dated [1/1982] and numbered [R264 and 268] on reverse 48 x 72in. (121.92 x 182.88cm) 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) PAINTING, 1977 oil on board; window mounted with hand-painted canvas signed, titled and dated [6/77] on reverse 16½ x 17½in. (41.91 x 44.45cm) 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

AFTER HENRI MATISSE, 'Madeline, Number 1, bronze, founders stamp and numbered 8/10, 58cms H.After the original of 1901,possibly cast circa 1925-1930 (see Minneapolis Institute of Arts & San Francisco Museum of Modern Art for similar examples)

SOFA, Art Deco, circa 1925, giltwood in green velvet with loose cushions, 187cm L x 95cm H. (with faults, modern centre supports)

A signed modern "Art Sword" blade mounted as Aikuchi. Signed with three character KAI BOKU TOSHI, this is a modern "Art Sword" made the traditional way, a later version of a kaiken carried in a kimono pocket. Aikuchi (a tanto without a guard) mounted blade length tip to mune-machi 12cm, hamon is notare (wavy and irregular), hiza-zukuri cross-section.Habaki plain brass. Tsuka (hilt) with embossed leather wrap and brass bands with chrysanthemum studs. The saya is plain varnished wood

An Art Nouveau style pewter mantle clock signed, Kayserzinn, the modern clock with embossed stylised flowers, the reverse decorated with a female face and flowers. Impressed Kayserzinn to base

An early 19th Century copper and brass mounted tea urn of globular form, bearing silver shield shaped plaque, an Art Deco style brass urn and cover, a brass model of a terrier, a modern brass bell, a modern decorative sword, axe and mace

Framed poster, Pablo Picasso, 'The Museum of Modern Art', framed and glazed together with a small oil painting by Shirley Ann Owen. Framed and glazed. (2)

Asprey, a modern stainless steel quartz wristwatch, the two tone rectangular case modelled in the Art Deco style, the two tone dial with upper chapter ring and lower sub seconds dial, 42mm long, on a stitched black leather strap Condition reportmovement not functioning, crystal without issue, scratches and scuffs to the bezel

A GREEN ART GLASS TEAR SHAPED HEAVY DIMPLED VASE, 5 1/2" HIGH, FIVE OTHER PIECES OF MODERN COLOURED GLASS AND A CAITHNESS GLASS PAPERWEIGHT SUBMERSION' VICTORIAN ENGRAVED GLASS PEDESTAL CELERY VASE

* JAMES HOWIE (SCOTTISH 1931 - 2011), LANDSCAPEoil on board, signed and dated 1982 verso90cm x 106cm (appro 35 x 41 inches)Framed.Provenance: Acquired Bruton Gallery, June 1993 by the current vendor and a copy of the bill of sale is available to the purchaser.Note: When in 1982 the renowned Glasgow artic critic Denys Sutton was invited to choose the finest 25 painters of the 20th century his choice included Augustus John, Graham Sutherland, Francis Bacon and a comparatively unknown Dundonian, Jimmy Howie, who eschewed the conventional art scene. Later that year John Schlesinger made a television programme about him in which Howie explored his attitude and relative lack of commercial success: "Either one paints as a vocation or as a career, it is probably impossible to mix the two." Howie was later offered and refused a chair in a leading Scottish art college on the grounds that the teaching would interfere with his painting. Jimmy Howie was born in Dundee in 1931, the son of a printer at DC Thomson, and he loved the city dearly. He attended the Harris Academy and then the city's college of art, where he concentrated on learning complex techniques in glazing. After two years of national service, latterly as a sergeant running an educational facility in Liverpool, he spent time in Ibiza and then in an advertising agency in Jamaica and worked for a while as a gesso boy - preparing canvases with glue and chalk - in London, learning in particular the art of canvas stretching and frame making. In 1983 when he spent a year on the waterless Spanish island of Formentera where he mixed his own paints, made his own gesso from rabbit skin and chalk and experimented with traditional glazes. His signature works were large canvases with colours drawn from the soft pallet of the semi-wilderness but often with large dark areas for contrast.Some termed these works gloomy and introspective but their ambers often glowed and their greens shone and others felt that they seemed to turn up the volume on life itself. Such works sold well. He was widely praised by many and would usually hold one show a year, though he only produced around half a dozen works a year, and refused to play the "art game". He was happier sitting in his studio in Dundee listening to a test match as he reworked, yet again, one of his masterpieces, than being out at art parties and never made nearly as much money as he might have. He made no pretence of his almost biological need to paint, and more than once compared it to his other great need - to dance. But Jimmy was no mere unworldly artist for he was well read and politically aware and, although naturally cheerful, he was furious at some of the art initiatives that came to Dundee due to what he once termed the "dodgy men in silly glasses sent to put us right". Public collections include Glasgow University, Dundee Art Gallery, The Scottish Arts Council & The Scottish National Gallery of Modern Art.

JAZEH TABATABAI (IRANIAN 1931-2008)Seated Figure, gouache on paper34.2 x 23.8 cm (13 1/2 x 9 3/8 in.)signed lower rightLOT NOTESFounder of the Iran Modern Art Gallery in Tehran, Jazeh Tabatabai is considered to be one of the most important Iranian artists of the 20th Century, and pioneer of the Saghaneh School of painting. In addition to his artwork and sculpture, Tabatabai is known as a major contemporary Iranian poet as well.

LIU KUO-SUNG [GUOSONG] (CHINESE B. 1932)Silvery Cloud on Top of Mountain, 1968ink and color on paper72 x 52.5 cm (28 2/8 x 20 5/8 in.)signed and dated lower center rightPROVENANCEGifted to the present owner by the artist in the early 1970sLOT NOTESInitially considered as a political subversive due to the westward leaning language of his work, Liu Guosong [Kuo-Sung] has since come to be seen as a major contributor to the development of 20th century Chinese art and even as the "father of modern Chinese painting." Stressing the importance of experimentation, Guosong`s work embodies the fusion of eastern and western traditions, at once recalling Tang Dynasty landscapes and the work of Abstract Expressionists. As the artist famously put it: To imitate the new cannot substitute for imitating the old; and to copy the West cannot substitute copying the Chinese.Guosong`s paintings have an undeniable presence that is in no small degree due to the materiality of their surface. During the 1960s the artist developed a style utilizing bold gestural brushwork and eventually embraced surface manipulations -- applying collaged elements as well as removing fibers directly from the surface to mimic brush lines and create a delicate sculptural quality. This approach lends itself to the otherworldly, diaphanously textured landscapes that have made Guosong famous -- often featuring rocky terrain and orbs representing the moon, Earth and sun, in part inspired by the photographs taken during the 1968 Apollo Space Mission.

LIU KUO-SUNG [GUOSONG] (CHINESE B. 1932)Metamorphosis of the Moon, circa 1970ink, color, and collage on paper22.5 x 28 cm (8 7/8 x 11 in.)signed middle leftPROVENANCEAcquired by a Private American Collector at a retrospective solo exhibition of Liu Kuosung's works in London circa 1971LOT NOTESInitially considered as a political subversive due to the westward leaning language of his work, Liu Guosong [Kuo-Sung] has since come to be seen as a major contributor to the development of 20th century Chinese art and even as the "father of modern Chinese painting." Stressing the importance of experimentation, Guosong`s work embodies the fusion of eastern and western traditions, at once recalling Tang Dynasty landscapes and the work of Abstract Expressionists. As the artist famously put it: To imitate the new cannot substitute for imitating the old; and to copy the West cannot substitute copying the Chinese.Guosong`s paintings have an undeniable presence that is in no small degree due to the materiality of their surface. During the 1960s the artist developed a style utilizing bold gestural brushwork and eventually embraced surface manipulations -- applying collaged elements as well as removing fibers directly from the surface to mimic brush lines and create a delicate sculptural quality. This approach lends itself to the otherworldly, diaphanously textured landscapes that have made Guosong famous -- often featuring rocky terrain and orbs representing the moon, Earth and sun, in part inspired by the photographs taken during the 1968 Apollo Space Mission.

A collection of jewellery, to include five Art Nouveau brooches (two enamel and two coin set), with a collection of modern jewellery (8)

HOWARTH, THOMAS, CHARLES RENNIE MACKINTOSH AND THE MODERN MOVEMENT illustrated, cloth boards, 1952; and six other volumes relating to Scottish art history (7)

Cookery Books - Anonymous [William Kitchiner], The Cook's Oracle, fourth edition, A. Constable & Co., London 1822, xviii + 545pp, quarter-calf and marbled boards, 12mo; Hammond (Elizabeth), Modern Domestic Cookery, And Useful Receipt Book, Dean & Munday, London 1819, iv + 288pp, engraved frontispiece, period half-leather and marbled boards, 12mo, armorial bookplate of Otho Manners inscribed in ink ms. Anne Manners, Goadby Hall, Leicestershire [Otho Manners (1794-1879) was the illegitimate grandson of John Manners, 3rd Duke of Rutland (1696-1779) with his mistress Elizabeth Drake. Otho's father Captain Edward Manners lived at Goadby prior to his son as the estate was a subsidiary residence of junior members of the Manners family. Otho married Anne Singleton who appears to have been the main user of this work], the front and back boards inscribed with further recipes and applied with clippings from publications, including a letter to The Times; Raffald (Elizabeth), The Experienced Englifh Houfekeeper, eighth edition, London 1782, iv + 384pp + index (incomplete), title-page with engraved portrait of the author, lacking boards, 8vo; Cassell's Dictionary of Cookery, Cassell & Company, Limited, bound as two volumes, full gilt tooled brown leather preserved and laid on buckram, gilt edged text, 8vo; London Glasse (Hannah), The Art of Cookery, J. Johnfon (sic), London 1803, xl + 419pp, lacking boards, 8vo; etc(7)

[Catalogues] - a quantity of catalogues and books of Modern Art interest

Art. A collection of approximately 150 volumes of early 20th century and modern art reference and related, mostly original cloth in dust jackets, G/VG, 8vo/folio (3 shelves)

Photography. A large collection of mid 20th century and modern photography and art reference, including Ghosts in the Wilderness: Abandoned America, by Tony & Eva Worobiec, 2003, The Work of Graham Sutherland, by Douglas Cooper, 1961, The Photograph as Symbol, by Wynn Bullock, 1976, initialled by the author, (limited edition 18/200), mostly original cloth in dust jackets, G/VG, 8vo/folio (6 shelves)

Pevsner (Nikolaus). Studies in Art, Architecture And Design, volumes 1 & 2 , 1st editions, 1968, numerous black and white illustrations, original green cloth in dust jackets, volume 2 covers slightly faded, large 4to, together with Worsley (Giles), Classical Architecture in Britain, The Heroic Age, 1st edition, 1995, numerous colour and black and white illustrations, original blue cloth in dust jacket, large, 4to, plus Gallet (Michel), Paris Domestic Architecture of the 18th Century, 1st edition, 1972, numerous black and white illustrations, original cream cloth in dust jacket, 4to, plus other modern architecture reference, including The Life of Sir Edwin Lutyens, by Christopher Hussey, 1984, Architecture in Britain 1530-1830, by John Summerson, 1953, and publications by Batsford, Antique Collectors' Club, Penguin, Yale, mostly original cloth in dust jackets, G/VG, 8vo/4to (3 shelves)

Art & Architecture. A collection of approximately 110 modern art and architecture reference, including German and French language, mostly original cloth, some in dust jackets, G/VG, 8vo/folio (3 shelves)

Butlin (Martin & Joll, Evelyn). The Paintings of J.M.W. Turner, volumes 1 & 2 (text & plates), 1st edition, 1977, numerous colour and black and white plates, original blue cloth in dust jackets, spines lightly rubbed to head and foot, large 8vo, together with Maritain (Jaques), Creative Intuition in Art and Poetry, 1st edition, The Harvill Press, 1954, 68 black and white plates plus tipped in colour frontispiece, original grey cloth in price-clipped dust jacket, covers slightly marked, 8vo, plus Baumgartel (Bettina, editor), Angelika Kauffmann, Germany, 1999, numerous colour and black and white illustrations, original yellow cloth in dust jacket, 4to, plus other modern art reference, including publications by A. & C. Black, Oxford, Antique Collectors' Club, Yale, Penguin, mostly original cloth in dust jackets, G/VG, 8vo/4to (3 shelves)

Whistler (Laurence). The Engraved Glass of, Cupid Press, 1952, signed by the artist to limitation page, 82 black and white illustrations plus frontispiece, bookplate to front pastedown, original gilt-decorated black cloth, 8vo, (limited edition 274/550), together with Blake (William, illustrator), Poems, by Mr Gray, facsimile edition, 1972, colour plates, original blue cloth in dust jacket, large 8vo, and other modern art and craft reference, mostly original cloth in dust jackets, G/VG, 8vo/folio (3 cartons)

JAZZ EPs - A colossal collection of 267 x 7" EPs with many collectible releases. Artists/titles will include The Venuti-Lang All-Star Orchestra (OE 9468), Oscar Peterson Trio w/ Milt Jackson, Muggsy Spanier, Artie Shaw, Rex Stewart And Cootie Williams ? - Tea And Trumpets, Meade Lux Lewis (Vogue EPV 1065), Firehouse Five Plus Two, Earl Hines Trio (EPV 1160), Dizzy Gillespie Quintet (7EG 8646), Jelly Roll Morton, Sidney Bechet, Erroll Garner, Charlie Parker, Cab Calloway, Art Tatum, Modern Jazz Quartet, Dave Brubeck Quartet and Jimmy Noone. Condition is generally VG to Ex.

THE JAM - A great collection of 41 x 7" releases that includes hard to find pressings. To include Heatwave (Japanese import DPQ 6185), Move On Up (Flexi-Disk Promo Paulo100), Pop Art Poem (Green Flexi Disk Flexipop 002), Move On Up (4-Track Live EP), In The City x3, David Watts x3, News Of The World x 2, All around the World x 2, Beat Surrender x 2, Going Underground x2, Down in the Tube station, Absolute Beginners, Strange Town x2 One is French, The Modern World, When you're Young, Town called Malice, Bitterest Pill, Start, Eton Rifles, A Bomb in Wardour Street. Condition is generally VG+ to Ex+.

'Makers, Dealers and Collectors: Studies in Honour of Geoffrey de Bellaigue',published by The Furniture History Society, 2007,Exhibition Catalogue: 'French Modern paintings, 18th century French Furniture, Objects of Art, Collected by the late Thelma Chrysler Foy (part 1)',published by Parke-Bernet Galleries, 1959,Nadine Gasc and Gerard Mobille,'The Nissim de Camondo Museum',published by The Foundation Paridas, 2000,John Whitehead,'The French Interior in the 18th Century',published by Laurence King, 1992,Catherine Oglesby,'French Provincial Decorative Art',published by Bonanza Books, 1951,Pierre Verlet,'French Furniture and Interior Decoration of the 18th Century',published by Barrie and Rockliff, 1967,Serge Grandjean,'Empire Furniture',published by Taplenger publishing Co, 1966,Exhibition Catalogue,'The Wrightsman Galleries for French Decorative Arts',published by Yale University Press, 2010,'L'Art de Vivre: Decorative Arts and Design in France 1789-1989',publish

Three small photograph frames with silver surrounds, to/w a gilt-lined pill box, London Import 1982 and modern boxed American letter-knife by Gorham, with Sterling Art Nouveau-embossed handle (5)

A late Victorian silver and ivory page turnerOf conventional form, with Art Nouveau silver handle, makers mark indistinct, Birmingham 1901, length 35.3cm, together with, a modern silver pencil, with engine turned decoration, by E.B., Birmingham 1960, length 12.6cm (2)

MIXED, complete (32), inc. Wills, Old Inns 2nd, Players RAF Badges, Kings & Queens, Polar 1st & 2nd, Ogdens Modern British Pottery, Art Photogravures, Westminster, Grandee, Gallaher, Cavanders Ancient Egypt, Embassy. Castella, Phillips Shots from the Films, Film Favourites, Churchmans Boxing Personalities, Brooke Bond, reprints (2) etc., duplication, in two modern albums, FR to EX, 1500*

POSTCARDS, topographical selection, UK, modern, inc. flowers, animals, art, rainbows, forests, piers, coastal, statues, buildings, St. Sc., canals, castles, railway, hotels, gardens, many Worcester, Middlesex, Rutland, Devon, Stamford, Dorset, Hampshire, Wiltshire etc., mixed sizes, duplication, G to EX, 1500*

A plique-à-jour sea serpent brooch by Theodor Fahrner for Murrle Bennett, the head of the creature set with oval cabochon amethyst eyes and flared fins to an eel-like textured body and curled round tail, which like the fins is set with plique-à-jour enamel in shades of green through clear to purple (one fin with losses); the back stamped 'MB&Co' and with TF monogram, also 'Regd., 950'; length 9.6cm. Other Notes: Theodor Fahrner (1859-1919), after early training as a steel engraver, took over his father's jewellery business in Pforzheim in 1883 and transformed it by the turn of the century into an innovative and stylish producer of modern designs and techniques of production, the epitome of 'jügenstijl'. Murrle Bennett & Co was a retailing and manufacturing business established in 1884 and taken over in 1916, a collaboration between Ernst Mürrle and JB Bennett. It was a company also renowned for its innovation in mass production of stylish art nouveau jewellery at affordable prices using enamel and semi-precious stones; they had premises in Charterhouse Street, London but workshops in Mürrle's native Pforzheim. They provided designs for Liberty & Co, and they also retailed jewellery by other manufacturers, as in the present example.

AFTER L.S. LOWRY, (British, 1887-1976), 'The Cart', signed in pencil by the artist, a coloured print, with Fine Art Trade Guild blind backstamp. 50 x 40cm. CONDITION REPORT: Good condition with no obvious damage or losses, double mounted within modern frame.Provenance: private collector

IRENE BACHE, (born 1901, Head of Art, Swansea College of Education), 'View over Uplands and the City of Swansea', signed, oils. 59.5 x 70cm. CONDITION REPORT: Appearing in good original condition overall, now under glass in modern frame.

AFTER L.S. LOWRY, (British, 1887-1976), 'The Noticeboard', signed in pencil by the artist, a coloured print with Fine Art Trade Guild blind backstamp. 50cm. CONDITION REPORT: Good condition, showing no obvious damage or losses, double mounted within modern frame.

JOSEPH HERMAN, (Polish, 1911-2000, extensively exhibited and worked in Wales), 'Seated Figure, Blue Sky', watercolours, Joseph Herman Art Foundation, Cymru, label verso with certificate signed by Nina Herman. 19.5 x 12.5cm. CONDITION REPORT: Appearing in good condition with no obvious damage, modern frame with double mount.

PAUL CHANCELLOR, modern art reclamation sculpture, SHE-4PO/AKA Huntress, approximately 190cm high

A collectors' lot comprising bronzed figure of a scantily clad female, a twin handled brass tray, a brass mantel clock, a silver plated teapot, a modern wooden mantel clock and an Art Deco style table lamp in the form of a dancer (6).

CHINESE SCHOOL, 19TH CENTURYA Chinese Noble Woman in her garden with attendantsOil on canvas, 44 x 59cmThroughout the late 18th and 19th centuries, the production of Chinese ‘export’ art flourished. Paintings with extraordinarily vivid and colourful imagery were created in order to satisfy the proliferate appetite of Western society for Oriental and exotic goods.Scenes of everyday life within Chinese society were of tremendous interest to the European who - in the absence of photographs and with limited opportunity for travel - was curious about life and culture in the Far East. Depictions of bright, colourful costumes, flowers, animals, and architecture quickly became a marketable effect for merchants who set up their workshops in Canton (modern-day Guangzhou). In 1842, after the signing of the Treaty of Nanking, the export painting industry was further accelerated by the forced opening of additional Chinese ports to foreign trade. The medium employed by the artist of this work, painted in the 19th century, creates a smooth glossy surface, thereby resembling the popular Chinese technique of reverse glass painting, imitating verre églomisé decoration. The richly decorated pavilion and figures in this picture contrast with the use of a solid black pigment, thus enhancing the image so that it appears florid and somewhat three dimensional.Glass was gradually replaced by timber panel which proved to be a somewhat more durable substitute for the long journey between China and Europe.

A modern folk art carved wooden sun and moon, sun 83cm high

A fine Royal Worcester porcelain fruit painted cabinet cup and saucer, together with three further cabinet cups and saucers, two by Coalport, an Art Deco pottery biscuit barrel and a modern Royal Worcester commemorative plate in box (12)

A modern hardwood covered pot and bowl, both in possibly teak with black bands, together with a pair of WWI trench art shell cases (5)

A group of six modern bottles of Bunnahabhain single malt whisky, sold as works of art and bidders over 18 only, all of the twelve year old scotches are unopened (6)

Mahogany cased dome top mantel clock with circular silvered dial, another similar oak cased dome top mantel clock and a modern Art Nouveau style figural mantel clock

A modern art glass vase of baluster form, height 36cm

A modern Lorna Bailey Stockwell china four place setting tea and coffee service in the Art Deco style Condition Report / Extra Information No apparent faults, all as new.

A modern green art glass vase together with a similar water jug (2)

SWEDISH ART DECO ORREFORS GLASS VASE engraved 'Orrefors 244700 2S' to base, of octagonal form tapering to a square base, chip to top, 24cm high; together with a modern Orrefors glass bowl, of round form with angular fluting, engraved 'Orrefors' to base, 15.5cm in diameter (2)

Three sets in albums, German Der Welt Krieg cigarette cards, UTC Famous Works of Art, Modern Boys Fighting Planes of the World and Fina carded Thunderbirds medallions

Modern Italian mantel clock with enamel dial decorated roman numerals ' Dec Art'

Modern art oil on board painting of a bird - phoenix or firebird, signed Pilioko 1973 - measures approximately 28" by 21"

1st-3rd century AD. A banded agate engraved with image of the goddess Fortuna seated, wearing wreath in hair, holding a cornucopia and a rudder, in a sympathetic modern gold ring. 6.50 grams, 23.33mm overall, 17.36mm internal diameter (approximate ring size British N 1/2, USA 7, Europe 14.51, Japan 14"). (1"). Extremely fine condition. Acquired on the London art market prior to 1980. Fortuna is the Roman goddess of luck, fate, and fortune. Fortuna was usually depicted holding in one hand a cornucopia, or a horn of plenty, from which all good things flowed in abundance, representing her ability to bestow prosperity; in the other she generally has a ship's rudder, to indicate that she is the one who controls how lives and fates are steered. She could also be shown enthroned, with the same attributes of rudder and cornucopia, but with a small wheel built into the chair, representing the cycles of fate and the ups and downs of fortune. The Emperor Trajan dedicated a temple to Fortuna, at which offerings were made to the goddess on the first day of January, at the start of the New Year, probably to ensure good luck and success for the coming year.