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Lot 662
Tray of 12 various vitage Sheaffer fountain pens: 3 grey Imperial I cartridge models with gold plated trim and inset style gold plated nib; 1 black Cadet Touchdown with broad gold plated band and 14ct gold open nib; 1 black Craftsman Touchdown, with gold plated trim and 14ct gold open nib; 1 burgundy Imperial IV Touchdown with 3/8" gold filled band and clip and 14ct gold inlaid nib; 3 Snorkel Saratoga (2 black and 1 pastel green) with broad gold filled trim and open 14ct gold nibs: 2 Snorkel Statesman (black and burgundy) with gold plated trim and silver triumph nibs (black pen with Palladium silver nib); 1 black Snorkel Valiant with gold plated trim and two-tone 14ct gold triumph nib
Lot 85
Tony O'Malley HRHA (1913-2003) STUDIO AND PAPMAN HEAD, 1979 gouache and pastel on card signed lower right; dated [11/79] right centre; titled lower left 20.25 by 30.50in. (51.4 by 77.5cm) Collection of George and Maura McClelland Tony O'Malley's work came to the attention of art lovers in Ireland comparatively late in the artist's life. He spent the 1960s painting in Cornwall, absorbing the prevailing aesthetic of abstraction to his own ends. He did exhibit, but much work remained unsold. His creative harvest from the 1970s was magnificent. Marriage to Jane Harris in 1973 led to winters in the Bahamas, where he began painting outdoors on canvas. Sales however remained sporadic. O'Malley's life changed when Northern artists, F. E. Mc William and William Scott, introduced him to Belfast dealer, gallerist and collector, George McClelland in 1979 or 80. In the few but effective years during which he promoted O'Malley's work, George himself acquired a number of fine works. Some were loaned to the Irish Museum of Modern Art and later donated. (1) Others stayed in the family until now . In Cottage, St Martins, 1972 (lot 66) a figurative work, O'Malley explores the possibilities of French modernism. In Jerpoint, 1977 (lot 68) O'Malley's palette is strong and dark and his shapes highly stylised. This dynamic works well as a response to the Abbey's carved figures eroded over time. The energy of the contours suggests the vital imaginative presence to the artist of these figures from the past. The McClelland collection included some experimental works by O'Malley. The tactile quality of the wool in the tapestries communicates a different but interesting atmosphere to the paintings. October and Black, 1983 (lot 60), woven by Terry Dunne in Wexford, is in fact a very blue work, the intensity of the royal blue recalling stained glass. It attests to O'Malley's abiding interest in the medieval. The superb Night Painter, 1981 (lot 57) is in the tradition of the tall, rectangular works on board in which the artist explores the interior/exterior. Strong, irregular shapes provide the framework for the textured treatment of the surface. Verdigris greens billow around the predominant slate grey rectangle which signifies night. Incised marks reflect the resistance of the board and allow the paint to achieve a variety of effects. Abstracted in form, a small white curtain is tentatively anchored by a red spot. Perhaps there is a suggestion of a tiny self-portrait in one of the richly patterned, rhythmic panels below. Travelling to the Bahamas by plane made canvas the easiest support to manage. A sense of lightness and loveliness characterises Morning Light II, Paradise Island, Bahamas, 1982 (the present lot, 53) a painting at once abstract and based in the real world. In this serene and luminous work, the artist risks using the softest of colours; baby blue and pinks and lemony yellows. He characteristically divides the painting with a central linear spine, creating an open book or butterfly on the wing format. Space on the left is more recessive and still than on the right, where brushstrokes on the blue suggest a flurry of bird life. A feeling of reverence and joy is expressed. Intimate and reflective, many of these works by O'Malley from the Mc Clelland collection are of museum quality. Vera Ryan August 2016 1 The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 [ABSTRACTS]
Lot 31
* FRANK MCFADDEN,"A DOMESTIC"pastel on paper, signed65cm x 50cm Mounted, framed and under glass.Note: although obscured by the backboard, titled and dated '05 verso.From the Glasgow area of Maryhill, Frank McFadden is a protégée of Peter Howson. A former sign-writer and graphic designer, he was addicted to drugs and selling The Big Issue on the streets of Glasgow. A chance meeting with Peter Howson changed his life. Howson took him under his wing and helped McFadden develop his own artistic ability and personal strength. McFadden says that 'Peter helped me to believe that I had a future'. For some time, the two artists shared a studio in Glasgow's city centre, and have exhibited together in Glasgow, Edinburgh and New York. McFadden is known to have a number of celebrity collectors including Jessica Simpson and Dawn French. The typical gallery price for a pastel of these dimensions by McFadden is approximately £1200 .
Lot 2159
Circa 1970s Bill Gibb Black Wool Skirt, with side pockets and pastel coloured over stitching to the waistband and pockets, (size 12); Burberrys Mac in black cotton with checked lining, Long Cream/Fawn Wool Mac, and a Navy Blue Wool and Alpaca Jacket, with fabric belt (4)Bill Gibb skirt - good condition Black mac - slight wear and bit dusty. Cream mac - slight wear navy blue jacket - shows some wear and probably needs a clean
Lot 2252
Pair of Prada Espadrille Wedge Sandals, with metallic straps and weave to heel (no size - approx 35.5); Pair of Moschino 'Cheap and Chic' Pastel Green Kitten Heel Open Toe Shoes, the clear acyclic vamp mount with a green fabric bow (marked size 36); and a Pair of Rodolph Menudier Brown Suede Heeled Sandals, with long tie up straps and decorated with turquoise, coral and grey/purple coloured stones (marked size 37) (3)
Lot 935
Mid Century Modern Lee Reynolds Vanguard Studios Oil On Canvas A Large Scale 1970's oil painting depicting a fishing boat moored in calm waters, the sea and sky picked out in impasto flourishes. The whole, in sunset pastel tones of peach, dove grey, lilac, blue and white. Signed in umber oil paint to bottom left 'Lee Reynolds' produced as a decorative piece under license of Vanguard Studios, California. Housed in original slim yellow gilt frame, good condition, 59 x 48 inches.
Lot 116
Toil and Tenderness: A Very Unusual Mid-18th Century Fan, with mother-of-pearl laid over ivory for part of the monture. The guards are noted to have mother of pearl panels overlaid in ivory, the lower section being carved plain ivory, as is the lower section of the gorge. The upper gorge consists of carved and pierced white mother-of-pearl, with intricate designs of scrolls and figures, flowers and a bird. Subtle painting highlights an already very elaborate monture. The double paper leaf tells two stories, linked by water. To the left, dock workers toil with heavy wooden crates and barrels whilst a couple observe, ships in full sail having set out to sea. To the right, a scene of leisure, one couple seated near the water side, a man waiting on the water in a rowing boat, and a tender scene of a tall well-dressed gentleman, in a blue jacket and red breeches, a wig with long ringlets tied at the nape, his slim hound beside him, presenting a single rose stem to a lady in pink, a blue flower already pinned to her lace-up formal bodice, a young boy at her side. The verso continues with the workers toiling at the harbour, stone ruins to the side, one worker using rope to pull a palate loaded with large chunks of grey stone. A smaller scene to the left shows a solitary man looking out to sea. On both sides of the leaf the scenes are separated by vibrant and varied flowers and fruits in blue, pinks, mauve and yellow. On the mother-of-pearl gorge section the verso is painted with flowers and shells in pastel colours. Guard length 29cm. Together with a pale blue silk box, fitted, with cream silk liningThe leaf folds are rubbed. Some mother of pearl overlay is detached, two panels are available.
Lot 140
Billotey: A Large Circa 1890's Pale Pink Mother-of-Pearl Fan, the monture plain, the cream gauze leaf supported with bone ribs. Signed Billotey to the top right. The leaf is painted with a distant view of sky and clouds, in front of which four small and colourful garden birds, one with a red breast, perch on twigs. The remainer of the leaf consists of a sheath of pastel coloured flowers and wheat. The verso is plain. Guard length 27cm, overall length 35cm. Together with a card fan box covered in silk; and A 20th Century Bone or Ivorine Fan, mounted with a cream gauze single layer leaf, painted with pink roses and blue ribbons in vertical and quite meandering rows, embellished with leaves in green sequins and gold sequin flowers, the upper edge of the leaf decorated with two rows of gold sequins. The gorge is complimentary with rows of gold and green painted pattern matching the decoration on the guards. Basic gold metal loop embellished with a green stone. The verso is plain. Guard length 21cm (2)Fan 1- Some slight marking to the leaf, some of which is glue residue, and evidence that at least one split has been restored behind the right guard. Fan 2 - The upper guard plus the first two gauze folds are completely detached. Most folds are split to some greater or lesser extent.
Lot 152
An Unusual 18th/19th Century Ivory Fan, with a printed and hand coloured leaf. The guards are carved and pierced with a figure and decorative scrollwork, highlighted in pastel colours of lilac and green, the lower section left plain but shaped to match the elaborate shaping of the mainly plain gorge sticks. The gorge is painted and applied with foil in a deep border just below the leaf, in strong colours of cerise and blue, with flowers and grapes highlighted in gold. Diamantés to the rivet. The double paper leaf depicts a Regency family partaking of an elegant picnic with refreshments from woven baskets placed onto a formal table with chairs to the side. The small girl and boy listen to their father playing music on pipes, his other arm wrapped around his wife's shoulders. A dog plays to the side of the children, and slightly to the left, the leaf is printed with ''B Dupont 179''. The leaf is plain to the verso, the gorge has two lilac rectangles with sketched flowers. Guard length 28cmThe upper guard is broken but present. The leaf to this side is stained and crumpled and detached. Some rubbing to the folds. Some loss to the gold top border of the leaf. Brown stains to the top left of the leaf.
Lot 159
The Flower Fairies: A 1850's-1860's Bone Fan, the monture carved and pierced in bands, some forming flowers, others more angular, the guards similar. The lithographed, double paper leaf shows a group of ladies under an arbour supporting climbing plants, the ladies seemingly aghast, one having dropped a pack of playing cards which are lying on the ground. The verso in more pastel colours shows three ''flower fairies'' holding hands to dance, their hats and skirts formed from flower petals. Guard length 26cm; and Carnet de Bal: A 19th Century Lady's Accessory, indispensable when attending Balls. A small fan-shaped record book for noting the name of which gentleman had been promised which dance, this example has white mother-of-pearl guards and five inner sticks of ivory, a pencil normally contained in the curled metal holder to one end. The sticks are all attractively shaped, with a decorative shape to the tips, the upper guard being embellished with a complex silver metal monogram. A metal chain finishing in a finger ring is attached to the head. Guard length 11cm (2)Fan 1 - The leaf is quite rubbed on some folds, one has split and the paper has torn. There is a break to the lower guard, no apparent attempt to restore it. Fan 2 - Clean and bright. Ribbon defective
Lot 2
The Judgement of Paris: An 18th Century Ivory Fan, with plain, simple gorge sticks, the guards being painted in pastel colours with an oriental figure and flowers. The vellum leaf, mounted à l'anglaise, is painted with Paris considering the beauty of Hera, to the right with her peacock, Athena and Aphrodite, the fairest being judged as Aphrodite, to whom Paris gives an apple. The verso is painted with large sprays of flowers which encircle a woodland scene, two ladies gazing across water towards a large town. Guard length 26cmSome rubbing to the folds, and discoloration visible from the verso.
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