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1st millennium BC. A restrung necklace of graduated polyhedral lapis lazuli beads, modern clasp. 58 grams, 46.5cm (18 1/4). Property of a gentleman; formerly in a private collection; acquired on the UK art market. [No Reserve]. Very fine condition.

2nd millennium BC. A restrung necklace of mainly globular and irregular bronze beads, modern clasp. 48 grams, 41cm (16). Property of a gentleman; formerly in a private collection; acquired on the UK art market. [No Reserve]. Fine condition.

New Kingdom, 1550-1070 BC. A group of two restrung necklaces comprising: one of discoid beads in shades of ochre, grey and black; one of turquoise tubular beads with discoid spacers; each with modern clasp. 18.03 grams total, 50cm (19 3/4). Ex Steinberg collection; acquired London art market, 1960s-1970s. The late Walter Steinberg was a well-known figure at fairs, sales and events for many years. Born in 1922 in Philadelphia, Walter had a life-long passion for collecting. A long-time resident in London, he retired to New York and decided to pass on the antiquities and coins he had collected over his lifetime. Walter acquired coins and artefacts that interested him, so his collection, although containing some lovely examples, also contained many affordable specimens. Much of the material has been unavailable to the market for 30 to 50 years. Walter sadly passed away in 2015, he hoped that the items he collected would find new homes with the next generation of collectors. [2, No Reserve]. Very fine condition.

Late Period, 664-332 BC. A restrung necklace of tubular and discoid glazed composition beads with wedjat 'eye of Horus' beads flanking an amulet of a kneeling Shu with arms raised; modern clasp. 5.14 grams, 49cm (19 1/4). Property of an English gentleman; acquired on the UK art market. [No Reserve]. Very fine condition.

1st millennium BC. A restrung necklace of graduated polyhedral lapis lazuli beads, modern clasp. 74 grams, 41cm (16). Property of a gentleman; formerly in a private collection; acquired on the UK art market. [No Reserve]. Very fine condition.

2nd millennium BC. A restrung necklace of globular and irregular bronze beads with crescent pendant; modern clasp. 23 grams, 41cm (16). Property of a gentleman; formerly in a private collection; acquired on the UK art market. [No Reserve]. Fine condition.

dating: 1924 provenance: Cleveland, 'A catalogue of the collection of Arms & Armor presented to the Cleveland Museum of Art by Mr. and Mrs. John Long Severance 1916-1923'; The Cleveland Museum of Art, 1924; 294 pages and 51 plates with b/w illustrations and plates with stamps and marks. Modern, leather bound with title in gold. height 30 cm.

LOT OF MODERN ART GLASS AND THREE EARLY TWENTIETH CENTURY PIECES (6)

A set of Art Deco pale peachy pink early plastic 6” plates with stylised design of a mermaid on waves with scallop shell and seaweed, on reverse 'British Made Modern Stylists Series U.D.A. plastics ltd', comprising five dishes and one larger

ARR Gilbert Scott Wright (1880-1958) - Oil painting - "Changing the Team" - Coaching scene with two mail coaches each pulled by a team of four, outside The Kings Arm, with gentleman walking three dogs to foreground, canvas 24ins x 36ins, signed in grey "Gilbert S. Wright" to lower left corner, in modern gilt moulded and swept frame Provenance: Skinners Auctioneers, Boston, USA - Auction American and European Paintings - 9th May 1997 - Lot 144, and subsequently with Haynes Fine Art of Broadway, 69 High Street, Broadway, Worcestershire, WR12 7DP (stock No. 5227).

Kosta Boda modern Art Glass ovoid vase together with two others

Modern black Art Glass vase together with a quantity of German vases

NINETEENTH CENTURY POSSIBLY AMERICAN MAJOLICA GLOBE AND SHAFT VASE AND COVER, THE BODY EMBOSSED WITH DAFFODILS ON A YELLOW SCALE MOULDED GROUND, 10" HIGH (A.F.), MODERN SATSUMA BOWL, 8 1/2" DIAMETER, CHINESE VASE AND COVER; TWO LARGE POTTERY JARDINIERE'S, ART DECO POTTERY JUG AND AN IMARI STYLE BOWL (7)

A modern art glass dish of antiquity design having irridescent bowl on verdigris copper base indistinctly etched stern

MATISSE HENRI: (1869-1954) French Artist and renowned Painter. A leading figure in modern Art. An excellent A.L.S., `H Matisse', with drawing, one page, 4to, n.p., n.d. [1949-50], [to his son?], in French. The letter bears at the heading a sketch in Matisse´s hand, depicting a child face with a crown on his head, and states in part `Happy father and mother of this beautiful child! Thank you for thinking in showing to us this masterpiece.. All goes well here, good health, the chapel goes well too..´ and further concluding `I give up wanting to understand people…´ Written and drawn in bold blue ink by Matisse, an attractive document with sketch. About EX £4000-6000The present letter is probably written to his son Pierre Matisse (1900-1989) and refers to one of Matisse´s grandchildren. The chapel Matisse refers to is the Chapelle du Rosaire at Vence, a village between Nice and Antibes in the south of France. He worked on the chapel project using the cut-out method from 1948 to 1951. Matisse was diagnosed with abdominal cancer in 1941 and surgery left him chair and bed bound. Painting and sculpture became almost impossible physical challenges which made him turn to creating cut paper collages and decoupages with the help of assistants. His closest collaborator was Monique Bourgeois, a student nurse who helped Matisse after his surgery, also his model, who became a nun in 1946, and the reason of this chapel work by Matisse. Bourgeois joined Matisse in Vence and helped him to achieve his chapel painting project.

An modern table lampWith chromed body and pink glass stepped shade in the Art Deco style, length 39cm.

A B&O (Bang & Olufsen) Stereo SystemComprising the Beocenter 7000 in teak with remote control module, manufactured 1979-1983 and designed by Jacob Jensen, upon its release the Beocenter 7000 was one of the most advanced Hi-Fi centres on the market its also part of the Design Collection at the Museum of Modern Art in New York, together with a pair of Beovox CX100 Passive Bookshelf Loudspeakers 'Aluminium', manufactured 1984-September 2003, designed by Jacob Jensen they have a net volume of 4 litres, they are fitted with 10cm woofer and a 2.5cm tweeter. Size 12cm x 32cm x 20.5cm. (Sold electrically untested)

An Art Deco blue lacquered four piece bedroom suiteComprising chest of three drawers, octagonal framed mirror, bedside cabinet and stool, bears label 'Modern Decoration Rowley, 140-2 Church St W.S.'. CONDITION REPORT: Chest of drawers and bedside chest with light scratches and wear to edges of paintwork, otherwise good.

Joseph M Glasco (American 1925-1996)'Abstract Head Study'Ink drawing, signed lower right, 55.5cm x 43cmFootnote: Glasco was a friend and contemporary of Jackson Pollock. His works are included in many permanent exhibitions including the Metropolitan Museum of Art, the Museum of Modern Art (NT) and the Guggenheim Museum

Aloysius O'Kelly (1850-1929)Portrait of a Young Breton GirlOil on canvas, 91.5 x 63.5cm (36 x 25'')Signed and dated 1905Exhibited: Re-orientations, Aloysius O’Kelly: Painting, Politics and Popular Culture, Hugh Lane Gallery of Modern Art, Dublin, 1999-2000, no 25.Literature: Niamh O’Sullivan, Re-orientations, Aloysius O’Kelly: Painting, Politics and Popular Culture, Hugh Lane Gallery of Modern Art, Dublin, 1999-2000; and Aloysius O’Kelly: Art, Nation, Empire, Field Day, 2010.In the late nineteenth century, O’Kelly embraced increasingly naturalistic concerns, but this iridescent painting is more modernist than usual from O’Kelly. The young girl is treated as an integrated element in the landscape, saturated with hot colour. Nineteenth-century paintings of Bretons show women wearing distinctive white linen coiffes and wide collars, dark skirts, waisted bodices, embroidered waistcoats, and heavy wooden sabots, but this modern Mademoiselle is informal in her bare feet, and modern in her dress, showing the evolution of peasant life in Brittany at the turn of the twentieth century. Niamh O’Sullivan May 2017

Basil Blackshaw HRHA RUA (1932-2016)Standing NudeOil on linen canvas, 90 x 70cm (35½ x 27½'')Signed and numbered No. 3 versoProvenance: From the collection of the late Gillian Bowler.Exhibited: 'Basil Blackshaw Exhibition', the Hendriks Gallery, September 1987, Catalogue No. 20, where purchased.Basil Blackshaw ‘Nude’ Studies Lots 109,110 and 112Mike Catto has written; ‘The nudes of Basil Blackshaw have a certain air of detachment about them.’ (Art in Ulster 2, 1977, p43). I disagree with this interpretation because although I can see where such a reading comes from there is too remarkable a degree of connection evident between artist and model in these nude representations. The sense of distance or detachment is at odds with the impact of the works. They have been consciously embodied by Blackshaw in this manner. He is a strong portraitist and is adept at capturing likenesses but his nudes are not executed in this vein. In these it is the figure’s moment and opportunity to shine through in terms of expression. These nudes are faceless, nameless, yet paradoxically full of character. They are collectively reliant on their expressive poses and the artist’s treatment of paint and compositional structure. Blackshaw is definite in his approach; “…I want to avoid association with the subject. I want it to be a purely visual experience for the viewer…I want it to please the eyes rather than bring up associations in the mind. When I paint a nude I don’t want them to see a girl thinking or sitting, I want it be just a figure. I like the way Baselitz turned his figures upside down, when you see a man eating an orange, turn it round and it becomes something else. I wish I’d thought of it.” (‘Afterwords’, Ferran, 1999, p128). Brian Ferran has noted; ‘Although his model is before him, his more important associations are the previous twenty paintings which he has made of the same model…These are densely complex paintings which possess personality and a dynamism of their own.’ (Ferran, 1999, p122). The artist has commented; ‘I want to be divorced a bit from the actual subject; not to make a replica but to make an equivalent.’ (McAvera, IAR, 2002). The most insightful and detailed assessment of the artist’s approach, is however, captured by the person closest to the subject, his life model Jude Stephens; ‘His approach was to create a representative image, almost totally destroy it, and then recreate it. Within hours or even minutes of my departure, I knew that he would return to the studio and obliterate the image, for only when I left could he produce the painting for which he strove. In a sense the essence he sought only existed in his memory. He often apologised about this pattern of thesis, antithesis and synthesis, reassuring me that he needed me to sit for him even though the resulting work would inevitably meet with rough treatment, because without an image to destroy there could be no image to recreate.’ (Jude Stephens in Ferran, 1999, p85). ‘Reclining Nude’ has an elemental, almost archaeological feel to it. The figure occupies the composition but in a pose that suggests movement and a sense of becoming. Her form emerges from the left of the page and stretches back towards the right. The cut-off composition emphasises the sense of a found or emerging form. Her feet are beyond the confines of the page as is her left hand. Her facial features see little delineation, her hair is akin to a dark shadow extended behind her head and indeed her entire form is captured only to the point of sufficient suggestion of presence and not beyond. Nevertheless the figure does however have a strong manifestation even in this elemental existence. The painting is powerful and dynamic within its severely limited palette range. It is at once linked to the classical tradition and yet thoroughly modern. ‘Blue Nude’ 1985 was painted the same year and it also possesses a power of mastery of the figure. The blue of the title is the dominant colour with the background a deep midnight blue which casts its hue upon the model. Marianne O’Kane Boal, April 2017

Barrie Cooke HRHA (1931-2014)Blue NudeOil on canvas, 105 x 120cm (41¼ x 47¼'')Inscribed by the artist verso 'Blue Nude, Barrie Cooke 85'Provenance: With Hendricks Gallery, label verso, September 1992, No. 3; Gillian Bowler.Exhibited: The Hendriks Gallery, 1985, where purchased; 'Barrie Cooke Exhibition', Haags Gemeente Museum, The Hague, Holland, Tentoonastelling 1992, Catalogue No. 3.Literature: 'Barrie Cooke' by Aidan Dunne, 1986, Douglas Hyde Gallery, detail front cover illustration, illustrated again p.119 under title 'Blue Figure'.Barrie Cooke was one of the dominant figures in Irish painting throughout the 1960-90s. Born in Cheshire, in England, he spent his teenage years in the United States and studied art history and science at Harvard before coming to live in Ireland in 1954. Apart from time spent studying under Oskar Kokoschka in 1955, and his extended trips to Borneo, New Zealand, Malaya, Lapland and other places, he has lived in counties Clare, Kilkenny and Sligo for most of his adult life. ‘Blue Nude’ is one of many nudes painted by Cooke although the artist is generally seen as a landscapist with a passionate concern for saving nature from the devastating consequences of human intervention. His paintings of the female body, like his portraits of friends, can be seen as a continuation of his landscapes. When he painted a portrait of his friend, the American writer, Tess Gallagher, she wrote an account of the process, which has him saying ‘for me you will simply be a landscape’. That this is clearly true too, of his female nudes, is evident in his earliest ventures into the genre, begun when he was living in Clare in the 1950s and early 60s. There he painted the figures of women emerging from the bare landscape of the Burren, making the linkage between the earth and the people who occupy it appear seamless. His famous Sheila-na-Gig paintings, in which the nude is built up, in three dimension from clay and fused with the painted ground were landmark works in this genre.‘Blue Nude’ shows the consistency of this motif in his art and, although painted in 1985, bears a remarkable resemblance to earlier nudes from the early 1960s in the Gordon Lambert Trust at the Irish Museum of Modern Art and in other collections. What they have in common is what Seamus Heaney referred to as Cooke’s ‘aqueous vision’, which makes the female body appear to bend and flow with the contours of the landscape or the barely defined physical surroundings of the interiors in which they are sometimes placed. The palette of strong blues and oranges also remains consistent.Cooke loved to work directly onto raw canvas, allowing the paint to seep into it and stain it like a river caressing its banks, creating a strong sense of fluidity rather than precise finish. For that reason, ‘Blue Nude’ should not be understood in the usual sense of a study for a more complete painting but rather as an end in itself, in which the body is surrounded by a very sketchy background, which has references both to the landscape and to an interior setting. The fact that it was intended as a completed painting rather than simply a study, like so many of his nudes, is borne out by the fact that the painting was included in his retrospective exhibition at the Gemeentemuseum at the Hague in 1992.Barrie Cooke was a significant influence, not just on younger artists in Ireland, but also on the context for making and showing art to the wider public. He was a founding member of the Independent Artists group in 1961 and, successively, an active member of the boards of the Butler Gallery, where he had a considerable role in the shaping of the Kilkenny Arts Festival, and of the Douglas Hyde and Model and Niland Galleries in Dublin and Sligo respectively. He was also a founder member of Aosdána and through his wide international connections, an important transmitter of external influence on Irish art.Catherine Marshall, April 2017

Sarah Cecilia Harrison RHA (1863-1941)Blayney R.J. Balfour and Madeline, his Wife, of Townley Hall, DroghedaOil on canvas, 91 x 73cm (35¾ x 28¾)Signed and dated 1910Exhibited: The RHA Annual Exhibition 1911, Cat. No.26Provenance: The Townley family by descent and sold by them through The Gorry Gallery 1994. Later sold Adam’s Important Irish Art Sale September 2002 Cat. No. 65 where purchased by current owners.This portrait used to hang in Townley Hall Co. Louth . The sitters are Blayney R. Townley Balfour and his wife Madeline. Madeline was the daughter of John Kells Ingram LLD Vice-Provst of TCD. Sarah C. Harrison was one of the leading portrait painters of her day. She was also a great campaigner and created history as being the first woman to be elected a member of Dublin Corporation. She was an early fighter for women’s rights and campaigned for the cause of Dublin’s poor and had an office in 7 St. Stephens Green where she weekly listened to their grievances. She was a well known campaigner for the provision of a Modern gallery for The Lane pictures. Hugh Lane had presented her 1908 portrait of Thomas and Anna Haslam, pioneers of the Irish suffrage movement, to Dublin’s Municipal Gallery.

Terence P. Flanagan PPRUA RHA (1929-2011)Portora for Tony Flanagan (1987)Oil on canvas, 112 x 106cm (44 x 41¾'')SignedProvenance: From the collection of the late Gillian Bowler.Exhibited: T.P. Flanaghan RHA PPRUA 25 Years with the Hendriks Gallery Exhibition, Hendriks Gallery Dublin, June 1987, where purchased; “T. P. Flanagan, Retrospective Exhibition”, Ulster Museum, Belfast; Hugh Lane Municipal Gallery of Modern Art, Dublin; Fermanagh County Museum, Enniskillen, Catalogue No.84 in each case.Literature: “T. P. Flanagan, Retrospective Exhibition, Belfast, Dublin and Enniskillen” by Dr SB Kennedy, picture illustrated on front cover of the catalogue; “T. P. Flanagan: Painter of Light and Landscape”, London, Lund Humphries, 2013, reproduced in colour pp. 130, 131. The composition is important in Flanagan’s work for it confirms the movement towards a calligraphic technique that came to dominate his painting. This was a development Aidan Dunne noted in the Sunday Tribune (14 June 1987): ‘Flanagan is a superb technician’, he said, ‘a shadow boxer of a painter whose ghostly images find their way on to the surface in a fusillade of jabs and darts. The calligraphic maze of brushstrokes continually threatens to collapse into abstraction, but it is invariably rescued by the painter’s strong, instinctive grasp of his subject, a kind of privileged link with the landscape described’. His ‘problem,’ said Ciaran Carty in the same issue of the paper ‘is that [he] can never paint a thing at the time. [He’s] got to let it lie in the imagination and marinate’. Recalling Flanagan’s childhood memories of travelling by train from Enniskillen to Sligo, Carty said that he had ‘loved the sensation of momentarily seeing something from the window only for it to pass out of vision never to be seen again’. Brian Fallon also praised the exhibition in the Irish Times (6 June1987), although he had reservations about the artist’s developing style. ‘Flanagan’s early style’, he said, ‘was refined, understated and spare, almost Oriental’, but he had moved away from it in the last decade to become ‘lusher, prettier and also more conventional’. Nevertheless, he said, many works ‘stand well above that level’. To Dorothy Walker, in the Independent (12 June 1987), the artist’s ‘light fluid style’ was ‘immediately recognizable, and she thought there was ‘more substance than usual in the oil paintings, almost a sense of urgency in the familiar rapid brush strokes’. The subject of the picture is Lower Lough Erne near Portora Royal School.Dr SB Kennedy May 2017

Patrick Collins HRHA (1911-1994)The BathOil on panel, 60 x 120cm (23½ x 47¼'')Signed lower left; inscribed with title versoProvenance: From the collection of The Dubliners' singer, the late Luke Kelly, and acquired by Gillian Bowler from the singer's partner, Madeleine Seiler, who was then a neighbour on Dartmouth Square. It is thought that Luke Kelly acquired the work from his friend, Paddy Collins, directly, so this is the first public viewing of this important work.Patrick Collins once described Paul Henry, whom he greatly admired, as a ‘modest man who painted Ireland like an Irishman’. Collins himself came to be prominently identified as someone who painted Ireland, its land and less frequently, its people, like an Irishman. He had a keen sense of mission to identify some kind of essential qualities of ‘Irishness’ or ‘Celticness’ and to express that in a visual language that was distinctive and recognisable. The writer Brian Fallon thought of him as having been ‘wholly original from the start’ (1), a view that Fallon held despite him and others regularly asserting that Collins was the Sligo inheritor of Jack B. Yeats’s legacy.What Fallon and others, especially Collins’ biographer, Frances Ruane, particularly admired was the artist’s ability to combine a sense of that Irishness with modernism at a time when those two qualities appeared almost contradictory. Collins is best known for his dreamy, nearly monochrome landscapes, which are usually bathed in soft grey light. The figurative elements in these landscapes, traveller families, animals, birds, the occasional church spire or ancient stones, hover out of mists of paint as if time has blended them with the overall atmosphere of the country. Yet Collins also painted the female nude, and was one of the first Irish artists to popularize the genre in his own country. Not only that, his early gestures in this field reveal an element of defiance in the face of Ireland’s Catholic prudishness in the 1960s. Thus 'Nude 1', from the Basil Goulding collection in the Butler Gallery, Kilkenny, shows the figure peeling off the last of her clothes for the artist, as if to say, it is the duty of art to reveal all. The figure is outlined more boldly than is typical in Collins’ work but is set into his trademark blue-grey, halo like ground.'The Bath', is relatively unusual however, not in the use of the nude, but in its open homage to the work of Pierre Bonnard, and in particular Bonnard’s 'Nude in the Bath', 1937 in the Petit Palais, Paris, which Collins would have seen when he lived in France in the 1970s. In making his own of Bonnard’s composition however, Collins typically reduced the palette, so that the nude is scarcely distinguished from the surrounding bath, the shape of which enables his penchant for a soft ‘frame within a frame’. The pose of the figure is given more energy in Collins' version, more upright, than Bonnard’s supine image. 'The Bath', was one of the first paintings Collins executed after his arrival in France, from where he continued to send pictures for exhibition to the Richie Hendriks Gallery, Dublin. It was purchased by the singer Luke Kelly of the Dubliners, and acquired from his partner Madeleine Seiler after the singer’s death in 1984.Collins was one of the first artists to be given a solo exhibition at Dublin’s Hendriks Gallery. It was he who introduced fellow painter Barrie Cooke to the gallery where both men regularly exhibited throughout the 1960s and ‘70s. Despite an irregular output, perhaps related to his bohemian lifestyle, Collins continued to be highly regarded. He was selected to represent Ireland at the Guggenheim Awards in 1958. He was elected honorary RHA in 1982 and became Saoi of Aosdana in 1987.'Patrick Collins, Through Sligo Eyes', formed part of the RTE Art Lives series, screened March 10, 2009.Catherine Marshall, April 2017(1) Fallon, Brian Fallon, 'Patrick Collins; A Modern Celt', Irish Arts Review, Spring, 2009.

Modern photographic art on canvas of a nude lady, 115cm x 75cm.

JAN CYBIS (POLISH 1897-1972) Basket and Apples, oil on canvas 54.3 x 73.3 cm (21 3/8 x 28 7/8 in.) signed lower right; signed and inscribed on verso PROVENANCE Collection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 EXHIBITED Jan Cybis Retrospective, National Museum, Warsaw, 1965 LOT NOTES Bart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

ZBIGNIEW GOSTOMSKI (POLISH B. 1932)Gora, 1961mixed media20 x 29 cm (7 7/8 x 11 3/8 in.)signed and titled on verso; with a dated label from Desa affixed to verso; a gifting inscription on the stretcher A small memento of the wonderous journey through the art land of Poland -- Jane Akstoz / Warsaw, June 31, 1964PROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

LEOKADIA PLONKOWA (POLISH 20TH CENTURY)St. Joseph with the Christ Child, 1963mixed media on glass41 x 32.5 cm (16 1/8 x 12 3/4 in.)initialed lower rightPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965Acquired by the above from the Desa Foreign Trade Company, October 16, 1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

JOZEF WILKON (POLISH B. 1930)Peacock, 1964mixed media on paper31.2 x 42.6 cm (12 1/4 x 16 3/4 in.)signed and dated lower rightPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965Acquired by the above from the Desa Foreign Trade Company, December 10, 1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

ADAM NIEMCZYC (POLISH 1914-?)Portrait of Mrs. B. Stephens, 1964mixed media on wood panel50.4 x 30 cm (19 3/4 x 11 3/4 in.)signed, titled, dated and inscribed on versoPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

ADAM NIEMCZYC (POLISH 1914-?)Narzeczona Malarza [The Painter`s Fiancee], 1973mixed media on wood panel70 x 29.5 cm (27 1/2 x 11 5/8 in.)signed, dated, titled and inscribed on versoPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

JAN CYBIS (POLISH 1897-1972)Landscape, oil on canvas89.3 x 116 cm (35 1/8 x 45 3/4 in.)signed lower leftPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965Acquired by the above from the Desa Foreign Trade Company, March 4, 1964 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

ANNA GUNTNER (POLISH 1933-2013)Mongolfiere Brother`s Dream, oil on canvas60.5 x 50.5 cm (23 3/4 x 19 7/8 in.)signed on verso, titled on label affixed to versoPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

ZBIGNEW MAKOWSKI (POLISH B. 1930) Nucleus, 1963 oil on canvas 165 x 124.5 cm (65 x 49 in.) signed, titled and dated on verso PROVENANCE Collection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 Acquired by the above from the Desa Foreign Trade Company, August 26, 1963EXHIBITED Exhibition of Z. Makowski`s works at the Kunstverein fuer die Rheinlande und Westfalen, Grabbenplatz Kunsthalle, Dusseldorf, 1973LOT NOTES Bart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

NIKOFOR [KRYNICA] (POLISH 1895-1968)Spa Village, gouache on paper18 x 25 cm (7 x 9 7/8 in.)signed and titled along lower edgePROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

JOZEF WILKON (POLISH B. 1930)Incursion, 1963gouache on paper28.5 x 34 cm (11 3/4 x 13 3/8 in.)signed and dated lower rightPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965Acquired by the above from the Desa Foreign Trade Company, December 10, 1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

ANDRZEJ PIETSCH (POLISH 1932-2010)View of Krakow, 1965etching on papersize of plate: 36.5 x 104 cm (14 3/8 x 41 in.)signed, dated, titled and inscribed in pencil along the lower marginPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965Gift from the artist to the above LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

ALEKSANDER KOBZDEJ (POLISH 1920-1973)Urodziny II, 1963oil on canvas100 x 80 cm (39 3/8 x 31 1/2 in.)signed and dated lower right; further signed, dated and titled on versoPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

KAJETAN SOSNOWSKI (POLISH 1913-1987)Untitled No. 1515, 1965oil on canvas95.5 x 125.5 cm (37 5/8 x 49 3/8 in.)signed and dated lower right; signed, dated and inscribed on versoPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965Acquired by the above from the Desa Foreign Trade Company, June 15, 1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

ADAM NIEMCZYC (POLISH 1914-?)Ucella`s Wife, 1962mixed media on wood panel29 x 13.2 cm (11 3/8 x 15 1/4 in.)signed, dated and titled on versoPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

LEOKADIA PLONKOWA (POLISH 20TH CENTURY)St. Peter, 1963mixed media on glass41.5 x 33.5 cm (16 3/8 x 13 1/4 in.)PROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965Acquired by the above from the Desa Foreign Trade Company, October 16, 1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

FRANCISZKA THEMERSON (POLISH 1907-1988)I Looked Homeward I Saw No Angel, 1958oil on canvas56 x 46 cm (22 x 18 1/8 in.)signed lower right; artist`s label on versoPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

ANNA GUNTNER (POLISH 1933-2013)Architect`s Dream, oil on canvas60.2 x 80.5 cm (23 3/4 x 31 3/4 in.)signed on versoPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965Acquired by the above from the Desa Foreign Trade Company, April 10, 1964 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

ANNA GUNTNER (POLISH 1933-2013)Gothic Inspiration, 1961oil on canvas60.1 x 60.2 cm (23 5/8 x 23 3/4 in.)signed on verso; titled and dated on exhibition label affixed to stretcherPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965Acquired by the above from the Desa Foreign Trade Company, November 23, 1964EXHIBITEDFestival of Contemporary Polish Painting, Szczecin, Warsaw, 1962 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

ADAM NIEMCZYC (POLISH 1914-?)David and Bathsheba, 1964mixed media on wood panel80 x 34.7 cm (31 1/2 x 13 5/8 in.)signed, dated, titled and inscribed on versoPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965Acquired by the above from the Desa Foreign Trade Company, October 7, 1964 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

ZBIGNEW MAKOWSKI (POLISH B. 1930)Intro Vocat, 1978gouache on paper27.7 x 37.5 cm (10 7/8 x 14 3/4 in.) [sight]signed, dated and titled upper leftPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965Acquired by the above from the Desa Foreign Trade Company, May 9, 1973 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

ALEKSANDER KOBZDEJ (POLISH 1920-1973)Urodziny I, 1963oil on canvas99 x 80 cm (39 3/8 x 31 1/2 in.)signed and dated lower right; further signed, dated and titled on versoPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

ZBIGNEW MAKOWSKI (POLISH B. 1930) Old Garden, 1962 mixed media on wood 166.5 x 16 x 5 cm (65 1/2 x 6 1/4 x 2 in.) signed, dated, titled and inscribed on verso PROVENANCE Collection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 EXHIBITED Exhibition of Z. Makowski`s works at the Kunstverein fuer die Rheinlande und Westfalen, Grabbenplatz Kunsthalle, Dusseldorf, 1973 LOT NOTES Bart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

LEOKADIA PLONKOWA (POLISH 20TH CENTURY)St. Joseph with the Christ Child, 1963mixed media on glass36.3 x 31.3 cm (14 1/4 x 12 1/4 in.)possibly signed upper leftPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965Acquired by the above from the Desa Foreign Trade Company, October 16, 1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

JOZEF WILKON (POLISH B. 1930)Demons (For Tracy), 1963mixed media on paper16 x 12 cm (6 1/4 x 4 3/4 in.) signed, dated and inscribed upper rightPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

LEOKADIA PLONKOWA (POLISH 20TH CENTURY)Summer, 1963mixed media on glass35 x 30.5 cm (13 3/4 x 12 in.) [sight]initialed lower leftPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965Acquired by the above from the Desa Foreign Trade Company, October 16, 1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

ZBIGNEW MAKOWSKI (POLISH B. 1930) Maria Sub Monte Erat [In the Mountains, 1000 Seas], 1968 oil on canvas 65 x 41.5 cm (25 1/2 x 16 3/8 in.) signed and dated lower left; titled upper center PROVENANCE Collection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 Acquired by the above from the Desa Foreign Trade Company, November 8, 1969 EXHIBITED Exhibition of Z. Makowski`s works at the Kunstverein fuer die Rheinlande und Westfalen, Grabbenplatz Kunsthalle, Dusseldorf, 1973 LOT NOTES Bart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.

Art Reference. 9 monographs & others re. modern & contemporary artists. Condition Report. Good lot of modern art reference books

Barrie Cooke HRHA (1931-2014) YELLOW ELK TREE, 1986 oil on canvas signed, titled and dated on reverse Kerlin Gallery;Private collection In 2011 the Irish Museum of Modern Art hosted a major exhibition of Cooke's work to mark his 80th birthday. The show included some 70 paintings and sculptural works from the early 1960s to more contemporary examples. Nature and the nude figure (see lot 52) were dominant themes in that important exhibition. 68 by 68in. (172.7 by 172.7cm)

Charles Harper RHA (b.1943) RACE TO THE END, 2006 oil on canvas signed and dated lower right; signed, titled and dated on reverse Charles Harper was born on Valencia Island Co. Kerry in 1943. He studied art at Limerick School of Art and the National College of Art in Dublin as well as filmmaking in Bonn, Germany. He exhibits regularly in Ireland and abroad. Harper primarily uses a metaphoric approach to painting using such motifs as the boat, angels, balance, landscape, and the figure. He has represented Ireland many times abroad in such countries as India, Switzerland, Italy, Latvia, England, France, the US and Sweden. He has received eight National Awards for his painting, including First prize for Painting commemorating the 1916 Rising at the Municipal Gallery of Modern Art, Dublin, The Carrols Open Award at the Irish Exhibition of Living Art in 1971, the Arts Councils Bonn an Uachtarain de Hide at The Oireachtas Art Exhibition. His work is included in many important public and private collections including the Irish Museum of Modern Art and the San Francisco Museum of Modern Art to name a few. He was a lecturer at Limerick School of Art and Design (LIT), now retired. He is a founder member of Aosdána and a member of the RHA since 2002. 39.50 by 39.50in. (100.3 by 100.3cm)

Hilary Heron (1923-1977) CAESAR, 1949 beechwood; (unique) signed with initials and dated Hilary Heron was born in Dublin and spent her childhood in New Ross, County Wexford, and Coleraine, County Derry. She was educated privately at home and at Ivory's one-teacher school in New Ross. She attended the National College of Art, Dublin, where she won three Taylor Prizes from the Royal Dublin Society (RDS). For sculpture in wood, limestone and marble she was awarded the first Mainie Jellett Memorial Travelling Scholarship in 1947. In the same year, she went to Italy and France to study Romanesque carving. She was instrumental in founding the Irish Exhibition of Living Art, and first exhibited there in 1943. With Louis le Brocquy, she represented Ireland at the Venice Biennale in 1956. In 1950 and 1953 she held two solo exhibitions in Dublin at the Waddington Gallery. In the 1950s she began to work in metal. In 1958 she was commissioned by the Irish government to complete work for an Irish exhibit at New York, and in 1960 her first exhibition in England was shown at the Waddington Galleries in London, where she displayed more than thirty works. One English critic saw her work as assimilating exotic styles with a great feel for nature, remarking that ‘she brings something fresh, diverting, and also very genuine to our inbred world of sculpture’ (Neville Wallis, quoted in Snoddy, p. 253). She travelled in Asia, America and Europe, and her works are in many private and public collections, both in Ireland and overseas, including The Irish Museum of Modern Art. 24 by 10.25 by 4.50in. (61 by 26 by 11.4cm)

William John Leech RHA ROI (1881-1968) GREY BRIDGE, REGENT'S PARK, LONDON oil on panel signed lower left Collection of George and Maura McClelland RHA, Dublin, 1958, catalogue no.4'William John Leech: An Irish Painter Abroad', National Gallery of Ireland, Dublin, 23 October to 15 December 1996;Musée des Beaux Arts, Quimper, 10 January to 10 March 1997;Ulster Museum, Belfast, 28 March to 22 June 1997, catalogue no. 88 Ferran, Denise, William John Leech: An Irish Painter Abroad, Merrel Holberton, London, 1996, p.253 and 255 (illustrated);The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.41 (illustrated) Dr Denise Ferran, in William Leech: An Irish Painter Abroad, q.v., writes "The Bridge, Regent's Park, is painted in a silvery light with York Bridge, a high horizon-band of subdued umber tones, merging into the soft blue-grey tones of the background. In the foreground, the river reflects the cool grey of a winter sky which mingles with the muddy browns and greens of the still water". 13.25 by 17.25in. (33.7 by 43.8cm)

Barrie Cooke HRHA (1931-2014) RECLINING NUDE, 1965 oil on canvas signed and dated lower right Ritchie Hendriks Gallery, Dublin;Private collection 'Barrie Cooke Exhibition', Ritchie Hendriks Gallery, Dublin, June 1966 In 2011 the Irish Museum of Modern Art hosted a major exhibition of Cooke's work to mark his 80th birthday. The show included some 70 paintings and sculptural works from the early 1960s to more contemporary examples. Nature and the nude figure (see lot 52) were dominant themes in that important exhibition. 35.75 by 39.75in. (90.8 by 101cm)

Frederick Edward McWilliam RA HRUA (1909-1992) MAN AND WIFE, 1934 sycamore wood; (unique) signed, titled and dated on underside of base Collection of George and Maura McClelland (acquired directly from the artist) 'F.E. McWilliam', London Gallery, 1939; Arts Council of Ireland 1981, catallogue no. 2;'F.E. McWilliam: Sculpture 1932-1989', The Tate Gallery, London, 10 May to 9 July 1989, catalogue no. 4, illustrated p.38;'Irish Sculpture Exhibition', Jerome Connor Arts and Sculpture Weekend, Annascaul, Co. Kerry, 26-28 June 1998, catalogue no. 38;'Northern Irish Artists from the McClelland Collection',Irish Museum of Modern Art, 1 September 2004 to 6 March 2005;'F.E. McWilliam in Banbridge', F.E. McWilliam Gallery, Banbridge, 26 September 2008 to 22 February 2009, illustrated p.36;Highlanes Gallery, Drogheda, 'McWilliam at Banbridge: a selection', 27 February to 21 April, 2009. Mel Gooding, F.E. McWilliam Sculpture 1932-1989, exhibition catalogue, Tate Gallery Publications, London, 1989, p.38 (illustrated)The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.113 (illustrated)Denise Ferran, F.E. McWilliam at Banbridge, F.E. McWilliam Gallery, Banbridge, 2008, p.36 (illustrated) From McWilliam's accurate dating of 34.01, this work was completed by artist as his first work in 1934, when he and his wife Beth, who he had married in 1932, lived in Chartridge, Buckinghamshire.In 1931, F.E. McWilliam travelled to Paris on a Robert Ross Leaving Scholarship from the Slade with fellow student Beth Crowther, from Golear, near Huddersfield, whom he was to marry in March 1932 at St. John's Presbyterian Church, Kensington, London. The McWilliams intended to live, study and work in Paris since: 'it was the mecca, and the whole atmosphere testified to this; holy ground, full of memories of Cézanne and the presence of Picasso.' He met Zadkine and visited his studio and he also went to Brancusi's studio and was given an extensive tour by the Romanian sculptor with long discussions on his work practice. However, in 1932/33 sterling collapsed against the French franc and both Beth and "Mac" (as he was known affectionately by his friends) were forced to return to England where they rented a home in Chartridge, Buckinghamshire set in a cherry orchard surrounded by sycamores.With the ready material of the trees and the space available McWilliam began carving, which was his first love. He had befriended the Belfast sculptor George MacCann (1909-67) as students in London and through him was introduced to Henry Moore. MacCann had been a student of Moore's at the Royal College of Art. Moore was, at the time, a carver in stone and wood and his influence then was enormous, not only in England but also internationally.'Man and Wife', incorporates the simple forms, the reduction of facial features, the merging of the two bodies which are still manifestly recognizable as a man and a woman in close harmony.George McClelland loved the integrity of this work but it took some persuading to get McWilliam to part with it, possibly because the work reminded the sculptor of the early years of his marriage and his love for his wife, Beth. McClelland, desired it too for a similar reason, as it reminded George of himself, his larger frame towering over his more petite wife, Maura. Dr Denise FerranMay 2017 16.50 by 8.50 by 5.50in. (41.9 by 21.6 by 14cm)