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A modern Ziegler style carpet, woven in pastel shades, trailing floral ornament on a terracotta ground, in conforming three stripe borders, 11ft 6ins x 8ft 3ins

Late 19th century SchoolPORTRAIT OF A WOMAN IN PROFILEIndistinctly signed and dated 'Nov 26th '96' l.r., charcoal40 x 30cm;and a pastel drawing of a WOMAN IN A WHITE BONNETOval 24.5 x 20cm

Phillip HoodRECLINING FEMALE NUDE STUDIESTwo, signed and dated 91, red and white pastel 20 x 31.5cm and 26.5 x 23cm

DOROTHY T. McMINN (CHEADLE) PASTEL DRAWING 'VICTORIAN VIGNETTE' LABELLED VERSO 10" X 12 3/4" AND SAME ARTIST, FIGURE AND DOG IN A LANDSCAPE AND A WATERCOLOUR DRAWING 'CRICKET MATCH' (3)

A framed tapestry; a mahogany and inlaid oval mirror; two pastel portrait studies; an ornate gilt decorated mirror; and a watercolour still life study

English School (20th century): Study of a Terrier, pastel, signed 'A S Aldridge', 62 x 49 cm

Harry William Adams R.D.A: a Pastel of an early morning Lane in Worcestershire, monogrammed HWA, 16'' x 13 1/4''.

Joanna Taylor, 'German Shepherd Dog', a signed Pastel.

Joan Baker: Pastel and watercolour 'View of Castle Street, Bishops Castle', signed with biographical details verso, 21 x 31 cms.

A framed Pastel drawing of a Female Nude, signed 'Lowe' bottom right, 21" x 27 1/2".

A signed Pastel of a woman with a bouquet of flowers, 68 x 51 cms.

A Pastel Reproduction of Two Girls with Flowers Seated on a Hillside Above a Village - Framed.

An Acrylic and Pastel depiction of Llanfilo Church near Brecon, by Marcia Gibson-Watt. Signed and with original exhibition/price label on the back of the frame.

A pair of framed Prints of London scenes, signed 'Mark', a print of two children looking at the statue of Peter Pan and a Pastel sketch of street scene by Endell Mitchel (possibly Clovelly or Robin Hood's Bay)

Hasla 'Beach Scene' Pastel, signed in a glazed frame, 36 x 23cm

English School, early 19th century, a pastel study of a seated child, 37 x 26cm

Nan Goodsell, 20th century, still life, signed pastel, 50 x 75cm

A good Edwardian Salon Settee having shaped top rail on central pierced fret-cut splat, curved arms on slat and narrow splat supports, applied pastel green ground velvet floral pattern seat with nailed detail, on tapering square legs with square feet

A. THISTLETHWAITE (CONTEMPORARY) - A lane in autumn, pastel, signed, framed, 52cm x 74cm also one other pastel by the same hand and a watercolour by John Mellor (3)

SAMUEL GEOFFREY JENNINGS (1927-2013) - 'The Bridge at Blenheim', pastel drawing, signed, inscribed verso, framed, 35cm x 49cm also one other pastel drawing by the same hand (2)

ENGLISH SCHOOL (EARLY 20TH CENTURY) - Portrait of a young lady wearing a head scarf, pastel drawing, framed, 43cm x 31cm

Sheena McCall - Kipper, graphite and pastel, signed and dated 1985, 27 x 22cm; one other dog portrait by the artist; and a pair after S J E Jones - Gamekeeper's Refreshing and Gamekeeper's Returning, colour engravings, each 40.5 x 47.5cm

Jean Dryden Alexander (1911-1994) - The Red House, watercolour, 25 x 35cm; and one other by the artist - A Country Lane, pastel (2)

Austen - Pastel portrait, 47 x 31cm; together with three other original portraits (4)

Penny Nichol - Venice, pastel; Geoffrey King - Beached Boat, oil; and one other (3)

Betty Raphael - The Ballerina, pastel, signed lower right, 68 x 48cm

Large Gilt Framed Victorian Pastel Portrait of a Young Woman dressed for her wedding, indistinctly signed, dated 1863

20th Century School - a framed pastel portrait of an African tribesman. Signed & dated

Early 20th Century pastel portrait of celebrated conversationalist Blanch Warre (Cornish)

Victorian pine artists box with large amount of oil paints and a Rowney pastel set

A pastel portrait of a Victorian lady, signed & dated

VICTORIAN BRITISH SCHOOL A portrait of a mother and child, her hair in ringlets, a Pastel drawing, 33cm x 25cm in oval gilt frame with bow mount

R*** ANSELL A Peregrine Falcon at her nest in habitat, a Pastel, signed, 33cm x 50cm, in moulded glazed frame

Edwin Earp (1851-1945) Idyllic landscape view with serpentine river, pastel coloured mountains and recumbent cattle, signed and dated, framed and mounted under glass,

A gilt framed pastel sketch portrait signed Vasco Lazzolo '76, W. 60 x 90cm.

Modern colour pastel of St Just in Roseland Church. Signed A Golden and dated 01. 15.75' x 19.5'.

PHILIP WHICHELO (1905-1990) Male nude riding a white horse. Pastel. 17.75' x 20.75'; Together with a TONY SANDERS Penzance Gallery exhibition leaflet.

Pair of Capodimonte Glazed Figures of a Tramp Couple, each signed B.Merli; the dishevelled figures, each seated on a bench are watching pigeons and small birds feeding on breadcrumbs from the baguettes in their hands; both dressed in pastel shades with highlights of burnt orange and plum they are seated on similar green benches, mounted on matching oval naturalistic bases with a gilt band and rococo style scroll to the front (male figure:small repair and end of pipe missing, female: piece missing from bench)(2)

Large 19thC Chinese Temple Vase Decorated Throughout On A Pastel Ground With Tropical Birds Amongst Flowers, Foliage etc Height 36 Inches, Old Stapled Repairs To Neck

Framed Pastel, Flower Girl In Garden Setting By Doreen Phelan, , 10x8 Inches, Mounted, Glazed In Gilt Frame

David Beer (St.Ives) pastel/acrylic 'Fast Asleep' 21cm x 21cm.

Lucy Dawson (fl. 1936-1958), signed pastel 'Roderick Dhu, July 1921', 47cm x 50cm.

Large Persian style middle eastern floor rug decorated with various floral medallions upon a pastel pink and blue ground, with original purchase label from ABC Carpet and Home priced at £4675, 146" x 109"

A Meissen 'schneeballen' ecuelle, cover and stand, 19th century, encrusted overall with yellow centred mayflower blossoms and applied with yellow canaries in gilt branches and pastel coloured rose blossoms, underglaze blue crossed swords to the bowl and the stand, the stand with incision below the crossed swords and number 1 in green, bowl 11.5cm diameter, stand 22.5cm diameter. (3)Provenance: Apley Castle, Telford

A pair of Sitzendorf porcelain figural candelabra, 19th century, each column as a mother and infant on a rose strewn plinth in pastel shades, chips, 47cm high (2)

A LADIES PASTEL MINK FUR JACKET

A SELECTION OF PICTURES & PRINTS TO INC ORIENTAL WORKS, SHOE MENDER PICTURE, HELTER FRAZER BOTANICAL PASTEL WATERCOLOURS ETC

A pastel painting, by Liz Shallcross - ploughman and a team of horses, signed and dated '77.

A 19th Century pastel portrait of a young woman wearing a blue lace-trimmed dress, in oval frame.

Two unsigned abstract pencil and pastel pictures and other pictures and prints.

Follower of Sir Alfred Munnings, pencil and pastel sketch of a seated female nude, inscribed and bearing signature, in glazed gilt frame, 44cm x 49cm

Audrey Pilkington (1922 - 2015), pastel - Hamburg, signed, inscribed and dated '51, in glazed frame, 42cm x 57cm

Sheila Tyso, pastel depicting poppy in field.

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

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

William John Leech RHA ROI (1881-1968) STEPS OF THE COURS oil on panel signed and numbered [2] on reverse; with stamp of 'Librairie / Meynier' [L. Rontani, Succ' / 5 Rue du Palais, 5 & 2, Rue de l'Hôtel de Ville, Nice]; also with a letter relating to the provenance on reverse 9½ x 7¼in. (24.13 x 18.42cm) The letter affixed to the back of this work was sent from Paddington, 23 March 1988, to Dublin, Éire, recipient blacked out. This letter describes how the author's father had worked in Percy Botterell's firm of solicitors in London, and that his aunt had been the nanny to May and Percy Botterell's three children, Jim, Guy and Suzanne and then nanny to Jim and Eileen Botterell's two daughters, Gillian and Bridget, in Burnley, the New Forest and then housekeeper to Percy Botterell in Burnley.The present work, Steps of the Cours, was probably given as a present to the nanny of the Botterell children who gave it to the author of the letter who in turn gave it to D & W, the recipients of the letter.After Leech had painted May Botterell's portrait in 1919, the couple formed a lasting lifetime attachment and the trips that they made together to France for Leech to paint the landscape, was to the area in the South of France, above Nice, in the hillside town of St. Jeannet. Here Leech rented a house for seven years but afterwards he and May continued to visit the area, staying in Cagnes-sur-mer and then in Grasse where he painted Steps of the Cours, Grasse. Leech painted several studies of these steps, which were topped by an urn on a pillar and one of these works he exhibited in the RHA exhibition in 1930. He also exhibited a work in 1932 Steps of the Cours, Grasse, in Derby City Council exhibition, sent from his studio at Hamilton Mews, London, NW8. Perhaps the same work was exhibited in Leech's first solo exhibition at the Dawson Gallery in 1945. Another work, Steps to the Cours (p.78, Ferran, illustrated) was purchased by Mrs E.Murray Fuller, a Wellington art Dealer and exhibited at the Canterbury Society of Arts in May 1936.This work is a freely painted section of the steps to the Cours with focus only on the urn, on top of the pillar but it is painted in the harmonious pastel palette Leech used for this subject matter. It is also painted on the size of small board which Leech used when painting en plein air and which fitted into his carrying box. These quick studies were frequently used to supply Leech with the necessary detail he needed to complete larger works in his studio. Dr Denise FerranAugust 2016 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

Graham Knuttel (b.1954) GINGER CAT pastel signed lower right 20 x 27in. (50.80 x 68.58cm) L

* CAMPBELL SMITH, RIPPED APART pastel on paper, signed and dated '89 112cm x 89cm Framed

Emile Gastemans (1833-1956). A Monogramed Pastel Drawing of 'Balinese Dancer', 27 ins x 15 ins (69 cm x 38 cms). Mounted in a glazed gilt frame 35½ ins x 23 ins (90 cms x 58.5 cms).